PMF ‘s choral concert Gloria! showcased two audience favourites from the Baroque era and introduced many to an overlooked masterpiece, Haydn’s Schöpfungsmesse. The capacity audience was treated to a spirited and joyous evening of uplifting music with both choir, soloists and orchestra deservedly receiving an enthusiastic ovation.
First up on the programme was Corelli’s much-loved Concerto Grosso in G minor, known as the ‘Christmas’ Concerto. Southern Pro Musica, under their authoritative leader Sophie Langdon, gave an energized rendition of this six-movement work, showing vibrant technical mastery of articulation, phrasing and dynamic shading.
Under the assured baton of conductor Paul Spicer, the chamber string orchestra characterized each movement – from lively Vivace to the lilting, 6/8 Pastorale – with clarity and musical shaping. Intonation in the strings was excellent, as was the ensemble and sense of rhythmic vitality.
Next came the celebrated Gloria by Vivaldi. The orchestra was joined by oboes, trumpets, organ, bassoons and two soprano soloists for this instantly recognizable highlight of the choral repertoire.
Harriet Cameron (soprano) and Helena Paish (mezzo) rose to the occasion and gave beautifully polished performances. Of particular note was the plangency of the Laudamus te, when the two overlapping female voices combine in an emotionally charged duet. Moreover full marks to first oboe for the intricate obbligato during the solos as well as some athletic bassoon playing.
Helena Paish’s sustained vocal tone and confident stage presence, combined with impeccable diction, were impressive. The choir clearly relished the fugal finale Cum Sancto Spiritu and the overall energy of their performance throughout was palpable. Many in the audience clearly knew or had sung this work and were visibly engaged as it progressed through the compelling movements.
Finally the ranks of SPM were augmented by timpani, clarinets, horns and two male soloists for Haydn’s Creation Mass, the fifth of the his late six masses – but a first-time outing at the Festival.
Composed in 1801, the Schöpfungsmesse shows all the hallmarks of a composer at the zenith of his powers. Filled with drama, ingenious effects, word-painting and controlled but surprising modulations, the Creation Mass is a masterclass in virtuosic musical composition.
Haydn’s imagination was clearly overflowing with ideas and orchestral techniques as he shifts keys and rhythmic direction with enormous assurance.
Conductor Paul Spicer brought out all the colours, fun and drama of the piece, highlighting contrasting textures, for example when the soloists interrupt the chorus for a short interjection or phrase, only to give way to the full choral forces again, as if in dialogue.
The balance in the orchestra and ensemble with the choir were excellent, rhythmically underpinned by a standout timpanist. Harriet and Helena were joined by fellow soloists Alexander Bower-Brown (baritone) and last-minute stand-in Harun Tekin (tenor); all four soloists projected the characterful music with style and confidence. Despite being a sacred work, the Creation Mass was made to feel almost operatic in its drama and mood changes.
Many musical experts in the foyer of the Festival Hall afterwards said they were baffled why such a glorious piece is not more frequently performed. Paul Spicer said of the evening: ‘It was one of the most uplifting concerts I can remember at Petersfield. The orchestra played wonderfully and our team of soloists was outstanding.’
The second full-scale choral concert of the Festival, Dona Nobis Pacem, takes place on 22th March and features famous choral works by Vaughan Williams and Hubert Parry, in addition to a cello by Saint-Saëns. For another great evening of powerful music hurry to buy your tickets!
Image: Harriet Cameron and Helena Paish, credit Petersfield Photographic Society.
