St Nicholas

It was not until I perused the free programme that I realised that there was more to this concert than merely this work.

It was a slightly strange experience awaiting the start of the concert. The main 'pull' factor is usually the music; often the presence of a star name attracts me. This time was neither, as such. The 'pull' was the conductor, hardly a star name, but somebody I used to know many years ago, back in our school days. For a short time I was madly in love with him in a teenagery way. But we haven't spoken in twenty years. No acrimony, just moving on, as one does in late teens. I went to a couple of his organ recitals in the early nineties, have seen him a couple of times on the TV, and have a couple of his CDs in my collection. Nevertheless, flicking through the Cadogan Hall website my pulse rate quickened when I spotted this gig.

I was in the second row, perhaps a little too near the front, requiring just a little too much neck craning to look at the stage. Applause, the leader walks on; further applause and Martin walks on. And I'm struck by curiosity more than anything. It's rather reassuring to discover that an old school friend has not really changed much in twenty years. Then the thought struck me that in the past few months I have seen conductors such as Colin Davis, Bernard Haitink, Charles Mackerras, all of whom are twice Martin's age, so it was not surprising that I thought - he looks too young to be a conductor.

I was not overly familiar with the programme, but, as it happens, I was in a mood to be educated and enlightened. And it turned out to be an exceptionally rewarding evening.

The programme was English Chamber Orchestra, Westminster Cathedral Choir, and The School Choir of Westminster Cathedral Choir School with Martin Baker, conductor, and Thomas Walker, tenor.

Britten: Soirées Musicales (Suite of Five Movements from Rossini), Op 9
Tallis: Videte miraculum
Britten: Hymn to the Virgin
Mendelssohn: Ave Maria, Op. 23 No. 2
Bach: Zion Hört (from Cantata No. 140)

Christmas carols: Ding Dong Merrily on High; Sans Day Carol; Hark the Herald (with audience)

~

Britten: St Nicolas Op 42: a cantata.

Because the programme was, to a greater lesser extent, unfamiliar to me, this did affect my critical judgement, because I had no real points of comparison. Except that when the Bach began I realised I was extremely familiar with it, but had not managed to connect the name with the music!

I found all of the pieces in the first half to be eminently satisfying. The Soirées Musicales was tremendous fun and enjoyable; the Tallis and Britten were beautiful. I thoroughly enjoyed the Mendelssohn and approved of the tenor. I can't say he gave me an 'oh wow' moment, but I found his voice and performance to be satisfying.

It was good to have carols. I had already been set upbeat by hearing a brass band in Sloane Square. the performance of Ding Dong Merrily on High, far from my favourite carol, was on another level from how I usually hear it. I do not believe I have heard the Sans Day carol in decades

And Mary bore Jesus Christ our Saviour to be
And the first tree in the greenwood, it was the holly
Holly, holly

Finally, before the interval was a community sing-song and choir of Hark the Herald, one of the great Community singing carols. Also one of those most easily ruined by indifferent choirs in suburban churches. No danger of that this evening. The woman next to me had a lovely rich mezzo voice but she ducked out on even attempting the "Joyful all ye nations" high notes. She was well into her seventies and I thought "if only more people had that self awareness rather than screeching for high notes that they have no chance of hitting."

After the interval we had St Nicholas - it was, after all, the feast day of St Nicholas. As soon as it began, it brought to mind Noyes Fludde, hardly surprising, considering that both were written by Britten, and both written for children with some adult performers.

I really loved it. The way it was written, the way it was performed, fantastic percussion, wonderful piano part, lovely orchestra, and delightful performances from the tenor, from both choirs, and from various small boys with small vocal parts. And we had a couple of community singing opportunities - All People That on Earth Do Dwell (another great audience singalong piece, although, perversely I love it best with organ rather than orchestra) and God Moves in Mysterious Ways, which I don't know, so didn't sing. It even contained cannibalism, not something you expect from your average cantata, I don't think.

As I said at the beginning, my main reason for going was out of curiosity at the conductor. In the event, whilst the music was happening, I did not really notice him a great deal, which I understand to be a sign of a good conductor, and I came away having had a thoroughly enjoyable musical evening, mainly of music with which I was unfamiliar. Within that caveat, I did not notice any flubs or errors, except for a wobble at one stage from some of the choirboys, which I regard as eminently forgivable.

I haven't spotted any reviews in the DTM, but I think they were already torn between Cecilia Bartoli at the Barbican and La Scala opening night. Both of which garner excellent reviews, but I am more than happy to have chosen Britten et al at Cadogan Hall.