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The Tonal Colors of Cathedral Choral Society & New York Polyphony

CathedralConcertsmall.jpgA friend invited the Dresser to the March 19, 2017, Cathedral Choral Society concert featuring New York Polyphony. She expected to be pleased and off duty regarding a review. However, this program known as "Amid a Crowd of Stars" was a world-class performance and should not go unnoted.

According to the guest conductor Michael McCarthy, who stepped in after the death of Cathedral Choral Conductor J. Reilly Lewis, the invitation to the four-man quartet known as New York Polyphony was initiated by Lewis before his death June 9, 2016. New York Polyphony comprised of countertenor Geoffrey Williams, tenor Steven Caldicott Wilson, baritone Christopher Dylan Herbert, and bass Craig Phillips, are known for their uncanny ability to deliver work ranging from Gregorian chant to cutting-edge contemporary compositions. Much of this mysterious ability has to do with wondrous and steady voice of the countertenor.

Several times McCarthy mentioned how this particular program of sacred music that seamlessly flowed from old music to new was selected particularly for the acoustic challenges of the Washington National Cathedral. This chorus, very attentive to McCarthy's direction, produced a multi-layered sea of sound. Here is a list of the music performed in the order it was played. Note how the contemporary music is woven in with the old music.

Part I
Dominus custodiet te (2015) Andrew Smith (b. 1970)
Pater noster (?) Adreian Willaert (c. 1490-1562)
Whispers (2002) Steven Stucky (1949-2016)
Ave Maria (1934/1949) Igor Stravinsky (1882-1972)
Rejoice, O Virgin (1915) Sergei Rachmaninoff (1873-1943)
Quae est ista/Surge propera (1555) Francisco Guerrero (1528-1599)
Levavi oculos meos (2015) Andrew Smith
Amid a crowd of stars (2015) Andrew Smith
Miserere mei, Deus (-1630s/1976) Gregorio Allegri (c. 1582-1621)

Part II
Conditor alme siderum (world premiere) Plainsong, 11th Century, arr. Michael McCarthy (b. 1966)
Loquebantur variis linguis (?) Thomas Tallis (c. 1505-1585)
Vespers Sequence (2016) Ivan Moody (b. 1964) (selections)
The Spheres (2008) Ola Gjeilo (b. 1978)
Lux aeterna (?) Antoine Brumel (c. 1460-c.1512)
A Hymn to the Mother of God (1985) John Taverner (1944-2013)
Super flumina Babylonis (2015) Andrew Smith
Lux aeterna (1899/1996) Edward Elgar (1857-1934) arr. John Cameron (b. 1944)

Of the 17 compositions performed, ten were written in the 20th or 21st Centuries. These pieces flowed as if they were meant to be heard in a single stream of sound. Most surprising was Stravinsky's "Ave Maria," which the Dresser heard but initially didn't register that it was by the ground-breaking composer who turned classical music on its head. Featured were four compositions by Andrew Smith. Some pieces, especially those done by New York Polyphony--and what a rare treat to hear the voice of the counter tenor in contrast to base, baritone and tenor voices--were done a cappella. Other pieces had accompaniment by a nine-piece string ensemble or an organ.
NY Polyphony small.jpg
In this troubled world complicated by the recent presidential election, this concert restored inner calm to the Dresser.

In Nathalie Anderson's poem "Stain: Six Meditations on the Craft," the fourth meditation examines the process of creating stain glass with all its layers of color reminding the Dresser of the tonal colors working together in this outstanding concert. Anderson's poem fragment also points to suffering so often illuminated in sacred texts and certainly in the texts of this Cathedral Choral Society concert.

STAIN: SIX MEDITATIONS ON THE CRAFT (excerpt)


Or flash glass: a layer of hue--brilliant, pungent, thunderous--
laid down on a color less extreme, say white glass dipped in red;
or moss shadowed by yew; wine spilled over plum; wisteria
in smoke; peacocks at midnight; lapis over jade--so when scratched
away, the dark layer lightens, softens, cools, quiets, modulates,
and the pale layer--no longer coated, clouded, or benighted--dawns--
as here: flames clawing through the sooted flesh
behind the pyromaniac's back; or here:
the ligature of ligament, the tendon
torqued, the muscle clenched; or
here: the gartered fishnet tugged up, squirmed in, worn
over the bruise, the scab, the open vein; each skin
scraped and abraded, one pain
bolted over another.

by Nathalie Anderson
from Stain

"Stain: Six Meditations on the Craft" copyright © 2017 by Nathalie Anderson

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This page contains a single entry from the blog posted on March 21, 2017 10:23 AM.

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