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Tanglewood Festival Chorus: 40th Anniversary

TFC 40th Anniversary

This year’s CD release of Tanglewood Festival Chorus: 40th Anniversary marks a number of interesting milestones. First, it is the first time the TFC has headlined a recording (rather than participating alongside the BSO or Pops, or on a soundtrack) since 1983’s Nonesuch recording Kurt Weill: Recordare/Dallapiccola: Canti di Prigionia (surely a collector’s item now). Second, of course, it celebrates the 40th anniversary of the chorus in a significant, tangible way.

Third, and best of all, it collects examples of the superb Prelude concerts that the TFC has put on at Tanglewood over the last ten years in the evocative space of Seiji Ozawa Hall. (Disclaimer for all superlatives: I don’t sing on any of the performances on this disc, so my conflict of interest as a reviewer is minimal.)

The repertoire is a mix of old friends (the Lotti “Crucifixus”, Bruckner motets, Bach’s “Singet dem Herrn Ein Neues Lied”) and slightly less familiar works (the Martin Mass is performed in its entirety here). Reception to the disc has been good; Jeremy Eichler of the Boston Globe singles out the Bruckner “Virga Jesse Floruit” for “robust and hearty singing,” and calls the Bach a “wonderfully vibrant performance” and “the highlight of the disc.”

For me, the highlight is the closing work, Copland’s “In the Beginning.” I’ve sung the work twice in performance with various groups and the TFC performance recorded here is simply superb, beginning with the performance of soprano Stephanie Blythe and carrying through all the chromatic chord changes, tricky rhythms, and shifts of mood as the Genesis story unfolds.

And that’s no small trick: the Copland is a work with many layers. The piece is in no specific key or meter, but visits about twelve different tonalities throughout, all with hummable melodies and each yielding to the next in a slow chromatic rise of pitch throughout the piece until the final lines are sung in an ecstatic seventh above where the music started. And the work embodies multiple shifts in musical voice, neatly signalling the (presumed) change in authorial voice from the P author (Genesis 1:1 – 2:3) to the Redactor (Genesis 2:4a, “These are the generations”, which Copland’s performance direction indicates should be sung “rather hurriedly,” as if to get it out of the way), and then the conclusion, the story of the creation of Man as told by the J author, the oldest part of the story, which seems to rise out of the mist like the clay that is fashioned into man and breathed full of the divine breath. (Wikipedia has a good summary of the theory of differing authorial voices in Genesis.)

The TFC performance neatly captures all the layers of the work–the differing sections are full of the excitement and exultation of creation and then, in the end, its mystery and a more solemn gladness. Until now, I don’t think I had a good reference recording for the work; this certainly qualifies. The overall effect of the recording is captured in the summation of the brief Globe review: “Oliver conducts eloquently in this well-deserved recognition of the chorus’s anniversary year.”

Originally written for the Tanglewood Festival Chorus newsletter.

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The UVa athletic code

As I bask in a UVa football victory by a team that seems, for the first time in years, headed in the right direction, I am moved to consider why this is so.

I happen to be reading Philip Bruce’s History of the University of Virginia now, and there’s a bit in a chapter on the first decade of the 20th century that describes a deliberate shift in Virginia’s attitude to collegiate athletics, one that was to inform its approach for much of the next 100 years:

The committee earnestly counselled that the following resolutions should be at once passed: (1) that, in the opinion of the Faculty and students, the only proper basis of inter-collegiate athletics was that spirit of pure amateur sport which animates contests between gentlemen the world over; and that the true criterion which differentiated amateur sports from professionalism was the spirit which plays the game for sake of the game itself; (2) that membership in a team should be held only by actual students,— a rule which would exclude all who carried about them the odor of professionalism,— and by young men whose class records demonstrated their keen interest in their scholastic work; (3) that it was the part of gentlemen engaged in any amusement, sport, or game, to remember, at all times, that they were gentlemen first, and only incidentally, players,— that they were to follow, not the bastard honor which calls for victory at whatever price of fraud or brutality, but the voice of true honor, which prefers an hundred defeats to victory purchased by chicanery or unfair dealing,— that the Faculty and students were determined to discountenence and brand with their disapproval any intentional violation of the rules of the game by members of the University teams or any improper advantage taken by them of their antagonists, and that it was entirely immaterial whether these were detected by umpire or referee; (4) that it was to be assumed that the opponents of these teams were gentlemen equally with themselves,— that every presumption of honorable dealing was to be accepted in their favor until the contrary was conclusively shown,— and that they were to be looked upon as guests, and as such to be always protected from rough and inequitable treatment; (5) that the spectators on the home grounds should show fairness and courtesy towards opposing players and officials of the game; and that the more considerate and generous the behavior of the University teams on such occasions, the more nearly would their members approach the ideal of the true gentleman and the true sportsman.

Thinking about where we are now, vs. where we were during the Groh years, my conclusion can only be that Mike London knows his University history.