Scattered and hesitant raindrops occasionally brushed my arm during a post-lunch ramble through the riot of artwork on display in Marion Square, bringing back memories of tropical storm Barry’s brief exclamation point during last year’s festival. My companion and I sat for a few moments to contemplate the Holocaust Memorial. She pointed out the word “remember,” so subtly inlaid in the stone that contemplation may be the only avenue by which one would notice its existence. So, it was with umbrella in hand, eyes turned to the sky, and thoughts leaning to the past, that I trudged down King Street, eagerly anticipating the William Baker Festival Singers performance after Shabbat service at Kahal Kadosh Beth Elohim.
At the gate, I was introduced to Margot Freudenberg, a survivor of the Holocaust known for creating the American Cancer Society’s Hope Lodge system. Tonight’s concert was given in tribute to this beautiful centenarian.
The concert began with four works from William Dreyfoos’ Songs of the Holocaust. These works, while technically not purely “Entarte Musik,” are based on the work of Polish writers from that dark period. I apologize for not giving titles…no program for the music was provided, and I’m not exactly fluent in Yiddish. But no translation was needed once the rolling, plaintive melody of the first song filled the air. Our soloist, soprano Maggie Cook, seemed at first to be singing from the back of her palate, but as the music progressed I realized that her subtle shifts in placement of the voice not only served each piece well, but also brought forth emotional colors with clarity and confidence. The sixteen voice choir, a little less than half of WBFS’s full complement, sounded just a touch on the muddy side for the first few bars after their entrance, but quickly struck the solid balance such deeply emotive music needs as an anchor.
Next up were two works by composer Seymour Barab. Mr. Baker admitted that he had just recently been introduced to this composer and is now collecting any and all of his works. After hearing these two pieces, I can understand why! Large jumps in melody juxtaposed with a wheel-like pulse made for quite an angular experience; but they’re not sharp angles. Both works highlighted a sure control of pitch, volume, and tone which both soloist and choir were more than happy to demonstrate.
The concert closed with Kadosh, by William Dreyfoos. The audience was invited to sing along during the repeated sections, and after a short melodic lesson, our soloist took the role of cantor. All in all, a wonderful, gratitude inspiring, and auspicious start of the season for this humble scribe!
Teach me, O God, a blessing, a prayer on the mystery of a withered leaf.
