BWW Reviews: The Philadelphia Orchestra With Choral Beethoven and Muhly

October 5
6:50 2013

BWW Reviews: The Philadelphia Orchestra With Choral Beethoven and Muhly

The Philadelphia Orchestra's regular season under maestro Yannick Nezet-Seguin began with its Beethoven's Ninth program running from September 26-28 at Verizon Hall. Now that the Orchestra has been freed of those constraints that forced it, for a short time, to have everything sound more like Verdi than like the Philadelphia Orchestra, it's still, alas, true that in 113 years, the Philadelphia Orchestra has yet to completely master Beethoven... if in fact anyone has done so. But the Orchestra is far closer, it seems, than it had been to that task in quite some time.

The first half of the program featured The Combined Westminster Choir and Westminster Symphonic Choir performing Beethoven's two shorter vocal pieces, "Calm Sea and Prosperous Voyage" (Meerestille und gluckliche Fahrt), Op. 112, set to two poems by Goethe, followed by the premiere of the orchestrated version of "Bright Mass with Canons" by contemporary American composer Nico Muhly, with a smaller group of Westminster choristers.

While the Beethoven was steadfastly unexceptionable, though not transcendent, the Muhly had the virtue of novelty, as well as the virtue of the Westminster choirs. One of a good many pieces of various sorts by the prolific Mr. Muhly, it is also one of his finer ones. An Anglican, rather than Roman, mass setting, its Kyrie involved some particularly lovely brass and percussion at the opening, with chimes filling in admirably and lyrically for cathedral bells. Its Gloria featured echoing women's vocals, some splendid, light moments of percussion, and a moving woodwind line. The Sanctus featured the full Orchestra in all of its richness moving into a rapid women's vocal line against a slower men's vocal line, which fused into an almost-floating vocal piece by the time of the Benedictus. The Agnus Dei featured both vocal and orchestral parts of such ethereal lightness that they might well have floated off if not grounded by the bass and cello sections. This is a Contemporary Stage-performance mass well worth hearing a second time.

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Marakay Rogers America's most uncoordinated childhood ballet and tap student before discovering that her talents were music and writing, Marakay Rogers finally traded in her violin for law school when she realized that she might make more money in law than she did performing with the Potomac Symphony and in orchestra pits around the mid-Atlantic.

A graduate of Wilson College (PA) with additional studies in drama and literature from Open University (UK), Marakay is also a writer, film reviewer and interviewer as well as a guest lecturer at various colleges, and is listed in Marquis' "Who's Who in America". As of 2014, she serves as Vice-Chair of the Advisory Board of the Beaux Arts Society, Inc. of New York and a member of GALECA (Gay and Lesbian Entertainment Critics Association). Marakay is senior theatre critic for Central Pennsylvania and a senior editor for BWWBooksWorld as well as a classical music reviewer. In her free time, Marakay practices law and often gets it right.


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by Peter Danish