RSS 2.0 FeedMarch 30, 2011, Cover Stories, Classical
Ancient voices of women
Concluding The Friends of Chamber Music's Early Music Series with style, grace and affability, Trio Mediæval's sound filled the sanctuary of the Cathedral of the Immaculate Conception with the glorious sounds of 13th century England and Norwegian folksong arrangements.
My eyes widened upon hearing the first alto notes sung by Trio Mediæval. They was pure, pristine, warm, sonic sunlight. When the two sopranos joined, my jaw dropped. I knew I was in for an aural feast, and Trio Mediæval did not disappoint.
Performing to robust audience of 400 on Saturday night in the perfect-for-this-concert Cathedral of the Immaculate Conception, the ladies of Trio Mediæval regaled with a reconstructed, adapted 13th-century Mass and three sets of Norwegian folksongs.
Dubbed A Worcester Ladymass, this votive Mass in honor of the Virgin Mary was recreated from fragments found scattered throughout England in various manifestations, as Henry VIII’s condemnation of anything Catholic had seen many of the early manuscripts destroyed. The result is a musicologists and audience’s dream. With styles ranging from the free-wheeling, motet-like Kyrie to the strict, declamatory conductus in the Gloria to the sublime, simple monophonic Beata viscera, the Ladymass showcased the riches of thirteenth-century sacred music.
Of added interest were two movements written by the living British composer Gavin Bryars to supplement those gaps in the mass left by missing music. Most noticeably absent was the Credo text. Lines in Bryars’s Credo fit well with the surrounding ancient movements, even with its contemporary harmonies. The concluding Benedicamus domino was affectively delicate.
My favorite moments of the entire work were the setting of “qui tollis peccata mundi” [Who took away the sins of the world] in the Gloria. It dropped the conductus style and reverted to a rightfully tranquil setting sung at an almost inaudible pianissimo. The Sanctus was the best of the three-voiced movements, resulting in a spontaneous, slightly awkward applause break. Torunn Østrem Ossum surveyed the room calmly during the Agnus Dei, her solo movement; it was as if she was singing directly to each person in the audience in turn, as she was accompanied by sparse bell tones played on mellow Schulmerich MelodyChimes.
The sets of Norwegian folksongs were charming and varied. The trio demonstrated remarkable improvisational skills in the traditional tralling sections (think Norwegian-texted scat), and the embellishments—especially those of amazing substitute performer Berit Opheim Versto—colored soloistic lines with dazzling flair. Versto, one of Norway’s most sought-after folksingers, added a nasal edge to her solos that cut through the hall like a blade. Her solo work was masterful throughout the sets.
Fire-haired pixie soprano Linn Andrea Fuglseth was a sophisticated show woman, a delight to hear and watch. Her excellent arrangements of the second set of folk songs ranged from the brazen Rolandskvadet (on which Versto took the lead with her solos) and crunchy Fryd dig, du Kristi brud [Rejoice, O Bride of Christ] to two subtle Sun-prayers, Solbønn and Lova Line, the first of which was a solo for Fuglseth.
Upon returning home, I immediately purchased both Trio Mediæval's Ladymass and Folk Songs discs. I have happily relived the concert at least twice since hearing them live.
REVIEW:
The Friends of Chamber Music
Trio Mediæval
Saturday, March 26, 2011
Cathedral of the Immaculate Conception
416 West 12th St., Kansas City, MO
For tickets call 816-561-9999 or visit http://chambermusic.org
Top Photo: Trio Mediæval (Photo by Asa M. Mikkelsen)
Editor-in-Chief; Traditional and New Classical Contributor
Lee Hartman holds degrees from the University of Missouri-Kansas City (D.M.A., M.M.) and the University of Delaware (B.M.). At the University of Delaware, he received a Dean's Scholar position enabling him to pursue an individually designed academic program combining music education and composition. At the University of Missouri-Kansas City he served for three years as the Assistant Director to Musica Nova, the conservatory's new music ensemble, while teaching a variety of composition classes.
In 2007 he was invited to both the Iceland Academy of the Arts in Reykjavík, Iceland and the Sichuan Conservatory in Chengdu, China to give lectures and master classes in composition. In the summer of 2009, Hartman served as an orchestra manager for the Aspen Contemporary Ensemble and Aspen Opera Theater Center for various performances. He serves on the National Executive Committee of the Society of Composers, Inc. as Submissions Coordinator. His primary composition instructors include James Mobberley, Chen Yi, Zhou Long, Paul Rudy, John Beall, and Jennifer Margaret Barker. He currently teaches music theory at the University of Central Missouri and general music classes at Park University having previously taught at UD (2007–08) and UMKC (2006–07).
His compositions can be found at http://www.leehartmanmusic.com
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