Kodaly’s The Music Makers: Wilson’s Evocative Performance with Oxford da Camera’s Ensemble

Composer: Zoltan Kodaly (1882-1967)
Works: The Music Makers; Edward Elgar: A Summer Evening
Performers: Christina Wilson, mezzo-soprano; Choir of Oxford da Camera; Oxford Orchestra da Camera; Howard Williams, conductor
Recording: Live at St John’s, Smith Square, London, 24 May 2001
Label: SOMM CD 230

Zoltan Kodaly’s “The Music Makers,” composed in 1964, stands as a rare gem within the choral repertoire, particularly as it draws from the reflective and evocative poem by Arthur O’Shaughnessy. This work, commissioned for the Merton College chapel, reflects not only the composer’s late style but also his deep engagement with English musical traditions during his frequent visits to the UK. Although the piece is lesser-known compared to his more celebrated works, it offers a fascinating synthesis of Hungarian folk influences and English choral traditions, encapsulating the dichotomy of his heritage and the broader European musical landscape.

The performance captured on this recording, featuring the Choir of Oxford da Camera and the Oxford Orchestra da Camera under the baton of Howard Williams, provides a compelling interpretation of both Kodaly’s and Elgar’s works. The opening of “The Music Makers” reveals a slightly raw texture from the brass, which, while initially disconcerting, quickly gives way to the lush choral writing that characterizes the piece. The choir’s unison invocation of O’Shaughnessy’s text is particularly striking, radiating a distinctly English warmth, enhanced by the harmonic richness that gradually unfolds. The interplay between the chorus and brass is noteworthy; the latter’s structural support allows the choral lines to soar and develop, culminating in a delicate yet powerful conclusion that showcases the choir’s ability to navigate taxing high notes with commendable ease.

A Summer Evening, Elgar’s lyrical and pastoral work, follows as a study in contrasting styles. The orchestral performance is notable for its clarity and balance, revealing the intricate textures of Elgar’s writing. Williams adeptly manages the sonata structure, ensuring that the agitated central sections maintain cohesion with the surrounding lyrical material. The orchestra handles the challenging horn passages with aplomb, marking a technical proficiency that speaks to the ensemble’s understanding of Elgar’s stylistic nuances. The synergy between the orchestra and the mezzo-soprano, Christina Wilson, is palpable, with Wilson’s debut recording demonstrating a resonant voice imbued with emotional depth. Her interpretation of the lyrical lines evokes an intimate nostalgia, perfectly suited to the reflective nature of both works.

The recording quality is commendable, capturing the live performance atmosphere without succumbing to excessive reverberation, allowing the intricate details of the orchestration and choral harmonies to emerge clearly. This attention to sonic clarity aids in appreciating the subtleties of both Kodaly and Elgar’s compositional techniques, particularly in the dynamic contrasts and textural layers that define their musical languages.

Comparatively, while “The Music Makers” may not yet have ascended to the pantheon of Kodaly’s masterpieces, this performance presents a sensitive and engaging interpretation that merits attention. Similarly, Elgar’s “A Summer Evening” has been recorded by esteemed orchestras, yet this rendition stands out for its freshness and the performers’ palpable engagement with the material.

The combination of Kodaly’s evocative choral setting and Elgar’s pastoral lyricism creates a rich tapestry of sound that resonates with both historical significance and contemporary relevance. This recording not only honors the composers’ legacies but also showcases the performers’ commitment to delivering an emotionally resonant experience. The concert’s success is underscored by the audience’s enthusiastic response, a testament to the power of live performance in connecting with listeners.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.