Tag Archives: Te Deum

Oratorio Chorale’s “Prodigies” Does Not Disappoint

Oratorio Chorale
Woodfords Congregational Church
Nov. 21, 2015
by Christopher Hyde

The Oratorio Chorale’s “Prodigies” concert, Saturday night at Woodfords Congregational Church, examined many aspects of that vexed question, while presenting each in the best possible light. Director Emily Isaacson has mastered the art of combining chorus and orchestra, and the Maine Chamber Ensemble sounded the best it has in years.

The program opened with a work by a child prodigy, Henry Purcell, (1659-1695), written, however, when his genius had fully matured. His “Oh Sing Unto the Lord,” (1688) often sounded like Handel, but more complex (and a little better written). The vocal part is extremely difficult, with the chorus treated as an orchestra, offering varied instrumental combinations. It was written in a day when British households entertained themselves by singing seven-part madrigals.

The orchestral “symphony” itself is also brilliant, both at setting off the choral and recitative sections, and solo, with fugal writing that seems to come as easily to Purcell as to Bach.

It was followed by a premiere of “The Window,” a setting of a poem by Conrad Aiken, written by Christopher Stacknys (b. 1997) of Falmouth, now a sophomore at the Juilliard School. The composition was quite professional in its cycling from harmony to dissonance and back.

His musicality, however, was called into question by a performance of the first movement of the Chopin Concerto No. 1 in E minor. After a lovely opening by the string orchestra, the piano came in like a bull in a china shop, Stacknys apparently overcompensating for the acoustics of an unknown venue.

The performance was brilliant, too fast, and technically flawless. The music got lost in a cloud of notes. A concerto is always a contest between the soloist and the conductor; in this case, Isaacson lost the battle for control of tempo. The large audience loved it.

The two anthems by Mendelssohn (1809-1847), which followed intermission, “Jesu meine Freude” (1828) and “Christie, du Lamm Gottes” (1827) were delightful, lively and perfectly balanced. Any resemblance to the work of J.S. Bach, which the 18-year-old composer had been studying intensely, was purely intentional.

Isaacson saved he most astounding feat for last, a “Te Deum” (1769) written by Mozart when he was 13. He could orchestrate, write fugues, and invent choral harmonies which neither Bach nor Purcell would have disowned. He is one of the great composers whom we can honestly regret losing at an early age.

The concert will be repeated today (Sunday, Nov. 22) at the Seventh-day Adventist Church in Brunswick, at 3:00 and 6:00 p.m.

A Musical Enormity: PSO Tackles the Berlioz Te Deum

Portland Symphony Orchestra
Merrill Auditorium
Oct. 11, 2015

To paraphrase Lady Bracknell: “A work crowded with incident, I see, but somewhat too loud for Merrill Auditorium.” The Berlioz Te Deum, performed by the Portland Symphony Orchestra before a large audience on Sunday, Oct. 11, is the 19th Century equivalent of a boombox. A few minutes more and the result would have been mass hearing loss.

During the final Judex crederis (the last judgement), tenor René Barbera, who has a rich, powerful voice that could fill La Scala, was totally drowned out by the massed forces of a full orchestra (with plenty of harps), the Kotzschmar Organ, played by Ray Cornils, and three large choruses-—the Masterworks Chorus of the Choral Art Society, the Boston Children’s Chorus, and members of Shannon Chase’s Vox Nova Chamber Choir.

The Te Deum begins with orchestra and organ exchanging fortissimo chords like the blows of heavyweight boxers at the beginning of a bout, and continues that way until all parties, including the audience, are exhausted.

There are a few respites, most notably the great tenor solo in Te ergo quaesumus, but for the most part Berlioz simply tries unsuccessfully to outdo, in volume and cataclysmic dramatics, his opening passage.

The composer gives the organ every opportunity to demonstrate its magnificence—the first performance, in 1855, commemorated the installation of a new organ at the church of Saint-Eustache in Paris, during that year’s World’s Fair—but is much less successful in the few pensive moments of the score, when the chosen organ stops sound like background music at a funeral parlor. An organ always sounds like an organ, no matter what its maker is trying to imitate.

There is not much attempt to differentiate the choruses, although the children’s voices and Vox Nova stood out at times, and there were some characteristic Berlioz effects, such as an unusual interaction between the brass choir and the basses. There was also a fine, distinctive Latinate chant in the Christie, rex gloriae.

The entire Te Deum was beautifully performed, by all parties, but as Ravel said of his Bolero, ”unfortunately, it is not music.” Still, like a performance of the Bolero, the audience, this writer included, enjoyed it immensely, as evidenced by a prolonged standing ovation.

I urge anyone who can do so, to get a ticket for Tuesday night’s (Oct. 13) performance. This is music that can only be experienced live, and it will probably not be heard again in Maine for a very long time.

Music director Robert Moody paired the Te Deum with a charming performance of the Beethoven Symphony No. 1 in C Major, Op. 21, emphasizing its similarities with the work of his predecessors. The minuet movement, which is supposed to mark Beethoven’s break with tradition, sounded like something straight from the pages of Haydn.

I mention this about the symphony only because it was so odd: a pizzicato note from the violin section before Moody indicated the downbeat. The first time was merely a regrettable error, but it happened again before the minuet. Not enough to spoil anything, but a little intrusive nevertheless, and perhaps rattling to other musicians.

A Spectacular Opening for the Portland Symphony Season

The first concert of the Portland Symphony Orchestra, Oct.11 at Merrill Auditorium in Portland, promises to be a study in contrasts. The two major works on the program will be the Beethoven Symphony No. 1, another in the complete cycle of the Beethoven symphonies now being performed by the PSO, and the Berlioz Te Deum, a study in gigantism that makes Louis Moreau Gottshalk’s concert piece for 64 pianos seem like child’s play.

The Beethoven, while it appeared to contemporaries a wild departure from the norms of Haydn and Mozart, has more similarities with than differences from the classic style. Like the first Beethoven piano sonata, it is a delightful piece, clearly in the tradition of Haydn and Mozart, with just enough innovation to presage what would come later. Both works are characterized by delicacy and refinement, two adjectives not generally applied to Beethoven.

One wonders why Maestro Robert Moody decided on what seems to be an arbitrary sequence of the symphonies, instead of presenting them in chronological order to trace Beethoven’s evolution as a composer. He did not spring full-blown from the brow of Minerva.

The motivation behind the selection of the Berlioz Te Deum is clearer—the success of last year’s performance of his “Symphonie Fantastique.” There is also the completion of the multimillion-dollar restoration of the Kotzschmar organ.

Berlioz dreamed for two decades or more of a gigantic military symphony to celebrate a coronation, or a wedding, or a victory over the Prussians, but eventually had to settle for the opening of a Paris World’s Fair in 1855, complete with the christening of a new organ. (Hence the prominence of that instrument in the score, which might have influenced Saint-Saëns Symphony No. 3.)

The sequence of movements more or less follows the form of the Latin mass sung on special occasions, with the composer’s own alterations. The orchestra and chorus at the premiere numbered either 900 or 950 (accounts vary).

Berlioz had the odd notion that a melody which might be rendered ordinary by a single voice would become sublime when sung by 50. He had been intrigued, during a visit to London, by a work sung by 6,500 “children of the poor,” and the Te Deum includes three distinct choruses—one a large children’s chorus— plus a tenor soloist.

For the PSO performance, the orchestra will be joined by tenor René Barbera, the Boston Children’s Chorus, the Choral Art Society and members of the Vox Nova Chamber Choir.

It should be quite a spectacle, enough to hold one’s interest for 45 minutes (even without the two sections reserved for military performances).