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THE CHOIR'S MUSICAL HISTORY
The Sixties: In many ways, the history of The Choristers begins at Upper Dublin Lutheran Church in the sixties. David Spitko, the Director of the choir, grew up a member of Upper Dublin Lutheran Church. As a teenager, he sang under Marian Archibald, the then Organist/Choir Director of UDLC. Marian is a current member of the choir. Also, in the church choir he sang with the following current members of The Choristers: Donna Boesler and Lindsey Robinson.
Fall of 1971 Through Spring Of 1975: David attended Ursinus College in Collegeville, PA as a political science major. As a freshman, he won an audition to become a student director in the Choral Music Department, a position he held for four years. In that capacity, he met many of the singers who became early members of The Choristers of Upper Dublin. Current members of The Choristers who were at Ursinus are: Sue Adamson Spitko, Linda Marie Bell, Camille Marion and Paul Marion.
Summer of 1977: Eight singers, all but one of which are alumni from Ursinus College who sang in The Meistersingers, the college's touring concert choir, travel to a church they had performed at while at Ursinus, St. Peter's UCC in Lockport, NY, to present a talent show and anthems during the Sunday morning services. The group calls itself "The Mini-Meistersingers".
Christmas of 1977: Twelve singers, still calling themselves The Mini-Meistersingers, perform a Christmas concert at Boehm's UCC church on Penllynn-BlueBell Pike near Skippack Pike at the invitation of the then Organist/Choir Director of the church: Marian Archibald.
Summer of 1978: Sixteen singers travel one more time to St. Peter's UCC in Lockport, NY to sing. The group traveled in cars linked together by CB radios (remember them?). On the way home, somewhere on Interstate 81 between Binghamton NY and Scranton, PA, in a group meeting on the CB radio, it is decided to make the choir more structured and to seek additional concerts. The name "The Choristers of Upper Dublin" is selected.
Christmas of 1978 Through Christmas Of 1985: The Choristers, averaging 25 - 30 voices, travels to area venues, mostly churches, to present concerts of sacred anthems appropriate to the season. During this period of time, the choir enjoyed performing 15 - 18 concerts per year. This was a very important time for the choir because we performed so much. Because we never knew in advance the quality of the pianos we would sing to - we performed a considerable amount of our music a cappella. We learned how to deal with performance anxiety. Through all of this, we developed the chamber sound characteristic of The Choristers. There were three "seasons": Summer, Christmas and Lent. The summer concerts (generally Sunday mornings) always seemed to be incredibly hot. During one concert, the recorded temperature in the church was 110 degrees. In another we stood right in front of stained glass windows with a strong sun blazing through giving the men in the choir a sunburn on the back of their necks. One memorable concert we performed Rutter's Gloria in a church in Ocean City on a Saturday night with 3 people were in the audience. The Lenten concerts (generally Wednesday nights) always seemed to be performed on rainy nights and the choir routinely outnumbered the congregation. For both the summer and Lenten concerts, we became experts in moving pianos out of Sunday School rooms, up stairs and through small hallways to get them into the sanctuaries.
The Christmas season was filled with trips to long-term care facilities and Longwood Gardens. The Choristers has been privileged to be invited 15 of the last 18 years to present a Christmas concert at Longwood Gardens. Back in this time period, the choir was returning to Longwood every year.
Another highlight from those years was two 30-minute television appearances: an Easter presentation on KYW and a Christmas presentation on WPVI. We performed in the Union League for a group of Christian broadcasters. At Beaver College for its tree lighting ceremonies, at Willow Grove Mall for Christmas … and at a Moose Lodge for who remembers what! Essentially we accepted any invitation to sing.
Social events abounded. Picnics and swim parties followed virtually every summer concert. We sought concerts down at the Jersey shore as it gave us a reason to stay the weekend at The Parkside in Ocean City. The tradition of an annual Christmas Dinner Dance was begun. The members started to have families. The choir used to arrive at a church with 14 - 15 children in tow; all under the age of 6. A Nursery was mandatory and we always had to hire two baby-sitters. This began the practice of having nursery available during rehearsals - a practice which continued until just a few years ago. Specific mention should be made of Joanne Hoffman, one of our longtime members and mother of 5 who once sang a concert only 10 days after given birth.
A volunteer Business Manager, Ken Beyer, and myself initially ran the choir. In 1986, the first Executive Committee was elected. The first President was John Spitko (David's brother). While a total of seven officers were elected, only one has held her position without interruption - Sue Adamson Spitko as Treasurer.
In June of 1983, David took a sixteen-month sabbatical from the choir. During that time, Carol Murray directed the choir. The same basic schedule prevailed. During this sabbatical he served as an unofficial assistant to Robert Carwithen at First Presbyterian in Germantown. It was there that he first directed an orchestra and Mr. Carwithen taught him the basics of a more advanced musical program. Two other musicians in the Philadelphia music scene that were influences and contributed greatly to David's growth as a Director were Michael Parks and Robert Ross. David returned in November of 1984 to implement what he had learned.
Spring of 1985: This is the first concert in which the choir invites an audience to come to a concert, instead of the choir getting a church to invite us to present a concert. Accompanied by organ, we perform a number of anthems and Gloria by John Rutter at St. Paul's Lutheran Church in Glenside.
Spring of 1986: Joint concert with the Oratorio Choir of Wayne Presbyterian at Wayne Presbyterian. We perform Verdi's Requiem. This was the first concert The Choristers performs to an orchestra.
Spring of 1987: The choir performs Rutter's Requiem at Upper Dublin Lutheran Church. This is the first concert for which The Choristers hired its own orchestra. All of the remaining concerts were performed at Upper Dublin Lutheran Church accompanied by orchestra, except where noted otherwise.
Spring of 1988: In its first traditional major work, the choir presents "Gloria" from the B Minor Mass by Bach.
Spring of 1989: Joint program with the Oratorio Choir of Haddonfield Methodist. We perform A German Requiem by Brahms at both Haddonfield Methodist in New Jersey and at Upper Dublin Lutheran Church. This concert involved the choir hiring the first large orchestra: 31 instrumentalists. With this concert, Paul Marion begins his term as the President of The Choristers.
Spring of 1990: The Choristers presents its first all a cappella concert performing Mass in G Minor by Vaughan Williams and Songs from the Ark by Ivor Davies.
Spring of 1991: Joint concert with the Adult Choir of St. John's UCC in Lansdale at St. John's. The major work we perform is Chichester Psalms by Bernstein. Judy Alprin becomes the first Assistant Director of The Choristers.
Spring of 1992: On Palm Sunday of that year, the choir presents The Passion According To St. Matthew by Bach. There are 55 singers and this concert is the first time the choir goes outside of its own talent base to hire a soloist, Mr. Thomas Bogdan from New York, to sing the role of the Evangelist.
Christmas of 1992: We perform Rutter's Magnificat in Trinity Episcopal Church in Ambler, PA.
Spring of 1993: Joint concerts with The Philadelphia Chamber Chorus. We perform "Music for Multiple Choirs" including works by Bach, Schütz, Gabrieli and Palestrina
Fall of 1993: Tom Bogdan returns as the tenor soloist in a performance of Handel's Messiah.
Spring of 1994: The choir was to present Fauré's Requiem. However, two weeks before rehearsals were to start, it was determined that no less than five different choirs in the area were presenting the Fauré. So instead, the choir presents the Lord Nelson's Mass by Haydn. With this concert, Kevin Hoffman begins his term as the President of The Choristers.
Spring of 1995: Tom Bogdan returns to sing the role of the Evangelist in The Passion According To St. John by Bach. This concert is memorable not just for the music, but the fact it was performed during a thunderstorm that rumbled and flickered the lights at appropriate times!
Spring of 1996: In one of the more popular concerts we have presented, the choir performed Mozart's Requiem.
Fall of 1996: We present "The Choral Music of Randall Thompson" including Frostiana and Testament to Freedom.
Spring of 1997: In a concert entitled "Choral Music for Three Trumpets", the choir presents Coronation Anthem No. 2 "The King Shall Rejoice" by Handel, Te Deum by Haydn and the "Gloria" from B Minor Mass by Bach.
Fall of 1997: We present an all Rutter concert, ending with his Requiem. Dan Reed becomes the second Assistant Director of The Choristers.
Christmas of 1997: Sophie Bruno, a well-known harpist in the Philadelphia area, joins the choir to perform Ceremony of Carols by Benjamin Britten.
Spring of 1998: In another all a cappella concert, we present Missa Papae Marcelli Mass by Palestrina and Rachmaninoff's All Night Vigil.
Fall of 1998: The choir presents Fauré's Requiem and Duruflé's Quatre Motets Sur Des Themes Gregoriens.
Christmas of 1999: The choir presents Handel's Messiah.
Spring of 1999: The choir presents To Hope! A Celebration by Dave Brubeck for its 20th anniversary concert.
Spring of 2000: For the new millennium, the now 65 voice choir, accompanied by a 32 piece orchestra, presented Antonín Dvorák's Stabat Mater to a sold-out sanctuary. The concert was dedicated to the memory of Dr. Jane Cooper, PhD., a loved member of the choir who passed away in 1999.
June of 2000: The Choir begins a new tradition. We hold our first "Benefit Concert" the proceeds of which go to area charities. Over $1,500 is raised for "Interfaith of Amber" and "One House At A Time".
Fall of 2000: The choir presents an all-Mozart concert highlighting his Vesperae solennes de Confessore.
Spring of 2001: The now 70 voice choir successfully tackles Ludwig van Beethoven's monumental Missa Solemnis.
June of 2001: We hold our second Benefit Concert - again a collection of spirituals and gospel hymns. $2,000 is raised for the music program of St. Anthony of Padua Roman Catholic Church in Ambler (December 23, 2000, the church suffered a devastating fire) and "Chosen 300 Ministries".
Fall of 2001: While preparing its Fall concert, September 11, 2001 occurred. On Sunday, September 23, 2001, with less than two weeks rehearsal, the choir presented Rutter's Requiem accompanied by a volunteer orchestra. The choir took a free will offering to benefit the Red Cross. Over $5,000 was raised. Then the choir returned to its previously selected music for the November 4 concert, with the major work being Vaughan Williams' Mass in G Minor - an a cappella work composed for double choir.
Christmas of 2001: Accompanied by orchestra, the choir presented "A John Rutter Christmas". In addition to a number of carols arranged for orchestra by Rutter, we presented his Magnificat.
March of 2002: The choir, now at 55 voices, is invited by The Buxmont Chamber Orchestra to join it for its Spring concert and present the hauntingly beautiful Vaughan Williams' Flos Campi. This work was unique for the choir in that it is wordless. This is the first experience for the choir of it being used as an instrument, rather than a narrator. With this concert, Joanne Hoffman begins her term as the President of The Choristers.
May of 2002: In a wildly successful concert, both musically and in terms of attendance, the choir presented selections from Duke Ellington's Sacred Concerts accompanied by a remarkably talented big band. The soprano soloist was DeVonne Gardner, a Philadelphia resident, who has the distinction of having presented more Sacred Concerts with Duke Ellington than any other soprano soloist.
June of 2002: To cap off a successful concert season, we hold our third Benefit Concert - presenting what has become our traditional collection of spirituals and gospel hymns. $1,000 is raised for Community Cupboard of Ambler.
Fall of 2002: The choir joined with Ambler Symphony and the Wissahickon High School Camerata, a select student choir, to present Beethoven's Ninth Symphony. In addition to the Ninth Symphony, we presented the Kyrie and Gloria from Beethoven's Missa Solemnis.
Christmas 2002: The choir revisits an old tradition and presents a Festival of Nine Lessons and Carols.
May 2003: The choir presented a special and unique performance of Felix Mendelssohn's Elijah. In addition to 34 instrumentalists from the Fairmount Chamber Orchestra, the choir was joined by soloists Frank Mitchell as Elijah (Baritone), Maureen Francis (Soprano), Alyson Harvey (Alto) and Richard Slade (Tenor). This performance was unique in that we added theater! There was a small stage so the soloists could add visual effects/movements to their roles. There also was costuming and props … all to create a greater impact for the drama and messages of the work.
June of 2003: We finish the season with our fourth annual benefit concert. This year we are able to raise $2,000 for St. Mary's Villa for Children and Families and the Ambler Community Ambulance Association.
Fall of 2003: The choir presents Haydn's Harmoniemesse which was the composer's last major work, written at the age of seventy. This work called for the largest complement of wind players available to Haydn ~ an unusual scoring for a mass. At that time, a "wind band" was called a "Harmonie", hence the nickname for the work. "Harmoniemesse".
Christmas 2003: On Sunday December 14, 2003 at 4:00 PM, the choir was to sponsor its first "Messiah Sing-In." However, 8:00 AM of that day, a snow/ice nor'easter was predicted for the Philadelphia area. A decision had to be made at that time so we could notify the musicians and public at large. We decided to cancel. By 11:00 AM after all the musicians and no less than 25 media outlets had been contacted to get the word out … the precipitation all turned to rain! Not a happy day …
Spring of 2004: This concert celebrated amazing coincidences of birth. The concert was entitled, "1685 ~ What A Year of Births!" In that year, Bach, Handel and Dominic Scarlatti were all born with a few hundred miles of each other. In addition, we decided to program lesser-known works of these composers. Instead of the oft performed Bach Passions or Mass in B Minor, the choir presented the opening chorus from Cantata 190 (Singet dem Herrn) and the entire Cantata 191 (Gloria in excelsis Deo). Instead of one of Handel's oratorios, we sang his Utrecht Jubilate and Chandos Anthem #11 (Let God Arise). Finally, all of Domenico Scarlatti's choral music is obscure and undeservedly so. After the audience heard his Te gloriosus, they all agreed! Chandos Anthem #11: Let God Arise encapsulated this triangle of composers. Handel composed this work when he was the resident composer with the Duke of Chandos. In the orchestra by the Duke of Chandos was Francesco Scarlatti, uncle of Domenico, and Johann Christoph Bach, cousin of J.S. Bach.
Fall of 2004: The choir performed Antonín Dvorák's exquisite Mass in D as originally composed for choir and organ. Additional works included Finzi: God Is Gone Up, Howells: Like As The Hart, Mathias: Let The People Praise Thee, O God and Stanford: Nunc Dimittis from Evening Service In C, Op 115. Rachel Thornton becomes the new President of the governing Board, now called the Board of Directors.
Christmas 2004: Finally! On December 12, 2004, the choir hosted its first … or would it be second … (see Christmas 2003 above) … Messiah Sing-In. Despite it being during the busy month of December and no less than two other Messiah Sing-Ins that afternoon, we had over 150 in attendance. A unique aspect of our Messiah Sing-In was that the various sections sang the arias!
The Sixties: In many ways, the history of The Choristers begins at Upper Dublin Lutheran Church in the sixties. David Spitko, the Director of the choir, grew up a member of Upper Dublin Lutheran Church. As a teenager, he sang under Marian Archibald, the then Organist/Choir Director of UDLC. Marian is a current member of the choir. Also, in the church choir he sang with the following current members of The Choristers: Donna Boesler and Lindsey Robinson.
Fall of 1971 Through Spring Of 1975: David attended Ursinus College in Collegeville, PA as a political science major. As a freshman, he won an audition to become a student director in the Choral Music Department, a position he held for four years. In that capacity, he met many of the singers who became early members of The Choristers of Upper Dublin. Current members of The Choristers who were at Ursinus are: Sue Adamson Spitko, Linda Marie Bell, Camille Marion and Paul Marion.
Summer of 1977: Eight singers, all but one of which are alumni from Ursinus College who sang in The Meistersingers, the college's touring concert choir, travel to a church they had performed at while at Ursinus, St. Peter's UCC in Lockport, NY, to present a talent show and anthems during the Sunday morning services. The group calls itself "The Mini-Meistersingers".
Christmas of 1977: Twelve singers, still calling themselves The Mini-Meistersingers, perform a Christmas concert at Boehm's UCC church on Penllynn-BlueBell Pike near Skippack Pike at the invitation of the then Organist/Choir Director of the church: Marian Archibald.
Summer of 1978: Sixteen singers travel one more time to St. Peter's UCC in Lockport, NY to sing. The group traveled in cars linked together by CB radios (remember them?). On the way home, somewhere on Interstate 81 between Binghamton NY and Scranton, PA, in a group meeting on the CB radio, it is decided to make the choir more structured and to seek additional concerts. The name "The Choristers of Upper Dublin" is selected.
Christmas of 1978 Through Christmas Of 1985: The Choristers, averaging 25 - 30 voices, travels to area venues, mostly churches, to present concerts of sacred anthems appropriate to the season. During this period of time, the choir enjoyed performing 15 - 18 concerts per year. This was a very important time for the choir because we performed so much. Because we never knew in advance the quality of the pianos we would sing to - we performed a considerable amount of our music a cappella. We learned how to deal with performance anxiety. Through all of this, we developed the chamber sound characteristic of The Choristers. There were three "seasons": Summer, Christmas and Lent. The summer concerts (generally Sunday mornings) always seemed to be incredibly hot. During one concert, the recorded temperature in the church was 110 degrees. In another we stood right in front of stained glass windows with a strong sun blazing through giving the men in the choir a sunburn on the back of their necks. One memorable concert we performed Rutter's Gloria in a church in Ocean City on a Saturday night with 3 people were in the audience. The Lenten concerts (generally Wednesday nights) always seemed to be performed on rainy nights and the choir routinely outnumbered the congregation. For both the summer and Lenten concerts, we became experts in moving pianos out of Sunday School rooms, up stairs and through small hallways to get them into the sanctuaries.
The Christmas season was filled with trips to long-term care facilities and Longwood Gardens. The Choristers has been privileged to be invited 15 of the last 18 years to present a Christmas concert at Longwood Gardens. Back in this time period, the choir was returning to Longwood every year.
Another highlight from those years was two 30-minute television appearances: an Easter presentation on KYW and a Christmas presentation on WPVI. We performed in the Union League for a group of Christian broadcasters. At Beaver College for its tree lighting ceremonies, at Willow Grove Mall for Christmas … and at a Moose Lodge for who remembers what! Essentially we accepted any invitation to sing.
Social events abounded. Picnics and swim parties followed virtually every summer concert. We sought concerts down at the Jersey shore as it gave us a reason to stay the weekend at The Parkside in Ocean City. The tradition of an annual Christmas Dinner Dance was begun. The members started to have families. The choir used to arrive at a church with 14 - 15 children in tow; all under the age of 6. A Nursery was mandatory and we always had to hire two baby-sitters. This began the practice of having nursery available during rehearsals - a practice which continued until just a few years ago. Specific mention should be made of Joanne Hoffman, one of our longtime members and mother of 5 who once sang a concert only 10 days after given birth.
A volunteer Business Manager, Ken Beyer, and myself initially ran the choir. In 1986, the first Executive Committee was elected. The first President was John Spitko (David's brother). While a total of seven officers were elected, only one has held her position without interruption - Sue Adamson Spitko as Treasurer.
In June of 1983, David took a sixteen-month sabbatical from the choir. During that time, Carol Murray directed the choir. The same basic schedule prevailed. During this sabbatical he served as an unofficial assistant to Robert Carwithen at First Presbyterian in Germantown. It was there that he first directed an orchestra and Mr. Carwithen taught him the basics of a more advanced musical program. Two other musicians in the Philadelphia music scene that were influences and contributed greatly to David's growth as a Director were Michael Parks and Robert Ross. David returned in November of 1984 to implement what he had learned.
Spring of 1985: This is the first concert in which the choir invites an audience to come to a concert, instead of the choir getting a church to invite us to present a concert. Accompanied by organ, we perform a number of anthems and Gloria by John Rutter at St. Paul's Lutheran Church in Glenside.
Spring of 1986: Joint concert with the Oratorio Choir of Wayne Presbyterian at Wayne Presbyterian. We perform Verdi's Requiem. This was the first concert The Choristers performs to an orchestra.
Spring of 1987: The choir performs Rutter's Requiem at Upper Dublin Lutheran Church. This is the first concert for which The Choristers hired its own orchestra. All of the remaining concerts were performed at Upper Dublin Lutheran Church accompanied by orchestra, except where noted otherwise.
Spring of 1988: In its first traditional major work, the choir presents "Gloria" from the B Minor Mass by Bach.
Spring of 1989: Joint program with the Oratorio Choir of Haddonfield Methodist. We perform A German Requiem by Brahms at both Haddonfield Methodist in New Jersey and at Upper Dublin Lutheran Church. This concert involved the choir hiring the first large orchestra: 31 instrumentalists. With this concert, Paul Marion begins his term as the President of The Choristers.
Spring of 1990: The Choristers presents its first all a cappella concert performing Mass in G Minor by Vaughan Williams and Songs from the Ark by Ivor Davies.
Spring of 1991: Joint concert with the Adult Choir of St. John's UCC in Lansdale at St. John's. The major work we perform is Chichester Psalms by Bernstein. Judy Alprin becomes the first Assistant Director of The Choristers.
Spring of 1992: On Palm Sunday of that year, the choir presents The Passion According To St. Matthew by Bach. There are 55 singers and this concert is the first time the choir goes outside of its own talent base to hire a soloist, Mr. Thomas Bogdan from New York, to sing the role of the Evangelist.
Christmas of 1992: We perform Rutter's Magnificat in Trinity Episcopal Church in Ambler, PA.
Spring of 1993: Joint concerts with The Philadelphia Chamber Chorus. We perform "Music for Multiple Choirs" including works by Bach, Schütz, Gabrieli and Palestrina
Fall of 1993: Tom Bogdan returns as the tenor soloist in a performance of Handel's Messiah.
Spring of 1994: The choir was to present Fauré's Requiem. However, two weeks before rehearsals were to start, it was determined that no less than five different choirs in the area were presenting the Fauré. So instead, the choir presents the Lord Nelson's Mass by Haydn. With this concert, Kevin Hoffman begins his term as the President of The Choristers.
Spring of 1995: Tom Bogdan returns to sing the role of the Evangelist in The Passion According To St. John by Bach. This concert is memorable not just for the music, but the fact it was performed during a thunderstorm that rumbled and flickered the lights at appropriate times!
Spring of 1996: In one of the more popular concerts we have presented, the choir performed Mozart's Requiem.
Fall of 1996: We present "The Choral Music of Randall Thompson" including Frostiana and Testament to Freedom.
Spring of 1997: In a concert entitled "Choral Music for Three Trumpets", the choir presents Coronation Anthem No. 2 "The King Shall Rejoice" by Handel, Te Deum by Haydn and the "Gloria" from B Minor Mass by Bach.
Fall of 1997: We present an all Rutter concert, ending with his Requiem. Dan Reed becomes the second Assistant Director of The Choristers.
Christmas of 1997: Sophie Bruno, a well-known harpist in the Philadelphia area, joins the choir to perform Ceremony of Carols by Benjamin Britten.
Spring of 1998: In another all a cappella concert, we present Missa Papae Marcelli Mass by Palestrina and Rachmaninoff's All Night Vigil.
Fall of 1998: The choir presents Fauré's Requiem and Duruflé's Quatre Motets Sur Des Themes Gregoriens.
Christmas of 1999: The choir presents Handel's Messiah.
Spring of 1999: The choir presents To Hope! A Celebration by Dave Brubeck for its 20th anniversary concert.
Spring of 2000: For the new millennium, the now 65 voice choir, accompanied by a 32 piece orchestra, presented Antonín Dvorák's Stabat Mater to a sold-out sanctuary. The concert was dedicated to the memory of Dr. Jane Cooper, PhD., a loved member of the choir who passed away in 1999.
June of 2000: The Choir begins a new tradition. We hold our first "Benefit Concert" the proceeds of which go to area charities. Over $1,500 is raised for "Interfaith of Amber" and "One House At A Time".
Fall of 2000: The choir presents an all-Mozart concert highlighting his Vesperae solennes de Confessore.
Spring of 2001: The now 70 voice choir successfully tackles Ludwig van Beethoven's monumental Missa Solemnis.
June of 2001: We hold our second Benefit Concert - again a collection of spirituals and gospel hymns. $2,000 is raised for the music program of St. Anthony of Padua Roman Catholic Church in Ambler (December 23, 2000, the church suffered a devastating fire) and "Chosen 300 Ministries".
Fall of 2001: While preparing its Fall concert, September 11, 2001 occurred. On Sunday, September 23, 2001, with less than two weeks rehearsal, the choir presented Rutter's Requiem accompanied by a volunteer orchestra. The choir took a free will offering to benefit the Red Cross. Over $5,000 was raised. Then the choir returned to its previously selected music for the November 4 concert, with the major work being Vaughan Williams' Mass in G Minor - an a cappella work composed for double choir.
Christmas of 2001: Accompanied by orchestra, the choir presented "A John Rutter Christmas". In addition to a number of carols arranged for orchestra by Rutter, we presented his Magnificat.
March of 2002: The choir, now at 55 voices, is invited by The Buxmont Chamber Orchestra to join it for its Spring concert and present the hauntingly beautiful Vaughan Williams' Flos Campi. This work was unique for the choir in that it is wordless. This is the first experience for the choir of it being used as an instrument, rather than a narrator. With this concert, Joanne Hoffman begins her term as the President of The Choristers.
May of 2002: In a wildly successful concert, both musically and in terms of attendance, the choir presented selections from Duke Ellington's Sacred Concerts accompanied by a remarkably talented big band. The soprano soloist was DeVonne Gardner, a Philadelphia resident, who has the distinction of having presented more Sacred Concerts with Duke Ellington than any other soprano soloist.
June of 2002: To cap off a successful concert season, we hold our third Benefit Concert - presenting what has become our traditional collection of spirituals and gospel hymns. $1,000 is raised for Community Cupboard of Ambler.
Fall of 2002: The choir joined with Ambler Symphony and the Wissahickon High School Camerata, a select student choir, to present Beethoven's Ninth Symphony. In addition to the Ninth Symphony, we presented the Kyrie and Gloria from Beethoven's Missa Solemnis.
Christmas 2002: The choir revisits an old tradition and presents a Festival of Nine Lessons and Carols.
May 2003: The choir presented a special and unique performance of Felix Mendelssohn's Elijah. In addition to 34 instrumentalists from the Fairmount Chamber Orchestra, the choir was joined by soloists Frank Mitchell as Elijah (Baritone), Maureen Francis (Soprano), Alyson Harvey (Alto) and Richard Slade (Tenor). This performance was unique in that we added theater! There was a small stage so the soloists could add visual effects/movements to their roles. There also was costuming and props … all to create a greater impact for the drama and messages of the work.
June of 2003: We finish the season with our fourth annual benefit concert. This year we are able to raise $2,000 for St. Mary's Villa for Children and Families and the Ambler Community Ambulance Association.
Fall of 2003: The choir presents Haydn's Harmoniemesse which was the composer's last major work, written at the age of seventy. This work called for the largest complement of wind players available to Haydn ~ an unusual scoring for a mass. At that time, a "wind band" was called a "Harmonie", hence the nickname for the work. "Harmoniemesse".
Christmas 2003: On Sunday December 14, 2003 at 4:00 PM, the choir was to sponsor its first "Messiah Sing-In." However, 8:00 AM of that day, a snow/ice nor'easter was predicted for the Philadelphia area. A decision had to be made at that time so we could notify the musicians and public at large. We decided to cancel. By 11:00 AM after all the musicians and no less than 25 media outlets had been contacted to get the word out … the precipitation all turned to rain! Not a happy day …
Spring of 2004: This concert celebrated amazing coincidences of birth. The concert was entitled, "1685 ~ What A Year of Births!" In that year, Bach, Handel and Dominic Scarlatti were all born with a few hundred miles of each other. In addition, we decided to program lesser-known works of these composers. Instead of the oft performed Bach Passions or Mass in B Minor, the choir presented the opening chorus from Cantata 190 (Singet dem Herrn) and the entire Cantata 191 (Gloria in excelsis Deo). Instead of one of Handel's oratorios, we sang his Utrecht Jubilate and Chandos Anthem #11 (Let God Arise). Finally, all of Domenico Scarlatti's choral music is obscure and undeservedly so. After the audience heard his Te gloriosus, they all agreed! Chandos Anthem #11: Let God Arise encapsulated this triangle of composers. Handel composed this work when he was the resident composer with the Duke of Chandos. In the orchestra by the Duke of Chandos was Francesco Scarlatti, uncle of Domenico, and Johann Christoph Bach, cousin of J.S. Bach.
Fall of 2004: The choir performed Antonín Dvorák's exquisite Mass in D as originally composed for choir and organ. Additional works included Finzi: God Is Gone Up, Howells: Like As The Hart, Mathias: Let The People Praise Thee, O God and Stanford: Nunc Dimittis from Evening Service In C, Op 115. Rachel Thornton becomes the new President of the governing Board, now called the Board of Directors.
Christmas 2004: Finally! On December 12, 2004, the choir hosted its first … or would it be second … (see Christmas 2003 above) … Messiah Sing-In. Despite it being during the busy month of December and no less than two other Messiah Sing-Ins that afternoon, we had over 150 in attendance. A unique aspect of our Messiah Sing-In was that the various sections sang the arias!