Rossi, Hassler, Palestrina, Byrd, Lassus, de Wert, Monteverdi, Lobo, Le Jeune, des Prez, Ley, Chilcott, Hession, Simon, Rossini
The King’s Singers celebrate their fiftieth anniversary this year with a world tour that passed through Salzburg Great University Auditorium this evening (a new venue for me, actually – but may explain the large youthful contingent in the audience).
The first half of the concert proved the better half, with a selection of music both religious and secular from the sixteenth and seventeenth centuries (Rossi, Hassler, Palestrina, Byrd, Lassus, de Wert, Monteverdi, Lobo, Le Jeune, and des Prez). Although hardly a comprehensive selection, the lone Palestrina work, Pulchrae Sunt Genae Tuae, demonstrated how that composer saved polyphonic music from a papal ban and allowed its subsequent development, his harmonies piercing into the soul. Palestrina did not just write music, he transformed listeners far and beyond what any of the other pieces this evening could do.
The several works by Lassus showed him at his versatile self, including an ode to music as a heavenly gift and a couple of humorous madrigals. Salamone Rossi’s work, that opened the concert, may have been the least expected: Psalm 124, in Hebrew, by an accomplished Jewish composer of renaissance Italy (whom I have now learned about for the first time).
The multi-part music after the break covered the last 100 years in three sets written for King’s College Cambridge (Henry Ley‘s before the King’s Singers were founded; Bob Chilcott and Toby Hession on commission from the King’s Singers), but these modern works lacked the tonalities that had made the early music excel. Three works set a capella by the popular singer Paul Simon at least did not try to compete, instead placed in the program to add a bit more fun – as was an a capella rendition of part of the Overture to William Tell by Rossini. Two folk songs (one possibly Austrian, given the audience reaction, performed jokingly; the other Scottish) came as encores. The second half of the concert added more personality, but actually they had shown enough during the first half – including the humorous songs of four centuries ago, appropriately hammed up by the artists – so that the later works were a bit of a let-down this evening. The first half of the concert on its own was worth the ticket.