PROVOCATIVE THOUGHTS: 
The late Patric Standford may have written these short pieces deliberately to provoke our feedback. If so, his success is reflected in the rich range of readers' comments appearing at the foot of most of the pages.
Clean and Fresh
MIKE WHEELER hears a non-obvious pairing of Zoltán Kodály and Franz Joseph Haydn choral works
Kodály's Missa Brevis and Haydn's Missa in Tempore Belli may not seem an obvious pairing at first glance, but they complemented each other to fine effect in Derby Bach Choir's concert with conductor Richard Roddis, and not only because both were written in wartime – the Kodály reached its final form, and was first performed, as Budapest was under seige in 1944-5, the Haydn as Napoleon was threatening Austria in 1796 - Derby Cathedral, 29 March 2025.
Kodály's Mass begins with an organ 'Introitus' – dark and sombre in Alexander Binns' hands, leading to a plaintive choral 'Kyrie eleison'. The passage for three solo sopranos, which sends the upper voice to a top C, and the harmonic shifts as they slowly descend, made its usual spine-tingling effect, and did again on its re-appearance in the Agnus Dei. The Gloria got off to a purposeful start, and following the quieter episodes, reached a powerfully affirmative ending. In the Credo the big statements were appropriately weighty, while the 'Et incarnatus' and 'Crucifixus' moments were almost secretive, leaving plenty of space for a vigorous 'Et resurrexit'. The opening of the Sanctus had a genuinely ethereal quality. In the Agnus Dei, 'dona nobis pacem' rang out, before the peaceful ending. Unusually, Kodály added a setting of the concluding mass-text 'Ite Missa Est'. We heard the choral, as opposed to the organ-only, version, ending with a calm 'Amen', one of several thematic cross-references that came over clearly in this performance.
Derby Bach Choir rehearsing 'Missa Brevis' for the 29 March 2025 concert
For the Haydn, the choir was joined by Derby Bach Orchestra, with Alexander Binns moving to a small chamber organ, and a finely-matched team of soloists: Charlotte O'Hare, soprano, Natalie Windsor, alto, Liam McNally, tenor, and Matt Jordan, bass. The Kyrie struck a good balance between loud appeal and quiet supplication, before Haydn's irrepressible jollity took over. Charlotte O'Hare's solo was bright as a button.
Soloists Matt Jordan, Liam McNally, Natalie Windsor and Charlotte O'Hare with members of Derby Bach Orchestra rehearsing Haydn's Missa in Tempore Belli for the 29 March 2025 concert
The Gloria was kept nicely on the move, with Matt Jordan bringing a focused, intriguingly grainy tone to his 'Qui tollis peccata mundi' solo, and a robust 'Quoniam tu solus sanctus' was followed by a series of crisp Amens. The Credo began and ended vigorously, with Liam McNally joining O'Hare and Windsor in a gently introspective 'Et incarnatus est' trio. The mood-switches continued with a bustling 'Et resurrexit', and a really effective sudden hush at 'Confiteor unum baptisma'.
An unhurried account of the Sanctus brought radiant solos from Windsor and Jordan, and culminated in a festive 'Hosanna', with the four soloists heard to fine effect in the Benedictus. Appeal and supplication, again, were prominent in the Agnus Dei, together with the urgent timpani part that gives the Mass its alternative name, 'Paukenmesse'. Here, as throughout, Derby Bach Orchestra ensured that Haydn's scoring came up clean and fresh.
Copyright © 10 April 2025
Mike Wheeler,
Derby UK
