ANCIENT STYLE RINGS OUT WITH STILE ANTICO

November 30, Cathedral Concerts at the Saint Louis Basilica

Early music forces us to recondition our ears and our entire approach to listening. The system of tonality that we take for granted today was not yet fully established when this music was written, so the melodies and harmonies may sound strange to us--and, ironically, totally new rather than old. Particularly in the contrapuntal music of the Renaissance, there is no single melody. Rather, a virtual shower of melody, with its resulting harmony, cascades upon listeners' ears. But for those listeners who dive into the ocean of sound, the effect can be mesmerizing. The British a cappella group, Stile Antico (Ancient Style), has devoted itself to recapturing the essence of what music sounded like centuries ago to the awakening minds of the European Renaissance, garnering numerous awards and critical acclaim.

The effect of hearing multiple lines of music simultaneously produces a state remarkably similar to that of the Eastern meditation technique of clearing the mind. Finding oneself unable to focus on single lines of music leaves only the alternative of focusing on the void of the broad canvas that the music creates, or perhaps focusing on nothing at all, thereby allowing the music to work its magic on the soul. The listener becomes much more aware of the overall mood and texture of the music.

Stile Antico consists of twelve singers, male and female. The group does not rely on a conductor; instead, each vocalist is responsible for the careful execution of his or her own part. Singing contrapuntally requires strict independence and complete accuracy. Fortunately, neither was lacking. The group performs with precision and careful balance and blend. Although the acoustics inside the Cathedral Basilica can cloud the sound produced by performers, in this case any blurriness of the sound only added a sheen of mysticism to the group's timbre and further unified their vocal blend.  

Although at first it might seem that an ensemble specializing in music of the Renaissance would have a very narrow focus, on further examination such is not the case. It is important to remember that Europe was--and remains--a very diverse continent, multilingual and multi-ethnic. Perhaps even more significantly, we must bear in mind that the Reformation was still in its infancy, and so Christians of the era (and now also) were markedly split in their allegiances. Moreover, Jewish and Moorish influences, particularly in the music of southern Europe, can also be felt.

That being said, the theme of Stile Antico's performance at the Basilica, "A Wondrous Mystery," revolved primarily around northern European compositions by Lutheran and Catholic composers, set to both German and Latin texts. One of the few compositions from the era that remains rooted in our hymnals today, "Lo, How a Rose Ere Blooming," by Michael Praetorius, opened the program, proving that early music is not forgotten. (In fact, many melodies from the Renaissance remain with us today, such as "A Mighty Fortress.") Selections from a mass by Jacob Clemens non Papa (whose nickname tacked on at the end affirms that he was NOT a Pope Clement) were interspersed throughout the program. That may seem like an odd way to perform a mass setting, but it also afforded an opportunity to contrast the composer's style against that of his contemporaries. Works by such composers as Orlando di Lasso (Orlandus Lassus) and Leo Hassler were also featured on the program. When we consider that Orlando was allegedly kidnapped three times as a boy by rival choirs in order to capture his beautiful voice for their own, we gain an insight into the significance of music to the peoples of this period. 

Following the intermission, the group performed Jacob Handl's "Mirabile misterium" (Miraculous Mystery) in a side aisle of the Basilica. This created a remarkable new effect, demonstrating that the direction of sound does indeed affect the listener. Although that was the only selection performed off the altar area, hopefully the singers will experiment further with such techniques. 

By inviting performers of the caliber of Stile Antico, the Cathedral Basilica continues its longstanding tradition of serving the musical needs of our entire community. Kudos to Scott Kennebeck, the Director of the series, and the leadership of the Basilica, particularly Music Director Horst Buchholz, for providing such a far-reaching and broadly-based array of world class performers.

African Musical Arts in the Heartland

The growing contributions of African-American artists to classical music, both on the community level and on the national and international scene, continue to expand their sphere of influence and leadership. It would be impossible to name every great artist, but in recent decades such names as the Marsalis brothers, pianist Andre Watts and opera star Jessye Norman spring to mind, along with legions of others. Here in St. Louis we are blessed with the presence of such leaders as violinist Darwyn Apple and composer Robert Ray
.

Another dominant force in our region is Fred Onovwerosuoke, whose African Musical Arts organization continues to highlight the African heritage and presence in serious music. In its short history, African Musical Arts has presented a wide variety of performances showcasing music of diverse backgrounds and cultures. On November 6, Darwyn Apple headlined a concert showcasing works by composers of African descent.  

The featured composers embodied a rich variety of musical styles, reminding us that composers of African origin cannot be confined to a single tradition. Partly because of the African diaspora and partly because of the diversity of cultures within Africa, no single style or stream of creativity speaks for all. The “Five Folksongs for String Quartet” by Florence Beatrice Price breathed an almost Impressionistic sheen to a group of spirituals; somewhat differently, the energy and introspection of the African Dances by Samuel Coleridge-Taylor—hailed as “the African Mahler”—contrasted with the lyricism and jazz-peppered adventurous style of William Grant Still. Like Gershwin—but perhaps even more boldly—Still bridged the gap between jazz and mainstream classical music, aiding the establishment of a uniquely American style. 

The “Kreutzer” Sonata of Beethoven was also highlighted on the program. Increasingly, it is believed that Beethoven’s family tree included a branch from Africa. Research has yet to confirm this; however, at the very least we know that there was some Spanish influence in Beethoven’s ancestry, which could easily have included African heritage as well. Many people believe that the sheer vibrancy and rhythmic vitality of Beethoven’s music were the product of a cultural heritage that perhaps cannot be confined to a single source. If Beethoven is indeed part African, he joins a group of remarkable Europeans that includes Alexandre Dumas, Alexander Pushkin and other notables.

Darwyn Apple has long been a figure of note on the St. Louis concert stage, binging an inspiring intensity and seriousness to the art of the violin. For the solo and duo portions of the program, Apple was joined by pianist Sunghee Hinners for the solo and duo portions of the program. The two performed with a fine balance of dynamics and sense of partnership, and both performed with the solid technical skills we have come to expect. Violist Anna Lackschewitz and cellist Jake Brookman added their talents to the first movement of Beethoven’s Trio for Violin, Viola and Cello in G Major, which opened the second half of the program. The three were joined by violinist Joseph Kaminsky for the concluding work of the program, the finale from the String Quartet in D Major, Op. 76, no. 5, by Franz Joseph Haydn. To our knowledge, Haydn did not possess African ancestry, but his work provided an interesting comparison to the other featured works on the program and provided an upbeat conclusion. Again, these performers likewise performed with consummate and well-honed skills.

Even those who feel already well-versed in music history and the contributions of composers of African descent would find much to learn and ponder on this program. Perhaps the greatest lesson to be learned is a renewed awareness that creativity can never be stifled, whether it springs from the grip of slavery, the fires of the Holocaust, or the onslaught of war and terrorism.  As human beings, creativity is our shared resource. Moreover, we see that creativity by its very nature can never be confined to a single template. 

Special recognition must also go to Fred Onovwerosuoke, who has long labored to build bridges between cultures. Fred has demonstrated time again that honoring one tradition does not diminish any other, and his work has shown that we are all part of the whole. This concert not only honored composers of African descent, but it also honored all musicians and composers who have strived to enrich their art. Ultimately, this was a concert that honored the very soul of music.