Metropolitan Museum of Art, New York, N.Y.; December 14, 2010
The best-selling, four-women group named Anonymous 4 blasted upon the scene in the ‘80s and their CDs have sold millions of copies. It is easy to tell why. Their impeccable blend of voices, the absolute accuracy of pitch, the lack of pretention and obvious love with which they present their music create a listening experience that opens the ear to old music in a natural, approachable way. Their sound is intimate and pure, and while each voice has its own characteristics, when they sing a note in unison the sound is of one voice of ethereal beauty.
All of this was in evidence in front of the Christmas tree in the Met Museum’s Medieval Sculpture Hall on Tuesday evening. In a program including simple Antiphons as well as complex, four part, weirdly contrapuntal songs, they told the Christmas story from the Annunciation onwards, with praises to the Virgin and St Nicholas and celebratory carols as well. Most of the music was from the 12th to 15th centuries (in Latin or Olde English; translations were provided), but a rendition of John Tavener’s (b. 1944) “The Lamb,” though certainly filled with early-music harmonies, has its own wonderfully modern and heartfelt style. The traditional American “Cherry Tree” Carol (in an 1817 version from Kentucky) sounds like the best of American folk music (Joan Baez recorded a version of it fifty-or-so years ago) and was stunningly sung solo by Marsha Genensky, with perfectly placed grace notes and twangy delivery. Its simplicity was countered by the Wassail Song, as bouncy and charming as any music designed to make one feel good. Four-part works alternated with solos, duets and trios throughout the hour-long program.
There were true razzle-dazzle moments as well. Just about mid-program, the women sang a startlingly complicated motet, called (for short) “Exordium quadruplate,” in which four separate texts, all at different rhythms, are sung simultaneously. And William Billings’ (1746-1800) “Fuging tune: Bethlehem,” that closed the program was a romp of density, all tied, at the end, with a lovely, tonal bow. In short, after 25 years, the group has lost none of its glow, whether they’re chanting without vibrato or leaning into harmonies for more folksy effect. A transcendent evening.
Robert Levine
