From the moment the Orchestra began its rendition of “The Star-Spangled Banner” at the joint Camerata/Orchestra concert on November 16, it was clear that this was not a band of misfits, but a well-oiled machine. Each section played in unison, weaving individual pieces into a precise harmony that brought the audience to its feet with its grandeur.
I remember the 7th and 8th grade Chorus and Orchestra/Band concerts—how the performers dressed improperly and sang in hushed tones for fear of messing up. When I saw the BHS music department’s handiwork, I wondered what had happened in the short span of just a few years to turn a group of students who so reluctantly elected to play music into such wonderful musicians and vocalists. The difference was astounding—all members of Camerata Choir and the Orchestra were willing to try their best in their performance, even if it meant making a few minor mistakes.
Both Camerata and the Orchestra sounded as if they had performed together for a number of years. The Orchestra performed first, beginning with Sinfonia in Sol by Frederick the Great of Prussia, their most complex piece of the night. It had three sections, the first movement of which was allegre and cheery. In addition to clearly illustrating the song’s positive emotion, the bass section added depth to the violins, creating a balanced and well-rounded sound. The second movement had a deeper pitch and more sorrowful tone. Clashing notes created an uneasy atmosphere. Though a bit monotonous at times, it offered a nice contrast to the two upbeat sections, as the third and final movement resumed the joyful tone of the first. All sections transitioned nicely between the different emotions. Though the faster notes in the first and third movements brought the violins to fall slightly out of unison, the performers quickly recovered, finishing strong.
The Orchestra did justice to its bold second piece, Mendelssohn’s Nocturne, which necessitates a deep, rich sound. The sections remained balanced throughout even the climaxes with none overpowering the others.
The Orchestra’s third pierce, Debussy’s La Fille Aux Chevaux de Lin, had many pitch changes, which kept the listener engaged with their crescendos. The high notes on the violins were extremely graceful and not sharp and sudden. Though the two violin sections played different melodies, their harmonies blended well with each other.
The Orchestra took extra time setting up for its final piece, Waltz (from Masquerade) by Aram Khachaturian, as some members were left without stands. The piece had a rhythmic feel, almost like the dance. The Orchestra created a cold feeling in the lower instruments and used the higher-pitched instruments to give the piece life. It felt as if the deeper sounds were chasing away the higher sounds to create a dance locked within the piece. However, the piece ended suddenly and without fanfare, and it seemed a shame to give so little closure to such a beautiful image.
The transition between Orchestra and Camerata was well-rehearsed, allowing the audience time to process the Orchestra’s performance and prepare for the Camerata performance yet to come.
When Camerata took the stage to perform, Psalm 150 by Louis Lewandowski with arrangement by Lorrain Kingsley, they offered a technically flawless yet over-rehearsed rendition. Though cut-offs and enunciation hit their marks, Choir members showed little emotion and lent a cold tone to the song. I felt as if the members of the Choir were too focused on making the performance musically perfect rather than singing with feeling. Still, all sections were in perfect unison and there were no mistakes throughout the entire piece. However fitting it might be for a song with “Psalm” in the title to be emotionless, the Choir would have better engaged the audience if it had begun with a more lively piece.
The second piece by the Camerata, Matona Mia Cara by Orlando di Lasso, was only slightly less cold than the first. The cut-offs were perfect, and the different sections sounded as if they were a singular person rather than multiple. The piece sounded polished and professional.
Though the Choir’s first two perfectly-executed pieces lacked feeling, they loosened up by the third piece, delivering a soulful performance for the remainder of the concert. Their third piece, The Blind Man arranged by William Grant Still (1895-1978), was nicely introduced by a short piano solo from senior Eagon Meng. The piano gave depth to the piece, creating a balanced sound. The pianist and vocalists worked to create harmony with appropriate crescendo during pitch elevations. The members of the Choir relaxed and their tone became warm and happy.
A moment was taken between the third and fourth pieces so the Camerata could show their skill at reading sheet music. The group stumbled slightly at first, but they performed perfectly on the second attempt. They read through the song Abide with Me (by William Henry Monk with arrangement by chorus teacher Michael Driscoll) with no mistakes, to the delight of the audience. It was an impressive display as the Choir sang the tune perfectly, all adding their own personal touches to the set of notes, almost as if they had rehearsed the harmonies. They also sang in unison, not one vocalist breaking pace.
Camerata’s final piece was Summer Wind by Henry Mayer and arranged by Jay Althouse. The Choir was accompanied by senior Caitlin Hickey on piano and junior Fred Metzger on string bass, creating a jazz feel which further relaxed the Choir and which removed the audience from the classical concert and thrust them instead into a more friendly setting. This was a welcome change after all the classical music—well-chosen and extremely well-placed in the program.
The concert finale, Vivaldi’s Gloria, was a collaborative effort between Orchestra and Camerata Choir, featuring junior Katharine Silva on trumpet and senior Amy Park on clarinet, and by far the best performed. The two groups melded beautifully to create a symphony of sound. They supported each other, with Camerata spicing up the classical music in the background, and Orchestra adding greater depth and fullness to the song.
When I first decided to go to the Camerata/Orchestra Concert, I was expecting to find people who wanted to fill up their elective credit by learning an instrument, but instead I was met with a polished group of musicians who wanted to put on the best show they could possibly create. I thoroughly enjoyed my first concert experience at the school and would gladly go back to see the next show.
Jason Lammers can be contacted at [email protected]
