MUSIC REVIEW : Gay Men’s Chorus Sings at Westwood Methodist Church

“The dignity of humankind has been given into your hand, keep it safe!” admonishes the text of Mendelssohn’s grand old chorus celebrating artists, “Festgesang an die Kunstler.”

Long before the Gay Men’s Chorus of Los Angeles got to these words (by Schiller) at its Sunday afternoon concert in Westwood United Methodist Church, it was clear that the group’s contribution to dignity and self-esteem within a beleaguered community is now equaled by its offering of artistic excellence.

Under Jon Bailey’s lovingly exigent direction, the 134 men produced intonation that was nearly always accurate, especially during exposed unison passages. Words were clear in six languages; choral tone retained sonority at all dynamic levels--except for the crescendo to triple forte ending resident composer Scott Henderson’s “The Amazing Day,” which was impressive but unlovely).

Lou Harrison’s “Joyous Processional,” subdued and lyric, created a spiritual atmosphere that pervaded the performance.

The double chorus alternations in Gabrieli’s antiphonal “Jubilate Deo” were perfectly gauged despite the sanctuary’s reverberant acoustic.

Paul Monette’s poem “Love Alone,” an achingly affecting outcry, inspired Ned Rorem to a understated musical setting, perhaps deliberately ineloquent for contrast. The emotional wallop packed by the words transcended the appropriate but rather faceless music for those who obviously will not be here next year to sing--the chorus’ necrology already lists 34--or to listen, and for those around them.

The almost unbearably touching serenity of Faure’s “Cantique de Jean Racine,” which followed immediately, brought balm to agitated spirits, and Mendelssohn’s rousing paean to all who serve the Muses restored them entirely, through exceptionally capable readings.

The chorus was fully up to every bravura demand of Bernstein’s “Chichester Psalms,” from percussive rhythmic intricacies to sustained legato song.