| Album Review |
 |
| San Francisco Choral Artists |
| So Gracious is the Time: An American Christmas |
The holidays are a time for choral music, and finding a new recording of worthy Christmas pieces is a special treat for music lovers. San Francisco Choral Artists, a mixed chorus directed by Megan Soloman, has received stunning reviews from their live performances. Fortunately, for those of us unable to attend a live performance, SFCA has three compact disc recordings available. In So gracious is the time, An American Christmas, we are graced by the presence of music from tried and true composers such as Leonard Bernstein, Samuel Barber and Randall Thompson, in addition to some very talented newer composers who give hope to the future of choral music. Although these composers share a common distinction in that they are all American, the music they write is as varied as the composers are themselves.
The recording is thoughtfully programmed, moving from familiar to unfamiliar, from consonance to dissonance. Among the familiar are Samuel Barber’s "Twelfth Night", Leonard Bernstein’s "Almighty Father (from Mass)", Randall Thompson’s "Glory to God in the Highest" and William Billings "A Virgin Unspotted." Of course, these pieces are noteworthy and not to be taken lightly. However, being that SFCA is known for bringing lesser-known composers to light, I feel compelled to focus on these less well-known pieces.
After the opening selection by Barber, two pieces by Fenno Heath provide contemporary arrangements of the familiar songs "I Wonder and I Wander" and "What Child is This." Traditional melodies are enjoyable and predictable, but these arrangements overcome the banality of the familiar. An original composition by Herbert Bielawa, "Sweet Was the Song", is an interesting juxtaposition of this sweet and gentle text with music that is mysterious and haunting.
Of the three "Ave Maria" arrangements on this recording, R. Nathaniel Dett’s arrangement is the most traditional. One of the first African-American composers of note, this piece is beautifully romantic, with soaring melodies and pleasing harmonies. Ed Rentner, tenor, closes this piece with a passionate, chant-like passage ending with a simple and gorgeous "Amen". After the uplifting "Glory to God in the Highest," by Randall Thompson, we hear another version of "Ave Maria," this one by William Ludke. Harmonic dissonance and jagged, rhythmic contrast takes this familiar text to a different plane. Ludke’s arrangements of the latin texts, "Virga Jesse Floruit" and "O Magnum Mysterium," show his breadth of compositional technique. Previous SFCA composer-in-residence David Conte follows with another "Ave Maria", creating freshly beautiful harmonizations from simple melodies. I especially like this piece for its dynamic and textual variety. Also by Conte is a setting of Silent Night where we hear soprano soloist Deborah Underwood singing the traditional melody accompanied by alternate and moody harmonies in the choir. Then, just when you thought you knew what to expect, the choir sings the melody and the the soprano and tenor, Fred Matthews, sing a descant-like echo.
Four pieces by composer Roger Nixon, born and raised in California’s central valley, form a collection titled Wonders of Christmas. This collection includes the title track "So Gracious is the Time", the text which comes from Shakespeare’s Hamlet. This song and the others in the collection bring us some of the most dynamic contrast than has been heard on the rest of the recording as well as vibrant rhythms that truly dance.
Next we experience a bit of American history in two songs from the American shape note tradition, "Milford" by John Stephenson and "Sherburne" by Daniel Read. This is followed immediately by a toe-tapping spiritual "Hail Mary!" by William Dawson. What I love about this arrangement is that it is not a spiritual that remains boisterous and jubilant throughout, but maintains passionate intensity through exuberant passages as well as prayerful, quiet melodies. Tina Harrington, mezzo soprano soloist, does not disappoint with her fervent and soulful singing.
A rhythmically exciting arrangement of "Deck the Halls" by James McKelvy delights the listener. The recording concludes with a jazz arrangement of "Snowfall" by legendary choral jazz singer and arranger, Gene Puerling. Among Puerling’s many accomplishments is a Grammy Award for his arrangement of "A Nightingale Sang in Berkeley Square" as performed by Manhattan Transfer. Puerling passed away this past March and although this recording was made before his death, "Snowfall" becomes a kind of tribute. With it’s lush harmonies and melodies that pull on the soul, the listener is lulled into a dreamy winter landscape.
With impeccably blended unison passages and rich harmonies, SFCA is an example of choral singing at its finest. From thrilling passages of unison male sections that ring in intensity to quiet, bell-like harmonies in the female voices, to the breadth and variety of sounds from the whole group, SFCA is a joy to listen to. In presenting such a variety of music, they are true to each style and genre. They relish the new works as well as the old. Most striking to me is that nowhere in this recording did the emotional intensity and focus wane. The singers delve into the text and music of each piece with passion and fullness. SFCA is to be commended not only for their commitment to choral music and their willingness to pursue works by new composers, but for the fact that they honor these compositions by performing them so well. And setting them alongside revered pieces of the past bestows on these works the respect they deserve. |
Link to Album site |
Copyright ©2008 In C Major
|
|
|
The information on this site is not intended to be a substitute for the original concert information. Check with the official event web site prior to the performance to confirm information. Although we do our best, we are unable to guarantee the accuracy of concert program information presented on this site. All information is subject to change.
|
|
|
|
rss feed
