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Music Review | Choir Of King’s College, Cambridge: British Voices: Fresh, Lean And WorldlyThe Choir of King’s College, Cambridge, at St. Thomas Church Fifth Avenue on Friday, confirmed what many listeners think they know about the British choral tradition, but then gave listeners other things to think about too. The 30 men and boys led by Stephen Cleobury were scrupulously prepared, well tuned and musically alert. That, everyone could expect. Julien Jourdes for The New York TimesThe Choir of King’s College, Cambridge, from England, at St. Thomas Church on Friday. Treble voices gave off a deep, full color a little at odds with the cliché of thin, white-light British choirboy tone. Noticeable to the ear as well as the eye was how young all these choristers seemed, even the tenors and basses. Singers just past or at the end of their teenage years had the tough sound of bodies not quite filled out; the tone, if a little raw, was also appealingly fresh. Occasional solos were sung by solo voices not trained to be solo voices. Absent were the plumpness and glow that still clog so many big European churches. Also, Mr. Cleobury can’t be accused of planting his feet in England’s late 16th and early 17th centuries. There was some of that: pieces by Gibbons and Weelkes, and also the mazelike “O Sing Unto the Lord” by Thomas Tomkins. But much of the program was from recent times and not very English at all. Poulenc’s “Four Motets for a Time of Penitence” had a touching mix of the amiable and the dignified. Pablo Casals’s “O Vos Omnes” spoke of a nostalgia for close harmony and old-time religion. St. Thomas’s organ, powerful and piercingly articulate, is the right instrument for Messiaen, and his “Sainteté de Jésus-Christ” was splendidly played by Tom Kimber. With its dragged-out held notes, acid chords and luxurious forest of birdcalls, Messiaen’s music once again takes the pompous and grandiose and turns it into the pure and the innocent; this was the evening’s truly pious moment. Bach came after intermission: “Lobet den Herrn” and the intricate E flat Organ Prelude (BWV 552), well managed by Peter Stevens. Walton’s “Set Me as a Seal” and Vaughan Williams’s trumpeting antique-sounding “O Clap Your Hands” probably touch British hearts more than they touch mine. But who could resist Judith Weir’s “Ascending Into Heaven,” which, with its rising and descending scales, demonstrated that the climb to the promised land can be slippery but at times downright funny? Tag CloudExternal InformationAdditional InformationRichard Cook, Journalist and Author of Books on Jazz, Dies at 50...Inner Child, on the Loose and Playful... Music Review | Composer Portraits: Frank Zappa: The Other Frank Zappa, Chamber M... Music Review | Baby Jane Dexter: A Singer Harmonizing With Demons... Where Am I?News Main Page - Business - Music Review | Choir Of King’s College, Cambridge: British Voices: Fresh, Lean And Worldly |
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