At a 1995 performance of Mahler’s Eighth Symphony, alexrossmusic was “not so much surrounded by sound as inundated by it,” he writes. “I felt the same happy abjection at a recent gala concert by the Los Angeles Master Chorale.”
The human animal has an instinctive awe of sounds from above. In the Hebrew Bible, God makes his presence felt as a voice in the firmament, as a whirlwind, as thunder. In the modern age, technological threats rumble overhead—helicopters, drones, planes that fly ominously low. Sound from above is chastening; it destroys the illusion that we are masters of our environment. In musical terms, though, awe can turn to wonder.
No recording could have captured the effect. Such shiver-inducing moments depend on the physical presence of performers, on the live acoustics of a space, on the disposition of an audience. They also depend on musical technique. When the A-major triads at the outset of the Lassus are immaculately tuned, as they were at Disney, they acquire their own depth of field, as if an invisible architecture were coming into view.
Even as Gershon has retained the Master Chorale’s finished sound, he has led the group in new directions. He strives to avoid the appearance of what he has called a “phalanx of singers,” instead cultivating individual artistic personalities. A sixty-one-year-old native of Southern California, he is in some ways an outsider to the choral world, having studied piano in his youth and then serving as an assistant conductor at L.A. Opera and the L.A. Phil.
With the help of donors, the Master Chorale was able to provide some support for its singers during theshutdown, but the pandemic was a difficult period, economically and otherwise. Gershon told me, “For us, it’s always been about the idea that singing produces well-being. Suddenly, we were in a situation where singing is one of the most dangerous things you can do. Choruses were Exhibit A as superspreaders. That took a psychological toll.
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