Bach to the Future
Oxford Bach Choir, Sheldonian Theatre, Saturday 23rd June 2000

On the evening of 23 June at the Sheldonian Theatre, Oxford was treated to a concert of Bernstein, Britten and Copland by its very own Bach Choir conducted by David Lowe.

The choir began with Bernstein's Chichester Psalms, producing a creditable purity of sound and coping admirably with the difficult Hebrew text and irregular rhythms. Choir, organ and harp communicated well with each other, but a disappointment was the lack of dynamic firepower from the percussion. We felt keenly the absence of the original orchestral accompaniment.

I Hate Music followed, a cycle of five 'Kid Songs' by Bernstein, sung with confidence by the soprano Donna Bateman. She also featured in the concluding work of the half, five Old American Songs arranged by Aaron Copland. This was a mature rendition of deceptively simple songs, full of 'soul'.

After the interval came Britten's Rejoice in the Lamb, a cantata written in 1943. From the start it was apparent that the choir had paid great attention to dynamic detail in rehearsal, something which wonderfully enhanced the performance. The articulation of the text was impeccable and the ensemble convincing throughout. A notable solo was the bass Gareth Jones's 'For H is a Spirit', which communicated a deep feeling for the text all the more remarkable because the soloist was standing in for the advertised bass, who was indisposed.

This was followed by four Cabaret Songs by Britten on texts by W.H. Auden. The style was untypical of Britten, reminiscent rather of Kurt Weill (appropriately, this being the centenary year of his birth). Indeed, the cycle, although having overtones of Noël Coward, seemed a throwback to the stylish Berlin cabaret of the 1930s. The first of these songs was done so impressively that the audience spontaneously departed from traditional etiquette and applauded after each one. The last, involving some unexpected audience participation, caused much amusement.

The concert ended with a medley from Bernstein's West Side Story, in which the choir was not always precisely together but (at least in the finale, America) impressed nonetheless.

Overall, the concert was very enjoyable, marred only by the usual Saturday-night noise outside during the concert. Fortunately this did not distract from the slick performances inside.

Gareth Burgess, 23 / 6 / 00