Just a week after they performed a Bob Dylan classic at the Old Vic Theatre in London alongside Australian superstar Tim Minchin, Tredegar’s chameleon-like ability to explore the boundaries of musical diversity saw them present the world premiere of a brass band arrangement of Thomas Tallis’ renaissance masterpiece, ‘Spem in Alium’.

Modernistic

Written around 1570, its polyphonic structures and shifting tone colours remain remarkably modernistic - enhanced greatly by the vast acoustic expanse of Llandaff Cathedral.  

40 distinct harmonic elements (soprano, alto, tenor, baritone and bass) were sympathetically blended together by arranger Chris Davies utilising eight motet ‘choirs’ (the band brought in additional players) – enabling the spatial balance to be maintained with focus and clarity.   

Sumptuous textures and delicate dissonances emerged and subsided as the music grew in intensity to mirror the work’s title - ‘Hope in Any Other Have I None’ in a performance of stunning effectiveness.

Sumptuous textures and delicate dissonances emerged and subsided as the music grew in intensity to mirror the work’s title - ‘Hope in Any Other Have I None’ in a performance of stunning effectiveness.

Sense of adventure

The cavernous acoustic was utilised to fine effect from start to finish - from the bold fanfares of ‘Fest Musik der Stadt Wien’ and the delicacy of Faure’s ‘Pavane’, to the swashbuckling ‘Le Corsair’ and gossamer wit of ‘The Marriage of Figaro’.

Soloists Chris Davies and Dewi Griffiths were on tip-top form, whilst the Palestrina Singers under Tom Lazell (making his last appearance with the chamber ensemble) offered a cultured counterpoint with their finely judged renditions of works by Farrant, Flecha, Byrd, Purcell, Palastrina and Tallis.

That sense of adventure and challenge was never far away though - and it can’t be too often that an audience sat facing Jacob Epstein’s magnificent ‘Christ in Majesty’ sculpture will have heard a renaissance masterpiece balanced by a war time lollipop from Eric Coates (‘Calling all Workers') and a bomping bit of Jimmy Webb inspired ‘MacArthur Park’ to close.

Tredegar continues to explore divergent musical horizons with an ever inventive appetite that shows little sign of being sated. Long may it continue.

Iwan Fox