Chansons nod to St Cecillia

Chansons, Perth’s Chamber Choir, gave their wide ranging November concert under the direction of Howard Duthie in the historic St John’s Kirk, Perth on November 19, writes Ian Stuart Hunter.

On the Sunday nearest to her saint’s day, Chansons began with Henry Purcell’s earliest Ode for St Cecilia, patron saint of music.

Distinguished by its first words it, it is also called Welcome to All the Pleasures.

With an opening Symphony, played by the City of Perth Sinfonia, it consisted of Verses, with soloists stepping forward from the ranks of Chansons, and orchestral Ritornelli.

Gerald Finzi’s Eclogue Op10 had Gordon Murch as piano soloist.

Intended as the slow movement of a full scale concerto, its seemingly effortlessly beautiful theme was given out by soloist Gordon Murch and finely picked up by a cushion of strings.

Soaring under Howard Duthie to a climax, reflection and brief moments of pain in the piano’s cadenza led to an introspective fading end.

JS Bach’s Motet Komm, Jesu, Komm had a fine strong start. Chansons, divided by Bach into a double choir kept the lines distinct in the acoustic of St John’s.

Its second part, Drum schließ ich mich, began with a neat solo from Jillian Balfour, then a firm choral repeat.

Maurice Duruflé, a most fastidious worker, was represented by the Requiem, his masterpiece.

The City of Perth Sinfonia gave a warmth and glow to Duruflé’s melodies, particularly Jeremy Fletcher in his cello solo.

Chansons showed a great dynamic range and confident tread in the Kyrie. Their Domine Jesu Christe had a dark menacing start, the Allegro both demanding yet worried.

Alister Allan’s fine solo had the unique sound of sul ponticello scrubbing to underline its desperation.

The Sanctus, Hosanna and Benedictus were full throated with fine organ work.

In the Pie Jesu Alison Duthie’s solo had good shading both high and low, beautifully supported by plangent solo cello. Howard Duthie brought out Duruflé’s genuine human sympathy in the Agnus Dei, complemented by Organist Kevin Duggan with a pleasant reedy registration like a French Noël for the Lux aeterna.

Duruflé had put the Dies irae sequence into his Libera me and Chansons were good at the drama of it, as again was Alister Allan stressing his terror and fear.

Chansons in the In Paradisum gave this great work a gentle end with soft organ and choirs of angels.