Classical groups realize Bach’s religious epic
Posted March 9, 2010 at 12:04 am in Lifestyle, Music
(No Ratings Yet) 
Loading ...Imagine a classical choir singing — in German — the story of Jesus’ crucifixion in the form of an operatic aria over the course of three hours. The average college student, accustomed to stimulating theatrical performances and sensational visual effects, would probably go crazy. But after hearing Grant Gershon, the director of the Los Angeles Master Chorale, explain the emotion behind each note, the biblical narrative proved to be just as satisfying as some action-packed thrillers.
Passionate · The Los Angeles Master Chorale, Musica Angelica Baroque Orchestra and members of a children’s choir brought the piece to life. - Gary Fung | Daily Trojan
On Sunday night, the Los Angeles Master Chorale, Musica Angelica Baroque Orchestra and select members of the Los Angeles Children’s Chorus united to bring Bach’s timeless St. Matthew Passion to Downtown’s own Walt Disney Concert Hall.
Bach’s St. Matthew Passion is widely considered a masterpiece of classical music composition because of the visionary’s combination of intellectual rhetoric and emotional content.
St Matthew Passion is a musical retelling of chapters 26 and 27 in the book of Matthew, including everything from Jesus’ anointment to his burial and featuring the well-known biblical personages of Christ, Peter, Judas and Pilate.
It would be misleading to call the figures characters, however, because no acting was involved. Each figure stood from his position in the choir reading his lines with expressionless faces. The only exception came from the man who read the part of Jesus and the narrator who stood in front.
At first, the performance seemed dry and boring. There wasn’t any surprise twists or even movement onstage. The genius of St. Matthew Passion lies not in how the piece is performed but rather in how it is composed. The emotion is written into the composition, and audiences are forced to hear the beauty rather than see it. Attendees must hear the angst in Peter’s voice, not see it on his face, for instance, just as a piano is used to tell of Mary’s teardrops and a cello describes the funerary march that isn’t simply depicted with scenery and stage props.
Yet Bach’s ingenuity is not only clear in how he perfectly inscribed passion into every note but also how incredibly complex and intellectually stimulating his compositions are.
Within the performance, there are 68 individual movements and multiple arias and chorales performed by two choirs and two orchestras. Each choir has 20 singers, allowing for incredibly intimate moments, especially during the scenes concerning Judas’ infamous betrayal. Yet the group’s potential was also realized at different points, with everyone singing at once, making for some extraordinarily majestic and overwhelming moments.
The first choir represented faithfulness, and the second choir represented Zion itself. The children’s choir served as a beautiful counterpoint to it all, conjuring innocence and purity with their youthful voices. All the vocal performances were perfectly pitched and rhythmically in tune with the instruments.
It’s clear that Bach’s ageless compositions will continue to transcend generational divides for ages and will be widely enjoyed, especially now as musicians and fans gather to celebrate his 325th birthday on March 21.
At the end of the day the musicians can only present Bach’s music, however, and it’s up to the individual experiencing the music to appreciate it for what it’s worth.
While it’s not easy to let go of the visual and rely solely on auditory senses for three hours, doing so allows the listener to fully realize the genius of the composer and the excellence of the choirs and orchestras, which provide a deeper, richer and more dramatic experience.
Related Articles:
Tags
This article is tagged: bach, los angeles children's choir, los angeles master chorale, music angelica baroque orchestra, st. matthew passion
Loading ...
A real missed opportunity with this article to note the contributions of current USC students who took place in this fantastic performance. There were numerous such talents, both in the orchestra (Musica Angelica) and the Los Angeles Master Chorale who are USC current students and/or alumni. Even Maestro Gershon is one such example. A simple skimming of the program would have highlighted those notable soloists with previous affiliations to USC. Once again…a real missed opportunity.