MidAmerica Productions presents New England Symphonic Ensemble in Review
Preston Hawes, Artistic Director
Michael J. Glasgow, composer/conductor
Haley Sicking, mezzo-soprano; Erik Earl Larson, baritone
Chorus composed of “friends of the composer from throughout the USA”
Carnegie Hall, Stern Auditorium, New York, NY
June 20, 2022
Mid-America Productions returned to Carnegie Hall’s main stage with another of its dynamic choral extravaganzas on June 20. After somewhat anodyne performances of the Brahms Requiem, and music by Alexis Renee Ward and Ola Gjeilo, came the work I was assigned to review: the world premiere of Gloria by Michael J. Glasgow.
Poulenc, Pärt, Muhly: make way for Glasgow. Isn’t it about time for another stand-alone Gloria to take its place in the liturgical music world? Though the genesis of Glasgow’s work goes back to a “despairing day” in the composer’s life pre-pandemic, the rest was the result of an invitation to perform a completed work, which was then subsequently delayed, due to said pandemic. Mr. Glasgow states that he concentrated the feelings of lament, which after all do not constitute the primary message of the hymn of praise but rather provide contrast, to the middle of his three sections.
The outer two sections, Gloria in excelsis Deo, and Quoniam tu solus sanctus, are cyclic in nature, in a grand tradition stretching back to Franck and Poulenc. Themes used in the first section recur in the final one. These provide important ear and memory markers for the listener, and they are skillfully handled by Mr. Glasgow. I do take issue with the composer’s statement that “many” composers set the text in three movements—the Poulenc, for example, has six.
Gloria, the hymn first sung by the angels at the birth of Jesus, gradually worked its way into the liturgy as the second part of the ordinary of the Catholic mass. Mr. Glasgow has responded to the tone of celebratory announcement by utilizing fanfares and strongly defined rhythmic profiles. The music overall, for me, had a “cinematic” quality, in keeping with the composer’s mission to have the character of the music convey as closely as possible the meaning of the words. Sometimes it tipped over into easier listening clichés, but its convincing quality never faltered.
I thought that the “despairing” middle section could have been more sharply characterized, delving deeper into lament—however, it was beautiful, as was the entire work.
I must praise the two excellent soloists, mezzo-soprano Haley Sicking and baritone Erik Earl Larson, whose beautifully detailed solos soared over the full orchestrations, and who each sounded like they had been performing this work for years, not for the first time.
The concluding Amens, described as an invitation to “an amazing party that you don’t want to leave” were indeed thrilling. Mr. Glasgow, a rather showy, unrestrained (physically) conductor, was dancing to the angels’ song.
Here we have a work that may be very practical to adopt into worship services—to that end, I hope there is an arrangement for organ and chorus soon, if there isn’t one already.
At the risk of blasphemy, Gloria in excelsis Glasgow!
