THE JACKSON CHORAL SOCIETY AT ST. THERESE CATHOLIC CHURCH, 
NOVEMBER 11, 1997.

   This program was devoted to one work - "The Seasons", by Franz Joseph
Haydn. The resources were formidable, including a 35 piece orchestra,
as well as the Choral Society itself, and the soloists, who were drawn
from its members. The room seemed well-suited to this particular collection
of musicians. The sanctuary at St. Therese is a semi-circle with a diameter
of approximately 120 feet. The choir stood on elevated risers along the
straight wall (i.e. along the diameter) behind the altar, while the
orchestra was seated at floor level, with the audience in the semicircular
pews. I had not been in this room before, and was impressed with its
properties. The audience could see and hear well. There was some carpeting.
I mention all this because an orchestra of this size can easily overpower
even a large choir, especially in a very live room. But this did not happen.
While the instruments on a few occasions seemed a bit loud, the overall effect
was one of balance and blend. As Richard Hudson (horn player) pointed out,
the score was sensitive to matters of balance; the brass, for example,
usually alternated with the soloists. The chorus sang with vigor, and the
soloists were generally quite effective.

   So far as the music itself is concerned, this piece, together with the
better known "Creation", clearly earn for Haydn a reputation as a "nature"
composer. The thunderstorm included the patter of rain as well as mighty
thunderbolts. I was reminded of at least two other "famous" storms; one
in Beethoven's 6th Symphony, and the other in Mendelssohn's oratorio "The
Elijah". It is interesting to speculate that Beethoven - and quite possibly
Mendelssohn as well - may have heard "The Seasons" and been influenced by
it. Storms are a "natural" for composers; in the late 19th and early 20th
centuries organbuilders sometimes included "thunder" stops, and many
period organ recitals closed with a "storm" piece. In form, "The Seasons"
had a story line of village life; a complete text would have been helpful
in following it. The soloists included sopranos Nancy Dorman, Denise Riley,
Lillian Lee, Andrea Coleman, and Patty Sullivan; tenors Greg Mitchell and
Terry Fletcher; and baritones Phillip Hill, Rolland Shaw, and Mike
McDonald. Some of the recitatives were accompanied by Janette Sudderth
at the electronic harpsichord.  

   For me the best part of the entire work came in the closing chorus of
the first movement, with a marvelous example of that most democratic of
all musical forms, the fugue. In choral fugues especially one can get a
good feel for what the various sections (i.e. soprano, alto, tenor, bass)
sound like, because each has its turns at the melody. All in all this
was an ambitious undertaking (the program lasted 2.5 hours), that was
impressively done and very enjoyable. Our thanks are due to all who
participated, from Director Richard Joiner to accompanist Janette Sudderth
to the orchestra to the chorus to the soloists, and as well to the people
of St. Therese Catholic Church who were most gracious hosts.

                                                   - Glenn A. Gentry