Gathering Note

Tag: Choral

  • Handel’s triumphal and somber sides shine at festival close

    Handel’s triumphal and somber sides shine at festival close

    George Frederic Handel’s career was interwoven tightly with the British monarchy, a relationship that spanned the exuberant heights of national peace and the somber depths of royal loss. In an afternoon of starkly contrasting emotional colors, the final performance of the 2026 Handel Week Festival Orchestra and Chorus gathered musicians from across the Chicago area to bring this dual legacy to life.

    On March 1, they offered a fitting finale to three weeks of programming that has animated Pilgrim Congregational Church in Oak Park. The event paired the brassy, triumphal optimism of the Utrecht Te Deum and Jubilate with the heartbroken beauty of the Funeral Anthem for Queen Caroline known informally as The Ways of Zion Do Mourn.

    This is how festivals should end—with large, multifaceted works that allow for genuine artistic synthesis. For the most part, festival organizer Dennis Northway, his orchestra, and four soloists—Kimberly McCord (soprano), Michelle Wrighte (mezzo-soprano), Cameo Humes (tenor), and Noah Gartner (baritone)—delivered where it most mattered. The afternoon oscillated between triumphant and solemn registers; throughout, the chorus and quartet remained the focal point of Northway’s conception.

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  • Hans-Jurgen Schnoor takes up St. Matthew Passion with OSSCS

    Hans-Jurgen Schnoor

    Orchestra Seattle will mount one of the classical music highlights of the spring – Bach’s epic St. Matthew Passion – this Sunday at First Free Methodist Church. As has been the case all season, a guest conductor will helm the orchestra. This week it is noted Bach specialist Hans-Jurgen Schnoor. Earlier in the week, I asked Schnoor about the piece and his approach to a large scale work like the Matthew Passion.
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  • Portland Baroque presents Bach’s St John Passion as part of Handel Festival

    Monica Huggett. Photo Portland Monthly.

    By Philippa Kiraly

    We don’t often have the opportunity to hear either of the great Bach Passions, so we owe a big vote of thanks to the Early Music Guild for bringing us a stellar performance of the St. John Passion by Portland Baroque Orchestra, Les Voix Baroques, and Cappella Romana, Sunday afternoon at Town Hall.

    Monica Huggett, violinist and artistic director of Portland Baroque, chose to perform it with a small orchestra of fourteen and small chorus of twelve.which included the soloists. While this Passion is shorter than the St. Matthew, two and a quarter hours including an intermission, this puts quite a burden on the singers who stood throughout, particularly tenor Charles Daniels, who sang all the chorales and choruses as well as the demanding role of the Evangelist.
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  • Christmas on the Julian Calendar

    By Philippa Kiraly

    January 6th this year was Christmas day in the Julian Calendar, and this is the calendar followed by the Eastern Orthodox churches. So it was perfectly appropriate and not at all tardy for Cappella Romana to give a concert of Russian and Ukrainian Christmas music at St. Demetrios Greek Orthodox Church in Montlake last Saturday night.

    The church was nearly full of people, many from Seattle’s Russian community, and many in the intermission spent time looking at the fine mosaics and iconic paintings which adorn it.

    The performance was conducted not by Cappella Romana’s music director, Alexander Lingas, but by an equally renowned scholar in Slavic music, this time of the 17th and 18th centuries. Mark Bailey was guest directing for the third time with this group.
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  • Cappella Romana turns to England

    By Philippa Kiraly

    As a rule we expect Cappella Romana to enlighten and enthrall us with music of the Greek and Russian Orthodox churches from the Middle Ages to the present day. For its first concert of this season, it turned to the English church choral tradition of the Renaissance in a fascinating, moving performance directed by a guest conductor from England, Guy Protheroe.

    Choosing Holy Rosary Church in West Seattle for the venue Saturday night, a place where the choir has sung before, gave the requisite reverberation to allow the music to bloom, though it made words very hard to distinguish.
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  • The 2009/2010 season comes to an end for OSSCS and SMCO

    It’s that time of year again. Orchestras, professional and volunteer, are wrapping up their seasons. Two of Seattle’s many community orchestras finished their seasons this weekend. The Seattle Metropolitan Chamber Orchestra – University of Washington conducting student Geoffrey Larson’s creation – closed their inaugural season with a concert titled “Just Dance.” The next day, George Shangrow, Orchestra Seattle, and the Seattle Chamber Singers ended their 2009/2010 series of concerts with a jazz (and Bernstein) inspired program that featured two works by Washington composers and choruses from Leonard Bernstein’s incidental music to the Lark.
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  • Haptadama comes to a close at Olympic Sculpture Park on Saturday night

    Composer/conductor Eric Banks explains Haptadama to a capacity audience Saturday night.

    With Haptadama: The Seven Creations of Ancient Persia, Eric Banks unexpectedly challenges audiences to reconsider how they think about opera. It’s not that Banks is dabbling in new forms or means of expression – although he does have a tremendous gift for contemporizing ancient languages and melodies in ways that observe texts, respect original ideas, and avoid kitsch. Banks calls Haptadama a choral opera. However the piece synthesizes opera, song cycles, and sacred music that leads listeners in a number of different directions.

    Banks got the idea to write Haptadama after two visits to India. The material for the piece comes from the Persian creation story of the Zorostrians drawn from both the Gathas and Bundahisn. The Gathas, perhaps the oldest written music in history, provide an austere framework for the piece. The Bundahisn, on the other hand, gives the music its mystical quality. The creation story follows a well worn formula. A benevolent creator coexists with evil. The creator creates life and the known world. Evil strikes back causing cataclysm and robbing the world of its innocence. The creator redeems the world by wiping everything out with a cleansing flood.
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  • MOR commissions Vedem; receives world premiere next week

    Composer Lori Laitman

    By Peter A. Klein

    The poetry of teenaged Jewish boys imprisoned in the Terezín concentration camp will be given new life in the oratorio “Vedem,” by composer Lori Laitman and librettist David Mason. “Vedem” will receive its world premiere at Music of Remembrance’s spring concert on Monday evening, May 10 at 8:00 PM in Benaroya Recital Hall.

    Laitman believes that these lines of Mason’s express the essence of the piece:

    We lived for what we wrote and painted,

    as if imagination were a jewel.

    Terezín (aka Theresienstadt) is an old Czech fortress town which the Nazis turned into a transit camp during the Holocaust. 144,000 Jews were sent to Terezín, including many from the arts and letters. One-quarter of the prisoners died there, and two-thirds were later killed in the death camps. Yet they created an astounding cultural life in Terezín, which existed right alongside starvation, cold, overcrowding, disease, and death.
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  • O death where is thy sting?

    Seattle Choral Company

    The two pieces of sacred music I turn to most often are W.A. Mozart’s Requiem – the first piece of music I ever fell in love with – and J. Brahms’ German Requiem – the first Brahms piece I heard in its entirety. These two pieces shaped my formative listening years and instilled in me an admiration and (minor) obsession with sacred music. After Brahms came Handel, Verdi, Haydn, Bruckner, Bach, and of course more Mozart. But even with a catalog of masses, motets, and cantatas at my disposal, Mozart’s and Brahms’ signature sacred pieces always stimulate my God Spot.

    On Saturday, Fred Coleman and the Seattle Choral company ended their 2009/2010 season with half of my sacred music top two – the German Requiem. But, before I could get to the Brahms, I first had to go through Dvorak’s Te Deum.
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  • Celebrating Seattle’s choral music community

    Seattle’s choral music community is routinely passed over in praise and attention in favor of the Seattle Symphony and Seattle Opera. Even Seattle’s healthy early music community often garners more attention. This deficit persists even as local choral music groups have celebrated the contributions of Frank Ferko, centuries of “French” composers including Frank Martin, and Samuel Barber in his anniversary year during the month of March.

    In the most recently concluded concert, Seattle Choral Arts presented what turned out to be the west coast premiere of Palo Alto, California (by way of Chicago and Valparaiso) composer Frank Ferko’s setting of the Stabat Mater. Most of the area’s local music lovers probably had never heard of Ferko before he talked publicly about composing the piece at a March 19th meet the composer reception held at Fare Start in downtown Seattle. Robert Bode, Choral Arts’ engaging music director even confessed that he didn’t know Ferko’s setting until he came across a recording of the piece by Cedille records, Anne Heider, and His Majestie’s Clerks.
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