Concert by Rolleston Choral Society and Friends at St John's Horninglow (Burton) on 17th October
About 200 people convened at St John's Church last Saturday evening. We were welcomed by Rev. Michael Freeman (the Vicar), who introduced the Singers, the Orchestral Players and the Society's Musical Director (and conductor for the evening ) Dr. Simon Lesley.
The first work - Requiem - was by the Bristol-born amateur Robert Pearsall, who moved to Germany in the 1820s. He wrote this work shortly before his death in 1856, but it has only recently been "discovered". Rolleston's Choristers gave us ten movements; all used sparse but effective instrumental parts, some featured solo singers from the Society's members. This performance revealed many delightful episodes and held the attention of all in the Church. The conductor, singers and players had all done their preparations well and applied themselves very well in the work's performance, I enjoyed it and I am sure Mr Pearsall would have approved too. The composer's English roots showed through. On the basis of this performance; this work merits more exposure in Britain's Choral Repertoire.
The second work too - Mozart's Kegelstatt Trio - provided novelty. Supposedly written in a Skittle Alley, it features a Clarinet (developed in Mozart;s time), a Piano and a Viola - both of which Mozart himself played regularly and reportedly well. For this concert, the respective parts were played by Rebecca Lesley, Karen Thompson and Michael Freeman - in a collar more appropriate to his Viola than his Church. This work is full of tuneful phrases that are spread across all three parts, allowing each player to show off the character of their instrument; which they achieved excellently.
The opening Andante started wistfully on the viola and this mood was developed nicely by the clarinet and piano. This was followed by a bouncy Rondo and a Trio full of triplet "runs" from the viola and piano, evoking memories of Burton's now defunct Ten Pin Bowling emporium. The Allegretto set off smoothly & cheerfully, but after a couple of dozen bars, the viola injected some darker themes which the Clarinet then challenged with brighter ones. With a little help from the piano, they all "made-up" and the disparate elements were all resolved (or parked) by the last three notes. The exposition was clear and accurate and ensemble playing was sympathetically handled throughout. Each movement attracted deserved applause (which it would have in 1790s).
Altogether, a worthy rendering of a very interesting work - well done all.
Following the interval, the players and singers assembled again and were joined by four soloist singers for Haydn's Nelson Mass. This work was written just after Pearsall was born and Mozart had died and after Haydn's famous trip to Britain.
The Nelson Mass is well known by all. This can make it hard for amateurs to tackle - if so it was not apparent in this performance.
Right from the moment Simon moved his baton, joy prevailed. Everyone was "on form", everyone was concentrating, everyone (performers and audience alike) were enjoying themselves. This was Haydn at its best; this was performance at its best. Throughout the eleven movements, all players and singers were caught up in it - there were smiles everywhere; from my pew I couldn't see Simon's face, but I can imagine he too cracked an occasional smile. Whilst it is unfair to single individuals out, I have to mention that all four soloists Allison Taylor, Caroline Summers, Mitesh Khatri & Jeremy Leaman (six if you include the violin obligato and percussion) contributed greatly to the outcome. The solo singers voices were all excellent and their deliveries accurate - but more important (to me) they fitted in and balanced so well together. I am sure this helped the Chorus "give their best" too,
I enjoyed every minute of it. I also felt that Church lent itself admirably to the occasion - I am sure a lot of preparatory work had gone in - it was worth the effort.
Mike Skinner
Vice President - Lichfield Sinfonia