Orchestra London: Cathedral Series

Closing Out the Cathedral Series in Fine Style: Bach Finale

St. Paul's Cathedral, London , Ontario: Wednesday May 5, 2010

by Brian Hay

Conductor Timothy Vernon altered the shape of this program by playing the Sinfonia from BWV 209 first. It turned out to be a great idea. Instead of beginning with a grand orchestral roar the music came in like a gentle wave from an evening tide rolling up the sand to caress the ankles. The work from the strings formed a cradle rocking gently to and fro while flautist Annelie Metrakos delivered a rendition of the complex solo line that was nothing short of exquisite. Mark Payne underscored the work of the players beautifully with an impassioned rendition of the continuo for harpsichord which underscores the work. This turned out to be one of many reminders of the calibre of musicianship within this orchestra that this program would yield.

After this the program leapt into the world of the grand and celebratory. The orchestra played the D Major Overture from Suite Number Four as a rousing blast of strings, winds, horns harpsichord and percussion that evoked images of Gods whisking mortals off in their Chariots and taking them to witness their grand games with all the pomp and ceremony that accompanies them. There's never more than a few seconds when all or most of the members of the orchestra weren't busy with something. The texture of this music is richly dense. Bach has several parts going their own way with something else seeming to cross it. Together it's a finely woven and very complex structure that works seamlessly. The players of Orchestra London met the challenge of this material and had a great time with it. Their joy in playing it was a thing of be beauty by itself. After the number ended there were smiles crossing most of their faces.

The choral movement that opened the Cantata BWV 205 ('Der zufriedengestellte') was even larger in musical scope than the Overture from the Fourth Suite. Strings buzzed away while trumpets blared and voices soared. It was a magnificent moment for everyone involved. The players wove the intricate texture of the music beautifully. The voices of the choir rang with joy that was magisterial. The numbers between the introduction and the finale issued an abundance of challenges for both the players and the individual soloists appearing on the program.

Bass singer Clarence Frazer had what was probably the most difficult task assigned to any of the singers. He had to make himself heard above all of the players as they worked in unison. He did it pretty well. His voice is a silvery baritone that retains its silky texture through his entire range. He could almost always be heard and he did so without sounding strained. Tenor Graham Thompson sang beautifully and with warmth. His voice is a gentle one as well but is deceptively powerful. Rebecca Ballantyne has a very strong voice. He vibrato is controlled very well and her pitch is such that her singing penetrates the work of an instrumental ensemble well. Bethany Hörst has a remarkable voice. She projects immense volume with no apparent strain. Her singing is very flexible and her control is magnificent. She can raise or lower her volume on the proverbial dime. The array of colour tones she can shade her work seemed endless. We don't need to search the world for great singers. We have plenty of them right in our own back yards.

These numbers were just as demanding for the musicians. Most of the arias featured intricate solo, or near solo parts from different sections of the orchestra. Ian Franklin and Jennifer Short underscored one of the arias with exquisite oboe playing. Shawn Spicer, (probably) Peter Audet, and a third trumpeter delivered some fabulous work on another. Joseph Lanza delivered stellar work on one aria and exquisite work on a duet he shared with another of the players. The Cantata closed with a grand finale from the choir and orchestra. Again, every player wove the fabric of Bach's music while the voices soared above them. It was magnificent. Anyone wondering about the longevity of the popularity of Bach's work need look no farther than a performance like this.

Prior to playing it Trumpet Player Shawn Spicer told me that Cantata BWV 205 was a really hard one to play but that they were looking forward to it. That comment speaks volumes about why the work from this ensemble always has such a spirited sound. Give these people music to play and they're happy. Give them a challenge and they're like kids in a candy store. They love what they're doing and it shows.

This was a great finale for a fabulous series.

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