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Choral and Vocal
A FITTING OPENING FOR SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
A choral concert by the Sonoma Bach Choir was a fitting opening for the new Schroeder Hall at Sonoma State University on Aug. 23. After all, the idea for the Green Music Center came many years ago from Don Green, who at the time was singing in the Bach Choir, conducted then and now by Bob Worth. Th...
Choral and Vocal
A CAPAPELLA FEVER AHH
by Terry McNeill
Wednesday, July 16, 2014
Choral singing, especially unaccompanied by piano or orchestra, seldom gets exposure at a summer music festival. So it was a surprise July 16 to find the Mendocino Music Festival featuring a full program of a capella singing in downtown Mendocino’s Preston Hall. Perhaps due to the local performers...
Choral and Vocal
HERCULEAN BACH FROM THE ABS
by Joanna Bramel Young
Friday, February 21, 2014
One might wonder why the highly esteemed American Bach Soloists perform at a rather out-of-the-way venue at St. Stephen's Church in Belvedere; but that is where it all began 25 years ago, when conductor Jeffrey Thomas and former St. Stephen's organist Jonathan Dimmock fulfilled their dream of foundi...
Choral and Vocal
PERFECT BACH IN BELVEDERE
by Terry McNeill
Friday, January 24, 2014
Perfection in classical concert performance is a tough job, especially on a consistent basis. The redoubtable American Bach Soloists (ABS), however, manage to reach musical perfection often, and they did it again Jan. 24 in a sterling event in Belvedere's St. Stephen's Church. Beginning their 25th ...
Choral and Vocal
VIVALDI'S GLORIA A DUE IN UNIQUE RIVER CHOIR CONCERT
by Terry McNeill
Sunday, January 19, 2014
In an audacious programming twist, Sonoma County’s River Choir and instrumental colleagues performed Vivaldi’s Gloria (RV 589) Jan. 19 in two versions, distinct but also very much together. Directed by Sonia Morse Tubridy, the 20 singers and instrumentalists in the dimly lit Guerneville Community C...
Choral and Vocal
A MARIN MUSICAL FEAST IN ABS SILVER ANNIVERSARY CONCERT
by Terry McNeill
Saturday, December 14, 2013
It was a “coming home for Christmas” event Dec. 14 when the American Bach Soloists (ABS) launched their 25th season with a glorious concert in Belvedere’s St. Stephens Church. The ABS was founded in 1989 in this venue, and chose the fortress-like church for presenting two Bach cantatas and a bevy of...
Choral and Vocal
BRILLIANT HANDEL ORATORIO COMPLETES ABS FESTIVAL
by Joanna Bramel Young
Friday, July 19, 2013
Nearing the close of its “Festival and Academy 2013” the American Bach Soloists outdid themselves once again July 19 in its presentation of Handel’s oratorio Esther, with full house at the San Francisco Conservatory of Music. During his early years in England, Handel turned to Racine’s masque Esthe...
Choral and Vocal
MASTERFUL GOOD FRIDAY CONCERT
by Terry McNeill
Friday, March 29, 2013
Good Friday concerts are always spiritual but often can be monotonous and overly long. Cantiamo and the St. Cecelia Choir’s exceptional program March 29 in Santa Rosa’s packed Church of the Incarnation was anything but mundane, and perhaps too short. Conductor Carol Menke fashioned a balanced eve...
Choral and Vocal
A POPULAR INAUGURATION; THE DELIGHTFUL SUNRISE CONCERT AT WEILL HALL
by Phillip Beard
Sunday, September 30, 2012
It’s hard to imagine a more fitting setting than the Sept. 30 Sunrise Concert for the popular – as opposed to “elite” – inauguration of the palatial, pre-legendary Weill Hall in the Green Music Center at Sonoma State University. You know something special is going on when you fill a 1,400-seat hall...
Choral and Vocal
TWICE IS THE CHARM AT RIVER CHOIR'S BACH CANTATA PERFORMANCE
by Terry McNeill
Tuesday, April 26, 2011
It’s pretty rare that an entire classical music program contains just one work, and just 22 minutes at that. Sonia Tubridy’s River Choir thought so much of Bach’s Cantata No. 4, Christ lag in Todesbanden, that they sang it twice in a program April 19, and repeated the Cantata April 26. And ...
CHORAL AND VOCAL REVIEW
St. Cecilia Choir & Cantiamo Sonoma with the Incarnation Orchestra / Friday, April 10, 2009
Conductor: J. Karla Lemon
Soloists: Carol Menke, soprano; Christopher Fritzsche, alto; Kevin Baum, tenor; Tom Hart, bass

GOOD FRIDAY GETS BETTER WITH HAYDN MASS

by Steve Osborn
Friday, April 10, 2009

Franz Joseph Haydn was not quite as prolific with masses as with symphonies, but he did he write 14 of the former nonetheless. For their annual Good Friday concert on April 10, the St. Cecilia Choir joined forces with Cantiamo, the Incarnation Orchestra, four soloists and conductor J. Karla Lemon to perform No. 12, the Theresienmesse, in the Church of the Incarnation in Santa Rosa.

The crowded conditions around the altar were more than reflected in the church itself, where ushers had to squeeze at least seven people into pews that normally hold only five or six. The oversold house only added to the festive atmosphere and to the close connection many in the audience felt to their hometown choirs, soloists and orchestra.

The program notes provided no history of the mass itself, so a little bit may be in order here. Late in his life, Haydn was commissioned to write a series of masses for the annual name’s day celebration of Princess Maria Hermengild, the wife of Haydn’s longtime employer, Nikolaus Esterhazy. Haydn wrote six, including four in B flat major, probably because B flat was the highest note he expected of the sopranos.

The Theresienmesse, one of the four B-flatters, was named for Maria Theresa of the Two Sicilies, the Austrian emperor’s wife. She also happened to be a soprano soloist who sang in Haydn’s oratorios, but it’s unclear if she was the soloist in the original performance of the Theresienmesse in 1799. What is clear is that the soprano part is one of Haydn’s loveliest, filled with ravishing runs and sprightly rhythms.

The same could be said for the other solo parts, and for the choral writing itself, which is every bit the equal of the soloists throughout the mass. The whole mass, in fact, is so joyous and infectious that it’s hard to imagine it inhabiting the same space as a droning sermon.

No sermon was in evidence at this performance, other than an apologetic announcement for the need to squeeze more souls into the pews. The completely packed church resembled steerage on an 18th-century sailing vessel, with the church’s beautiful struts and beams looking for all the world like the ribbing of a ship, and with the traffic noise coming through the open doors and windows serving as the ocean.

The captain of the craft, Maestra Lemon, kept a steady hand on the helm. She is a bilaterally symmetric conductor, given to extending both arms at full length, planting her feet on the ground, and swaying at the waist. Her tempi were brisk but not hurried, her cues precise, her control of dynamics exemplary. Conducting from the floor, without a podium, she had no trouble gaining everyone’s attention, even from choristers whose heads are normally buried in their scores.

Singing against a purple backdrop of a stylized crown of thorns, the combined choirs showed strength in the opening Kyrie and kept getting better. The sopranos and tenors hit their high notes with ease, and the basses and altos offered solid counterpoint.

The soloists — soprano Carol Menke, alto Chris Fritzsche, tenor Kevin Baum and bass Tom Hart — got to shine in the Gloria, particularly in the “Domine Deus” section, where their well-rounded voices blended seamlessly. They filled the church with glorious sound, hampered only by the somewhat muffled acoustics at the upper end.

Lemon propelled the dance-like Credo through its paces, drawing good articulation from the choir and a full dynamic range from the small orchestra. The lilting 6/8 rhythms of the outer sections made for a strong contrast to the quietude of the middle, where the soloists sing of Christ’s crucifixion.

By the time the Sanctus, Benedictus and Agnus Dei rolled around, the assembled forces had fully gelled and seemed capable of far more than a 45-minute mass. Sadly, encores were not to be, even though the audience kept clapping after the soloists and choir had left the altar. Perhaps the next Good Friday concert could include some appropriate orchestral music in addition to the requisite mass.