Bel a cappella – All things made new…

Bel a cappella | A New Song

Sunday 30 April 2023, St Augustine’s Balmain

Sydney has many amateur chamber choirs from which to choose, and Bel a cappella is up there with the best of them. So it was on a sunny, Sydney afternoon that Bel’s newly-appointed conductor and choir leader, Monica Buckland (successor to the much-respected Anthony Pasquill), stepped on to the podium at Balmain’s St Augustine’s church.

Respect, I thought to myself, casting my eye over the choir from left to right. Respect, anticipation, and perhaps a little apprehension on their part as to how things would pan out in the course of the afternoon. And as Buckland walked on and turned to take a bow, it was apparent she held the choir in the palm of her hand without a note being uttered.

Off we went with our first piece, Sir James MacMillan’s, A New Song. If the choir seemed a little of unsure of itself to start with that’s perfectly normal. For performers first night nerves go with the territory. That said, the choir sung out, and spoke out, the diction being excellent throughout the concert. I’m no acoustical expert, but from time to time what came across sounded a little ‘muddy’ which may have something to do with the venue itself. So what. When you’ve got David Drury in front and above, blasting away with all-stops-out on that fabulous organ in the loft, nothing could go wrong. Had me sitting bolt upright. Bravo David Drury, and bravo to the other accompanists.

Then came Nigel Butterley’s Morning Fanfare, through which I discerned more than a few references to Benjamin Britten. Like any cultural manifestation, is not the evolution and transmission of music one vast swirl from which we select, adapt and create anew? Butterley’s piece was complex. Strong soloists, although overall the occasional wobble is nothing that practice won’t fix.

For those of us who adore the works of J.S. Bach, Jesu Meine Freude, is pure swoon. Here was another challenging piece – complex, exciting and sacred, which had the choir working (very) hard. A well-rehearsed choir is a joy to behold – and even better to listen to. For me, this was Bel beginning to hits its straps. Indeed Movement 9 was a showstopper, topped off by that fabulous soprano, clear and certain, the tenor sharing the glory. Adding to the moment were his diamond ear studs, all a-twinkle in the light of the afternoon sun. As a coherent unit, the choir produced a full-throated sound and had no difficulty in making itself heard.

Sans doute, Ravel’s Trois chanson was beautifully sung, the diction and pronunciation being outstanding, and a credit to its conductor, veteran Belster, the talented Margot McLaughlin. The four soloists didn’t miss a beat.

Charles Villiers Stanford was yet another brilliant product of the Anglo-Irish diaspora of the late 19^th and early 20^th century. You can find any number of interpretations of Beati quorum via on YouTube, my favourite being the one by Voces8. For my money, Bel’s rendition was strong and uplifting, although the venue’s acoustics again tended to muddy the clarity of this piece.

Anyone with an interest in the Baltic states will be familiar with Estonia’s singing revolution during the years 1987 to 1991. The power of singing was instrumental in the country regaining its ‘voice’ and sovereign status following almost 50 years of Soviet occupation. Arvo Pärt’s work is inseparable from the Estonian people’s struggle for, and belief in, their nationhood. Gentle, grateful was the Magnificat, so, too, was Bel’s choristry which has a long association and familiarity with the work of composers from the Baltic states.

Now to the beautiful reverie of Biebl’s, Ave Maria, a holy adoration whose sound was borne aloft by the choir. Finally, Sally Greenaway’s newly-minted (2022) piece, Resonance. A wonderful cascade of sound with references to Eric Whitacre and Reynaldo Hahn, this, indeed, was a hymn of thanks and joy. From the two aforementioned composers to Greenaway, and to those who follow in their footsteps; pass it on, I say, pass it on. Some might regard this piece as a musical outpouring in the wake of those dreadful Covid lockdown years. A release, of sorts? Just a thought.

What to make of Bel a cappella’s first concert for more than a good while, and Buckland’s baton? A superb and a joyous occasion for all of us. Bel and Buckland – you deserve each other.

Allons y!

Photo credit Neil Smith