Chichester Cathedral, Mar 18
Life was so much simpler in the time of Orlando Gibbons, was it not. I somewhat doubt it. The anonymous author of the text to The silver swan notices that, more geese than swans now live, more fools than wise.
Perhaps less changes than we think but Gibbons, whose music made up all of this programme given by Chichester Cathedral and the Rose Consort of Viols under Charles Harrison, crafted a world of peace and harmony away from worldly cares compared to the often atonal, angular sound of much contemporary music.
Two trebles led off If ye be risen again with Christ, immediately setting the mood quite gloriously and the audience were wise and circumspect by deferring their applause to the very end of proceedings which helped greatly with the solemnity of the occasion by not over-punctuating the sequence of short pieces.
In Dainty fine bird the Consort were what in modern parlance would be called a violin duet before all five of them joined in for Trust not too much fair youth. And thus the fine choral sound was interspersed with their restrained charm and immacualte musicianship throughout. Without the forensic evidence of shellac, vinyl, CD or download being available to Gibbons, I’m not sure we can be confident of knowing exactly how his music sounded to him but the findings of modern scholarship provide something I hope he would have approved of.
A memorable In nomine 2 a5 most affectingly sustained a top note while the embroidery was woven below by the lower strings which I understand is where the main line of music once was.
Great Lord of Lords brought in countertenors with choir and then the Consort gave Fair is the rose and two more sumptuous Fantasias. Breaking into a more spirited ensemble in See, see the word is incarnate with more solo parts, the cathedral acoustic was put to good purpose although probably inevitably better for those early arrivers who snap up the first few rows because this in intimate music more than it is grandstanding Albert Hall Last Night material.
It was a great privilege to hear, and see, this special, unsensational performance which was, in another way, sensational.
David Green
