St. Mary Schola
Cathedral of the Immaculate Conception
Dec. 14, 2016
by Christopher Hyde
Since its founding in 2008, St. Mary Schola, under the direction of Bruce Fithian, has become so widely appreciated for its performance of music from the medieval, Renaissance and Baroque eras that it has outgrown its place of origin, the Church of St. Mary in Falmouth.
One of its three Christmas concerts this year, on Dec. 14, was held in the Cathedral of the Immaculate Conception, in the chapel, not the huge main building. I had not been to a concert there before, but the more intimate setting, and less echoing acoustics, were well suited to the Schola’s music, and to the volume of the antique instruments that accompanied it.
When period instruments were first introduced at the concerts, where much of the singing was a cappella, they seemed to be primarily for the purpose of authenticity. On Tuesday night, however, they made a significant musical contribution as well, blending in perfectly (without the problems of equal temperament tuning), providing appropriate interludes and reinforcing the polyphonic lines.
The recorders were particularly striking in the ritornellos of a Dutch 15th Century” In Dulci Jubillo.”
The Schola approached modernity with “Os Justi” by Anton Bruckner (1824-1896), but can be forgiven,,since the composer was trying, successfully, to write in the Lydian mode . The Romantics liked to imagine a simpler, less worldly time, but the music still gives away its 19th Century origin.
Concerts of ancient music might be well advised to stay away from Bach. One is going along pleasantly, enjoying the atmosphere of ancient days, and all of a sudden a lightning stroke of genius startles the ear. At least that was the case with “Nun komm, der Heiden Heiland” (BWV 36), from the Cantata No. 36, sung by Andrea Graichen and Molly Harmon, with cello accompaniment by Philip Carlsen.
A work that approached its level of polyphonic sophistication ended the fist half of the concert, a wondrous “Praise Our Lord, all Ye Gentiles,” by William Byrd (1543-1623).
There was nothing to interrupt the joyous mood of the entire 17-part Christmas Cantata of Marc-Antoine Charpentier (1643-1704) that followed intermission. “In Nativitatem Domini canticum (H. 416) balances male soloists with the higher voices of the choir, plus instrumental preludes and impressionistic descriptive interludes such as “Night,” and “Awakening of the Shepherds. Tenor Martin Lescault sounded equally fine as an angel and a shepherd.
The cantata has a clever conceit near the end, when the extremes of the Child’s crying, need and cold are equated with the power of HIs love for mankind. Its final verse seemed particularly appropriate this Christmas: “Justitia regnant in terra rostra, et pacis non erat finis.”
The readings in Latin and Middle English, by Stephen White and Rachel Keller, were excellent, but Keller could have read Chaucer’s text a little more slowly, for those of us who are less fluent. As usual, the good program notes and complete texts obviated any problems with translation.
Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at firstname.lastname@example.org.