THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Sunday, October 6, 1996 TAG: 9610070193
SECTION: LOCAL PAGE: B5 EDITION: FINAL
TYPE: Music review
SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
DATELINE: NORFOLK LENGTH: 58 lines
On Friday, the first tentative steps were taken by the newly renamed Virginia Chorale to determine the musical direction of its future.
Formerly the Norfolk Pro Musica/Virginia Pro Musica/McCullough Chorale, the ensemble was led by Robert Page, one of three guest conductors this season. He is the director of Pittsburgh's Mendelssohn Choir and of choruses at Carnegie Mellon University.
Page conducted a program of Renaissance and Baroque pieces, both sacred and secular. Although this repertoire would more naturally be heard with the generous acoustics of Sacred Heart Catholic Church, the concert was given in Norfolk's First Presbyterian Church.
The most satisfying performance of the evening was the encore, a short, sentimental piece written by Donald McCullough, founder of the original ensemble, which became the ``signature tune'' of his chorale. The singers were allowed to use a full tone here, producing a rich, warm sound that brought back memories of recent seasons.
For the rest of the evening, in an attempt to create an ``early music'' sound, Page modified the singers' technique, reducing their vibrato and increasing the clarity of their musical articulation. Counterpoint became clear, and harmonies were generally in tune.
But he often took this approach too far with the sopranos, reducing their sound to a thin, sometimes flat tone that did not match the resonant lower voices.
At the end of each half of the program, he encouraged a bigger sound, with better results. One highlight was Jacob Arcadelt's popular ``Il bianco e dolce cigno.'' The well-balanced parts gave shape to the music, bringing out both the diction and meaning of the text. But the other pieces in this secular set were given less expression.
A short cantata by Georg Phillip Telemann closed the program, bringing back memories of Page's fine conducting of the Virginia Symphony Chorus in Handel's ``Messiah'' several years ago. Great rhythmic energy and clear diction brought the music to life. The cantata was only weakened by occasional problems in the nearly inaudible instrumental accompaniment.
The Renaissance world of sacred music was represented by motets and mass movements by Josquin and Victoria. Here, much attention was given to the shaping of sections with controlled cadences. The independent lines interacted well in changing combinations of parts. But the sopranos rarely soared with the kind of religious ecstasy that is so crucial to this music.
The Virginia Chorale is moving courageously toward its unknown future. While the commitment of the audience is certain, just what musical direction the group will take is unknown.
Two highly respected conductors, John Guthmiller and Dale Warland, will put their own stamps on music for the winter holidays and music by American composers in the remaining concerts of the season. ILLUSTRATION: Graphic
MUSIC REVIEW
The Virginia Chorale, conducted by Robert Page, Friday night at
First Presbyterian Church in Norfolk. by CNB