No one can do anything but laud the members of the Houston Lutheran Chorale for the wonderful concert they performed for the 1998 Christmas season. These non-paid amateurs, through hard work and diligent rehearsal have achieved a level of high musical quality and obvious joy in singing God's Word and in the simple act of singing. The audience truly appreciated the love, talent and spirit demonstrated by the chorale members.
Not only that but the choice of music for the first part of the concert this year was excellent. The Gloria by Antonio Vivalde had been sung by the Chorale sometime previously, but it still brings the Christmas Message with force and genuine emotion. The music of Vivaldi fits the words almost perfectly. There are, of course, somber parts as the text speaks of the repentance of sins; but for the most part joy and spirit charaterized the piece. In a previous performance, the choice of minor key music did not appear to fit the expectations of a Christmas Concert.
The selection of music for the second part of the concert was a mixture of secular, winter music (the temperature in Houston on Friday, December 4th was in the 80's) and Christian songs and hymns.
Sleigh Ride was by the paid, professional orchestra which was first class. The Chorale got what they paid for in those musicians. If only the St. Mark's Conservatory of Music could develop musicians of only three quarters of this calibre to accompany the Chorale with their talents on a volunteer basis, this could a true gift to God and the church and contributions could be made to other worthwhile musical endevours instead of the Orchestra Fund.
The Children's Chorus performed a couple of cute songs with "choreography" on the basis of seven hours of rehearsal. It was "cute" and about what one would expect. A few lines of harmony were nice, too.
The title of the concert was taken from one of these songs: "How Shall a King Come?" by Carol and Jimmy Owens. This song, the words of which were not entirley clear to this reviewer, contrasts the worldly view of a kingly advent with the lowly coming of the Christ and ends with His triumphant entry into our hearts. It was a classic example of the emotional paradigm of contemporary worship, so called "evanelical" style, that is the fad of the church these days. Begin with an upbeat song to get the audience into a good mood, bring them down with a sad, somber, tear-jerking testimony or series of songs and then climax with an expression of the theology of glory that really brings them to their feet and puts them in the mood to buy the tee shirts and CDs on sale in the lobby. While not as crass as a Dave and Barb Anderson "concert," this song patterned that genre.
The Very Best Time of the Year was an emotional selection that echoed Rush Limbaugh's view of Christmas as a "sentimental time of family memories," rather than a celebration of the Incarnation of the Son of God, though the music was not as "cool" as Mannheim Steamroller, Rush's favorite non-Christian Christmas promoters and now wealthy because of all the Christians buying their CDs.
Tamborine Noel and Fum, Fum, Fum were pure musical showcases with hardly any message to be communicated. They were celebrations of music, rather than Christmas, and sung well by the Chorale. One just misses the Christ of Christmas in these selections.
Away in a Manger was introduced rather emotionally as a Christmas song that "says it all" about Christmas. Really, now! All Christians love Away in a Manger as a children's song about the birth of Jesus, but it does not hold a candle to "From Heaven Above" or "Joy to the World" or "A Great and Mighty Wonder" or "Of the Father's Love Begotten" or any of the Christmas Hymns in our Hymnals when it comes to "saying it all" about what Christmas is all about to sinners.
The Jesus Gift was well sung, but totally disappointed this reviewer. What I thought would be about the gift of a Savior to the world, this was a repriese of "Little Drummer Boy." It was really about the gifts we give to Jesus. All law and no Gospel. Mentioning Jesus is not Gospel.
This reviewer was very impressed with the boys choir from South Africa that St. Mark's sponsored a few months ago. Their musical ability was supurb and the Director's Christian sensibilities were something for the Houston Lutheran Chorale's director to emulate. He made a very clear division between Christian and secular music. The division was highlighted by both an intermission and a change of costume. It was absolutely inspirational and delightful to the senses and conscience. The stark contrast between the Christian and the South African culture was clear. Not so with the Chorale's arrangements.
The Christmas Festival by Leroy Anderson was the obligatory sing-along portion. This was the disappointment of the Concert, when it could have been the highlight; being able to sing with the voices of the Chorale and the accompaniment of the orchestra. The failure to discern the stark differences in our secular culture and Christianity reveals an adoption of Post-modern philosophy. One verse each of Joy to the World, Deck the Halls, God Rest ye Merry Gentlemen (a happily surprising inclusion in this day of political correctness), Hark the Herald Angels, Silent Night, Jingle Bells, and O, Come All Ye Faithful concluded with a fanciful blend of "Christ the Lord" being sung and Jingle Bells being played by the orchestra. We Christian ought to have more respect for our Lord's title and our confession of it in song.
The Twelve Days After Christmas was pure fun. The Chorale has a blast singing this, and the audience roars with laughter at their presentation. There is nothing inappropriate with singing and enjoying secular and mirthful songs for the sake of the fun of them. To sandwich them in between sacred music is confusing to the minds and hearts of the hearers.
A transition to the concluding song was a cross between encouraging a contribution to help pay for the expenses (a totally acceptable appeal) and an altar call (a totally unacceptable appeal in a Lutheran Church). This offer to be of help to one who does not know Christ is either implicit in a gathering that presents the Law and Gospel faithfully or can be made in the program. It should be omitted from future concerts.
Behold the Lamb is the signature song of the Houston Lutheran Chorale. The chorus surrounds the audience during the singing and this year the director invited former members of the Chorale to step out of the audience and join the current chorus and the congregation to sing along. That was wonderful, since I have listened to this piece on tape and sing along with it. The hokey part was an invitation to join hands with the strangers next to you while you are singing. At the end of the song the chorus raises their hands together. (Is this a subtile way of getting people used to the charismatic expression of praise? Who knows but the heart of the director. I am just a sinfully suspicious person. And I love the song, but hate the gimmicks. I love the Word and hate the prescribed responses.)
I made my contribution to the Chorale because I truly appreciate the effort and expense the singing members go through to serve the Lord through their gifts, talents and interest. I have relatives and friends who sing with the Chorale, so I know their commitment. They buy their own costumes, pay for travel for rehearsals and concert trips, set up and take down risers and equipment, promote concerts and raise funds for the Chorale. These people want to fulfill the purpose of the Chorale: "proclaiming the joyous Gospel of Jesus Christ." Their desires would better be granted by a more judicious choice of music and arrangement on the part of their leadership.