BBC Radio 3 Carol Competition 2016

[Eine Alpensinfonie]

I voted today for my preferred setting in this year's competition. Last year I felt there was no contest, and my choice was the winning version.

I'm less certain this year, as I thought highly of 4 out the 6, choosing the one that appeared to sound the best. I choose my words carefully, as my judgement was severely affected by the distracting singing. ("Never mind the music - listen to my wonderful wobbly voice") etc.)

But what's done is done. . .

[oddoneout]

choosing the one that appeared to sound the best

In the context of carols that's possibly at least as valid a requirement as technical accomplishment?

[underthecountertenor]

I voted today for my preferred setting in this year's competition. Last year I felt there was no contest, and my choice was the winning version.

I'm less certain this year, as I thought highly of 4 out the 6, choosing the one that appeared to sound the best. I choose my words carefully, as my judgement was severely affected by the distracting singing. ("Never mind the music - listen to my wonderful wobbly voice") etc.)

But what's done is done. . .

I assume you are referring to the a cappella 4, in which case I agree with you. At the moment I'm inclined to think that the one which I found most striking and immediately appealing will also be the quickest to grate on repeated playing (which we are promised over the Christmas weekend, and which I think is unwise). If I vote at all, it's more likely to be for one of the more contemplative settings. But I agree that the quality is gratifyingly high (helped perhaps by the choice of a traditional carol text in place of the rather intransigent special commissions of previous years). The downside to that choice however is that Peter Wishart has, arguably, already produced the definitive modern setting, and I certainly don't think that any of the shortlist can touch it.

I'm not a card-carrying member of the BBC Singers fan club, but I'd like to put in a word for them in the light of your criticism (and the unremitting onslaught of criticism on another thread). I didn't detect a hint of attention-seeking, or indeed 'wobble', in the performances of the shortlisted entries. What I heard was a set of committed, professional performances which any composer would surely be delighted to hear at a premiere. Crystal-clear diction, excellent tuning, impeccable ensemble; and on top of all that they conveyed an enthusiasm which struck me as entirely genuine.

[jean]

I thought E-A meant he liked four of the six - he didn't say which ones.

I liked 4. I always like the one that sounds a bit medieval. And they sang it well.

[light_calibre_baritone]

I my words carefully, as my judgement was severely affected by the distracting singing. ("Never mind the music - listen to my wonderful wobbly voice") etc.)

But what's done is done. . .

Blah blah blah - we hear this rubbishing all the time, and as pointed out above this post, is not quite correct for the performance I've just heard. Too much BBCS hating on this board.

[underthecountertenor]

I thought E-A meant he liked four of the six - he didn't say which ones.

I liked 4. I always like the one that sounds a bit medieval. And they sang it well.

My assumption was a sort of educated guess. The two accompanied carols both had a sort of all-purpose piano part that I didn't much care for, and I guessed that E-A might not either. Presumptuous, I know, and if I'm wrong I apologise!

[underthecountertenor]

Blah blah blah - we hear this rubbishing all the time, and as pointed out above this post, is not quite correct for the performance I've just heard. Too much BBCS hating on this board.

I heard an interview with one of the shortlisted composers, in which she said how delighted she was with the BBCS' performance of her carol, and remarked on how responsive and engaged they were.

[Eine Alpensinfonie]

I liked 4. I always like the one that sounds a bit medieval. And they sang it well.

Yes! Agree on both counts

[underthecountertenor]

Yes! Agree on both counts

Ah, I get it. I thought jean meant that she too liked 4 of the 6, but now realise that she meant number 4 on the website. I agree. It's between that and number 6 for me, I think. Number 1 is the one I referred to as being immediately striking but a bit grating on repeated listening.

[Eine Alpensinfonie]

I assume you are referring to the a cappella 4, in which case I agree with you. At the moment I'm inclined to think that the one which I found most striking and immediately appealing will also be the quickest to grate on repeated playing (which we are promised over the Christmas weekend, and which I think is unwise). If I vote at all, it's more likely to be for one of the more contemplative settings. But I agree that the quality is gratifyingly high (helped perhaps by the choice of a traditional carol text in place of the rather intransigent special commissions of previous years). The downside to that choice however is that Peter Wishart has, arguably, already produced the definitive modern setting, and I certainly don't think that any of the shortlist can touch it.

I'm not a card-carrying member of the BBC Singers fan club, but I'd like to put in a word for them in the light of your criticism (and the unremitting onslaught of criticism on another thread). I didn't detect a hint of attention-seeking, or indeed 'wobble', in the performances of the shortlisted entries. What I heard was a set of committed, professional performances which any composer would surely be delighted to hear at a premiere. Crystal-clear diction, excellent tuning, impeccable ensemble; and on top of all that they conveyed an enthusiasm which struck me as entirely genuine.[/QUOTE]

Well, we differ on this. My admiration for the BBCS is for their ability to sing the most difficult music with apparent ease. But the intrusive soprano vibrato just won't go away. This isn't new, and I remember noticing this back in the late 1960s when I first heard them. If the Monteverdi Singers, the Tallis Scholars, the Sixteen, etc. can avoid this unblended sound, sure a group of full-time professionals can do likewise?

[underthecountertenor]

Well, we differ on this. My admiration for the BBCS is for their ability to sing the most difficult music with apparent ease. But the intrusive soprano vibrato just won't go away. This isn't new, and I remember noticing this back in the late 1960s when I first heard them. If the Monteverdi Singers, the Tallis Scholars, the Sixteen, etc. can avoid this unblended sound, sure a group of full-time professionals can do likewise?

It probably comes down to our vibrato tolerance levels in choral music then! I genuinely don't hear an intrusive soprano vibrato or an unblended sound in these carol recordings. I certainly wouldn't choose to listen to the BBCS over any of the groups you mention in renaissance or baroque repertoire - horses for courses. But I share your admiration for their ability to sing technically very difficult music, and would go further as per my post which you quote.

In the end, vive la différence, and Happy Christmas!

[Richard Barrett]

If the Monteverdi Singers, the Tallis Scholars, the Sixteen, etc. can avoid this unblended sound, sure a group of full-time professionals can do likewise?

I suppose the answer is that the groups you mention specialise (mostly, in the case of the Monteverdi Choir; exclusively, in the case of the others) in "early" repertoire where vibrato is generally thought not to be appropriate. The BBC Singers seem to me somewhat more like a "continental-sounding" choir (qv) and their repertoire is concentrated on much more recent music. It's a different but still coherent aesthetic, not one that I happen to like much but it seems churlish to criticise them for doing what they clearly set out to do. As it happens I heard part of this programme by chance. I think competitions for performers and composers are hideous things, but it's lovely to see such exposure happening for the music of nonprofessional composers, who aren't given much of a chance for their work to be heard in the music world these days.

[underthecountertenor]

I suppose the answer is that the groups you mention specialise (mostly, in the case of the Monteverdi Choir; exclusively, in the case of the others) in "early" repertoire where vibrato is generally thought not to be appropriate. The BBC Singers seem to me somewhat more like a "continental-sounding" choir (qv) and their repertoire is concentrated on much more recent music. It's a different but still coherent aesthetic, not one that I happen to like much but it seems churlish to criticise them for doing what they clearly set out to do. As it happens I heard part of this programme by chance. I think competitions for performers and composers are hideous things, but it's lovely to see such exposure happening for the music of nonprofessional composers, who aren't given much of a chance for their work to be heard in the music world these days.

[underthecountertenor]

(Though I think it's right to say that The Sixteen do not in fact limit themselves exclusively to 'early' repertoire, and even the Tallis Scholars dip their toes into the 20th/21st Century from time to time).

[Richard Barrett]

even the Tallis Scholars dip their toes into the 20th/21st Century from time to time

... ie. they sing new music that sounds sort of like old music...