Waverley Singers

"Waverley Singers provide music to savour at Saint Lawrence’s Church"

The following review by Mary Messer appeared in The Herald newspaper on 27 June 1997

St Lawrence's Church in Alton was filled to capacity on June 15 for the Waverley Singers' summer concert. For those who enjoy a wide variety of music from 16th century settings to modern day, from sacred to romantic, then this was an evening to savour. Conductor Malcolm Hicks led a well-rehearsed and confident choir in a musical experience which produced many magical highlights.

The evening opened with William Byrd’s “Laudibus in sanctis” which captured perfectly the character of joyous praise through music. Poulenc's “Tristis est anima mea” showered harmonies of rich profusion with perfect dynamic control. The three Latin motets of Elgar were portrayed with depth of feeling, faultless phrasing and intonation.

The tone quality of Bruckner’s “Ave Maria” and “Virga Jesse Floruit”, which demand extremes of the vocal range was assured, dramatic and beautiful. The wide dynamics and range of Verdi’s “Pater Noster” did not quite achieve perfect sureness in balance but the four motets of Duruflé were a delight.

The female voices in “Tota pulchra es” produced a clear and bell-like tone while the long, breathed, plainsong of “Tantum ergo” was complemented by simple moving harmonic colour, sung with consummate ease.

The second half of the programme included Schubert’s “Gott ist mein Hilt” for ladies voices; a superbly controlled and phrased rendition and Schubert’s secular song “Der Gondelfahrer” for men's voices. This was not quite as secure as it might have been but held the rocking character of the piece and also allowed the piano to come through as an equal partner.

Other secular songs were Mendelssohn’s “Frühlingslied” and Rutter’s “It was a lover and his lass”, each so different in style but each afforded attention to detail and mood. The substantial “Jehovah quam multi sunt hostes” by Purcell was expressive and conveyed the meaning of the text through the music with empathy and conviction. Two choruses from Handel’s ninth Chandos Anthem finished the evening in the same glorious style with which it had begun.

Also present at the organ was organist Paul Griffiths who played music by Parry, Vaughan Williams, JS Bach, and Pescetti. Bach’s chorale prelude “In Dir ist die Freude” rang out a particularly brilliant and thrilling sound, while the gentle simplicity of Vaughan Williams’ "Rhosymedre" was captivating. Passacaglia and Fugue in C minor by JS Bach was truly magnificent and Pescetti’s Sonata in C minor was delightful. It was a pleasure to hear the organ played with such skill and musical sensitivity.

The combination of an old English church on a summer’s evening, a wonderful organist and a worthy choir made the evening a huge success.

The Waverley Singers embrace many styles and moods. They pay attention to details such as: clear enunciation; articulation; phrasing; dynamic control; tone quality, and such things that make 100 people create a kaleidoscope of colour that can sing with one voice.