WAR REQUIEM - Benjamin Britten

Atlanta Symphony Orchestra
Donald Runnicles

Elena Prokina, Soprano
Anthony Dean Griffey, Tenor
Nathan Gunn, Britone

Gwinnett Young Singers
Lynn Redmon Urda, Conductor

Before I begin, let me state two things:  This is the first time I have
ever heard this piece; I am not generally a fan of post-Mahler music.  I
say this to give you an idea of the ears through which I heard what I will
now try to report on.

On the whole, this massive work seems to me to be a very deep and heartfelt
protest against the desperate futility of war, as well as an affirmation of
life and faith.  During the pre-concert lecture, Mr.  Runnicles called it
a "celebration of life" in the face of waste and desolation of war.  This
came through quite clearly in his interpretation last night.

The ASO is in what Pierre Ruhe, music critic for the Atlanta
Journal-Constitution, calls the "honeymoon stage" with our new conductors,
Robert Spano, Music Director and Donald Runnicles, Principal Guest
Conductor.  IMHO, after years of an often strained marriage and a
not-so-friendly divorce with Yoel Levi, this honeymoon promises a long
and fruitful marriage.  The members seem to be giving it their all, and
last night was no exception.

After the players and soloists took their place, the hall went into total
darkness.  Two screens flashed a selection of quotes from the text, and
faded to black.  They were not particularly necessary, as the entire text
was in our programs, but it did set a tone of weight and sobriety.  The
lights slowly come up and the music began.

Part I, the Requiem Aeternam grows out of absolute silence.  The voices
seem to come from nowhere.  From somewhere up above, (the projection booth
level, actually), the children's chorus completes the verses.  Right off
the bat Runnicles had everyone at his full control--including the audience.

As much as I loved the chorus and orchestral beginning, I must confess
that when the tenor entered with the first verses of the Owen poem I was
a bit disconcerted.  Perhaps that's the intention, but I found that the
musical lines meandered all over, as opposed to earlier 20th century or
late Romantic music which lead to a melody, however dark.  Personal taste
aside, I was struck by the eeriness of the English words sung in what
seemed to belong to a quite different piece of music from what I had heard
so far.  I found this to be true throughout -- there was a Latin Requiem
mass, and there was an English art song weaving in and out of each other --
but it made a very deep impression on me as an artistic statement.  To some
degree it showed the spiritual language as coming from a different source
than the earthly one-- and yet by the end it was indeed one musical
statement (but I am ahead of myself).

Mr.  Runnicles pulled and pushed at the sounds that were being made,
sculpting the musicas it came at him.  The Sanctus was hair-raising.  One
by one, it seemed, the voices were entoning "holy, holy" in what started
as a whisper and became an organized cacophony of disembodied voices --
like thousands of souls -- sounding like a canon in 64 parts might...  All
arriving at a majestic and satisfying unison in the Hosanna in Excelsis.
Amazing.

I've gone on long enough.  The piece ended by withdrawing back into
silence, the way it started.  I will end by saying that I am very glad
and satisfied to have heard this piece live -- I don't think I would have
"gotten it" on record.  As art, it is a masterpiece -- multi-level pathos
and human commentary.  The ensembles were fantastic, and the conductor was
superb.  I am glad to be in Atlanta at this time, and I can't wait for the
next concert.

Miguel Muelle
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http://mmuelle.home.mindspring.com