BERLIOZ TE DEUM
St. Alban's Cathedral 2nd February 2002
London Orchestra da Camera
Alistair Young Organ
Jeffrey Stewart Tenor
Bel Canto Choir of Sandringham School, St. Albans
Loreto Cantores, Loreto College Choir, St. Albans
Hertfordshire Chorus
Musical Director David Temple
After the first work performed my thoughts on the orchestra and choirs were that they were a little ragged and my heart sank at the thought of them tackling the Berlioz.
Well, I was there for the Berlioz, I admit it, and after admiring the wall paintings and the interior of the cathedral, I nervously returned to my seat to await the Te Deum.
At this point I was somewhat relieved to see that the choirs had been augmented and also included a junior choir as specified by Berlioz, although instead of his recommended 600, I counted only 40 !
1. TE DEUM LAUDAMUS
The first few notes of the organ and orchestra heralded this Hymne, Oh, the pure bliss of this reverberating around this splendid building. The choirs joined and heaven was there to touch. This is an amazing beginning - massive chords set the scale of the work right the way. The three choirs are used to great effect, as stunning in the quiet passages as if in prayer as they are when raised in highest exaltation.
2. TIBI OMNES
An organ prelude introduces the next movement, beautifully atmospheric in this setting. The sopranos joined in with their melody which leads to a "Sanctus", this expands gradually towards a great burst of sound, ably controlled by the conductor David Temple. This is the bit where I reach for the tissues, tonight shivers run up and down my back, the building seems electrically charged by the music. This is repeated with slightly different harmonies, all my doubts about the choirs are gone, the organ brings the movement to its quiet close.
3. DIGNARE
This is a very subdued section after the previous one, lovely tone to the organ and beautifully played by Alistair Young. Who said that Berlioz couldn't write for keyboards?! Well, in a cathedral setting such as this, the beauty of the melody is overpowering, the choirs joined in with this, the prayer for divine salvation from sin.
4. CHRISTE, REX GLORIAE
This is a simple, sonorous and very energetic section based on a descending theme for the voices juxtaposed against a rising theme for the orchestra. The tenors in the choir really shone out for this, ending on a quiet contemplative note. A brilliantly uplifting movement, admirably performed.
5. TE ERGO QUAESUMUS
This movement is based on a previous work, the Agnus Dei of the Mass written in 1825. Berlioz reworked it for the Te Deum. This is my favourite part of all, the tenor Jeffrey Stewart has a wonderful clear, pure tenor voice, I was not disappointed, the best I have heard it sung. He was beautifully supported by the womens' voices and the orchestra especially the cornets and trombones. The movement ended with unaccompanid voices founded on the tenor's melody and now sung by the basses.
6. JUDEX CREDERIS
This movement is truly monumental, almost architecturally formed with a long modal theme. It came over tonight as surging, majestic and menacing. After the middle calmer section the prayer for salvation rose to a spectacular climax, the motto theme ringing out. The pounding rhythm returned with the incredible writing for brass which Berlioz so loved. The music seemed to sway between terror and splendour like an enormous bell. The choirs plea ( let me not be confounded for all eternity) brings this powerful work towards its end. A special mention for the percussion section, throughout they were used to stunning effect and this work was brought to a splendid close. Yes, a perfect place to perform Berlioz, the cathedral has the perfect acoustics for it. I am so lucky to have been there.
Sue Vernon 3/2/2002
