Zhang and Buchanan at the end of the concert.
Program
Pavane, Op. 50 (1887) by Faure (1845-1924).
Songs of a Wayfarer (1883-85, rev. 1891-96) by Mahler (1860-1911).
Requiem in D Minor, K. 626 (1791) by Mozart (1756-1791).
Artists
Mei Gui Zhang - soprano; Taylor Raven, mezzo-soprano; Eric Ferring - tenor; Dashon Burton - bass.
Montclair State University Chorale, Heather J. Buchanan, director.
The main "attraction" for this concert is Mozart's Requiem. Of course Pavane is a pleasant piece of music that seldom gets into a concert program (none in this blog thus far), and Songs of a Wayfarer dates from Mahler's earlier years, and are closely associated with the poetry collection Das Knaben Wunderhorn Mahler drew on extensively for his symphonies.
My first encounter with Pavane, if I recall correctly, was at a music camp our daughter attended while she was in high school. One reason this is not programmed much in a concert, I suppose, is that it's a 7-minute piece requiring a full orchestra and a large chorus. (Not completely true as performances can be done without vocals.) One of Faure's more memorable pieces, it contains melodies that stick with the listener for a long time. The woodwinds are the stars in this show, and today the section didn't disappoint.
The chorale and the orchestra on stage just before the concertmaster's entrance.
After performance of Faure's Pavane.
In going over my notes, I found out I had heard the Songs of a Wayfarer in 2018. I liked it then. Today they didn't sound as compelling as they did back then. Interesting, a mezzo-soprano sang back then, and today it was sung by the bass Dashon Burton. I have heard Burton on a couple of occasions before, his performance today was solid but not memorable.
Dashon Burton sang the Songs of a Wayfarer.
Mozart's Requiem is also enjoyable to listen to (to the extent that a work memorializing death can be enjoyed). It's regularly programmed by NJ Symphony, NY Phil, and Mostly Mozart (while it was still known as such). I always feel there is triumph despite the occasion. Musicologists have analyzed all aspects of this work, and undoubtedly will continue to do so. Today's Program Notes talks about "Its resolution on stark open fifths, unsweetened by a major third and unmitigated by even a D-minor chord, is a chilling reminder that this is music of death." Question is: did Mozart design this? From a prior blog entry I remembered that the Communion reused some of Mozart's earlier movements. That would mean the music was indeed as described, what is unknown is if that would have been Mozart's original intent.
The four soloists for Mozart's Requiem. From left: Zhang, Raven, Ferring, Burton.
I couldn't find the lyrics to any of the three pieces printed either in the Program book, or as inserts, or projected onto the screen. I had no idea what the lyrics in Pavane say, had some vague idea what mood each song of the Mahler songs wanted to convey, and managed to catch a few Latin words (kyrie, sanctus, etc) in the Requiem. I suspect most of the audience would appreciate some help in that area.
There were at least 120 members in the chorale. Their volume was just right. Wonder how they would sound in a large auditorium. And will we ever see Buchanan conduct an NJ Symphony concert? She certainly has prepared the choral parts well.
The Mozart Requiem would be the piece I felt most involved with (my definition of a great performance). The lack of lyrics made that impossible, so I can call it only a good to great performance.
As I was leaving, I ran into Gene and chatted for a short while with him. He also enjoyed the concert.
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