Transcendental Taverner: Clarion at the Met in Review
Transcendental Taverner: Clarion at the Met
The Clarion Choir, Steven Fox, Artistic Director
Medieval Sculpture Hall, The Metropolitan Museum of Art, New York NY
April 29, 2016
As part of the MetLiveArts series of performances, a most amazing evening of music took place last Friday. Entitled “Transcendental Taverner,” it truly lived up to its name in what was one of the most mesmerizing a cappella concerts this reviewer has ever heard.
Founded ten years ago by the young but precociously well-credentialed conductor Steven Fox, the Clarion Choir began as a complement to the Clarion Orchestra, a period instrument ensemble also directed by Maestro Fox. The Clarion Choir, open to a wide range of musical eras beyond the Renaissance and Baroque periods, has performed works by Rachmaninoff and Mozart, as well as works from earlier periods; it seemed, however, ideally suited to the beautiful translucent counterpoint of English composer John Taverner (c. 1490-1545). Also ideal was the setting in the Metropolitan Museum of Art’s Medieval Sculpture Hall, with stone and marble architecture that allowed the reverberating voices to soar magnificently.
Steven Fox , Photo credit: Kim Fox
The entire program (except for a finale of John Sheppard’s Communio: In Pace) was devoted to Taverner’s Missa Gloria Tibi Trinitas, a mass with central setting of the Latin Easter text, Dum Transisset describing the discovery of the empty sepulchre of Jesus Christ. It is a sublime work, with vocal writing that captures the spiritual transcendence of the subject matter through its movingly melismatic lines. The purity and balance of Clarion’s perfectly selected voices was simply breathtaking. If anyone could be unmoved by such a masterpiece, whatever one’s religious persuasion might be, he should have his pulse checked.
The driving force, of course, was Maestro Fox, who directed with visible passion and energy. One would be hard pressed to find a conductor with more commitment to his repertoire or connection to each note from his choir. The results spoke for themselves.
At times Maestro Fox’s extreme physicality contrasted with the serenity of the melodic lines – almost distractingly – but then again, one is always free to close one’s eyes and drift into the stratosphere with the vocal lines. The fact is that, without the constant and pulsating rhythmic underpinning that the conductor projected, the urge for each line to soar at its own self-indulgent rate could be overpowering to a group already swimming in reverberations, a potential threat to the togetherness of the ensemble. Maestro Fox held the counterpoint together masterfully, with the long-breathed lines still projecting gloriously. His awareness of the special acoustics was clear, and his pacing between movements was accordingly sensitive and generous.
The choir had clearly been prepared well in matters of intonation and balance. Several soloists also were simply phenomenal, but without individual attribution on the program one sadly cannot identify their respective highlights in order to credit them. We know that amid eighteen singers (who shifted places at times), the soloists were Sarah Brailey, Molly Netter, and Sherezade Pantheki, sopranos; Marc Day, Andrew Fuchs, and Timothy Hodges, Tenors; and bass, Craig Philips. All were excellent, with the sopranos standing out as particularly stellar.
One minor reservation arises, which is that, while the diction seemed fine among the choir as a whole, given the extremely reverberant acoustics (and the Latin text), the lay audience member may have not been able to follow exactly where he was in the mass without clearer listings in the program booklet (the Offertorium having been switched to be after the Benedictus, according to the notes but not in the program proper). It seems nitpicky, because one could simply enjoy, as did the ticketless museumgoers who drifted along the periphery of the hall to the ambient magic; the ticket price for the actual seated audience though, comes with a presumption of more than average interest in understanding or experiencing each moment to the fullest, rather than simply being steeped in the sounds, glorious though they were.
Minor program quibbles aside, the Clarion Choir’s performance was music-making by an ensemble of the highest echelon. Of special note will be their imminent release on the Naxos label of the recently discovered Passion Week by Maximilian Steinberg, a fascinating work, which they will surely perform to the hilt.
