#charchats

Maestro Kent Tritle led the OSNY through a magnificent musical journey at Carnegie Hall in a masterful marriage of classical heritage and contemporary urgency.In the hallowed acoustic splendor of Carnegie Hall's Stern Auditorium, the Oratorio Society of New York, under the masterful direction of Kent Tritle, presented a splendid concert of profound musical and spiritual significance that left one feeling intellectually enriched and emotionally transformed. The OSNY Carnegie Hall program opened with the world premiere of Paul Moravec and Mark Campbell's "All Shall Rise" and, following intermission, continued with Mendelssohn's monumental Symphony No. 2, "Lobgesang"—a brilliant juxtaposition illuminating the extraordinary capacity of these works to speak across centuries to our deepest human concerns. From beginning to end, this was an inspirational concert of rare distinction, accompanied by a superbly informative program booklet containing scholarly notes, complete texts, and lucid translations. Kent Tritle leading the Oratorio Society of New York. Photo by Eduardo Patino, NYCA World Premiere of Extraordinary Power and RelevanceThe OSNY Carnegie Hall concert began boldly with the premiere of "All Shall Rise" by Paul Moravec (music) and Mark Campbell (libretto). This third OSNY-commissioned collaboration between the Pulitzer Prize-winning composer and Grammy-winning librettist tackles America's complicated history with voting rights through a brilliant collage of historical texts and imagined personal narratives. Campbell's libretto moves from the Founding Fathers' debates through the struggles for enfranchisement by African Americans and women to contemporary matters, creating a work of stunning contemporaneous relevance. L-R Paul Moravec, Composer. Courtesy paulmoravec.com and Mark Campbell, librettist/lyricist. Courtesy markcampbellwords.comMoravec's musical language proves ideally suited to this ambitious text. His writing seamlessly integrates a dazzling array of stylistic approaches while maintaining a unique, coherent, imaginative artistic vision. His work is an alchemy of a surpassingly inventive and sympathetic mind. With its sardonic epigrams of the Founding Fathers' arguments against universal suffrage, the opening prologue displays Moravec's gift for subtle text-setting that simultaneously honors and interrogates the words. Knowing chuckles rippled through the audience as the chorus intoned, "Leave it up to the states"—a phrase with inimitable contemporary resonance. Furthermore, the work's structure masterfully balances larger chorus sections with intimate solo narratives that personalize the abstract political struggles.Contemporary Music That Speaks with Emotional and Intellectual ForceMoravec's score revealed a remarkable stylistic range while maintaining artistically original, vibrant, and cohesive musical arguments. (Please note that I mention other composers only to provide contextual references for readers who have not heard the score.) The delicate a capella quartet "I Will Be Heard" achieved clarity and pathos as exemplified in Fauré’s In Paradisum from his “Requiem.” The harrowing narrative "I Continue On," depicting the dialectics of a Black woman's terror-filled journey to vote in 1964 Alabama, built tension through minimalist repetitions that recall the economy of means along with hints of the delicate, sonically effulgent beauty of the serenata of Stravinsky's “Pulcinella Suite.” Meanwhile, the rich string timbres in the Frederick Douglass sections evoked the luminous string and woodwind textures of Schoenberg's "Verklärte Nacht." At the same time, with the artistic restraint as demonstrated by Brahms in the Adagio of his Violin Concerto in D Major, Op. 77, Moravec's harmonic language displayed seamless chromatic shifts reminiscent of the most expressive style noted in Delius's “The Song of the High Hills.”The OSNY Carnegie Hall chorus, orchestra, and soloists tackled Moravec’s demanding score with exceptional technical assurance and emotional commitment. Their ability to pivot between different musical textures and characters was awe-inspiring, from the biting irony of the opening debate to the overwhelming emotional power of the final "All Shall Rise" climax. Tritle's direction maintained a perfect balance between instrumental and vocal forces, allowing every textual nuance to register with clarity while building to emotional climaxes.Vocal Soloists Shine with Extraordinary ArtistryThe OSNY Carnegie Hall performance showcased vocal soloists of exceptional caliber. Susanna Phillips' soprano soared with crystalline purity and emotional depth in both works. Her seamless technique and expressive intelligence illuminated every phrase with meaning and beauty. In his Carnegie Hall debut, Charles Williamson deployed his stentorian tenor with remarkable flexibility and tonal beauty that was particularly moving in his delivery of Frederick Douglass's words in "All Shall Rise." The rich, velvety mezzo-soprano of Lucia Bradford imparted profound gravity to her solos, especially in the harrowing "I Continue On" narrative. L-R Tenor Charles Williamson-Courtesy @charchats on Instagram, Soprano Susanna Phillips-Courtesy @susannaphillipssoprano on Instagram, and Mezzo Soprano Lucia Bradford-Courtesy @lucia_renate_b on Instagram .pngSteven Eddy's baritone provided eloquent authority to his interpretations, bringing Benjamin Franklin's wry observations to life with humor and philosophical weight.Tenor Ongama Mhlontlo delivered with clear diction and emotional conviction, his resonant tenor voice emerging distinctively from the choir section. Like Gyasi Barber, who sang from among the chorus rather than as a stage-front soloist, Mhlontlo's integration within the ensemble created a compelling democratic symbolism that perfectly complemented the work's themes of inclusion and representation.These remarkable singers formed a cohesive dramatic ensemble, each contributing individual artistry while blending seamlessly into the larger tapestry.Resurrecting Mendelssohn's Choral Masterpiece with Pristine BrillianceFollowing intermission, the OSNY Carnegie Hall concert continued with Mendelssohn's "Lobgesang" (Hymn of Praise), a work that occupies a curious position in the symphonic canon. This masterpiece bridges the worlds of symphony and cantata with unprecedented structural ingenuity. Commissioned for Leipzig's 1840 celebration of the quadricentenary of Gutenberg's movable type, Mendelssohn's symphony-cantata brilliantly connects the concepts of enlightenment, divine revelation, and human progress through printed communication. Furthermore, it explicitly acknowledges its debt to Beethoven's Ninth Symphony while simultaneously celebrating the German musical lineage from Bach to Handel.An Instrument of Divine ProclamationTritle's conception of this challenging hybrid form was revelatory. The three-movement sinfonia, unfolded by the virtuosic OSNY orchestra, displayed its classical proportions and crystalline textures. The opening trombone motif—a unifying element that would return at key moments throughout the work—emerged with majestic authority, establishing the work's fundamental gravitas. Mendelssohn's deliberate choice of the trombone for this crucial motif resonated with deep historical significance. In the Lutheran sacred music tradition that Mendelssohn so revered, the trombone held special status as an instrument of divine proclamation and eschatological significance. Bach frequently employed trombones to underscore texts related to the Last Judgment and divine revelation, while in Renaissance and early Baroque sacred music, the instrument was associated with supernatural or otherworldly events. By prominently featuring this sonority, Mendelssohn created a distinctive timbral signature for his symphony and situated the work within a centuries-old tradition of sacred music that would have been immediately recognizable to his 19th-century Leipzig audience.Moreover, the orchestra exhibited remarkable precision in the intricate contrapuntal passages, honoring Mendelssohn's profound understanding of Bach's techniques while maintaining a distinctly Romantic sensibility. The trombone choir's burnished tone, meticulously balanced by Tritle, evoked the instrument's traditional role in Lutheran chorales, creating a sonic bridge between past and present that impeccably embodied the work's celebration of cultural and spiritual continuity. L-R Tenor Ongama Mhlontlo-Courtesy opusonemusic.org, Baritone Steven Eddy-Courtesy steveneddybaritone.com and Bass Gyasi Barber-Courtesy @gyasibarber on InstagramThe Spiritual Journey: From Darkness to Transcendent LightWhen the chorus finally entered with the exultant "Alles was Odem hat" (All that has breath), the OSNY Carnegie Hall performance achieved a new level of sonic magnificence. The Oratorio Society's 175 voices created a tapestry of sound, filling the hall with radiant power without sacrificing textural clarity. Particularly affecting was the central turning point of the cantata, where the anxious question "Watchman, is the night past?" receives its hopeful answer. Soprano Susanna Phillips delivered her response with a luminous tone and profound emotional conviction, perfectly calibrated to Carnegie's acoustical properties.Orchestral GrandeurThroughout the "Lobgesang," Tritle maintained an unerring sense of dramatic pacing and architectural coherence. The climactic setting of "Nun danket alle Gott" (Now thank we all our God) achieved a transcendent quality, with the a cappella chorus giving way to orchestral grandeur in a manner epitomizing the work's fundamental message of gratitude and praise. Additionally, the final fugal chorus brought the journey full circle with breathtaking contrapuntal precision as the returning trombone motif provided structural unity across the work's considerable span. It reinforced the instrument's traditional association with religious solemnity and divine proclamation. Felix Mendelssohn's Leipzig study. Public DomainKent Tritle: A Visionary Conductor of Exceptional InsightThis extraordinary OSNY Carnegie Hall concert represents the culmination of Kent Tritle's remarkable career trajectory in New York's musical life. As music director of the Oratorio Society of New York, Cathedral of St. John the Divine, and Musica Sacra, Tritle has established himself as the city's preeminent choral conductor. His background as an acclaimed organist informs his profound understanding of sacred musical traditions, while his innovative programming demonstrates a commitment to expanding the choral repertoire.Tritle's approach to both works displayed his signature blend of intellectual rigor and emotional expressivity. His meticulous attention to detail—from pristine choral diction to carefully calibrated dynamic markings—never came at the expense of the music's larger rhetorical purpose. Furthermore, his courageous decision to present a challenging world premiere followed by a neglected 19th-century masterpiece demonstrated his commitment to advancing the art form and preserving tradition.Carnegie Hall: The Perfect Acoustic Canvas for Choral MagnificenceThere is no more fitting venue for this OSNY Carnegie Hall program than Stern Auditorium, with its legendary acoustics. Since its 1891 opening—when the Oratorio Society performed under Tchaikovsky's direction—Carnegie Hall has provided the ideal acoustical environment for choral-orchestral masterworks. The hall's warm resonance enhances the choral blend while maintaining textural clarity, allowing the full dynamic range from hushed pianissimos to overwhelming fortissimos to register with sublime definition.As the final "All Shall Rise" chorus reached its climactic conclusion before intermission, and later as Mendelssohn's "Lobgesang" drew to its majestic close, one could almost sense the ghosts of Carnegie's illustrious past—Tchaikovsky, Damrosch, Toscanini, Bernstein—nodding in approval at this continuation of the hall's grand choral tradition. Additionally, the historical significance of the Oratorio Society's 150-year relationship with Carnegie created a palpable sense of living cultural continuity, where past and present engaged in profound dialogue through the universal language of music.The final, extended standing ovations aptly affirmed well-earned approbations. The Oratorio Society of New York. Courtesy osny.orgThe Timeless Relevance of Musical MasterpiecesWhat ultimately elevates this OSNY Carnegie Hall concert beyond a mere excellent performance is its demonstration of music's unique capacity to transcend historical periods while speaking to immediate human concerns. Mendelssohn's "Lobgesang," though rooted in 1840s Germany, explores themes of darkness transformed to light that resonate powerfully today. Similarly, Moravec and Campbell's "All Shall Rise," although it addresses specific American democratic deliberations, ultimately speaks to universal questions of human dignity and representation.As America debates political doctrine in the face of obloquy, pairing these works offers historical perspective and contemporary urgency. The OSNY Carnegie Hall performance reminds us that great art can commemorate the past, illuminate the present, and inspire future action. In masterfully realizing both works, Tritle and the Oratorio Society have given New York audiences a magnificent concert and a profound meditation on democracy's fragile promises.This closing concert of OSNY's 2024-25 season is destined to rank among the most significant choral events of the year. Through technical excellence, emotional depth, and programmatic boldness, Tritle and his forces have showcased the enduring vitality of the choral tradition and its essential role in our cultural conversation. One eagerly awaits next season's offerings from this storied organization that continues to balance historical significance with contemporary relevance.Triumph of Sound and Spirit: Oratorio Society of New York Delivers Monumental Carnegie Hall ConcertOratorio Society of New YorkKent Tritle, Music Director and Conductor450 Lexington Ave #90New York, NY 10163For Information and tickets, go to OSNY.ORG212–400–7255・Contact OSNYCarnegie Hall57th Street and Seventh AvenueNew York, NY 10019212-247-7800For Information and tickets, go to CarnegieHall.org Read the full article