Owen’s ‘Dulce et Decorum Est’; the first conveying the hardship and sacrifice that a mother endured, the latter portraying the overwhelming atrocities that defined the war. Then the dense, resonating sound of the century- old organ played by James Orford began. The opening bars created a solemn, reflective atmosphere and the listener experienced James’ professional interpretation of Herbert Howell’s ‘Organ Sonata No 1, Op 2’. The audience, now in an appropriately contemplative mood, heard next Thomas Boutelle’s reading of ‘Dead Man’s Dump’ by Isaac Rosenberg, which further explored the sacrifice made by soldiers. Raffy Marshall’s contribution, ‘Peace’ by Rupert Brooke, offered an alternative interpretation of the war, presenting it as a means of serving God. A slightly lighter mood was then created by the enchanting sounds of Vaughan Williams’, ‘The Lark Ascending’, with Robert Miller’s sublime performance on solo violin captivating the audience. After an emotionally charged first half, Edward Thomas’, ‘Rain’, a touching poem which reflects on the solitude and hopelessness of a soldier thoughtfully read by Thomas Parfitt provided a quieter start to the second. Following this, Terry Obeng read with a husky, evocative voice Owen’s ‘Strange Meeting’, where the poem’s speaker meets a soldier from the opposing forces following their deaths. The Master’s controlled, reassuring reading of ‘An Irish Airman Foresees his Death’, by WB Yeats, left the listener with an alternative interpretation of the meaning of war in the account of the airman’s fateful death in the clouds. Edward Elgar’s, ‘The Spirit of England’, a musical interpretation of Laurence Binyon’s poems performed by the Orchestra, the Madrigal Choir and Parents’ Choir accompanied by highly acclaimed soprano Jane Irwin, provided a fitting finale. This was a special evening, with the engaging performances of the readers and players showing how much inspiring art had been created from the horrors of the First World War.
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