By Steven Lieberman
Observer Reporter
The Los Angeles Master Chorale, a cultural icon heralded around the globe for its exceptional artistry, presented its “Renaissance: Reawakened” performance on Sunday at the acoustically-sound Walt Disney Concert Hall where the Chorale has been residing since 2003.
Not only did Artistic Director/Conductor Grant Gershon conduct the chorus, but so did his associate Lesley Leighton, and she did so very capably.
“Rebirth: Music of the Spirit” is how Gershon would caption the soaring beauty of the music that graced the great cathedrals of the Renaissance. And that tradition continued with an ensemble of 36 singers who proved that they are adept at performing in this musical style. Their clear intonation and “mastery” magically transported the audience members back to that era, an era that lifted mankind out of the Middle Ages five centuries ago.
The LAMC showcased why the Renaissance forever changed the course of music history. On the program, nine influential composers and their gems, which included William Byrd, Josquin des Prez, Orlando de Lassu, John Taverner and Thomas Tallis, reverberated throughout Disney Hall, creating a sense of serenity.
Two compositions to note were des Prez’s “Tu Solus Qui Facis Mirabilia” and “Ave Nobilissima Creatura.” Tu Solus is unusual in its use of simple block chords to create an austerely hymn-like texture that privileges the words. The six-voice Marian motet Ave Nobilissima likewise takes great care with the art of enhancing the emotions evoked by the text. De Prez’s eloquent use of imitation and related polyphonic techniques shows why his peers so revered his creative mastery.
He would be proud to know how skillfully the LAMC singers conveyed his intentions for these two pieces.
Although all the pieces on the program were conveyed to the audience proficiently, two other compositions stood out. One by Taverner and the other one by Tallis.
Taverner’s “Western Wind Mass” was split into four isolated movements. The Gloria and Credo in the first half of the program and the Sanctus/Benedictus & Angnus Dei appearing after the intermission. A system that seemed to work well. Western Wind, a sixteenth-century song, conveyed an exquisite erotic melancholy.
Tallis’ four-part “If Ye Love Me”, an Anglican sacred anthem for Communion setting the English translation of words from the Gospel of John, was another bright spot on the program. He wrote this composition in a chordal style that maximizes textual clarity. Tallis was also a privileged member of the Chapel Royal where he was also an organist.
He would also be pleased to know how adeptly the LAMC conveyed his motivations.
And I’m sure the other composers on the program are smiling from the musical Heavens knowing that their compositions were in the hands of the singers of the LAMC.
For more information about future concerts go to http://www.lamc.org.
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