*/
HHJ Philip Bartle QC reviews a dramatic and confident Bar Choral Society Performance of The Creation at Middle Temple Hall
The magnificent sixth concert of the Bar Choral Society (BCS) on 16 November 2016 was in Middle Temple Hall – the first not performed in Temple Church.
The new venue was ideal for Haydn’s The Creation which depicts the creation of the world according to the Book of Genesis. He was in his mid-60s in 1797 when he wrote what Leonard Bernstein described as ‘one of the supreme music dramatisations of all time’. His inspiration was hearing Handel’s works on a visit to London in 1791. It was written in English and German and was so popular that it was performed many times in Haydn’s lifetime.
The Creation is written for a large chorus and three soloists who in Parts 1 and II sing the three angels Raphael (DeAndre Simmons, bass), Uriel (Andrew Tortise, tenor) and Gabriel (Amy Haworth, soprano) and, in Part III, sing Adam (bass) and Eve (soprano).
The chorus exists in its own right and not simply as an echo or support for the soloists. Its first words are ‘(pp) And the spirit of God moved upon the face of the waters. And God said Let there be Light and there was (ff) Light’, a moment of explosive drama achieved through the chorus going from pianissimo to molto forte precisely on the second ‘Light’ without any pause. This leads to an unforgettable orchestral evocation of that moment. Then at key points, the chorus marks the end of a day of creation and finish the work (with the soloists) singing ‘The Lord is great. His praise shall last for aye. Amen. Amen.’
The orchestra frequently plays alone, particularly the overture which describes the chaos before creation.
It has been a great pleasure to see the BCS tackle major choral works and its thrilling performance in The Creation was without doubt its best to date. I was enormously impressed by the dramatic power and confidence of their singing. Also, the soloists brought great individuality to their singing which rang out in the glorious setting of Middle Temple Hall.
Once again, Greg Morris was conductor and musical director. He was in complete and effortless command of the large forces. The orchestra was the Temple Players. Although at just over 30, they were far less than the 120 at the premiere, the range and colour of their playing was outstanding and fully justified a small orchestra.
This was the last concert by the BCS under the chairmanship of Tim Dutton QC. Tim has achieved more than most in his career and we are all enormously grateful that the BCS is one of his greatest achievements.
Now under the Chairmanship of Stuart Ritchie QC and a talented board of trustees the BCS will sing the Bach St John Passion in Temple Church on 11 April 2017, followed by Walton’s Belshazzar’s Feast with the Parliament Choir and South Bank Sinfonia at the Royal Festival Hall on 17 May 2017. See:
Reviewer HHJ Philip Bartle QC
Philip Bartle has been a Circuit Judge since July 2012 sitting at Luton Crown Court. He was a barrister for 36 years specialising in professional negligence and practised from Littleton Chambers.
The new venue was ideal for Haydn’s The Creation which depicts the creation of the world according to the Book of Genesis. He was in his mid-60s in 1797 when he wrote what Leonard Bernstein described as ‘one of the supreme music dramatisations of all time’. His inspiration was hearing Handel’s works on a visit to London in 1791. It was written in English and German and was so popular that it was performed many times in Haydn’s lifetime.
The Creation is written for a large chorus and three soloists who in Parts 1 and II sing the three angels Raphael (DeAndre Simmons, bass), Uriel (Andrew Tortise, tenor) and Gabriel (Amy Haworth, soprano) and, in Part III, sing Adam (bass) and Eve (soprano).
The chorus exists in its own right and not simply as an echo or support for the soloists. Its first words are ‘(pp) And the spirit of God moved upon the face of the waters. And God said Let there be Light and there was (ff) Light’, a moment of explosive drama achieved through the chorus going from pianissimo to molto forte precisely on the second ‘Light’ without any pause. This leads to an unforgettable orchestral evocation of that moment. Then at key points, the chorus marks the end of a day of creation and finish the work (with the soloists) singing ‘The Lord is great. His praise shall last for aye. Amen. Amen.’
The orchestra frequently plays alone, particularly the overture which describes the chaos before creation.
It has been a great pleasure to see the BCS tackle major choral works and its thrilling performance in The Creation was without doubt its best to date. I was enormously impressed by the dramatic power and confidence of their singing. Also, the soloists brought great individuality to their singing which rang out in the glorious setting of Middle Temple Hall.
Once again, Greg Morris was conductor and musical director. He was in complete and effortless command of the large forces. The orchestra was the Temple Players. Although at just over 30, they were far less than the 120 at the premiere, the range and colour of their playing was outstanding and fully justified a small orchestra.
This was the last concert by the BCS under the chairmanship of Tim Dutton QC. Tim has achieved more than most in his career and we are all enormously grateful that the BCS is one of his greatest achievements.
Now under the Chairmanship of Stuart Ritchie QC and a talented board of trustees the BCS will sing the Bach St John Passion in Temple Church on 11 April 2017, followed by Walton’s Belshazzar’s Feast with the Parliament Choir and South Bank Sinfonia at the Royal Festival Hall on 17 May 2017. See:
Reviewer HHJ Philip Bartle QC
HHJ Philip Bartle QC reviews a dramatic and confident Bar Choral Society Performance of The Creation at Middle Temple Hall
The magnificent sixth concert of the Bar Choral Society (BCS) on 16 November 2016 was in Middle Temple Hall – the first not performed in Temple Church.
Kirsty Brimelow KC, Chair of the Bar, sets our course for 2026
What meaningful steps can you take in 2026 to advance your legal career? asks Thomas Cowan of St Pauls Chambers
Marie Law, Director of Toxicology at AlphaBiolabs, explains why drugs may appear in test results, despite the donor denying use of them
Asks Louise Crush of Westgate Wealth Management
AlphaBiolabs has donated £500 to The Christie Charity through its Giving Back initiative, helping to support cancer care, treatment and research across Greater Manchester, Cheshire and further afield
Q and A with criminal barrister Nick Murphy, who moved to New Park Court Chambers on the North Eastern Circuit in search of a better work-life balance
The appointments of 96 new King’s Counsel (also known as silk) are announced today
Ready for the new way to do tax returns? David Southern KC continues his series explaining the impact on barristers. In part 2, a worked example shows the specific practicalities of adapting to the new system
Resolution of the criminal justice crisis does not lie in reheating old ideas that have been roundly rejected before, say Ed Vickers KC, Faras Baloch and Katie Bacon
With pupillage application season under way, Laura Wright reflects on her route to ‘tech barrister’ and offers advice for those aiming at a career at the Bar
Jury-less trial proposals threaten fairness, legitimacy and democracy without ending the backlog, writes Professor Cheryl Thomas KC (Hon), the UK’s leading expert on juries, judges and courts
