By Douglas Neslund
Once school starts in the
Fall, one is rarely treated to a performance by a touring company of schoolboys.
Even less should one expect to hear a boys’ choir that stands atop a virtual
pyramid of professional choral ensembles, but this was clearly the exception.
Hosted and joined in song
by the Los Angeles Children’s Chorus of Pasadena, the young men and boys from
Windsbach in the Franconian portion of Bavaria, Germany, put on a demonstration
of choral beauty that thrilled all in attendance at Pasadena’s Presbyterian
Church.
The Windsbachers at home
have their own choir school, and are supported by the German government. But in
Germany, as in this country, the arts are under continuous threat that funding
might be withdrawn at any time. Losing such a funding source at this level
would likely destroy a living, breathing jewel of German arts and artists.
Difficulty of an all a cappella choral
program was not at issue in the following repertoire drawn from a long list
of musical morsels:
1.
Os justi
meditabitur, by Anton Bruckner
2.
Domine, ad
adjuvantum me, by Gottfried August Homilius
3.
Ich lasse Dich
nicht, by Johann Sebastian Bach
4.
Wie liegt die
Stadt so wüst, by Rudolf Mauersberger
5.
Lux arumque,
by Eric Whitaker
6.
A Hymn to the
Virgin, by Benjamin Britten
7.
The Creation,
by Willy Richter (men's voices)
8.
Kommt, ihr
G’spielen, arranged by Melchior Franck
9.
Das Echo, by
Orlando di Lasso
10.
Heidenröslein,
arranged by Heinrich Poos
11.
Wohin mit der
Freud, arranged by Friedrich Silcher
12.
Mein Mädel hat
einen Rosenmund, arr. Lissman/Göttsche
13.
Das Wandern
ist des Müllers Lust, arranged by Helmut Barbe
14.
Waldesnacht,
by Johannes Brahms
Delicacy and utter beauty
of tone, tight harmonic relationship among the various choral parts, and uniformity
of vowel sounds, when coupled with an emotionally-charged interpretation by
choirmaster Martin Lehmann, successor in 2012 to long-term Kapellmeister
Karl-Friedrich Beringer, produced an unforgettable tapestry of sound.
The use of vowel colors
throughout the spectrum is produced by choirs who learn to use that range
without tearing the choral fabric. Mr. Lehmann’s conducting style, unlike so
many conductors elsewhere, does not attract undue attention to himself despite
exaggerated gestures, but is a very expressive act directly connected with the
text and its interpretation. In the Bach, for example, he chose to “bend” the
tempo, dynamics and internal choral balances to match the motet’s text. Such
individualism is very dangerous, as it exposes the young singers to possible false
starts, inadvertent “solos” and internal imbalances. Despite those risks,
Maestro Lehmann succeeds in painting an aural portrait of each composer’s work
that is distinguished and authentic.
There was nothing
mechanical or suppressed in this performance. The music flowed, beautifully
sung in every measure, every note. The Mauersberger is an 8-part wrenching
series of questions as it asks why the city of Dresden needed to be bombed and
leveled 69 years ago. The Whitaker requires very tight, unharmonic chord clusters
perfectly performed. To end the concert with Brahms’ evocation of a forest at
night was a benediction to be cherished. Two of the selections required a
semi-chorus of eight singers to separate and alternate with the main chorus –
perfection in tone, volume, and unity, especially in the cherishable Britten.
To begin the performance,
Anne Tomlinson’s Concert Choir and Steven Kronauer’s Young Men’s Ensemble of the
Los Angeles Children’s Chorus demonstrated why their respective ensembles continue
to attract critical attention. A comparison of the German and American choirs
would be difficult to gauge, but it’s clear the pursuit of perfection is a
hallmark of both organizations.
All three choirs joined
together under Maestro Lehmann’s direction to end the concert with
Mendelssohn-Bartholdy’s beautiful "O Täler weit, o Höhen", and Ms. Tomlinson lead
the assembled in James Erb’s familiar arrangement of the American folksong, "Shenandoah".
The Windsbacher America tour continues in New England through November first. Here is a YouTube sample (although this concert was even better!): http://youtu.be/DlIK-zy70ws
The choir's English website is here: https://windsbacher-knabenchor.de/en
Photos courtesy of Mila Pavan and the Windsbacher Knabenchor
No comments:
Post a Comment