Issues

Issue #65

Two glamorous young women gave the community an art song recital of music by women composers to benefit the National Breast Cancer Foundation on Saturday evening, November 17, 2007 at Chandler Recital Hall. A rich program of songs written by women was presented with sophisticated style and deep understanding of the art of bringing texts alive. In a spoken introduction, Ms. Addico-Cohen told of the death of mezzo-soprano Tatiana Troyanos in 1993 from breast cancer and of Dawn Upshaw's and Ruth Ann Swenson's current battles with the disease. She then asked her audience to applaud at the end of each set of songs, rather than after each individual song. As the program unfolded the reason for the request was apparent. The emotional intensity and flow of energy she brings to each song would be harmed by any interruption, even applause.

This performance reminded me of that there are so many songs composed by women that I have not heard. There were composers that are mythic figures from the past, including several who were singers of renown like Isabella Colbran (1785-1845), Pauline Viardot (1821-1910) and Eva Dell'Acqua (1865-1930). Colbran was a dramatic coloratura who lived with and later married Rossini. They were together twenty-two years during which he created roles for her in Otello, Semiramide, Elisabetta, Regina d'Inghilterra and others. The Oxford Dictionary of Music was my source, but it only mentions that she composed songs but gives no details. Ms. Addico-Cohen opened the recital with the lovely love song Adonta del fato mio bene (Defy your fate, my beloved) and Già la notte s'avvicina (Evening is already upon us) with spectacular high notes and trills. She followed this with the coquettish fireworks of Fingo per mio diletto by Viardot.

A substantial selection of songs by Fanny Mendelssohn Hensel (1805-1847), sister of Felix Mendelssohn, followed. The songs are matter-of-fact settings with no romantic indulgence. Ms. Addico-Cohen's animated face seemed to sparkle as she sang Frühling (Spring). Other song texts were "why are the roses so pale?" (Warum sind denn die Rosen so blaß) and two were about the suffering of lovers who are apart, Suleika and Morgenständchen.

Amy Beach (1867-1944) is an American composer and a virtuoso pianist who concertized in Germany. In her lifetime her music was performed by the Boston Symphony and the Symphony Society of New York. Her setting of Three Browning Songs, Op. 44, The year's at the spring, Ah, Love, but a day! and I send my heart up to thee are often heard at recitals. Ms. Addico-Cohen, in a black gown that highlights her stunning, slim figure, sang as if she were sharing secrets with us.

After intermission we heard three songs by Clara Wieck Schumann who had a sixty year career as a concert pianist. She revolutionized the piano recital focusing on the music as written by the composer, rather than on virtuosic display. She became the foremost interpreter of her husband Robert's music, while touring Russia and England and teaching in Berlin. She befriended Brahms early in his career and they remained lifelong friends. The performance of Ihr Bildnis (Her portrait) was stunning. The text tells of looking at the portrait of the beloved and coming apart emotionally because "I have lost you." Ms. Addico-Cohen became the bereaved. The intensity continued in Er ist gekommen in Sturm and Regen (He came in storm and rain). She seems to look over the horizon, attempting to see him as the pianist finishes the song.

Les filles de Cadix (The girls from Cadiz) and Fleur desséchée (Pressed flowers) set by Viardot were included with Eva Dell'Acqua's coloratura showpiece Villanelle and two songs, Chanson and Le couteau (The knife) by Nadia Boulanger (1887-1979) to form the next set. Boulanger was the first woman to conduct a complete concert at the Royal Philharmonic Society, London (1937), Boston Symphony (1938) and New York Philharmonic Orchestra (1939). She was a renowned teacher of many American composers including Copland, Harris, Thomson, Carter, Piston but not Rorem. Chanson is a deliciously light-hearted song while Le couteau is of the sorrow of a knife of love to the heart. There was agony in our singer's stance as she inhabited the love song.

The final set, chosen by Rita, the mother of two young children, included Liza Lehmann's There are fairies at the bottom of our garden sung with crystal clear diction, good humor and charm, Estelle Liebling's (1880-1970) arrangement of a Polish folksong Mother Dear, Amy Beach's Fairy Lullaby with text from Shakespeare's A Midsummer Night's Dream and This Little Light of Mine set by Jacqueline Hairston (b.1938). The encore, also by Hairston was Ain't-a That Good News.

We are so pleased to have heard Ms. Addico-Cohen give a full recital in Tidewater with the excellent playing of Ms. Halstead. Ever growing in the art of singing, a few pitch issues not withstanding, this was a wonderful evening. Hopefully this is the first of many and the fact that she and Ms. Halstead raised over $1000 for a worthy women's cause makes it even more impressive.

All reviews by John Campbell unless otherwise noted.

A fun evening of Baroque music performed on period instruments was both educational and entertaining as the Australian Baroque Brass brought their relaxed and friendly 2008 USA Tour to Virginia Beach. Thalia Lynn Baptist Church hosted the group in their large circular sanctuary on January 17, 2008. The wood-paneled high-domed acoustic space worked well as we heard natural trumpets, sackbuts and a hand horn. The player's attire and spoken introductions were casual but their musicianship was first class.

We were captivated by the voice of soprano Anna Sandstrom who reminded us of Emma Kirkby. No bel canto singer here, her sound was clear, clean and unforced with very little vibrato. In conversation we learned that her role model was none other than English Baroque music specialist Emma Kirkby. She presented beautiful vocal treasures paired with the organ as continuo played by Kathrine Handford from Minneapolis/St. Paul and the brass players. In Amarilli, mia bella by Giulio Caccini (1551-1618) her passionate singing and embellishments of the musical line were enhanced by the stereophonic but gentle sound of the organ.

The opening piece, Three Intraden mit Praludien for winds and organ by German Cantor Daniel Speer (1636-1707) , had a fanfare sort of energy with a rich organ interlude. Before he played Johann Pezel's (or Petzold) (1639-1694) Sonatina No.74 (Bicinia), Artistic Director John Foster demonstrated how the holes in a natural trumpet are used. Pezel was a German trumpet player and a prolific composer of pieces for wind instruments.

Early in the program organist Kathrine Handford treated us to a great, roaring solo piece by Diedrich Buxtehude (1687-1707). Near the end of the program she presented a six-part chorale setting by J.S. Bach (1685-1750) Aus der Tifen Rufe (Out of the depths I cry to you, oh Lord hear me) from Cantata 131. She told us that the piece called for her to play two parts in the right hand, two in the left, one in the left foot and one in the right. She recounted the story of Bach's taking a three week leave as church organist to visit Buxtehude and staying away three months to learn from him.

Warrick Tyrrell showed us a sackbut, the early English name for what has developed into the modern trombone. He demonstrated the sound of the historical soprano, alto and tenor instruments. Condensation is an issue with all these wind instruments which had to be drained often during the performance. He played two parts of Leopold Mozart's (1719-1787) Concerto in G, Adagio and Allegro with organ continuo. The early instrument has a very mellow sound in contrast to a modern one. The first half concluded with trumpeters Foster and Yoram Levy and trombone player Tyrell with organist coming together to play Antonio Caldara's (1670-1736) Sonata in C.

Accompanied by organ and hand horn Ms. Sandstrom sang W.A. Mozart's (1756-1791) lungi da te, mio bene from his opera Mitridate, written when he was fourteen. A long instrumental hand horn and organ duet opens the piece. The mellow, rich playing accompanies the soprano (originally written for male soprano) as he sings of his longing because his beloved will soon be far from him. After the interval (intermission) Alessandro Scarlatti's (1660-1725) Mio tesoro per te moro (My love I die for thee! Come soon to comfort me) was the next vocal selection. It was a lesson in Baroque style contrasted with the recording we know best, Kathleen Battle with her bel canto and operatic voice and Wynton Marsalis playing a modern trumpet. Sandstrom's G.F. Handel (1685-1759) selection Lascia ch'io pianga (Let me weep) from Rinaldo was superbly ornamented.

Darryl Poulsen introduced the hand horn and demonstrated the challenge of playing it. The left hand is placed in the bell of the horn to produce notes beyond the single harmonic series of the instrument to create the full chromatic scale. The instrument has evolved into our modern French horn. Mozart's Allegro from Horn Concerto in D K412 had a remote, mellow sound. His notes were surprisingly accurate given the challenge of producing them by finger movement within the bell of the horn.

In Michael Haydn's (1737-1806) Nacht der Wandlung from his German High Mass the soprano was joined by hand horn and organ in a lovely quiet piece. The show closed with The Fife and Harmony of War, a rousing piece by Henry Purcell (1659-1695) from his Ode for St. Cecilia's Day. Ms. Sandstrom was the high treble tone above the sweet warm bed of instrumental sound. It was spectacular and left the audience with an excited glow.

After the program we bought one of their CD's titled Music of the Golden Age. It is Baroque chamber music by German and Italian composers with the full twenty member Australian Baroque Brass all playing period instruments. (Tubicium Records TR 761901). I was disappointed that it only has one vocal piece by soprano Anna Sandstrom and no hand horn player at all. The CD does extend the instrumental repertory: ten natural trumpets, five sackbuts, two classical flutes, baroque cello, timpani and percussion means they offer many treasures from the Baroque era in this 53 minute CD. The recorded sound is first rate.

Our friend Marlene Ford, Eastern Virginia Brass horn player, shared with us a CD of chamber pieces written for natural horn and strings: Cornucopia "French Chamber Music for Horn and Strings" (Early Music Institute Focus 942). Richard Seraphinoff, plays natural horn in music by Duvernoy, Dauprat and Reicha. I loved the sound of the natural horn, so much mellower than the modern horn. Mr. Seraphinoff's playing is superb.

The holiday season just isn't complete unless we hear Billye Brown Youmans sing O Holy Night. This year she sang it in a beautiful program, A Wesleyan Christmas, at Virginia Wesleyan College on December 3rd. Some of our other favorites were :

      Come, Thou Long Expected Jesus, (text by Charles Wesley from 1744) sung by VWC Choir from memory, as they did all their pieces. This premiere performance with music by Hal Hopson had a popular sound. The strong voices packed a punch. Dr. David Clayton was the conductor with George Stone at the piano and student Geoffrey Bell '09 at the organ. On the lighter side, P.D.Q. Bach/Peter Schickle's A Consort of Choral Christmas Carols captured the spirit of fun that the season can have. Oh Little Town of Hackensack, Good King Kong with kazoos and Manhattan Transfer style harmonies added to the merriment.

      The Wesleyan Singers were showcased in the moving spiritual Go Tell it on the Mountain.

      The Virginia Handbell Consort, led by Director Agnes French did a gentle dulcimer-like For Unto Us a Child is Born (Handel's Messiah) and a spirited Danse Russe Trepak from Tchaikovsky's Nutcracker. Bells were struck with padded drumsticks while tambourines added rhythmic energy as tempos went faster and faster. We are not usually great fans of handbells but the Virginia Handbell Consort won us over with their diversity of technique and creativity.

      A very fine piano four-hands performance of Bach's Sheep May Safely Graze with Music Department head Lee Jordan-Anders and student Geoffrey Bell playing.

Then on December 8, 2007 there was Billye Brown Youmans as conductor. The venue was the historic Trinity Episcopal Church (founded 1762) where the congregation hosted The Cantata Chorus for a performance of Handel's Messiah . Billye Brown Youmans, Interim Artistic Director, led a scintillating performance with soloists Georgeanne Paddock (soprano) Kathleen Franz (alto), Douglas Lynch (tenor) and Chris Mooney (bass). The chamber orchestra included eleven string players, two trumpeters, two oboists, a basoonist, and a tympanist with Jim Guthrie at the harpsichord.

When Jeffrey Ward left the helm to take a college teaching position in North Carolina we were concerned that the Chorus would lose its momentum. Thankfully that did not happen. The Chorus sang with energy, clarity and accuracy. The soloists were fine, with Doug Lynch outstanding in his ornamented tenor lines. Seems he and Billye had worked together on Baroque ornamentation in years past. Chris Mooney's powerful bass was most satisfying.

In conversation Ms. Youmans said that "it has been a joy to work with the Cantata Chorus. They are an esteemed choral group with a long and celebrated history. The chorus will celebrate their 50th anniversary next year. Our aim with our Messiah performance was to strive for accurate Baroque performance practice articulations. It was a particular pleasure to hear the musician's comments regarding our efforts. Several singers said that they felt as if they were singing this magnificent work for the first time."

The Symphonicity, (the symphony orchestra of Virginia Beach), "Handel Messiah Sing-Along" was December 23, 2008 and Billye Brown Youmans was soprano soloist with alto Lisa Relaford Coston. Their duet He Shall Feed His Flock Like a Shepherd was a wonderful blend of timbres, warm, bell-like and resonant. Tenor Olindo Marseglia and bass Steve Kelley both gave exciting performances and the chorus, led by Mark Hudgins, sounded better than ever in their new Sandler Center home. Ms. Youmans' ornamentation of the soprano solos added a new excitement to this very familiar music. In an interview she said "I was very fortunate in graduate school. One of my professors, Dr. Larry Peterson, was quite an expert in Baroque embellishment. For several years, I sang in early music ensembles and coached with him privately." With commitment and inspiration, David S. Kunkel led this twenty-fifth annual performance as he has done all the others.

Billye's mother passed away December 28, 2007 and left her family with a beautiful legacy of service to others. "She was an amazing woman. At 91 she was still concerned about others. Both of my parents were singers, my father a resonant bass, and my mom a lovely soprano. I received musical genes from both sides of my family. My mother's mother was a music teacher. One of my cherished family heirlooms is a hand tooled leather music roll that my grandmother put her music in when traveling to and from students' houses. I also have her baton; a larger, rather sturdy version of the one's used today."