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Music Review from The Columbus Dispatch Group's Gregorian chant soars at Southern Monday, February 26, 2001 Jon
Christensen The Columbus Chamber Music Society moved its repertoire to
medieval Paris for yesterday's concert by Lionheart, specialists in Gregorian
chant. Lionheart's six talented voices presented "Paris 1200: Chant and
Polyphony of 12th Century France" at the Southern Theatre. A crucial element of concerts involving small groups is the
venue. This is especially true of early music and other programs of the original-instrument
genre. For the unaccompanied voices of Lionheart, the Southern's
acoustics preserved the clear diction and accurate pitch --after minor misses at
the beginning-- of each combination of voices. The program's progression from simple plainchant to early
polyphonic music captured the attention of a 2lst century audience used to
modern harmonic and tonal idioms. The decision to omit an intermission contributed to this
attentiveness. So did Lionheart's program notes, pointing out the "austere
passion" of the monks who began erecting the Cathedral of Notre Dame, the
setting for which many selections are thought to have been conceived. That
austerity was evident in many of the concert's early pieces, which used the
simple harmonic technique of two voices singing a constant interval apart. Lionheart most convincingly demonstrated this in the Ave
virgo virginum and the Pange melo lacrimosum, reminding us that
austerity of means can convey immense emotion, as Mozart showed centuries later
when he used this technique to eerie effect in The Magic Flute. Still, the audience's fascination grew with the addition of
musical devices to other pieces in the program, whose middle selections switched
from the most sacred to the most secular text, bawdy on its face and even more
so by not-so-delicate allusions. The longest secular piece showed the evolution of musical
styles ant combinations. Lionheart's return to sacred texts concluded the
program as it began, with a processional. The group's encore moved to 19th-century America: a barbershop-quartet treatment of Meet Me Tonight in Dreamland. [Home] [Reviews Index] |