Choral and Vocal Music of Gabriel Faure

Langcliffe Singers at Christ Church

THE best known work by Gabriel Faure is most probably his requiem, which formed the second part of this programme. It was therefore fascinating to experience a taste of some of his other works in the first half of the evening.

However, it has to be said the format of this section did make it feel slightly like an end of term school concert with everyone having an opportunity to "do their piece".

On the plus side though, this did mean that there was an opportunity to hear from members of the choir who may not normally get to perform a solo spot and so congratulations are due to all for rising magnificently to this challenge.

Congratulations also to the six young members of the Skipton Music Centre choir who took part in the concert and clearly enjoyed singing with the choir.

The evening began with Cantique de Jean Racine, performed by the whole choir, a wonderfully restful piece which washed over the audience and allowed them to appreciate the beautiful tone of the choir.

There followed a selection of solos and choral pieces, demonstrating a variety of moods and the versatility and skill of Faure as a composer and also highlighted the skill of the accompanist, Alastair MacKenzie, who provided such outstanding support on both piano and organ.

Also included in the first half of the programme were the beautiful and stately Pavane, which featured magnificent playing by the accompanist, and the unusual but moving Messe Basse performed by the ladies of the choir.

The second part of the evening was dedicated to a performance of the requiem and in a work which plays so much with the imagery of light, Christ Church proved to be an admirable setting with the evening sun streaming through the windows and bouncing off the white walls.

The music itself was heavenly. The solos here were particularly moving, and the voices of the young choir members added a special poignancy to the soprano section.

The drama of the opening chord was followed by a glorious Kyrie and the purity of the Sanctus was strongly contrasted with the powerful male voices in later sections.

Once again the role of the organist was integral to the piece, setting both the mood and tone of the work.

Also noteworthy was the tremendous precision and clarity of the singing, the diction throughout the piece was immaculate and reflected not only considerable concentration but also meticulous effort by the conductor, Nigel Waugh. This was a deeply moving and uplifting evening.

Gill O'Donnell