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Jules Upson presents his review of the Guernsey Chamber Choir Concert: "An evening of Christmas Music."
On Tuesday evening, the Guernsey Chamber Choir presented a striking and festive evening of Christmas songs and carols. Boasting a lengthy and eclectic programme packed with over twenty arrangements, the evening seemed a promising way to bring on the Christmas spirit. And it did not disappoint.
The choir began as they meant to go on, with both choir and audience participation in a rousing rendition of ‘It Came Upon the Midnight Clear’. Following the opening number, conductor James Henderson, standing in for usual conductor Helen Grand, who was absent due to sickness, welcomed the audience. After introducing the choir, Mr Henderson gave credit both to their responsiveness during the one rehearsal he was able to share with them, as well as to Helen’s efforts in whipping the group into such good shape. He also introduced organist and guest soloist George Walker, as well as accompanist Mervyn Grand.
Well-known Christmas bangers were counterpoised by lesser-known arrangements, proving that such arrangements can still be galvanised once the cobwebs are blown away from their dust jackets. For instance, the second number, the anonymous fifteenth-century Christian text ‘Adam Lay Ybounden’, was full of beautiful polyphonic passages. With carols such as this one in mind, it becomes clear that the creative act can resemble a prayer. At this time of year, it often seems that carolling can become a mechanism for reaching the apex of Christian-orientated spirituality – although, of course, it is equally possible to engage with such ideas on a secular level.
The male singers sat out number five on the setlist, Holst’s beautiful arrangement of ‘Ava Maria’ by the choir’s female-identifying singers, the sopranos and altos. Shortly after, the ladies sat out for the male-identifying tenors and basses, who sang Brian Kay’s ‘Gaudete’, a delightful contrast with the higher pitches of the preceding number. Particular credit must be given to soloists Garret Gordon, Matthew Barret, and Ian Burnett for their rousing efforts during this number.
Soloist George Walker then provided a highly contrasting piece with his fine rendition on the organ of what he described as the ‘dark, romantic’ Toccata from Léon Boëllmann’s Suite Gothique, op. 25. Then, the final piece of the first half, although not to my taste, was a bold choice: the stirring ‘Torches’ by South African composer, John Joubert.
After the interval, an arresting start to the second half in ‘Hodie Christus Natus Est’ contrasted with the following carol: a soft, syrupy rendition of ‘Away in a Manger’ re-emphasised the more contemplative side to proceedings. This arrangement also included an unexpected but welcome modulation in the second verse.
More numbers followed before Walker introduced his second solo, this time on the viola. He felt that Christmas Dance from Suite for Viola, 2nd movement by Vaughn Williams conjured up images of friends merrily stumbling out of a pub on Christmas Eve. The piece had a jig-like feel and the synaesthetic effect of its syncopated rhythms certainly concurred with the image he provided.
Another sing-along moment was encouraged with the usual rendition of Mendelssohn’s ‘Hark the Herald Angels Sing’, the end of which was greeted with a complementary ‘Hooray’ from an audience member.
After thanking both the choir and Helen Grand, and wishing her a speedy recovery, Mr Henderson once again waxed lyrical about the choir’s responsiveness and discernment. Following his praise, the final number of the evening, ‘Silent Night’, presented a fitting culmination of a festive evening of song.
