Christmas in the Cathedral
Cathedral of the Immaculate Conception
Dec. 5, 2015
by Christopher Hyde
“For now we see as through a glass darkly; for we know in part and we prophesy in part, but when that which is perfect is come, that which is in part shall be done away.”
I thought of these verses from the King James Bible at the beginning of the Choral Art Society’s’ Christmas in the Cathedral Saturday night, under the direction of Robert Russell.
The women’s voices in 13th and 14th Century Latin carols, “Angelus ad Virginem,” and “Verbum caro factum est,” had an angelic clarity, rather like that of a boy soprano, which is too rare in choral music. They retained it even in the latter work, which has more complex counterpoint.
They were joined by the tenors and bases in the processional, which has become a tradition at the Cathedral of the Immaculate Conception: “Personent hodie voices puerulae” of 1582. It gets better every year.
The Christmas concert rose to that level again after intermission, when soprano Sarah Bailey and mezzo-soprano Andrea Graichen sang an “Ave Verum” by Welsh composer Karl Jenkins (b. 1944), which was absolutely ravishing. It was accompanied by a piano obligato, played by Dan Moore, which was unable to reduce the perfect intervals of the voices to the “tempered” compromises of the keyboard.
The Portland Brass Quintet was in good form, with the trumpets ringing from the high vaulted ceiling, especially in the rapid ornamentation of “Rejoice and be Merry,” and the joyful pagan dance of the “Gloucestshire Wassail.”
Following their three solos, they took part in an experiment on Handel’s “Messiah,” a work that has become a little too much of a Christmas tradition, having been intended for Easter. The experiment was to replace the orchestral parts of four sections, including the “Hallelujah Chorus,” with a brass quintet.
To paraphrase Dr. Johnson’s comment: ”Sir, a woman’s preaching is like a dog’s walking on his hind legs. It is not done well; but you are surprised to find it done at all.” The transcription was amazing, and generally well played, but it was an impossible task to begin with.
After intermission came two choir director specials, “Intrada” by Alfred Reed (1921-2005) and “Welcome all wonders,” by Richard Dirksen (1921-2003). The former was distinguished by an organ fanfare by Dan Moore, and the latter by a gradual segue into what sounded a little like a variation on “A Mighty Fortress…”
It was good to hear Gustav Holst’s “Christmas Day,” the ultimate holiday carol arrangement. It is actually composed, building upon familiar themes, instead of being thrown together in the usual pastiche.
Of course no Christmas concert would be complete without the thoroughly awful, a heavily amplified version of a gospel song, “He Never Failed Me Yet,” arranged by Robert Ray, in which the soloist drowned out the chorus. I ordinarily abide by my grandmother’s admonition–“If you can’t say anything nice, say nothing at all,” but the audience loved it, so it should be mentioned.
You can make up your own mind today (Sunday, Dec. 6). The matinee is sold out, but there are still tickets left for the evening performance at 7:30.