Cambridge Philharmonic Society
Mozart: Mass in C Minor
Ely Cathedral
Saturday 4th July 2009

Ely Cathedral was the ideal venue for Cambridge Philharmonic’s performance of Mozart’s Mass in C minor and Symphonie Fantastique by Berlioz.

The large choir and orchestra, under the expert baton of Timothy Redmond, gave both works good value. More than this, the skilled performers added a sense of immediate vitality and potency rarely heard before.

The orchestral opening to the Mass brought out the grace and purity of Mozart’s line and with the choir the underlying passion and sincerity were clearly conveyed. The conductor’s perceptive management was in evidence as phrasing and rests were meticulously shaped. The impact of the opening of the Gloria was enhanced with a sense of drive and vitality and well contrasted with the more sustained moments at Et in terra pax. Highlights from both choir and orchestra in this work included the potent, deep reflection of the slow and stately Qui tollis which developed meaningfully as sudden contrasts were precisely marked. The tension of the tight texture of the Jesu Christe was noticeably enhanced and also impressive were the declarative statements of the Credo in unum Deum and the full blooded opening of the Sanctus.

The soloists were well chosen. Hannah Bradbury (soprano), Katie Bray (mezzo-soprano), Stuart Haycock (tenor) and George Humphreys (baritone) were all highly accomplished in their fields and added an intriguing sense of variety with the different timbres of their voices. Hannah Bradbury sang the Christe eleison with a keen sense of reflective delight.  Katie Bray and the orchestra managed impressive partnerships in some of the most sensitive and intricate parts of the Laudamus te. Stuart Haycock helped to form an impressive virtuosic trio in Quoniam and George Humphreys completed the well balanced and expressive  quartet in the Benedictus.

 A definite wow factor was added to this concert by the orchestra’s performance of Berlioz’s Symphonie Fantastique. This work has often been maligned for the personal almost maniacal content reflecting Berlioz’s personal turmoil and suffering from unrequited love. This performance put paid to such nonsense. Timothy Redmond’s expertise came to the fore and this impassioned, colourful and musically profound composition was brought to life. Every expression was thoughtfully inclusive and the varied and demanding changes of mood, character, pace and texture were woven into a highly moving and cohesive fabric. The audience was left spellbound as all sections of the orchestra – sweeping strings, tuneful woodwind, bombastic brass and rumbling and dramatic percussion – brought this amazing work alive.  

This concert was definitely well worth the visit and an event that clarified, without doubt, the superior value of listening to music live. It was an amazing and unforgettable experience.

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