The Well-Tempered Ear

Classical music: The UW Choral Union delivers an eclectic non-seasonal program of music by Beethoven, Brahms and Bernstein with power and lyricism | December 12, 2016

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

John-Barker

By John W. Barker

Eschewing any seasonal or holiday connections, the UW-Madison Choral Union (below) gave its December concert last Friday night with a program of three “B’s”.

uw-choral-union-with-chamber-orchestra-and-soloists-dec-2016-jwb

Well, two of the B’s are familiar ones. But in place of Bach, we got Leonard Bernstein, taking first place in reverse chronological order — his Chichester Psalms, dating from 1965.

This three-movement work probably represents Bernstein’s most important choral score. It sets texts in the original Hebrew, the middle movement calling for a boy treble to represent the young David in the rendering of Psalm 131 — a function here filled bravely by young Simon Johnson (below, front left) of the Madison Youth Choirs.

uw-choral-union-dec-2016-jwb-simon-johnson-of-myc

The platoon of percussionists in the first two movements confirms the composer’s flashy “modernism.” To be sure, there are some characteristic melodic twists that proclaim the composer familiar to us, and the swaying melodic tune of the third movement is really lovely.

But Bernstein (below) did not know what to do with it besides repeating it obsessively. Bernstein simply was not a savvy master of choral writing, and I firmly believe that this work—a trivial cross between Igor Stravinsky’s Symphony of Psalms and Bernstein’s own Broadway musical West Side Story—would not merit much attention were it not for Bernstein’s name on it.

(EDITOR’S NOTE: You can decide on the work’s merits for yourself by listening to the live performance, conducted by the composer himself, in the YouTube video at the bottom.)

Leonard Bernstein composing in 1955

Just how inadequate Bernstein’s choral sense was emerged clearly with the next work, the short ode for chorus and orchestra by Johannes Brahms, Nänie, Op. 82.

The title adapts a Greek word for a lament, and Friedrich Schiller’s German text evokes the death of beauty in the death of Achilles. Brahms was among the supreme choral masters, and this particular example is one of several of his “minor” choral works that we hear too rarely.

brahmsBW

The second half of the program was devoted to Ludwig van Beethoven’s Mass in C major, Op. 86. No, not the monumental Missa solemnis of the composer’s last years when (as with the Ninth Symphony’s finale) he had transcended the realities of choral writing. This earlier Mass setting, dating from 1807, was in the direct line of Mass settings for the Esterházy family composed by the aged Haydn.

But to Haydn’s incorporation of symphonic structure into Mass composition, Beethoven (below) brought his own strongly progressive personality, and a remarkable quality of melodic and thematic invention. This is a lovely work, and choirs who fling themselves doggedly against the Missa solemnis ought sometimes to revel in this beautiful work instead.

Beethoven big

The forces arrayed included a solo quartet (below, in the front from left) are bass John Loud, tenor Jiabao Zhang and sopranos Jessica Kasinski and Anna Polum.

uw-choral-union-dec-2016-soloists

The UW Chamber Orchestra proved able. But the star was, of course, the Choral Union chorus itself. Its diction worked from indistinguishable Hebrew through respectable German to really lucid Latin. Above all, it made mighty, full-blooded sound that bolstered Beethoven’s lyricism with powerful projection.

Once again, conductor Beverly Taylor (below) has gone beyond stale conventions to bring us valued exposure to music outside the conventional boundaries.

Beverly Taylor MSO portrait COLOR USE

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3 Comments »

  1. Dear Well-Tempered Ear,

    Respectfully, I would like to correct my last name. It is Kasinski rather than Kasinsky. I have just been informed that having a last name ending in -SKI denotes being nobility in Polish society and I am quite enjoying being a pretty princess at the moment. Thank you as always for attending a School of Music function. It is always quite enjoyable to read your afterthoughts.

    Appreciatively,
    Jessica Kasinski

    Comment by Jessica L Kasinski — December 19, 2016 @ 9:44 pm

    • Dear Jessica,
      Thank you for your reply with the correction of your name.
      It has been fixed.
      I apologize for the misspelling, but I did not see a program with the proper spelling.
      You will notice that it was reviewed for my blog by John W. Barker, so your enjoyment should be directed to him.
      All best wishes to you,
      Jake

      Comment by welltemperedear — December 19, 2016 @ 10:14 pm

  2. How does one transcend “the realities of choral writing”? Pray tell. Obviously an overblown statement by a Master Practitioner of them.

    Plus, here’s nothing monumental about the Missa
    Solemnis (a name mentioned with hushed reverance but in reality one of Beethoven’s least performed works for good reason: it’s not very good). Even great composers have had their clunkers and this is one of Beethoven’s. it’s just a huge bore, as is Haydn’s Creation, which is even worse. The reviewer is correct in one respect: Brahms was better than either Beethoven or Haydn with choral works.

    Hats off to the UW people for programming some different things, especially the Bernstein. .

    Comment by FFlambeau — December 12, 2016 @ 7:59 pm


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