Conductor Robert Worth

PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH

Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), mezzo-soprano Shawna Herve, Paul Haile and Tim Mason.

In an introductory talk, conductor Bob Worth spoke with warmth and wit, and gave biographical and musicological background to this unique concert that featured just the music of the Renaissance composer Michael Praetorius. Praetorius based most of his vocal compositions on the German chorales sung in church, and these hymns were remarkable in their direct simplicity, and proved a basis for innovation by many composers, including Bach a century later. Though living in Germany, Praetorius was inspired by innovations in Northern Italy which included the grand antiphonal music of Venice as well as figured bass traditions. An idealist, who believed in music as a force for good, Praetorius was also prolific in composing and writing treatises.

With the fifty member choir, four soloists, the consort of viols, the brass ensemble and organ arranged on stage, the program began with a Christmas medley, “Freut euch ihr lieben Christen”. This was a performance of joy and lightness. No dramatic extremes were needed to covey to listeners the music’s virtuosity and beauty. The sounds were varied but always clear and richly layered. The program was assembled of choral and solo pieces interspersed with a variety of instrumental dances from Terpsichore, a publication by Praetorius of over 300 dances. These included courantes, gaillardes, ballets, a spagnoletta, sometimes for the viols, other times for the brass, and then often both combined. The vocal and instrumental music selections were admirably supported by Phebe Craig, playing a Dutch organ. Following graceful ballet music for the viols, choir and soloists sang “Hallelujah! Christ its erstanden” with lovely textures as the five soloists and choir traded the music back and forth, brass choir included. Schroeder Hall itself was a participant in the music, as its acoustics and modest size allowed the performers ample resonance and lucidity. 

Then came a Magnificat with interpolated chorales, then “Vom Himmel hoch komm ich her,”  “Puer natus in Bethlehem” and “Omnis mundus jocundetur”. Ms. Morgan was compelling in her solos and the duos with Mr. Fritzsche were one highlight of the concert.

After intermission more musical riches were displayed. First to be performed was “Nun lob mein Seel den Herren” with three soloists and choir, and then “La canarie” for viols with its charming echo effects and fading phrases. “Das alte Jahr its nun vergahn”, a courante “O Lamm Gottes unschuldig, and a galliarde led up to a high point in the concert, the composer’s wonderful “Wachet Auf, ruft uns die Stimme”. This chorale, with soaring energy seemingly inspired Praetorius to heights of musical eloquence and compositional ingenuity. In the second verse there was surprising counterpoint of choir sopranos and altos, uniquely lovely. “Verleih uns Frieden”, with Mr. Fritzche weaving his vocal spells, sounded as a heartfelt prayer for peace. The choir had a beautifully consistent and unified sound throughout the afternoon, with excellent section blend and clear diction. 

“Jubilieret frohlich’”, the final work, brought all musical forces together singing “Rejoice at all times joyfully and with sound….”. There was one unannounced encore.