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Johann Sebastian Bach’s Toccata and Fugue in D minor, BWV 538,
was played with bookend dynamics … the somewhat sparse audience
being lulled by the softest, sweetest pipes in the Walt Disney
Hall’s Great Organ and then jolted into attention with bombastic
deployment of its heaviest, loudest pipes. One feared for the
safety of those wearing hearing aids. Mr. Neary’s playing proved
to be several ticks shy of a top professional level, but when
one bellows enough, especially at the conclusion of a movement,
the audience response is favorably enhanced. Also performed by
Mr. Neary were Felix Mendelssohn-Bartholdy’s Sonata No. 1 in F
minor, Opus 65, No. 1 and Franz Liszt’s Prelude and Fugue on
B-A-C-H.
The many hesitations in Neary’s playing of the Bach, together
with a very uneven pedal trill, might reasonably have been
regarded as a stylistic a la mode, but struck one
listener as more likely faulty technique or inadequate
preparation. These flaws mattered a lot in the Bach, less so in
the Mendelssohn, and not at all in the Liszt.
The concert’s dominant charm came from the sixteen singers
and Mr. Neary’s choice of repertoire, which reflected a strong
ecclesiastical preference, not at all surprising given the
conductor’s lengthy service in various realms of church music.
“I was Glad” by Henry Purcell (thankfully not the one by Parry),
Purcell’s “Jehovah, quam multi sunt hostes mei,” and
contemporary English composer Jonathan Harvey’s “I Love the
Lord” and “Come, Holy Ghost” were the pre-intermission items,
all well sung if over-conducted. Soprano Karen Hogle Brown
and tenor John St. Marie distinguished themselves with
solos after the thunderous Liszt in John Tavener’s “God With
Us.” Tavener’s familiar “The Lamb” preceded his now-famous “Song
for Athene” during which a quirky organ blast at the
composition’s climax was unleashed that obliterated the under
populated chamber choir’s vocal efforts. Perhaps an additional
two voices per part might have brought the choral output up to
measure.
The finale came courtesy of Benjamin Britten’s “Rejoice in
the Lamb,” which featured Edward Murray in a deliciously
delicate organ accompaniment and very fine singing. A highlight
was Hilary Fraser-Thomson’s singing about Geoffrey (a cat
who sees and acknowledges things eternal). Although Michael
Lichtenauer suffered uncharacteristic pitch problems, these
were doubtlessly brought on by his upstage placement
vis-à-vis the organ. A choral ditty by Britten formed the
single encore.
For
tickets to other Los Angeles Philharmonic concerts, call (323)
850-2000 or visit www.laphil.org
Douglas Neslund
is Classical Voice correspondent and a noted voice/choral teacher in
Los Angeles.
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