Of particular note during both of these pieces was the blend of the Choir with the String Quartet, who gave us the added joy of their superb playing (with a heart-rending pianissimo at the end of Days of Beauty!) and most notably that of the cellist George Ross.  Equally, we were treated to a beautiful performance of “First Snow” by the piano and strings.

As if we were not already endowed with musical riches, then came Barber`s “Agnus Dei.”  Although this piece has long since entered the canon of popular classical music, a live performance always brings something extra that can rarely be garnered from a recording.  There is a visceral quality in hearing the soaring sopranos, climbing up ascending scales, the interwoven voices seeming to pour out their hearts in grief.  When I hear it, I feel there is an unresolved question threading throughout the minor keys – and neither is there a happy resolution at the end.  But this does not detract from the enjoyment of its sheer beauty, especially when performed so well.

Praise is due to the composer of the next piece, Samuel Ives, a young member of Phoenix Choir, whose composition “Black, Black, Night” was given its world premiere.

Samuel told me that he had been inspired to write it whilst on a visit to Bolivia and he had experienced such a night.  The musical construction is mature and expressive, for example in the third line “Obscurity to Eternity” moves from minor to major key, demonstrating a shift from dark to light.  The piece was sung very well, supplemented by superb string playing.  I felt the whole piece was quite emotionally charged.  Samuel is to be applauded and encouraged by the positive reaction to his work.

Two further pieces by Gjeilo led up to the Interval:”Northern Lights” and “The Ground.”

The first was more free-flowing and lyrical, the second had the sound of a joyful hymn, enhanced by a delightful mid-point key change introduced by the piano.   

The second half of the programme opened on a rather different note, with “Spiritus Sanctus Vivicans Vita” by Hildegard of Bingen, Abbess and Mystic of the 11/12th Century.  It is a short, very serene, calming piece, in the form of a hymn, which was beautifully sung by soprano soloist Joelle Gilbert.

This was followed by Faure`s “Cantique de Jean Racine”.  In my notes, I wrote “fabulous!”  - and this sums up my reaction.  It is a work I know well and love, and Phoenix`s rendition did not disappoint.  There is such a richness in the notation; it starts gently with sweeping strings, then rises in wonderful harmonies and ascending scales, beautifully delivered by the Choir.  There is a kind of yearning within it, but all is calm and well at the end. All sections are able to soar and each did so to great effect, male and female parts combining into a perfect whole.

This led into the last part of the concert and the music of American composer Morten Lauridsen, starting with a short piece “Sure on this Shining Night”.  The first line of this three-part poem was sung with such clarity and aplomb that I underlined it in my programme, with `superb` written alongside.  The words were so well interpreted, the whole piece very tuneful and the men`s voices especially strong.

Finally, Lauridsen`s 5-part “Lux Aeterna” was presented, the String Quartet having been replaced by highly regarded organist Colin Hughes.  The `Lux Aeterna` is a large and complex work, demanding much of its performers.  There are difficult, often dissonant chords to be mastered, noticeably so in the “`In Te, Domine` section, but these were delivered competently.  “O Nata Lux” one of the better-known sections, gave scope for the soaring sopranos to shine, which they did!

To describe “Veni, Sanctus, Spiritus” as a cacophony of sound may seem disparaging, but I use it in a good way: there was so much movement and contra-sound, always bright and crisp, which gave full vent to the meaning of `Come Holy Spirit` and `Cleanse what is dirty`  A real `tour de force`, well accomplished.

When we arrived finally at the “Agnus Dei”, I found it to be almost mesmerising: such a rich volume of sound, excellent phrasing and a glorious Alleluia at the end.  And the whole work underpinned and supported by the `engine` of the excellent organ-playing.

We are very blessed to have Phoenix Choir in our midst and on behalf of all audience members I offer a big `thank you’ to all of you – singers, musical accompanists, director/conductor – and everyone behind the scenes - for all the effort you put in to keeping quality music alive and well in Eastbourne.

Dorothy May