Closing out its 25^th anniversary summer season, the Santa Fe Desert Chorale saved its best for last. The concert notes state that Rachmaninoff’s Vespers stands at the pinnacle of the Russian Orthodox choral tradition. Few would argue with that bold statement. And few would argue that this is precisely the kind of work which puts on display the true and full talents of the Desert Chorale.
 

Rachmaninoff, never a particularly religious person, nonetheless composed the Vespers in 1915 in response to the school of “choral orchestration” which had been developing in Russia around the turn of the century. Yet Rachmaninoff’s implementation of the use of color and range in a choral work significantly outdoes anything that had come before. Thus it requires a virtuoso chorus to tackle the enormous difficulties and requirements of the Vespers.

One will find little of the composer’s instrumental style in the work. Indeed, just as the Frenchman Poulenc changed his tune for his liturgical writing, in opposition to his instrumental works, so too did Rachmaninoff conjure up a newfound sense of introspection. The harmonic idiom is conservative even for him, proving yet again that works of lasting appeal are due little to contemporary vogue and everything to quality of composition.

The concert on Friday night began with the Miserere by Allegri. Originally this work was the exclusive property of the Roman Catholic Church to be used only on special occasions, and never published. Then along came a 14-year-old precocious brat named Mozart who, upon hearing the work, went home and promptly wrote it down. The church officials were furious as they had lost their monopoly on the piece.

This performance could have stood one more rehearsal to iron out a few ragged spots, but still produced a marvelous effect. The soprano part sung by Kathryn Mueller is perilously difficult, leaping to a high C before descending back to earth, a passage which repeats half a dozen times.

However, everything came together splendidly for the Vespers, performed without break. The opening movement Priidite, poklonimsia (Come, let us worship) burst forth full of color and jubilant expression, settling into a more somber mood in the two succeeding sections. The fifth section Nine otpushchayeshi (Lord, now lettest Thou Thy servant) ends with the basses descending pianissimo to a low B-flat, creating a truly amazing effect.

The Desert Chorale has always been noted for its marvelous blend of voices and pristine intonation. The movement Blagosloven yesi (Blessed art Thou, O Lord) played back and forth with an homogeneity of sound contrasted with distinct timbres for each of the voice groups for a rich texture with almost “orchestral” effects.

Matthew Tresler sang the tenor solo in three of the fifteen sections, lending a beautifully modulated sound, clearly distinct yet fully integrated into the choral ambience.

Led by Music Director Linda Mack, the work traversed a variety of subtle moods invariably dark in color, with the infrequent climaxes highly arresting, yet developing from a mood of introspection rather than theatrical drama. The most boisterous movement concluded the performance Vzbrannoy voyevode (To Thee Victorious Leader) as voices rose to their peak dynamic.

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