The sound of brass was conspicuous by its absence last Christmas after the disbanding of the Annapolis Brass Quintet in spring 1993.
This Christmas, though, brass was back. No, not the ABQ, whose members continue to go their separate ways after about two decades of distinguished music-making.
This season it was time for the Bowie Brass Quintet: Carlton Rowe and Robert Birch, trumpets; Diana Ogilvie, French horn; Chris Matten, trombone; and Martin Erickson, tuba. All five are current members or alumnae of Washington' prime military bands and all play like champs.
Their virtuosity was demonstrated last weekend at the Church of St. Martin-in-the-Fields in Severna Park, where they appeared in concert with the Annapolis Chorale Chamber Chorus, under the baton of Ernest Green.
What a delight to associate again the joy of Christmas with the pomp and pageantry of brass in the Bowie's opening Ricercare and in the lovely suite of Renaissance carols performed just before intermission.
How wonderful also to hear such a virile, impassioned account of Benjamin Britten's "Ceremony of Carols," sung by Mr. Green's sopranos and altos. It seems all singers want to impersonate British choirboys whenever this haunting suite of medieval and Renaissance texts is performed. As a result, it has received more namby-pamby performances than any other Christmas work on the books.
But there were no wimpy, vibrato-less trebles to be heard in Severna Part last Saturday night. Mature, full-voiced singing was on display, and Britten was the better for it as the expressive range of the voices expanded the mystical intensity of his music. I don't recall ever hearing Britten's wonderful rhythmic syncopations zing with such abandon.
Soprano Carolene Winter sounded particularly elegant in the hushed lullaby. I couldn't help but shake my head as I listened to her actually sing what most others will only hoot so haltingly. Why any talented adult would strive to sound like an 8-year-old Anglican is completely beyond me.
Two selections from the Rachmaninoff "Vespers," a spiritually intense Russian liturgical work that's finally getting the attention it deserves, were nicely done, if not particularly redolent of icons, incense, and flowing Slavic beards.
Also on the docket was Ray Sprenkle's "Magnificat" for chorus, brass and piano. It is a pleasant, if not particularly memorable work that coos nimbly and sweetly in John Rutter fashion through the Virgin Mary's prayer of Thanksgiving.
Dramatic or mystically intense? No, but it's pleasing to the ear, and, after all, a little extra syrup never ruined anybody's Christmas.