THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Monday, October 2, 1995 TAG: 9510020045
SECTION: LOCAL PAGE: B3 EDITION: FINAL
TYPE: MUSIC REVIEW
SOURCE: BY LEE TEPLY
SPECIAL TO THE VIRGINIAN-PILOT
LENGTH: Medium: 64 lines
On Sunday afternoon, a new creation was brought to life at Ohef Shalom Temple in honor of the 150th anniversary of that congregation's own beginning.
Virginia Symphony music director JoAnn Falletta led the Temple Choir, prepared by Charles Woodward, and the Apollo chamber ensemble in the world premiere of Richard Danielpour's ``Canticle of Peace.''
Its dramatic texts and exciting music fit the occasion, although they have an appeal broad enough to suit other circumstances.
The three-movement work uses Biblical and liturgical texts that focus in turn on joyful praise, the reassurance brought by faith and the peace achieved through God's grace. While the Hebrew words were often difficult to hear, it was not hard to follow their meaning through the music alone.
It is fairly easy to hear in this work the influence of Leonard Bernstein's ``Chichester Psalms'' in some elements of the overall structure, the use of dancelike rhythms and the quiet choral writing at the very end. Also influential was Marvin Hamlisch's ``Anatomy of Peace,'' a celebratory work, orchestrated by Danielpour in 1991.
The outer movements of ``Canticle of Peace'' are rhythmically quite challenging, and both singers and instrumentalists met the challenge successfully, with just a few moments of insecurity. Having conquered the technical difficulties, the chorus might have given more emotional and visual expression to its performance.
Bass-baritone James Weaver sang the second-movement solo, written in a more melodic style, with a rich, full tone and sense of urgency.
Cellist Christopher Costanza, tastefully and securely accompanied by Woodward at the piano, performed for the first half of the concert. (Mezzo-soprano Mimi Lerner had also been scheduled to perform but did not sing due to illness.) While his warm tone and confident pitch were evident throughout, Costanza seemed most comfortable in a Mendelssohn ``Song Without Words'' and in brilliant showpieces by David Popper.
Two pieces with timely significance for the Jewish congregation, Max Bruch's ``Kol Nidre'' and Ernest Bloch's ``Prayer,'' although just as securely performed, had little of the rhythmic flexibility typical of the music.
Three cello arrangements from Bernstein's ``Mass'' were welcome additions to the program. With their rhythmic structures, dramatic use of dissonance and quiet ending, the Bernstein pieces prepared the audience for Danielpour's musical language that was to follow. by CNB