The choral ensemble known as “The Renaissance Voices” appeared in concert at the Historical Museum in Springvale on the 15th. Under the expert direction of their conductor, Harold Stover, this group of 23 voices performed 10 vocal selections mostly dating from the 16th to the 21st centuries, all performed a cappella (without instrumental accompaniment.) Interspersed with these selections there were readings relating to the season.

Last year, the Voices concert had to be canceled due to inclement weather. (Translation: a blizzard.) This year, however, while the temperature was a bit nippy, the roads were dry and the concert took place as announced and I am pleased to relate that the Museum was full for the performance.

While one understands that there are demands on the time of local students, I must observe that they missed an opportunity to hear what a  great mature vocal group actually sounds like The only untoward thing I can observe is that for the first two selections (by Palestrina) the sopranos while singing their part very well indeed were a bit immodest and overshadowed the other parts. A reading by MS. Bernie Horwitz followed from a work by W.B. Yeats called the “Second Coming.” She is one of two female tenors in the choir. The group is made up of six sopranos, six altos, five tenors and six basses. While having female tenors is generally frowned upon by many, there are good reasons why they may (should) be used especially in a cappella compositions where an all male tenor section may simply be too powerful. In the 16th century, the choirs were all male and the soprano as well as alto parts were performed by boys. To hear the difference in tonal color one could (should) listen to recordings by the choirs of such groups as the Vienna Boys Choir, Columbus Boys Choir, or any major English or Dutch cathedral choir.

An interesting pairing of the text  “Creator alme siderum” with one version in Plain Song and another set by the 20th century composer Carlotta Ferrari. This was followed by a very entertaining reading by  Woody Howard and Steve Ryan of “Christmas Wishes” by E.B. White. This was followed by selections by Soriano (17th century) and Harold Stover. These were difficult pieces that received superb performances.

One should now comment about Mr. Stover’s conducting. In short, it was musically as well as technically brilliant. Not one gesture was theatrical or unnecessarily given.

Following intermission a work by A. Gabrielli (16th century) was followed by a reading by Kirk Read of G. Herbert’s “The shepherds sing, and shall I silent be?”

The group was now really warmed up and delivered stunning renditions of “The shepherds Sing (Mueller) and of Psalm 23 (Van Ness) both 20th century). A reading by Sarah Potter of “In the bleak mid-winter” by Rosetti preceded renditions of two Advent Motets by Josef Rheinberger. These last two works were outstanding in a concert that was first rate.

The group had been working on their music since Labor Day, and their singing, their expression and ensemble all showed it. They are a real credit to this area.

Their program will be repeated at St. Luke’s Cathedral in Portland on the 15th  and 16th.  I look forward to a return visit by this group again next year. I know really good choral singing when I hear it, and I did at this concert.

— Dr. Morton Gold is a composer/conductor, retired educator and an arts reviewer of the Journal Tribune.