Mastersingers by the Sea Venture Happily into New Music

Published on Sunday, March 08, 2009

Mastersingers by the Sea's February/March concerts, "Music of Mystery and Love", were reviewed for the Falmouth Enterprise by Marilyn J. Rowland, Editor of Arts and Entertainment.

Mastersingers by the Sea Venture, Happily, into New Music
By MARILYN J. ROWLAND
David MacKenzie was clearly enthusiastic about the music he had selected for the Mastersingers by the Sea performances this past weekend at St. Barnabas Church in Falmouth. He positively glowed while elaborating on the theme, love and mystery, in the pre-concert talk on Saturday evening, even though attendance at that portion of the event was light. His talk was energizing and entertaining, and the dozen of us who were there learned a lot about the composers, the classical and romantic styles, and the works of contemporary composers.

In the end, though, the exquisite music spoke for itself. The musicians performed flawlessly, the singers sang beautifully, and pieces so carefully selected for the evening were joyfully received by the appreciative audience who now filled the church. The Mastersingers, it was said by more than one participant and observer, had really found their voice. Midway through their second season, the group, led by Dr. MacKenzie, who is also conductor of the New Bedford Symphony Orchestra, has found their niche in a balance between its 21-member choir and a small chamber group of musicians; a focus on the choir and an interplay among voices, and an emphasis on bringing new and rarely played music to the public. It is a powerful and effective mix.

The program included a diverse group of pieces, beginning with Albert Roussel’s Serenade for Flute, Violin, Viola, Cello, and Harp, op. 30. Roussel (1809–1937) was one of the most prominent composers of the period between World War I and World War II. Influenced by the impressionism of Claude Debussy and Maurice Ravel in his early years, Roussel developed a more formal style in his later years, with a strong rhythmic drive and neoclassical approach. The Serenade expressed all these moods, from the jubilant Allegro with its upbeat flute solo to its dreamy Andante, with long, extended notes on the flute, wafting up over the rippling harp and the warm, clear sound of the cello, to its final Presto, featuring a very rhythmic section on the cello.

Next was contemporary composer Gwyneth Walker’s “Acquaintance with Nature,” based on the writings of Henry David Thoreau. Representing “love of nature,” this piece was arranged by Dr. MacKenzie for chorus, clarinet, harp, and string quartet from Ms. Walker’s original work for chorus, clarinet and piano. Saturday’s performance was the premiere performance of the piece, which sets the words of Thoreau to music sung by the chorus, featuring tenor Steven Koglin of Cotuit, adding a narrator (B. Grant Willis, former president of the Falmouth Historical Society, and some jazzy influences.

The result was a wonderful, buoyant expression of Thoreau’s search for meaning, “to live deliberately.” Mr. Koglin’s solo, “I seek acquaintance with Nature,” was warm and expressive, and effectively echoed by the clarinet. There was considerable variety of mood and vocal interest in this piece, from the lyrical to the soft and restrained, to the spoken word. And the words themselves were inspiring: ‘There are from time to time mornings, both in summer and in winter, when especially the world seems to begin anew.” This work offered one of those times.

Ludwig van Beethoven (1770–1827) was represented by his Elegiac Song, Op. 118, a beautiful and softly moving choral work written for Beethoven’s friend Baron Johann von Pasqualati, as a memorial for his wife Eleanore, who had died in childbirth.

Introduction and Allegro for Harp, Flute, Clarinet and Strings by French composer Maurice Ravel (1875–1937) followed. The piece was commissioned to showcase the newly introduced pedal harp; it not only shows off the range and color of the harp, but features flute and clarinet at the lower reaches of their ranges, adding, in Dr. MacKenzie’s words, ‘a deep, sensual, and smoky quality” to the piece. There was a lovely extended harp solo by Emilia Wachter, and a full and rich performance by all instruments. The audience gave it a strong vote of approval.

The final two pieces on the program were by contemporary composer and pianist Tom Cipullo of New York. He has taken the work of Colombian-American poet Jaime Manrique as inspiration and text for his choral work, “The Shadows Around the House.” The concert featured two movements from the work, “Swan’s Elegy” and “Mambo.” The first is a tender and loving reflection on the death of a swan, and the second a wild and rhythmic childhood memory of dancing the mambo “when my aunts were young and belonged to me and I danced hiding in their skirts, our lives were a happy mambo.” Percussion was added to the musical mix, and the result was a joyous ending to an altogether delightful concert.

At the end of it, Mr. Cipullo, who had come up from New York to hear the performance, was introduced to the audience and to the musicians (who did not know he would be there) by Dr. MacKenzie. All showed their appreciation, not only for his music, but for his presence at the concert. He told me at the reception afterwards that he felt it was an excellent performance, and was very impressed with the quality of the Mastersingers singers and instrumentalists. I think we all were.

The Mastersingers’ next production will feature Song of Solomon, by James D. Wagoner, a 20th-century romantic work. Performances are Friday, April 24, at 8 PM, in Wickenden Chapel at Tabor Academy, 86 Spring Street, in Marion, and Saturday, April 25, at 8 PM, and Sunday April 26, at 3 PM, at St. Barnabas Episcopal Church in Falmouth. Do plan on coming an hour early to hear Dr. MacKenzie speak about the performance, and stay for the reception.