Issue #90, Page 1

CD Review
Union and Liberty
Schola Cantorum
Reviewed by John Campbell

The new CD, Union and Liberty, by Schola Cantorum of Virginia, an a cappella ensemble, grows out of a concert series presented in early 2011 commemorating the 150th anniversary of the beginning of the American Civil War. It is a portrait of music from American life at that time: African-American spirituals, immigrant folk songs and ballads and revival hymns in contemporary arrangements.

Under the leadership of Agnes Mobley-Wynne the group has blossomed into a splendid twenty-plus member auditioned chamber ensemble. This CD is a well-recorded record of the event. The selections are drawn without prejudice from both sides of the conflict and end with a celebration of the reunification of North and South with the ensemble singing America followed by a reading of The American's Creed.

You will find favorites here: Richmond native James Erb's arrangement of Shenandoah; Harry T. Burleigh Deep River; I Got Shoes and the joyful revival hymn Bright Canaan arranged by Parker and Shaw. There is also Sometimes I Feel Like a Motherless Chile arranged by Ms. Wynne, highlighting the vocal strengths of the group. The late Lou Sawyer, a beloved local conductor and composer, arranged a medley, Songs of Conflict, that skillfully blends Dixie with Battle Hymn of the Republic. Schola also sang Sawyer's arrangement of Taps. Speaking of local composers, the ensemble sang Adolphus Hailstork My Lord What a Moanin' with bass Leif King on solo passages.

As M.D. Ridge said in her review of the live performance, “A pre-Civil War spiritual arranged by Andre Thomas, Keep Your Lamps!, showcased Schola’s good a cappella blend and clear diction in the friendly acoustics of the venue — neither dry nor overly reverberant, just eminently clear. It was followed by the English folk tune O Waly, Waly, (The Water is Wide) in a John Rutter arrangement, with some very un-period harmonies, whose lovely, floating 'ooohs' provided a background for soloists Rebecca Young and Michelle Castillo."

Other selections are: When Johnny Comes Marching Home, Goober Peas, Lorena (1857), Aura Lee (1860), The Yellow Rose of Texas. The first selection on the CD, The Sailor and Young Nancy is not directly connected to the Civil War. It is a British Folk Song of the same era from sister city Norfolk, England.

The CD will be on sale at the Schola Cantorum concerts, January 28, 29 and February 4 and 5. Please see the Artsong Update calendar for the complete listing or visit www.scholacantorumofva.org. The colorful picture of the group with Ms. Wynne on the far right is a nice touch.

In London, Handel’s career as Italian opera composer and impresario was in shambles but he had an invitation from the Lord Lieutenant of Dublin to bring his music there. While still in London, between 22 August and 14 September, 1741 he composed the music for a text compiled by Charles Jennens (1700-1773) from the Bible and the Prayer Book Psalter. He titled the work Messiah. He traveled by ship to Dublin and was delayed in the city of Chester by contrary winds and took this chance to rehearse some of Messiah choruses with local singers.

He docked in Dublin on 19 November and was soon playing organ and conducting some of his anthems and began selling a subscription series of six “Musical Entertainments” at Neale's new Music Hall on Fishamble Street, opened just before he arrived. Subscriptions quickly sold out and a second series was offered. On December 23, 1741 the first series opened with Handel's earlier collaborative effort with Jennens, L'Allegro, il Penseroso ed il Moderato (1740). Later programs offered Acis and Galatea, Esther , Alexander's Feast, several organ and other instrumental concertos. The theater was crowded and audience members were encouraged to leave swords and hoop skirts at home so others could fit into the theater.

There was a rehearsal open to the public of Messiah on 9 April, 1742. Enthusiasm built and the 13 April performance raised 400 pounds to benefit three charities. In late May Handel conducted his oratorio Saul and on 3 June he repeated Messiah. The entire visit was a triumph and his music became a hot ticket in Dublin for years to come.

In August he returned to London, planning to return to Dublin the following year but his great success with his oratorio Samson at Covent Garden, where he agreed to perform oratorios, unlike operas, allowed during Lent, led him to stay in London. He played to a crowded house in eight performances. It was an important event and demonstrated that English singers in leading roles could hold the attention of an audience and established the pattern for all of Handel's future work. This split London music lovers into two camps, the middle class, with their Evangelicism who supported his music but were suspicious of the hedonistic element in art, and the aristocracy that supported opera.

The first London performance of Messiah, March 23, 1743, advertised it not by name but only as a “New Sacred Oratorio.” There was a campaign in the London press to damn the enterprise as blasphemy because an “act of religion” was unsuited to the theater. This history is perfectly understandable (think Rupert Murdoch, today) when we remember that the subject of oratorios must be religious and the music must agreeably unite with the “most pleasing airs of the stage.” The work fell flat until 1750 when sly old Handel performed it for charity at the Foundling Hospital Chapel. The rest is history.

Messiah reached the new world with extracts performed in New York City in 1770, in Charleston in 1796 and in Norfolk, Virginia in 1797. The difficulty in performing the entire work was in assembling an adequate chorus and well trained soloists. A full performance took place in Boston on December 25, 1818. (Handel's Messiah A Celebration, Richard Luckett, Magdalene College, Cambridge). There is no definitive version since Handel altered, rewrote or added numbers to suit various performances. In the 19th century enormous orchestral and choral forces became the fashion. Not until the mid-twentieth century did Messiah return to near original proportions with correct tempo and rhythm. With no organ available for figured bass, Mozart had composed accompaniments for other instruments to fill this gap and these are frequently used. Yes, Mozart! See “Mozart’s Renovations of Handel’s ‘Messiah’" - New York Times, December 21, 2011.

Messiah
Governor's School for the Arts Vocal Music Department
December 18, 2011
Chandler Hall

Professional singers were always used by Handel as soloists with the best choral singers he could assemble and that is what made the performance by the Governor's School for the Arts with the GSA Orchestra da Camera led by Jeffrey Phelps, so interesting. It was a challenge for the seventeen string players who had to play 90 minutes of continuous music. The vocalists had other challenges. A solo performance in a masterpiece that is so well known is a lot to live up to. Chandler Hall is perfect for a beginning experience. In this theater of 280 seats it is obvious that powerful singing is far less demanded. Here, excellent diction and accuracy were all that Handel's music required and the students delivered.

All the vocal students were part of the chorus. When it was time for a solo, only the soloist remained standing. Senior Jermaine Woodard was bass soloist in four sections on December 18 and provoked a wow! response, especially when he sang For Behold, Darkness Shall Cover the Earth. There was a golden fluidity in his sound that is often missing in deep voices. The short soprano recitatives allowed several sopranos to participate, with Emily King getting a chance to shine in Rejoice Greatly, a big soprano air. She successfully added some Baroque embellishments as did tenor Evan Guttierez in Every Valley. Other soloists were featured on the December 17th performance.

The chorus of thirty, prepared by Stephen Z. Cook, had a full sound with clear, crisp diction and great enthusiasm. All We Like Sheep is such glorious fun, never has going astray provoked so much glee. There is a twinkle in the old rascal Handel's setting. The Hallelujah Chorus, with the title repeated 70 times in 3½ minutes, has flexible rhythms and stately harmonies creating a feeling of resounding joy. Legend has it that at its London premiere, King George II leapt to his feet in awe, starting a tradition that continues to this day.

Messiah Sing Along
Symphonicity
December 23, 2011
Sandler Center for the Arts

Symphonicity, the symphony orchestra of Virginia Beach, hosted the annual Messiah Sing Along led by conductor David S. Kunkel, who originated and has led all twenty-nine performances. The chorus master for most of these years has been Mark Hudgins. It's a free performance, donations accepted. Year after year the community turns out, filling the Sandler Center's 1200 seats.

Soprano soloist was Anna Sterrett, an aspiring opera singer. Her silver stream of beautiful sound cut through the orchestra, allowing the text to be understood. Handel brought brought Italian opera star Signora Christina Maria Avoglio, Messiah's first soprano soloist, with him to Dublin. She had been the house soprano in his opera company for many years. In that performance Mrs. Susannah Arne Cibber (her brother was the composer Thomas Arne, 1710-1798) was alto and was a well-known stage actress as well as singer. Arne's wife, Cecilia Young, also sang at the first Messiah.

At the singalong the alto sections were sung by mezzo-soprano Marilyn Kellam. An accomplished singer/actress like Mrs. Cibber, she has performed in cabarets, recitals and over 40 musical theater productions. Her clear, expressive singing let the text shine through. Dr. Kellam supports her “musical addiction” as an internist on the Eastern Shore.

Tenor Jeffrey Easter has a robust, lyrical sound that rang throughout the hall with beauty and power. He covered the role of Radames in Virginia Opera's recent production of Aida.

The solo bass sections were sung by Larry Jay Giddens, a native of the Eastern Shore of Virginia. His career has taken him from the Staatsoper Hamburg to Edmonton Opera and many roles in the U.S. Including Opera Carolina and Virginia Opera. His sound is grounded and firm, large but contained.

I love this event and have attended for 27 of its 29 year history. A group of strangers come together and bond as they bring to life this great musical masterpiece. As it ends we celebrate together what we have accomplished and then disperse back into a world ready to celebrate Christmas. This year there were enough tenors in the audience to give us a full sound. That was very nice also.