The Master Chorale of Saddleback Valley fittingly honored its
past 50 years and heralded the start of a new decade of music making this past
Sunday afternoon with performances of a song of destiny and the always popular
Mozart Requiem in D Minor. Geneva Presbyterian
Church in Laguna Woods provided the setting for a concert quite ably sung by
the nearly 50 singers and four soloists. Artistic Director and Conductor
Charles Stephenson sturdily led the singers and an outstanding orchestra comprised
mostly of young musicians.
The Brahms Schicksalslied (“Song of Destiny”) proffered a
nicely balanced sound from the Chorale and an excellent choice of tempo. The
piece, which is marked Adagio at the start, is sometimes performed too slowly
by some groups and can have a tendency to sound more dirge-like than
destiny-bound. The orchestra supported
the singers well, not overpowering the voices or the message. The Chorale managed a purity of well-suited to
the mood of the text. A clearer break
between the Allegro and the final Adagio, with a more settled tempo at the end,
might have sealed the middle section with distinction and given more impact to
the closing, though the overall effect of the work was quite pleasing and entrancing.
A noble presentation of a noble piece.
Everyone has heard the Mozart Requiem, or sections of the
Mass. For many the composition conjurs images of a foreboding figure dressed in
black, or F. Murray Abraham as the film version of Antonio Salieri hurriedly
copying down the music as dictated by Mozart from his deathbed. In reality, composers
other than Salieri completed the work, notably an established Austrian composer
named Franz Xaver Süssmayr, who claimed sole authorship of the Sanctus, the
Benedictus and the Agnus Dei.
The Chorale did a fine job of making this big work sound
big. The orchestra overpowered the voices at times, perhaps contributing to a
sense of one volume coming from the singers. On my wish list might have been
more separation between sections, more precise rhythms in the Rex tremendae and
the Confutatis, and more crescendo and decrescendo in individual vocal lines
throughout. Perhaps choral singers far and wide should blame Herr Süssmayr for
the rapid-fire Osanna section of the Sanctus, which this group negotiated fairly
deftly.
Kudos belong to this Chorale for not being shy with their
entrances. My mind’s ear remembers too many past Requiem performances with singers too shy to enter on the
Confutatis. The Chorale kept their energy high and their voices true and
blended from start to finish. The solo quartet was comprised of Saousan
Jarjour, Sally Puente, Juan Castenada and Patrick Unrein who contributed
competent performances.
Gene Wie, Music Director of the Orchestra of St. Margaret’s
at St. Margaret’s Episcopal School in San Juan Capistrano assembled a
remarkable orchestra of mostly teen and pre-teen musicians. Concertgoers who
instantly think of the school band should think again. With only two rehearsals
of the music under their belts, this orchestra outshined many community groups
and ensembles composed of semi-professional and professional players. Orchestra
members came from music programs at St. Margaret’s Episcopal School, Orange
County School of the Arts, Corona del Mar High School, Northwood High School,
Dehesa Charter School and Arroyo Vista Middle School.
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| MCSV Artistic Director & Conductor Charles Stephenson flanked by Chorale members Jacki Brown and Bill Boyce in a post-concert toast to 50 years of choral music making |
