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"Mass of the Children" highlights superb choral concert
May 19, 2010
GOSHEN — Especially fitting for young singers is "Mass of the Children," a work which not only provides them with a forum for performing serious music but also showcases the transparency and beauty of their nubile voices. It was thus that the 49-voice youth choir, Jubilate, was joined by 59 choristers of the Orange County Classic Choral Society to perform John Rutter's engaging composition at the First Presbyterian Church on Sunday afternoon. Under the direction of Janiece Kohler, the combined choirs and the 39-piece orchestra turned in an impressive performance. While the nonmodernistic "Mass" was completed only seven years ago, its traditional tonal harmony and homophonic structure provides not only easy assimilation by the listener but also comfortable handling by the youngsters. It was in the opening "Kyrie" that the children began the first of two stanzas with a joyous "Awake my soul," followed by lengthy exchanges of "Kyrie eleison, Christe eleison, Kyrie eleison" by adults, children and soloists. Despite many interplays, the balance between sections, blend of voices and discreet accompanying by the orchestra could not have been better. While the flair of trumpet and French horn calls opened the "Gloria" movement, the excitement continued in both orchestra and chorus after which, baritone Robert B. Pollsen and soprano Jody Weatherstone turned reflective over muted orchestra sounds in the "Domine" section. In the "Agnus Dei" movement, the children were found asking with angelic sounds "Little lamb, who made thee?" followed by a rejoinder by the adults who concluded the movement with a contemplative close on "Miserere nobis." After a noble-voiced solo by Pollsen and lyric singing by Weatherstone, the "Finale" movement closed with a fading-to-infinity "Amen." In addition to "Mass," the full-house concert opened with "Frostiana," a Randall Thomson composition based on seven poems by Robert Frost. Following a meditative delivery by the OCCCS singers on "The Road Not Taken," the male chorus members continued with "The Pasture" as they captured the down-home mood of simple folk doing farm work with a final urging of "You come, too." The "Come In" movement performed by female singers featured flutist Virginia Stellato fluttering with birdlike sounds. In the lilting music of "The Telephone," the a cappella passages stood out for their sensitivity. In "A Girl's Garden," the female singers engaged in effective storytelling, and rounding out the thoroughly enjoyable concert was a memorable rendition of "Choose Something Like a Star."
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