WESTFIELD –Achallenge. That’s what most directors would call producing Missa Solemnis, Beethoven’s penultimate composition. It is not only vocally demanding for soloists, but also for a full chorus that is accompanied by a robust orchestra. Masterworks at St. Paul’s Episcopal Church in Westfield presented an amazing performance on Sunday, May 19 to a packed audience of appreciative classical music lovers. Why select this challenging piece that is lesser known to perform the group’s last Steeple Concert of the season one might ask. The music director/conductor Mark Hyczko told the audience in his 10minute informative preview about what they were to hear that it seemed only fitting to select this work because “tonight’s production celebrates the work’s 200-year anniversary.”
Critics of Beethoven’s piece cite his seeming disregard of the performer because of its physically exacting and technically demanding requirements with, as the thorough program booklet says, “sudden changes of meter, tempo, and dynamics.” Maestro Hyczko was able to exact from the 50+voice choir just the right nuances and shading, and precise switchback surprises. One of the choir’s altos mentioned after the performance that the choir, comprised mostly of nonprofessionals, had worked for ten weeks of rehearsal of two hourseachMonday night with additional section rehearsals as needed. It was a monumental undertaking that was done with grace, patience, hard work, individual private study mingled with overwhelming talent.
In the “Kyrie eleison” section, (Lord, Have Mercy) the powerful tenor voice of soloist Ronald Naldi set the bar high. A professional microphone system captured the four solo voices beautifully in the solemn plea for mercy with chorus and vocal quartet alternating the refrain. Gorgeous – voiced Soprano Lyssandra Stephenson, mellifluous mezzo soprano Martha Bartz, and the veteran, richness personified bass Richard Zuch complemented each other in vibrato and tone. Each voice was uniquely distinct, yet equally magnificent as a blended sound when needed. Bravo to the musical director for selecting a cohesive four-some of astounding talent and versatility.
The explosive “Gloria” encompassed various moods. It started at breakneck speed that jolted the senses with intensity and volume. At the end of that section the choral “amen” showed vocal control and the beauty of contrast in volume. There’s nothing more exciting than hearing delicious pianissimo juxtaposed with double forte.
“The Credo,” a setting of the Nicene Creed that is the “I believe” statement of faith, houses four subdivisions. The longest of the sections of the piece proved unique. Trumpets of the final judgment led into the most challenging segment and longest of the four sections in “The Credo.”And the timpani (Colleen Bernstein) added power and majesty.
As Mr. Hyczko informed the audience, in “Sanctus” (holy Lord) the violin solo at the instrument’s highest range represents the Holy Spirit floating above. (Quit fitting since this Masterworks was presented on Pentecostal Sunday, that’s when the Holy Spirit descended on the disciples as tongues of fire.) Critics of the day in 1894 felt it was sacrilegious to embody the spirit in an instrument. Concertmaster violinist Ruotao Mao magnificently captured the soul of the instrument and proved its importance to the piece. Tender, yet powerful, Mr. Mao commanded his instrument with professional control and technical skill.
The final “Agnus Dei” (have mercy on us) asks not only for mercy but peace as well. A calming, peaceful segment was almost meditative in feel, a much-needed respite from the craziness of the world.An antsy young boy seated in the front row got a kick out of the powerful timpani within touching distance in the martial segment and made marching motions with his feet and mimicked the arm movements of the timpanist. He had been enthralled with the largeness of the orchestra and the choir for the first ten minutes, but after having looked at each of the instruments, he grew restless. He did like the action of the trombonists. As I first checked out the boy, I wondered why a mother would bring a seven- or eight-yearold squirming, clearly antsy boy to a live production of this classical piece (and sit in the very front row, no less). Then I asked, “Why not?” He might not have had the patience and tenacity to be able to sit still and appreciate it all at this moment in his life, but exposure to music of all types is necessary to build a well-rounded, wellversed population. Brava to the mom who toughened it out in shushing him, giving him a snack, calming his drumming feet, and giving him an experience many of us never had at that young an age.
Westfield continues to offer the highest quality of music through so many organizations. As Mr. Hyczko mentioned, he has been with the Masterworks for five years. We’re looking forward to the next five and more of his visionary programs. The concert dates have been decided for the next season. So, check it out online. To support this musical endeavor, you may donate to Friends of Music at St. Paul’s through a secure online cite – www.steepleconcerts.org/donate or send a check payable to St. Paul’s Church – St Paul’s Episcopal Church, 414 E. Broad Street, Westfield, NJ 07090. It takes a village to raise a child and it takes a village to raise awareness in a child to learn there is more to music than rap and hip hop. Share your love and thanks for a spectacular performance by becoming a part of Friends of Music at St. Paul’s with your time and treasure. They are looking for volunteers to help run errands, contact past donors, and invite Gold Star sponsors.
No matter what small part you played in Masterworks’ presentation of Missa Solemnis in D Major, OP 123 by Ludwig van Beethoven, know you are applauded.
