Waverley Singers

Duruflé Requiem

The following review was contributed to the Farnham Herald by Max Hadfield; we do not know whether it was published, and if so, when.

For the first concert in a busy season, the Waverley Singers returned on Saturday, November 2nd to the welcome setting of St Thomas-on-the Bourne for an ambitious programme which tested both their skills and their stamina.

The central piece was Duruflé’s Requiem, in his arrangement for organ accompaniment. Well known for rousing Handel anthems and scaling the heights of the Verdi Requiem, it would be interesting to see how this big competent choir tackled the intimate and reflective Duruflé piece. The result was a polished and moving performance.

Duruflé was appointed Professor of Harmony at the Paris conservatoire in 1943. His Requiem was first performed in 1949 but although “modern” in date it reflects both Duruflé’s French antecedents and Gregorian plainsong melodies which underpin its contemplative and serene outlook.

The Introit set the tone for the performance, with well controlled dynamics shaping a spiritual atmosphere. The choir balanced its voices well. When needed, the Waverleys did unleash their full power with dramatic effect, particularly at “Hosanna in Excelsis” in the Sanctus. But overall they restrained themselves admirably. The basses produced dark, mysterious passages and for the final “In Paradisum” the Sopranos floated ethereally into eternity.

The choir is fortunate to have Murray Stewart as organist. He broadcasts and records 19th/20th century French organ music, and his ability to use this skill on the fine St Thomas‘s organ played no small part in the success.

The second half of the concert contained two other fine performances in totally contrasting style. Handel's Coronation Anthem The King shall rejoice was sung authoritatively “in coro pleno”. This was followed by Stanford’s setting of the Magnificat for double choir. No strangers to this piece, the choir produced enormous waves of sound while “putting down the mighty from their seat”, reaching a fine climax at “Saecula Saeculorum”.

Bach’s lovely motet Der Geist hilft unsrer Schwachheit auf was less successful. A big choir with organ accompaniment perhaps produces a texture which lacks the sharpness necessary to bring alive Bach’s wonderfully intricate counterpoint and fugue passages. Nevertheless, the performance was competently achieved.

Murray Stewart gave the choir two rests with well-turned interludes on the organ by Greene and Mendelssohn, and the Waverleys can be forgiven if their final piece, Handel’s Coronation Anthem Let thy hand be strengthened understandably began to show signs of fatigue. They had performed a demanding programme with great concentration and musicality.

Malcolm Hicks, the conductor, who is also Chorus Master with the Royal Choral Society, must continue to be congratulated on imposing his own high standards on the choir.

The next concert is at the Garrison Church of Scotland, Aldershot, on December 21, when they will perform Bach’s Christmas Oratorio with the Tilford Bach Orchestra and distinguished soloists.