Capital Region Performance Gallery

by Dick Frantzreb

It’s hard to imagine a more satisfying choral Christmas celebration than the one I heard on this Sunday afternoon. It struck a good balance between music that celebrates the birth of Jesus and music that embodies the high spirits of the season ― with a lot of excellent choral singing and instrumental accompaniment.

St. Mark’s Lutheran Church in Citrus Heights was the host for this second of two Christmas concerts by the River City Chorale, and it was definitely ready for a holiday celebration. There were two 8-foot tall, fully decorated Christmas trees at the back of the altar. Elaborate lighted wreaths were placed between each of the many stained-glass windows on either side of the church, and white lights framed all the windows. Add to that the sounds of the Golden State Brass Quintet warming up as people entered the church, and you have a good start on holiday spirit.

This concert series marked a transition point for the River City Chorale with the debut of David Vanderbout as their new Artistic Director. Vanderbout received bachelor’s and master’s degrees (in choral conducting) from Sac State, and currently directs the choral program at Sacramento’s El Camino Fundamental High School. (Check the attached program for more details on his background.) Vanderbout had planned a program with many innovative elements, and he received a warm welcome when he entered the church to begin directing the concert.

(Click here to open the program in a new window.)

The music started with a solo Gregorian chant. Then with bells to set the mood, the women of the Chorale began singing (from the back of the church) “Once in Royal David’s City” in an arrangement by their past director, Richard Morrissey. The women were in long black dresses accented with long, thin, colorful scarves. They performed a cappella and processed down the right and left aisles of the church, holding candles. They were followed by the men, in tuxedos with red cummerbunds and bow ties. Tenors and basses joined the singing, and presently there was an organ accompaniment. The lovely harmonies filled the church, and I noticed that, from my perch in the balcony, I was able to distinguish the lyrics. The last verse of the song started with stirring notes from the brass section, soon to be joined by the whole 18-piece orchestra. It was absolutely grand!

To the accompaniment of light piano music that sounded like it might have been improvised, the 50 singers moved to their positions on the steps of the altar. Then we experienced one of the many innovations in this concert: a poem read by one of the chorus members, setting the stage for the music to follow. This pattern was followed frequently throughout the concert with many musical selections preceded by a poem ― or a scriptural reading in a couple of cases. (Click here for a list of all the readings that preceded the various sections of this concert.)

Next on the program was the opening chorus of J.S. Bach’s Christmas Oratorio, “Jauchzet, Frohlocket.” It is joyful, exuberant music ― quintessentially Baroque ― and that’s how it was performed by both orchestra and chorus. The crisp playing of the orchestra was matched by the chorus’s energetic delivery of the Baroque figures and contrapuntal runs. No, it was more than energy that I felt from the singers: it was a joy that was obvious from the smiles among chorus members when they came to a rest in their part. And I watched their mouths as they worked to articulate the German text, which they seemed to take in stride. It all felt so authentic.

After a reading from the New Testament, Britten’s “A Hymn to the Virgin” was performed by a double chorus. More accurately, the second chorus was a quartet. I was impressed by the excellent blend achieved by both groups as they navigated the more difficult harmonies of this piece. And the “echo” effect of the two choruses was artistry that got special attention from the audience. The “Sussex Carol” was next, and as I listened, I wrote in my notes: “Rich sound, well-balanced with the orchestra. This is an excellent chorus!”

After all the good, serious music, it was time for something a bit different, and we got that in the African folk tune, “Betelehemu.” Sung in Yoruba, it has become a classic in the choral repertoire, but I bet few in this afternoon’s audience had heard it before. Performed a cappella with conga drum accompaniment, it began with a chant by the men, against which the women took up a melody. Soon everyone was swaying as they sang distinctly African harmonies, and then there was clapping with distinctive hand gestures. The excitement built as we in the audience realized this wasn’t a song so much as a celebration, until it ended abruptly with arm movements that looked a bit menacing!

At this point the full chorus exited, leaving the 16 members of the Chamber Choir. They first performed de Victoria’s “O Magnum Mysterium” (there are many setting of this text) in what felt to me like a recalibrating of the mood in the church ― to something more reverential, while backing up 400 years. The Chamber Choir followed this with John Rutter’s jaunty arrangement of “The Holly and the Ivy.” It’s a simple carol to which Rutter introduced many fresh musical ideas. To my thinking, this small choir sold the piece through the expressiveness of their performance.

When the full Chorale returned to sing Rutter’s “Angel’s Carol,” I listened to what might be special about it, and I was surprised to find what a perfect tone was achieved by the 7-person tenor section, which was highlighted a couple of times during the piece. Then came Rutter’s version of “Joy to the World.” With the orchestra coming back to life for this song, a familiar carol became something quite grand. To me, the style seemed Baroque, and it felt like I was listening to a major choral work ― performed by a first-class chorus and orchestra.

The final selection before intermission was a piece I’d not heard before: “Somebody’s Talkin’ ‘Bout Jesus.” With the chorus singing from memory and a cappella, I could see an audience-pleaser in the making in this African-American spiritual. Presently the piano came in, and we were all soon having some good rollicking fun. Looking closely at the singers, I realized how many of them were expressive, singing with their faces as much as with their voices, and it occurred to me that this had been the case ― for many of them ― from the start of the concert.

Is there anyone who doesn’t love a brass ensemble? The second half of this afternoon’s concert began with two selections from the Golden State Brass Quintet. “Toccata on Jolly Ol’ St. Nick” was a spirited, whimsical take on “Jolly Old St. Nicholas,” and it was pure fun. More than that, I felt like I was hearing virtuoso playing. And that feeling persisted when they gave us the very jazzy “Good (sic) Rest Ye Merry Gents.” Both pieces drew cheers from the audience.

The Golden State Brass Quintet stayed to accompany the Chorale on the next two pieces. The “Yorkshire Wassail” was the familiar “Here We Come A-wassailing,” and it was an enjoyable setting of that familiar tune. “Sweet Sounds of Christmas” is a piece designed for brass and choir, and it really did present some sweet sounds, from both singers and brass players.

At this point, tenors and basses (and brass) exited, and the women performed ― from memory ― the fastest version of “Jingle Bells” you’ve ever heard. The piece also featured frequent changes in time signature, keeping the audience ― but not the singers ― off-balance, but in a pleasant way. Add to all this a number of musical surprises and word-play, and you got an audience that was thoroughly delighted.

I always appreciate seeing a chorus acknowledge that this season has more than one holiday. And the Chamber Singers came through with “S’vivon.” It had to require a lot of preparation because these 16 singers performed the piece a cappella and in Hebrew, their crisp singing bringing out the distinctive harmonies of this song. I feel this was clearly one of the many highlights of the concert.

The Chamber Singers followed with “Merry Christmas, Darling.” It was a sweet song, sensitively sung, and I bet it touched the hearts of everyone over 60 as the words came through in good articulation. It was recorded by The Carpenters in 1970, but to me it sounded more like something from the 1940s or 50s.

The tenors and basses of the Chorale then returned to perform “Santa, Bring My Baby Back.” It featured a lively piano accompaniment from Dean Mora, whose inspired, versatile playing is one of the foundations of the success of the River City Chorale. This piece also sounded like it was from the 1950s, but from the rock-and-roll of that era. I can’t imagine anyone who lived through that era listening without smiling.

The orchestra returned to accompany the full chorus in “Somewhere in My Memory” from the movie Home Alone. Surely, it’s one of the best Christmas songs of the modern era. With special voicing from the keyboard and jingle bells from the percussionist, the chorus delivered the uplifting words of Leslie Bricusse and the inspiring, comforting music of John Williams. It felt like coming home ― not to the place where you now live, but to the best memory of home that you carry with you.

The nostalgia continued with a medley of “White Christmas” and “The Christmas Song.” You don’t have to be very old to appreciate the emotional appeal of the lush, traditional sound in this arrangement of these two loved classics. And I couldn’t help but notice the especially pleasing ensemble sound from the chorus during this piece.

Let’s pause a moment to consider where this good ensemble sound came from. I’ve heard good singing from the River City Chorale for many years. But this afternoon was special. Noticing director David Vanderbout at work during the concert, he struck me as an energetic, inspiring director ― easy for the singers to follow. But in conversations with several singers after this concert, I began to understand that there was more going on here. They told me of the pains Vanderbout had been taking to elicit a good sound from each singer. And they were clearly enthused about the results they had seen in themselves and their fellow singers ― results that I, too, observed.

Before leading the audience in singing four carols (see the program), Vanderbout took a few moments to acknowledge the contributions of the members of the organization who had supported the concert in ways beyond their singing. Then he thanked the orchestra, accompanist Dean Mora, and ― finally ― the person to whom this concert series was dedicated: Richard Morrissey, who had spent 23 years with the River City Chorale, the last 17 as its director.

Then, with house lights down and lighting behind the enormous cross above the altar, the women of the Chorale began singing (a cappella) “Silent Night.” They were joined by the men for the second verse. Then the whole chorus sang a verse in the original German. I’ve sung it that way many times myself, and to my ear their German was perfect.

With the lighting back up and to the accompaniment of the orchestra, the Chorale concluded the concert with “We Wish You a Merry Christmas.” Once again, I noticed what an excellent blend they produced. But it was more than blend that impressed me and those around me. It was as joyful and heart-felt a performance of this piece as I think I’ve ever heard. And we rewarded it with a sincere standing ovation in thanks for such a satisfying start to our holiday celebrations.

(Monitor River City Chorale's upcoming concerts in their website at this link.)