Concert April 2019
- Mozart Exsultate jubilate K165
- Haydn Grosse Orgelmesse No. 4 in E flat
- Haydn Mariazeller Mass No. 8 in C major ‘Missa Cellensis’ or ‘Mariazellermesse’
- Katherine Crompton – Soprano
- Ciara Hendrick – Mezzo Soprano
- Guy Cutting – Tenor
- Tristan Hambleton – Bass
Concert Review by Duncan Eves
Winchester Music Club continued their traversal of all Joseph Haydn’s masses, performing to a full house at New Hall, Winchester College.
The concert featured two mass settings composed twelve years apart with one of Mozart’s most famous motets sandwiched in between. Haydn’s Great Organ Mass has a prominent and quite virtuoso organ part, while the Mariazella Mass creates a joyous atmosphere with its use of trumpets and drums.
Both works were tackled with great aplomb by the Music Club choir. The Great Organ setting, which opened the concert, featured Winchester College’s Benjamin Cunningham, whose effortlessly stylish playing made light work of the organ part.
The choir sang with good attack on their entries and there was some very effective soft singing in later parts of the work. The crucifixus was especially dramatic and sensitive. Atmosphere was further heightened by the poignant timbre of two cor anglais – an unusual addition to Haydn’s orchestral palette and here beautifully played by Jessica Mogridge and Matthew Draper.
The second mass setting of the evening also brought forth some strong choral singing. The Mariazella Mass provides an opportunity for the choir to indulge in energetic singing in its several fugues and the Music Club members rose to this challenge well, the tricky choral entries emerging through the musical texture with careful attention to the dynamics. The splendour of the Gloria was crucially enhanced with the brilliance of the trumpets and drums. Throughout the concert, the orchestra played with style and finesse under the
direction of David Thomas.
The ‘filler’ between these two masses was Mozart’s glorious motet for solo soprano, Exsultate, Jubilate, composed when he was just sixteen. The composer offers his soloist ample opportunity for vocal display and soprano Katherine Compton obliged with agility and virtuosity. The other three soloists, mezzo Ciara Hendrick, tenor Guy Cutting and bassTristan Hambleton provided a fine blend (with the soprano) in the two masses, their voices having a lively, vibrant tone admirably suiting the music.