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Article from Henley Standard, 6th April 2009
SINGING in a choir, especially with the challenge of a piece like
Mozart’s Mass in C Minor, is one of life’s pleasures. To be part of a
group, sharing the shifting harmonies and contrapuntal textures crafted
by a master, is a reward in itself for the many hours of practice. To
sing with the accompaniment of an ensemble such as the Charivari
Agréable Simfonie takes the experience to new heights.
Under conductor Frances Brewitt-Taylor, the Goring Chamber Choir has
established a reputation for fine choral singing and an ever-widening
repertoire. Rehearsing Mozart’s Mass in C Minor was no doubt a
challenge, but one clearly met with commitment and style. At the
performance in the Falklands Memorial Chapel of Pangbourne College, the
choir produced some spine-tingling moments, especially in sections of
the Gloria and Sanctus.
The orchestra offered a firm foundation on which the choir and soloists
built a glorious and moving musical experience. However, the four
soloists somehow weren’t always entirely part of the whole.
The second soprano, Lisa Wilson, made the most authentic and musical
contribution, with an expressive Mozartian legato line and warm tone.
The first soprano, Amanda Forbes, standing in at short notice for
Rebecca Ryan, has performed this taxing part before. However, on this
occasion she lacked warmth and her high notes were often strangely
harsh. The tenor, Daniel Auchincloss, was more comfortable in the
Benedictus quartet where baritone Wyn Pencarreg seemed completely at
home.
Given the level of conviction and all round enjoyment, perhaps the choir
could give music lovers a chance to hear again this memorable work and
the group of motets that preceded it.
Anthea Johnston
Article from Newbury Weekly News, 2nd April 2009
Warm tones for a chilly evening
Goring Chamber Choir, at The Falkland Islands
Memorial Chapel, Pangbourne College, on Saturday, March 28 2009.
On a bitterly cold evening, the Falkland Islands
Memorial Chapel was welcoming, the choral voices warm.
Goring Chamber Choir opened with a gentle, refined
Ave Maria by Bruckner. It was a well-balanced, thoroughly nice sound,
with every word clear.
Their dynamics were good in Ferko's Motet for the
Annunciation, powerful in the quiet passages. Duruflé followed, with a
lilting motet and then Part, with good rhythm and breath control.
The best motet was Memorare, by contemporary
composer Timothy Blinko. Lesley Lambert maintained a confident solo line
throughout with impressive sustained notes. Behind her the basses made a
rich sound. Their final motet, in contrast, was from the 13th century
and sung by the men only. It was an enjoyable demonstration of the
variety of the motet form.
For a Mozart fan, what followed was a treat: the
unfinished Great Mass in C Minor, with its operatic moments and typical
accompaniment, performed with care and style by Charivari Agréable
Simfonie from Oxford.
Conductor Frances Brewitt-Taylor encouraged a punchy
start in the Gloria, with mellifluous quiet passages. This was a
heavenly movement. Sopranos Amanda Forbes and Lisa Wilson were
impeccable and in the quartets were well balanced by tenor Daniel
Auchincloss and baritone Wyn Pencarreg. The choir sang a powerful piano
in the haunting Qui tollis. Sanctus was exquisite, the gentle, lilting
soprano accompanied by flute and oboe.
As the choruses became more complex, the choir
sustained their sound, solid and refined. In Benedictus, one "hosannah"
entry seemed a touch weak, but by the final "hosannah in excelsis" they
were at full volume. The ending was abrupt but then came enthusiastic
applause for a memorable evening.
EILEEN CASTER
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