Soaring melodies and the power of hundreds of voices will fill Royce Hall this Saturday in conductorand UCLA Choral Studies director Donald Neuen’s farewell concert, “The Faith of Beethoven: A Musical Journey of Hope.”
Featuringone of the largest assemblages of musicians in UCLA’s history–over 200 singers, a piano soloist, four vocal soloists and a full symphony orchestra – the concert will combine the talents of three performing arts organizations, two of which are based on the UCLA campus: the UCLA Chorale, the UCLA Philharmonia and the Angeles Chorale.
Though Beethoven was inspired by Christian traditions in writing the music, Neuen said the appealofBeethoven’s message and musicality are universal, transcending any single religious tradition. Like the metaphor of the three-leaf clover St. Patrick used to describe the unity of the Christian Trinity, blending two choirs and an orchestra into a coherent whole is a subtle and complex task.
“What a conductor does is try to not allow a different ‘personality’ between the orchestra and the choir,” said Neuen, who is retiring after 20 years as UCLA faculty. “But to unite them with abundant energy, positive spirit and musicality.”
Continuing on the trinity motif, Saturday’s “The Faith of Beethoven” will include three classics of Beethoven’s liturgical repertoire: the world-famous Hallelujah Chorus from the Mount of Olives; Mass in C major, Op. 86 – controversial when written, causing a conflict between the composer and his patron – and his Choral Fantasia in C minor, Op. 80.
Considered a classic today, Fantasia was written in a matter of weeks – short even by the well-regarded conductor’s standards. Anticipating and foreshadowing the “Ode to Joy” theme of the Ninth Symphony, according to program notes from the Los Angeles Philharmonic, Fantasia’s free-variation styles for piano, chorus and orchestra highlight Beethoven’s legendary improvisation skills.
“Beethoven has a very dynamic handling of sacred text. It’s very exciting, ringing, spectacular music,” said Rebecca Lord, associate director of UCLA Choral Activities. “When Beethoven has loud, forte sections, it is explosive. When it is piano, it is very soft and hushed.”
The dramatic dynamics of Beethoven’s compositions are well served by theconcert’ssetting.
“Royce Hall is the best venue on campus,” said Stephanie Sybert, a third-yearethnomusicology student andmember of the UCLA Chorale. “It has wonderful acoustics.”
Neuen will be joined on stage by two other members of the UCLA music faculty: featured pianist and UCLA Philharmonia music director Neal Stulberg and chair of vocal studies and bass-baritone Michael Dean. Two other professional Los Angeles-based vocalists will also share the spotlight on Saturday night: soprano Sarah Grandpre and tenor Daniel Suk. UCLA fourth-year music student Sarah Anderson (mezzo soprano) will be a featured vocalist.
“Professor Neuen is like the John Wooden of the choral world,” said Lord. “His approach is very aggressive, inspirational and team-oriented – a relentless pursuit of excellence.”
It’s a mindset Beethoven, known as a perfectionist himself, might very well have appreciated.
“If we teach effectively and try to inspire perfection, it will happen,” Neuen said.
Elizabeth Seger, a second-year human biology and society student and a member of the UCLA Chorale, said Neuen is widely regarded as a professional mentor and a father figure by many of his students.
“He has taught us life lessons, teaching us about teamwork and musicianship,” Seger said. “You can be having the worst day or the worst week, and as soon as you step in the choir rehearsal, it all goes away.”
Though a bittersweet moment for Neuen and his students, Saturday’s ambitious, full-scale production will both showcase and celebrate their work together.
“It’s really a grand event,” Neuen said, “and I am extremely grateful to be able to have this be my last concert.”