The vestibule in Synod Hall was garlanded with cobwebs and pumpkins wearing eerie grins. The… The vestibule in Synod Hall was garlanded with cobwebs and pumpkins wearing eerie grins. The architecture of the auditorium itself seemed to embody Halloween – dim lights, large stained glass windows, beautiful woodwork, squawking wooden chairs and chandeliers that hung gloomily from a high ceiling. On stage, a beautifully restored harpsichord sat in the middle with a harp to its right.

Members of Artek, a musical ensemble with eight members, walked solemnly to their spots on stage wearing masks and black clothing. The auditorium became dark; the only light was directed on stage. The glow of green necklaces some audience members received also cast a faint, sinister light. Synod Hall became hushed as an image of a gravestone appeared behind Artek on a large screen. Soon afterwards, a deep, resonating bass voice filled the darkness.

The Gregorian chant, “Dies irae,” began the program titled “Graveyard Music.” The chant was somber and sung in a low, rhythmic bass, setting the stage for the rest of Artek’s ominous program. The program consisted of early baroque instrumental and vocal music that echoed the theme of death.

The first half of Artek’s program was divided into five sections, and the second half into three. The sections, called “The Cart of Death,” and “Off With Her Head (And Other Dead Queens),” explored the concept of death in both a serious and humorous light. Between each section, bass soloist and continuo player Paul Shipper read his original poetry that often poked fun at death.

Some of the musical numbers were sung humorously. “Here Lies a Woman,” written by an anonymous individual from the 17th century, was initially sung beautifully. As the song neared its end, bassist Paul Shipper began to intentionally overbear the others with his voice, until he was blaring obnoxiously.

Many of the lyrics were cryptic, depicting a bleak image of death: “It wracks me in each vital part/Sure when you go, my heart will break.” In other songs, death was described as a fear that impelled the public to repent their sins before it was too late: “Sorrow, tears and penance/torment us still/this company of the dead/goes crying out: ‘Penance!'”

Pieces by John Dowland, Henry Purcell and Jacopi Peri, artists from the 16th and 17th centuries, were performed. The instruments accompanying the voices added to the archaic music that sounded ghoulish compared to music heard nowadays. The harpsichord’s twangy notes seemed to fill the auditorium and emphasize the mournful tone of the singing.

The viola da gamba, appearing like a cello, created smooth, melodic lines. In the piece “Ciaccona” by Antonio Bertali, the viola da gamba was featured; its rich tones were showcased as a wide range of notes were played rapidly by Lisa Terry.

The theorbo, a lute-like instrument, produced a strong bass sound that added to the male singing voice, creating a thick and evading sound. The harp produced a sound that was unusual and light, but when coupled with the other instruments, the sound became transparent and eerie.

The pieces sung by mezzo-soprano Barbara Hollinshead and soprano Jessica Tranzillo were truly haunting. The notes seemed to pierce through the air as the two achieved perfect harmony.

Artek’s performance in Pittsburgh is one of many performances throughout the country and the world. The group will be featured on Symphony Space’s Wall-to-Wall Opera in May 2007. The ensemble has also taken on the theatrical realm with staged performances of operas in a musical theater show, “I’ll Never See the Stars Again”: The music is set to Monteverdi.

It is easy to recognize the passion that Artek’s eight musicians have for early baroque music. Instruments rarely seen were used to achieve a sound that was both haunting and moody. The dark music produced by Artek at Synod Hall was impressive and unusual, summoning the Halloween spirit to take hold of the spectators.