Sins and Grace

On March 23 and 24th, MasterVoices presented yet another fabulous musical evening.

Actually, make that a particularly fabulous musical evening. 

Musical Director Ted Sperling juxtaposed Faure's gorgeous requiem with the seven deadly sins, as written by nine theatre and concert composers/lyricists. 

Photo: Erin Baiano

The evening started with the requiem, gloriously rendered by a small orchestra, two soloists (Mikaela Bennett and Justin Austin), and the terrific 125-strong MasterVoices. Bennett's gorgeous "Pie Jesu" was the best I've ever heard, in person or recorded. I don't have official music vocabulary, but her voice was full, smooth, round, meaningful, and kinda perfect. (If you'd like to read a review by someone more musically knowledgeable, I recommend this one by David Wright.)

 

Mikaela Bennett
Photo: Erin Baiano

The writers of the sins were tasked with using the somewhat unusual orchestra (eg, no winds, only one violin), both soloists, and the MasterVoices. Some extra percussion was added.

All seven sins were well-served. My two favorites were on opposite ends of complexity. 

Lust, by Michael Abels, used a simple palette of noises, rather than lyrics. MasterVoices's performance of moans and other sounds was both sexy and quite funny. A real treat. (It's fun to imagine the rehearsals!)

Justin Austin 
Photo: Erin Baiano

Heather Christian's Wrath was so intricate that Sperling took time to explain that it really deserved an extended rehearsal period, which it hadn't had. With MasterVoices split into multiple choruses, and the orchestra--particularly the percussion--blasting away, the piece was noisy and angry and thrilling. 

I never understand why there are empty seats at MasterVoices performances. Their batting average is amazing, and tickets go for as little as $38. 

Wendy Caster

American Symphony Orchestra: Forging an American Musical Identity

In 1962, when the New York Philharmonic moved from Carnegie Hall to the brand-new Lincoln Center, famed Conductor Leopold Stokowski founded the American Symphony Orchestra (ASO) to play at Carnegie. The ASO had, and has, multiple goals: affordable prices; concerts of less-known pieces, particularly from the Americas; and the presentation of new music. The orchestra also has an educational component, including in-person conductor's Q&As preceding performances; concerts at the Metropolitan Museum keyed into current exhibitions; detailed and often fascinating notes in the Playbills: and free videos and recordings on the website (americansymphony.org/). Music Director Leon Botstein, part of the ASO since 1992, honors the music with excellent presentations and is a clear and charming speaker. 

In other words, the ASO and Mr Botstein are treasures.

Photo: Matt Dine

At the recent Carnegie Hall concert, the ASO and the Bard Festival Chorale performed an evening titled "Forging an American Musical Identity," starting with Dudley Buck's Festival Overture on the American Air (1879), theme and variations on "The Star-Spangled Banner." I am not a fan of "The Star-Spangled Banner," finding it too martial and not all that pleasant to listen to. But Buck made it as beautiful as I think it ever could be.

Next came three spirituals arranged by Harry T. Burleigh (1866-1949), arguably the first Black composer to achieve national fame. They were gloriously sung by mezzo-soprano J'Nai Bridges.

J'Nai Bridges
Photo: Matt Dine

The first act closed with an American centennial march (1876) by Richard Wagner, which was surprisingly dull.

Photo: Matt Dine

The second act brought Symphony No. 5, Op. 62, "Niagara," composed by George Frederick Bristow (1825-1898), with text by Charles Walker Lord, featuring orchestra, chorale, and four soloists. The work hadn't been performed in full in over a hundred years. As rescued by the ASO, the piece was received rapturously, in a way that made me hope that, if there is an afterlife, Bristow was watching.

Wendy Caster