City Choir takes on contemporary fare
Knox Church. PHOTO: ODT FILES
City Choir Dunedin, at present with about 80 singers directed by David Burchell, gave a concert at Knox Church on Saturday evening.
The choir's repertoire is usually sacred, chosen from oratorios or traditional choral favourites, but on this occasion items in the programme entitled "Darkness and Light" were composed in the past 30 years and possibly not all to everyone's taste.
However, a mixed diet is good for all, and contemporary classical music can be challenging for both choir and audience alike.
A short early Renaissance hymn by Thomas Tallis preceded O Radiant Dawn, by Scottish composer James MacMillan (1959), which impressed with good balance, dynamic contrast and a nicely tailored final Amen.
Guest accompanist Christchurch organist Sea-am Thompson's contribution was Clair de Lune, by Louis Vierne, a rather long meandering piece, well-played by this exceptionally talented young musician and certainly titled to fit the theme.
A 30-minute work with Latin text composed in 1997 by Lauridsen (1943) followed. This was a difficult and challenging five-movement sacred work, based mainly on traditional mass form and text. The organ opened with a low growling intro then O Nata Lux achieved well-balanced a capella harmony, before the more animated accompanied Veni, Sancte Spiritus and Agnus Dei-Lux Aeterna, which rambled somewhat until achieving an excellently controlled Alleluia, Amen soft choral fade-out.
After the interval, Chris Artley's Matariki preceded a more animated Dark Night of the Soul (Gjeilo 1978) with pulsating 7/8 rhythm, soprano and string obligato (Tessa Petersen and Ngaruaroha Martin, violins, Katrina Sharples, viola, and Heleen du Plessis, cello).
A short contemplative organ solo by Briggs (1991) followed, then finally came a real highlight, Luminous Night of the Soul (Gjeilo). A sonorous cello opening from du Plessis welcomed an exquisite soundscape section from female voices.
Pleasing lyricism with excellent piano prominence (Sandra Crawshaw) continued throughout, and choral harmony with instrumental obligato gilding was indeed exceptional.
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