26 May 2011

Beethoven Mass in C
J S Bach Magnificat in D
Mozart Symphony No. 15

Review by David Batty

UPLIFTING BEETHOVEN

Beethoven's Mass in C may be a lesser work than the later, greater Missa Solemnis but still presents challenges to both listener and performer. Prince Nicolaus Esterhazy, who commissioned the work to celebrate the birthday of his wife, was more used to the masses of Haydn and made so sure that Beethoven knew of his feelings that the latter eventually dedicated the work to someone else! For performers, no Beethoven work is straightforward – he never writes an easy choral fugue, for instance. However, at its concert at Exeter Cathedral last Thursday, the Exeter Philharmonic Choir under conductor Andrew Millington successfully overcame these challenges and presented a most enjoyable performance of an under-rated work. The opening Kyrie immediately demonstrated the confidence and musicality of the Choir which responded later with suitable vigour to the outbursts in the Gloria and was particularly effective in the 'Et resurrexit' section of the Credo. The more contemplative parts of the Sanctus and Agnus Dei were affecting.

The Choir was strongly supported in the Mass by the quartet of soloists, Elizabeth Drury, Rebecca Smith, Thomas Hobbs and Stuart Young. Nearly always singing in this work as a quartet rather than individual solos, they achieved between them a wonderful blend. The lovely Benedictus (both Beethoven's masses reserve their most beautiful music for this movement) was especially memorable, with great sensitivity shown towards the meaning of the text, as they demonstrated elsewhere with the gentle pleading around the word 'suscipe' in the Gloria, for instance.

The four soloists each had individual moments in which to shine in the work that opened the concert, Bach's Magnificat in D and they took them effectively. Like much Bach, the Magnificat is not the easiest work to sing and perhaps the Choir was less confident here than it was in the Beethoven. The opening and final choruses went with a will but there was some sense of uncertainty at times in the inner choral movements, particularly at the start of pieces. However, the whole work certainly came over with the sense of joy and praise which the text proclaims.

Throughout the concert the Choir and soloists benefited from the expert accompaniment of the orchestra for the evening – the Sinfonietta, led by Richard Studt – with brilliant trumpets and caressing woodwind in the Bach and an effective balance with the choral forces in the Beethoven. The orchestra, directed by Richard Studt from the leader's chair, added a filling to the sandwich of choral works, with a lively and affectionate performance of Mozart's early Symphony in G, K124 in which the Andante movement was especially appealing.

The whole concert was an uplifting occasion, but why, oh why, do not more people come to hear such expert music-making in a magnificent setting? Wake up, Exeter, and support your local music groups – you don't know the pleasures you are missing!