From the Pittsburgh Tribune-Review Thursday, October 14, 1999

Pittsburgh Camerata tackles
Copland piece with strength, skill

By Bob Karlovits

Tribune-Review Music Writer

Rising to challenges separates ambitious ensembles such as the Pittsburgh Camerata from less-noteworthy groups.

 

The chamber choir emerged Saturday night from a first half that was good but not convincing to tackle Aaron Copland's "In the Beginning" with mezzo-soprano Mimi Lerner as soloist. And the group did it with power, enthusiasm and musical strength.

Then, showing more overall ability, the Camerata offered two other 20th-century works, "Magnificat" and "Nunc Dimittis" by Herbert Howells, and a 17th-century "O Clap Your Hands" by Orlando Gibbons.

The concert at First Baptist Church in Oakland was attended by about 80 people and was the second performance in the choir's opening series, "Beginnings ... and Endings." Artistic director Rebecca Rollett and the choir finished the concerts Sunday at St. Andrew's Episcopal Church in Highland Park.

Quite obviously, having Lerner on the program was the highlight - and the work by Copland was the centerpiece - of the concert. That 1947 composition is based on a fairly strict reading from the Old Testament Book of Genesis telling the story of creation.

The work features quite of bit of the harmonic outlook that continues to make Copland popular, but also has quite a few newer chordal phrases. While it is modern-sounding, it comes nowhere near John Corigliano's "The Creation" from 1984 either musically or philosophically. For instance, while Corigliano deals greatly with the temptation of Adam and Eve, Copland's rather mild telling stops with man's creation.

Nonetheless, it is a good work that demands range and power from its soloist - no problem for Lerner - and a choir that could handle some challenging passages. In a section dealing with man's place over other animals, the choir layered lyrical lines over each other in an appropriate fashion.

The two Howells works also required strong and modern choral skills in putting together fairly fresh melodic approaches to older text material.

"O Clap Your Hands" has a distinct gospel sound to its title, but its early 17th-century creation took it a different direction and made it a contrasting element in the concert's second half.

The first half had contrast, too, with "Six Chansons" by Claudin de Sermisy (1490-1562) and "American Madrigals" by Kirke Mechem, who was born in 1925. The quality of the performance also contrasted greatly to the second half.

While the Camerata was able to handle the 20th-century demands of Copland and Howells, it staggered a bit on the Mechem. "Kind Miss," the first madrigal, was sloppy and unclear while "He's Gone Away" did not have the heart it needed.

The chansons were well done, but were a delicate opening number and not much more.

But the concert had a rich blend that offered an entertaining fullness - and allowed the choir to deal with challenges.