Concert Review of Candlelight Concert: The Secret Society of Notre Dame de Paris
By Michael Huebner - Alabama Entertainment
http://www.al.com/entertainment/index.ssf/2008/02/rose_ensemble_reveals_medieval.html
Rose Ensemble reveals Medieval wonders at IPC
Medieval Paris sprang from the history books Thursday and landed squarely at Independent Presbyterian Church.
Anyone at IPC's Religious Arts Festival event who suffered through the Medieval portion of music history class were rewarded tenfold by the Rose Ensemble. Based in St. Paul, Minn., the 12 singers and instrumentalists have found a firm place in the often competitive world of early music. This program was a musical evocation of Notre Dame Cathedral in the 12th century, from its political shenanigans to its intense beauty. The erudite subject matter could not have been imparted with more dedication and probing insight, or higher performance standards.
Titled "The Secret Society of Notre Dame de Paris," it explored vocal forms such as organum, conductus and trope, as well as instrumental works performed on period instruments. IPC's acoustics added to the candlelit ambiance, the singers casting sometimes unfamiliar tonalities and warbling melismas to the far reaches of the sanctuary.
Most of the 24 numbers were short anonymous works, but included two by Perotin, one of Notre Dame's few identifiable composers. In his "Sederunt principes," each syllable was garnished colorfully by the sopranos and altos while the men provided a drone. Dissonances cut through unabashedly in the anonymous conductus, "Soli nitorem." Bass Mark Dietrich's emphatic singing in "Christus assistens pontifex" was accompanied resolutely by Ginna Watson on vielle, an early form of the violin. A trio of women blended richly in "Ave maris stella," fearlessly and unerringly tackling its difficult counterpoint and clashing harmonies. All were sung with pure-toned focus, with little or no vibrato.
Rose Ensemble founder Jordan Sramek performed double duty, cranking the hurdy-gurdy (a barrel-driven portable organ) and singing, sometimes at the same time. In several pieces, Watson played a small harp with a wisp of a sound, creating a heavenly blend with Sramek on psaltery, a lap-held plucked instrument. Three dance tunes written for Saint Nicholas provided foot-tapping rhythms.
One work, a new motet by Rose ensemble alto Linda Kachelmeier, made a telling statement. Its luscious counterpoint, deliberate dissonances and assertive vocal interaction, while thoroughly modern, aren't all that distant from 12th century Notre Dame. Composed in the mold of Gorecki, Pärt and other spiritually-inspired postmodernists, it revealed that vocal music may be coming full circle after 900 years.