CONCERT REVIEW: Canterbury Choral Society sings for the season

CONCERT REVIEW: Canterbury Choral Society's Sunday performance of “Canterbury Christmas” featured familiar carols appearing in new settings, or in unexpected time signatures.
BY ANNA HOLLOWAY Published: December 10, 2013
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Canterbury Choral Society's Sunday performance of “Canterbury Christmas” was a gala event. Centerpiece of Canterbury's 45th “Sapphire” season, the evening brought together the talents of the Oklahoma City University's Faculty Brass Quintet, harpist Gaye LeBlanc, Janey Illgen on oboe, the multifaceted John L. Edwards on organ, and the Chorale from the Canterbury Youth Choruses, among other talented musicians.

Conductor Randi Von Ellefson narrated the program, offering history and context. Most importantly, Von Ellefson led the Canterbury Choral Society singers in a rich and varied program of sacred seasonal music that spanned centuries, from the early medieval texts of Britten's “A Ceremony of Carols” to the world premiere of a piece by Oklahoma native David Janssen.

Familiar carols appeared in new settings or in unexpected time signatures. The brass quintet, at times permitted to overshadow the choir, gave a somewhat military sound to “A Christmas Flourish” by R.A. Bass; the piece is a medley of carols including a lovely blending of the German and English texts of “Silent Night.” Five movements of the Britten composition, sung by the women of Canterbury in Britten's original scoring for three treble parts and harp, were accompanied by LeBlanc. The clarity and precision of harp and voices lifted these Middle English texts cleanly out into the hall.

The smooth blend of voices is a signature of Canterbury's work, and it was evident throughout the evening. The performance of two of the three “Nativity Carols” by Stephen Paulus was made more moving by Van Ellefson's note that Paulus had suffered a stroke last summer and was still in coma.

“The Shepherds and the Angels in the Field,” the extremely challenging new piece by Janssen, needs a band of voices as talented and disciplined as Canterbury. This slightly spooky piece, with time changes and careful dissonances, evokes that night in the hills of Palestine when a mystical event brought herdsmen in to town to seek a child. With texts from Ephesians and Luke, the voices of angels could be heard in the Civic Center Music Hall. Janssen, who lives in Boston, was present to hear the first public performance of his work, and took a well-deserved bow.



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