Concertgoers still shy of delights at Minster
The concert in York Minster presented by the York Musical Society, and conducted by Francis Jackson, on Saturday night, deserved a much larger audience.
For some reason the city's response to the 1900th anniversary celebrations still seems sluggish. The Minster is the best concert hall that York has, and now that the front part of the nave has been reseated and the beauties of the newly-decorated choir and lantern tower are a visual delight, there is no reason why the clutter of rescue operations should dissuade concertgoers.
Saturday's concert was notable for a repeat performance of Francis Jackson's lively overture, "Brigantia," specially commissioned by the Yorkshire Symphony Orchestra. Brigantia in Roman times covered most of England north of the Humber-Mersey line and York was its capital. Dr. Jackson, it seems, has expressed the spirit of these fiery mountain-loving Celts.
IN GOOD SHAPE
To do this he has used some very subtle orchestral writing, for he is a composer of real ingenuity. Sometimes it is sombre and even harsh, but often it is as fresh as a spring day in the Pennines, a fine piece of impressionism. There was much applause.
Another modern work was Poulenc's "Gloria, " in which a chorus of about 70 showed an adequate grasp of Poulenc's intentions. It is thrilling writing, especially the final section, "Qui Sedes." Dr. Jackson brought his forces happily through the work's rich modernism.
The concert began with a Bach cantata in which the soloists were Eileen Poulter, whose bright soprano came through well, and Donald Stephenson, a resonant bass. This choir is in good shape but, as Dr. Jackson told me, it badly needs more men.
Before "Brigantia" we had a capital performance of Borodin's ever-popular Second Symphony. Dr. Jackson was lucky to have so fine a brass section as that from Huddersfield Polytechnic, and the woodwind was often superb. Only the strings lacked weight.
The leader was Geoffrey Stevens. This difficult symphony was beautifully played by a band made up of 90 per cent of devoted amateurs.
H.P.D.
Yorkshire Evening Press, 24th May, 1971
A FINE CONTRIBUTION
ONE of York Musical Society’s contributions to the Celebrations Year was a thoroughly enjoyable concert given in the Minster on Saturday when, with the York Symphony Orchestra, they upheld the stature of local music.
The programme opened sedately with the Bach Cantata No. 68, in which the highlight was, of course, the soprano solo, sung by Eileen Poulter with graceful charm, and accompanied by a fine piece of cello playing from Gillian Wilson- Dickson.
The chorus words lacked sufficient incision to sound like real German, but the tone was good and true. Donald Stephenson sang the bass solo with promising assurance.
Both the orchestral works have been heard earlier this year but in quite different surroundings, and the Minster brought out many features which could not develop before, although masking some others.
The powerful brass contribution in Borodin’s Second Symphony would lose its point if underplayed, but it did mean that the strings had to fight for their place, not having the numbers of the large, professional symphony orchestra.
The difficult scherzo sounded deceptively easy in the blending atmosphere of the Minster, but hard work was put in by York Symphony Orchestra. In the mellow slow movement one wished that the cantabile tone could develop and enrich itself; as it was, it had beauty but insufficient warmth.
The finale, like the first movement, revelled in rich Russian mood amid the Minster echoes, but the extra percussion seemed lacking in conviction to con tribute to the complete sparkle.
Francis Jackson’s Brigantia Overture was quite at home in the Minster; its genuinely English style rang true in those ancient walls and the fine colours of its generous orchestration shone clearly. York Symphony Orchestra have taken well to this work which reflects so much of their conductor.
Poulenc’s Gloria brought together the Orchestra and Choral Society, both in great form. The York Musical Society Choir so obviously enjoyed singing this from the first note that the performance was relaxed in the happiest way.
The uninhibited, back-slapping jollity of Laudamus Te became a beautifully restrained accompaniment in the next movement as Eileen Poulter took her turn at Poulenc’s amusing inversion of the accent on Deus.
Her clarity and accuracy were highly pleasing throughout. The text of the Gloria in Excelsis is of course notorious for its ample supply of sibilants and the choir did leave rather a litter of unwanted ones around on some occasions. But the lasting impression is one of unbridled enjoyment inspired by the direction of Francis Jackson.
K.R.P.