eticulous music-making on a
theme inspired by the sea
SAODRKY
Vivace Chorus and Tasmin
first
Little
Guildford’s
?(flng- * %k k%
FROM
the
first
Mendelssohn’s
contribution
of
After the interval, the mar-
Chorus,
itime theme resumed with
less.
here sounding dramatic and
pieces
and
pleasures to be had in this
disciplined in the choral in-
Delius.
While it was refreshing to
performance, not least from
hear
tone,
terjections
notes
of
of
thls
famous
anthem.
by
Stanford
these
lesser-known
music sounding rather aimHowever,
there
were
the singing of the young bariHenry Neill, whose
it
The use of Mendelssohns
works presented as well as
we
own orchestration served to
this, the risk was always that
consistent beauty of tone and
clarity of diction more than
were in for an evening of
reinforce the work’s power,
they would suffer in compari-
made up for his curiously im-
meticulously crafted music-
although
mobile posture as a singer.
making
threatened to drown out the
son with Mendelssohn at his
very best.
treble soloist - a problem not
Delius’ Sea Drift is a set-
responding with elegance to
helped by G Live’s particular-
ting of part of Walt Whitman'’s
Stanford’s
Jeremy
expert
ly dry and distant acoustic,
which provided very little
effusive
Fleet, which alternated faster,
sea shanty-inspired songs
by
support
whilst
an intriguing work, in which
scintillating performance of
boosting the middle register
the narrator’s soul becomes
-(some fine singing from the
chorus men here) with some
Mendelssohn’s
of the orchestra.
entwined with those of a pair
wonderfully
slow movements, most beau-
became
Hebrides,
Vivace
apparent
on
that
Saturday,
Brandenburg
the
Sinfonia
Backhouse’s
conducting.
‘This was
followed
a
Violin
Concerto by the star of the
this * occasionally
for
Despite
voices
thls,
Thomas
poem
Out of the
Cradle, Endlessly Rocking.
It's
We were back to familiar
territory for the finale with
Songs from
the
atmospheric
evening, Tasmin Little, whose
Delgado-Little gave a solid
of sea birds.
For me, Delius’ music re-
sparkling
rapport
account, singing with exem-
lies too heavily on constantly
evocation of a starlit sea that
with the orchestra shone out
plary intonation and tone,
shifting
especially
his
‘unending
was presented in The Middle
Watch.
melody, which can leave the
Roy Rashbrook
musical
from the stage.
Hear My Prayer formed the
register.
in
the
higher
chromaticism
trademark
and
tiful of which was the serene