Concert Review of "And Glory Shone Around"
By Samuel Black
Duluth News Tribune
December 24, 2008
Review: Pure tones of Rose Ensemble's singing imparts holiday spirit
Monday night’s holiday presentation by the Rose Ensemble, “And Glory Shone Around,” overflowed with the raw musicality of the first hundred years of American Christmas music. Eleven gifted vocalists — three of them also playing instruments — combined with four string players in this tightly woven fabric of sacred and secular compositions, celebrating, in part, a newly released CD.
Monday night's holiday presentation by the Rose Ensemble, "And Glory Shone Around," overflowed with the raw musicality of the first hundred years of American Christmas music. Eleven gifted vocalists — three of them also playing instruments — combined with four string players in this tightly woven fabric of sacred and secular compositions, celebrating, in part, a newly released CD.
These 15 musicians made the stone walls of Superior's Cathedral of Christ the King come alive with resonance and overtones (notes in the air not being played or sung). Music director Jordan Sramek created a two-part program that sampled the wide range of Christmas music from New England, as well as Shaker and Southern Protestant tunesmiths.
There is a certain simplicity to the harmonies, and a genuine drive to the melodies created by these early American Christian musicians, beginning with tenor Dustin Wirth's haunting rendition of an Advent tune from "Southern Harmony." A large audience went home strongly energized by the spirited singing.
Many of the tunes, "Who is this that comes from afar," "Give good gifts," "Herald Angels" and "The Babe of Bethlehem," come from outstanding collections of American hymn tunes. They are filled with huge energy, and the texts speak to the listener with a bold directness. The gift of the Rose Ensemble is their choice of interpretation. Sometimes a solo voice is featured, sometimes the men, or the women, and ultimately the full ensemble. All these choices are made by the group in rehearsal — the music itself offers few directions other than notes.
Three hymns, "Harps of Welcome," "Christmas Eve" and "Morning Dawn," came from the Shaker composer Frederick Evans. His lilting tunes and jubilant poems echoed throughout the fields of mid-America, as well as Superior, Wis. The high clear tones of Kim Sueoka, Kathy Lee and Heather Cogswell set the upper limits of the evening's music. In "The Babe of Bethlehem," bass Mark Dietrich went the other way and set up deep vibrations around the room. Baritone Tim O'Brien gave a nostalgic rendition of John J. Niles' famous carol, "I Wonder as I Wander," to instrumental underpinning. Ginna Watson played a verse on violin, and alto Kristine Kautzman added an early American flute.
They were joined by Julie Elhard on viola da gamba, Phil Rukavina on Baroque guitar, and David Burk on guitar and mandolin. As a band, they played several tunes from the era, clearly dance music meant for social gatherings. Just to keep the feeling effervescent, the ladies sang enthusiastically of the "Juice of Barley." There was also a full and rousing attempt to "Drive the Cold Winter Away," a British tune that crossed the Atlantic early on. With a hearty, stomping rhythm, alto Lisa Drew sang a passionate ode to love, honey and the Savior's home, all wrapped up together, written by an African-American woman named Sister Patsy Williamson.
The Rose Ensemble always creates a colorful blend of text and tune, woven together for a seamless tapestry of music from distant times and places. Shaping these programs from very raw materials is what they do best. This program was fairly modern; they will be back in the Twin Ports on Feb. 26 with a return to the 16th century.
Samuel Black is a Duluth musician who teaches writing at the College of St. Scholastica and reviews concerts for the News Tribune.