the little match girl passion

It would be tempting to say that having two contemporary works anchoring the Los Angeles Master Chorale concert at Walt Disney Concert Hall Sunday night was a bold bit of chance-taking by Grant Gershon.

But then, maybe not.

David Lang's "The Little Match Girl Passion" has caught on almost everywhere since winning the 2008 Pulitzer Prize; Jacaranda presented the West Coast premiere of the four-voice version in January; the Pacific Chorale did the choral version in April; and performances proliferate on YouTube.

James Newton, whose Mass received its U.S. premiere Sunday, is a welcome regular presence with the Master Chorale. (A recording of the four-voice version with Gershon and the concert's vocal soloists was released in March.)

Both works are vertical choral expansions of intimate pieces with roots in the fountainhead, J.S. Bach, yet they completely part ways from there. Newton's Mass is a seriously rigorous listen with some tumbling interplay reminiscent of late Stravinsky, betraying Newton's jazz pursuits only in fleeting fragments like a Mingus-like bass passage in the Gloria or some free-jazz percussion and bass underpinning in the Sanctus.

Lang, meanwhile, uses deliberately simple musical language in "Match Girl," the voices commenting on the morality tale as in a Bach passion. The choral version is not as stark as the original; it softens the blows, but you are still drawn into the piece's bleak, but thankfully not unbearably pathetic, atmosphere, with supertitles helpfully supplementing the rich Master Chorale vocal blend so that you could savor the overlapping repetitions.       

So it would be more pertinent to say that this concert was a natural followup to some of the progressive things that Gershon has been involved with. And the choice of prefaces for each work -– two Bach motets -– was inspired, especially the joyous, vocally torturous roller coaster, "Singet dem Herrn ein neues Lied."

I'm a sucker for symmetry. Give me a program arranged with an eye to mathematical balance or structural parallels and there is a part of me that can't resist. Sunday's Los Angeles Master Chorale program was just one of those shows where the interwoven structure of the program was something to admire in itself. The evening was built around two contemporary compositions, each a take on a traditional religious musical form, and paired it with a Bach motet. Both of the contemporary works, James Newton's Mass and David Lang's the little match girl passion were expansions of earlier versions composed for four soloists with musical accompaniment. And I would argue both pieces involved a rhythmic complexity that put Music Director Grant Gershon and his excellent singers to the test. It was the kind of program that sets the LA Master Chorale apart from their peers, and it was heartening to see such a large, interested and committed audience at the Walt Disney Concert Hall.

The first half of the evening started out with Bach's Singet dem Herrn ein neues Lied paired with Newton's Mass. The Bach was full-bodied and musical overall, though perhaps in need of a bit more precision overall. Newton's treatment of the Mass was receiving its U.S. Premiere. It had its own internal balance to admire with the outer sets of movements paired in their own musical structure and tone, the Kyrie with the Agnus Dei and the Gloria with the Sanctus. Newton is perhaps best known for his work with jazz musicians and ensembles, and the same rhythmic influences could be felt here, although it was subtle. The music had many clear connections with an American academic modernism that was rigorously produced if not always emotionally connected. The center piece of the Mass was the Credo, a quieter passage sung by the Master Chorale's own barihunk-in-residence, Abdiel Gonzalez. He deftly maneuvered some tricky passages here adding another noteworthy solo turn with the LAMC.

After the break and Bach's Fürchte dich nicht, came the showpiece of the evening, Lang's setting of Hans Christian Andersen's story of the Little Match Girl which won the composer a Grammy and a Pulitzer Prize in 2007. This is sad material. And I mean Dancer in the Dark sad. Lang's direct and understated use of text heightens this effect creating in increasing emotional punch over fifteen movements where bursts of recitative are interspersed with some of the most powerful vocal passages he's written. The work was originally written for a vocal quartet with percussion and it was this version that Grant Gershon himself performed in last January as part of the Jacaranda music series in Santa Monica. The difference between that version and this one with a full chorus is striking on a number of levels. The chorus softens some of the stark edges and halting musical passages that are filled with frequent starts and stops. But at the same time the chorus gives the "commentary" passages, those where the chorus is reflecting on the emotional content of the action as opposed to moving the story forward, an additional weight they were missing in the smaller version. The effect can be devastatingly sad and the crowd was enthralled through the very end when Lang appeared to a huge ovation. This was one of those great LA Master Chorale moments where the superb singers that make up the group got a chance to shine in difficult music they are well suited for. And it was a performance to remember.

There is no denying the talent of the Los Angeles Master Chorale. The Southern California choir has achieved immense fame in the world of classical music for their finely honed vocal techniques and impressive blend. Last month, they opened their 48th season at the Walt Disney Concert Hall with a five-piece concert, earning rave reviews.

Sitting down for their second concert of the season Sunday night, I thought I knew what to expect: a technically sound performance. But the choir blew me and the rest of the audience away, with something beyond technical perfection: heart.

The singers exuded a level of intense emotion that seemed to strike a chord with each listener. The audience response was overwhelming, and audible: I heard many gasps and sighs from around me as the choir sang. Despite Disney Hall's "no talking" rule, the crowd was unable to contain their excited reactions. In the middle of "the little match girl passion," the night's most emotional piece, one woman behind me stated aloud, "This is so beautiful."

The night began with the 18th century Bach motet "Singet dem Herrn ein neues Lied," a lively and spirited piece that was easy to enjoy. One of the Master Chorale's biggest technical strengths is making overly complicated works seem effortless. The motet, like most baroque works, featured long, overlapping melismas in each voice part. With so many runs going on simultaneously, it's very tricky to keep in time, and a less seasoned choir may have fallen apart. But under Grant Gershon's steady conducting, the choir navigated their way through the motet with ease.

The Bach piece was followed by the U.S. premiere of James Newton's Mass. I came into the concert with little to no expectations for Newton's take on the songs of the Catholic church. The typical quintet of Kyrie, Gloria, Credo, Sanctus and Agnus Dei has been sung during the Christian liturgy for hundreds of years. Most composers who take on the Mass make it sound traditional, so throughout time, it hasn't changed much stylistically.

But when Newton's Mass began, all of my preconceived notions vanished. The work was surprisingly inventive and unpredictable — nothing you'd imagine hearing on your average Sunday at church. It was full of odd harmonic clusters that gave the songs a moody and mysterious vibe. The singers capitalized on the dark style of the piece by emphasizing the more unusual chords. They were accompanied by a wide range of instruments, including a flute, piano, bass, clarinet, violin and vibraphone. The instruments gave the entire work a jazzy and experimental feel, which was very refreshing.

Credo, the Mass's centerpiece, was the longest and most emotional movement. The entire choir remained silent as Abdiel Gonzales sang a powerful yet intimate baritone solo. "Credo" literally means "I believe" in Latin, and Gonzales sang the words with a necessary conviction. The audience hung on to every note as Gonzales made his passionate "proclomation of faith."
Credo was followed by Sanctus, an uptempo tune that was inspired by swing jazz, and the more subdued Agnus Dei. After the final notes were sung, Grant Gershon invited James Newton up to the stage, where he recieved generous applause for his innovative composition.

After a short break, the choir performed a second Bach motet, which was a nice break from the emotional gravity of Newton's Mass. Like the first motet, it was pretty, but largely forgetable. The first motet was overshadowed by Newton's Mass, and the second was outshined as well: by the final piece of the night, David Lang's "the little match girl passion."

Lang's song, released in 2007, is based off of an old Danish story by Hans Christian Andersen. The lyrics tell the sad tale of a young girl who freezes to death selling matches in the streets on New Year's Eve. The Master Chorale used a delicate, somber tone to capture the story's tragedy. As the plot changed, they expertly adapted their sound to fit the new developments. Dramatic parts — for instance, when the little girl begged "help me, help me" — had a louder, more desperate sound, while the parts when the girl was hallucinating sounded dreamy and angelic.

The highlight of the piece was its 13th section, titled "When it is time for me to go." The female voices immitated the girl's suffering with a purposeful vibrato, their high notes wavering as if she were quivering in the bitter cold. It was at this point, where both the girl and the singers' voices seemed frightened and weak, that the audience responded so emotionally. The crowd sighed as they realized they were hearing the little match girl's last words.

When the piece ended, David Lang was ushered to the stage, where he recieved a standing ovation. Lang gestured to conductor Grant Gershon, who bowed for all of the work he put into creating the night's repetoire.

"I dearly love to program works that contrast new and traditional music in exciting and unexpected ways," Gershon said about the night. "[This] program is the epitome of this kind of concert."

Gershon was hoping to create an even contrast between traditional and modern music, but in this battle, new blew old out of the water. Newton's Mass and Lang's "the little match girl passion" were so emotionally moving that the Bach motets were pushed aside and quickly forgotten.

Nonetheless, the night was a undeniable success. The concert was so much more than a collection of well-executed songs; it was a heartfelt, emotional journey. And the Chorale wasn't just good; they were captivating.

The Walt Disney Concert Hall was packed to the brim on Sunday night for a concert by the Los Angeles Master Chorale. The evening's main draw (for the mostly Baby Boomer and older audience) was a performance of post-minimal composer David Lang's Pulitzer Prize-winning the little match girl passion, but the evening also featured the U.S. Premiere of renowned jazz flutist James Newton's Mass.

The Master Chorale has been part of the LA music scene for 48 years, and its reputation and innovation earned the chorale a place as one of the founding resident companies of the Music Center and the resident chorus of the Walt Disney Concert Hall. Currently led by Musical Director Grant Gershon, the varied programming that's offered throughout the season shows the ability and talent of Gershon and the chorale to tackle almost any type of music. Sunday's concert was no exception.

Both Lang's little match girl passion and Newton's Mass were framed by Bach motets. Although the musical sounds of these pieces were drastically different - Newton's was full of dissonant rich harmonies, fast melodic movement and syncopation, where Lang's moved between gentle repetition and warm chorale - the two pieces shared similar spiritual subject matter.

The little match girl passion was based on the Hans Christian Anderson's the little match girl, not a religious text. But Lang aimed to heighten the suffering of the protagonist in the story - a child who freezes to death - by using the format of Bach's St. Matthew Passion, making the child's suffering similar to Christ's suffering.

It's hard to determine exactly why little match girl was awarded a Pulitzer because the music, while moving and beautiful, wasn't overwhelmingly innovative. But the genius of little match girl rests in its simplicity. Similar to a film score or incidental music for performance, the music allowed the story to be the focus, thus giving time and space for the images and words to resonate within the listener. Mezzo-soprano soloist Adriana Manfredi's performance was excellent and added an individual dimension to the superb performance of the chorale.

At the Walt Disney Concert Hall in downtown Los Angeles, the LA Master Chorale took to the stage for a triple-header whirlwind of composers featuring works by Johann Sebastian Bach, James Newton and Pulitzer Prize for Music winner David Lang.

The audience listened intently as Music Director Grant Gershon took to the stage. And with the simple wave of his baton, the LA Master Chorale came to life and began their opening performance of Johann Sebastian Bach's Singet dem Herrn ein neues Lied. The piece features a second movement (of three) where the 32-member chorale is divided into two choirs as each sings about contrasting ideas, which creates tension and adds intrigue to the work.

Following Bach's piece is James Newton's U.S. Premiere of Mass, a five-movement composition featuring 8 instruments and the LA Master Chorale. Before commencing, Gershon notes how he finds Newton's compositions to be "intensely personal expressions" of that which is near impossible to describe. Throughout Newton's Mass, from the barebones fluttering of voices and instruments in the Kyrie to the jazzy underbelly of the Sanctus, there is simplicity to the arrangement that allows for the distinctive and unique characteristics of each instrument to sparkle and dazzle. It is no surprise that Newton's Mass received an enthusiastic standing ovation upon the final notes of theAgnus Dei 5th movement.  

For the final performance of the evening, the LA Master Chorale performed composer David Lang'sThe Little Match Girl Passion, which earned him a Pulitzer Prize for Music in 2008. Lang's interpretation of Hans Christian Andersen's classic tale is arresting and reflective, poetic and suspenseful. The heart-wrenching story is raised to an entirely new level - one of a high concept musical expression that is both picturesque and haunting. By the final piece entitled We sit and cry, Gershon seems to hold the audience‘s heart in his hands as the final sounds dissipate through the ripples and curves of the Walt Disney Concert Hall. As the absence of sound finally permeates the concert hall, Gershon releases his grasp on the invisible sound and the audience gives way to a radiant wave of applause and a standing ovation.

Upcoming performances by the Walt Disney Concert Hall include Holiday Wonders: Festival of Carols on Saturday, Dec 3rd and Sunday, December 10th and Rejoice! A Classical Christmas on Sunday, December 11th.

Over the past decade, the level of excellence by the Los Angeles Master Chorale under the direction of Grant Gershon has set the bar on the highest possible rung. LAMC audiences approach each concert with expectations of hearing the excellence performed through a very wide variety of musical vehicles.

But occasionally, the fates throw a spanner in the works, and while such a performance is still at a very high level indeed, the regular attendee will sense that some little element is amiss, or that our celebrated artists are just not quite in sync. It happens to everyone, and it happened last night in Walt Disney Concert Hall.

Maestro Gershon chose two Bach motets, one each to begin the concert's halves, with a newly composed or rearranged work to follow. And to complete the concert roster, a "small call" Chorale of 32 singers was chosen and immediately challenged by Johann Sebastian Bach's "Singet dem Herrn ein neues Lied" (BMV 225) (Sing to the Lord a New Song) for double chorus and arranged in three sections in the traditional Italian sonata form (fast tempo – slow section – fast tempo). In European performances, Bach motets employ a continuo of a double-bass (or viol) and organ. Maestro Gershon opted to use a ‘cellist as a rather odd choice to double the bass line in chorus 1, whose bass voices over-dominated their colleagues in both choruses.

The ‘cellist in question was the wonderful Cécilia Tsan, who had performed brilliantly in an early summer concert conducted by Eric Whitaker at Disney Hall. Adding measurably to the imbalance between chorus 1 and chorus 2 was the fact the latter, standing in a semi-circle, faced a side wing, while chorus 1 sang directly into the hall. Embellishments within the Baroque style are not usually performed by a chorus. And if they are performed, they should conform to the generally accepted current performance practice. The Chorale's many appoggiaturas failed to meet that standard on this occasion. If that were not enough, the German language suffered through a variety of mispronunciations in both motets, most egregiously the word "Fürchte" that opened the second half. American "rrrrrs" together with a number of singers pronouncing the "ü" as a flat-out "ee" sound, revealed an American sound source. And then there was the speed taken. Conductors (surely not our Maestro!) will take to using speed to cover inadequate preparation, and therein lies the probable cause for all of the above. Although he probably wasn't meaning to infer such, PreConcert host Alan Chapman began the lecture by telling the assembled that the evening would feature three conductors: James Newton, David Lang, and … (lengthy pause) … "oops!" to loud guffaws. How did he know, and when did he know it?

James Newton has a soul mate in Grant Gershon. The two have made music together perhaps more than any other person alive other than Elissa Johnston of course. Mr. Newton wrote a setting of the traditional Greek-Latin Mass, starting with a commission to write the Credo (I believe), a somewhat lengthy solo aria by baritone Abdiel Gonzalez, who met every challenge of the movement in a clear, convincing voice. The opening Kyrie (Lord, have mercy) was rough-hewn and quite different from the other Mass sections, and the least likeable. The gronky beeps of the variety of instruments reminded one of the "diddle-dee" compositions of the 1950s in which composers of the day declared their freedom from any trace of tonality. The absolute irresolution of harsh note pairings and a precipitous final cadence, led to a Gloria (Glory to God) that began a process of amalgamation of roping in sundry loose notes, a process that led to an ultimately beautiful Dona nobis pacem dénouement. The texture of the piece also began to organize into something approaching chords and phrases, with ever-so-slight bows in the direction of Stravinsky, Machaut, the cultures of Niger and Brazil, and of course, the great Duke Ellington. In this messe potage one may find encouraging signs of a brilliant composer in the making. One looks forward to more works from James Newton.

The Mass was a U.S. Premiere, and featured a solo quartet of Elissa Johnston, soprano, Tracy Van Fleet, mezzo-soprano, Daniel Cheney, tenor, and the afore-mentioned Abdiel Gonzalez. A very fine mini-orchestra accompanied, with special mention going to double-bassist David Young, who seemed to be playing nothing but "pizzed" 32nd notes, and percussionist Nick Terry, who had his hands full while playing the electronic marimba.

David Lang, whose work "the little match girl passion" brought the evening to a close, admitted preconcert that he always admired the Passions of Bach, but as a person of Jewish heritage, quite naturally felt uncomfortable performing them. In the back of his mind, he thought there must be a way to write a passion about someone other than Jesus Christ. It was his wife who suggested Hans Christian Andersen's story of a little girl lost in the ice and snow, who ultimately perished but whose soul was taken to heaven by her grandmother. She was a "match girl" because that is what she sold in the streets in the hope of bringing a little income to the family. But on New Years' Eve, with Christmas trees still shining brightly in every window and heaps of goodies to eat, no one had purchased a single match, and after burning them all to provide scant heat, she froze to death.

It was amazing to at least one curmudgeon how the audience reacted to this work. Musically, it contained an interesting basic phrase structure that had sections of the choir singing in different time zones. Nice idea. But to repeat that one idea endlessly (or so it seemed), got very old, very quickly, as long as one didn't get too wrapped up emotionally in the text. Some compositions could be improved by trimming; this one needs serious pruning. Members of the Master Chorale played various bells, cymbals, sleigh bells, a drum, and a few had minor solos to sing as well. A previous version of "little match girl" for soloists only won a Pulitzer Prize for the composer.