Heritage Concert St. John's Church

The parenthesised information that appeared on the programme notes ? Orchestral Arrangements by Marjorie Pettit ? modestly glossed over a year's worth of labour, without which last weekend's Heritage Concert at St. John's quite simply could not have come into being.

That was the invisible part of Mrs. Pettit's hugely successful effort to bring before two evening's appreciative audiences superb performances. The other role, that of conductor, was visible. Mrs. Pettit gets the performances she wants from orchestra, soloists and chorus with a minimum of clearly understood gesture. She is the music's faithful, and too humble servant. She deserves all the congratulations heaped upon her, especially the cheer that came spontaneously from the children's chorus when she received her bouquet at the end of Sunday evening's performance.

Everything was pleasing about this performance; the disciplined movements of the choir, the orderly procession of soloists to the dais, and most especially the sounds that emanated from the choir and orchestra.

The programme itself was true to the stated aim; to teach the art of singing and to expose the young people to as many styles of music as possible, while exploring the vast range of classical repertoire available. Mission accomplished. We heard music from Maori to Mozart, Pop to Opera; Jamaica, Ireland, Scotland, Italy, Austria and the USA were represented by well chosen selections.

The chorus opened with Page's Cantate Domino, followed by Karl Jenkins's Benedictus, which featured Jordan Robbins as soloist who sang commendably well. One couldn't help but notice the enthusiasm of the orchestra, not only by the sounds they produced, but by their rhythmic movement along with some of the pieces.

This was particularly true of Feldman's lilting 'River in Judea', which followed. Paige Hallet was the soloist on 'Little David Play on your Harp', a Negro Spiritual, and also sang well. If I might be permitted, I would suggest a slightly slower tempo for this, and some rubato by the soloist. It would still be rhythmic and fun to sing and delightful to hear. It was a delight just the same. Francesca Dill was delightfully fine voice singing the Maori 'Hine E Hine', as was Jessica Frith on the 'The Lark in the Clear Air'.

The chorus was then featured in three pieces, Cy Colemen's 'The Rhythm of Life', John Rutter's gorgeous 'All Things Bright and Beautiful', and E. Chabrier's 'Espana'. Percussionist Peter Profit supported the singers subtly an effectively, with appropriate brushes, tambourine and even castanets.

A highlight of the evening's performances was young Leidy Sinclair, Jyrki Pietlila's violin student, and her performance of the well loved Concerto in a minor of J S Bach's.

Slightly built at 12 years of age she played with great intelligence and understanding of the music; what she lacks now in physically strength will surely come as she matures.

She is one to watch, as her talent and dedication (she commutes to Boston some weekends for private lessons) indicate a fruitful musical future. It must have been with tremendous satisfaction that her first teacher, Jyrki Pietila, led the orchestra for the concerto.

After an intermission the chorus opened with orchestra leader Kerry Hallam's adaptation of Vivaldi's 'Gloria'. Noting the preponderance of girls in the chorus, one couldn't help but think of the composer who worked in a girl's school for many years and for whom much of his choral music must have been written. Well arranged, and well sung too.

Madison Mello had Caccini's 'Ave Maria', also arranged by Ms Hallam, to sing. It is a gorgeous piece of music, the chords with major sevenths sounding very modern. Miss Mello sang this difficult music displaying a fine upper register. It requires terrific powers of breath control an area in which, no doubt this singer will continue to grow, and even excel. Zoe Brady,with 'The Salley Gardens', and Samantha Tavares, who it seems is always before a public these days, with Gershwin's 'Summertime' gave very good accounts of themselves.

The children enjoyed singing the Jamaican Folk Song 'Pack She Back To She Ma', and the engaging Austrian 'Orchestra Song'.

Kerri-Lynnne Dietz wants to be an opera singer. She's a member of Westminster Choir College , having been a scholar at the United World College in New Mexico. No doubt at all about her potential. She has the voice for it , as we heard in 'Voi Che Sapete', from Mozart's 'The Marriage of Figaro'. Splendidly done.

Splendid also were the final offerings of the chorus: Verdi's Hebrew Slave Chorus from the Opera 'Nabucco', and Mrs Pettit's arrangement Handel's Hallelujah Chorus, from 'The Messiah'.

Congratulations to the very fine orchestra, and the inconspicuous William Duncan, for their excellent work.

Space does not permit, but much needs to be said about the quality of Mrs. Pettit's arrangements. They show a intrinsic knowledge of balance and beauty, function and aesthetic. For example , in the Rutter there is a modulation, and she has the trumpet (superbly played by Conrad Roach) escort the sopranos through the modulation and some ways into the new tonality. Her choice of instrumentation is inspired. She knows children's voices and how they need to be supported; and since the arrangements do not exist in abundance, she creates them, at home, in airports, on aeroplanes, all year long, for our delight. But how very memorable; they remain with us long after the performances are over.