Cecelia Stearman, mezzo-soprano, treated Chaminade members and guests to a presentation of Jewish Liturgical Music of the Season. She, in collaboration with organist Ray Smithee and Rabbi Debra Kassoff, has provided special music during the High Holy Days for the Hebrew Union Congregation in Greenville. It is this special music that was presented with verbal explanations by Rabbi Kassoff.

    From the opening blessings of peace to the closing remembrance of loved ones gone, from quotations of Psalms to a medieval poem and an historic absolution from vows, from quiet introspective lyricism to grand statements of glory, Cecelia and Ray took us on a musical journey of faith. Cecelia’s warm, rich vocal color captivated listeners, and Ray’s clean, expressive organ playing enhanced her singing. Rabbi Kassoff gave historical background and an understanding of the significance each piece had in the worship context.

   Particular personal favorites were the grand K’dushah followed by the introspective Yih’yu L’ratzon. The Kol Nidrei was of special interest, since several composers have used this traditional melody in their instrumental writing. The pairing of two settings of Avinu Malkeinu was especially delightful, the second set to a cultural folk tune.

    Next, Daniel Moraru, a Belhaven University student from Moldova, presented his junior recital program. Bach’s Prelude and Fugue in C# Minor from WTC I was expressive and lyric with voiced lines and clear fugal entrances. His stunning performance of Chopin’s G Minor Ballade was clearly the audience’s favorite! It showcased both his musical sensitivity and virtuosic technique. Closing the program were three pieces from Prokofiev’s Sarcasms, displaying both lyricism and biting percussiveness. We wish him success in presenting his recital in November and in completing his studies in 2026.

Notes by Chaminade member Carolyn Sachs

      Members of Chaminade Club were treated to a delightful afternoon of music on November 20, 2024 at St. Philips Episcopal Church.

    Bebe Wolfe, mezzo-soprano was confidently accompanied by David O’Steen. Her opening Bach aria from his Magnificat was musically sensitive with a consistent placement and sound. The long runs were especially well executed!
The Rachmaninoff Vocalise was next, displaying beautifully planned phrases and well-chosen breaths. The three pieces by Hundley showed a variety of emotions. The first, Come Ready and See Me, was very poignant. Bebe’s mellow mezzo color enhanced the clearly presented text. Moonlight’s Watermelon was humorous with a ragtime feel which David supported with the bold accompaniment. Waterbird wove long languid lines to conclude Bebe’s program.
    Particularly notable was Bebe’s confident memorization of the entire program! It was quite an undertaking, and very successful!

       Larry Goldman gave a varied and captivating program. Since there was not a second musician to influence balance, the piano lid was fully raised which allowed the full range of the piano’s dynamics to speak. A Scarlatti sonata was first, expressive and singing with interesting and creative key shifts.  The second section contained Scarlatti’s characteristic virtuosic scales which Larry played cleanly and effortlessly.
      Scriabin’s Poeme, highly chromatic and wandering, had complex interwoven lines which Larry beautifully voiced.
      The set of Lyric Pieces, Op. 65 by Grieg was a special treat. All six pieces were lyric in character and presented with dynamic articulations and excellent pedaling. Beautifully shaped phrases, lively melodies, and exciting octaves in From Early Years contrasted with the simplicity of Peasant’s Song. Melancholy had a boldly voiced melody which allowed for a range of softer levels in other voices. Salon was light, playful, and Chopinesque. Ballad was more somber with excellent treatment of the layered melodic lines, all shaped and voiced. The famous favorite, Wedding Day at Troldhaugen, was joyful with a bright tempo, contrasting dynamics, exceptional left-hand arpeggio passagework, spectacular alternating hands, and an achingly expressive middle section.

      Thanks to both of our artist members for such a well-prepared, confidently presented, and musically satisfying program!

notes by Chaminade member Carolyn Sachs

    Chaminade members were greeted by the beautifully decorated sanctuary at Galloway Memorial United Methodist Church for our December 4, 2024 program.  

      Anna McDonald opened her half with a captivating arrangement of “Go Tell It on the Mountain” by Mark Hayes, sporting a jazzy refrain that had all our toes tapping. Two lyric art songs were next. The Hugo Wolf song was inspired by a painting which Anna had reproduced in the program notes, deepening our understanding and appreciation of the piece. A rocking barcarolle accompaniment undergirded a complete quote of the carol in “Virgin’s Slumber Song” set by Max Reger. 

   Anna showed her consummate control in Michael Head’s “Slumber Song,” featuring both chromatic and diatonic descending lines in the vocal part and the accompaniment. “What Songs Were Sung?” by John Jacob Niles displayed his distinctly American folk style. The clarity of the poetry in “Stopping by Woods on a Snowy Evening” by Ann Diers was excellent. “Where Is the Child?” by John Ness Beck used a flowing accompaniment sweeping from low to high under the simple melody. A quote from Silent Night closed the song.

     And to end her half, Anna sang “The Secret of Christmas” by Van Heusen, conveying heartfelt sentiment. John Howard provided sensitive, and well-balanced accompaniment, performing “double duty” as both accompanist for Anna and soloist playing his own program!

    John opened his half with “Shepherd’s Dance” by Richard Elliott. Bright pipes over a drone presented multiple carols; I caught “People Look East,” “Bring a Torch,” and “God Rest Ye Merry.” Next were two settings of “In Dulci Jubilo,” both by Bach. The first was toccata like, chordal sections alternating with running passagework.

    The second was pastoral in character and featured a lovely solo stop. Together, they displayed all the complexity one expects from Bach! Two settings of “Greensleeves” showed different registration colors and different styles. Searle Wright’s setting was in trio sonata style with the melody in the middle, a decorative top voice, and supportive bassline; an always a challenging format, and expertly presented.

      A personal favorite, Richard Purvis’ setting had a swinging compound meter feel, stepwise chordal accompaniment, and a mix of reeds, flutes, and strings topped off with a chime ending. Mason Peavy assisted John on the Virgil Fox arrangement of “O Little Town of Bethlehem” which required a third hand. Solo chimes opened, followed by a zimbelstern, then offbeat chords, and lastly a chime obliggato. With so many register changes, an assistant was definitely necessary! 

    To conclude his half, John presented a theme and variations on “Adeste Fideles” by Gaston Dethier. The theme was presented by trumpet, the first variation quiet and decorated with chimes. Variation 2 was bolder with an 8th note accompaniment, while variation 3 was quiet with chromatic and arpeggiated decoration. The final variation had bold, running pedals showing off John’s fine pedal technique, and he made “all the lights come on”, meaning the entire organ was engaged for the ending!

    As an additional treat, Anna returned to the stage and she and John presented a stirring arrangement of “To God Be the Glory,” giving honor to the Creator of Music and enhancing the meaning of the season.  notes by Chaminade member Carolyn Sachs

     Guest Day performer Dr. Elizabeth Moak from the University of Southern Mississippi delighted members and guests with a uniquely varied program on January 8, 2025 at Galloway Memorial Methodist Church. 

    To begin, she invited young students in attendance to join her on stage. A discussion of fairy tale balls led to the understanding of the highly ornamented dance style of Elizabeth Jacquet de la Guerre, French Baroque composer and performer. Knowing that the Suite in G Major was dedicated to Louis the 14th (for whom de la Guerre had performed) made the music come alive! Dr. Moak’s supple technique produced virtuosic and fluid decorations of the diverse dances. 

    Signer of the Declaration of Independence, Francis Hopkinson, composed the second piece on the program. The Rondo in G Major, a humorous love song, from Songs for the Harpsichord or Forte Piano was easily followed with the program notes provided. The lively Alberti accompaniment supported a singable melodic line.

    A contemporary of Chopin and Liszt, French composer Alkan provided a visual and aural treat in the left-hand alone fusion of Fantasie and etude. All the challenges and fascinating choreography of solo left hand and pedal were present in this rich and beautiful romantic piece.

    A personal favorite was Amy Beach’s Dreaming. Dr. Moak showed her captivating sensitivity and control.

    Ravel’s Jeux d’eau is considered one of the more difficult pieces in the piano repertory. The playfulness and sparkling excitement of splashing water were certainly evident and expertly presented with ease.

    Dr. Moak dispelled our misunderstanding of Barber’s Excursion No. 3 in G-flat Major. It is not based on the American tune “Streets of Laredo,” but on a tune from the Bahamas! Armed with this new knowledge, the Caribbean rhythms and variations on the melody made perfect sense.

    Poulenc’s Improvisation No. 13, lyric and impassioned, reset our ears for the fiery conclusion, Impronta Digitale by Judith Zaimont. The nearly perpetual motion of this movement from her Sonata was breathless and incredibly exciting. 

    We are grateful to the Guest Day Committee, John Howard, Greta Barbour Mills, and Debbie Padula for their work and planning, and for Frances Nelson who stepped in to assist with the bountiful reception following the performance. 

Notes by Chaminade member Carolyn Sachs