If the Chicago Sinfonietta were to have an unofficial motto, it might be “Taking Chances on New Things”.

Before any discussion on what they produce, they should be commended.  That idea alone is surely the heart of Chicago’s cultural vibrancy: The Chicago Sinfonietta is not about providing the cultural authority to our city.  Rather, they demonstrate the vitality of the Chicago street.

The Chicago Sinfonietta "holiday" picture. Courtesy of Chicago Sinfonietta.

This message is most poignant at the holidays. In the midst of what can be a traumatic trip to the mall for many Americans, the Chicago Sinfonietta presented their second annual Global Holiday Celebration. It’s a little too easy these days to become jaded by the holiday season.  Our ironic, post-modern age has become very aware of the man behind the curtain.  Anyone familiar with former Chicago resident David Sedaris will never look at Santa’s elves again. Or Macy’s, for that matter.

On top of that of course is what has not been the most cheerful decade in our country’s history.  Time magazine promises the next one will be better, but for many, this New Year’s Eve might sound less like Auld Lang Syne and more like “good riddance.”

The Sinfonietta certainly had their work cut out for them as they attempted to bring the aughts to a close with all the sincerity and jubilance we almost shuffled right past.

Like any Sinfonietta concert, the show promised to be an interesting array of new and old work.  A refreshing take on the holiday season, the Global Holiday Celebration was truly international in scope and sound. Featuring such selections as Feliz Navidad, Chanukah, Oh Chanukah, and KAI HA (ocean wave), the performance involved traditional instruments from around the world as well as homegrown Chicago singers.  Certain parts of the evening were standout performances of the night, particularly the young drummers from the Japanese American Service Committee of Chicago, Tsukasa Taiko.  Enough cannot be said for them. Talented, enthusiastic, and percussive beyond belief, the kids are keeping their cultural heritage alive while bringing it to appreciative audiences.  If the holidays are about anything else they may as well be about having some fun.  Their rendition of KAI HA was a fantastic way to open the evening, getting everyone primed for more familiar holly-jollies.  Also amazing was Feliz Navidad with Edgar Campos on trumpet, infusing the song with a slight jazziness just right for a Chicago holiday.  One wishes we had been out dancing under a Puerto Rican sky with Coquito.

What some pieces may have lacked in mellifluousness they made up for in spirit. ‘

Tis the season to troop young people in front of live audiences and expect seasonal magic. To be clear, it really isn’t their fault.  Kids everywhere have the dubious privilege of being the “reason for the season.”  We curmudgeon adults who find ourselves looking forward not to family and festivities but a few blessed days off from work often look to young’uns as being the legitimizers of all our holiday angst.  Dragging ourselves through another round of shopping and baking, we say it’s all for them, lest we run screaming into the night, multicolored icing smeared across our faces like war paint. The young singers from Gary Comer College Prep Advanced Chorus and UIC College Prep Advance Chorus, who performed together with the Chicago Community Chorus on O Holy Night, get an A…for effort.

So, too, do the musicians featured on Joy to the World.  In theory, traditional instruments from across the globe performed on this song should naturally fall together in joyous harmony if given the opportunity. In theory, members of the world community should be able to commit to compelling global climate treaties given the weight of evidence that we’re in this boat together and the water is rising.  Needless to say, this was the Copenhagen of musical numbers.  Bless them for trying, but the devil is still in those details. Stimulating as it is to hear such eastern instruments as the sarod and shamisen, their particular sounds did not meld well with the orchestra. There is a startling range of musicality throughout our little planet.  Turns out it doesn’t exactly blend together, try as we might.

The Sinfonietta’s rousing finish to its evening was the incredible “Hallelujah!” from Handel’s Messiah: A Soulful Celebration. A deeply-felt soul version of the “Hallelujah Chorus” from Messiah, this was the Chicago Sinfonietta at its purest and best form: a reinvigorated version of some of the finest musical artistry ever created with genuine purpose, well-executed, crafted to bring out the most complementary aspects of each original artist. The soul-drenched “Hallelujah!” was true to both genres.  The movement marries Handel’s adulation of Jesus Christ and the gospel tradition within African-American soul music.  The performance made its mark because each composer shared the same enduring inspiration.  The celebration was infectious regardless of background, identity, or personal belief.

Guest conductor André Raphel Smith. Courtesy of Chicago Sinfonietta.

In a very multicultural holiday season, conductor Andre Raphel Smith reminded us that it is indeed this time of year when we can let “our minds turn so much to brotherhood.” The Sinfonietta’s most exceptional, and most profound work, is decidedly writ in such pieces as the soul “Hallelujah!”.  The performance drew on the best of two musical expressions: simple and timeless, may the message of good cheer and fellowship – whatever form it takes – ring in a new decade for Chicago.

Ruthie Freeman, MCH Guest Contributor

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