Waverley Singers

Enterprising programme of English music

The following, occasionally incomplete or garbled, review by ‘JV’ appeared in the Aldershot Herald on 14 June 1991.

The Waverley Singers, in their latest concert at Frensham Church, presented an attractive programme of English music ranging widely from the 15th- and 16th-century work of Dunstable and Taverner to contemporary music by Walton and Tippett. Malcolm Hicks conducted, with Murray Stewart contributing organ solos at intervals throughout the concert.

Frensham's ancient church poses special problems for a choir the size of the Waverleys – now some 120 voices strong. It is relatively small, with a remarkably dry acoustic. Malcolm Hicks addressed the task by grouping the ladies in the chancel (altos in front), with tenor and basses in front of the organ at the side. This was a distinct improvement on previous years and achieved a much more successful balance with sopranos less dominant. This became quickly apparent in the short "Sancta Maria" by John Dunstable and the "Sanctus and Benedictus" by John Taverner. It was interesting, too, to have these pieces followed by Byrd’s “Sing Joyfully" and "Magnificat", in which the great leap in musical development in the late 16th century was strikingly evident. The choir coped admirably with the quite complicated contrapuntal demands of the works, though a little more dynamic contrast in the "Magnificat" would have relieved slight monotony.

Indeed, enterprising as it was for the Waverley Singers to attempt such a chronologically diverse programme, it is debatable whether a choir this large is appropriate for the performance of such early music (which was conceived for much smaller forces and a more cathedral-like acoustic). One realises that this is not an easy problem to resolve when other items in the programme demand full modern resources; it would be intriguing, nonetheless, to hear these works performed with numbers, say, halved.

In any case, as we progressed in time, the singers seemed to come into their own. Purcell's anthem, "Thou Knowest, Lord", from the superb music which he wrote for the funeral of Queen Mary, was exquisitely sung, with the voices beautifully balanced and perfectly at home in Purcell's solid, block harmony. Much the same could be said for "Zadok the Priest", Handel's most famous Coronation Anthem of 1727, though the racy tempo adopted exercised sopranos and altos floris [sic – ed] had the same semiquaver passages and, one felt, sacrificed some of the majesty of the piece.

The second half of the programme leapt to 20th-century music. Elgar's "Give unto the Lord" set the tone with a performance of considerable breadth, achieving good contrast and a lovely change of mood in the middle section. It was a good idea to juxtapose Walton's "Te Deum" (written for the present Queen's coronation) with [looks like something by Handel, but details unclear from photocopy of original review! – ed] Although the Frensham organ is somewhat underpowered for works of this nature, Mary Stewart worked hard to create the required effect, and the piece worked up to an exciting climax.

Three spirituals from "A Child of Our Time" by Michael Tippett were rather less successful. One appreciated the apparent desire to eschew sentimentality, but in the process "Steal Away", for example, lost its inward quality and lacked warmth and repose. A soprano "edge", which thus far had been absent, also asserted itself here in the higher register.

Parry's popular "Blessed Pair of Sirens" ended the concert and showed the singers at their considerable best in this "big" choral writing. The opening was confident, with good, round tone, and the whole piece was notable for its energy, fluent line, and phrasing.

As well as supporting the choir when required, Murray Stewart's extremely well-chosen organ solos were much appreciated. He made the most of the Frensham instrument, which sounded suitably "baroque" in his solos by Tomkins and John Stanley. Later, he gave a sensitive performance of Vaughan Williams' attractive "Rhosymedre" prelude and, by contrast, the rousing "Sarabande for the morning of Easter”" by Herbert Howells.