To Heaven and Back: Taylor and Friends Deliver Choral Magic
Posted by Lindsay Koob on Sun, Oct 25, 2009 at 11:08 PM
A pretty fair crowd of choral music fans gathered at Grace Episcopal Church this afternoon (Sunday) to hear what turned out to be the finest performance of Maurice Duruflé’s radiant Requiem I’ve ever heard. And I wasn’t particularly surprised, since the featured artists were the nationally-recognized Taylor Festival Choir, led by its founding director, Dr. Robert Taylor.
Check out my preview article that appeared in the City Paper’s current edition for some background on this terrific ensemble and its leader — you’ll soon see why I wasn’t surprised at the event’s stupendous quality. The wonderful work of three internationally-known guest artists — mezzo-soprano Sarah Williams, cellist Natalia Khoma, and organist Scott Bennett — were the rich icing on an already delicious cake.
And the music at hand was one of the most sublime works that the 20th Century’s explosion of choral music ever produced. Duruflé left us only a dozen or so finished works (all for choir and/or organ) — but he was an especially picky perfectionist, who destroyed many more manuscripts than he published. Thus everything we have from him is a masterpiece … though none can top the ethereal Requiem.
The Latin Requiem mass (the Catholic mass for the dead) goes back well over a millennium in Europe, having been sung liturgically ever since Gregorian chant emerged during the dark ages. In fact, Duruflé built his Requiem upon these ancient chants. Taylor and company thus chose to begin the concert with glowing renditions of the original chants, revealing the music’s primitive roots and setting the mood for the work to follow.
Primitive or not, chant is NOT easy to sing: modern vocalists are conditioned to sing according to set rhythms — and chant simply has no discernible beat. Delivering it properly requires practice and learning to trust one’s musical instincts. And Duruflé took pains to maintain a smooth, chant-like flow through most of his Requiem. But the process of crafting modern music from such building blocks required precise rhythmic meters. The composer did it by means of a constantly shifting rhythmic palette; in the score, time signatures often come several to the page, such that the typical listener is hard-pressed to follow them. But the net result captures the true feel of chant like no other modern work I know.
And these wonderful singers simply nailed it. Taylor and friends brought the music to life with exemplary precision, vocal sheen, expressive nuance and spiritual intensity. They offered a rich palette of vocal colors and effects, ranging from icy-clear straight tones to lusty choral roars. Dr. Bennett provided mostly subdued, but rock solid support from his organ bench; and Grace’s magnificent instrument — as usual — sounded marvelous. Williams delivered warm, rich singing in her rendition of ‘Pie Jesu,’ her single solo — and Khoma wove a lush cello obbligato around her rich and affecting voice. Sheer magic!
Taylor knew he had something extra-special going on this memorable afternoon. As he (and several of his singers) told me afterwards, he whispered “I don’t want this to end” to them before they sang the final ‘In Paradisum’ (in paradise) movement. His lucky listeners — who were already in musical paradise by then — didn’t want it to end either.
I’ll keep you posted on these artists’ future appearances — because, if you love choral music, you simply MUST hear them. It’s entirely safe to say that Charleston can now lay claim to its own world-class choir.
© Copyright 2009, Charleston City Paper
Review of Taylor Festival Choir
Robert Taylor, Conductor
March 3, 2009 8 pm
by Aaron Adair, PhD
When considering the wide spectrum of musical tastes, terms like “classical” and “folk” usually belong at opposite ends. One might have better luck getting both parties of Congress to agree on a budget than to try to program these varied types of music within an evening of performance. But in the case of the Taylor Festival Choir’s concert at First Christian Church of Durant on March 3, 2009, not only was an agreement reached, but the two different styles blended to create a choral performance that gave this reviewer pause to wonder why more choirs don’t take risks like this in their programming choices.
The concert was presented as a preview performance of the Choir’s two concerts during the 50th Annual American Choral Directors Association Convention in Oklahoma City on March 7. The Taylor Festival Choir, based out of Charleston, South Carolina, boasts 27 singers (that easily sound like 50) from around the United States. Three of its members are based in Oklahoma, including Durant native Aprill Raines, a music educator in the Durant Public Schools, soprano in the First Christian Church Adult Choir, and keyboardist at First United Methodist Church.
As the first half of the program began, it was apparent from the physical arrangement of the choir that Director Robert Taylor was confident in the talents of his performers. The configuration strayed from the traditional positioning of similarly-voiced singers standing near one another, and thus the mixed voices created a near-perfect acoustic sound throughout the evening, demonstrating each singer’s individual strengths of pitch, blend, and balance.
To begin, the bold choice of Ralph Vaughan Williams' arrangement of "O Clap Your Hands," featuring Richard Jobe on organ, was full of good phrasing, dynamics, balance, and a swell (pun intended) compliment to the organ. The second piece, “Deutsche Messe,” (German Mass) by Johann Nepomuk David, was performed a capella, and included the “Kyrie” (Lord have mercy upon us) and “Gloria” (glory to God in the highest) portions of the Mass in a beautiful organum sound that combined traditional Latin text with German language. The vocal basso continuo and haunting dissonance created excellent dynamic contrasts throughout, and the sopranos in overtone-like pitches showed the vocal dexterity of the group and demonstrated its incredible range in both sound and literature.
A more reflective piece followed with Brian Galante’s “On Meditation,” featuring soprano Kristi Galante. To preface, Director Taylor remarked that the text offered spiritual advice from both Western and Eastern philosophies, and stated that piece seemed to reveal that, "in order to be fulfilled you have to stop trying to be fulfilled." With that, the Choir began the tone poem that posed a series of questions on human nature, each beginning with "Can you...?” in a style reminiscent of the twentieth century American composers Samuel Barber and Aaron Copland. The harmonies included a Naval chorus and included beautifully deconstructed ending, removing all of the voices one by one until Galante's soprano timbre posed the final question.
“Poemas de Amor,” by Stephen Paulus, continued the program with a syncopated beat congruent with the Spanish text and Latin rhythms. Though no marimba was available, the piano was a suitable substitute for “Sonaba,” the first “love poem”. In “Si lo dicen,” (if they say it), a jazz fusion piece with harmonies that included some Madrigal chords mixed in with 9th and 11th chords, one could detect a subtle, chant-like rhythmic progression throughout the song. This reviewer imagines that if Palestrina were alive today he might have composed it, and in keeping with the sacredness of his works, a 4-3 suspension (or “Amen” chord progression) provided a fitting conclusion to the work.
The finale of the first half was an exquisite arrangement of “Shenendoah” by James Berg, offering a magnificent example of restraint and vocal eloquence by the singers. In taking a beloved Southern anthem, Berg and the Taylor Festival Choir turned the song into a prayer to the old Antebellum South. As the piece concluded, one could not help but notice audible sighs coming from the audience.
The transition from “classical” to “folk”—now made effortless thanks to “Shenendoah”—began with songs from traditional Celtic and Irish origins. The first selection was a trilogy of Folk Songs by Nova Scotian composer Allister McGillavray, featuring Richard Jobe on piano. The pieces included sounds of hymns with sea shanty rhythms (albeit with a lullaby tempo in ¾ time), male choruses with a baritone soloist who gave an Irish tenor lilt, a countertenor and alto soloist who told beautiful story songs full of longing and regret.
One could hardly think of an evening of folk music with Irish melodies without thinking of “Danny Boy.” With Robert Taylor’s wife, Mary
Taylor, on violin, this unusual polytonal arrangement of the most familiar Irish song of them all included variations such as a mournful,
cello-like quality to the violin accompaniment, along with several instances of open fifths in the choral arrangement that created a
chant-like feel to the piece. The next piece, another traditional Irish tune, “She Moved Through the Fair,” featured Andrea Horath,
soprano, and did much the same with a traditional a capella opening transitioning to more contemporary choral harmonies that,
nevertheless, retained elements of Irish and Celtic influence in the modern arrangements. Finally, the familiar Scottish folk song,
“Annie Laurie,” featured Aprill Raines, who had beautiful lyric soprano coloring and just enough lilt to give the arrangement a great
deal of authenticity.
The selection for the conclusion of the folk song set and finale of the concert couldn’t have been better than “The Coolin/Fionnghuala,” a medley of two Irish songs arranged by Director Robert Taylor, with Joe Ford, guitar, and Mary Taylor, fiddle. “The Coolin,” a traditional Irish ballad, was brief but poignant, and its companion piece, “Fionnghuala,” was a Gaelic tongue-twister with exciting foot-tapping appeal. As sung by Taylor himself with impressive vocal dexterity and guitar and fiddle accompaniment, I suddenly longed for a pint of Guinness at my favorite pub and wondered if I could make it there before closing time.
The Taylor Festival Choir’s concert presented a challenge to the audience to reconcile some of its most difficult classical pieces with the more accessible folk song arrangements. Not only did the audience of March 3rd respond well, one could imagine the success future performances will bring to this terrific ensemble. For this reviewer, it was a chance to experience what is expected to be a wildly successful concert in front of music educators and aficionados from around the United States gathered in Oklahoma City. But for one night, Durant had this group all to itself with the great fortune to experience this diverse, complex, and dynamic array of choral musicians in an intimate setting with an unforgettable evening of blended music.
Comments on the Taylor Festival Choir performance at National ACDA: “Your choir showed a diversity of repertoire that highlighted the group's ability to sing diverse languages and styles. All of it was performed with exquisite style, sensitivity, and nuance. My favorite was probably Brian Galante's "On Meditation," a work that featured the choir' rich voices and broad range of sound. Hope you are proud of it . . . you did a superb job. I really loved the program and didn't realize the Gaelic piece was your piece until the end . . . really good stuff! All very well done! You should be very proud and so should the group.” Dr. Philip Copeland, University of Alabama-Birmingham “Thank you for that magnificent performance. Everything was great—tone, intonation, phasing. Thanks also for doing the Gaelic “mouth-music.” That is my heritage, and I was so gratified and appreciative you guys brought that style to the convention. No one else did anything like it. I am not sure I have ever heard anything like it at ACDA convention, in fact. Dr. Caroline Carson, University of New Orleans Just wanted to drop a line and tell you again how much I enjoyed your group at ACDA. It was an elegant performance – what a wonderful rich sound you get from the ensemble – really great! I liked your arrangement – send it to me and let me see about getting it published!! But only if Mary promises to play with all performances! I’m very proud of what you have accomplished there in Charleston. Dr. Kenneth Fulton, Louisiana State University and Baton Rouge Symphony Orchestra Dr. Jerry McCoy, University of North Texas and ACDA President- Elect “I heard a lot of really positive comments. Jo Michael Scheibe (Univ. of Southern Cal), Jerry McCoy (Univ. of North Texas), and several other choral luminaries really loved your performance. I had people I had never met before coming across the room to tell me how much they loved your performance of my piece. Thanks…fantastic job.” Dr. Brian Galante, Pacific Lutheran University “Awesome! The Paulus! The Paulus!” Dr. Lisa Fredenburgh, University of Central Missouri “Wow! Wow! Wow! Unbelievable. Y’all are our heroes! A group of Charlotte high school choral directors Dr. Robert Sinclair, VanderCook University “Incredibly well prepared performance.” Scott Whitfield, Little Rock Central High School "First of all, I want to let you know how much I enjoyed your choir's performance at the ACDA Convention this year. Your choice of repertoire and the musicality of your group was outstanding. I am very interested in performing your arrangement of "The Coolin/Fionnghuala"...how can I get copies of the score?" Bruce Rogers, Director of Choral Activities, Mt. San Antonio College "What a splendid, outstanding concert!!!!!!! Dr. John Erwin, University of Central Arkansas
“Rob, your choir sang with such a rich, velvet tone!! Bravo!"
“What a group. What a privilege to hear.”
I enjoyed every bit of it and particularly liked your arrangement of the Irish piece…the Vaughn Williams was exceptional."
Richard Jobe, organ; Taylor Festival Choir/Dr. Robert Taylor
Centaur 2773 – 67 minutes
The Taylor Festival Choir is a top-notch ensemble of around 20 professional singers who gather every June in Charleston, SC for the Taylor Music Festival. This unique happening combines classical choral music and Celtic music, and this choir is the flagship ensemble for the festival’s choral end. Here we have a winning and varied array of 20th-Century and contemporary choral gems (some a cappella, others with organ) recorded in 2003 and 2004.
Among the featured composers are emerging choral writers Brian Galante and Trevor Weston, who have recently served as the festival’s composers-in-residence. Galante’s contributions here include ‘On Meditation,’ an ecstatic setting of an ancient Chinese text. ‘A Clear Midnight’ gives wondrous wing to a nocturnal poem from Walt Whitman; its opening line, “This is thy hour, O soul,” serves as the album’s title. His serene ‘Ave Maria’ setting ends the collection on a lustrous and gentle note.
Weston, one of Taylor’s fellow professors at the College of Charleston, has a special affinity for sacred music – especially in its Anglican guise (he grew up singing in NYC’s legendary St. Thomas Choir). His settings of the classic ‘Magnificat’ and ‘Nunc Dimittis’ texts are achingly lovely as well as spiritually potent, conveying a radiant sense of holy mystery and wonder.
Tribute to the English masters comes with Benjamin Britten’s reflective, then jubilant ‘Festival Te Deum’ – one of his sacred masterpieces. Organist Richard Jobe shines here, as elsewhere. Then there’s Ralph Vaughan Williams’ radiant and imploring ‘Prayer to the Father of Heaven,’ setting a 16th-century supplication by John Skelton. Brazilian composer Ernani Aguiar’s stirring Salmo 150 recalls the music of his homeland’s colonial period.
American standout William Schuman is honored via his three Carols of Death – also Whitman settings. Despite the often bleak and fatalistic tone of the texts, this is appealing material. ‘To All, to Each’ – the last of the three – is an especially touching song of comfortable resignation to one’s mortality. Another domestic classic is Aaron Copland’s exuberant early motet, ‘Sing Ye Praises.’
Two of the most exciting and original items are from Eric Whitacre, one of today’s true choral superstars. A few of the world’s leading chamber choirs have recorded Water Night andCloudburst – both treating texts by Nobel laureate Octavio Paz. The impact of Cloudburst can be particularly stunning. Both numbers employ cunning tone-clusters and startling effects, requiring the kind of needlepoint intonation and vocal transparency that only a very accomplished choir can pull off.
And this terrific bunch is fully up to such demands. I’ve heard a certain top English ensemble perform these pieces with marginally better precision, refinement and tonal purity – but also with a typically English sense of what I call “celestial sterility.” While that approach certainly works for this music, Dr. Taylor’s singers engage the music’s emotions more deeply, while bringing a warmer, more robust sound to bear.
Their singing more than satisfies elsewhere in the album, too – with exceptional tonal range, excellent diction and sensitive phrasing: all hallmarks of Taylor’s several excellent choirs in the Charleston area. The only place where pitches sound a bit off is in the fearsome broken chords of the Britten Te Deum’s fast section – having sung the piece, I know how hard it is to nail some of those notes.
Sonic characteristics are variable, owing to the different recording venues – but
Centaur’s engineering delivers mostly warm, clear sound. The booklet is useful, with interesting notes and near-complete texts (only those for the Schuman pieces are missing). In all, fans of modern choral music will find much to enjoy here. And it’s a shining tribute to the director’s late father, Bob Taylor (also an exceptional choirmaster), to whom the album is dedicated.
Lindsay Koob
Choral Critic, American Record Guide, Charleston City Paper