SCHLESWIG-HOLSTEIN MUSIK FESTIVAL AUGUST 2007

Revelation in eight voices (translated from German)

Schleswig-Holstein Festival Choir displays perfect tuning in Plön under the direction of Edward Caswell.  Choir director Edward Caswell had prepared the choir perfectly for this great occasion. Transparently, and with dynamic expressiveness, the choir performed the eight-voice Missa Bell’ Amfitrit’ altera by Orlando di Lasso in complete unanimity, with an early-baroque repose of soul that was festive and yet contemplative. Bournemouth-born Caswell meanwhile radiated a sublimely-considered, deeply-felt joy and noble composure which communicated itself to the choristers. You could have heard a pin drop between the subtle and excellently graduated voices; under the lithe hands of Caswell's direction, the limitlessly attentive choir reacted immediately to the smallest nuance and thus di Lasso’s dream-like work became a rare revelation of the art of choral singing.

The choir sang James MacMillan's choral piece, The Gallant Weaver, indeed gallantly and captivatingly, and with a breath of British humour.  After Sándor Szokolay's musically ungainly chorale Ave Maria, György Ligeti’s short choir pieces at the end of the concert, Night-Morning, were of such challenging intensity and condensed passion, and urgently brought the astonished audience to a pitch of turmoil.

Werner Bodendorff, Kieler Nachrichten,13th August 2007

THE WORDSWORTH SINGERS OCTOBER 2007

 
'Bach and beyond' was the title of The Wordsworth Singers' first concert under their new musical director, Edward Caswell, given in St. Andrew’s Church, Penrith. From the start of the concert it was clear why the Wordsworth Singers have established a fine reputation as a chamber choir: few choirs would dare to start a programme with a highly complex eight-part Bach motet (Der Geist hilft), but the choir sang their challenging contrapuntal lines with conviction and, as throughout the evening, with a real appreciation of dynamics and diction.

French repertoire of the early 20th century formed the basis of the rest of the programme. Fauré’s Requiem (with soloists Georgina Harland and Bruce Paterson) was given a restrained performance with great control of vocal line and some particularly sensitive singing from tenors in the Agnus Dei and sopranos in the Sanctus and In Paradisum.

Poulenc’s Litanies à la Vierge noire for ladies' voices and a typically quirky organ accompaniment, was beautifully sung with some thrilling climaxes and some lovely reflective moments - a rarely-performed piece but well worth hearing. The mystic mood continued with the rich and spacious harmonies of Duruflé’s four Gregorian motets.

Peter Yardley-Jones was a sensitive accompanist to the choral works and played organ pieces by Buxtehude and Alain; the polytonality and Stravinsky-like textures of Alain’s Fantasmagorie were particularly intriguing features of a successful and enterprising concert. 

Colin Marston, 13th October 2007