Category Archives: Reviews

A Striking Program of American Organ Music

Harold Stover, Organist
The Cathedral Church of St. Luke, Portland
April 8, 2018
by Christopher Hyde

Merrill Auditorium’s Kotzschmar Organ gets all the press, but there are other wonders of the organ world scattered throughout Maine. One of these is the 1928 Skinner Organ at the Cathedral Church of St. Luke,  displayed in Sunday’s program of American music by composer and organist Harold Stover.

The Skinner, which Stover calls “the gold standard of organs,” was refurbished in 2000, and has some of the most brilliant voices I have heard anywhere. The trumpet or bugle calls in Virgil Thompson’s Variations on “There’s Not a Friend Like the Lowly Jesus,” (1926) were enough to knock your socks off.

Thompson is best known as a music critic, but this work, written in Paris, is a convincing reminder that more things were going on in music than atonalism during the early years of the 20th Century.

Two pieces by Boston composer Arthur Foote (1853-1937) : “Night, a Fantasy” (1919) and “Oriental Sketch,” (1923) showed off the organ’s more delicate aspects in two muted but highly atmospheric pieces, the second of which reminded one a bit of Ketelbey’s famous “In a Monastery Garden.”

I was most impressed by Stover’s early composition, “The Starry Night, after Vincent Van Gogh,” (1971), which is that rare animal, a musical composition inspired by an art work that actually conjures up the appropriate image, including instrumental colors. There are trilling swills around the brilliant yellow stars, cascades of chromatic scales for the dark cypress trees,and solid pedal point anchoring the sleeping village. Besides being a masterpiece in itself, the work, which began the program, showed off the organ’s rapid response admirably.

That response was called upon again in an authentic rendition of “Heliotrope Bouquet, a Slow Drag Two-Step” (1907), a sort of exquisite corpse co-written by Scott Joplin and Louis Chauvin. I don’t think I’ve ever heard a rag performed on an organ before.

Some of the other trumpet stops were exercised in “Trumpet Tunes” (1976), by Calvin Hampton, a composition written as an Easter processional that makes key-changes and dissonance into a pleasant and exciting experience. Stover recalled that Hampton’s recitals at Manhattan’s Calvary Episcopal Church were attended by overflow crowds—at midnight.

The program concluded with two more of Stover’s own compositions, “Blue Prelude,” (2015) an homage to the 30’s of Gershwin and Ellington, and “Feria” (2017), which conjures up images of a Spanish street fair.

Proceeds of the recital will go to support St. Luke’s  music program.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

A “Frolicsome Finale” for the DaPonte String Quartet

DaPonte String Quartet
Unitarian Universalist Church, Brunswick
March 25, 2018
by Christopher Hyde

“If the fool would persist in his folly, he would become wise.” I thought of Blake’s aphorism while listening to Alban Berg’s early String Quartet, Opus 8 (1910) at the final concert of the DaPonte String Quartet’s winter series II at Brunswick’s Unitarian Universalist Church on Saturday.

The Berg was the semi-tonal “meat” in the musical “sandwich” of easily accessible works typical of Maine concerts. The two-movement quartet is full of marvelous ideas, but stated and developed so rapidly that one easily loses track. If he had taken just one, say the “Der Rosenkavalier” dying fall borrowed from Richard Strauss,  and played with it for a while…

The work is very dark, but relatively tonal, making use of numerical and literary allusions, such as repeated two-note sequences based on his own initials, AB. In that way, it reminds me of the work of the late Elliott Schwartz. It also has passages that sound strangely like the French horn in their combination of textures.

The quartet would surely benefit from repeated hearings, maybe on the DaPonte web site? Nothing can compare to live music —the DaPonte presents five concerts throughout Maine in each of its seasonal series—but it took many repeats of a recorded Berg “Altenberg Lieder” before I could begin to appreciate it.

I would certainly like to hear the accelerando cello part once again, and the “Morse Code” sequences in which Berg flirts with serialism.

The program began with another early work, the String Quartet in C Major, Op. 20, No. 2, of Joseph Haydn. The concluding movement, Fuga a quattro soggetti, is “too easy for amateurs, too difficult for professionals,” as one critic quipped. Another noted on the score that it was enough to alienate friends who tried to play it together.
The DaPonte, although thorough professionals, succeeded brilliantly. The only noticeable symptom of a fatiguing schedule came in the relatively simple first movement.

The final quartet was Benjamin Britten’s “Simple Symphony,” which, though childish sounding— its four moments are called, “Boisterous Bourrée,” “Playful Pizzicato,” “Sentimental Sarabande,” and “Frolicsome Finale” because it was written by BB for alliterative violist Audrey Alston —was a total delight. It is funny, light-hearted, clever and exudes the essence of British folk music, far removed from the tragedy of “Peter Grimes.”

Britten was only 20 when he wrote it, but the symphony is based on themes from some even earlier works for piano, which I now have to get my hands on. The false cadences in the finale sound like a parody of Beethoven, whose String Quartet No. 7 in F Major, Op. 59, No. 1, it replaced on the program.

Christopher Hyde is a writer and musician who lives in Pownal,  He can be reached at classbeat@netscape.net.

A Flawed “Emperor”

Portland Symphony Orchestra
Merrill Auditorium
Mar. 20, 2018
by Christopher Hyde

“Even Homer sometimes nods.” Great composers have their off days, even Wolfgang Amadeus Mozart in the late opera “La clemenza di Tito,” whose overture led off the program of the Portland Symphony Orchestra Tuesday night at Merrill Auditorium.

A packed house had come to hear one of the candidates for music director, Ken-David Masur, lead the orchestra in Beethoven’s “Emperor” Concerto, (No. 5 in E-flat Major, Opus 73), with Russian-born pianist Natasha Paremski.

An added bonus, after intermission, was the seldom-heard Symphony No. 6 in D Major, Op. 60, of Antonín Dvorák, the reason I added the familiar quote about Homer. In most cases there is a reason why works are seldom heard, and the No. 6 is not one of Dvorák’s most inspired compositions.

Sometimes conductors, or soloists, contrive to make a work sound better than it is, but that was not the case on Tuesday. The symphony was certainly pleasant and well played, but lacked inspiration or excitement. Even the Furiant third movement did not come up to the level of any of the Slavonic Dances, which it resembled. Could it have been a dance left out of that set? Waste not, want not.

The rest of the work has the composer’s authentic Bohemian flavor, but in it he lacks the confidence to utilize Slavonic themes to the full extent, which makes it sound somewhat derivative.

Getting back to the main event, one of my favorite concertos of all time, it was also well-played, tempo giusto and accurate to a fault. Paremski has one of the most beautiful portamento techniques I have ever heard—like a string of well-matched pearls, as my piano teacher used to say. In that regard, she was perfectly suited to Beethoven’s writing for piano.

In other regards, not so much. The bass lacked power, and the sforzando chords often sounded febrile rather than powerful. The orchestra and piano occasionally ran on different tracks, and the whole lacked coherence and drive, in spite of some memorable passage work and interplay between the piano and orchestral sections.

The audience gave it the usual standing ovation, and Paremski, thankfully, did not play an encore, but all-in-all, the performance was not the transcendent experience it could have been. I was once admonished: “A musical performance is not a religious experience.” To quote Woody Allen in another context: “It is if it’s done right.”

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

An Exciting POPS by the Midcoast Symphony

Midcoast Symphony Orchestra
Franco Center, Lewiston
Mar. 17, 2018
by Christopher Hyde

The Midcoast Symphony Orchestra’s “Celebration Pops,” Saturday night at Lewiston’s Franco Center, was just that: popular.  It attracted the largest crowd I have seen at one of the Midcoast’s concerts.

In spite of being about 2 hours long, including intermission with crepes and wine, the pace never flagged, due to the infectious energy of guest conductor Yoichi Udagawa, who was just getting into his stride with a gloriously hokey encore of “The Stars and Stripes Forever,” complete with a three-piccolo obligato and a flag-waving baseball cap. The Boston Pops couldn’t have done it better.

Udagawa has a penchant for fast tempos, which works better with some popular classics than with others. It made the orchestra struggle a bit with the Shostakovich Festive Overture, which opened he program, but was more effective in Copland’s “Hoe-Down” from “Rodeo,” and absolutely perfect with the jigs from Leroy Anderson’s “Irish Suite.”

Anderson has become a little too popular to be taken as seriously as he should be. HIs sensitive arrangement of well-known Irish tunes, however, was one of the high points of the evening.

We came to the event primarily to hear pianist Charles Floyd play “Rhapsody in Blue.” HIs interpretation of the Rachmaninov Concerto No. 2 with the Midcoast, a few years back, was unforgettable.

What happened was one of those irresistible force meets immovable object dilemmas, when Floyd’s long lines and exploration of inner voices came in contact with Udagawa’s up-tempo interpretation. A concerto is always a battle between orchestra and soloist, but this one ended in a truce that was satisfying to both parties, retaining the excitement of Gershwin’s improvisations while revealing some inner harmonies unheard in more technical performances.

I generally detest encores after concerto performances, as detracting from the main event, but Floyd’s deeply felt variations on “America” seemed appropriate. It made me think of the scene in “RIdley Walker,” when the hero comes across the ruins of Salisbury Cathedral and exclaims,”What we been…and what we are now.”

After conducting the audience in clapping for the “Colonel Bogey March,” Udagawa ended the regular program with a sultry and explosive Bacchanale from Saint-Saens’ “Samson and Delila,” that brought out the best from all sections of the orchestra.

I wouldn’t be surprised if today’s (Sunday’s) concert at the Orion Center is sold out, but if tickets are still available it would be well worth hearing.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

The Piano Monster Tamed

Piano Monster Concert
Snow Pond Center for the Arts, Sidney
Mar. 3, 2018
by Christopher Hyde

What music critic could pass up something called The Piano Monster Concert? Shades of Creole pianist Louis Moreau Gottshalk, who once assembled 64 grand pianos for a play-along in South America. That my grandson, Jordan Seavey, took part in the event  is merely coincidental.

The concert was the brainchild of the Maine Music Teachers Association, Christine KIssack of Falmouth and Ginger Yang Hwalek of Bangor. Hwalek  conducted the ensemble  late Saturday afternoon,  in the jam-packed Alumni Hall of the Snow Pond Center for the Arts in Sidney. Kissack was in charge of the mind-boggling logistics.

There were 98 performers, 12 pianos —two concert grands and 10 spinet-sized consoles- -and 15 teachers, including Hwalek and Kissack. The teachers sometimes performed alongside their students, and sometimes just turned pages. I don’t have the exact numbers in front of me, but the piano players ranged in age from early grade-school to adult, with the majority skewed toward youth.

All of them were good—due to advances in pedagogy most Juilliard graduates have better technique than Liszt or Paderewski—and more surprising, watched the conductor closely for tempo and volume instructions. The unity was remarkable, even in the first two numbers, “Tamborine,” and “Magical March,” by Margaret Goldston, played by the youngest pianists.

The numbers of musicians in each piece varied from about a dozen to a maximum of 26, sometimes sitting three to a bench for piano-six-hands performance, as in “Bob’s Blues,” which Seavey has been practicing on our piano.

Recitals can be excruciating, especially those involving stringed instruments. This one, which lasted about an hour, was entertaining throughout, with well-selected pieces that showed off what could be done with the combination of pianos and electronic keyboards. The latter provided some real sostenuto in “Romantic Interlude,” by Beatrice Miller, and added to the authenticity of works in the Blues, Ragtime, country fiddling and and big-band styles. “Brightwood Barn,” by Robert D. Vandall, which ended the program, was a real barn burner to the tune of “What Shall We Do with a Drunken Sailer?”

The classics were not neglected, with some nice up-tempo selections from Beethoven’s “Six Country Dances,” an arrangement of the overture to “Carmen,” a well-known Gigue by Corelli and the first movement of the Mozart Sonata in D Major, K.381. The latter involved a serious attempt to bring out the often unheard voices. Mozart, who wrote for clockwork organs, would have had fun with a keyboard.

I am in awe of the effort and logistics involved in putting The Piano Monster Concert together—just getting all the performers on stage at the right time was a feat in itself. To have transformed it into an enjoyable musical event is extraordinary.

Dimmick Excels in Barber Violin Concerto

Portland Symphony Orchestra
Merrill Auditorium
Feb. 11, 2018
by Christopher Hyde

Guest conductor Paul Polivnik did a fine job with the Portland Symphony Orchestra Sunday afternoon at Merrill Auditorium, when Music director Robert Moody was unable to officiate due to the death of his father.

Polivnik, currently music director and conductor emeritus of the New Hampshire Music Festival, has worked with many of the world’s leading orchestras and,  in spite of a few technical glitches by individual players, was able to get the best out of the PSO at short notice, earning several standing ovations.

The high point of the afternoon was a performance of Samuel Barber’s Violin Concerto, Op. 16, by concert master Charles Dimmick., who was equally at home in the first two lyrical movements and the fiendish finale.

There is still some controversy about this work, the violinist who commissioned it having turned it down because the finale was too difficult. Critics have said that the explanation can’t be right, since the violinist in question was a virtuoso, but knowing Barber’s piano works—and witnessing Dimmicks prestissimo fingering,— I find the explanation quite satisfactory.

A more important question is the fit of the final presto with what has gone before. No one seems to have noticed the gaelic flavor of the first two movements, with a jig-like motif appearing now and then, even in those funereal sections that are indicated by the beat of a muffled drum. Perhaps the concerto is an American “Death and Transfiguration,” with the flight of the soul portrayed by vastly increasing the tempo of fragments introduced earlier. I loved the ending, with a piano glissando leading up to the final abrupt note on the violin.

Whatever the explanation, the performance by Dimmick was utterly convincing, overcoming some significant lapses in Barber’s orchestration. You do not pit the solo violin against trumpets, the French horn maybe, but not the massed brass, unless you want a string fortissimo to disappear. Polivnik was able to ameliorate the worst of the excesses, but they were still obvious.

The other “modern” work on the program, “Alternative Energy” by Mason Bates (b. 1977), although well played (I think), was not as successful. I could not read all of the program, so I imagined each of the four movements as depicting forms of energy—Fords Farm, the automobile, Chicago, wind power, Xinjiang Province, solar, and Reykjavick, geothermal. Amid the blurts, rumblings and squeaks, the program worked pretty well, down to the recorded seabird calls stolen from Rutavaara’s “Cantus Arcticus.”

It turns out that the symphony depicts an historical dystopia in which a Chinese nuclear plant blows up and the remaining humans, living in a rain forest in Iceland, long for the days of the Model T. Close enough. Syncopated chords tossed around the orchestra get old fast.

The concluding “Bolero” was a miraculously controlled crescendo, with a few nicks in the paint consisting of muffed entrances, which tend to stand out like a sore thumb in Ravel’s orchestration. It nevertheless deserved its own standing ovation.

As usual, the opening work on the program, Brahms’ “Academic Festival” Overture, made me long for college days, which were actually among the more miserable of experiences. Next time, I’ll go to Heidelberg, drink lots of beer and emerge with a duelling scar.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Les Ballets Jazz De Montreal Premieres An Instant Classic

Les Ballets Jazz de Montreal
Merrill Audiorium
Feb. 8, 2018
by Christopher Hyde

Those fortunate enough to be in Merrill Auditorium Thursday night witnessed one of the first presentations of “Casualties of Memory,” premiered by Les Ballets Jazz de Montreal (BJM) earlier this month in Boston. With choreography by Itzik Galili to a percussion score by Les Frères Grand, it is destined to become an instant classic of modern dance. Thanks once again to Portland Ovations for bringing it here so fast.

The ballet is long, taking up all of the first half of Thursday night’s program, but the spectacular drumming by Joseph Khoury would carry the piece all by itself, even if it were not matched by the equally astounding dancing on stage. (Disclaimer: I used to drive to Manhattan from college in Easton, Pa. to hear drum riffs by Gene Krupa at Eddie Condon’s. Some at Merrill thought the primitive percussion was overpowering, but I thought it was just right.)

The ballet attempts, quite successfully, to blur the distinctions between genders, starting with patriarchal, male-dominated postures and progressing to what Freud called polymorphous perversity, in which the movements, lifts and postures of the dancers transcend distinctions between male and female.

And what postures they are. One would never guess that the human anatomy had so many possibilities, their transformations executed so smoothly that the changing patterns took on the nature of a kaleidoscope.

When the dancers lined up, the series of poses from left to right (or vice versa) seemed like mysterious runes or hieroglyphics, spelling out a prophecy if one could only decipher them. At all times, the coordination of the dancers was uncanny.

The lighting, in this and the ballets that followed, was a member of the company in itself, emphasizing aspects down to individual muscle groups, isolating or uniting related actions, and establishing contrasts that highlighted everything. Simple—three rows of spotlights in perspective— effective, “and cheap,” as the choreographer pointed out in a video clip.

The next two ballets were completely different, but equally exciting in their own ways. The first was a bitter-sweet salute to Canadian poet and musician Leonard Cohen, with songs taking the company through the seasons in Montreal. A pas de deux to “Suzanne,” (1966) may not have “touched your perfect body with my mind,” but came close, in the most Romantic and classically influenced sequence of the evening.

The final ballet, “O Balcāo De Amor,” ended the program on a humorous note, depicting various loving or battling pairs (sometimes both) in a Cuban nightclub, to primarily Mamba music..

It is a complete comedia del arte, without a single word necessary to identify the stock characters, from the tutu-wearing ingenue to the unsuccessful lounge lizard in suspenders. Some of the dance moves were hysterical, such as the “worm’ executed on the side instead of the stomach. flopping like a fish out of water, or a Mermaid dragging her tight-skirted tail up the beach. One gets so carried away by the stories as to forget the superb quality of the dancing that depicts them.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

The Quintessential Quintet

Berlin Philharmonic Wind Quintet
Hannafod Hall, USM-Portland
Feb. 1, 2018
by Christopher Hyde

I tried to get my son interested in playing the French horn but he became a professional fox hunter instead. (The horn was used primarily as a signal in stag hunting, but close enough.)

That family history crossed my mind while listening to a concert by the Berlin Philharmonic Wind Quintet Thursday night at Hannaford Hall. Portland Ovations has a way of bringing the world’s finest classical musicians to Portland, and the Berlin Quintet is no exception.

Formed in 1988, it comprises Michael Hasel, flute, Andreas Wittmann, oboe, Walter Seyfarth, clarinet, Marion Reinhard, bassoon, and Fergus McWilliam, horn.

Horn? What is so obviously a brass instrument doing in a woodwind quintet? Apparently, the mellow sound of the horn, rather like that of an alto saxophone, blends so well with woodwinds that it often serves as a transitional bridge between that section and the brass in an orchestra, and perfectly rounds out the complement of voices in a woodwind quintet.

It certainly works for the Berlin Quintet, which began the program with three highly unusual pieces by Mozart, originally composed for mechanical organ, a sort of music box in which the cylinder pins open air valves instead of plucking tuned steel bars.

The transcriptions, by Hasel, follow the originals faithfully, without additions or subtractions —the compositions are multi-voiced—and open a window on little-heard works, written during Mozart’s final year of life. They are fascinating glimpses, since Mozart seldom wrote a pedestrian note, but not up to his usual standards, in spite of a delightful fugue and double fugue that indicate a late study of Bach.

They were followed by the Quintet, Op. 10 (1929) of Pavel Haas who, like his contemporary Erwin Schulhof, ended his life in a German concentration camp. Sounding like a melding of Stravinsky and Kurt Weill, it was more interesting than the Mozart, ending in a fiendish dance and a chorale-like epilog.

If civilization survives into the next century, György Ligeti will be remembered, and played, as one of the great masters of Western music. Certainly his Six Bagatelles, (1953) with their homage to Bartok, are masterpieces, exhibiting brand new sounds, rhythmical patterns, and playfulness, all of which are both unexpected and, once heard, perfectly inevitable. They are also immensely difficult, and one hopes that musicians of the 22nd Century will be as accomplished as those of the Berlin Philharmonic are today.

The Carl Nielsen Quintet, Op. 43 (1922), which ended the program, is as unusual, in its own way, as the Ligeti. Nielson is often considered a Danish folk-artist, like Greig in Norway, but he combines his folkish tunes with avant garde flourishes that sometimes border on the absurd, contrasting with his sadder and more melodic sections,

The work also contains some exquisite solos for bassoon and horn, demonstrating the important place both instruments have among the woodwinds.

After a prolonged standing ovation, the quintet played an encore of Blues by American jazz and classical composer Gunther Shuller.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

PSO Shows Versatility in Well-Received Concert

Portland Symphony Orchestra
Merrill Auditorium
Jan. 30, 2018
by Christopher Hyde

The Portland Symphony Orchestra, now in its final season under music director Robert Moody, hit the trifecta Tuesday night at Merrill Auditorium with three winning performances of modern, late Romantic and classical works. Moody even threw in a bonus not on the program, the quartet from Mozart’s “Idomeneo.” with Maine singers.

The program began with “Eating the Flowers” by American composer Hannah Lash (b. 1981), who was in the audience.
The work is an homage to several late 19th and early 20th Century composers. The “flowers” are their particular styles, especially of orchestration, without reference to recognizable melodies. The more long-limbed passages are supported by a driving rhythmical pattern (or “chug or in modern musical parlance), with the harp, of all instruments, front and center. The instrumentation results in beautiful gong-like effects that reminded me of Debussy’s use of gamelan music. It was much better received than most contemporary works, and its composer deserved her applause.

It was followed, after the “Mozart Moment” from “Idomeneo,” by his Piano Concerto in D-minor No. 20, Opus 466, with pianist Henry Kramer. I am not a great fan of the Opus 466, which seems more dramatic than musical, but Kramer made it sound better than it is.
The balance between orchestra and soloist was well-nigh perfect, especially in the dialogs between the piano and woodwinds.

The cadenzas, by Beethoven, were spectacular.

I reviewed Kramer’s version of the “Elvira Madigan” (Mozart Concerto No. 21) a while ago, and found it technically flawless but without much Romantic sensibility. He still has a little way to go in that repertoire, but took the bit in his teeth during the third movement, forcing the orchestra into an ultra-rapid and exciting tempo. The audience loved it, as they did his more relaxed and flexible encore of the Brahms Romanza, Opus 118, No. 5. Both received a standing ovation.

Finally came a colorful reading of Richard Strauss’ “Ein Heldenleben,” an orchestral tour-de-force that the PSO negotiated (almost) perfectly, and with a wide dynamic range.

The brasses are the heroes of this work, but the brightest star was concert master Charles Dimmick’s violin solo depicting the hero’s love interest. The orchestra, and its various sections, received a standing ovation, but Dimmick received cheers as well. HIs performance of this difficult part combined brilliant technique with emotional depth, plus the ability to stand out against Strauss’s massed horns.

Moody’s interpretation was exciting in the sections depicting struggle and victory, but he was also able to turn the hero’s departure from this world into a moving portrait worthy of “Tod und Verklarung.”

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Vox Nova Celebrates the Winter Solstice

Vox Nova
Franco Center, Lewiston
Jan. 20, 2018
by Christopher Hyde

“To whose more clear than crystal voice, the frost had joined a crystal spell.” The Vox Nova Winter Solstice concert, Saturday night at the Franco Center, reminded me of Leonie Adams’ line, with a succession of images as sparkling, cold and clear as frost patterns on a window pane.

Where does director Shannon Chase find these works? Stanzas of great poetry set to contemporary music that adds to their effect. She even found an e.e. cummings poem, set by Steve Heizeg (b. 1959), with capitol letters (“Noel Noel”). “little tree” was almost enough to give one the Christmas spirit, ending with a peal of bells from the harp, played by Victoria Flanagan.

Flanagan also decorated — I hesitate to use the word accompanied— a moving setting of Thomas Hardy’s “The Oxen,” by Marjorie Hess (b. 1958) and a truly dolce version of “What Sweeter Music by Robert Herrick, with music by Michael Fink (b. 1955).

Chase  uses instrumentalists to good effect, without diminishing the effectiveness of the perfect intervals attainable with an a cappella choir. The first half of the program was sung by a small group, Intima,” and the second by the full chamber choir, with harp, flute, trumpet, piano and string quartet.

A Latvian folksong, “Northern Lights,” with music by Eriks Ešenvals (b. 1977), included tuned water glasses and chimes, adding to the wonder expressed in the song, which compares the perpetual rise and fall of the northern lights to harp music.

Vox Nova has a strong bass section, fully revealed in “Evensong,” by Stephen Paulus (1949-2014), to a poem by Matthias Claudus (1740-1815). One of the most effective works, however. was “Tundra,” by Ola Gjeilo (b. 1978), setting a poem by Charles A. Silvestri. It was sung by the Women’s Chamber Chorus, Jennifer Caton, soprano, with the piano and string quartet taking the tenor and bass lines.

The last time Vox Nova performed “Come to the Woods” by Jake Runestad (b. 1986) to a poem by John Muir (1838-1914), I gave it a rave review. It was just as good the second time — a concerto for piano and chorus, with Amy Maier at the piano. While listening to the wind during our October hurricane I thought of Muir climbing a pine tree to witness the storm described in his poem.

The program concluded with a wonderful version of “Auld Lang Syne,” which not only uses Burns’ original wording, but alters the traditional melody to give it a more authentic Highlands flavor. The work, by Mairi Campbell (b. 1965), was given a definitive reading by the chorus and Erika Leighton, mezzo-soprano and Julia Nadeau, soprano, with Maier at the piano.

The concert was both a celebration and a catharsis of winter. Now if someone could set Ezra Pound’s ode “Winter is icumen in, Lud sing Goddam. Skiddeth bus and sloppeth us,and how the wind doth ram…” Spike Jones perhaps?

The Winter Solstice program will be repeated today at 3:00 p.m. at the Orion Center for the Performing Arts in Topsham. It should not be missed.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.