OVERNIGHT REVIEW: L.A. Master Chorale concludes season with “Lux Aeterna” and other works at Disney Hall

By Robert D. Thomas
Music Critic
Southern California News Group

Los Angeles Master Chorale; Grant Gershon, conductor
Saturday at Walt Disney Concert Hall
Next performances: Tomorrow at 8 p.m. (part of Gala Dinner program)
Thursday at 8 p.m. (part of Chorus America conference)
Information: www.lamasterchorale.org

The Los Angeles Philharmonic, rightfully so, is celebrated for its commitment to new music, both the pieces performed and even more for the pieces it commissions each season (next season the Phil will offer 23 commissions, 22 world premieres, six U.S. premieres and two west coast premieres).

However, many of the finest new compositions are in the realm of choral music and nobody celebrates this music joyously as Artistic Director Grant Gershon and the Los Angeles Master Chorale, which closed its 53rd season yesterday at Walt Disney Concert Hall with a concert of works written within the past 20 years.

If the Chorale’s splendid performance of Morten Lauridsen’s Lux Aeterna was the afternoon’s highlight (I’ll discuss it in a few paragraphs from now) then the revelations were the seven a cappella pieces written by five composers integrally linked to the Master Chorale.

All of the composers either studied or were otherwise influenced by Lauridsen, who has been a professor of music at the USC Thornton School of Music for more than 50 years but always reserves the summer to do his composing on an isolated retreat in the San Juan Islands outside of Washington. Several of the works chosen yesterday played off of themes expressed in Lux Aeterna: hope, illumination and reassurance.

The most moving work was Angel Band, part of Heavenly Home: Three American Songs, by Shawn Kirchner, a member of the choir’s tenor section, who served for three years as Master Chorale Composer in Residence (as did Lauridsen before him).

The choir’s intonation of the moving Angel Band text was mesmerizing and Grant Gershon segued without pause into a rollicking version of Unclouded Day (although I’m not sure that a day without puffy clouds would be my idea of paradise).

Two of the pre-intermission works were world premieres: In Gratitude by Billy Childs, which the choir sang with diction so precise that the supertitles were not needed; and Time in Our Voices by Moira Smiley, which grew out of the Chorale’s Oratorio Project at Van Nuys High School (REVIEW LINK) and was conducted expertly by Assistant Conductor Jenny Wong.

The concert opened with Iri Da Iri, a work with slowly shifting chords that former L.A. Phil Music Director Esa-Pekka Salonen wrote on a commission from the Master Chorale members for the ensemble’s 50th anniversary in 2014.

Current LAMC Composer in Residence Eric Whitacre conducted the west coast premiere of I Fall, a piece with texts by Charles Anthony Silvestri that came 12 years after his wife’s untimely death. It’s a melancholy work that the Chorale sang with elegance. The piece will be part of an evening-long work Whitacre expects to complete next year entitled The Sacred Veil.

When Lux Aeterna was premiered by the Master Chorale on April 13, 1997 in the Dorothy Chandler Pavilion, I was in attendance. I’ve since heard it many times and sung it several more. My opinion hasn’t changed since that first hearing: it’s one of the landmark compositions of the late 20th century.

It’s also one of the most popular major choral pieces right now; the composer’s publishes says that the choral/orchestra version is performed about 50 times per year in the U.S. That doesn’t count the organ/choral version performances nor concerts outside the U.S., nor does it count the numerous church choirs who have the work’s third movement, O Nata Lux, in their libraries.

Lauridsen wrote Lux Aeterna for the Chorale’s makeup at the time. Prior to Lux Aeterna he had written another landmark piece, O Magnum Mysterium, for the Chorale and Lux Aeterna proved to be a natural successor.

The Master Chorale’s music director, Paul Salamunovich, loved Gregorian chant and he built his chorale forces from the bottom up, with men’s sections that produced particularly rich, deep sound; both factors have been clearly in evidence throughout the past 20 years.

The ensemble that Gershon has built is a more flexible force, even with 132 singers on the stage. Gershon emphasizes diction and projecting the meaning of texts and the Chorale has a somewhat leaner sound than was apparent under his predecssor. All of that was clearly in evidence Saturday as Gershon led Lux Aeterna’s first performance with choir and orchestra in Disney Hall — he had programmed the organ/choral version for the ensemble’s 50th anniversary season.

Gershon led an unhurried performance but one that never lost the sense of line. The Chorale sang as a marvelously flexible unit throughout, but particularly in O Nata Lux, which is the work’s central point both literally and figuratively.

Even with Lux Aeterna’s hushed ending, the performance brought forth an instantaneous standing ovation from the near-capacity crowd, applause which reached its apex when Lauridsen came on stage to join Gershon, the chorus and orchestra for the celebration. I wished I had been singing.

• Although this concert represented the formal ending of the Master Chorale’s season (the performance tonight is part of a gala dinner honoring Lauridsen) and Thursday’s performance is the closing performance at the Chorus America national conference taking place in Los Angeles.
• The MC will sponsor “Big Sing L.A.,” a large group sing on Saturday at 1 p.m. in Grand Park (south of the Music Center). Five conductors will lead the songs (song sheets will be provided). Information: www.lamasterchorale.org
• The Chorale will perform five times this summer at Hollywood Bowl and on July 31 with the New York Philharmonic in Santa Barbara, before opening its 54th season Sept. 23 and 24 with a concert that includes Leonard Bernstein’s Chichester Psalms and Carl Orff’s Carmina Burana. Information: www.lamasterchorale.org

(c) Copyright 2017, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Bartók, Janáček dominate L.A. Phil’s Disney Hall concert

By Robert D. Thomas
Music Critic
Southern California News Group

Los Angeles Philharmonic: Gustavo Dudamel, conductor
Friday at Walt Disney Concert Hall
Next performances: Today and tomorrow at 2 p.m.
Information: www.laphil.com

Yuja Wang was the soloist in Bartók’s Piano Concerto No. 1 with the Los Angeles Philharmonic last night in Walt Disney Concert Hall.

As we drove home following the concert at Walt Disney Concert Hall, fireworks blazed in the sky over Dodger Stadium. They paled compared to the fireworks that exploded inside Disney Hall.

Music & Artistic Director Gustavo Dudamel and the Los Angeles Philharmonic began a two-week series last night that will conclude the Phil’s 2016-2017 indoor subscription season. The cycle revolves around the three piano concertos of Bela Bartók, with Yuja Wang as the soloist. Dudamel is surrounding each concerto with music by Igor Stravinsky and Leoš Janáček — this weekend it’s two rarely heard and disparate pieces based on Roman Catholic liturgy: Stravinsky’s Requiem Canticles and Janáček’s Glagolitic Mass.

Since her Phil debut at Hollywood Bowl in 2011, Wang has been one of the most enjoyable pianists at Phil concerts and recitals both for her playing and what she wears. In her Los Angeles Times profile of Wang yesterday (LINK), Deborah Vankin wrote: “Wang says she has outgrown some lifestyle choices for which she’s known. Of fashion, once an obsession, she says, ‘Oh, it was a phase.’ ” Based on the long, purple slit dress she wore last night (see photo above), Wang clearly had her tongue in her cheek during the interview.

However, as usual, Wang playing was the real story. Although she has performed the Bartók concertos individually during this season, this will mark the first time she will play them in a cycle. Somewhat surprisingly, last night she used a score for the complex, percussive score (given the number of notes, I was glad I wasn’t turning pages). She tore through the music with the virtuosity for which she is well known, pausing along the way to let more delicate passages drip off of her fingers.

Dudamel, who also used a score — in fact, for the first time I can remember he used scores on all three of the evening’s pieces — and the Phil were on their rhythmic toes throughout the performance, for which all concerned received an especially lengthy standing ovation.

Stravinsky’s Requiem Canticles was the last major work the composer wrote, five years before he died in 1971 (in what was probably a cut-and-past error, the printed program managed to bogey all of Stravinsky’s birth and death information).

Although scored for a massive orchestra, chorus and two soloists, Requiem Canticles is just 15 minutes long, uses only 24 lines of the Roman Catholic Requiem liturgy (Stravinsky termed it his “first mini- or pocket-requiem”), and never has the full orchestra playing — often just a few instruments cover the singers.

It remains a perplexing work for the hearer, full of the dissonances and serialism that Stravinsky was using at the time. The Los Angeles Master Chorale, which numbered 92 according to the printed program, sang with delicate precision, mezzo-soprano Alisa Kolosova delivered “Lacrimosa” lines with creamy, luxurious tones, and bass Stefan Kocan was properly stentorian in the “Tuba Mirum” section, aided expertly by Principal Trumpet Thomas Hooten.

If Requiem Canticles is at the mini-end of the musical scale, Janáček’s Glagolitic Mass stands at the opposite extreme. It was written in 1926 and revised in 1928, the same time frame as the first Bartók piano concerto. Janáček was age 73 at the time and his textual choice remains perplexing.

In his program notes: Herbert Glass wrote:

“ ‘The ageing composer [Janáček] had a positive aversion to organized religion, even to churches. He would not go into one even to get out of the rain,’ his niece wrote. ‘The church to me is the essence of death,’ Janáček observed, ‘graves under the flagstones, bones on the altars, all kinds of torture and death in the paintings. The rituals, the prayers, the chants – death and death again! I won’t have anything to do with it.

“Yet after the first performance of the Glagolitic Mass in Brno (in a church), in the composer’s native Moravia, in December of 1927, a Czech newspaper critic wrote: ‘The aged master, a deeply devout man, has composed this Mass out of passionate conviction that his life’s work would be incomplete without an artistic expression of his relation to God.’ Janáček was outraged and wrote in return a postcard with a four-word response: ‘Neither aged, nor devout.’ ”

Rather than religious, Janáček conceived the work as a pantheistic, patriotic work, using for the text — instead of Latin — Old Slavonic (whose written characters are in Glagolitic, thus the work’s title). The words were the same Missa Solemnis text used by Beethoven in his Op. 123 work written near the end of his life.

Like Requiem Canticles, the Glagolitic Mass is scored for giant-sized orchestra and full chorus, but unlike Stravinsky Janáček uses them in full-throated glory. Dudamel conducted the work with an irresistible swagger, the orchestra’s strings were notable for their lean sound, and the full brass section was glorious throughout. The Master Chorale sang the difficult text superbly. In addition to Kolosova and Kocan, soprano Angela Meade sang gloriously with full operatic fervor, while Ladislav Elgr’s clarion tenor voice soared over the orchestra and chorus with seeming ease.

The orchestral score includes a pipe organ and, after the final choral section, Latvian organist Iveta Apkalna put a virtuosic cap on the proceedings using the Disney Hall organ in the “Varhany” solo movement (the word means “organ” in Czech), which concludes with a pedal-solo flourish.

The 1928 version has Glagolitic Mass concluding with a short, dramatic orchestral movement, “Intrada,” which preconcert lecturer Eric Bromberger noted might be thought of as a recessional rather than an introit (the original 1926 version had the movement at the beginning). As an organ lover I might have opted for the earlier version.

• The two-week Bartok cycle concludes next week with the second piano concerto on June 1 and 2 and the third concerto on June 3 and 4. Both concertos are surrounded by Stravinsky’s Symphonies of Wind Instruments and Janáček’s Sinfonietta. Information: www.laphil.com
• The final concert of the Disney Hall season is a “Green Umbrella” performance of Lou Harrison’s opera Young Caesar on June 13, with the L.A. New Music Group conducted by Mark Lowenstein, and the production staged by Yuval Sharon in collaboration with his group, The Industry. This year marks the centennial of Harrison’s birth. Information: www.laphil.com

(c) Copyright 2017, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: L.A. Master Chorale sings beautiful, varied program at Disney Hall

By Robert D. Thomas
Music Critic
Southern California News Group

Grant Gershon conducts the Los Angeles Master Chorale and pianist Lisa Edwards during last night’s “Wade in the Water” concert at Walt Disney Concert Hall. Photo credit: LAMC

When I sang with famed choral conductor William Hall several decades ago, he used to say that the hardest type of a program for a choir to sing was one with a dozen small, anthem-sized pieces. “It’s much easier to prepare Bach’s B-Minor Mass,” he said with a grimace.

For the penultimate program in the Los Angeles Master Chorale’s 2016-2017, Artistic Director Grant Gershon defied that perspective with a program that included 14 anthem-sized works (counting two encores) and one larger piece (Vaughan Williams’ Mass in G minor). To no one’s great the Chorale pulled it off beautifully.

The program was titled “Wade in the Water,” which Gershon said in his preconcert talk was to convey, “Music of the spirit and music of renewal.” Assistant Conductor Jenny Wong termed the evening one of “humility and harmony.” The title came from a spiritual of the same name arranged by Moses Hogan that was the second piece performed. During the program.

Gershon began with a twist. For the opening work, Stand in That River by Moira Smiley, Gershon had the singers enter the hall down four staircases leading from the Orchestra View level to the stage where they arranged themselves not in the four standard groups (soprano, alto, tenor, bass) but mixed together with two men standing next to two women who were next to two other men, etc. It made for a more homogenous sound throughout the evening.

The only work where that wasn’t the case was Vaughan Williams’ Williams Mass in G minor, which was written for double choir and four soloists. The two choirs were arranged in the Chorale’s standard horseshoe setup rather than being spatially separated but they sang this treacherous a cappella work with elegant precision.

The solo quartet, perched on an elevated riser behind the other singers, sounded like a separate choir when they sang together. The quartet — Andrea Zomorodian, soprano; Laura Smith Rethe, mezzo soprano; Michael Lichtenaur, tenor; and James Hayden, bass— sang with a purity of tone that resembled English singers. Lichtenaur was particularly effective in his solo lines.

All of the evening’s soloists were Master Chorale members. They included soprano Zanaida Robles, who delivered delicate but heartfelt lines in Wade in the Water, and later received a standing ovation for her gripping arrangement of Lift Every Voice and Sing, which included powerful solos from mezzo-soprano soloist Garineh Avakian.

Many of the works sung last night are in the repertoires of mainline church choirs and educational institutions. For those of us who are choral singers, it was a particularly glorious night. LAMC Assistant Conductor Jenny Wong conducted two of those familiar pieces in the first half: a rhythmically driving rendition of Hark, I Hear the Harps Eternal and a breathtakingly gorgeous performance of Maurice Duruflé’s Ubi Caritas. At the conclusion of the latter, I said to my wife, “Oh! That’s what it’s supposed to sound like.”

The second half of the program opened with the Chorale delivering top-flight diction and intonation in The Word was God, a complex anthem by Rosephanye Powell. They continued with Randall Thompson’s famous Alleluia; the Alice Parker/Robert Shaw arrangement of Amazing Grace, which featured a luscious solo by tenor Nate Widelitz; and Bright Morning Star by Master Chorale member and former LAMC Composer-in-Residence Shawn Kirchner, with bass-baritone Luc Kleimer as the sensitive soloist.

A noble rendition of Moses Hogan’s arrangement of the hymn, Abide With Me, and rollicking account of Rockin’ Jerusalem as arranged by Rollo Dillworth closed the formal part of the program.

Wong conducted the first encore: another arrangement of the “Ubi Caritas” text, this one by Welsh composer Paul Mealor, which was written in 2011 for the wedding of Prince William and Catherine Middleton. Gershon then capped the evening by leading a luscious account of Deep River, third Moses Hogan arrangement during the evening.

The final concert of the Master Chorale’s 2016-2017 season, on June 18, will be a tribute to composer Morten Lauridsen with, among other works, a performance of Lauridsen’s iconic ZZZLux AeternaZXZ on the 20th anniversary of the piece’s premiere by the Master Chorale. Information: www.lamc.org

(c) Copyright 2017, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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FIVE-SPOT: April 27-May 3, 2007

By Robert D. Thomas
Music Critic
Southern California News Group

Each week about this time I list five (more or less) classical-music programs in Southern California (more or less) during the next seven days (more or less) that might be worth attending. As usual, Saturday requires tough choices this week but Sunday is also chock-full (and I didn’t even include LA Opera’s “Tosca” performance on that afternoon).

8 p.m. at Renée and Henry Segerstrom Concert Hall; Costa Mesa
Two French Canadians are on the program. Jean-Marie Zeitouni leads music by Mozart, Chopin, Debussy and Ravel. Louis Lortie will be the soloist in Chopin’s Piano Concerto No. 2

Information: www.pacificsymphony.org

11 a.m. April 28, 8 p.m. April 29 and 2 p.m. April 30
at Walt Disney Concert Hall; Los Angeles
Swiss conductor Phillipe Jordan will join with soprano Iréne Theorin and the Phil for an evening of portions of Wagner’s Der Ring des Nibelung. Jordan seems like a natural choice for this program, since he is music director of the Paris Opera where he succeeded James Conlon, and has recorded a CD with his Paris forces of this program.

The L.A. Phil concerts will include the excerpts from all four “Ring” operas that one would expect in this type of program. However, because the program also includes the Prelude and Orchestra Interludes from Das Rheingold, the orchestration includes six anvils, six harps, nine horns, two timpani and one hammer.

The climax, literally and figuratively, will find Theorin singing “Brunhilde’s Immolation” scene, the conclusion of Götterdämerung and the entire cycle. Hearing this music with the L.A. Phil on stage at Disney Hall should be one of the season’s highlights, at least for Wagner lovers.

BONUS: Disney Hall is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the 1st and Hill St. side of the Civic Center/Grand Park station and walk up two steep blocks to reach the hall.

Information: www.laphil.com

2 p.m. and 8 p.m. at Ambassador Auditorium; Pasadena
Music Director David Lockington will be on the podium for the final concerts in the PSO’s season. The first part of the program includes music by Holst and Vaughan Williams, with the Los Angeles Children’s Chorus. The second half is Beethoven’s Symphony No. 9, with the Donald Brinegar Singers, JPL Chorus and four soloists joining the orchestra in this monumental work.

Information: www.pasadenasymphony-pops.org

8 p.m. at Terrace Theatre; Long Beach
Robert Istaad, incoming music director of the Pacific Chorale, leads an evening of Mozart: Overture to The Magic Flute; Symphony No. 25; and Requiem, with the Long Beach Camerata Singers and soloists Elissa Johnston, soprano, I-Chin Lee, alto, Nicholas Preston, tenor, and Randall Gremillion, bass.

BONUS: The Terrace Theatre is easily accessible via the Metro Blue Line. Exit at 1st St. in Long Beach, walk a block south and cross the street to reach the plaza where the theatre is located..

Information: longbeachsymphony.org

3 p.m. at Soka University; Aliso Viejo
Music Director Carl St.Clair leads his ensemble in an all-Beethoven program: Piano Concerto No. 5 (“Emperor”), with Joyce Yang as soloist; and the Triple Concerto, with the Faktura Piano Trio (HyeJin Kim, piano, Fabiola Kim, violin and Ben Solomonow, cello) as soloists.

BONUS: This is a great chance to experience one of the region’s unsung concert halls.

Information: www.pacificsymphony.org

7 p.m. at Walt Disney Concert Hall; Los Angeles
The Los Angeles Master Chorale performs an eclectic collection of spirituals and other music on April 30 at Walt Disney Concert Hall. Artistic Director Grant Gershon and Assistant Conductor Jenny Wong will conduct 48 LAMC singers in a program entitled “Wade in the Water” (the title comes from the spiritual of the same name by Moses Hogan that will be on the program). The program ranges far and wide, including Maurice Duruflé’s Ubi Caritas and Ralph Vaughan Williams’ Mass in G Minor.

BONUS: Disney Hall is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the 1st and Hill St. side of the Civic Center/Grand Park station and walk up two steep blocks to reach the hall.

Information: www.lamasterchorale.org

7 p.m. at The Wallis Annenberg Center for the Performing Arts; Beverly Hills
The British pianist plays sonatas by Mozart, Beethoven and Scriabin and other works.

BONUS: Grosvernor also appears with the same program on Wednesday at 8 p.m. at Segerstrom Concert Hall in Costa (philharmonicsociety.org).

Information for April 30: www.thewallis.org

7 p.m. at Redondo Union High School; Redondo Beach
The orchestra continues its 50th anniversary season as Music Director Gary Berkson leads a program of suites by Grieg, Prokofiev, Vaughan Williams and Ravel. Baritone Vladimir Chernov will be the soloist in Prokofiev’s Lieutenant Kïjé suite.

BONUS: Free admission.

Information: www.pensym.org

8 p.m. at Walt Disney Concert Hall; Los Angeles
Three of the world’s most celebrated soloists play a series Bach Trios, arranged for cello, string bass and mandolin.

BONUS: Disney Hall is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the 1st and Hill St. side of the Civic Center/Grand Park station and walk up two steep blocks to reach the hall.

Information: www.laphil.com

(c) Copyright 2017, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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SAME-DAY REVIEW: 1,000 students shine during L.A. Master Chorale High School Choral Festivazl

By Robert D. Thomas
Music Critic
Southern California News Group

There were several different ways to experience the Los Angeles Master Chorale’s 28th annual High School Choral Festival this afternoon in Walt Disney Concert Hall.

You could start with the observation that it was amazing that 1,000 students from 29 high schools could actually be quiet at the same time, not once but several times! Not only that, they managed to get into their seats not once but twice nearly on time, a logistical feat approximating the D-Day landings on Normandy.

One could also be amazed at the technical prowess of the combined forces who were seated in the orchestra and orchestra view seats surrounding the Disney Hall stage. In seven pieces that ranged from Handel’s Your Voices Tune to several contemporary pieces, the students — led by LAMC Artistic Director Grant Gershon — sang with impressive diction and articulation and managed to create a wonderfully harmonious sound in those pieces where harmonies were at their lushest.

Two of the pieces — Bring Me Little Water, Silvy and Stand in that River — were by guest artist Moira Smiley (actually, as she explained, the former was a Ledbelly tune), who was on hand to teach the performers the percussion to accompany Bring Me Little Water, Silvy. Although students learned all of the music ahead of time, somehow everything managed to come together in a morning’s rehearsal, yet another amazing feat.

Midway through the choral concert, Gershon led 91 singers selected from the participating schools who comprised the Festival Honor Choir in three difficult, contemporary songs from around the world. The ensemble acquitted itself with distinction during this set; the final work — Tiptipa Kemmakem by Philippine-born composer Nilo Alcala — was particularly intricate in its time signatures.

Another aspect of the concert was to experience the amazing acoustics of Disney Hall, the second day in a row where that was the case (read my review of last night’s Los Angeles Philharmonic HERE). Although Disney Hall is one of the world’s great orchestra halls, it is best during choral concerts, especially during soft moments.

Today was actually three separate programs, beginning with a performance by the 16-voice L.A. Master Chorale Chamber Singers, led by MC Assistant Conductor Jenny Wong. Considering that she memorized the entire 40-minute set, this may well have been part of her Doctor of Musical Arts degree program at USC’s Thornton School of Music. She conducted the set with expressive hands and careful attention to the pieces’ many moods, and the singers’ tone resonated throughout the hall.

Among the highlights was Wir Juden (We Jews), a new composition by 18-year-old USC freshman Lucy McKnight. The moving, five-minute work, McKnight’s first choral piece, was selected as the winner of the Master Chorale’s second annual Young Composers’ Competition and is based on a poem by Gertrud Kolmar, a German-Jewish writer who died at the Auschwitz concentration camp in 1943.

The hit for the assembled students was True Colors by Billy Steinberg and Tom Kelly, as arranged by Saunder Choi. The students were given colored lights and encouraged to illuminate them at appropriate times; the results made for a dazzling light display to accompany the singing.

After the Chamber Singers’ program, organist John West gave a demonstration of the Disney Hall organ, beginning with Bach’s Toccata in D Minor and ending with a Star Wars medley that brought forth the waving light show once again. A good time was had by all, especially those who had never heard this instrument!

Prior to the afternoon program, the 29 choral directors were honored onstage with certificates from the Master Chorale. Later, Gershon paid tribute to his high school choral teachers and encouraged the students to keep on singing. “God knows we need harmony in our lives today,” he said.

Next Master Chorale concert:
Gershon and Wong will conduct 48 Master Chorale singers in a program entitled “Wade in the Water” on April 30 in Disney Hall. The program’s title comes from the spiritual of the same name by Moses Hogan that will be sung during the concert. The music ranges far and wide, including Maurice Duruflé’s Ubi Caritas and Ralph Vaughan Williams’ Mass in G Minor. Information: www.lamasterchorale.org

(c) Copyright 2017, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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