November 3, 2024
St. Bartholomew’s Episcopal Church
Atlanta, Georgia – USA
“A Musical Banquet: Celebrating the Sounds of Germany”
Lauda Musicam of Atlanta, Jody Miller, music director; Lauda Musicam’s Capped Reed Ensemble; Lauda Musicam Baroque Orchestra; Adrin Akins, countertenor; Members of Schola Cantorum of Atlanta.
Stephan MAHU (c. 1480–c. 1541): Ein feste Burg
Johannes HEUGEL (c. 1500–1585): Der Lerman
Johann Hermann SCHEIN (1586–1630): Banchetto Musicale Suite 14
Orlando di LASSO (1532–1594): Ein guter Wein
Michael PRAETORIUS (1571–l621): Nun bitten wir den Heiligen Geist
Joachim DECKER (c. 1575–1611): An Wasserflüssen Babylon
Melchior FRANCK (c. 1579–1639): Ein feste Burg
Michael ALTENBURG (1584–1640): Vater unser im Himmelreich
Andreas RASELIUS (c. 1563–1602): Gelobet seist du Jesu Christ
Heinrich SCHÜTZ (1585–1672): Wär Gott nicht mit uns diese Zeit
Johann CRÜGER (1598–1662): Nun freut euch, lieben Christen g’mein
Johann Sebastian BACH (1685–1750): Jesus Schläft, was soll ich hoffen? (BWV 81)
Paul LÜTKEMAN (c. 1560–c. 1611): Paduan “Ohn dich muss ich”
Heinrich SCHÜTZ: Viel werden kommen von Morgen
Wolfgang GREFINGER (c. 1470–after 1515): Ich stell leicht ab
Ludwig SENFL (c. 1486–c. 1543): Ich klag den tag
Caspar OTHMAYR (1515–1553): In silentio et spe
Samuel SCHEIDT (1587–1674): Canzon super Cantionem Belgicam
Melchior FRANCK (1580–1639): Benedictus Dominus a12
Jon Ciliberto | 18 NOV 2024
By the end of Lauda Musicam’s enriching program at St. Bartholomew’s Episcopal Church, two thoughts were at the front of my mind. First, the transportive and emotionally moving quality of Early Music. Second, the priceless value of a generous community in music-making.
For this performance, the Atlanta-based ensemble showcased sub- and super-groups (Lauda Musicam’s Capped Reed Ensemble and the Lauda Musicam Baroque Orchestra) and also brought in members of the Atlanta Schola Cantorum. This large assemblage of players needed two separate stages in St. Bartholemew’s, showcasing the depth of talent in the region for performing medieval, renaissance, and early Baroque music.
The two opening works, a setting of “Ein feste Burg” for the Capped Reed Ensemble and “Der Lerman” by Johannes Heugel (“an unusual instrumental piece specifically for wind instruments”)[1] were presented without introduction.
The first was an immediate drop into the deep, earthy, and confident realm of Lutheran chorales: “perhaps the most famous chorale, and the one that came to be most associated with the Reformation.”[2] “A Mighty Fortress” is a tightly closely enclosing soundscape, sounding more the “shield” than the “weapon.” Lauda Musicam’s rendering transported me to a time when dark forces were very much alive in the world, and one’s only protection was sensitivity to a justice and grace known through kindness and love, not by aggression and demonizing the enemy. The hymn and the music are means to realize this defense, one I found comforting in our present dark days.
The Lauda Musicam Baroque Orchestra, which debuted, helped to show the fuzzy edges of “baroque music” as a category. Director Jody Miller noted that Schein’s “Banchetto” suite (published in 1617) was more like a Renaissance composition — certainly, the gentle rhythms on percussion added to that air, as did the group’s softer-toned musical profile. The performance was balanced and expressed great togetherness.
Miller sprinkled the music with brief historical notes on the instruments, including their distinction from modern counterparts.
Soloist Adrin Akins (countertenor) and singers from Schola Cantorum and the Lauda Musical Baroque Orchestra performed a very moving rendition of Bach’s “Jesus Schläft, was soll ich hoffen?” (“Jesus sleeps, what shall I hope for?”) The cantata’s expression of the movement from Christ asleep and in action — and the anxiety the world feels in the former case when no defense against evil exists — seemed to me highly reflective of a hopeless worry engulfing the world.
From the many other fine offerings, I mention the excellent rendering of “In silentio et spe,” here an instrumental setting of Caspar Othmayr’s work, written as for Martin Luther’s translation from Isiam 30:15, “In silencio et spe erit fortitudo vestra,” “through silence and hope you would be strong”.
The performance presented dozens of performers in multiple configurations. Lauda Musicam has expanded beyond the Southeast, with a “franchise” in Austin, Texas. Miller described the process of tele-rehearsal, and then the near- and far-flung musicians coming together in person. Also described throughout the afternoon was the broad project of Lauda Musicam as an open, encouraging, and generous place for all interested musicians. He noted that several of the players present had only started on their performer instruments a few years prior.
The overall complexity of successfully staging a program across multiple groups expressed to me the greatness of a dedicated community of musicians. At the post-performance instrument “petting zoo,” I sawed gamely on a gamba and was encouraged to consider learning the instrument through the generous spirit that pervades Lauda Musicam. I was reminded that culture only forms when one has open- and kind-hearted people who see value in working together, and in the multitude of different voices. ■
EXTERNAL LINKS:
- [1] Johannes HEUGEL: Der Lerman: bach-cantatas.com/Lib/Heugel-Johannes.htm
- [2] Melchior FRANCK: Ein feste Burg: indianapublicmedia.org/harmonia/ein-feste-burg.php
- Lauda Musicam of Atlanta: laudamusicam.org
- Atlanta Schola Cantorum: atlantaschola.org
Read more by Jon Ciliberto.
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