By Justin Whyte,
Entertainment Editor
LOVERS OF the classics were out in their numbers for supper last weekend at the UWI, Chapel, Mona.
In a classical expose made possible by the German Embassy, in association with the Jamaican German Society, featured the German choir Motettenchor Speyer, under the theme 'Hallelujah'.
The ensemble was joined by the Chamber Ensemble Speyer, as well as University Singers and Musica Xamayca for the performance of Jonah, an oratorio for voice and harpsichord, composed in 1773/4 by Samuel Felsted, late organist at St. Andrew's Parish Church, Half-Way Tree.
In a shrewd and enlightening programming move, the organisers allowed both choirs, instrumentalists and soloists to explore the music of Heinrich Schuetz, J.S. Bach, Johann Georg Albrechts-berger, Wolfgang Amadeus Mozart, G.F. Handel Clyde Hoyte, Bob Marley, among other composers.
Items by those composers served to whet the appetites of the gathering, in preparation for the main 'fare' of the night, the Jonah oratorio.
The programme format bore many of the hallmarks of a professional presentation.
The programme itself, combined with works such as Johann Sebastian Bach's Fuetchte Dich nicht', ich bin bei Dir, BMV 228, Motet for Double Choir and Basso continuo; Wolfgang Amadeus Mozart's Te Deum Laudamus KV 141 For Choir in 4 Parts; and Bob Marley's Redemption Song, arranged by Noel Dexter and George Roberts and an impressive layout of musical ensemble, made a remarkable difference to show how one heard the music, even, or especially, in such familiar works as the Hallelujah Chorus, by Handel or Elena And Her Variations, by Peter Ashbourne.
Compelling instrumental
The audience was treated to some compelling instrumental pieces as well as solo and choral singing, as was the case, when Gabi, Schenkel and Roman Reichel played Albrecchtsberger's Organ Preludium And Fugue in C and the Grand Chorus, Tune Your Harps from Jonah by Felsted. The organists delivered wonderful performances, bringing out every nuance of orchestral colour, which enabled dramatisation in sound.
Mr. MacDonald, performed a solo, in addition to his major function as the narrator of the recitative sections. His counter-tenor voice, which runs into the range of a treble voice - an unbroken boy voice, caused many raised eyebrows. Suffice it to say, there are three basic categories of the male voice: bass, tenor and counter-tenor, the latter which also runs into the range of a mezzo-soprano. His counter-tenor voice, which is a firm 3 1/2 octave range, extends from rich chest tones to ringing high Cs, which filled the chapel .
The narration enlightened the work. And, Mr. MacDonald did it with conviction and a sense of purpose, especially in Repent Ye Men Of Nineveh Recit. from Jonah.
Edward Cumberbatch, tenor, who performed the role of Jonah, was outstanding in his presentations. Everything Mr. Cumber-batch sang, especially Air Out Of The Deep and Billows Foam Around My Head, was marked by refinement, intelligence and clarity - all sustained by an impressive technique. His confidence and direct style, coupled with identification with the composers' music, removed usual difficulties of tempo, mood and delivery.
The German/Jamaican choir, under the baton of Marie-Theres Brandt, was marvellous. Everything and everyone was swept into a beautiful stream of compelling rich sounds. The choir rose to the occasion in clean tones, tempered with warmth and poetry, especially in the chorus of 'Ninevites: Have Mercy, Lord.
The presentation brought out what could be described as a personal and deeply-felt emotion expressed through singing with considerable power.
The piece is characteristic of Felsted's ability to express and use 'symbolic musical language', overlayed with word-painting and descriptive figures, clearly defined.
The combined choir produced sounds that served an emotional purpose. Their entries were decisive and gave a sense of hope to the oratorio's storyline. The tonal quality and blend were refreshing.
Of particular significance was the University Singers' presentation of Ave Maria, arranged by Franklyn Halliburton. The singers displayed a brilliant command of technique and there was no visible inhibitions in self expression.
Harmonic colouring
The Motettenchor Speyer's delivery of Mozart's Te Deum Landamus - a song of praise - which contains expressions of rejoicing in the Catholic faith, maintained its melodic shape, rhythmic interest and brought the harmonic colouring to the fore.
The concert programme moved with dispatch, but the start was informal and did not have an orderly arrival of the choirs or musicians. Probably this was due to the late start, caused by the late arrival of programmes.
The presentation of Jamaican National Anthem was the best I have heard. However, Ms. Brandt should have been guided about using both verses.
At the end of the Grand Chorus: Tune Your Harps the audience stood to its feet and applauded.
