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It seems any 'classical' music concert must attempt to strike a balance between the known and the unknown. This can manifest itself in many ways, from programming new works alongside old, to bringing a new approach to an old master. On the face of it, last night's concert given by the University's Chamber Choir and Baroque Ensemble would have to delve deep to find something new, with the rather conservative programming of Mozart and Haydn. On the whole, they seemed to manage it.
A curious mix of modern and period instruments gave the ensemble a sometimes ununified sound in the opening Masonic Funeral Music by Mozart. However, strikingly different sounds emerged at various points, as basset horns (a relation of the clarinet) and natural horns blended beautifully, justifying the ensemble's decision to use these historically appropriate instruments. The music itself was moving, whilst the performance ranged from an initial degree of uncertainty to quiet confidence throughout the remainder of the short piece.
The aspects of Haydn's Symphony No. 44 which would have, according to the programme note, 'stretched the emotions of Haydn's audience', fail to have much of an affect on an audience today, and whilst historically informed performance can shed new light on a piece, historically informed listening is really going too far. The changes in music between Haydn's time and today have affected our perception of his music irrevocably and anachronistic listening is unavoidable. In short, an average but uninteresting piece of music was given undue concert attention. Despite this, the performance was well paced and sensitive, with the ensemble's unobtrusive playing letting the music speak for itself; it was just a shame it had so little to say.
The second half saw the chamber choir join the ensemble for Mozart's Requiem in D minor. Though the seventy-strong choir at times overpowered the subtleties of the gut strings and chamber organ, the tutti sections were tight and moving. Standing out as the highlight of the concert, the four vocal soloists gave astonishing clarity to the music whilst retaining the audience's interest throughout. On paper, the evening’s performance already had an added sense of intrigue through the use of Duncan Druce’s 1984 completion, rather than the typically performed eighteenth-century version that Mozart’s pupil Süssmayr completed following his teacher’s death. However, to anyone who did not know the work well enough to draw comparison, fascination lay in the emotionally powerful performance which dealt equally well with the work's subtlety and its vigour.
Peter Seymour's tribute at the start of the concert to friend of the Department of Music, Oliver Worsley, who had died the previous day, added significance to a programme with an already funerary theme.
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