Nicola Lisle talks to conductor Robert Secret about two symphonic masters

A “strenuous programme” is how conductor Robert Secret describes the opening concert of the Oxford Harmonic Choir’s new season, which kicks off at Oxford Town Hall next weekend.

With Bruckner’s stirring Te Deum and Beethoven’s mighty Choral Symphony on the menu, “strenuous” almost seems like an understatement.

“Obviously in the Beethoven the choir are only in the last movement, but when they actually have to sing it’s very demanding, as it’s quite high for the voice,” says Robert, who is marking his 25th year as the choir’s conductor.

“The Bruckner similarly has a high tessitura in places, so it’s another big piece. But I think the two work well together as a programme.

“Of course the one that needs the most stamina is me!” he adds with a chuckle.

So what made him pick these two masterpieces?

“I thought it was a good idea to do some challenging pieces. Although these two are very well known, they’re not often tackled by amateur choirs, but I think it’s important to do them and give everyone that opportunity.”

The concert opens with the Te Deum, which was one of Bruckner’s later works, written in Vienna in 1881.

“This is a fantastic piece, 22 minutes of the most wonderful music. I’ve always had a love for Bruckner; I just love that whole feeling,” he says.

Unsurprisingly, it is Beethoven’s towering ninth symphony, with that glorious choral movement at the end, that will form the climax to the evening.

It’s a piece Robert has conducted a few times before, but the richness and complexity of the score mean there are always new things to discover.

“There’s so much in it, from the spiritual to the emotional, that each time you do it these things become more and more in focus,” he says.

“Also, as you grow up you don’t tend to wallow in the same bits that you wallowed in when you were a kid. You’ve got to know exactly where the piece is going, and why.

“As a conductor you have to look at the score, look at what the composer wrote, and do your best to achieve that.”

There’s some equally mouth-watering treats coming up later in the season, including a programme of Dvorak and Smetana in March, followed by Bach’s Mass in B Minor in June.

The March concert reflects Robert’s passion for throwing the spotlight on neglected repertoire, and includes’s Dvorak’s rarely-performed cantata The Spectre’s Bride, along with a selection of more familiar works.

“The incredible thing about Dvorak is that he wrote so much music, most of which is really fantastic, and yet how much do people actually listen to? There’s an awful lot of his music that you never hear.

“When I did Rusalka with Stowe Opera a few years ago, it was the first professional performance in this country for 20 years. Now it’s standard repertoire, but for ages it was neglected.”

No such problems with Beethoven’s ninth, though, which remains a firm favourite with audiences and performers.

“It’s very stirring. It’s the exhilaration of climbing a mountain and the wonderful feeling when you get to the top. It’s a monumental experience.”

Where and when
Bruckner Te Deum/Beethoven Symphony No.9 ‘Choral’
Oxford Town Hall, November 28. ticketsoxford.com