<< -- 2 -- Philip Lancaster A home-coming
The second night saw a potentially controversial performance of Delius'
setting of words by the German philosopher and poet Friedrich Nietzsche
(who rejected Christianity and believed in the superiority of human will)
in A Mass of Life, an extraordinary large scale work that on a first
hearing cries out to be re-explored, and would pay handsomely in return.
Again Hickox was at the helm, directing the chorus with a precise, unequivocal
beat, ably attended by four soloists, notably Clare Rutter who was brought
in at very short notice taking the place of an ailing Susan Gritton, and
the Philharmonia once again.
In the Cathedral on the Monday morning a performance by the virtuosic
Royal Northern College of Music Wind Orchestra was followed in the evening
by David Briggs' first major concert of the week. Opening the concert was
the previously mentioned Gary Magee singing the orchestral version of Vaughan
Williams' Five Mystical Songs. This was followed by the first of
two major works by David Briggs: Creation, a view of the initial
creation out of chaos followed by explorations of the joys held within.
This work replaced what would have been an exciting new commission from
Patrick Gowers, My Heart was Grieved, which sadly could not be completed
by the composer due to a debilitating stroke: we hope he returns to full
Creation reminded one instantly of the Frenchman Olivier Messiaen
- an Ondes Martenot would have been by no means out of place (perhaps
the soprano soloist provided an easier alternative). The language was harmonically
quite dense and in one movement even showed great bird-like utterances (not
surprisingly in the movement called 'For Birds'). The work as a whole was
quite well proportioned with some very well judged climaxes, although the
initial expanse of music was somewhat imbalanced by breaks between the latter
sections. Caught up in his admiration of the initial creation of the world
Briggs lost his baton, returned to the desk by the soprano soloist Ruth
Holten, who coped admirably with Briggs' often rhapsodic writing, sometimes
very high and exposed.
The heavy language of the Briggs made the Walton Viola Concerto seem
very much like a sorbet in a well directed, crisp performance with
Paul Silverthorne as soloist. The last work in the concert was Holst's rarely
performed The Hymn of Jesus: a rather slow (and slowing) performance
which suffered a little in the chorus, being slightly shoddy -- but the overall
effect was there.
Copyright © 23 September 2001
Philip Lancaster, Chosen Arts, Bristol, UK
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