Choral Concert Recalls Legacy of Eminent Composer

Choral Concert Recalls Legacy of Eminent Composer

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By Nancy Plum

Remembrance seemed to be the order of the day this past weekend at a concert paying tribute to both a renowned composer and the choral tradition of Westminster Choir College. Comprised of Westminster alumni and conducted by Westminster professor and conductor James Jordan, the professional vocal ensemble The Same Stream Choir returned to Princeton last Saturday night to present a concert honoring the legacy of composer and longtime Choir College friend Roger Ames. The ensemble was to perform at Bristol Chapel on the former Westminster campus; when the Chapel’s air conditioning system chose not to cooperate, the concert was relocated to All Saints’ Church in Princeton, an acoustically perfect venue for the chorus. The 20 members of The Same Stream ensemble sang a number of choral pieces and opera excerpts by Ames, as well other works which fit the evening’s theme of healing and hope.

Although Saturday’s concert focused on Roger Ames, the performance began with another piece in the same vein of faith and optimistic prayer. Latvian composer Peteris Vasks’ 2013 The Fruit of Silence, based on “the voice of Mother Teresa,” immediately set the choral tone for the evening. James Jordan’s choruses exemplify everything Westminster Choir College stands for in musical excellence — precise tuning, well-blended harmonies, and careful attention to text, and The Same Stream Choir sang Vasks’ chordal meditation as a clean and well-tuned expanse of sound, with the text well phrased and articulated. Same Stream Associate Conductor Corey Everly provided sensitive and adept piano accompaniment throughout the evening, beginning with this piece.

In a century when music can come across as overcomplicated and inaccessible, the simple melodic lyricism of Roger Ames’ compositional style seems to take audiences to a new comfort zone. Nominated for the Pulitzer Prize in Music for one of his extended choral pieces, Ames had a long history of drawing audiences into an ethereal and reassuring listening space through works based on imaginative and inspirational themes or by setting meaningful texts in a thought-provoking way. His text choices ranged from narrations of the Amistad slave ship to the coal mining communities of Wales to a September 11 tribute. Ames passed away in January of this year, and Jordan and The Same Stream Choir took the opportunity last Saturday night at All Saints’ to honor both the composer and his music.
The Ames music performed ranged from a piece commissioned by the Choir College two decades ago to a world premiere. Awakenings, a four-movement setting of the poetry of American writer Kitty O’Meara, grew out of the pandemic, and gave the singers of the chorus plenty of provocative text to communicate. The music showed a clear attention to the words, full comprehension of the sung voice, and particular simplicity in the unisons of the first movement. The Same Stream singers well handled the dissonances of the work, with the harmonic shifts well placed to accentuate text. Pianist Everly effectively conveyed the expressive piano part, as conductor Jordan led the ensemble through the reassuring poetry. Vocally, the chorus demonstrated a solid choral blend, with the sopranos providing a straight and laser-like tone. These were youthful and energetic voices who fit well into the acoustic of All Saints’ Church.

One of Ames’ most poignant works is the Choral Reflections on Amazing Grace, commissioned by James Jordan after 9/11 and dedicated to the children of those who died in the terrorist attacks. Combining a simple harmonization of the familiar tune with Greek text from the Mass for the Dead, this piece was sung by the chorus with sensitivity, aided by the solo singing of Holly Scovell and Alex Meakem. The ensemble also well conveyed the easy musical flow and undefinable longing for homeland of Hiraeth, a setting of a Welsh poem. The soprano choral lines were especially pure in this piece, with the rest of the ensemble providing a well-blended core of sound.

The historic Welsh choral tradition continued in an excerpt from Ames’ opera How Green was My Valley, with a libretto by Elizabeth Bassine. The music evoked the expansive Welsh countryside and landscapes, with soloists soprano Joslyn Thomas and tenor Jesse Borower providing light and clear solo lines. Welsh music is renowned for its hymns, and the chorus sang the “Once to Every Man and Nation” tune within the opera excerpt with effective intensity, invoking Welsh fortitude against the odds.

Always the pedagogue, Jordan turned over the podium to Associate Conductor Everly for two of the closing works on the program. Everly drew the same smoothly-blended sound out of the chorus in works by Thomas LaVoy and Patrick Hawes, with soloists Camille Watson and Meakem providing vocal clarity in Hawes’ setting of Little Lamb and a unified choral sound echoing well in the space of the church chancel. Combined with two pieces by Dan Forrest which concluded the program, the music on Saturday’s concert demonstrated that simplicity is often most effective, especially with works created out of very emotional experiences.

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