The Well-Tempered Ear

Classical music: The talented new director of the Isthmus Vocal Ensemble sets the acclaimed and still impressive group on a new path with mixed results and hopeful expectations | August 9, 2018

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.

By John W. Barker

The Isthmus Vocal Ensemble (IVE, below) is a well-established part of Madison’s musical summers. It offers dedicated choral singers a chance for intensive rehearsal preparation of highly accomplished choral music, and has delivered some truly memorable events over the years.

Of its concerts this year, I caught the second performance on Sunday afternoon. The choir itself doesn’t need to be shown off by now, but it was the choir’s chance to show off its new conductor in his first appearance here.

Michael McGaghie (below) is that new conductor. He is very plainly a brilliant choral technician who knows how to make a choir sound wonderful. (For more about McGaghie, who is the Director of Choral Activities at Macalester Collge in St. Paul and who leads the Harvard Glee Club Alumni Chorus in Cambridge, Mass., go to: https://www.isthmusvocalensemble.org/artisticdirector/)

That he did throughout the program. The IVE — 69 singers strong — certainly responded with an infectious enthusiasm that was also communicated to the large audience that filled the Christ Presbyterian Church.  The concert was certainly a feast of great choral singing.

But what about the music?

To begin with, the actual music amounted to no more than about an hour’s worth. McGaghie planned the program as a progress of emotional moods, and he introduced each piece himself.

But what were the contents? McGaghie largely turned his back on the centuries of great choral music, the kind that his predecessor Scott MacPherson explored so ambitiously.

There were, at the beginning, two examples of that, motets by Thomas Tallis of the 16th century and Heinrich Schütz of the 17th century.

There was also an interesting nugget from the Russian composer and conductor Nikolai Golovanov (below), an early work of his (1917), setting the Lord’s Prayer (Otche naš) In a style departing from the previous two centuries of great Russian Orthodox choral writing.

Beyond those, however, the remaining nine items in the program — and the encore — were entirely by recent composers, mostly living and mostly American. These were his introductory calling cards, and so they invite scrutiny.

Ours is not an age of great, idiomatic choral writing, and composers go their own ways variously. Many of them rely upon a kind of chordal declamation with little sense of line or full-bodied texture.

Some pieces I don’t think I would want to hear again, and a couple I would not have wanted to hear even the first time.

An example of the latter is a piece about sirens and sailors by Chinese-American Chen Yi (below top), a collage of weird choral sounds but no musical content recognizable to any but Chinese ears.

Another was a loudly trashy adaptation of a Civil Rights “freedom song” by Jeffrey Douma (below bottom), plus the gesture to multicultural triviality in a Philippine folksong arrangement.

Three of the items came with piano accompaniment. In The Whole Sea in Motion by Dale Trumbore (below top) — which uses a text from Anne Brontë — the piano gave an underlying ripple to support declamatory, non-linear writing.

In Eternity by Donald Martino (below), the pleasantly lyrical choral writing really didn’t need the piano at all.  And that part was much too prominent against Morten Lauridsen’s nicely polyphonic, and quite self-sufficient, choral texture in “Sure on This Shining Night” that treated James Agee’s famous poem. (You can hear the Lauridsen work in the YouTube video at the bottom.)

There were certainly some among these contemporary items that I found quite enjoyable.

In Ophelia, a setting the account of that woman’s death in Hamlet, Jocelyn Hagen (below top) was overly concerned with story-telling, but the work certainly contained some lovely writing. O Radiant Dawn by Scottish master James MacMillan (below bottom) was a beautifully sonorous tribute to Catholic liturgical tradition.

What does this conducting debut point to for the future?

McGaghie can create the most splendid choral beauty — though often at the sacrifice of clear diction. On the basis of this program, it looks like he could now focus the IVE on lots of short contemporary pieces, rather than on the vast traditional literature.

We will have to see.

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6 Comments »

  1. I find it sadly ironic that this post comes immediately after a post that begins, “It has been a good year for new music in Madison, which has often seemed inhospitable to that music in the past.” Why is that? Racist views aside, what does a “review” like this contribute to keeping classical music viable?

    I feel sorry for John Barker; it must be terribly hard to go through life feeling that the world no longer gives you what you want to experience. And I feel sorry for Jake Stockinger, who apparently feels so starved for content that he considers this acceptable to publish – and that it adds to, not subtracts from, a quality dialogue about classical music. There is nothing “well-tempered” about this post in the least.

    Comment by Trouble in Tahiti — August 15, 2018 @ 8:24 am

  2. To the reviewer: I’m glad you found some things that suited your ear. Not everything will, but I would encourage you to open your ear to more sounds from around the world, as we are living in a very small, rich, beautiful and eclectic world these days. It would be a shame if I only had a taste for the haggis, tatties and neeps of my ancestors, and had never learned to enjoy the rich, beautiful and eclectic experiences of sesame noodles, pesto, enchiladas, or curry.

    Comment by SH RAMLET — August 14, 2018 @ 4:07 pm

  3. The racism in this review is astounding. Mr. Stockinger, I strongly urge you to stop using Mr. Barker as a reviewer.

    Comment by Seasoning Queen — August 13, 2018 @ 1:38 pm

  4. I would encourage the author to reflect on the fact that we live in 2018. Musical language evolves. Multiculturalism in music is essential. Music today must reflect all of humanity, not just the pre-20th-century European part of it. Many of your comments are close-minded, degrading, and racist. I know this is not easy to hear. Please take time to reflect on this.

    Comment by Bethany Battafarano — August 13, 2018 @ 12:47 pm

  5. What a bummer to have missed such a beautiful program.

    Comment by Joel — August 12, 2018 @ 3:37 pm

  6. Sounds to me like it was a wonderful, eclectic program of choral music. Sorry that I missed it.

    Comment by tom — August 9, 2018 @ 6:18 am


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