Vox Christmas Spectacular at St. Mary the Virgin Church - Dec. 4

The Vox Vocal Ensemble performed their "Vox Christmas Spectacular" concert tonight at the Church of St. Mary the Virgin in Times Square, NYC.  As one might expect of their conductor, George Steel, who is a truly creative program-builder, this was not just a random collection of familiar Christmas music.  Indeed, the only piece on the program likely to be familiar to many early music devotees was "Es ist ein Ros entsprungen" by Michael Praetorius.  What Steel did was to put together a two part narrative to illustrate the Christmas story through selections, some rather obscure, from the early music unaccompanied vocal repertory from the 16th and early 17th centuries.

The first half was devoted to events leading up to the birth of Jesus of Bethlehem.  Thus we had William Byrd's Vigilate - calling us to watch for what is to come - followed by the Praetorius, singing of Isaiah's prophecy that a savior will arise from the house of Jesse.  Then Philippe Verdelot's setting of the archangel Gabriel's announcement of the forthcoming birth of John the Baptist, and an Ave Maria from Robert Parsons.  An anonymous English carol, "Marvel not, Joseph," relating the miracle of the virgin pregnancy of Mary.  The first half ends with a setting of the Latin Magnificat - the poem communicating Mary's response to the blessing from Elizabeth that has become a centerpiece of the Catholic Vespers service.

After intermission, we note the birth of Jesus with a Hodie setting by Robert Cowper, followed by Quem Vidistis, relating the shepherds perceiving the angels singing praise to God, set by Richard Dering.  William Byrd's Lullaby to the infant Jesus follows, then the circumcision and naming of the baby, in a setting "Postquam consummati sunt" by Lupus.  Jean Mouton's setting of Illuminare Jerusalem, the story of the three kings, is next, followed by another old anonymous English carol, Coventry Carol, and, as a suitable ending, a setting of Nunc dimnittis (Lord, now lettest thy servant depart in peace) by Thomas Weelkes.

So we had a survey of renaissance choral music setting various texts related to the Christmas story, without any of the obvious "greatest hits" to distract attention, and none of the done-to-death seasonal carols.  Even the encore (which was not announced) seemed off the beaten track.  It sounded to me like something out of Carmina Burana (the original, not the Orff)..., with some percussion and clapping from the chorus members.

Any fear that the quality of Vox Vocal Ensemble would decline now that their conductor is resident in Dallas directing the opera there was dispelled by the high quality of this performance, which seems to have been thoroughly rehearsed.  (Frequent flyer miles???)  Will Steel be keeping a foot in NY by continuing to conduct the group after this season?  Would the group survive his departure?  Unanswered questions at this point.  But one hopes it will continue, because this makes an important contribution to the early music scene in NYC.