Paddock Wood Choral Society
‘Darkness to Light’ Sat 18th March 2017
The programme consisted of three works. The first half was a performance of Sir John Stainer’s ‘Crucifixion’ followed, after the interval, by ‘Resurrection' by David Pennant. The final work of the evening was ‘Monsal Blessing’ by James Corse.
The last time I attended a performance of ‘Crucifixion’ was a performance in our local church. I was around twelve years old, had been dragged along by my parents and really didn't want to be there: thus such memories as I had were not all positive ones.
How different it was this evening. The Paddock Wood Choral society, under their Music Director, Kevin Ashman, gave a superb performance which proved that a work narrating so sombre a story can also be inspiring.
‘Crucifixion’ follows the narrative using bass and tenor solos linked by choir and organ. The audience are invited to join in the several hymns included in the work.
The organ introduction and opening bass solo set the standard for the entire piece and the work continued with superb performances from the choir and soloists - bass and tenor. The audience also performed well in the hymns!
‘Crucifixion’, with all its different elements, must be quite a difficult piece to hold together and keep from seeming disjointed. It seemed to flow flawlessly and held attention so much that it is hard to pick out particular moments. The brief duet between bass and tenor soloists was very moving and the whole performance was, although nominally the ‘Darkness’ aspect of the programme, also very spiritually uplifting.
The soloists were Guy Elliot (tenor) and Niall Anderson (bass);
Organist Paul Jeffery; Director and Conductor Kevin Ashman
Following the interval, during which drinks and snacks were provided, came a performance of ‘Resurrection’. This was composed, in 2014, by David Pennant, the great grandson of Sir John Stainer.
Although, musically, it is very different from ‘Crucifixion’, in following a very similar format it provides a completely fitting sequel. A mix of solos, organ and choir - with a little help from the audience - follows the narrative of the Resurrection.
The soloists were again superb and it was easy to hear the story unfold through their voices. The bass and soprano are joined at one point by a tenor soloist from within the choir. From the deep bass rumbling organ introduction, the atmosphere lightens as the piece progresses. There are some lovely rhythmic sections which add to the feeling of increasing hope and illumination.
I would imagine that ‘Resurrection’ is a rather challenging piece to rehearse and the choir were magnificent, coping brilliantly with the rhythmic changes and pianos and fortes which characterise the work.
Soloists Rebekah Smith (soprano); Niall Anderson (bass) and James Corse (tenor from the choir)
The final item, Monsal Blessing, by James Corse was a wonderful surprise - the final shaft of ‘lux ex tenebris’ .
I absolutely loved this poetic work. The choir, with discreet piano accompaniment, gave a rendition that was inspiring.
What a perfect way to end a thoroughly enjoyable evening. My thanks to everyone involved.
Richard Stuart-Pennink
‘Darkness to Light’ Sat 18th March 2017
The programme consisted of three works. The first half was a performance of Sir John Stainer’s ‘Crucifixion’ followed, after the interval, by ‘Resurrection' by David Pennant. The final work of the evening was ‘Monsal Blessing’ by James Corse.
The last time I attended a performance of ‘Crucifixion’ was a performance in our local church. I was around twelve years old, had been dragged along by my parents and really didn't want to be there: thus such memories as I had were not all positive ones.
How different it was this evening. The Paddock Wood Choral society, under their Music Director, Kevin Ashman, gave a superb performance which proved that a work narrating so sombre a story can also be inspiring.
‘Crucifixion’ follows the narrative using bass and tenor solos linked by choir and organ. The audience are invited to join in the several hymns included in the work.
The organ introduction and opening bass solo set the standard for the entire piece and the work continued with superb performances from the choir and soloists - bass and tenor. The audience also performed well in the hymns!
‘Crucifixion’, with all its different elements, must be quite a difficult piece to hold together and keep from seeming disjointed. It seemed to flow flawlessly and held attention so much that it is hard to pick out particular moments. The brief duet between bass and tenor soloists was very moving and the whole performance was, although nominally the ‘Darkness’ aspect of the programme, also very spiritually uplifting.
The soloists were Guy Elliot (tenor) and Niall Anderson (bass);
Organist Paul Jeffery; Director and Conductor Kevin Ashman
Following the interval, during which drinks and snacks were provided, came a performance of ‘Resurrection’. This was composed, in 2014, by David Pennant, the great grandson of Sir John Stainer.
Although, musically, it is very different from ‘Crucifixion’, in following a very similar format it provides a completely fitting sequel. A mix of solos, organ and choir - with a little help from the audience - follows the narrative of the Resurrection.
The soloists were again superb and it was easy to hear the story unfold through their voices. The bass and soprano are joined at one point by a tenor soloist from within the choir. From the deep bass rumbling organ introduction, the atmosphere lightens as the piece progresses. There are some lovely rhythmic sections which add to the feeling of increasing hope and illumination.
I would imagine that ‘Resurrection’ is a rather challenging piece to rehearse and the choir were magnificent, coping brilliantly with the rhythmic changes and pianos and fortes which characterise the work.
Soloists Rebekah Smith (soprano); Niall Anderson (bass) and James Corse (tenor from the choir)
The final item, Monsal Blessing, by James Corse was a wonderful surprise - the final shaft of ‘lux ex tenebris’ .
I absolutely loved this poetic work. The choir, with discreet piano accompaniment, gave a rendition that was inspiring.
What a perfect way to end a thoroughly enjoyable evening. My thanks to everyone involved.
Richard Stuart-Pennink