PULLING OUT ALL THE STOPS
Rare Jewish Liturgical Work Gets Hearing at Helzberg

by Paul Pattison
special to KC Arts Beat 

I tend to get pretty excited when a composition I’ve never heard in a live performance is suddenly on offer. I get even more exited when a composition I’ve never heard of is presented. Especially if it’s by a composer who has fallen into relative obscurity. This was certainly the case when I learned that The Summer Singers of Kansas City, led by founder William Baker, would be performing “Avodath Hakodesh” (Sacred Service) by Ernest Bloch (1880-1959). 

Formed in 1999, the Summer Singers of Kansas City is a non-auditioned chorus of 100 to 170 voices. Some are professional musicians but anyone who has a love for choral music is invited to join. The addition of non-professional singers in no way diminishes the quality of the chorus. Baker has proven, through the formational of many choral groups, that he is a master in attaining excellent quality.

The concert took place in Helzberg Hall on August 25th. Seating was limited to the center section of the hall and from my vantage point, nearly every seat was occupied. In lieu of a full orchestra, this performance was accompanied using the versatile Casavant organ, played by Jacob Hofeling, with Mark Lowry on percussion. The solo cantor part was sung by baritone Joshua Markley.

The concert started with a performance of “Kol Nidrei” by Max Bruch (1838-1920). Translated as “all vows,” it served as a prelude to the service. The cellist, James Farquhar, was seated in the organ loft, with Hofeling accompanying. Farquhar exhibited an excellent, full-bodied, soulful tone and was passionate in his presentation. The balance between organist and cellist was perfectly maintained. Both musicians nicely realized the variations of the two main themes, as though they were having an intimate conversation. The haunting conclusion was handled with great tenderness as the music slowly faded away.

All stops were pulled out for Avodath Hakodesh, literally. Hofeling employed every device on the Casavant organ to great effect. The large choir filled the hall with a rapturous sound that was always under control, whether in tumultuous outbursts or so quiet as to be nearly a whisper. Each section of the chorus could be distinctly heard while also blending in. An “a cappella” section that featured shifting harmonies was deeply moving. Lowry added dramatic effect on timpani and cymbal. 

Markley displayed a rich, mellifluous timbre while effectively projecting clear diction. A friend who attended the concert with me and is intimately familiar with the service at synagogue, remarked that he could clearly understand every word. 

Special kudos to Hofeling on organ. He maintained an intimate sense of maintaining the necessary balance whether with the baritone or chorus. His selections of stops was especially thrilling. The sheer amount of practice necessary to learn the orchestral reduction is astonishing.

Baker is to be commended for bringing rarely heard masterpieces to the concert stage. In the past, he has presented Handel’s “Judas Maccabeus” and Haydn’s “Creation.” I eagerly await his next venture.