Reviews

Here are some more of the Society's reviews.

Petite Messe Solennelle - Rossini - 12th June 1999
[Epsom College Chapel]

In very well-prepared and effectively-controlled singing the chorus maintained appropriate gravitas throughout, not at the expense of dynamic contrast which was, however, never overdone. The tempi and the pace overall were always very finely judged, contributing as much to mood as gradation in tone and dynamic. The balance between the soloists and choir gave rise to some wonderful sounds, the choir nearly always sensitive to its accompanying role. The combination of the piano's distinct rhythms and the harmonium's sustained, string-like sounds made for a particularly effective accompaniment and Ian Townsend's extraordinarily dexterous playing was a true tour de force. The evening, however, belonged to Richard Stangroom, whose meticulous preparation and tight direction provided such inspiration.

From: Words and Music

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25 Years Of Making Music - 30th May 1998
[Fairfield Hall, Croydon]
As the culmination of their 75th anniversary season, Banstead Musical society presented "An Evening of Mozart". The London Mozart Players opened the concert in fine style with the Divertimento in D major, an early and light-hearted work in three movements with all the freshness and vitality of youth. Guest artist was the distinguished concert pianist Alan Brown who joined them as soloist in the well-loved Piano Concerto no. 23 in A major, one of Mozart's most richly melodious compositions. With sympathetic accompaniment from the chamber orchestra, Alan gave a performance of perfect clarity and great sensitivity, marking the contrast between the sunny and lively outer movements and the sad but serenely beautiful central Adagio.

After the interval, the Society's members were joined by the German choir from Banstead's "twin-town", Eschweiler, for the great C minor Mass, a monumental (though unfinished) work. The combined choirs and four fine soloists Claire Seaton, Ghislaine Morgan, Ian Yemm and Matthew Brook, together with the London Mozart Players and Ian Le Grice, organ continuo, gave an exciting and deeply felt performance, the poignant soprano aria "Et incarnatus est", beautifully sung by Claire, being especially moving.

From: Words and Music

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St Michael's Church, West Croydon - 30th November 1996
The glory of the Baroque age was revealed in all its splendour by the Banstead Musical Society on Saturday.

Their performance of Bach's Magnificat in D was magnificent. The joyous opening chorus sparkled with energy and enthusiasm, helped by authentic sounding instruments, and choir in excellent form. Katharine Fuge's glorious soprano voice, and radiant musical personality animated Bach's cantabile lines, her ornamentation always tasteful.

Robert Jones was a sweet toned alto and the tenor Ian Yemm struck exactly the fight balance of agility and expressiveness. Their voices blended beautifully in Et Misericordia. Bass Jeremy Birchall was regal in his bold proclmation "For He that is Mighty", contrasting "and Holy is his Name", with greater lyricism.

The choir was well balanced, their Sopranos excelled in Britten's A Ceremony of Carols, effectivly contrasting the earthy with the ethereal. Every repetition of Alleluia was coloured with a fresh new tone and dynamic and Britten's crescendo markings were obeyed with perfect gradation. Lucy Wakeford's harp adding special touches of magic.

Obviously, the conductor Richard Stangroom is a perfectionist, for the breathtaking standard he achieved testifies to musical commitment, serious thought and scholarship.

The tempi he chose for Handel's Arrival of the Queen of sheba and Bach's Brandenbury Concerto No. 4 were breathtaking. He allowed the music to take wing and soar with apparent effortlessness (which really takes great effort!).

In the final Presto of the Brandenburg it would have been more musically convincing if the lower strings could have marked their fugal entries with a greater emphasis. Violinist Brian Lloyd Wilson was a virtuosic soloist, relishing his warm dialogue with cool, energetic recorders.

Poulenc's seasonal Four Christmas Motets were delightful: the opening O Magnum Mysterium was appropriately shrouded in mystery, with the Sopranos' entry positively angelic.

From: The Croydon Advertiser

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Messiah - 6th April 1996
[Fairfield Hall]

When Handel's Messiah was first performed approximately 250 years ago in Dublin, the chorus consisted of local singers and the choirs of two cathedrals.
At Fairfield on Saturday, the choir also consisted of local singers, namely Banstead Musical Society - just over 100 singers in number - a choir which proved capable of producing a sound that did not need any supplementing.
By sound I do not mean just volume, although they were well able to produce a powerful sound when required. Their main strength was in the production of a fine, apparently unforced tone over all the dynamic ranges, and well disciplined part singing.
Although they were undoubtedly aided by the Fairfield acoustic, it was also rewarding to be able to hear their words, not always the case with choirs, even here.
The feeling of naturalness and clarity of tone was also reflected in the performances of the four excellent soloists: soprano Katharine Fuge, alto Charles Humphries, tenor Ian Yemm and bass Simon Birchall, who complemented each other well. The singers were beautifully accompanied by the City of London Chamber Players, led by Brian Lloyd Wilson who specialises in period instruments, with Richard Stangroom directing from the harpsichord, and Ian le Grice at the organ.
At several points during the evening, my attention switched from the singers to the orchestra's descriptive interpretation, such as the trembling violins in the sorrowful alto solo He was despised, and their scorn in All they that see Him laugh.
The choir alternated with controlled precision from loud to soft in Since by man came death. They demonstrated an impressive use of dynamics to create expression in Surely He hath borne our griefs, especially on for our iniquities. Also in the majestic closing phrases of All we like sheep.
The soprano aria I know that my Redeemer liveth, was also especially memorable, Fuge's lovely voice enhanced by violin, cello and harpsichord.
From: The Croydon Advertiser

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