South Florida Classical Review

Patrick Quigley led Seraphic Fire in a program of American folk music Friday night in Coral Gables.

A cavalcade of Americana from the Colonial and Revolutionary War era to the present day comprised the musical menu for Seraphic Fire’s presentation of “The American Folk Inheritance” Friday night at Church of the Little Flower in Coral Gables. The program displayed the wide-ranging versatility of both the choir and artistic director Patrick Quigley.

Music of the Shakers opened the evening. “Simple Gifts” is best known for being utilized by Aaron Copland in his ballet Appalachian Spring and Old American Songs. Quigley led the spare, unadorned original version, sung with strong attention to varied dynamics and blending of timbres. Rebecca Myers and Kimberly Leeds’ lovely solos highlighted “Give Good Gifts,” channeling an indigenous American aura of simplicity of utterance and spiritual  feeling. “Followers of the Lamb” was a rousing, upbeat anthem. William Billings’ “Chester” (adapted by William Schuman for his New England Triptych) offered a cross between a hymn and military marching song, sung with stirring fervor. 

By contrast, Ingram Marshall’s Hymnodic Delays presented a modernist harmonic soundscape based on the shape-note tradition of folk-inspired song. The high female voices soared to potent effect in “Bright Hour Delayed,” the score’s opening section. “Broad Road” resounded like a folk tune reconfigured and remixed for a new age and century.  There was strange beauty in the contemporary aural tapestry of “Swept Away,” the voices seemingly coming from another realm. Marshall’s work is a formidable test of intonation, precision and coordination for any choir and choral director. Quigley and his 13 singers were fully up to the challenge.

“Shanandoah” and “Tenting Tonight” recalled the heyday of popular radio and recording choral directors Fred Waring and Norman Luboff. It was refreshing to hear these standards rendered with well-honed ensemble and refined artistry. 

A group of cowboy songs suggested the recordings in the 1930’s and 40’s of Roy Rogers and Gene Autry. Charles Wesley Evans’ warm, sonorous baritone registered “Home on the Range” with populist immediacy. Paul Max Tipton’s rotund bass was perhaps slightly too operatic for “Whoopie Ti Yi Yo.” Alto Emily Marvosh proved closer to the mark. 

A corny male trio version of “My Darlin’ Clementine” was more stylistically appropriate for vaudeville than a concert, in the program’s only serious misstep. 

With Quigley on piano, artistic director designate James Bass on bass and vibrant guitar vibes from Marc Magellan, the singers received sturdy, imaginative support.

Addy Sterrett, Amanda Crider and Leeds’ voices were vibrantly integrated in a vernacular, down-home version of William Bradbury’s “Angel Band.” “Keep on the Sunny Side” by Ada Blenkhorn proved the ultimate up-tempo rouser, with the choir’s characteristic vigor and enthusiasm. The soprano voices of Julie Bosworth, Nola Richardson and Myers shone brightly in “Farther Away.”

Tenor Nick Karageorgiou sounded a lot like the recently deceased Peter Yarrow for the Peter, Paul and Mary hit “Puff the Magic Dragon.” Quigley told the listeners that the song brought back childhood memories  as it did for many in the audience. 

Leeds summoned the emotional depth and uplifting passion of a country singer in “Light of a Clear Blue Morning” by country-western icon Dolly Parton. A vigorous, brisk iteration of Woody Guthrie’s “This Land is Your Land” brought the program to a close but Quigley offered the enthusiastic and appreciative audience two encores. A brightly vocalized Latin song by Puerto Rican composer Rafael Hernández and a quietly soothing and winningly voiced “Danny Boy” (Londonderry Air) ended the generous offerings on a serene note.

Seraphic Fire repeats the program 7:30 p.m. Saturday at All Saints Episcopal Church in Fort Lauderdale and 4 p.m. Sunday at Miami Beach Community Church.   seraphicfire.org

Posted in Performances

Leave a Comment