After a strictly instrumental opening weekend concert that
inaugurated Helzberg Hall, Music Director Michael Stern and company focused on
vocal/choral selections for the second concert. Anticipation was high as to how
the Kansas City Symphony Chorus and vocal soloists would sound in the new hall.
In my, and many other’s opinion, anything had to be an improvement over the
Lyric Theatre, which usually rendered the chorus to mush and tended to obscure
all but the most commanding of soloists. To show what the new space could or
could not do, Stern chose two choral works, Beethoven’s rarely heard “Elegischer
Gesang” in its chorus and strings version (original was for 4 voices and string quartet) and the grand
Brahms “Ein Deutsches Requiem”. For some orchestral contrast, yet still keeping
with the requiem theme fitting for All Saints/All Souls Week, Stern selected
Messiaen’s orchestral “Les Offrandes Oubliées” as an interlude.
Beethoven’s sweet, short and sadly all but forgotten “Elegischer
Gesang” (“Elegiac Song” written in
1814 originally for 4 voices and string quartet here arranged for chorus and
string orchestra) quickly demonstrated how the newly augmented chorus could
sound. The verdict: much clearer and focused, neatly balanced with the
orchestra and certainly cleaner diction. However, the sheer size of the forces
frequently made their voices a sound texture rather than clearly defined text,
most often noted in climactic passages. Yet the Elegiac Song received a most heartfelt
and “elegiac” performance, the chorus well balanced with the strong, always elegant
strings.
As a bonus, the chorus performed an a capella piece written
for the center’s opening gala by local composer Mark Hayes, titled “This Moment”.
Having worked with Mark Hayes and having sang many of his compositions over the
years, it was instantly recognizable as his fine work. The soft, frequently
whispered piece came off well in the hall and did not detract from the overall
theme of the evening.
Stern has been successfully insinuating the atmospheric music of 20th century French composer Oliver Messiaen in his concerts the last few seasons. This season we are treated to Les Offrandes Oubliées (The Forgotten Offerings) written in 1930 for two pianos and later orchestrated by the composer. This fervently religious interlude made for a most fitting contrast to the contemplative Beethoven and the cooler Brahms to come.
Stern has been successfully insinuating the atmospheric music of 20th century French composer Oliver Messiaen in his concerts the last few seasons. This season we are treated to Les Offrandes Oubliées (The Forgotten Offerings) written in 1930 for two pianos and later orchestrated by the composer. This fervently religious interlude made for a most fitting contrast to the contemplative Beethoven and the cooler Brahms to come.
The piece is cast in a single movement divided into three
clearly delineated sections representing Christ suffering on the Cross, the
decent of man into sin and finally salvation offered through the Holy
Eucharist.
The opening section marked “fairly slow, sorrowful and
profoundly sad” continued Beethoven’s elegiac, reverent mood. The strings and
winds were admirable in their clear intonation in high registers, perfect for
Messiaen’s characteristic modal sound. Stern and his forces milked the
cataclysmic burst of sound that announces the central “Lively, fierce, desperate,
gasping for breath” section, representing human kind’s sinful ways. The
orchestra relished the Bacchanalian passion while Stern kept the violence
neatly in control. The brass and percussion were commanding and snarling,
certainly not overly loud as I have heard from one complaint.
Heavenly calm, resembling much of the opening section, marks
the final “Slow, with great pity and great love”, celebrating the mystery and redemption of the
Eucharist. Even in this early work, one hears the characteristic sound world of
the masterpieces (Turangalila-Symphonie, Des canyons aux étoiles, Oiseaux
exotiques, etc.) to come.
Having explored the white hot religious ardor of Messiaen’s
faith, Brahms’ almost secular requiem comes into clearer focus.
Despite a text assembled by the composer mostly from
Biblical passages, “Ein Deutsches Requiem” is actually a humanist rather than an
overtly Christian work. Brahms recognized this and it is even suggested that he
considered calling his magnum choral opus “A Human Requiem”. Thus Brahms’
classic coolness and restrained emotion suits this service for the dead well.
This is a requiem for the living, a time of comfort and reflection rather than
a sublime (In Paradisium in the Latin Mass) or anguished (Dies Irae) vision of
what is to come.
To make this piece really work, it needs a bit of guts along
with the grandeur, remembering that this is that “Human Requiem” and not a
glacial Papal funeral mass. Slack tempos, little dynamic energy, unfocused
chorus and coldly mechanical solos can quickly slip this monster into sonic drudgery.
Unfortunately the traditional and all too common view of this work heads
straight into such a wreck. Stern and company led a vital and well paced
performance, steering clear of the tendency to sink into an interminable
morass, providing the requisite good dose of guts to go with the glory.
Most impressive was baritone Christopher Feigum in his solos
in Parts III and VI. Singing with style and with incredible diction, his two
lengthy contributions provided a fine dose of the dramatic guts as mentioned
above. So did the chorus’ earth moving “Death where is thy sting?” section in
Part VI, well serving as the aural and dramatic climax of the work. Finally,
with the spectacular sonics of Helzberg Hall, the power of the talented voices
could be unleashed, really speak to the audience and not be buried in a haze.
Soprano Layla Claire’s contributions were equally fine yet more
ethereal rather than overtly dramatic, perfectly fitting their role.
Brahms’ Requiem, as some of my readers may know since I sort
of can not keep it a secret, is not on my top 10 (or even top 1000) list of
favorites. I own nary a recording of it and have heard it live only once
before, a previous Kansas City Symphony performance from sometime in the mid to
early 90’s. Stern, Chorus Director Charles Bruffy and their forces can be proud
of a fine performance of a work that many find inspiring and glorious and
challenged this skeptics’ preconceived notions.
