An Old World Premiere and an Ambitious New Choral Work From New York Polyphony
New York Polyphony are pretty much unique in the world of choral music in that they sing world premieres from five hundred years ago as well as from the here and now. The quartet – countertenor Geoffrey Williams, tenor Steven Caldicott Wilson, baritone Christopher Dylan Herbert and bass Craig Phillips – are as expertly protean as protean gets. One reason why they’re able to find so much fascinating, previously unreleased early music – beyond simply being experts at sleuthing it out – is that they’re smaller than most choirs and focus on the most intimate side of medieval masses and motets. The other is that they have sufficiently formidable chops to tackle this material – some of which was sung by boys at the time it was written – and Herbert’s steely upper register has a lot to do with that.
Their latest album And the Sun Darkened: Music for Passiontide is streaming at Spotify. The group open with fifteenth century Flemish composer Loyset Compère’s stately, utterly otherworldly Crux Triumphans. The group’s resolute command of the pairing of highs against lows leaves the impression that they are a much larger ensemble: it’s a device that’s worked for everyone from Mozart to Gil Evans.
From there, the group shift seamlessly from a spaciously soaring, brief Josquin piece, to the hypnotic, swaying, terse echo effects and persistently unsettled ancient/modern harmonic juxtapositions of contemporary composer Andrew Smith‘s Salme 55.
A diptych by a slightly later fifteenth century Flemish composer, Adrian Willaert, features more dramatic upper register work. From there the group move on to alternately desolate and delicately rhythmic 20th century Estonian terrain for a psalm setting by Cyrillus Kreek.
Their latest old world premiere is Compère’s nine-part suite Officium de Cruce. It’s a Book of Hours meditation, its brief segments ranging from proto-operatic counterpoint to a mystical sway and back. The rather brooding sixth segment, where those rhythms intertwine, is the highlight. The quartet close the album with a thoughtful, spacious, benedictory work by a Compère contemporary, Pierre de la Rue [editor’s note – no relation :)].
The kinds of venues these guys would typically serenade a year ago are dragging their feet reopening, which only means that crowds are going to stick with the vastly less expensive speakeasy circuit when they do. A radical shift in how live music is presented in New York City is underway. The old venue-centric model is being replaced by a community and artist-based scene…and some would say that change is long overdue.