Classical music concerts have long held a reputation for elitism. They are often perceived as accessible only to those already enculturated within the music’s enigmatic tradition. Challenging this stigma is a pressing concern for many classical musicians, and Vocatio:Responsio is striving to lead that charge in the Oxford music scene.
Formed last year, the group aims – as stated in their programme – to “make a difference in the way classical music is consumed” by devising “unique and compelling programmes”, which, in turn, invite audiences to “engage with wider musicological discourse” – hence the name Vocatio:Responsio, which translates from Latin as ‘Call:Response.’ The concert, Leipzig’s Other Options: Graupner & Bach, however, failed to offer anything new for the concert-going experience.
Held at St Michael at the North Gate, the concert exhibited two cantatas: Johann Sebastian Bach’s Herz und Mund und Tat und Leben, and Christopher Graupner’s Danket preist Gott in der Höhe. The two-paragraph-long programme notes highlight the interesting historical paradox of these two composers. Although Bach is significantly more famous today, in 1723, it was Graupner who was in greater demand to be the cantor at St Thomas’ church, Leipzig. Yet despite Vocatio:Responsio’s stated aim to “break the staunch barrier between performer and audience”, discussion of this topic was limited to the programme notes.
The concert experience itself was similarly conventional; the two cantatas were performed in succession, with no break, discussion or antics between. In practice, the concert differed little from a typical classical music concert.
Having attended some of Vocatio:Responsio’s previous concerts, I was disappointed that its director, Samuel Oliver-Sherry, omitted his usual ‘pre-match analysis,’ in which he contextualises the programme. This analysis not only attunes listeners more closely to the content of the performance but also emphasises the musicians’ enthusiasm.
With only a weekend of rehearsal, the 33 musicians nonetheless gave an excellent performance that was both detailed and assured. Stylistically, the ensemble felt entirely at ease: spirited and driven in the faster choruses, yet tender and harmonically nuanced in the slower movements. The clarity and unity of phrasing were particularly exceptional; it was a joy to witness each musician personally engaged in the music, while simultaneously responding to and interacting with what is happening around them. All four of the soloists gave solid performances, but it was perhaps tenor Elliott Gregg who felt the most compelling. Gregg’s wholehearted embrace of the drama in recitatives and arias alike provided a level of storytelling that was absent in the other soloists.
Occasionally, the soloists seemed to get lost and/or drag in recitatives, though, despite the consistently secure and animated continuo playing of Celeste Ong and Alexander McNamee. The orchestra’s blend also proved to be an issue at times, most frequently in movements that involved the trumpet, which completely washed out the other parts. This was especially a problem in solo movements, as soloists were unusually positioned behind the orchestra.
Vocatio:Responsio’s director and founder, Samuel Oliver-Sherry seems to be a glutton for punishment. As if organising this concert were not enough, Oliver-Sherry also stood before the entire ensemble and both played the violin and conducted the group; a feat I had never seen before. How he could juggle all this in a performance of such exceptional standard is beyond me, and it was truly a sight to behold. Moreover, simply playing in the group was not enough for Oliver-Sherry. He performed a superb solo in “Bereite dir, Jesu, noch itzo die Bahn” from Bach’s cantata, in one of the most beautiful moments of the concert.
Ultimately, Leipzig’s Other Options: Graupner & Bach fell short of fulfilling Vocatio:Responsio’s artistic aim of creating a unique concert-going experience. Why, on this occasion, did they decide to relinquish their usual discussion? And how, in the future, will they reconsider classical music performances’ “Other Options”?
Nonetheless, the group reaffirmed their status as a force to be reckoned with on the Oxford student music scene, and admirably exhibited the splendors classical music has to offer. Stylish, refined, dynamic – and with tickets at only £5 – I wholeheartedly recommend attending Vocatio:Responsio’s next concert, Democratising the “Double”, on 18 June at Wesley Memorial Church.