An Evensong

Choral Evensong, 26 January 2018

It was Friday afternoon, and the St. John’s Cathedral was bursting at the beams from visitors of the Diocesan Convention. The service choral members processed in to Hymn 525, the “Church’s one foundation”. Each of them wore traditional Episcopalian garb: white robes and colored sashes. Honors Chorale (dressed in formal concert attire) sang the Introit, Ola Gjeilo’s “Ubi Caritas” and we sat in the North Transept for the duration of the service.

The opening piece was Psalm 133. The sound of the service choir magnificently filled the cathedral, the sound reverberating through the wood and stone like bells. The blend of their voices stood out to me, the sound was so smooth and fluid. Another impressive quality of their sound was the balance of the voice parts. The mens sections were strong and salient, but did not overpower the gentler womens parts. This was incredibly appropriate for the selected piece, for the lyrics discussed unity and fraternity within God’s kingdom. The unity carried through impeccably in the timing of the choir, the synchronization of their singing added so much musicality to an otherwise basic piece. Levels of interest were added as well through powerful and strategic dynamics. The thoughtful, deliberate crescendos and pauses accentuated the emotional quality of the song.

The second piece was J.H. Ossewaarde’s Magnificat. It was a powerful piece which was given the strong entrance it deserved. The opening featured a call and response between the men and the organ which brought a discrete level of melodrama to the piece. The men had a solid grip on their pitch and timbre as they leapt up and down various scales. The carefully handled dynamics really defined this piece. The contrast between the loud and soft sounds was delicate and beautiful. As the women joined in, the layered effect was gentle and effortless, avoiding the usual “coming on too strong” trap of a canon piece. Each part was well highlighted, but none were overwhelming. The intensity of the sound was amplified by the quality of the collective vibrato, which was first used noticeably by the men. The voices blended seamlessly with the organ, giving this piece a very unique tone.

Ossewaarde made a second appearance with his Nunc Dimittis, the song of Simeon, usually sung at an evensong service. Once again, the men made a strong entrance, this time with a chant-like style. The blend of their voices was seamless and frankly astounding.The harmonies were executed perfectly, with every single voice reaching the notes. Listeners were gripped by the music through powerful layering. When the women’s parts entered, the air was nearly taken from the room. The sound was so rich and moving, many members of the congregation would even say “angelic.” The diction was clear, but not uncomfortably so, and the phrasing was well designed. The overall effect of the piece was stunning.

The final, and my favorite, piece in the service was Will Todd’s “Anthem.” This time, the women vanguarded the song with a gentle entrance. The annunciation of the words was clear, which was good for the congregation because the lyrics were in English. When the men joined the women, the full entrance did not feel overwhelming and the transition from soft to louder was well done. The tone was good, just bright enough to give the piece a happy quality, but not past the point of good technique. This sweetness created a very Disney-like feel, nearly like soundtrack music, which was an unorthodox (but enjoyable) closing piece. There was a smart use of dynamics, with a gradual build in volume creating intensity. A salient detail was the high notes sung by the women. They were so effortlessly hit, and the quality of their voices resembled bells. The harmonies executed by the women, altos especially, made the song feel like a lullaby. The emotional repetition of “I am here” and “I am with you” brought the piece, and the service, to a poignant conclusion.