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On this page you can find details of our Season's programme, a summary of our forthcoming concerts and some reviews. A link to our growing Past events page is provided at the bottom to take you to old programmes and pictures. Programme
Forthcoming Concerts
Reviews and Audience Comments Saturday 15th June 2019 Summer Concert Fauré: Requiem; Langlais: Messe Solennelle; with organ interpolations
by Couperin and De Grigny.
"Lovely to be part of a large audience, and enjoyed the way the organ pieces came between the movements of the Messe Solenelle. Good to hear two local soloists, Sasha Lawrence and Chris Ouvry-Johns, sing in the Requiem." We were delighted to read the review in the Church Times of 5th July 2019, reproduced here with permission. "Roderic Dunnett hears the Messe Solennelle by Langlais in Leicester. JEAN LANGLAIS (1907-91), whose Messe Solennelle has been revived in a vital, spirited, and, at times, almost sensual performance by the Leicester Bach Choir, was one of several French composers to be blind. Gaston Litaize (1909-91) was born with the condition, as were the revered teacher André Marchal (1894-1980) and, most famously, Louis Vierne, who had very limited sight. Langlais (the programme told us) made an attractive joke regarding his blindness, which was caused by glaucoma when he was two: "If I could see like everyone else, I would have followed in my father’s footsteps as a stonecutter. Clearly the Virgin Mary had other plans for me." His intense and deeply expressive setting of the Mass shares with Vierne’s Messe Solennelle a magnificent, and predominant, use of the accompanying organ (Vierne’s Mass is, in fact, for two organs). A sense of drama infused it from the outset: the dark opening in the organ, and several quite fearsome interludes, played here by Simon Hogan, whose choice of registrations time and again lent this performance its exciting drive and fervour. Langlais uses fugue, or at least imitation, in several places where one might not expect it, and sets upper against lower voices sometimes to wondrous effect. Indeed, the energy of the choir brought each one of these sequences vividly alive. "Suscipe deprecationem tuam" unveils some more jagged, if not quite chromatic, writing, having introduced a pleading and poignant descending phrase for "qui tollis peccata". The Sanctus, quite forcefully launched, introduced a rolling pattern taken up by the choir with the same proficiency and precision. The result was profoundly affecting, particularly so when the sopranos rose to an exceptionally high note — into the ether, as it were — in the Osanna. This magical moment recurs in the Benedictus, when, in an extended passage of unison writing, the conductor Richard Laing evoked a marvellous feel of yearning, subtly engineered, to glorious effect. The atmospheric feel of the Agnus Dei was owed initially to the use of some deep woods in the organ, and to another canonic section led off, to good effect, by men’s voices; the organ pines above, employing a light-stepped clarinet; and the voices then do much the same, to moving effect. The texture gradually, and quite effectively, thickens, the appealing female voices especially generating quite a robust sense of growing intensity. Where it concludes, with a big organ finale, we come close to the world of one of the composer’s better-known contemporaries, Messiaen. Interposed among the movements came extracts from two of the great organists of the late 17th century, François Couperin "le Grand" and Nicolas de Grigny. Five sections from Couperin’s two surviving Organ Masses, Messe pour les Paroisses and Messe pour les Couvents surrounded two movements by de Grigny. Prefacing the Agnus Dei, the latter included beautifully contrasted items, one for flutes, exquisitely crafted and delicate, the other featuring some particularly elegant brass. There was brass in the first Couperin series, too, and a fugue very much in the manner of Buxtehude or Bach. The later group included a gorgeous oboe melody, a dancing passage in triple time, eloquent clarinet, and a striking solo in the left hand. The concluding récit de cornet, with lovely soft trumpets, might have been by Purcell. Not only was the Langlais an energised, stimulating, vividly contrasted performance, but hearing the early stages of Fauré’s Requiem, I was much impressed by this committed Leicester choir. This was an extraordinarily beautiful and rewarding performance. Under Richard Laing’s direction, the choir achieved all that one could ask for: delicate precision; fine balance (everybody seemed to be listening acutely); a sensitive feel for line, both the melody and all the significant underlying counterpoint; and perfect tuning from all four voices. With the riches of the first half also, I came away grateful and refreshed." Saturday 13th April 2019 Easter Concert Mozart: Mass in C minor; Haydn: The Representation of Chaos; Mendelssohn: Psalm 95 Saturday 25th January 2019 Come & Sing Over 100 singers joined together for our Come & Sing day held at Leicester Grammar School. We sang Edward Elgar's From the Bavarian Heights and Matyas Seiber's Six Yugoslav Folk Songs during the day concluding with a perfomance to a small audience. Thanks to Richard Laing and Ivan Linford for conducting and accompanying us. Saturday 8th December 2018 Concert It was a pleasure to join with the New Leicester Youth Choir for our Advent Concert, joining to sing "Christmas is Coming" by Charles Paterson, a singer with the Leicester Bach Choir for many years. Over £400 was raised for LOROS. Saturday 10th November 2018 Concert Benjamin Britten - War Requiem with Bardi Orchestra and local choirs. Some members were lucky enough to also sing the War Requiem with Richard Laing's Nottingham Harmonic Choir. You can read the review here. Two reviews of the Leicester concert are below "-----The local choirs rose to the challenges splendidly. Unsurprisingly in such a huge work not everything was ideal. The problem of the positioning off stage of the choristers was not entirely solved. They were ethereal to the point of disappearance if one was seated stage right whereas I was assured by one person they were splendid for those sitting stage left. In the main choirs there could at times have been rather more projection in some of the intense quiet moments of the score. The start to the Libera Me was one such moment but here and elsewhere, as in the Dies Irae, waves of full throated sound eventually drove everything before it to magnificent effect. Overall, though, what was so moving was the obvious commitment of every member of each choir to strain themselves to the very utmost of their capacity and therefore time and again the essence of the work was communicated . That in itself made for an especially moving occasion.-----" Read more here. and "Saturday 10th November 2018 saw many performances in England of Britten’s War Requiem, but I would doubt if any of them were more compelling or emotionally charged than Leicester’s, given by the Bardi Symphony Orchestra, the Leicester Philharmonic Choir, the Leicester Bach Choir, the Leicestershire Chorale and the choristers of Leicester Cathedral. The fact that these are all local groups, performing to such a high standard, shows what can be done through commitment and dedication and makes one realise how fortunate we are in Leicester to have such talented musicians willing to expend time and effort to achieve such high standards. It was a privilege to be in the De Montfort Hall for this performance. The simple, but beautiful effect of the two soldiers with heads bowed and guns lowered projected either side of the stage added to the poignancy of the occasion. The War Requiem is one of Britten’s greatest creations. The remarkable and moving juxtaposition of the Latin Mass for the Dead with the disturbing and powerful poems of Wilfred Owen, creates a many-faceted, intensely emotional canvas that despite its complexity, speaks to the listener with a compelling and often heart-rending directness – and for me, this performance brought that home with resounding success. Yes, there may have been the occasional technical slip, but that can occur in the most “professional” of performances, but what this account under the Bardi’s Claus Efland had was an emotional power that went beyond the surface of the piece and at times had a searing intensity that took the breath away. The work is fiendishly difficult to balance, having so many disparate sections. My only observation on that score would be that the choristers were a little too distant, having been consigned to an offstage corridor. Otherwise most of the balance problems seemed to have been solved. The choirs (trained by Tom Williams and their own condutors) were impressive in attack, rhythmic precision and dynamics – especially in the great climax of the Libera me, which was shattering in effect. But it wasn’t just the big climaxes that were effective, the singers were alert to the subtler aspects of Britten’s choral writing and the choristers, despite my reservation about their position, certainly achieved the required ethereal quality. The standard of the playing in both orchestras was some of the best I’ve heard from the Bardi – and that’s saying something! All sections excelled themselves and the big moments had tremendous sweep and assurance. Both choirs and orchestras maintained a tension and accuracy that showed Claus Efland’s admirable technical control, confidence and intimate knowledge of the score – despite the fact that this was his first performance of the piece. Soprano Ilona Domnich was assured and impassioned in her role in the Mass setting. She had no difficulty in soaring above the chorus whenever necessary. The all-important male soloists were well-matched. Tenor Mark Milhofer was perhaps the more animated, but baritone Malachy Frame sang with precision and feeling but occasionally, as in the violent cursing of the great gun, at the close of the Sonnet on Seeing a Piece of our Heavy Artillery Brought into Action, he was rather overwhelmed by the chamber orchestra, but this is not the first time I’ve heard this happen. However his rendition of Bugles Sang was one of the most poignant and powerful I’ve heard, sensitively accompanied by the orchestra. Mark Milhofer showed a similar perception and passion in One ever Hangs and Move him into the Sun, which was heartbreaking in its sad intensity. It is in these Owen settings that Britten shows his towering genius. Can anyone remain unmoved listening to So Abram Rose, with its devastating final lines and Strange Meeting; perhaps the most heart-rending of all – "I am the enemy you killed, my friend," – with its repeated line, "Let us sleep now."? It was in these two unforgettable duet settings that the quality of the voices really showed, especially when they almost merge in the work’s closing pages. I have no hesitation in saying that this was one of the best things the Bardi has done. It was a triumph of organization, presentation and interpretation. It packed an enormous emotional punch. The choice of date made it all the more telling – especially for those of us who had seen some of the recent TV programmes of archive footage of Great War veterans talking about their experiences and Sunday evening’s remarkable colour footage of life in the trenches. The War Requiem is a great work of reconciliation – a cry for peace and a lament for the futility of war. It is as relevant in today’s world as it when it was written and when a century ago the "war to end all wars", slew "half the seed of Europe, one by one". " Saturday 16th June 2018 Concert Published in The Church Times by Roderic DunnettOne of the strengths of the Leicester Bach Choir, as its conductor, Richard Laing, explained, is to be prepared to explore repertoire that lies outside the ordinary. While it is well accustomed to performing mainstream works, it makes a point of venturing beyond the merely traditional. This involves additional work from the chorus: rare new material has to be learned, and meticulously rehearsed. Attentiveness to tuning, to the text and enunciation, to rhythmic precision, and to stylistic elements, all have to be redoubled and captured afresh. It requires not just formal insight from the conductor, and as here, the accompanist, but also a special discipline and determination, indeed professionalism, is required of the choir. Leicester’s choice of unusual works to celebrate its 90th anniversary at the strikingly Italianate St James the Greater looked fascinating indeed. C. V. Stanford’s The Princess, a set of "vocal quartets", settings of Tennyson, initially depicts a married couple("As through the land at eve we went . . .") who visit the grave of their dead child. But there is much more. The work falls into nine sections, all verbally contrasted. The lilting "Sweet and low"”, the bold "The splendour falls on castle walls" (more memorably set by Benjamin Britten), each revealed, to a degree, a different character from choir and conductor. The expressive way in which the bass line initiates key changes, and the delicate way in which the men supported the even finer upper voices, the two often offsetting each other vividly, was impressive. So were the alluring piano round-offs or envois (from the inspiring accompanist, Jennifer Carter), the surges and build-ups in the second section, and the clever touches of staccato in the energised third. This was an ably rehearsed choir whose members had done careful homework. There was much more---------- You can read the full review in The Church Times Saturday 24th March 2018 90th Anniversary Concert A view from the audience.There was a good turnout despite other major choral concerts taking place in Leicester on the same evening. The programme marked the 90th birthday of the Bach choir and appropriately the first half was devoted to Bach. The programme was unusual in the way the pieces were arranged, though without a copy of the score it was occasionally difficult to work out exactly which piece was being performed. We began with Bach's toccata in E; quite short but still majestic and with impressive use of the bass register. It was immediately followed by the first five sections of the motet 'Jesu, meine Freude', BWV 227; the chorale melody is well-known and has been used by many composers. The movements are varied; they range from hymn-like to powerfully dramatic and there were quieter moments when I seemed to hear echoes of the Passion chorale. There was impressive use of the church's echo; wonderful dynamics, with pauses long enough to allow the sounds to die away. The organ solo BWV 641 was next; rather quiet and peaceful; then we had another two sections of the motet. 'You are not of the Flesh' had a sonorous bell-like quality and 'Away with all Treasures' was greatly helped by an organ bass. Following this was the organ solo BWV 610 using the full tune of the chorale, set rather low in pitch, with its gently descending and very beautiful melody lines. Sections 8 and 9 of the motet gave us more of Bach's exquisite choral writing; rhythmic and sparkling; strongly fugal with much light and shade. Next we had the organ solo BWV 646 'Whither shall I Flee?', which begins with a pleasant duet showing off two of the lighter organ stops, which sounded to me rather like a flute and bass recorder. Heavier stops are gradually added as the piece reaches its climax. The choir completed the first half of the concert with the rest of the motet; the gentle 'The Spirit of Him', followed by the hymn-like 'Go away, Mournful Spirits', where the singing, especially the female parts, was especially fine and clear. The second part of the concert featured music by a mixture of German composers, selected by key and by mood. First we had a magnificent organ toccata by Max Reger; op.59 no.5, which rattled the windows. Before the last echoes had died away, the choir launched into Brahms' 'Why is the Light', showing the composer's dazzling skill with choral counterpoint. This despairing cry from the Book of Job has never been more poignantly set, and the choir made it dramatic and moving. Then we had Brahms' 'Sacred Song', a beautiful work written in double canon (not easy to achieve); one of the best and most passionate choral pieces. A piece by Schütz followed; his 'Blessed are the Dead', which my companion thought was the highlight of the concert. This work, notable for its purity of tone, was written a century before Bach, and the echoes up and down the church sent shivers down my spine. This led into a contemplative organ piece by Rheinberger, Trio in F; much lighter on the stops than much of his output. It was pleasant and well-executed. Next we heard two pieces by Bruckner; his best-known setting of the 'Ave Maria' followed by the motet 'He was anointed'. The second of these drew a remarkable range of sound from the choir, with big jumps and long phrases for the singers; a highly expressive piece. Then we moved to Mendelssohn, who was an early champion of Bach. He organized a performance of the St. Matthew Passion 70 years after Bach's death when the baroque master was almost forgotten, and is largely responsible for getting him back into the repertoire. Two years later, Mendelssohn wrote his adaptation of a Luther hymn, Grant us Peace, which shows clearly Bach's influence. It is a piece of great beauty tinged with sadness, and the choir gave a moving performance. Finally we heard Mendelssohn's setting of Psalm 43; his monumental hymn of praise to God. It was an apt choice, with Easter only a few days away. Nigel Deacon Conductor: Richard Laing
Saturday 25th November 2017 - Autumn Concert Gentlemen in England, now a-bed, shall think themselves accurs’d they were not hereLeicester Bach Choir concert 26th November 2017 The opening orchestral suite by Ireland gently unrolled the Sussex Downs, allowing conductor Richard Laing and the Bach Camerata to assure us that we were in good hands. It evoked that strange state of relaxation and focus that lays judgement aside, opening us to feeling and discovering. Adrian Turner’s evocative viola solo then pulled our attention towards the mystical issues explored by Holst in Hymn of Jesus, and an electrified LBC started to sing. Paradoxes batted between the two choirs. I am mind of all. Fain would I be known….I have no resting place: I have the earth. Sixty-three minds drew on Laing’s musicality in a performance whose spine-chilling harmonies and exuberant tuttis conjured other worlds. Leicester and LBC are fortunate to have a Music Director whose creative programming introduces such memorable works. Britten’s St Nicolas brought additional hues to the seasonal spirituality. The LBC narrated his life with aplomb, by turns rhythmic, jocular, and plangently mournful. They were led from the top by an impressive soprano section that rarely faltered. Confident pitch-perfect choristers Luca Calardo-Cooper, Damien Hollis and Gregory Webb represented the growing Nicolas with great charm, and the fizzingly virtuosic solo from Camerata leader Pauline Lowbury was deeply satisfying. But the star of this piece was the stupendous tenor soloist, Mark Milhofer. He was at once breath-taking and inspiring (on a night where paradox reigned supreme, all things were possible). Benjamin Britten’s final invitation for the audience to join in singing the majestic 'God moves in a mysterious way' moistened many an eye. What a way to end. Jennifer Clegg
with
Saturday 10th June 2017 - The Two Golden Ages of English Cathedral Music I was glad – Choral Church Music Classics from Leicester Bach Choir Leicester Bach Choir provided a feast of classic cathedral church music at their most recent concert, to provide a highly enjoyable evening for devotees of church music which is rarely heard outside cathedrals these days but which shows the power of music to make or break liturgy and to inspire those who hear it. The opening item, Parry’s I was glad set the tone for the whole evening, with some pleasing contrasts in the central section and a very creditable top Bb in the final phrase from the sopranos. It was followed by an equally exuberant rendering of Zadok the Priest, sung with vitality and stamina throughout. We then had a change of tone for Finzi’s God is gone up, where the majestic organ opening was well matched by the choir. There was a good contrasting tone in the quiet section, but a sense of unease as if the choir was uncertain about the effectiveness of singing quietly. They need not have worried: few things are more impressive than a larger choir such as the Bach Choir singing quietly with sustained discipline, and this was further demonstrated in Ireland’s Greater Love, where the sopranos went from full throttle to a beautifully gentle "engine idling" mode before reverting to a brilliant climax on the triumphant phrase "We are washed….". One might quibble with the huge breath that preceded the final long fortissimo chord, but given its length and brilliance the energy has to come from somewhere!That it was finished with an organ registration that milked the occasion shamelessly gave added lustre. The best word to describe Byrd’s Sing Joyfully is uninhibited. It was certainly unlike anything one would have heard liturgically sung in a cathedral. Joyful, loud and(most importantly) accurate would also give some idea of the Bach Choir’s approach to a relatively complicated anthem. Consider the trumpets well and truly blown in the new moon, after which the audience (and choir) enjoyed a respite during Stanford’s Postlude in G minor, an impressive piece with some amazing virtuoso passages and interesting harmonies. Parry’s There is an old belief from his Songs of Farewell was lyrical, confident and evocative. The piano passages were well sustained, demonstrating that when they want to, the Bach Choir can sing sensitively to good effect. By contrast, Tallis’s If ye love me was brisk and business-like. There was never any doubt as to whether Jesus’ disciples would do as they were told. The first half concluded with Stanford’s setting of the evening canticles in C. Here there was a sensitive accompaniment and some nice phrasing, with a good adjustment to the peaceful Nunc Dimittis after the joyful Magnificat. This was a confident choir enjoying life, with some excellent and very clear conducting from an obviously relaxed but meticulous Richard Laing. There is always a danger in over-confidence, and this emerged slightly with the opening of part two of the concert: the beauty of Purcell’s Remember not, Lord, our offences lies as much in the rising and falling of the phrases as it does in the harmonies, and the subtlety of this was lost with the volume and pace, making it sound more of a demand than a petition. Nevertheless, in terms of tone quality and pitch it was well sustained and enjoyable. After this, we were treated to Stanford’s Postlude on a theme of Orlando Gibbons, with Ivan leading us through some crisp rhythms and showing off the versatility of the organ. The theme in question is Song 22 ( "Eternal ruler of the ceaseless round" ) and tantalising snippets of it kept recurring. Did I hear a 32’ sound at the end? It would not be surprising, as the instrument was at full blast. Back in the choral world, there was a surprising inclusion in the programme of Gibbons’ The Silver Swan, a piece that has no place in cathedral music at all, but which the Bach Choir can be forgiven for including as it is so beautiful. More geese than swans now live, more fools than wise is the concluding sting in the tail, but it was barely a sting at all, more a gentle and wistful ending as the swan breathed its last. It certainly lulled everyone into a false sense of security that was shattered with the next item, Wesley’s Blessed be the God and Father. We were back with a brisk and loud interpretation, with a lively fugue. Possibly there was too much liveliness at times, with the basses getting carried away, but the general impression was one of confidence and very much in the spirit of the piece. O God, thou art my God was sung full throughout and might have had more contrast, perhaps, but was good and solid throughout. As with the earlier Purcell, it would have been good to have more feminine endings and attention to the shape of the phrasing, but there was no doubting the choir’s commitment to the piece, which especially came across in the concluding Alleluias. With Elgar’s Give unto the Lord we were back with the sort of repertoire that suits a larger choral society-type choir, and the Bach Choir gave it their all. A stunning organ scale in the middle compensated for (presumably) an awkward page turn in the organ part which could have thrown a lesser choir. The Bach Choir, however, recovered quickly with some excellent word painting and thus recaptured the atmosphere before a gorgeously serene ending. Here too, the organ contributed a perfect registration change which brought the piece to a successful conclusion. Beati Quorum Via by Stanford is a most beautiful 6-part anthem where the choir can soar and appear utterly serene. Although initially it felt a little rushed, there was a good quiet section in the middle and perfect tempo for the final qui ambulant in lege domini. To close the evening, we were treated to Wood’s magnificent O thou the Central Orb. What more could one want? It was triumphant and joyful, two words that sum up the evening pretty well. Part of the triumph was that the Bach Choir can give a highly enjoyable concert even when various key singers are absent, so that on this occasion they were not at full strength. This meant members having to work extra hard to blend, and maybe this is a goal for the future as they continue to undertake high quality programmes. But the commitment and attention they give to their excellent conductor makes this an achievable task, and I look forward to hearing them again soon. Susan Paterson
Conductor: Richard Laing
Saturday 8th April 2017 - JS Bach: St John Pasion A view from the audience. The capacity audience confirmed the power of this work to draw people. This was despite having two other major choral concerts in Leicester that evening – including a performance of Messiah at De Montfort Hall, just across the park! There were queues for tickets 40 minutes before the performance started, programmes sold out and Front of House quietly added more chairs wherever there was space. It was a reminder of the legendary queues on Sunday afternoons to get into Leicester Cathedral to hear Bach Passions in the 1930s or for Christmas concerts until Sunday Shopping was permitted! And this performance came up to expectation! The Leicester Bach Choir was joined by senior members of the New Leicester Youth Chorus (conducted by a former member of LBC, Will Welsford), which added a vibrancy to the choir’s tone, as well as giving the young singers a rare opportunity to perform one of the major works in the choral repertoire. The Bach Camerata provided a crisp, well-balanced accompaniment and Richard Laing had gathered a good team of soloists, including Nathan Vale’s excellent singing of the crucial Evangelist role, while James Oldfield (Christus) and Jon Stainsby (bass and Pilate) also performed particularly well. James was returning to Leicester, where he first learnt to sing – and so was another draw for audience members! The audience response to the performance was very positive, though those without sight of the translation may have struggled to follow the drama in the original German. The beauty of the music, the high standard of the singing and the delicacy of the chamber orchestra was fully appreciated. A fine performance of a magnificent work. Mary Whittaker
with
Saturday 28th January 2017 - Come & Sing Day - "Captains Courageous" - Hamish MacCunn: The Wreck of the Hesperus - Charles Villiers Stanford: Songs of the Sea, Op. 91 "I was a bit nervous about singing music I had never heard, but thoroughly enjoyed the challenge and the day."
Saturday 3rd December 2016 - Duruflé: Requiem - Messe 'Cum Jubilo' - Fauré: Messe Basse
One of the refreshing things about the Leicester Bach Choir is its willingness to experiment with programming in order to bring us lesser known works alongside perennial favourites. Such was the case with their latest concert, which successfully juxtaposed both the Fauré Messe Basse and the Duruflé Messe 'Cum Jubilo' in part one with the much better known Duruflé Requiem in part two. Add to the mix a quite astonishing Te Deum for organ by Jeanne Demessieux, and you have a truly imaginative and memorable concert. Each of the first half pieces featured different sections of the choir, with the sopranos and altos launching proceedings with the Messe Basse. In the Kyrie, after a gentle and slightly hesitant start, we enjoyed a really sparkling soloist, Karen Wise, and the piece got better and better, with good dynamics in the Sanctus and a nice responsorial effect in the Benedictus. The Agnus Dei was notable for its clear tone and attentive phrasing. The organ piece by Jeanne Demessieux provided an immediate contrast of style and mood. It would take more than one hearing to appreciate fully the complexities of the piece, which had some resonances with Messiaen (a composer whose work Demessieux knew well) but which was both distinctive and intriguing. Simon Hogan brought us on a journey from the eerie to the joyful, and the various registrations showed off the organ's versatility to perfection. This was followed by the tenors and basses of the Bach Choir performing Duruflé’s plainsong-based Messe 'Cum Jubilo' (for male voices, singing a single line, with organ accompaniment). It was a shame that the beautiful Kyrie was marred by audience coughing, but the Gloria was exuberant, with complex rhythms handled well and the section Deus pater omnipotens very impressive. The baritone soloist, Angus McPhee, was excellent, producing a sensitive performance, following which the closing section Quoniam tu solus sanctus gave us a contrasting mood, in places sublime, with an excellent Amen, mostly in 5/8 and 7/8 time. In the Sanctus there was an atmospheric opening, albeit with a little uncertainty, but the latter was soon forgotten as the choir picked up well in Pleni sunt coeli and built up magnificently to the Hosanna. In this there was a well sustained organ accompaniment to build to the climax and some sensitive gentler registration afterwards. The baritone solo in the Benedictus was spine tingling, with the mood well matched by the organ. The Agnus Dei was equally atmospheric, despite the unintentional extra harmony supplied by a few voices not in unison with the others. It was followed by a restful Dona nobis pacem, which brought the first half to a very satisfying close. After such a well-crafted first half, the audience had high expectations of the Duruflé Requiem, and we were not disappointed. The opening was quiet but sustained and firm, with some ethereal sounds from sopranos and altos. There were some expansive phrases in the Kyrie, and the Christe eleison then moved on well, followed by a superb bass entry heralding great vitality before the organ restored serenity at the end. There was a good alto entry for the Offertorium, with excellent contrast when the other parts came in. The section Libera animas was then characterised by an exciting sense of urgency, and the ensuing Hostias baritone solo was mature and heartfelt. At the end, it was good to have a sensitive piano to pianissimo conclusion. The Sanctus opened with good pitch and tone from sopranos and altos, and the organ accompaniment on flutes was very apt. The tenors' Hosanna made a big contrast, and there was a satisfying climax, with sopranos at full throttle. Congratulations are due to Simon Hogan for a terrific change of registration for the Benedictus - and indeed for amazing dexterity throughout. The mezzo-soprano solo Pie Jesu, while overall of Karen Wise’s usual high standard, on this occasion perhaps worked better in the upper registers: the concluding Requiem sempiternam, on a low C, sounded slightly uncomfortable. The following Agnus Dei was arguably the most beautiful sound of the evening, with some well-blended tenor tone and a good diminuendo into the organ solo and bass entry, and the lovely quiet singing led to a beautiful, sustained ending. After a slightly indulgent organ introduction to the Lux Aeterna, the choir did well to pick up pace on their entry: overall it was a very relaxed movement, lulling the audience into a false sense of well-being before an exciting Libera me. Here the choir and organ were not quite together at the beginning, but an impressive baritone solo contrasted well with the choir’s quando coeli movent et terra, and while the Dies irae section was a little uneven, it improved quickly in confidence, so that by the end an effective reprise of Libera me, Domine brought the strong sensation of the cavalry arriving. This melted into a magical, hushed ending; and just when one thought it could hardly get any better, we were treated to a fittingly serene In Paradisum, bringing a sense of hope and light. The great pause on the final chord was beautifully judged: who would ever want to leave Paradise? Looking back over the evening, it is clear that the choir under Richard Laing continues to create and maintain high standards, especially when tackling sensitive quiet passages, where they are at their best. Perhaps it is over-excitement that sometimes causes a slight lack of blending among the tenors, but with music like this, who can blame them? Well done, Leicester Bach Choir, for providing yet another excellent night out! Susan Paterson Saturday 16th October 2016 at - De Montfort Hall - Elgar: Dream of Gerontius In a major musical event for Leicester, the Bardi’s 30th Anniversary Season opened with a landmark performance of Edward Elgar’s oratorio The Dream of Gerontius. For the first time Leicester Philharmonic Choir, Leicester Bach Choir and Leicestershire Chorale joined forces in a chorus of more than 150 voices with the Bardi Symphony Orchestra under Music Director Claus Efland to perform one of the greatest choral works in the repertoire.
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