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Recently the sterling voices of the Clarion Choir have delved deep into Rachmaninoff, especially the composer’s engagement with the music of the Russian Orthodox tradition, singing his Liturgy of St. John Chrysostom and All Night Vigil. New music inspired by that tradition is also being created, such as the recent world premiere of Benedict Sheehan’s Rachmaninoff-inspired Vespers.
The Clarion’s 2023–24 New Years’ concerts sustained this focus. This time around they presented some of Rachmaninoff’s earlier choral music, both religious and secular, as well as a world premiere of another large mass-like work: the Vigil for Peace, for a cappella voices, by Russian-born contemporary composer Alexander Levine.
Like some of its progenitors, the latter is a substantial work in a multitude of movements. Like Sheehan’s Vespers it’s heavily influenced by Eastern Orthodox traditional music – even including passages of monophonic chant – and by Rachmaninoff. But it uses more modernistic modes, merging impressive complexity and depth with traditional elements, all sieved through Mr. Levine’s own voice and musical character.
A Vigil for Peace in Our Time
As the work begins, an initial solo call to prayer compels attention, then expands as the choir joins in for the first “Amen.” Surging music sung by the full choir repeats the call (the text is all in Russian) before the piece ends in haunting unison. Like the introductory solo, a piercing tenor solo over tense sustained chords from the choir is very much in the spirit of ancient Orthodox liturgical music.
Perhaps paradoxically, Mr. Levine’s individual voice first surfaces strongly in a movement that begins with monophonic chant, “Blessed Is the Man.” The choral sequences that follow hold to the chant modes in expanded form, to powerful effect, while monophonic melody returns in octaves for some of the Allelujahs.
The following movement, one of the longest and most substantial, is also one of the most interesting. I could sense the audience’s reaction to a sudden switch from brilliant power chords to a bass-heavy major chord. Like much of the Vigil this piece proceeds with long-held harmonies containing shadings of movement within. As in the work as a whole, here Mr. Levine closely links the music to the words: After the piece builds to a titanic cry, it subsides to a “Hear me, O Lord” that’s all the more effective for its quietness. Similarly in the “Bethlehem Angelic Doxology” movement the prayer to “open my lips” (to praise God, of course) is set to quiet, delicate music, finishing with simple, peaceful major thirds.
Through 12 movements in all – billed as “selections,” so I presume there are more – we heard music with restful power, cloaked harmonies, occasional semi-dissonances, and much beauty. “Rejoice, O Virgin” is notable for its unresolved quality, the “Antiphon Stepénna” for its solemnity and very low bass notes. Throughout, the Clarion singers led by conductor Steven Fox displayed their exceptional skill with dynamics and balance.
Confusingly, the program lacked lyrics for the final three movements, so after the ninth of the 12 the audience responded as if the concert were over. To be honest I think we were collectively ready to applaud and go out to continue our New Year’s Eves. There are lovely and remarkable elements throughout the Vigil for Peace but there is also much sameness. For example, only two movements – one of them at the end – have much rhythmic energy. The listening mind longs for variety over an expansive work like this. Mr. Levine’s musical language walks a very appealing line between accessibility and challenge, with an emphasis on the former. But his harmonic and dynamic techniques become a bit too characteristic over this lengthy suite, a flaw in a work of this length.
Rachmaninoff in a Lighter Mood
That said, the excellence of the Clarion Choir was never in question, neither in the Vigil nor in the Rachmaninoff music that preceded it. Rachmaninoff’s lighthearted a cappella “Panteley the Healer” was a seriocomic delight. The libretto describes the saint’s stick-swinging traversal of fields where grow the healing herbs whose power he commands. After that, the choir revealed the rich drama within the music, notably in the magnificent call to the saint himself.
The altos and sopranos then presented the Six Choral Songs for Treble Voices, op. 15. These pieces range from forceful to contemplative to – in “Captivity,” depicting the woes of a caged bird – almost programmatic. David Enlow’s sensitive accompaniment was flowery and sturdy, without schmaltz, and a good reminder of how much of Rachmaninoff’s popular fame rests with his piano music.
The full choir returned for the a cappella “The Theotokos, Ever-Vigilant in Prayer.” Initial solemnity ascended to fulness as the choir displayed its skillful dynamics and balanced touch. Every time I’ve heard them, the Clarion Choir’s timbre and precision impress with their consistency through loud and quiet passages alike. More generally, their jewel-like musicality is always at the highest level.
Visit the Clarion Choir online for upcoming concerts.
