ORANGE — The Quabbin Valley Pro Musica will present “Light After Darkness,” a concert of three choral masterpieces on Sunday, Jan. 27 at 3 p.m. in the Central Congregational Church, 93 South Main St. The QVPM is the resident chorus of the 1794 Meetinghouse, Inc. in New Salem, which is celebrating its 25th anniversary of programs.
The concert will be conducted by Geoffrey Hudson, who returned to QVPM in 2017 following a hiatus of 10 years. He previously directed QVPM from 2001-2007.
Hudson shared some insights on the music to be performed on Sunday. The first piece, Antonio Caldara’s Stabat Mater, is dark and brooding, with sinuous vocal lines and arresting vocal harmonies. While Caldara is little known today, he was a major figure in 18th century music, holding important positions in Venice, Rome, and Vienna.
After the darkness of the Caldara, QVPM will sing a Magnificat long thought to be the creation of the German Baroque master Dietrich Buxtehude. Modern scholars have determined that Buxtehude did not, in fact, compose this piece; the name of the author is unknown. Regardless of who the composer was, the music is bright and elegant, graceful and lilting.
The final work on the program is a mass by the great Austrian composer, Franz Joseph Haydn. The music is beautiful and dramatic and includes a movement with virtuosic turns for solo soprano and organ.
Hudson said, “The Magnificat is a piece I’ve known for many years, and performed several times before, including with QVPM in 2004. I love the way the music dances. Because it’s composed with two soprano parts, I chose it to showcase QVPM’s excellent soprano section.”
He said he found the Caldara by chance, while looking through choral music online. “I’d heard Caldara’s name, but didn’t know any of his music. When I downloaded the score and played through it at the piano, the adventurous harmonies captivated me right away. The Stabat mater is so heartfelt, so poignant. I knew immediately that I wanted to perform it.”
Haydn is the best known composer on the program. Hudson said, “He’s always been a great favorite of mine. I’ve come close to programming this mass many times, but this will be the first time I’ve actually conducted it. It’s been a real pleasure to dig into all of this music in rehearsal. The music is both beautiful and rich, filled with wonderful nuances.”
For the singers, each of these pieces poses real challenges. Hudson said, “Each of the composers has a unique voice; in learning the program, we had to find our sound for Haydn, for Caldara, and for “Buxtehude.” I try to choose music that stretches our singers, that helps us grow musically. And the group has risen to the challenge. Last night’s rehearsal sounded fantastic. One of our singers was battling a cold and couldn’t sing, but came to rehearsal anyway. I invited her to sit behind me, so she could hear the full sound of the chorus. Afterwards, she said, ‘Wow, we really sound good.’ At the beginning of the rehearsal process, we have to take pains with so many details. It’s thrilling to get to this point in the semester and hear the music come into focus and bloom.
Hudson says he is “constantly reflecting – week by week – on how the group sounds. I think about what sorts of music would sound best and would best challenge us. When I’m choosing music, my piano is piled in scores. I play through lots of things, trying to hear how they might fit together in a program. Ultimately, I rely on my gut; there’s so much great music out there, that there’s no need to settle for a piece you don’t absolutely love.”
So what can concert-goers expect?
“The voices and instruments together will make a beautiful sound. And that, in itself, can be very moving, especially when it’s your friends and neighbors who are making that sound. Maybe some concert-goers will even be moved to join the group in the future! But beyond the physical beauty of the sound, the audience can expect to go on an emotional journey. The title, “Light After Darkness,” is a deliberate choice. The program begins in a place of pain and darkness — beautifully depicted pain, but pain, nonetheless — and then, gradually, over the rest of the program, the light returns, until, finally, at the end of the Haydn, we’re left with an exquisite, delicate “Dona nobis pacem” – “grant us peace.”
“It feels wonderful to be back conducting QVPM. It’s a wonderfully supportive and congenial community of musicians and people. I look forward rehearsals every Monday night,” he said.
Local choristers include: sopranos — Judy Bisinger, Lynn Boudreau, Nancy Davis, Candi Fetzer, Rachel Gonzalez, Susan Marshall, Linda Overing, Allison Pollitt, Elaine Powers and Cathy Tyng. Altos — Jo-Anne Chalin, Deborah D’Amico, Charlene Deam, Lisa Finestone, Wendy Howes, Betsy Pelz, Susan Ressler, Joyce Sawyer and Phyllis Stone. Tenors — Richard Chase, Lynn Dudley, Ken Johnson, becky Krause-Hardie, Phil Rabinowitz. Basses — Chuck Berube, Hugh Field, Harry Haldt, Al Hudson, Paul Maier, Bill Oldach, Mike Ross and Paul Shallers. Soprano Alisa Pearson, will be the featured soloist.
Instrumentalists include: Michelle Liechti (violin); Gregory Diehl (violin/viola), Wayne Smith (cello) and Judy Johnson (organ).
Tickets at the door are $15 for adults, $10 for ages 13-17 and free for 12 and younger.