The concert was nicely programmed by William A. Shortal, the Director of Music, who also conducted the work. The 72 member choir (15 soprano I, 10 soprano II, 10 Alto I, 11 Alto II, 7 Tenor I, 6 Tenor II, 7 Bass I, 6 Bass II) stood on tiered risers and could be heard clearly from our seats 2/3rds of the way in the back of the hall. The orchestra was populated by many members of the Orlando Philharmonic - of which I was glad to see (most church orchestras are weak in this department). The complement consisted of 6 Violin I, 4 Violin 2, 3 Violas, 3 Celli, 2 Basses, Woodwinds in pairs, 4 French horns, 3 Trumpets, 3 Trombones, 1 Tuba, 2 percussionists and a harp. One work featured a solo alto recorder. A few pieces also called for organ, and one, a prominent piano accompaniment. A synthesizer was also employed (but I didn't notice when it was used). From my seat, the orchestra was bottom heavy. Since the group was smallish and were seated flat on the same floor level as the audience - the middle of the orchestra became a bit lost in the large room. The concert had no intermission, and was spit into 4 sections (Joy, Peace, Gift and Wonder of Christmas), each beginning with a speaker, who read from Maya Angelou, Christina Rosetti or the New Testament.
The solid arrangements by Mack Wilberg provided the backbone of the program. His name is new to me, but, according to the program notes - very well known to the church music literature world. So well deserved it is- anyone who has attempted to set a well known Christmas carol will appreciate his craft and imagination! So difficult it can be to be creative in the setting while simultaneously making it comfortably memorable for the audience - and Wilberg goes a step further by making it fun. It's easier to rewrite a carol in a big way, like I did with If Ye Would Hear, than create a new harmonic landscape for a Christmas workhorse without offending the audience.
The highpoints of the concert, for me, were the following:
- The performance by the choir and orchestra was of professional quality. I expected such from the caliber of orchestra - but was really surprised by the choir. This is not a professional group - yet, the wide tolerance usually required to enjoy a church choir was unnecessary! Their projection was solid, diction and tonation matched, and soloists of high caliber.
- Gaudete Anders Ohrwall - a modern setting of renaissance melodies that uses traditional approaches to orchestration, yet which reaches a richer harmonic palette in an easy to sing and hear way. This careful voice leading provides a balance between sound that is characteristic to a period, yet moves to points that are fresh and more contemporary.
- Bring A Torch, Jeanette, Isabella! Wilberg uses a good bit of strong unison choral writing here, the orchestra providing the necessary road - some magical moments from the choir at structural markers
- Before the Marvel of the Night Carl Schalk Simple paired voicings are so lovely when unfettered by romantic convention.
- O Magnum Mysterium Morten Lauridsen - this was the highpoint of the evening. For brass choir only, Lauridsen's way of designing colorful dissonance into passing tones and mid-phrase points is breathtaking. A difficult work - especially for the horns, which are placed high throughout. Lauridsen resounded beautifully in the resonant hall. The musicians were of such quality - the piece would have rung perfectly with just one more run through to nail every entrance and release.
- Mid-WInter Bob Chilcott - somehow, the overall arrangement approach - organizing arrangement to stanzas in big blocks - was really effective here. The feeling of the words was conveyed, except in the later 8ve up restatement, which I felt weakened the work.
- The Twelve Days of Christmas Mack Wilberg - The most fun of the evening! Had I known that a church choir was to sing 12 Days in this concert, orchestra or not, I'd have turned around and headed the other way: boring. But, no - Wilberg transformed it into a constant joy. Somehow, he managed to "through-arrange" every new verse, introducing something from classical literature to illustrate the gift of the verse; the only ritorno being the intro. Each new verse took the flavor of the new gift, as well. The humor of the work brought lots of smiles. The French Hens verse wove in "Can-Can", for example.
- Suzanne Gifford sang several recitatives from the Messiah. She has a big warm voice that sounded lovely, though somewhat over exposed, over the orchestra. Though the key notes of each phrase were solidly sung, the notes in between suffered from intonation problems; and the more difficult opening intervals of some entrances, shaky.
- Appalachian Carol Dan Goeller - another nice surprise - Alto member April Auburn played an alto recorder in a Celtic style in a lovely arrangement with piano and strings. The sound was clear and distinctively different - more a new agey kind of approach. I applaud April's playing, and Goeller's use of the piano (not to mention Mr. Shortal's programming and taste). Kind of felt there should be some hobbits about. I'm glad that the corny, cliché side of Appalachian-ness was left behind and the beauty of the Celtic side brought out.
- Christmas Day Holst - sounding as as lively and fresh as ever - brilliantly employing the clear, bell-like, non-vib, boyish voice of Carol Conner in the opening. Perfectly in tune, the change in vocal quality was like a breath of fresh air. It carried the feeling of pure innocence. Another soloist, bass David Peterson was another surprise. His voice was strong and effortless - rich in color and beautifully sung.
