A full and appreciative audience welcomed Oakfield Choir onto the stage at Trinity Church, Frome on the evening of the concert. I had never heard this choir perform before and so was very pleased to have this opportunity to do so - I was in no way disappointed by the evening and shall look forward enormously to their next concert.
The concert started with Durufle’s much loved Quatre Motets sur des thèmes grégoriens - four unaccompanied pieces in which the composer weaves the four voice parts of the choir in and around Gregorian plainchant. The Choir handled these impressively, confidently intoned by four members of the choir, capturing the spirit of each motet for the most part. Most confident was the declamatory Tue es Petrus but also reflected very subtly in Tota pulchra es performed by the female voices. Notable were the strong and beautifully mellow alto lines which supported the Choir well matched by a balanced warmth in the male voices. The colours contrasted between the pieces were captured well throughout and the texts were clear and well expressed. Despite some tentative singing in places which distracted from the necessary musical flow within the pieces, this by no means spoiled the overall effect. Intonation in the highest voice parts was challenged in parts made particularly clear by the very transparent texture of the Quatre Motets themselves.
The Requiem is a stunning piece in which shifting time signatures throughout challenge all choirs who take on this work but which reflect the flowing nature of the Gregorian chants which are used to underpin the piece. The Choir explored these subtleties within and between movements well under Neil Moore’s direction.
Peter King’s performance on the organ was masterly and brilliant, and as such supported the choir well. The interplay between the organ and choir was beautifully controlled by Neil as were the intricate rhythmic and time shifts. After a slightly unsure start by the choir, in the Requeim aeternam, the choir delivered what, at times, were very moving moments in the performance of this work. The Kyrie captured the musical essence of the Requiem well, in which dynamic contrast was explored and controlled effectively. The Choir handled the tempo of the Domine Jesu Christe well and the timing on the whole was secure. Louder sections in the Domine Jesu Christe (i.e. the Libera eas) showed well the capabilities of the choir and a taste of what was to come in other movements; Niall Hoskin’s performance was commanding and contrasted superbly with the preceding choral sections. The brightness of the Sanctus was clearly communicated and choir and organ matched and complemented each other well. The Pie Jesu provided a beautifully moving contrast within the performance by Marie Elliot (Mezzo Soprano) and Damian Knollys (Cello). Despite a rather cautious start to the Agnus Dei, dynamics were controlled well throughout and the Lux Aeterna demonstrated how well the voices could balance across the choir.
The second half of the programme comprised Haydn’s ‘Nelson Mass’ which was infused with energy and demonstrated the stylistic capabilities of Oakfield Choir under Neil’s direction well. Julia O’Connor’s (Soprano) glittering opening solo set the scene brilliantly to which the Choir responded effectively. Notable moments included the Qui tollis with beautifully sustained performances by Niall Hoskin (Bass) and Julia O’Connor (Soprano). The shift to the Quoniam tu solus section was handled effectively followed by a confident bass entry in the fugato section which was mostly maintained. The solo Amen was beautifully balanced between all four of the solo voices and the exchanges between the parts were picked up well by the Choir. Welcome contrast was provided in the Sanctus in which the Choir demonstrated a wonderful breadth of sound, maintained throughout, then ably contrasted in the transition to the Pleni sunt coeli and Hosanna sections which, again, recaptured the energy of the performance. The Agnus Dei was set well by the soloists, particularly Marie Elliott (Mezzo Soprano) who began this section. At times the Choir lacked the balance demonstrated earlier in the programme but nevertheless gave a most creditable performance. Peter King’s performance on the organ once again provided wonderful accompaniment throughout the Mass.
Oakfield Choir and Neil Moore are to be congratulated on a thoroughly enjoyable evening’s concert.
The concert started with Durufle’s much loved Quatre Motets sur des thèmes grégoriens - four unaccompanied pieces in which the composer weaves the four voice parts of the choir in and around Gregorian plainchant. The Choir handled these impressively, confidently intoned by four members of the choir, capturing the spirit of each motet for the most part. Most confident was the declamatory Tue es Petrus but also reflected very subtly in Tota pulchra es performed by the female voices. Notable were the strong and beautifully mellow alto lines which supported the Choir well matched by a balanced warmth in the male voices. The colours contrasted between the pieces were captured well throughout and the texts were clear and well expressed. Despite some tentative singing in places which distracted from the necessary musical flow within the pieces, this by no means spoiled the overall effect. Intonation in the highest voice parts was challenged in parts made particularly clear by the very transparent texture of the Quatre Motets themselves.
The Requiem is a stunning piece in which shifting time signatures throughout challenge all choirs who take on this work but which reflect the flowing nature of the Gregorian chants which are used to underpin the piece. The Choir explored these subtleties within and between movements well under Neil Moore’s direction.
Peter King’s performance on the organ was masterly and brilliant, and as such supported the choir well. The interplay between the organ and choir was beautifully controlled by Neil as were the intricate rhythmic and time shifts. After a slightly unsure start by the choir, in the Requeim aeternam, the choir delivered what, at times, were very moving moments in the performance of this work. The Kyrie captured the musical essence of the Requiem well, in which dynamic contrast was explored and controlled effectively. The Choir handled the tempo of the Domine Jesu Christe well and the timing on the whole was secure. Louder sections in the Domine Jesu Christe (i.e. the Libera eas) showed well the capabilities of the choir and a taste of what was to come in other movements; Niall Hoskin’s performance was commanding and contrasted superbly with the preceding choral sections. The brightness of the Sanctus was clearly communicated and choir and organ matched and complemented each other well. The Pie Jesu provided a beautifully moving contrast within the performance by Marie Elliot (Mezzo Soprano) and Damian Knollys (Cello). Despite a rather cautious start to the Agnus Dei, dynamics were controlled well throughout and the Lux Aeterna demonstrated how well the voices could balance across the choir.
The second half of the programme comprised Haydn’s ‘Nelson Mass’ which was infused with energy and demonstrated the stylistic capabilities of Oakfield Choir under Neil’s direction well. Julia O’Connor’s (Soprano) glittering opening solo set the scene brilliantly to which the Choir responded effectively. Notable moments included the Qui tollis with beautifully sustained performances by Niall Hoskin (Bass) and Julia O’Connor (Soprano). The shift to the Quoniam tu solus section was handled effectively followed by a confident bass entry in the fugato section which was mostly maintained. The solo Amen was beautifully balanced between all four of the solo voices and the exchanges between the parts were picked up well by the Choir. Welcome contrast was provided in the Sanctus in which the Choir demonstrated a wonderful breadth of sound, maintained throughout, then ably contrasted in the transition to the Pleni sunt coeli and Hosanna sections which, again, recaptured the energy of the performance. The Agnus Dei was set well by the soloists, particularly Marie Elliott (Mezzo Soprano) who began this section. At times the Choir lacked the balance demonstrated earlier in the programme but nevertheless gave a most creditable performance. Peter King’s performance on the organ once again provided wonderful accompaniment throughout the Mass.
Oakfield Choir and Neil Moore are to be congratulated on a thoroughly enjoyable evening’s concert.
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