Symphony of Peace
Timing the first performance of Thomas Beveridge's immense choral composition, "Symphony of Peace," on Veterans' Day turned out to be more fortuitous than expected. Though the composition gestated for thirty years, the music appropriately fit this time of heightened concern. The performance took place in Schlesinger Hall in Alexandria on Sunday, Nov. 9.

The program began with Randall Thompson's "Testament of Freedom," sung by Beveridge's National Men's Chorus. This patriotic music is set to the words of Thomas Jefferson expressing democratic ideals. As a choral conductor and former singer, the awareness of Beveridge to words and meaning showed in the magnificent diction of his singers.

The centerpiece of the program, his "Symphony of Peace," was full of wonderful musical ideas with words drawn with some exceptions from the Old Testament. An inventive use of instruments augmenting a large orchestra contributed to the atmosphere in the music. A sense of place as well as peace permeated the music. The flueglehorn, played beautifully by Woodrow English from the balcony, added rich color representing the voice of God without words - a nice touch. The use of the saxophone and drone for the 23rd psalm had the plaintive effect of the shofar in the Jewish service. There was nothing maudlin about this music. It was passionate and real.

Bass John Cheek with breadth and sonorous dignity conveyed the hope that pervaded Psalm 24. For Psalm 23, tenor Robert Baker created an absolutely exalted moment. Soprano Debra Lawrence, together with John Cheek and Robert Baker - all ended the music with a sense of commitment to the cause of peace and love.

Beveridge has taken a huge chorus of mostly unauditioned and untrained singers and created an artistic and responsive group. They sang with ardor and devotion following his clear lead. Altogether a remarkable concert created by a fine composer and an excellent conductor.

- by Vera Tilson
    The Georgetowner, Nov 21, 2002        More Reviews         Home