Recent Events Archive
Bach's B Minor Mass is the Everest of choral works. Where some performances make you only too aware of the huff and puff needed to reach the summit, conductor Alex Patterson and his forces seemed to defy gravity, flying above the many obstacles which the score places in the way of the unwary. Of course, this sense of effortlessness can only be generated by meticulous preparation.
The 31 members of the Cathedral Choir pack a powerful punch. The 'k' which kick-started the Kyrie eleison was explosive, heralding a performance which gleamed brightly and had a strong sense of purposeful conviction throughout. The way the opening was moulded also boded well, the sound allowed to swell towards the ends of phrases like buds opening to full ripeness.
In fact it was the subtle control of dynamics which gave the performance so much of its 3D effect. Other notable features included the fearlessly fast speeds which Alex Patterson adopted for the end of the Gloria and for the Hosanna, the Choir clearly relishing the chance to release all those notes stored in their bloodstream. The Sanctus was allowed to float heavenwards whilst moments such as the Gratias agimus and the Pleni sunt coeli had a much earthier, dance-like quality.
On Saturday night its glorious opening could hardly have been more dazzlingly theatrical: after a brief, urgent solo prayer the Heavens themselves seemed to open, with brass fanfares and a tsunami of bright, buoyant choral sound. The effect was like sun bouncing off the Venetian lagoon, piercing the windows of St Mark's.
For conductor Alex Patterson this performance was both a musical and logistical triumph.