San Francisco Classical Voice

Chanticleer closed its five-concert Bay Area Christmas set at St. Ignatius Church, San Francisco, last Sunday demonstrating its usual panache, sophistication, and velvety sounds, with no sense of the year's upheavals in its staff and personnel apparent in the smooth delivery of this two hour program.

Music Director Joseph Jenning's successful programming focused on two specific eras, the Renaissance and the twentieth century (with a slight foray into plainsong and medieval motet). It was almost an even split between the old and the new and created a satisfying stylistic homogeneity. The concert began with a 12th century Aquitanian chant, "Natus est rex," sung antiphonally by candlelight around the darkened church, followed by the isorhythmic motet, Alpha vibrans monumentum, taking them in their traditional processional from various corners of the church to the steps in front of the altar. In the motet, the upper voices imitated the bright and nasal sounds of medieval reed instruments (such as the krummhorn), a welcome experiment which might have been even more interesting had all parts followed suit.

The anonymous English Renaissance group which followed, Alma redemptoris mater and Ecce, quod natura, with their exquisite part writing, conveyed some of the flavor of continental composition from the previous century. With this repertoire that, 22 years ago, was the impetus for the founding of Chanticleer--Renaissance music performed solely by men's voices non-vibrato-- it started to become clear that it may be time for Chanticleer to examine the way it performs Renaissance music.

Twenty-two years ago, the world had a much more romantic view of life in previous centuries than it does today, and it is this sweetened character that we still hear in Chanticleer's treatment of this repertoire. While no one wants to hear this ensemble change one iota of its professionalism, its immaculate blend, or fine crafting of musical shapes, what is lacking is some of the grit and flesh that was so much a part of Renaissance life, even in the church. Musicologists and many ensembles have gone to great lengths to show how much more this music comes alive when removed from treacly romanticism.

The set from the Spanish world which followed, Guerrero's Virgen sancta and Pastores loquebantur and Mexican composer Gonzàles' Serenissima una noche demonstrated superb composition style, but again, polished serenity was the all-pervasive affect of the performance. As Chanticleer sang about shepherds making haste to go to Bethlehem, one couldn't hear the excitement and anticipation that the music might have conveyed.

In twentieth century repertoire, the famous Chanticleer sound comes into its own. With Tavener's Village Wedding, the group made clear how Tavener's theology permeates his music. The composer wrote that "everything in the natural and visible world, when rightly perceived, is an expression of a supernatural and invisible order of reality." Here is where non-vibrato and utter serenity can serve to transport the listener to another place, yielding a vision of a reality beyond our own. Tavener's minimalist style is perfectly wedded to the Chanticleer sound. The poetry describes "the moment in the Orthodox Marriage Ceremony when the couple is solemnly led three times around the Holy Table by the Celebrant" (Tavener). Very simple but effective choreography added another dimension as the ensemble stood in a circle and rotated each time the refrain "O Isaiah, dance for joy, for the Virgin is with child" came back.

Chanticleer's signature piece, Franz Biebl's Ave Maria, although only anthem-length, will surely be noted as one of the more beautiful choral works of this century, and one could hardly imagine a more perfect rendition. Biebl's compositional style is what Bruckner's would be if he were writing today, mostly homophonic, wrenching suspensions, soaring melodies, simplicity, and intelligibility. Howells' anthem, "Here is the little door," was well-suited to the expansive space of St. Ignatius, as well as the character of English cathedral style vocal tone that Chanticleer used.

The rest of the program consisted of carol arrangements: The Holly and the Ivy (Reginald Jacques), Gabriel's Message (David Willcocks), and No”l Nouvelet (Ian Humphris). These were fairly standard fare, beautifully done, and with enough tweaking to keep even the veteran Christmas caroler awake and interested. It was the next two, Coventry Carol, arr. by Jonathan Rathbone, and "This have I done for my true love" of Holst that demonstrated some truly ingenious harmonic writing. The program closed with a medley of carols arranged by Joseph Jennings--two old English tunes, and two African-American spirituals in which the ensemble finally opened up and lived a little more dangerously--a welcome moment.

Music is about communication, and Chanticleer offered a Christmas gift in its tremendous ability to be personable and communicate. But the best music-making is also vulnerable.

(Jonathan Dimmock is a freelance conductor, organist, accompanist, coach, and continuo player.)

©1999 Jonathan Dimmock, all rights reserved