While there’s no one-size fits-all formula for a successful musical program, Timothy Kreuger — artistic director and conductor of the 24-voice St. Martin’s Chamber Choir — has an unfailing knack for assembling astoundingly unique repertoire in a way that’s palatable and pleasing to the ear.
At St. John’s Episcopal Cathedral on Friday night, the group concluded its annual holiday program with Camille Saint Saens’ sweet and simple — but rarely performed — “Christmas Oratorio.” But the main thrust of the program, “Thou Little Tiny Child,” highlighted the delicate, defenseless state of human infancy.
Focusing on “The Slaying of the Innocents” chapter of the Christmas story, rather than the more usual, commercialized emphasis on such chapters as “No Room at the Inn” or “Shepherds Hear the Angels,” the first half of the program was a meditative progression of hymns, chants and other musical arrangements that mourn the deaths of children.
Standing at the back of the church’s packed nave, the choir presented a resonant rendition of the medieval version of the “Coventry Carol.” Continuing seamlessly from its abrupt harmonic shifts, the singers then launched into an a cappella lament, dating to the 12th or 13th century, as they made their way to the front of the church.
Following came a warmly textured arrangement of the “Coventry Carol,” written by Frank Eychaner, a tenor in the choir. Consisting of nine parts that feature all the men in St. Martin’s, this slow, deeply felt work highlights the baritones in the melody with the basses singing a sustained, single note that anchors the harmonies around it.
The choir resumed its exploration of related works across eras with Benjamin Britten’s “Herod” from “A Boy Was Born.” Here, Kreuger’s characteristic ability to transfer his erudite knowledge of the repertoire into the emotional language of music was particularly manifest.
Not to be outdone, intern conductor Jill Schroeder beautifully wrought the mysticism and melancholy expressed in Leanna Kirchoff’s “Meciando.” While soloist JoAnn Gudvangen-Brown’s straight, unadorned soprano voice effectively projected within and above the rocking, swaying motion of the work, it fell short of revealing the grief and longing of mothers whose children have been killed.
Standout instrumental performances by organist Frank Nowell and organist Don Hilsberg also contributed to the overarching success and festive feeling of the concert, which repeats today at Augustana Lutheran Church at 3 p.m.
