Spem in Alium - Chapter House, York Minster - 29/01/09

The acoustics and architecture of York Minster’s Chapter House provided a stunning setting, and the forty or so students involved excelled in the surroundings.

The programme opened with a selection of traditional works for small vocal ensemble. The singers started unseen, performing a plainsong hymn and Agnus Dei from Byrd’s Mass for Three Voices.

Moving in front of the audience, the quartet of Anna Edgington, Edward McMullen, Chris Palmer and Nick Ashby performed Thomas Tallis’ Sancte Deus. The ensemble was particularly well-balanced here, each of them sounding effortless as their consistently pure voices complimented each other beautifully.

The first half concluded with the premiere of Ashby’s own Te lucis ante terminum. Written with this concert in mind, the choir of fifteen, conducted expertly by Adam Treadaway, ensured its first performance was a triumph. A period of close chromatic movement at the start provided a subtle introduction to later, more exultant passages, into which were built the plainsong hymn which had provided inspiration for the composition.

The presence of unpredictable harmonic shifts and stark dynamic contrasts were significant distinct from the early portion of the programme, but with the setting remaining constant and the forces similar, the shift from one harmonic tradition to another was relatively seamless. Ashby was fortunate to have such a strong body of voices performing his work, whilst the performers were clearly appreciative of having such an exciting work to debut.

The second half opened as the first had, with a small ensemble at the back of the room. Three 20th century works followed: James MacMillan’s Christus Vincit was meditative, and Rutter’s Hymn to the Creator of Light suitably atmospheric.

Ligeti’s Lux Aeterna was startling in its dissonance; its early sections of female, then male voices producing a quiet cacophony using the composer’s own harmonic device; termed ‘micro-polyphony’. It was a rare treat to hear; written whilst in hospital on morphine, the piece felt suitably semi-conscious.

The night drew to a close with Tallis’ famous 40-voice motet Spem in Alium. Written around 1570 as a result of a bet, the performers are divided into eight groups of five singers each. Encircling the audience, the performers were equally divided around the edge of the round Chapter House. Seemingly supporting each other by passages of imitation and complex counterpoint, the choirs built to an antiphonal climax.

The sheer amount of musical content was thrilling, and the ensemble was completely cohesive; a fitting finale for a concert that will live long in the memory.

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