MUSIC REVIEW : Cambridge Singers Close 9th Season in Pasadena

The choral veterans of the Cambridge Singers closed their ninth season with a “War and Peace” program Sunday at Pasadena Presbyterian Church. The compact agenda listed complementary prayers for peace, Vaughan Williams’ “Dona Nobis Pacem” and Haydn’s “Nelson” Mass.

Vaughan Williams’ moving setting of Walt Whitman, biblical and liturgical texts, however, is more commonly the turf of large choruses and orchestras. The Cambridge Singers went into battle backed by a handful of strings--one on a part in the divided sections!--and piano, and the often scrawny results subverted the spirit of a score that should live in texture, color and contrast.

In context, the warmth and depth of sound from the 43-voice choir served as an exemplary rebuke to the economies imposed on the orchestra. William Dehning led a rhetorically rich interpretation, sung with well-drilled appreciation for the texts and solid ensemble values.

Soprano Mary Rawcliffe intoned the liturgical pleas with dramatic poise and a wide vibrato not flattered in the resonant sanctuary acoustic. Baritone Edward Levy gave smooth, even utterance to his noble elegies and evocative plaints.

The orchestra, reinforced by trumpets and timpani and with Edward Murray moving from piano to the obbligato organ part, proved much more effective in the Haydn “Nelson” Mass, a.k.a. “Imperial,” “Coronation” and “Missa in angustiis.” Lack of rehearsal seemed apparent at times, but there was ample fire supporting the more extrovert anguish.

Dehning’s approach here concentrated on dramatic exaggeration. Fiercely accented and sharp in dynamic contrasts, it could sound blunt and astylistic in quieter moments, and awkward in transitions.

His chorus gave him what he wanted in the way of explosive shouts and suddenly hushed pianissimo singing. Rawcliffe provided flexible grace in the soprano embellishments, and Levy again offered pointed dignity, though barely present at the bottom of the descending lines. Mezzo Linda Rourman and tenor Randolph Farrar stepped forward from the chorus to complete the solo quartet efficiently.