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Timothy McDonald directs Musica Sacra, Rockhurst’s ensemble-in-residence. The chorus and orchestra perform sacred masterworks at four main concerts each year, and the ensemble’s faithful followers fill up their home venue, St. Francis Xavier Church. Friday’s concert was thoughtfully programmed and perfect for the Advent season.

The evening began with two carols, Infant Holy, Infant Lowly and In dulci jubilo. Singing from the back balcony, Musica Sacra eased the audience in to the more substantial, multi-movement compositions to come. Pearsall’s arrangement of In dulci features a particularly slow tempo, which, along with broad phrases, allowed the sound to spread from the back of the church to settle in the front. Listeners reveled in luxuriant acoustics, as a dense ensemble sound breathed across the space. In both carols, McDonald exacted subtle dynamic shadings and a lush choral tone; in particular, the men blended impressively to sound like one voice. I appreciate the singers’ approach to diction on these carols: the words were clear without singers harshly snapping consonants (which could effectively “rough up” the texture or disrupt lyrical lines). It seemed that McDonald wanted more urgency from the alternating soloists and trio singers, but momentum seemed to sag in those segments.

Marc-Antoine Charpentier’s music is enjoying a much-deserved resurgence of interest among twentieth- and twenty-first-century scholars and musicians. Musica Sacra ambitiously programmed something by the French composer on both of their fall concerts, aligning with Charpentier as a composer who himself was closely associated with the Jesuits. Charpentier wrote secular compositions, including incidental theater music, but was especially prolific for the sacred repertoire, to which he contributed nearly 500 works. On Friday night, Musica Sacra offered Charpentier’s In nativitatem domini nostri Jesu Christi canticum, a sectional work that is often labeled a “dramatic motet” or “mini-oratorio.” Perhaps one hears Italian influences in Charpentier’s text setting and melodic writing, but undoubtedly listeners were made aware of the composer’s dramatic flair, as characters—evangelists and shepherds—exchange dialogue-like conversation within rich and sometimes surprisingly chromatic harmonies.

The piece opened with an accompanied recitative, featuring soprano Debra Hohly who began the Christmas story narrative. The following air showed off Hohly’s powerful tone, but her consonants were swallowed up by the competing organ. The chorus’ first entrance was tentative but they rebounded with a joyous response per the text, “Arise now, let us hasten to go, go unto Bethlehem.” Charpentier is known for his colorful orchestration and before the next evangelist recitative, listeners were treated to a long instrumental introduction; the motoric, march-like music was effectively dramatic, perhaps representative of the shepherd’s journey. Here McDonald exploited the more obviously contrasted dynamics of the baroque style with a responsive orchestra. Baritone Ken Sanderson was convincing as he took up the role of evangelist, but again, his consonants were muddled. To follow, Claire Ranieri’s straight tone, light and agile on ornaments, was a lovely complement to Hohly’s fuller sound. The chorus seemed more alert now, and the bass section in particular was resonant and commanding.

Like the Charpentier Nativitatem, Vivaldi’s Gloria in D Major is a sectional work, so the flexibility of the ensemble is called into play as the music shifts through homophonic and contrapuntal textures. From the opening movement, it was clear that McDonald’s singers were answering the call for a more robust sound.

During “Et in terra pax,” the sopranos hover above the other more melodically active sections; admirably, the women executed the scalar passage with perfect intonation, while a liquid bass foundation underpinned it all. Throughout this movement, Vivaldi reminds listeners that he was a dramatist, and the singers delivered a sharper, darker quality to match the somber minor key. In “Laudamus te,” Elaine Minden and Jennifer Konzem Mauro were a well balanced duet, and both handled deftly the demanding leaps and runs. The full choir was required for the “Gratias,” and they were put through their paces in a more challenging counterpoint (which allowed each section to demonstrate their strengths).

Minden sang the “Domine Deus” with a narrow, focused tone. She demonstrated a mastery of breath control across demanding melismas, all supported by the sensitive organ playing of Maureen Henderson. The “Domine Fili” movement brought a light-on-its-feet soprano section, and even though McDonald smartly quieted the instruments for the men-only passages, they seemed overpowered; more explosive consonants may remedy this. The responsorial “Domine Deus, Agnus Dei” featured the distinctive mezzo of Jennifer Snyder and an appropriately reverent choir response for the “Miserere nobis.” Snyder was featured again in “Qui sedes ad dexteram,” where the orchestral punctuations delivered dramatic impulses. The final movement, “Cum sancto Spiritu,” featured a bright instrumental timbre, deployed to paint a triumphant text.

Two traditional carols, O Come All Ye Faithful and The First Noel, rounded out the generous program, and Musica Sacra delivered on both spirit and message. Throughout the concert, McDonald conducted with subtle gestures, his directing articulate and modest, crisp and definite; I surmise that he is a pleasure to sing for.

The choral community congratulates Musica Sacra, celebrating with them twenty productive years. This venerable chorus has contributed much to our cultural community and stands as a cornerstone of the Kansas City choral music tradition. Two additional anniversary-season concerts are to come in 2011: February 18 (featuring Haydn and Buxtehude) and April 16, when Musica Sacra performs Mozart’s Requiem Mass.

REVIEW:
Musica Sacra Chorus and Orchestra
Friday, December 3, 2010
St. Francis Xavier Catholic Church
52^nd and Troost, Kansas City, MO
For more information visit www.rockhurst.edu/musicasacra

Top Photo: Timothy McDonald