St Andrew Camerata opened this enchanting programme of music with Faure’s ‘Cantique de Jean Racine’. Though a beautiful start, it is by no means Faure’s strongest work. Composed when he was just nineteen, the piece is famed for its simplicity and arpeggiated harmonies. Amidst the swelling dynamics and luscious phrasing, I felt the cantique lost some its clout. It did however serve to set the tone of the candlelit recital and make the following Requiem all the more powerful.
Faure began writing his setting of the Requiem Mass, to quote, ‘for the pleasure of it.’ This languorous approach gave rise to one of the most popular choral works of all time, complete with tonal and modal complexities and an ever changing melodic line. Conducted ably by Vincent Wallace, St Andrew Camerata navigated the piece with great feeling and sensitivity. The Sanctus, so simply structured with a rising and falling melodic pattern that is introduced by the sopranos and repeated by the male voices, was a particular delight. This was followed by Pie Jesu, in which soprano Gillian Robertson provided a flawless solo and left us awestruck. It was undoubtedly a highlight of the Mass.
The decision to end the recital with Rameau’s ‘La Nuit’ was expertly judged. The solo in this piece is very exposed and was at times a little pitchy, but this in no way detracted from the hushed, stunned atmosphere that had settled in Old Saint Paul’s Church. As the choir hummed through to their last note, Wallace left a considerable pause before lowering his hands and allowing applause. This was a very considered performance that intended every note, right down to the last one, to have maximum effect. Effective it certainly was.
