Brahms at the Mondavi Center - Dual Reviews!
By Jennifer Benton
Staff Writer
On March 28,
2010 I had the pleasure of enjoying my first attendance to the
Mondavi Center. The beautifully modern theater surprisingly
instills a sense of history from the moment you walk in. I couldn’t
help but be reminded of the entertainment of the 1800’s. No modern
technology, no podcast or YouTube video of the night’s performance;
just you, talented musicians, the voices of angels, an amazing
conductor and a hope that you will remember the way the music
inspired you, moved through you, and lifted your spirits.
I quite like the fact that in this world of
technology, music enthusiasts still gather to honor those rare,
special talents with their attendance and financial support. The
economy being what it is, the Mondavi Center along with Donald
Kendrick (founding Conductor and Artistic Director) are no
strangers to the hardships artists often endure during such times.
In fact, although the Sacramento Choral Society and Orchestra (SCSO),
under the direction of our very own Donald Kendrick, has grown to
become one of the largest sym-phonic choruses in the United States,
in an effort to nurture the arts in our communities the per-formers
raised their own funds through a Singathon, surpassing their goal
of $30,000. Proof the arts are alive and well in Sacramento! These
funds were ear-marked for the Palm Sunday Requiem of Johannes
Brahms and the May 2 performance of Carmina Burana.
The evening began with Brahms’ Alto Rhapsody
(1869) including Maya Layhani, Mezzo (Ms. Lahyani was named a
finalist in the national Metro-politan Opera competition held very
recently in New York.) and a Guest Men’s Chorus: Sacramento State
University Chorus, Schola Cantorum. This piece is based on Goethe’s
poem, Harzreise im Winter (Winter Journey Through the Harz
Mountains). Goethe’s poem reflected the desire of a young man named
Plessing who turns away from the world and finds solace in the
nature around him. This spoke directly to Brahm and his own
solitary life and he responded to the feelings the poem invoked
through his music.
Brahms’ Academic Festival Overture was a piece
he awarded the University of Breslau after they bestowed upon him
an honorary degree in 1879. Believing the "foremost composer of
serious music in Germany today" would deliver a special piece
fitting this Latin citation, imagine the University’s surprise when
Brahms presented them with this, a collection of German student
songs celebrating the less intellectual aspects of college life:
parties, victories, and freshmen initiation ceremonies; but what
would they expect, Brahms was not an academic himself regard-less
of the numerous honors awarded him from various academic
institutions.
The myriad of tunes included Wir haben gebauet
ein stattliches Haus (We have built a stately house) in the
trumpets, followed by the noble Landes-vater (Father of his
country) melody in the strings. Followed then by the energetic tune
of the freshmen initiation "fox-ride" Wasa kommt dort von der hohe?
(What comes from there on high?). All of these pieces are repeated
before Brahms brings in the oldest and by far most famous of German
student songs, Gaudeamus igitur: made famous by Sigmund Romberg’s
operetta The Student Prince. After a timely intermission,
the Sacramento Choral Society and Orchestra, along with Jessica
Siena, Soprano (her portrayal of Marie in New York City Opera’s
National tour of Donizetti’s La Fille du Regiment, earned her
critical acclaim throughout the country) and Stephen Janazen,
Baritone (has performed with the opera companies of San Francisco,
St. Paul, San Jose, Sacramento, Stockton, Washington, Pocket Opera
of Sana Francisco, North Bay Opera, and Townsend Opera Players)
offered a breath taking rendition of Brahms Ein Deutsches Requiem.
Brahms’ greatest vocal work combines mixed
chorus (which, with an ensemble of 200 plus voices, was awe
inspiring and commanded your attention), solo voices (which enrapt
you with their strength and passion), a full orchestra and organ in
a deeply moving testimony of belief that encompasses all faiths
alike. Brahms replaced not only the German language for the more
familiar Latin of the Requiem Mass, but he addition-ally exchanged
for the tradition-al sources, a completely independent assemblage
of texts with no intent to convey religious worship or the
celebration of Communion. In his own letter to Clara Schumann,
Brahms commented that he would prefer people view his Requiem as a
"human" Requiem since the importance of his text focused on the
comforting of the living and not the spiritual destiny of the
departed.
Each movement of Brahms’ masterpiece was
perfectly performed for its eager Palm Sunday attendees and the
symbiosis of the choir and orchestra were only ever so slightly
over shadowed by the tremendous and flawless performances of the
soloists whose voices rang out echoing throughout the theater with
a purpose and a clarity that will stay with me always.
This performance was especially close to my
heart as two of Artisan Salon’s (my chic hair salon in Land Park)
very special clients are members of The Sacramento Choral Society:
Catherine Loughner and David Felderstine; it was an honor to
witness your talent as a part of your ensemble and see you shine
amongst your fellow performers. If you have yet to experience live
music at the Mondavi Center, do not miss your opportunity to
witness the beauty of Carmina Burana - Orff, Sunday, May 2, 2010 at
2 PM with Ji Young Yang, Soprano, Chester Pidduck, Tenor, Michael
Sokol, Baritone and Special Guests, The Sacramento Child-ren's
Chorus with Lynn Stevens, Music Director at UC Davis Mondavi
Center; what a delight for the whole family. For tickets, you can
visit the Mondavi Box Office at SacramentoChoral.com or call
1-866-754-2787.
New! Sacramento Stained Glass Series, European
Cathedral Classics, Sat, June 5, 8 PM, Cathedral of the Blessed
Sacrament, 1017 11th Street, Sacramento. More information at
www.sacramentochoral.com/index.html
Brahms at the Mondavi Center - Dual Reviews!
By Victoria Beninga
Staff Writer
The warm, inviting Mondavi Center
at the University of California Davis was the setting for an
afternoon of Brahms on Sunday, March 28 as part of the Mondavi
Matinee Series. It was presented by the incredibly talented members
of the Sacramento Choral Society & Orchestra, led by Music Director
Donald Kendrick. Mr. Kendrick’s love of music was reflected in his
energetic directing style. I was amazed that Mr. Kendrick directed
the entire concert with no musical score in front of him.
The Mondavi Center, with its perfect acoustics, is a delightful
venue for classical music. The walls consist of wooden squares
similar to shadow boxes. Attached to the walls are three levels of
box seating, with lovely curved wooden walls facing the center. On
the ceiling are lights shining through slats. The seating at the
Mondavi Center is wonderfully cushy, and the views of the stage are
unobstructed. Part of the fun at a concert at the Mondavi Center is
the people watching. Concert goers consisted of all ages, from a
bouncing, dressed-up young girl carrying a teddy bear to the more
mature adults with walkers. Attire ranged from jeans and t-shirts
to miniskirts and high heels to suits and sparkly dresses.
This particular afternoon’s
concert featured music composed by Johannes Brahms (1833-1897). The
first piece was Alto Rhapsody. Brahms’ inspiration for this piece
was Goethe’s poem “Harzreise im Wimter (Winter Journey Through the
Harz Mountains). Goethe wrote this poem after meeting Plessing, a
man who distrusted people so much he moved to the mountains to get
away from them. The orchestra began this piece in a slow, somber
tempo, representing the harsh mountain winter. The soloist was Maya
Layhani, who was at one time a soldier musician in the Israeli
Defense Forces. Layhani was elegant, with her sinuous arm
movements, long dark hair, and floor-length blue gown. As the piece
progressed, she was joined by a men’s chorus, the Sacramento State
University Chorus Schola Cantorum. At the end, the piece became
lighter as hope in God’s love was revealed.
In contrast, the next piece was
Academic Festival Overture. Although Brahms wasn’t an academic
person, he was awarded honorary degrees. This piece depicts, shall
we say, the non-academic side of college, such as partying. It
began with lighthearted low notes and a fast tempo. As it
progressed, the fast tempo continued, and the notes became higher,
bringing it to a robust ending where I had to remind myself I was
in a cultural setting and restrain myself from jumping up and down.
The last piece was Ein Deutsches Requiem, featuring soloists
soprano Jessica Siena and baritone Stephen Janzen. They were joined
by the 180-voice Sacramento Choral Society. This symphonic piece
was comprised of seven movements based on scripture verses of
comfort and hope in the life to come: Blessed are they that mourn;
For all flesh is as grass; Lord, make me to know mine end; How
lovely is Thy dwelling place; And ye now therefore have sorrow; For
here have we no lasting home; and Blessed are the dead which die in
the Lord. The requiem runs the gamut from minor to major mode; and
from flatter, darker to sharper, brighter keys. These represent the
transition from our suffering on earth to the joy we’ll experience
in Heaven. At the joyous end of the piece and the concert, the
audience gave the orchestra, soloists, and chorus an enthusiastic
standing ovation, many shouting “Bravo!”
If you attend as we did on a Sunday afternoon, be certain to allow
extra time to avoid being late due to the weekend travelers
returning from the mountains. We planned on arriving 30 minutes
early; instead, we made it with less than 5 minutes to spare. For
more information on the concerts at the Mondavi Center at UC Davis,
you can call (530) 754-5000 or go to their website at
mondaviarts.org. Every time I attend one of these concerts, I check
the schedule to see what I want to see next, because I always look
forward to coming back.
Next for the Sacramento Choral Society & Orchestra is Carmina
Burana - Orff, Sunday, May 2, 2010 at 2 PM with Ji Young Yang,
Soprano, Chester Pidduck, Tenor, Michael Sokol, Baritone and
Special Guests, The Sacramento Children's Chorus with Lynn Stevens,
Music Director at UC Davis Mondavi Center. Tickets at the Mondavi
Box Office: 1-866-754-2787. NEW! SACRAMENTO STAINED GLASS SERIES,
European Cathedral Classics, Sat. June 5, 2010 at 8 PM, Cathedral
of the Blessed Sacrament, 1017 11th Street, Sacramento. More
information can be found online at
http://www.sacramentochoral.com/index.html.
More information on
the Sacramento Choral Society can be found on the internet at
www.sacramentochoral.com
or contact Sacramento Choral Society & Orchestra, 4025 A Bridge
Street, Fair Oaks, CA 95628 Ph: 916.536-9065 Fax: 916.536-9065.
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SCSO Choral Soundscapes
By Sandy Carriger
Staff Writer
I had the pleasure to
attend the Sacramento Choral Society & Orchestra's (SCSO) end of
the season, Choral Soundscapes, a salute to 400 years of
choral and chamber music. The final performance took place on
Sunday, June 7, 2009, 7:00 p.m. at the Mondavi Center, UC Davis
Jackson Hall. According to James McCormick, President of the SCSO,
“…the Mondavi Center is now the permanent home for the Choral
Society.” And understandably so! The Mondavi Center is a
state-of-the art, world-class facility that is dedicated to keeping
the arts alive with culturally diverse presentations. Everything
from country to jazz, ballet to Taiko drummers and classical to new
age are enhanced by the impeccable acoustics of Jackson Hall.
This is the thirteenth season for SCSO with
founding conductor and artistic director, Donald Kendrick. There
are 12,000 community choruses in the U.S., but SCSO is the only one
to have it's own professional symphony orchestra. They are a
non-profit organization and all choir members are volunteer. SCSO
is dedicated to culture and community. They have been bestowed many
artistic and civic awards and are nationally and internationally
recognized.
Sunday's performance was also a memorial to
Dick Music Man Brunelle, 1934-2009, a musician who resided in
Davis. He taught at Davis High School from the '60s through the
'90s and was a pioneer for the advancement of their music program.
For several years, he was also the music director at Davis
Community Church.
The evening's performance honored the
themes Anointment, Exaltation, Remembrance and Thanksgiving. The
program spans from 18th century composers such as Bach and Handel
to 21st century composers, Whitacre and Corigliano. Guest artist,
mezzo-soprano, Hannah Penn, who hails from Portland, Oregon and
SCSO members, soprano, Joyce Scolnick and baritone, John Martin are
showcased soloists. The first half of the program was presented in
four parts. Part I. Anointment, included the the works of
G.F. Handel "Glory be to the Father," Pavel Chesnokov "Duh Tvoy
blagiy" (Let They Holy Spirit), and Johann Michael Haydn (Franz
Joseph's brother) "Laetus Sum" (For I Rejoiced). Part II.
Remembrance, consisted of the 16 minute "Fern Hill" composed by
John Corigliano with lyrics from a Dylan Thomas poem and
featured soloist Hannah Penn
as well as SCSO quintet: Laurenda Moyer, Lindsay Logan, Denise
Jones, Steve Ohlin and William McCurdy. Part III: Parting,
contained the compositions of Ludwig Van Beethoven "Elegischer
Gesang, Op. 118" (Elegaic Song) and Eric Whitacre "Lux Arumque"
(Light of Gold). Lastly, Part IV. Exaltation, was comprised
of pieces by J.S. Bach "Lobet Gott in seinen Reichen" (Praise God
in His Holy Kingdom), Randall Thompson "Alleluia" and Eleanor
Daley/Kendrick "O Be Joyful in the Lord." The second half of the
show was titled "Feel the Spirit" by R. John Rutter and featured
Joyce Scolnick and John Martin as soloists. This arrangement
included seven American Spiritual pieces; Joshua Fit the Battle of
Jericho, Steal Away, I Got a Robe, Sometimes I feel like a
motherless child, Eve'ry time I feel the spirit, Deep River and
When the Saints go Marching In.
I was fortunate enough to have
excellent seats, orchestra left, and very close to the stage. In
fact, I was accompanied by my daughter-in-law and we were the only
audience members in our entire row. I don't know if it was the sign
of the times, but there were many empty seats at this performance.
The audience varied from very young children to
mature adults.
The works I found to be most
enjoyable were pieces composed by contemporary artists, Whitacre
and Rutter. "Lux Arumque" is an arrangement that allowed the chorus
to really show off what they are all  about. This is what one
expects to hear, the beautiful voices of SCSO coming together in
such resounding harmony. Of
this, I am in awe. It is remarkable to
me how so many voices of various ages and vocal ranges can join as
one. Rutter's compilation of spiritual works was a toe-tapper.
Several familiar tunes assembled together from somber to joyful
that the lay person can hum along with. The final song, When the
Saints go Marching In, was meant to be an audience participation
venture, but unfortunately, participation waned.
Photo: Hannah Penn, by Sandy Carriger
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Bach's Birthday Celebration
By Sandy Carriger
Staff Writer
There was a recent article in
the Sacramento Bee reporting a pulley system mishap at the Mondavi
Center's Jackson Hall that forced the venue to cancel or reschedule
performances for a period of 10 days. Happily, the system was
repaired in time for the celebration of Johann Sebastian Bach's
324th birthday on Sunday March 22nd. 
The choir performed to a full house of varying
ages, including several high school students. I had excellent seats
(center orchestra) which afforded me the opportunity to view the
performance close up and enjoy the incredible quality of euphony
emitted from the stage.
March 22, Bach's Birthday Celebration
performance at the Davis Mondavi Center. Photo Courtesy of Ronnie
Johnson
Once again, the Sacramento Choral Society and
Orchestra (SCSO) presented a wonderful performance, which was a
perfect tribute to the onset of spring. 180 voices ranging from
young adult through seniors joined together in beautiful and
resounding harmony. Accompanied by their own orchestra, led by
founding Conductor, Donald Kendrick, SCSO came together as voices
of inspiration in this tribute to Bach.
The baroque music, sung in German and Latin,
with English super-titles, are all considered devotional pieces.
Bach was a deeply religious man whose musical works revolved around
his beliefs. "The focus of Bach's emotional life was undoubtedly in
religion and in the service of religion through music" according on
one biographer. The repertoire included: Lobet Gott in Seinem
Reichen (Praise God in His Kingdom); St. John Passion/Ruht Wohl,
Ihr Heilgen Gebeine (Rest in Peace, You Sacred Limbs); Ach Herr,
lass dein libe (Ah Lord, let your dear Angels at my final hour
carry my soul); Mass No. 4 in G Major; Jesu, Bliebet Meine Freude (Jesu,
Joy of Man's Desiring); Komm Suesser Tod (Come Sweet Death) and
Magnificat.
Vocal artists performing solo during segments of
Mass No. 4 and Magnificat included: Robin Fisher, a lyric
coloratura soprano and Associate Professor of Voice at CSU,
Sacramento; Julie Anne Miller, mezzo-soprano and classical
per-forming artist; Isaac Hurtado, lyric tenor as well as an
instructor of voice at the Interlochen Arts Academy in Michigan and
John Bischoff, bass, with a background as a public radio journalist
and teacher of English and voice.
Orchestra members much deserving of mention and
praise for their solo performances during the evening's concert are
Cindy Lee, first violin and concert-mistress, James Een, viola,
Lena Andaya, cello, Tod Brody, flute, Thomas Nugent, oboe and
Stephan Janzen, keyboard.
The final performance for the 2008/2009 series,
Sundays at Seven! at the Mondavi Center is Choral Soundscapes
on June 7th, 7pm. This performance will be an SCSO salute to the
choral and chamber music traditions with songs of Exaltation,
Remembrance and Thanksgiving. Visit online at:
www.sacramentochoral.com
or phone (916) 536-9065.
Published in Sutter Creek, our paper is a positive
example of journalism with an eclectic assortment of articles and
reviews ranging from health and wellness to the arts.
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