By Eileen Wingard
(Photo: Wikipedia)
LA JOLLA, California –The La Jolla Symphony and Chorus’ concluding concert of the season brought to a close the celebration of choral conductor, David Chase’s 40th year with the organization. As the final work on the program, he selected one of his favorites, composer Cary Ratcliff’s setting of five poems by the celebrated Chilean poet, Pablo Neruda, entitled Ode to Common Things. The five sections, sung in Spanish, included the “Ode to Things,” “Ode to a Bed,” “Ode to a Guitar,” “Ode to Scissors,” and “Ode to Bread.” Cary’s music was tonal and accessible. He opened with a xylophone playing an ostinato figure and during the course of the work, a large assortment of percussion instruments are heard: standard ones, such as chimes and wood blocks, and South American folk instruments, such as the rain stick and bongo drums. The score reflected the meaning of the lyrics and incorporated South American rhythms. The “Ode to Scissors,” opened with a section reminiscent of Orff’s Carmina Burana.
The “Ode to Guitar,” featured guitarist, Pablo Gomez, and the final two sections, showcased the voices of three soloists, Soprano Monica Abrego, Mezzo-Soprano Guadalupe Paz, and Tenor John Russell. Both, the soprano and the tenor, sang their parts beautifully, but it was the mezzo-soprano, Guadalupe Paz, whose voice was most captivating with its expressive, dark quality. The ultimate success of the performance, however, was due to the excellent chorus, trained and directed by David Chase. Divided into six sections, it sang with masterful balance and subtle nuances. It produced a sound of pure beauty.
The final section of “Ode to Bread,” might be likened to Beethoven’s “Ode to Joy.” Instead of Alle Menschen Seinen Brueder (All Men Are Brothers),“ it declaimed, Todos los seres tendran derecho a la tierra y a la vida tendra forma de pan de manana, el pan de cada boca (Every being shall have its rightful share of soil and life and our daily bread will be the bread for all).”
The work rose to a triumphant climax.
As David Chase explained in his lecture preceding the concert, most of the greatest choral works are religiously inspired and use texts from scriptures. For this program, he wanted a secular work. He certainly chose well.
The program began with the orchestra’s conductor, Steven Schick directing his 80+ forces in Janacek’s Zarlivost (Jealousy). This overture was originally intended for the composer’s opera, Janufa, but it was replaced by other overtures. However, it is played as an independent work and boasts great dramatic contrasts. The opening brass fanfare was, indeed, attention-grabbing, and was soon joined by the violins, playing in the highest reaches. Calmer, lyrical sections followed and were supplanted by a dance-like episode. There were soft flute and oboe passages, returning, at the end, to the bombastic opening fanfares. The orchestra executed this demanding work with professional skill.
Following was Haydn’s last symphony, #104, “London.” Composed in London, this is one of Haydn’s most familiar works. The third movement, Minuetto and the last movement, Allegro spiritoso were performed with spirit and verve, capturing the character of the music. The first two movements lacked some of the gentle subtlety which a smaller ensemble is more able to render. However, this orchestra, although not as polished as the San Diego Symphony, is comparable to many professional orchestras of smaller cities. Since this is an orchestra of volunteers, their high level of playing is quite remarkable.
For the 2014-15 60th season of the La Jolla Symphony and Chorus, the theme will be, The Nature of Things. The opening program, November 8-9, will include, a Sound, uttered by Nathan Davis, a world premiere, and Mahler’s Symphony No. 5. To obtain the program for the entire season, call 858-534-4637.
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Eileen Wingard is a retired violinist with the San Diego Symphony and a freelance writer specializing in the arts. She may be contacted at eileen.wingard@sdjewishworld.com