Dvořák - Mass in D
Copland - Hoe Down from Rodeo
Grieg – Piano Concerto in A Minor

A rich and varied programme awaited the audience in New Hall on a spring Sunday evening, showcasing the incredible talent at Winchester College.

In the first half, the combined Quiristers, Chapel and Chantry Choirs sang Dvořák’s Mass in D Major, conducted by Dońal McCann.

The mass was commissioned by Dvořák’s patron Josef Hlávka for the inauguration of a chapel he had built at his summer residence at Lužany in 1887. The small size of the setting limited Dvořák’s choices in terms of orchestration, so he opted for just an organ accompaniment (an expanded orchestra version was added later in 1892). He chose a simple formal structure, with a clear texture for each vocal part and the solos being performed by members of the choir (including his wife Anna, who sang the alto solos in the first performance).

However the mass is anything but simple. Dvořák wrote in a deliberately restrained quasi-archaic style, drawing on older church traditions rather than opting for the chromatic flourishes often associated with the late Romantic period. This was in evidence in the opening Kyrie and Gloria with counterpoint passages that echoed much earlier composers. The Credo provided a welcome opportunity for the altos to shine, with a call-and-response structure with much dynamic contrast. The “in sepultus est” section describing the burial of Christ was delivered with respectful restraint, before the joyous “et resurrexit” announced his resurrection. The Sanctus and Benedictus provided similar light and shade, with the latter concluding with a triumphant Hosanna. The mass concludes with the contemplative Agnus Dei, with the final “dona nobis pacem” closing the piece with some beautiful cadences.

The accompaniment was provided by Ben Cunningham on organ and Laurie S on cello, adding a warm resonance to the harmony and bass lines. There were also several soloists throughout the piece, drawn from all three choirs which gave some great opportunities to hear some new voices as well as some familiar ones. The balance across the four parts was particularly welcome, not least the blending of the trebles and sopranos, which provided a rich texture to the sound, all very ably balanced by Dońal McCann.

Guy
Q Parent