The right place is often that final detail that can play a huge part in whether a concert will simply be good or truly great. National City Christian Church is one of those places that puts the ‘icing on the cake” of any performance. Last Friday evening, The Heritage Signature Chorale returned to the magnificent church in which the ensemble sang its premiere concert in 2001. In fact, several of the Heritage Signature Chorale season concerts have been held at National City Christian Church. Current Minister of Music, Charles Miller welcomed the ensemble ‘home’ and acknowledged the meaningful connections between the church and chorale. Stanley J. Thurston, who is the founding conductor of HSC served as Interim Minister of Music at the church and many of the Heritage Signature Chorale singers have served the church’s choir as section leaders.
Robinson Music, founded by former National City alto section leader Diedre Robinson presented The Heritage Signature Chorale and another choral group Choralis in a monumental program of concert choral works by living African American composers at the church. Even though this program was not necessarily one of the main subscription concerts of the HSC in 2008, it certainly was one worth mentioning in the history of the chorale. A crowning piece in that particular concert was Adolphus Hailstork’s cantata I Will Lift Up Mine Eyes, with the composer among the other living composers present for the historic concert.
Friday evening’s concert was a delightful mix of old and new. The program presented featured spirituals, anthems and the Gershwin’s Porgy and Bess Suite. Things began interestingly with Undine Smith Moore short motet, ‘Striving After God.” A short work, Moore’s subtle setting of Michaelangelo’s profound text is one that requires reflective singing. Here, Thurston chose a brisk tempo that did not give the listener an opportunity to savor the eloquent language of the author. Musically, the text that invoked that man is “Striving After God” lacked a certain weight, especially in the last phrase which generally would swell in a moving allargando, with each ‘striving’ mirrored with emphasis by the choir. Even still, the final chord which resounded forth at the works conclusion was greeted by the rapturous applause of the capacity audience. Randall Thompson’s “Say to the Righteous” from The Peaceable Kingdom provided the wonderful men’s voices of the chorale an opportunity to be showcased, further enhanced by the beautifully sustained vocal lines of the sopranos and altos. A stunning moment in the short gem was the musical emotion on the text “Behold thy servant” in which the chorale delivered with a quiet fervor.
Organist J. Reilly Lewis accompanied the choir in Dwight Gustafson’s setting of the favorite devotional hymn “O Thou in Who Presence.” This composer set the tune majestically, with the voices of the chorale soaring to the accompaniment of the full organ. Thurston conducted the chorale with such joy with each beat rewarded with the chorale’s glorious sound. Concluding this set of sacred works was a rousing arrangement of “My Soul’s Been Anchored in the Lord” by Moses Hogan. Hogan’s trademark fierce rhythms and intricate harmonies were delivered by the chorale with an energetic flair. This was one of the many pieces of the evening that brought the audience to their feet.
Gershwin’s Porgy and Bess Suite was the major offering of the first half of the concert. It featured some of the area’s most talented artists. Accompanied by the wonderful lush orchestration, the mood was further captured by the jazzy, whimsical piano passages played by Maxwell Brown. Featured soloists were Natalie Carter, Francese, Soloman Howard, Wayne Jennings, Vashawn Mcilwain, Simone Paulwell, L'Shauntee Jamice Robertson, Brandie Sutton, Alia Waheed and Rhea Walker. Among the soloists, there were certainly some standout performances. Soprano Simone Paulwell sang a ravishing “My Man’s Gone Now” marked by vocal beauty, yet filled with just the right amount of melancholy. A lovely touch was an audible sigh at the very end of her sustained line with the orchestra. “Summertime” was like a delightful journey. Soprano Brandie Sutton sang beautifully, supported by the warm voices of the chorale. Bass Soloman Howard was full of personality in the famous “I Got Plenty O Nuttin.” A singer of tall stature and a booming voice to match, Howard sang with an assured presence throughout. Tenor Wayne Jennings added the comic relief to the suite, enthralling the audience with his charming delivery in “There’s a Boat dat’s leaving for New York.” Vashawn McIlwain sang with a nicely rounded baritone in the solo with chorus, “O Lawd, I’m On My Way” which brought the suite to a rousing end.
Guest organist J. Reilly Lewis performed Marcel Dupre’s Prelude and Fugue in B Major, Op. 7. Lewis played with fiery virtuosity, especially in the rhythmic fugue. Lewis shared exclusively with the DC Performing Arts Examiner that he had the opportunity to study with the famous composer shortly after winning a national organ competition after finishing his studies at Oberlin. He received a letter from Marcel Dupre, explaining that he would be glad to take him on as a student. Circumstances or “divine intervention”said Lewis landed him studying in Germany instead.
The remainder of the program offered a variety of spirituals and anthems. Nathan Carter’s setting of the hymn “Great is thy Faithfulness” was a bit of heaven on earth. Soloist Natalie Carter’s solo was filled with conviction and set the tone for what was to follow in the work. Especially effective was the a cappella sections in which Thurston drew forth some of the most beautiful singing from the wondertful chorale. Now with the full organ, orchestra and voices, the ageless hymn soared to the rafters of the sanctuary, beckoning an eruption of applause from the 'bursting' audience. This was one of the moments that the separation of concert hall vs. church service was kindly ignored. What a glorious moment it was! Soprano Francese Brooks transported us to a state of grace in Carter’s “Someday. With each soaring note, Brooks pierced the heart of every listener as the chorale like angels echoed her clarion call to eternity. Among the encores was the moving anthem “The Majesty and Glory of Your Name” by Tom Fettke. What a wonderful to way to reflect on 11 years of wonderful music making. The Heritage Signature Chorale is on the move!
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