Thames Philharmonic Choir - review (From Wimbledon Guardian)

Thames Philharmonic Choir - review

4:29pm Monday 28th March 2011 in Music

Thames Philharmonic Choir, Cadogan Hall

Beethoven’s late masterwork, Missa Solemnis - arguably his finest choral work, received a magisterial performance from the Thames Philharmonic Choir at the Cadogan Hall in central London recently – Saturday 19th March. For the occasion, the choir assembled some very powerful forces: an augmented choir just over 80 strong; a larger than usual Thames Festival Orchestra led by Adrian Levine; four outstanding soloists; and conductor John Bate, the Choir’s quietly commanding Artistic Director.

The relatively short first half (less than 30 minutes) opened with a traditional setting of the Kyrie, the orchestra and choir ebbing, flowing and pulsating delightfully following the typically Beethovenian declamatory opening.

Then followed the exuberance of the Gloria, in which the brass section of the orchestra came to the fore. The movement has a rather frenetic pace and reaches a number of crescendi, but it was complemented by softer, more lyrical passages during which the male voices were used to beautifully controlled effect. The vibrant colours and shifting textures of this rich aural tapestry were delineated with precision.

The second half of the concert proved to be relatively more reflective in mood, but musical understatement was not the order of the day throughout. The Credo started out in an upbeat manner, but calmed down into the refreshingly meditative passages of Et incarnatus est, followed by the drama of the Crucifixion, during which the warmth of the lower strings came to the fore. The interplay here between the soloists as they wove their way through the rich textures was exemplary. The at times almost ecstatic music that accompanied the text celebrating the joy of Christ’s Resurrection provided a brief return to the mood of the earlier Gloria before once again settling into a more ethereal mood before consideration of eternal life was expressed in a passage of great virtuosity.

After the sombre opening of the Sanctus movement, the audience was treated to some delightful, lyrical solo playing from the Thames Festival Orchestra’s leader, Adrian Levine.

This provided a kind of prelude and accompaniment to the exquisite and delicate opening of the Benedictus movement, during which the soloists were called upon to complement one another with precision and great depth of feeling, soaring and plummeting in turns as Beethoven’s majestic musical imagination unfolded.

The contemplative and delightful diminuendo that brought the Benedictus to a close also heralded the generally peaceful nature of the final Agnus Dei movement, which, notwithstanding two passages of extraordinary excitement conjuring up images of war, finally and serenely resolved the extraordinary musical journey through which Beethoven had taken us.

It was a joy to hear and to know that, in the Thames Philharmonic Choir, London has the musical forces capable of rising to the challenge of Beethoven’s vision and passion.

Colin Bloxham