Bel a cappella | Lighten Our Darkness
Saturday Sept 2, 2023, St Augustine’s Church Balmain
This evening concert began in mysterious darkness, as the singers of Bel a cappella distributed themselves around the perimeter of St. Augustine’s Catholic Church. They sang The Apostles’ Creed, a 15th century setting in the form of a thirteen-part canon by Robert Wylkynson. I heard some wonderful tenors standing near me singing their parts, their faces lit up by the lights on their music, while the women’s higher voices scintillated at the other end of the church. Monica Buckland conducted from the centre aisle, holding aloft a glowing orb so that her directions could be seen.
Such was the theatrical start to this splendid concert – they went from darkness into light, and sang various works from the 16th century, concentrating on William Byrd, who died 400 years ago.
William Byrd and Thomas Tallis (his teacher) lived through turbulent times. They were practising Catholics, risking persecution, but were protected by their status as composers and music publishers. Continental composers were sympathetic to English Catholics and their plight and offered assistance to flee. An example of this was Philippe de Monte’s motet Super flumina Babylonis, which he sent to Byrd with an encoded message about singing in a strange land, to which Byrd replied – but stayed in England. Bel a cappella sang this with fervour, following with Byrd’s replying composition Quomodo cantabimus from the same Psalm 137.
The diversity of Byrd’s compositions was demonstrated with his setting of Ave Verum Corpus (quite different to the famous Mozart setting a few centuries later) and the joyful Laudibus in sanctis, which was very uplifting in this performance. Members of Bel a cappella moved around between works for different tonal effects, giving me different sketching opportunities.
We were treated with works sung in English by Byrd’s contemporaries, John Sheppard (The Lord’s Prayer) and Thomas Weelkes (Hosannah to the son of David).
The second half of the concert became more involved with the concept of light and day. It was bookended with works by Thomas Tallis – the first O nata Lux (Hymn for Lauds on the feast of Transfiguration) and last Te lucis ante terminum (Hymn for Compline) – these two works were sung by monks at the beginning and end of the day respectively.
Light, by contemporary Australian composer and priest, Keren Terpstra, was a highlight for me, with its shimmering harmonies echoing around the church, bringing to mind shafts of glorious light, indicating Christ’s Transfiguration.
This was followed by William Mathias’ 20th century setting of O nata Lux, an introspective work with quiet harmonies, using the same text as the Tallis work.
A very interesting part of this concert’s programming was the concept of different composers’ settings to the same text. Various settings of Drop down, ye heavens were performed with soloists from the choir. Their pure voices shone with the plainchant backdrop of the other singers. The final piece of this group was Anna Semple’s 21st century work Drop down. The delightful dissonances sent shivers down my spine.
The last group of works was about the light at end of the day. It included Charles Wood’s Hail, gladdening light – a typical English late 19th century sound, and Ross Edwards’ beautiful, restful hymn, Hymnus ante somnium (Hymn before sleep). Monica Buckland held off the applause till they finished singing the final work, Te lucis ante terminum (Before the ending of the day) , which was performed with the same feeling of peace and rest.
The audience then broke out in appreciative applause, plus accolades for Ross Edwards, the Balmain hero who was sitting in a pew near the front. Monica gave him a hug – he will be celebrating his 80th birthday later this year.
We then walked out into the cool night, lit by a glorious gibbous moon.
Sketches: Heidi Hereth
