Nederlands Kamerkoor The Canterbury Songs travelled to Enschede’s Grote Kerk with British choral conductor Peter Phillips to tell a very British tale. For a choir known for their innovative programming, this latest offering produces an eclectic kaleidoscope depicting medieval and renaissance society: from the aristocratic world of the Elizabethan court to the bawdy town cries of London’s fishmongers, butchers, grocers and purveyors of “the finest silk garters”.
The Canterbury Songs
Knight’s new commission for the Nederlands Kamerkoor
Six newly commissioned a cappella miniatures from the English composer and tenor William Knight was the highlight of the evening. Six Chaucerian Pilgrims takes direct inspiration from The Canterbury Tales, a collection of stories set in 14th century England by the poet and author, Geoffrey Chaucer. Each miniature offers glimpses into the lives of the colourful pilgrims featured in the Prologue as they travel from London to Canterbury. Each with a very distinct tale to tell. Knight like Chaucer, cleverly captures humour and complexity in the human condition. And under Peter Phillips’ nuanced direction, these are sophisticated and hugely entertaining creations.
From the baying basses gently chastising the Wife of Bath with just a hint of a negro-spiritual lilt; to the hiccupping Manciple (Steward) telling the story of a snow-white crow who could mimic the human voice; and the Friar, spinning uncontrollably in a drunken stupor before collapsing, full of shame and regret. Equally entertaining is The Monk full of chattering sopranos chanting “namoore, namoore”, and embracing almost playground antics as thwarted attempts to entice him come to nought: “I have no lust to pleye.” To conclude, The Prioress – a soulful number, full of yearning and luscious swells.
Knight uses the old Middle English text with its natural, almost musical rhythms. Combining renaissance polyphonic textures and sonorities with something modern and contemporary, these are a most attractive addition to the canon. Nestled alongside the theatrical bravura of Gibbons’ Cries of London, this is where the Nederlands Kamerkoor seemed most at ease.
More Canterbury songs
Continuing the associations with Canterbury, we heard works by Thomas Tallis (who was briefly employed at Canterbury Cathedral) and Orlando Gibbons (who died and was buried there), and rarely performed works from John Ward (who was born in Canterbury). In this more traditional offering where an ethereal and delicate quality in phrasing allows delicious dissonances and oft syncopated rhythms to delight, and where pronunciation and ‘singing as one’ are paramount, the NKK seemed less at ease.
Giving the singers a well-deserved break, organist Laurens de Man brought the Grote Kerk’s 19th century organ to life for two quite lengthy works. The first, Felix namque by Tallis, gave us a moment to cast our minds to a time when this church would have been the centre of so much city life, and perhaps even performances of some of the music on offer tonight.
Stepping out into Enschede’s brightly lit night sky, we found just that. A bustling panorama of Dutch terraces, packed with people from all walks of life. Chaucer would have felt right at home!
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This concert was reviewed at the Grote Kerk, Enschede on 28th September 2024
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