Massive choir and orchestra perform Berlioz

By Eileen Wingard

Eileen Wingard
Eileen Wingard

LA JOLLA, California — How fortunate we are to have conductors able to muster the necessary forces to present Berlioz’ Grande Messe des morts, his monumental Requiem Mass. Performances of this colossal work took place March 7 and 8 in Mandeville Hall, UCSD. The 70-voice San Diego Gay Men’s Chorus joined the 100 voices of the La Jolla Choir, prepared by conductor David Chase. Percussionists from Blue FishRed Fish, helped flesh out the required instrumentation, which, in addition to a large orchestra, called for four brass choirs that flanked the audience below the stage.  All performed heroically, under the precise beat of percussion virtuoso-turned conductor, Steven Schick.

The capacity audience, with a large segment of college students, seemed aware of the singular experience this was, and responded with enthusiasm to this rare treat.

The ten-movement work opened quietly in the strings, then was joined by the horns, oboes and English horn before the choral entrance. It became more agitated, but ended with a bleak calm. The second movement, Dies irae, portrays Judgment Day. The four brass ensembles, joined by multiple timpani, bass drums and tam-tams startled with their menacing thunder. This was followed by a powerful unison statement in the basses before the choir entered.

The third movement concluded with an a cappella section. The fourth, fifth, sixth and seventh movements were more subdued and shorter than the opening two movements.  The eighth movement, punctuated by unusual chords of flute and trombones, depicting the gulf between heaven and earth, is one of the more unusual orchestrations in the work.

The ninth movement, the Sanctus, is the only one using a solo tenor voice. This was sung by John Tiranno. His phrases were answered by the women’s voices.

In the concluding Agnus dei, Berlioz brought back material from previous movements. There was a feeling of calm and peace as it ended with a series of “amens,” supported by lightly beating drums as well as woodwind and string accompaniniment.

Berlioz was commissioned by the French Minister of the Interior to compose a Requiem Mass to remember the soldiers who died in the Revolution of 1830. He revised the work twice, in 1852 and in 1867, two years before his death. This Requiem Mass was the composer’s favorite. He once wrote, “if I were threatened with the destruction of the whole of my works save one, I should crave mercy for the Messe des morts.”

The next concert of the La Jolla Symphony and Chorus will take place May 2, 7: 30 p.m. and May 3, 2:00 p.m. in Mandeville Hall and will feature works of the 20th and 21st century: Leonard Bernstein’s Jeremiah Symphony, with mezzo-soprano Heather Johnson, in which Bernstein uses text from the prophet, Jeremiah, and incorporates Hebraic motifs; Charles Ives’ Symphony #2, based on American tunes; and UCSD Doctoral Candidate Yeung-ping Chen’s Tele-Concerto for carillon and orchestra.

For ticket information, phone: 858-534-4637.

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Wingard is a freelance writer and former violinist for the San Diego Symphony.  You may comment to eileen.wingard@sdjewishworld.com, or post your comment on this website, per the instructions below.

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