May 12, 2008
A fine mixture of music and instrument
The Williamsburg Choral Guild, under the direction of Jay BeVille, presents the Gabriel Faure "Requiem, Opus 48," the Maurice Durufle "Requiem Opus 9," and the Durufle "Prelude and Fugue on the Name Alain," with organist Tom Marshall, violinist Susan Via, soprano Georgeann Paddock, mezzo-soprano Lisa Relaford Coston, and baritone Christopher Mooney, in St. Bede Catholic Church, Nov. 14.
The Williamsburg Choral Guild offered an exquisitely conceived program of Faure and Durufle that was performed with grace and style in St. Bede Catholic Church using the church's new Jean-Paul Buzard pipe organ. It was the fine mixture of music and instrument.
The Guild is celebrating its 30th year and what an excellent program of tribute to the growth this fine community ensemble. The programming of Faure and Durufle was artistically perfect for the occasion. These are two extremely beautiful, complementary works that overflow with ethereal melodies, lines and tranquility of mood.
The Faure "Requiem" is elegant in every respect, his sense of lyricism, line, and text blending in exquisite fashion. Similarly was the case with the Durufle, which was largely influenced by Faure. Although Durufle wrote his "Requiem" some 50 years later, the impression Faure made on him was evident. Durufle followed Faure's "Requiem" in content organization and its essential avoidance of fire and brimstone text. Similarly was he influenced by the tonalities used by Faure, as well as those of Debussy, Ravel, and even Dukas. That Durufle was a professor of harmony at the Paris Conservatory is evident in listening to both works on this program.
To both, the chorus, under Jay BeVille's knowing hand, brought desired cohesion, sensitivity and delicacy of intent that added significance to the musical moment. The results often approached the ethereal, ably assisted by the superlative performances of soprano Georgeann Paddock and mezzo-soprano Lisa Relaford Coston, both of whom exhibited lyricism and loveliness of stylistic line, and baritone Christopher Mooney, whose appealing sound and delivery reflected his operatic background and training. Adding to the delicacy of the Faure was Susan Via, whose violin solo contributions provided extra satisfaction.
Tom Marshall was guest organist and brought sublime accompaniment and mood setting moments to the Faure and Durufle. Without a doubt, the Buzzard organ is a wonderful instrument, a fact that was easily evident in this program. It contains some 3600 pipes, 54 ranks, 47 stops, and a 32-note pedal keyboard. It's pretty massive at 32 feet tall and it's majestic.
Such an instrument deserves to be played to its fullest, and Marshal put this fine instrument through its paces with a solo spin in Durufle's "Prelude and Fugue on the name Alain." Influenced by Gregorian chants, counterpoint, and rich harmonic structures, the "Prelude and Fugue" is a colorful, multi-layered work of beautiful sounds and complexities. Marshall displayed a mastery of the instrument and the score that was musically rewarding and exciting.
All in all, this was a very gratifying evening and an appropriately well done tribute to the constancy of musical giving provided by the Williamsburg Choral Guild throughout its dedicated history.
Copyright © 2008, The Virginia Gazette
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