Church program pulls out all the stops

When Williamsburg Presbyterian Church began thinking about a culminating musical program for its year-long celebration of the new sanctuary, it pulled out all the stops, not only on the organ but also in bringing to town Grammy Award-winning Robert Page, assuredly one of the most esteemed choral conductors in this country and beyond.

Considered a "national treasure" and "dean of America's choral conductors," Page is the Director of Choral Studies and Paul Mellon Professor of Music at Carnegie-Mellon University. Additionally, he is the artistic advisor in choral music at Rowan University and director of special projects and choral activities with the Pittsburgh Symphony Orchestra. He has served as assistant conductor and director of choruses for the Cleveland Orchestra and for some 26 years as the music director and conductor of The Mendelssohn Choir of Philadelphia. Add to this his international positions conducting orchestras and choruses, his association with world premieres and commissions of operatic, symphonic, and choral works, and his national participation in choral festivals and the National Endowment for the Arts and you've a man of great distinction.

Oh yes--the Grammy Awards. Page, who has been nominated for some eight Grammy Awards, won for his recording of "Carmina Burana" with the Cleveland Orchestra and "Catulli Carmina" with the Philadelphia Orchestra, along with significant other international awards, all of which adds to the distinction of his presence in town, 13 Oct., to conduct an all Brahms program at the Williamsburg Presbyterian Church, featuring guest soloists and the 50-member Chancel Choir.

Having such a celebrated conductor here is, indeed, reason for celebration. So, how did Page come to be affiliated with this particular performance in Williamsburg? The answer rests with bass-baritone James Weaver, Williamsburg Presbyterian's music director who suggests it has a lot to do with demographics and basic networking. He explained that the large membership of the Chancel Choir seems to be directly related to the demographics of folk who are drawn to Williamsburg to live and retire, further explaining that many come bearing considerable musical experience and talent. Fortunately for Weaver, many have chosen to affiliate with Williamsburg Presbyterian, thus enhancing the musical skills of the Chancel Choir. It has also brought connections.

"We managed to secure Page largely due to Bill and Laura Baetz, who had sung under Page in his Mendelssohn Choir of Philadelphia and knew him," Weaver said. They facilitated a subsequent meeting between Page and Weaver at the Berkshire Music Festival, at which Weaver rehearsed and studied under Page. The result was a personal contact and friendship.

When it came time to assemble this culminating program, it seemed a natural step to invite Page. His acceptance is a coup for the church and community, which will be able to experience, first hand, the qualities that have made him the celebrated conductor he is.

For this program, two works of Brahms were selected, the "German Requiem" and "Alto Rhapsody" for contralto and male chorus. When Weaver and associates began thinking about which works to do, they thought about it in terms of what would be good for the new sanctuary space and the choir.

The genius and moving nature of the "Requiem" made it a natural choice, especially when Weaver heard a 4-hand piano version penned by Brahms himself. "When I heard that," he said, "I knew it made a perfect selection. We always think of the 'Requiem' in terms of orchestra colors. But, I was given a recording with the 4-hand version and discovered it's more intimate and allows the brilliance of choral writing to shine."

And, indeed, listening to a rehearsal of the "Requiem" supported that observation. The piano part artistically supports the orchestral design, while allowing greater clarity and appreciation for the text and texture of the work. It was a revelatory hearing.

The selection is perfect from another perspective--it's church worthy and community worthy as a concert or program piece. Although a requiem in name, it is not a liturgical mass. It's in German, not Latin; it has no fiery Last Judgment or prayer for the dead; the selected texts reflect personal comfort or peace. In fact, it is generally regarded as a secular work of brilliance and dimension, both musically and spiritually…a work for everyone. The exquisitely lyrical "Alto Rhapsody" will round off the program.

Acoustically, the selections work well in what Weaver considers a "rich venue." Calling the sanctuary space a great setting for organ and chorus combined, the acoustical qualities most likely had a lot to with the decision of the Norfolk-based Virginia Chorale to make the facility its Williamsburg performance venue. In like fashion will the Williamsburg Choral Guild use it for several performances this season. As Weaver pointed out, the space can also be used for chamber music and small orchestral ensembles. This, too, was evident during the rehearsal. The space has superb acoustical qualities that well served the music, allowing the choir's richly rounded and effectively balanced sound to flourish, whether in the most ethereal of moments or those of immense roof raising intensity.

All in all, the makings for a special musical moment are present. The emotional lyricism of Brahms, the fine acoustics, the excellence of the choir, and the honor of watching Page at the helm make this upcoming program one not to miss.