THE prestigious York Early Music Festival continued with a sublime concert of choral music performed by The Sixteen (I counted eighteen) conducted by Harry Christophers.
I loved the idea of The Choral Pilgrimage featuring the vocal music of just Poulenc and Palestrina. Like most music lovers, I expect the music of Poulenc to be synonymous with fun, vitality and a joie de vivre. Not here though, this was a performance celebrating his deeply spiritual side.
The concert opened with a tender, soulful performance of the composer’s Salve Regina. The phrasing and tonal blending was simply gorgeous. I very much enjoyed Poulenc’s Quatre Motets, particularly the Vinea Mea Electa – which exuded a real sense of optimism, and Tenebrae Factae Sunt – which delivered a real sense of humility.
But it was only in the Agnus Dei (from the Mass in G), with the loveliest soprano invitations that I felt any true spiritual depth. It is perhaps worth mentioning here that not only did Mr Christophers draw the most refined, intimate response from this outstanding choir, but he was a joy to watch!
He seemed to physically blend into the musical performance itself. The Palestrina was, however, simply on another level. I loved the delicious rippling exchanges of the Kyrie, the sumptuous word-painting in the Gloria and the exquisite contrapuntal dialogue in the Credo. This was a seriously insightful and rewarding concert.
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