REVIEW: Steve Crowther’s verdict on Ryedale Festival, Eric Whitacre (conductor) & National Youth Choir of Scotland, Hovingham Hall, Hovingham, July 20

Conductor and composer Eric Whitacre. Picture: Marc Royce

THE concert opened with a charming theatrical gesture: the choir entered the auditorium in single file, splitting symmetrically to surround the audience — with conductor Eric Whitacre positioned halfway up the central aisle — to perform the composer’s Lux Aurumque.

I’ve attended a number of concerts here — almost all of them orchestral — and all compromised by the venue’s generous acoustic. That’s hardly surprising, given that Hovingham Hall’s concert space was originally the North Yorkshire estate’s 18th-century riding school. But not this time. The choral sound resonated beautifully, the balance was impeccable and so was the singing.

Not only is Eric Whitacre a superb composer and a highly accomplished conductor, but he’s also completely at ease in his role as presenter. Instantly engaging and often funny, he gave us a deeper understanding of the choral works being performed.

The second piece had the wonderfully descriptive title: Leonardo Dreams Of His Flying Machine. The opening burst into dissonant flight in a work that embraced the dramatic. The vocal landscape was rich, enhanced by miniature suspended cymbals and tambourines to sex-up the score. The result was a fitting tribute to the great innovator’s visionary ornithopter and his enduring fascination with flight.

As visually engaging as the conductor and chamber choir undoubtedly were, I couldn’t take my eyes off the elephant in the room: an upright piano, front and right of stage. Then, halfway through the programme, Mr Whitacre graciously welcomed the festival’s artistic director and distinguished pianist Christopher Glynn to the platform.

The composer’s Seal Lullaby is his setting of the Rudyard Kipling poem and reminded me of the music by Howard Blake in Dianne Jackson’s animated film of Raymond Briggs’s , The Snowman. The tonal harmonic clusters and gentle dissonances were very effective and sweetly sung, but it was a bit sugary for my palette. Given the instrument’s limitations, Christopher Glynn’s ability to produce such a refined sound was impressive.

Whitacre’s Sing Gently impressed both as a choral work and in its timely ambition. Written in 2020 during the global Covid-19 lockdown, the piece was commissioned for Virtual Choir 6. Its premiere performance featured 17,572 singers from 129 countries – making it his largest virtual choir to date (I looked these statistics up).

The setting of the lyrics – “May we sing together, always. May our hearts always be gentle” – was simple and unembellished, and the performance sincerely heartfelt. I thought this gentle plea for empathy, community and kindness really resonated in a world that seems to be embracing the exact opposite.

The composer’s Hurt couldn’t be more different. It is actually a choral arrangement of a Trent Reznor song recorded by Nine Inch Nails as part of their iconic 1994 album, The Downward Spiral and later by the great Johnny Cash on 2002’s American IV: The Man Comes Around.

National Youth Choir of Scotland artistic director Christopher Bell

The choir delivered a genuinely rich, darker sound world with prominent dissonances reinforcing the rawness of text: “I hurt myself today/ To see if I still feel/ I focus on the pain/ The only thing that’s real”.

The choir’s role worked brilliantly: transforming from support, commentary and then integrating with the excellent soloist. The sustained minor second cadence created a haunting effect.

The mood shifted again with two of Moses Hogan’s well-known arrangements of African American spirituals: Elijah Rock and Joshua Fit The Battle (Of Jericho). Both pieces were great, bristling with vitality and razor-sharp articulation.

The vocal narrative was driven with authentic intent. However, the sheer rhythmic energy, dramatic dynamic contrasts and interplay between the powerful homophonic sections and lighter, more intricate imitation passages of the latter lingered longest in my mind.

Before looking at the musical offering from Bach, I must give a mention to Christopher Bell, the long-serving artistic director – and driving force – behind the very highly regarded NYCOS chamber choir. A point generously acknowledged by Eric Whitacre.

This and a slight whinge: the concert was about 15-20 minutes too long which, given the seating on offer, was a bit of an ask.

For me, the highlight of the concert was Come, Sweet Death: J S Bach, arranged (or rather, reimagined) by Edwin London and realised by Rhonda Sandberg.

That title needs a little unpacking: Bach’s Komm, Süßer Tod (Come, Sweet Death) was originally written in 1736 for solo voice and basso continuo. Edwin London’s concept transforms it into a richly layered choral work – the true act of creative reinterpretation – freeing the singers from strict rhythmic coordination, a distinctly modern choral approach. But it is Rhonda Sandberg who created the practical performing score, bringing London’s vision to life.

The choir reverted to surrounding the audience, with Eric Whitacre directing from the centre. All seemed like business as usual, as the Bach arrangement exchanged lines of recognisable authenticity. Then, suddenly, that world stopped – as if someone had pressed a button – and we were transported into the most exquisite, psychedelic, timeless sound world.

The music floated, as the choir bled out the original sacred tune like some otherworldly canon. A work of genius? Quite possibly. And a fitting close to a concert that constantly surprised.

Review by Steve Crowther

REVIEW: Steve Crowther’s verdict on Soon Amore Choir’s afternoon concert, 12/2/23

The poster for Soon Amore Choir’s Sunday concert

Soon Amore Choir, Unitarian Chapel, St Saviourgate, York, February 12

THE Soon Amore Choir programme was very much a pick’n’mix affair – and a very tasty one too.

It opened with a hunting call on natural horn, which threaded through the first half, chasing the concluding traditional French fanfare Et Chansons de Chasse. Of course, this was somewhat contrived, but it did treat us to the superb playing of Martin Lawrence.

There was much to enjoy here, not least the performances of Shoebox and Heavy Laden with Jane Stockdale (voice) and Dave Pearce (piano). Stockdale sang Shoebox with an instinctive feeling for folksong tradition while Pearce’s crisp piano octave attacks dispelled any sentimentality.  For Heavy Laden they were joined by the choir with the simple counterpoint setting acting to reinforce the song’s world-weary narrative.

The traditional Ghanaian Senwa Dedende was performed by the “people’s” choir, that is, us. And very well indeed and certainly better than our vocal coach, Chris Bartram!

As I know David Lancaster personally, it wouldn’t be particularly professional to comment on his piece itself. Suffice to say that the distinctive sound-world of Fell was very well performed by Soon Amore in its world premiere, where the ritualistic, repetitive choral statements were very clearly delivered, commenting on the convincing spoken narrative by Laura Potts and Gary Craig. Martin Lawrence’s playing was, of course, imperious.

By contrast, Bruckner’s sweet, touching Locus Iste simply glowed with joy. Following an impressive The Deer’s Cry by Arvo Part, which is actually quite tricky, the “people’s” choir were back to perform the traditional Bella Mama. The higher pitch gave our vocal coach the opportunity to redeem himself, which he did admirably. It was genuine fun singing the simple canon and very satisfying too.

Eric Whitacre is a very fine composer and his choral writing is always distinctive. The choir clearly relished the lovely harmonies and gentle dissonances of his Sleep and their enjoyment was infectious. For me, anyway.

Chris Bartram is an excellent, entirely musical conductor and his engaging manner made the Sunday afternoon concert a very rewarding experience.

Review by Steve Crowther

REVIEW: Steve Crowther’s verdict on The Chapter House Choir’s Carols By Candlelight, York Minster, 17/12/2022

The Chapter House Choir

THE Chapter House Choir’s Carols By Candlelight concert was again set in the nave of York Minster, rather than the Chapter House of days past.

The Choir was augmented by the Chapter House Youth Choir – superbly directed by Benjamin Morris and Charlie Gower-Smith respectively – the choir’s Handbell Ringers and York organist William Campbell.

The concert, touchingly dedicated to the memory of Dr Alvan White, the choir’s Candlelighter-in-Chief for these concerts for so many years, opened with Tasmin Jones’s simple but affecting ceremonial procession.

The Choir’s delivery of Gaudete was a dancing delight but Yshani Perinpanayagam’s In Bethlehem Above did suffer slightly with jarring high soprano intonation. William Campbell clearly relished David Willcocks’s Postlude on Mendelssohn and so did we.

The performance of Eric Whitacre’s Lux Aurumque was one of the night’s highlights: beautiful soprano singing, nigh-perfect close-harmony pitching creating a delicate, musical glow.

Cecilia McDowall’s Of A Rose’s use of the Choir’s upper and lower voices came across very effectively, as did the linear singing and moments of rhythmic togetherness. Well written, well performed.

Darius Battiwalla’s Suo Gan was simply lovely, as were the gently falling musical snowflakes of John Hastie’s O Come, O Come Emmanuel for handbells. The Youth Choir’s performance of John Joubert’s ever-infectious Torches was very well judged, even understated, to suit the Minster acoustic and enhance both clarity and enjoyment.

For your reviewer, however, the most rewarding offerings were the two versions of Jesus Christ The Apple Tree: the famous Elizabeth Poston setting and the new one composed this year by the Choir’s founder, Andrew Carter.

Both embraced the freshness, simplicity and fluency of the anonymous 18th-century New England text, both had a sweet, seemingly effortless delivery and both stayed in the memory after the concert itself.

Personally, I prefer the intimacy of the Chapter House itself, but a huge audience seemed perfectly happy here and were richly rewarded by this ever-present Christmas event. An event that continues to embrace a spiritual counterpoint to the season’s materialistic saturation of today. Maybe.

Review by Steve Crowther

The Ebor Singers mark release of American Christmas album Wishes And Candles with candlelit concert at St Lawrence’s Church

The Ebor Singers: Two Christmas concerts in York

PAUL Gameson directs The Ebor Singers tonight in an evening of beautiful choral arrangements for Christmastide at St Lawrence Parish Church, Lawrence Street, York.

The 7.30pm concert, A Christmas Celebration By Candlelight, also marks the launch of the York choir’s CD recording of Christmas music by contemporary American composers, Wishes And Candles.

Pieces from the disc, featuring works by Morten Lauridsen, Eric Whitacre, Dan Forrest, Abbie Bettinis and Matthew Culloton, will be complemented by festive compositions by John Rutter and Bob Chilcott.

“We’re looking forward to sharing music from our new album,” says Paul. “It took two years to put this together, thanks to a two-year Covid-enforced hiatus between recording sessions, so it was particularly enjoyable completing this in April this year.

“Music by Lauridsen and Whitacre is featured, but so too are other composers whose names and music deserve to be more widely known, such as Forrest, Bettinis and Culloton. There’ll also be some audience-participation carol singing, so bring your voices too!”

Tickets (£15, concessions £12, students £7 (16 plus), children free) are on sale at eventbrite.co.uk or on the door.

A Christmas Celebration is the first of two Christmas concerts in York for the choir, who will perform Part 1 of Handel’s Messiah (featuring the Christmas story) and Britten’s A Ceremony of Carols on Sunday, December 18 at 7.30pm  at St Olave’s Church, Marygate. Tickets: eventbrite.co.uk.