DISCORD has been rife over the true quality of John Stainer's The Crucifixion ever since its premiere in 1887. It represents all that is best, or worst, in Victorian sacred music, depending on your side of the fence.

Substitute "late 20th century" for "Victorian", and the same reactions apply to John Rutter's Requiem.

No riots broke out last night when both pieces appeared on the same programme. But their true qualities were allowed to emerge. Philip Moore had his 140-odd singers ranged in a large semi-circle, which was hugely beneficial to their cohesion.

Except in its five congregational hymns, which flirted with sentimentality, he steered a straight course through the Stainer. It is true that while the sopranos flung wide the gates with gusto, the altos merely gave them a gentle nudge. But thereafter things improved, and the massed `Crucify!' had a chilling edge. The gentlemen found a smooth blend for the words of Jesus.

The soloists, Alistair Digges and Douglas Nairne, could have invested their words with deeper significance, but were otherwise competent and clear-toned.

Elin Mahan Thomas's bell-like soprano, completely without vibrato at the top, made the Pie Jesu a highlight of the Rutter, which was given in its (better) chamber-orchestra version. Georgina Wells's twinkling harp and John Stringer's soulful oboe captured exactly the English pastoral flavour of Psalm 23. The choir played a full part in currying admiration for a work that undeniably hits the emotional target.

Source: www.thisisyork.co.uk
Reprinted by kind permission of the York & County Press

York Musical Society
York Minster

by David Denton

York Musical Society Classical York Musical Society York Minster David Denton ADD pungent modern harmonies to Stainer's The Crucifixion and you arrive at Rutter's Requiem, and though almost 100 years separate the works, their aim is to bring sacred music to a wide audience with ready melodic appeal. 

It did rather appear that the York Music Society choir had given more rehearsal time to the Rutter, their confident approach and clear diction confidently surmounting the technical challenges, with the small instrumental ensemble adding colourful support. 

Avoiding the angst of many Requiems, Rutter sends the soul to peaceful rest, this performance having the added pleasure of the pure-voiced soprano soloist, Elin Manahan Thomas, in the tender Pie Jesu. 

Maybe it was spaciousness in the tempos of the conductor, Philip Moore, that took away some of the flowing lyricism from The Crucifixion, and though much was enjoyable, those emotive words, "Is it nothing to you?" were curiously lacking in raw passion. 

The two young soloists, Alistair Digges and Douglas Nairne showed promise: Nairne has some way to go in developing a lower register.

Source: www.yorkshiretoday.co.uk