Vienna Boys Choir
December 8, 2019
By Christian Carey
NEW YORK – On Sunday, the Vienna Boys Choir performed a Christmas program at Carnegie Hall. It included much standard Christmas fare, both carols and pops selections. However, there were also a number of more substantial pieces, both Renaissance polyphony and 20/21st century music. The superlative musicianship of both the choir and its director/pianist Manuel Huber were impressive throughout, and the flexibility in navigating the various styles of the programmed music seamlessly was noteworthy.
Although the membership rotates through some hundred members at a given time, with various touring groups and educational activities, the sound of the choir remains distinctive. Unlike English boys choirs, the sound up top is narrower yet retains a bell-like consistency. Several members of the group are in the midst of their voices changing, which allowed for tenor and baritone registers to be accessed in select places. The retention of adolescents not only allows for the group’s larger compass, it is also a compassionate way to treat young people, flouting the long tradition of dismissing choristers whose voices have “broken.”
The choir entered from offstage singing plainchant. This was followed by a selection of Latin church music by Palestrina, Duruflé, Salazar, and Verdi. The latter piece was the most taxing on the program and the singers navigated it with aplomb. Gerald Wirth has long been the music director for Vienna Boys Choir, arranging and composing pieces for the group. The Sanctus-Benedictus from his Missa-apostolica showed the choir’s voices to best advantage. Canadian composer R. Murray Schafer’s pentatonic vocalization of Gamelan sounds was another winning selection. A nod to America included “I Bought Me a Cat” from Aaron Copland’s Old American Songs, “Somewhere” from Leonard Bernstein’s West Side Story, and Gershwin’s “I Got Rhythm.” On the pops selections, choirmaster Manuel Huber provided jaunty accompaniments at the piano with cocktail jazz embellishments.
The second half of the program was divided between carols and pops selections. Es ist ein Rose entsprungen, Adeste Fideles, O Holy Night, and others were performed with gossamer tone and considerable musicianship, putting paid the many stolid renditions one must endure during the holiday shopping season. A new carol to me, Es Wird sho glei dumpa, from Upper Austria, will certainly feature in my own Christmas performances in the future.
The closing set of pops numbers included “White Christmas” and “Rudolph the Red-Nosed Reindeer” – it was once again impressive to hear the change in tone the choir was able to adopt between stylistic margins of the program. The inclusion of “Let it Snow,” which is more suggestive than the other pops tunes, marked a questionable choice. Ending with “Stille Nacht” made far more sense for this fine group of young singers.