2001 - 2002

Beethoven Choral Symphony Finale (Ode to Joy)
Mahler 2nd Symphony Finale, plus other choral finales etc
Mozart: Requiem
Bach: Magnificat in D
More opera choruses
Gilbert and Sullivan extracts

Good Friday Concert 29 March 2002, in the Assembly Hall, Worthing - Mozart's Requiem and Bach - Magnificat.

 

Easter weekends in Worthing’s Assembly Hall traditionally produce musical feasts and this year’s Good Friday was no exception.

(Review in West Sussex Gazette April 11 2002)

Worthing Philharmonic Choir, five splendid professional vocal soloists (sopranos: Claire Seaton and Jane Sherriff, mezzo-soprano: Susanna Spicer, tenor: Harry Nicoll, bass: Simon Neal) and the Sussex Symphony Orchestra collaborated, under the baton of   Mark Andrew James in a magnificent rendition of, arguably, the finest choral works of the Baroque and Classical periods – J. S. Bach’s Magnificat in D and Mozart’s Requiem.

My previous experience of the Magnificat was the version used in the 1662 Book of Common Prayer for Evensong but Bach created a masterpiece with separate choruses, arias, duets and even a trio based upon every line. Originally written in B-flat, this 12-sectioned work was revised to the key of D, at the same time being tailored to fit a 30-minute time limit. Accomplished choral singing and outstanding vocal solos were complemented by excellent work from the Orchestra and its fine soloists – in particular the flutes, oboe d’amore and piccolo trumpet. Special mention also to the deputy organist (unfortunately I have no name) who had, at very short notice, to stand in for the indisposed Donovan Brown, WPC’s Choral Director . Mozart’s Requiem was heard here in the version completed by Sussmayer who had worked closely with the composer in the final months of his life. Although   commissioned as a memorial to the wife of Count Walsegg, to be performed annually on the anniversary of her death one wonders how greatly its composition was influenced by Mozart’s knowledge that his own days were numbered? We heard a splendid rendition   with outstanding contributions from Choir, soloists and Orchestra. Is it mere coincidence that one of the main tunes seems to bear similar stripes to Handel’s Messiah? An aspiring trombonist myself, I compliment the Orchestra’s solo trombone on her competent handling of the nerve-wracking intricacies of Tuba Mirum! An appreciative audience applauded a true feast of music, Mark Andrew James acknowledging Donovan Brown’s dedicated preparation of the Choir. ( Donovan told me afterwards that this was the first time for 32 years that he had been absent from the Assembly Hall stage on Good Friday- no mean achievement when one considers that this was roughly the entire length of Mozart’s composing life!)

Review by Jim Hurdwell.