Choral Music Magazine
March Issue
Berkeley, CA - January 12, 2007 - A Light Shining in Darkness
The word Clerestory is an architectural term, denoting a high set of windows in large churches and cathedrals that
allow light to permeate the interior of the sacred space; a means of bringing light into darkness, as it were. Clear
parallels can be drawn here – the connection with music being particularly apposite: that window to the Divine that
lightens the darkness of our days in ways beyond our understanding and far beyond the power of mere words. The
celebration of the feasts of Christmas and Epiphany also emphasize the symbolism of Christ the light entering a
darkened world. It seems the new a cappella male vocal ensemble Clerestory chose their name carefully as demonstrated
in their second series of concerts in this their debut season; for our souls were lightened that dark night with a
wide-ranging, virtuosic program, from anonymously composed polyphony to 20th century partsongs.
Clerestory is an eight-voice male vocal ensemble, the majority of whom are alumni of Chanticleer. Their illustrious
pedigree is clearly apparent both in the quality and versatility of their performances and the variety of their
programming. The theme for the evening was Winter, as manifested in the holidays of Christmas and Epiphany, and
culminating with that most heart-warming of feast days, February 14th, none other than the name-day of St. Valentine
himself!
The program began with a Christmas set that highlighted the word Noel, a word used to express the sheer exaltation at
the incarnation of the baby Jesus. This affect was admirably projected by the singers, whose blend and diction ensure
d that the joy inherent in the works was shared by all. Clerestory sounded their best in the full ensemble sections,
particularly in Nowell: Our of Your Slepe Aryse, where a truly sensitive blend was achieved and maintained. Soli
sections sometimes fared less well, as the individual vocal qualities of each singer did not always lock in with
those of their partners. Taverner’s alternatim setting of the Magnificat pitted exquisitely-blended plainsong verses
against lively passages of polyphony, culminating in an expansive and appropriately climactic Sicut locutus est.
Richard Pygott then gave us a taste of things to come in his quasi-madrigalian setting of Quid petis, O fili, whose
expressive dissonances, sensitively blended, produced the first true highlight of the concert.
Byrd’s settings of Ecce advenit, Vidimus stellam, and Reges tharsis are all settings of the Propers of the mass
and taken from his monumental Gradualia of 1609. These sections – the texts that change from day to day – would have
been performed in conjunction with one of his settings of the mass Ordinary, probably his Missa quattuor vocibus,
since each work is in four parts. Ecce advenit raised an issue that can be somewhat problematic in ensembles of this
kind – that of range. There are occasions where, in the hands of an alto, the upper lines can sound somewhat strained,
which was sometimes apparent in Ecce advenit. Yet this was more than atoned for by the magical ending of Vidimus
stellam, while Byrd’s consummate polyphony in Reges tharsis was brilliantly handled. Such is the complexity of the
polyphonic lines in this piece that one was left with the feeling that they just weren’t going to fit! And yet fit
they did, leaving the listener gasping at the wealth of invention!
Love – that unique, timeless condition of humankind to which we aspire – love, in its many forms, was the theme of
the remainder of the concert. The set of French songs of courtly love saw Clerestory really coming into their own in
a series of truly amazing performances that left the audience breathless. Particular encomium should be paid to their
pronunciation of the old French texts, which were handled extremely well. Yet this drew attention to one element
missing in the program booklet: the lack of the original language texts. It is really helpful to audiences to have
both the text and its translation available at a concert, particularly when the language being sung is unfamiliar.
These chansons were followed by a set of three Monteverdi madrigals, where the dramatic tonal shifts so characteristic
of this composer were deftly handled.
Remaining true to one of the themes of the Epiphany season, they saved their best for last, like the wine at the
biblical wedding feast in Cana of Galilee. Here Clerestory were at their most relaxed – Latin, French and Italian
performances firmly under their belts – and they positively charmed us with a series of English folksongs. Vaughan
Williams’ Bushes and Briars, heard in its original lower scoring, something that suited the group ideally, saw some
of the best blend of the evening. There was a vocal richness – perhaps even a mellowness – that was really apparent
in this music. The evening was rounded off with Flower of Beauty by John Clements, and there we saw one of
Clerestory’s true strengths – that of a real chamber ensemble which did not need the assistance of a conductor to
achieve rhythmic sensitivity.
Kudos to alto Jesse Antin for founding and assembling such a distinguished group of singers: Chris Fritzsche, Clifton
Massey and Justin Montigne, altos, Kevin Baum and Mark Mueller, tenors, and John Bischoff and Tom Hart, basses. Antin’s
multifaceted talents also extended to the encore item, his own setting of Wendell Berry’s text The Country of Marriage.
Clerestory is undoubtedly a versatile and exciting addition to the Bay Area choral scene. May the light continue to
shine through these windows in the years to come. www.Clerestory.org
Paul M. Ellison is Director of Music at Church of the Advent of Christ the King in San Francisco where he directs their professional choir, Schola Adventus. He also lectures in music history at San Francisco State University.
Photo Credit: Lichfield-Cathedral.org
SINGING TO MYSELF: Singing to Someone Else?
