In a way that is possible for small, flexible organizations made up of expert musicians, Pro Musica has again enriched the Christmas season with a seasonal concert that proves that the beautiful need never be trite.
Two significant works by Handel and a group of treasurable carols, two of them composed by choir members, held the attention of large crowds and evoked prolonged applause for a program skillfully planned of appealing content, skillfully balanced, expertly staged and beautifully sung. Fans of Pro Musica have come to eagerly anticipate this concert, which makes audible the heart and soul of Christmas.Believe it or not, Handel really did write more than one composition suitable for the Christmas season. And his Dixit Dominus with its messianic text and jubilant, pealing music and its symmetry of solos and choruses is a welcome musical calling card from the young Handel in Italy. There is a strong relationship to the counterpoint of Bach, but with a certain added celebratory warmth and abundance, often in graceful triple rhythms.
"The Lord shall send the rod of thy strength out of Zion. . . . The Lord hath sworn and will not repent. . . . Thou art a priest forever after the order of Melchizedek. . . . The Lord is at thy right hand. . . . He shall judge among the heathen. . . ." Such are the prophetic texts that form the framework for Dixit Dominus, and the choir found the right technical security, dynamic expressiveness and joyful fervor to enliven its meanings.
Especially beautiful was the "Dominus a dextris tuis," with the chorus alternating fold upon golden fold with soloists from the choir; also the "Judicabit" with its many arresting fugal and canonic figures, cleanly sung; and the closing "De Torrente in via bibet," with its advanced-sounding harmonies.
Mary Westcott sang the florid "Virgam virtutis tuae" with clear definition in a voice that has the happy faculty of sounding both rounded and pointed at the same time. And in "Tecus Principium," soprano Carol Nelson showed the amplitude and clarity, grace and spirit that is bringing her forward among local soloists.
The program opened with Handel's motet, Salve Regina, featuring Nelson along with sopranos from the choir - Jill Hixson, Kaye Watkins and Megan Miller - in short, attractive solos, well sung, which set the Handelian stage.
On the lighter side, the choir sang popular and sentimental Christmas songs, such as the beguiling "Merry Christmas, Darling" by Pooler and Carpenter, "Let it Snow" and "The Most Jolly Holiday" by Lawrence, with light choreography. "Angels We Have Heard on High" got a jivey treatment, and Philip Kern's "Bell Carol of the Kings" featured the splendid "We Three Kings" with "Hark How the Bells" and other familiar snippets interpersed.
Shauna K. Nero's "Nativity Gift" had substance and solid musicality, and "Mary's Lullaby" by Marie Nelson featured the women in unusual and sometimes ethereal harmonies.
Now it's time for the Children of Pro Musica, many of them actually the children or other relations of the adult singers, to come down the aisle with lighted candles. It happens every year, and the catch in the throat is always the same. The Bach-Gounod Ave Maria with Thomas G. Pike's vibrant tenor leading out, and Robert Lau's "Would You Bring a Song" showcased these children, who come by their talent naturally. "Silent Night" with Verdi White as tenor soloist provided the perfect nightcap.