By Sheila Abrams
Angels of Light, the title of the seasonal concert by the Harmonium Choral Society, seemed unusually appropriate as the harmonies of the Madison-based group sounded other-worldly in a perfect setting. The concert, presented twice last weekend, took place in the beautiful sanctuary of St. Peter’s Episcopal Church in Morristown, and the combination of sound and setting offered listeners an arresting experience.
Harmonium concerts are always fun, a testament to the extraordinary talents (and doubtless hard work) of the group’s artistic director, Dr. Anne Matlack. The love that goes into the music is palpable. This is Matlack’s 25th season with Harmonium, which she calls “hard to believe,” but it takes an almost parental relationship for a director to create the kind of quality evident in this group.
This holiday concert included a great range of music, mostly but not exclusively Christmas-related, some very traditional and some very modern, some serious and some light-hearted. Matlack also included several pieces accompanied by instrumental performers who added unique sounds.
Perhaps the most unusual (and my personal favorite) was Arma Lucis, by contemporary composer Jackson Berkey. In the extensive program notes is a descriptive statement by the composer, who is the principal keyboardist of Mannheim Steamroller.
He notes that it “combines vocal writing techniques from Gregorian chant to the 20th century,” which includes the haunting a cappella strains of the 14th century (echoing in the eaves of the beautiful church) and the lively, assertive, distinctively modern rhythms of today’s music.
Among the composers whose work was performed were Christopher Tye, William Byrd and Claudio Monteverdi, contemporaries of Shakespeare, Felix Mendelssohn, a master of 19th century Romanticism, and a substantial list of composers who are still living and in fact quite young. What interested me most was the fact that these young choral composers, while presenting new and arresting sounds, are not given to the jarring discord of some of what is called modern music.
A special moment early in the concert was the presentation of a song well-known among Jews, called Shalom Aleichem (Peace Upon You), composed by Israel Goldfarb in 1918 and frequently sung in synagogues during Sabbath services.
Most of the concert was sung by the entire 100-member chorus, but the Harmonium Chamber Singers, a smaller group, presented three pieces, including the gorgeous Ave Regina Coelorum by William Byrd.
The mood was serious but not somber through most of the concert, but lightened up substantially when Matlack invited Harmonium alumni in the audience to join the singers. Several did, to sing Ding Dong Merrily on High. The audience then was invited to join in for a celebration of the second day of Hanukkah with Maoz Tzur (Rock of Ages), followed by a setting of two psalms from the Episcopal hymnal, O Praise Ye the Lord.
Probably the most unique piece of music was saved for last. Betelehemu (Bethlehem) is a work by the famous Nigerian drummer and social activist, Babatunde Olatunji, sung in a Nigerian languages, accompanied by percussion solos, some provided by the singers themselves. It was an irresistible song with which to end an absorbing and fascinating program.
We are not sure whether the drumming was recorded, but we do want to mention two instrumentalists, organist Joseph Arndt and cellist Terrence Thornhill, who accompanied the chorus in a number of pieces.
Harmonium’s concerts always seem to offer surprises along with the anticipated great beauty of its vocal harmonies. We are glad that Anne Matlack has shared her talents for 25 years and wish her 25 more to come.
