by Sam Juliano
The May 14th concert by the Choral Art Society of New Jersey featured work by some of classical music’s most iconic figures, but it was the reunion of a student playing one of his one-time mentor’s most celebrated compositions that brought a special emotional heft to the proceedings. Performed at the acoustic-friendly Presbyterian Church in Westfield -the group’s home base for decades, the night brought CAS Music Director Martin Sedak and his previous instructor – the composer Matthew Harris – together in a glorious presentation of the latter’s Oceanic Eyes, a four part cantata commissioned in 2006 based on texts by celebrated Chilean poet Pablo Neruda, and distinguished by the employment of classical guitar that allowed the work’s distinct Spanish romanticism to shine through. The composition’s lilting metaphors and colorful imagery seems inspired by the British poet Alfred Noyes who wove undying nocturnal passions into the narrative of his arresting “The Highwayman.” Yet it was the highly emotive, stirring and soulful reading by the committed singers of the CAS who injected Harris’ work with a sense of immediacy, aided by the prism of water, which flows through universal appreciation.Sedak’s decision to open the show with a rarely performed song by the great British composer Ralph Vaughan Williams proved to be a masterstroke of mood and staging. To be sure “The Lover’s Ghost” (from Five English Folk Songs) is one of the most sublime and haunting choral pieces from anyone, replete as the piece is with color, form, harmony and expression but especially prominent for its contrapuntal construction. Sedak directed the singers to create two lines in the space between the central orchestra and the sides, making all the more of a powerful impression. Though the second work is another infrequently negotiated composition, the fact that it was written by Beethoven elevates it immeasurably for classical music fans who can never get enough of one of the form’s supreme immortals. A Calm Sea & A Prosperous Voyage is noted for the composer’s setting the text by Johann von Goethe and as an earlier example of his evocative nature writing that is strikingly evident in his later symphonic masterworks, so expertly visited by the CAS.
Peter Grimes is arguably Benjamin Britten’s operatic masterpiece, and it contains some of the most arresting choral passages in the form. “Song of the Fisherman” features a piano in a different key from the choir tolling the bells on a clock in an infectious burst of lyricism projected in ominous mode. This somber piece is one of the opera’s most unforgettable chapters, one that serves as a kind of Greek Chorus for the tragic finale. More upbeat is “Old Joe Has Gone Fishing” with its dance meters and four melody structure. The CAS brought a fresh sense of urgency to both songs, refusing to yield in any manner to the tonal complexities of Britten’s music, delivering flowing lines that are countered by the musical accompaniment by the superlative pianist, Mary Beth McFall, who is now in her nineteenth season with the group.
Perhaps the evening’s biggest surprise was the inclusion of The Seal Lullaby, a song written by Eric Whitacre for a subsequently aborted Disney film that was to be based on Rudyard Kipling’s The White Seal. Though the project never got off the ground, Whitacre had left his composition at the studio, where it was eventually picked up by the Towne Singers, who introduced a choral arrangement. The composer was inspired by the material when the ravishing melody came to him, and the Westfield ensemble did the song full justice with a reading of great poignancy.
Sedak had his own compositional moment in the limelight following up Harris’ work with his own interpretation of Beethoven’s A Calm Sea and the program designated the pairing as the centerpieces of the concert what with both works receiving full orchestral accompaniment. Sedak’s own elucidation brought contemporary musical relevance to this work of pastoral prominence, one fully confident to sit alongside greatness.
An African-American spiritual Take Me to the Water by Rollo Dillworth wound up the show with the most forceful incarnation of the connecting theme, combining quotes from “Down by the Riverside” and “Wade in the Water.” In the context of this piece the water references were embraced to foster hope for freedom among the slaves. In contrast to the darker intensity of the previous numbers, Dillworth’s composition was buoyant and suffused with at least a small measure of optimism.
Now in its 54th season, the Choral Art Society schedules two shows a year, with rehearsals set for Tuesday at the church. Rarely has a unifying theme worked so splendidly in treating the public to high octane readings of enormously appealing music usually left in a holding pattern while the more familiar compositions usually take center stage. “Songs of the Sea” is an extraordinarily beautiful proposition.
This sounds like a totally splendid night out, Sam! I’m extremely jealous of y’all. My tastes in choral music tend toward the ascetic when I listen to recordings (Byrd’s Mass for Four Voices, for example, is a big favorite) but are more open when it comes to live performances (although I well recall a performance in Oxford, UK, of Bach’s St John’s Passion where the line “Where are my old supports?” reduced the audience to hysterics). I especially envy you the Whitacre and the Dillworth.
Joann von Goethe
That’d be the poet’s sister? 🙂
Thanks so much for the stupendous comment here John! Yes, I reckon this show is right up your alley. I love the Byrd Mass too! Bach’s St. Matthew’s Passion is one of the most sublime of all compositions. Yes the Whitacre is no doubt a rarity on this circuit, though it has been commissioned and recorded. As far as “Joann” thanks so much for the heads up–I rectified the situation a few days ago. 🙂
Beautifully written concert review Sam! I must avail myself of the Ralph Vaughan Williams and choral segments from Peter Grimes. Though I adore Beethoven I’ve never heard “A Calm Sea”.
Frank, the Beethoven composition is one of his most obscure pieces. Well worth experiencing live in this fashion. Thank you my friend.
I wish I were a fly on the wall at the Westfield Presbyterian!
You would have enjoyed it Ricky. Thank you!
Hi Sam,
Great to read your impressions and thoughts on these rather obscure choral works. I am not aware of Ralph Vaughan Williams piece, and I will check it out.
I’ve been researching through film music during ’30s and ’40s, and now discovering the trove of rich musical activities and experimental sound design. Especially, British and Soviet’s conposers are intereting. Williams and Britten are among the most fascinating.
So thrilled to hear from you my friend!!! The Williams piece is definitely worth investigating. It is too often neglected, even within his own canon I’m afraid. Great to hear too that you are on a film music binge from that fertile period! Yes Soviet composers from that time contributed some of the most brilliant music, and the British as well. I am myself a huge fan of Britten. Hope and anticipate all is well!
Sam, I would have loved to attend this with you. That rare Beethoven has me intrigued, but all the other compositions too. You aced out another review!
Tim, I will let you know the next time they hold a concert my friend! Many thanks!
Your passion always projects when you write about music Sam. This is another of your outstanding reviews on the subject.
Thanks so much for that Peter! Much appreciated my friend!