South Florida Classical Review

James Bass led Seraphic Fire in his first program as artistic director Friday night in Coral Gables.

James K. Bass made an auspicious debut as artistic director of Seraphic Fire on Friday night with “Serenade to Music,” a program of four works new to the chamber choir’s repertoire. 

Regal in both appearance and command of the vocal and instrumental forces, Bass astutely coordinated the acoustical challenges of the high-ceilinged sanctuary of First United Methodist Church in Coral Gables.

If there was any doubt about the chorus retaining its signature sound, Bass quickly dispelled it with an outstanding performance of Serenade to Music by Ralph Vaughan Williams. He drew out the British pastoral lyricism of this 1938 setting of a text from Shakespeare’s The Merchant of Venice. From the initial phrases, there was a deep warmth of sonority from the five strings and piano. The 16 voices formed a well balanced, and blended ensemble. (The composer wrote the work for celebrated singers who were friends, indicating their initials in the score’s vocal solo lines.)

The important solo parts were all superbly assayed. Addy Sterrett’s ethereal soprano and Raha Mirzadegan’s light airy tones handled the high parts skillfully. (Mirzadegan was a late substitute for an ailing colleague.) Rebecca Myers’ full, radiant timbre resounded to glorious effect. Brad Diamond’s firm, heroic projection and John Ramseyer’s well placed, lyric instrument took the tenor honors. John Buffett’s firm, reliable bass-baritone and Jonathan Woody’s deep low range nicely balanced the bottom end.

Throughout the 14-minute composition, Bass was alert to the shifting changes of mood and meter. The luminous beauty of Vaughan Williams’ inspired creation was well served.

In his introductory comments, Bass proclaimed Eric Whitacre “a rock star” of contemporary choral composers. Whitacre’s When David Heard is a setting of the Biblical text telling of David’s grief at the death of his son Absalom. From just a few lines, Whitacre has written a 12-minute masterpiece, conveying the full measure of David’s sadness and mourning. 

The quiet solemn opening chant built in repetitive layers to a crescendo. Near the end, the repeated words “my son” fade to almost inaudibility, followed by a full throated cry of despair.  Bass’ control of dynamics was total. Even by Seraphic Fire standards, the widely varied degrees of softness and fortes proved exceptional.

Dieterich Buxtehude (1637-1707) was the composer J. S. Bach revered almost above all others. Buxtehude’s “Ad Manus” from Membra Jesu Nostri aptly demonstrates his influence on the later master. A fervent rumination on Jesus’s crucifixion, this miniature is deeply moving, the spare vocal lines making it all the more effective. 

The choir’s long history of excelling in Baroque music was as potent and vivid as ever. Soprano Elisse Albian’s beauty of timbre and eloquent phrasing was nicely contrasted with Sterrett’s higher flights. Doug Dodson’s firm alto added stylish authenticity to a trio, anchored by the strength of Jacob Perry, Jr’s tenor and Woody’s bass.

Segments of the Buxtehude extract are incorporated into Caroline Shaw’s To the Hands. Shaw continually astounds by turning out consistently fine scores in varied stylistic modes. 

The Pulitzer Prize-winning composer’s skill at creating post- modern pieces that hold the listener’s concentration is evident in To the Hands. In five movements that range from adaptations of Buxtehude’s text to the words on the Statue of Liberty from Emma Lazarus’ “The New Colossus,” the work’s epilogue features the singers reciting numbers of people displaced from their countries due to violence, war and violations of human rights.

Shaw’s take on Buxtehude is both reverent and contemporary in spirit. Her ability to utilize silences as distinctive drama is matched by the energy of minimalist string figurations and the huge climaxes which were given tremendous impact by the chorus.

The instrumental contingent of violinists Dina Kostic and Michele Skinner, violist Chauncey Patterson, cellist Aaron Merritt, bassist Juan Carlos Peña and Kevin Knowles on piano and electronic keyboard did consistently excellent work throughout the program.

Bass’s choice of four varied masterpieces and the outstanding performances he obtained from both veteran and new members of the group point to an exciting new era for Seraphic Fire.

Seraphic Fire repeats “Serenade to Music” 7:30 p.m. Saturday at All Saints Episcopal Church in Fort Lauderdale and 4 p.m. Sunday at Saint Gregory’s Episcopal Church in Boca Raton. seraphicfire.org

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