Choral Music Magazine
APRIL ISSUE
The beautiful polyphony, rich harmonies, and impeccable tuning that distinguish the all-female quartet Anonymous 4 are certainly characteristic of the group’s newest album entitled Gloryland. Anonymous 4 has recently taken a break from performing Medieval chant and early polyphony to record traditional American Folk music. American Angels, the group’s album of 2004, triggered this change in genre. The women added old hymns, gospel songs, and ballads to their repertoire in these two recent albums. Indeed, they have maintained their pure tones and excellent throughout this musical evolution.
The women of Anonymous 4 begin many of the songs of Gloryland by singing the melodies on solfege (do, re, mi, etc.), and later sing these melodies on the text. Although there are four women in the group, most songs feature solos or duets. A few others, such as I’m on My Journey Home, are sung by all four women. Many of the songs are simple, catchy, and repetitive, tempting listeners to sing along with the artists. Other songs feature complex harmonies that showcase the members’ diverse talents.
Gloryland highlights two exceptional instrumentalists: Darol Anger on violin and mandolin and Mike Marshall on mandolin, guitar, and mandocello. These instrumentalists supply fluid melodies, interludes, and introductions which help build a full texture and provide an earthy, folk/bluegrass sound while maintaining a good balance with the vocals.
One of the more exceptional songs, Where We’ll Never Grow Old, presents a melody in which the soprano sings high notes that soar above the other parts. Saint’s Delight features a phenomenal instrumental that completely captivates the listener. The end sounds very much like the aforementioned I’m on My Journey Home (possibly a reprise). This concluding musical passage comprises several fast-paced, driving melodies.. Throughout the album, the soprano melody line is executed with impressive vocal control and has a beautiful bell-like quality. The other voices support her tone, add an effective color, and often blend seamlessly together. The alto line is solid and keeps the harmony grounded; however, the vocalist sporadically sings over the other women and sticks out of the texture.
Some of the songs on Gloryland often feature dissonant harmonies which Anonymous 4 executed with pure and attractive sound. The group’s intonation, vowel unification, and balance are fine-tuned and aurally pleasing, but at times, the blend of voices sounds almost too refined for this style of music. The women of Anonymous 4 are classically trained singers who produce exceptional pitch and tone clarity. Therefore, listeners accustomed to folk or bluegrass music may find their presentation of certain songs a bit formal. Additionally, the album recording sounds as if the women were singing in a large hall or church without individual microphones. This creates a distant and spacious sound similar to many recordings of traditional choral music.
Nevertheless, Anonymous 4 successfully fuses different musical traditions on this album. In doing so, the women create something surprisingly unique and beautiful. If you enjoy early American music, recent recordings of Anonymous 4, or you simply want to experience something new and uplifting, I strongly recommend Gloryland.
Jacqueline Conti is a graduate student in Music and Music Education at Teachers College, Columbia University. She currently sings with the New York Choral Society and studies voice with Dr. Lori McCann of New York University. Jacqueline previously attended Cornell University where she studied vocal performance and conducting and performed as an alto and soprano for the Cornell University Chorus, Chorale, Chamber Singers and World Music Choir. During her time in Ithaca, NY, she also sang professionally with the New York State Baroque Orchestra.
PHOTO CREDIT: www.anonymous4.com
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