Johann Sebastian mighty Bach. O Bach fach.

Collegium Musicum - London - 'Mass in B Minor' (J.S. Bach) - St James' Clerkenwell. Saturday 3rd May 2025.

The title of this Post comes from Dylan Thomas' 'Play for Voices' 'Under Milk Wood'. Organ Morgan, on his way to chapel to practise, sees Bach lying on a tombstone. He greets his hero enthusiastically, even though this is not Bach but a very drunk Cherry Owen. Despite his mistake, it is still significant, and moving, that Organ Morgan uses the Welsh word fach (little one) as a term of affection to greet a composer who is often thought of as a rather austere figure, concerned with God's mathematics; a genius to be admired rather than loved. This was certainly the view of the eminent judge and KC Jonathan Sumption on today's 'Private Passions' on Radio 3: he called Bach a 'lawyers' composer, lacking in emotion.' A shame he was not at the Collegium Musicum performance of the 'Mass in B Minor', at St James' Clerkenwell, which was, by turns, profoundly moving, viscerally exciting and utterly joyful.

Collegium Musicum is an amateur choir, but singers have to audition and at the moment there are no vacancies, which indicates competiton to join is keen and, once accepted, singers are happy to stay. There are six tenors and six basses and slightly more than double that number of sopranos and altos. The age range is impressively wide and the sound produced is well-balanced, well-tuned and well nourished. Above all, the enthusiasm of the members is manifest; they clearly love what they are doing. The handsome and well proportioned church of St James' Clerkenwell was packed, and the audience scrupulously attentive. As with the choir, the audience ranged in age from the young to the young at heart. The atmosphere as the performance started was receptive and full of anticipation; by the end this had developed into something close to ecstacy.

This was a superb performance which, as can be the way in the curious alchemy of music making, was even more than the sum of its considerable parts. A few specific moments stood out even from the general excellence: the transition from the Bass aria 'Quoniam' to the Chorus 'Cum Sancto Spiritu' was wonderfully exciting, David Blackadder's trumpet playing thrilled throughout (the small orchestra was absolutely top notch), the Agnus Dei was sublime, and the final 'Dona Nobis', with Timpanist Scott Bywater playing like a man possessed, was simply electrifying. The Mass is, of course, a religious work, but the collective audience eruption at this conclusion was positively pagan!!

Plaudits to all concerned: the four soloists Eloise Irving (soprano), Martha McLorinan (mezzo), Simon Wall (tenor) and Tristan Hambleton (bass) were a notably well-matched team and conductor Greg Morris was immaculate. Ultimately though, the evening belonged to the Collegium Musicum Choir. The B Minor presents huge challenges to amateur singers, but these were met with confidence, expertise and, above all, joy.

A final shout-out to my son Sam Herman-Wilson, a member of the elite tenor section, and the main reason for an extended family outing to this life-affirming performance. Thank you!!