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On
31 March 2001 the choir performed its first commissioned
work. The performance took place before a capacity
audience in Holy Cross Church, Daventry. Here is what the
music critic of the Leicester Mercury, Neil
Crutchley, thought of the evening. REVIEW OF CONCERT BY DAVENTRY CHORAL SOCIETY ON 31ST MARCH 2001 IN HOLY CROSS CHURCH This concert featured three unusual things. The first was a world premiere, the second was a standing ovation and the third was the fact that the standing ovation was for the world premiere. Very, very rarely nowadays does the first performance of a classical work receive a rapturous response but David Fisher's Requiem, specially commissioned by the Daventry Choral Society made such an impact that within seconds of the closing bars dying away, the capacity audience was on its feet cheering. There is no doubt that the response was well deserved. This composer knows how to engage with the listener. In a work lasting the best part of an hour, there isn't a dull second. It is an unconventional setting that combines the standard words of the Requiem text with hymns and poems. Its emotional feel is more Verdi than Faure yet every note is firmly entrenched in the English choral tradition so beloved of the composer. Each of the ten sections was set with a sense of drama, originality and blazing conviction. As always with David Fisher, there is no fear of emotion or sentiment and this helps to give his music its strength and sincerity. The arresting opening with it's sudden changes of volume and imaginative use of solo trumpet and organ makes it clear that we are in for a tremendous emotional roller coaster ride. After the setting of Grieve Not with its change from minor to major representing hope, comes the memorable and powerfully insistent march rhythm of the Tuba Mirum. The sense of sorrow in the Lacrymosa is followed by the anger of the Confutatis, brilliantly conceived with the imaginative use of tom toms and shouts from the choir. The Pie Jesu shows the composer's natural gift for melody and the Sanctus his ability to create a sense of exhilaration. The last two sections wear their emotional hearts on their sleeves with a spoken setting of All is Well to an other-worldly, twinkling celeste accompaniment combined with the hymn Blessed Heavenly Light and the closing setting of Psalm 23 to an accompaniment of Abide with Me from the brass ensemble. The work faded away with a solo trumpeter leaving the stage and walking out of the church whilst playing the melodies of the ten movements in reverse order - a splendidly theatrical and effective gesture. The carefully rehearsed choir, under the direction of Giles Turner sang with tremendous commitment and enthusiasm and the playing of the organ, brass and percussion group was very assured and polished. The Daventry Choral Society can be justly proud of its excellent commission and its own part in its realisation. This is a work that offers all competent choirs the chance to perform something new and exciting that will be enjoyed by their audiences. The first half of the concert consisted of three works: Percy Whitlock's Fanfare, Herbert Howells' Sarabande in Modo Elegiaco (both for organ) and John Rutter's Gloria. In comparison with the Requiem the Gloria seemed almost tame. Rutter is most effective when writing small-scale works and here his style seems a little too close to William Walton for comfort. The performance was generally effective despite the odd shaky moment. No doubt most of the rehearsal time was spent on the new work - and it was the new work that made this concert such an evening to remember. The orchestral and vocal scores of Fisher's Requiem are available for hire. If you are interested in performing this most enjoyable work please e-mail Keith_Hide@compuserve.com for further details. Daventry Choral Society would be delighted to assist you in any way possible. |