The local entertainment calendar is filled with a number of holiday standards and last Sunday was the turn of the Kingston College Chapel Choir (KCCC) to present its annual Christmas concert.

The sounds of works scored by musical greats Rutter, Willcocks, Bach and Handel filled the chapel on the grounds of the University of the West Indies, Mona campus, as the choristers North Street delivered inside the enchanting venue.

Known for its excellence in the performance of sacred music, this year’s presentation built on the choir’s 63-year history of music at a superlative standard. If one were to have closed his/her eyes at any time during the concert, it could have been easily confused with an evening with the world-famous Vienna Boys’ Choir in St Stephen’s Cathedral, Austria.

The choir displayed exquisite technique, tone and interpretation of the pieces. For the most part, the choristers made good work of delivering well enunciated phrases; even in the sole foreign language item for the afternoon Bach’s Valet will ich dir geben which bore much resemblance to the tune St Theodulph (Teschner) popularised by the Passion hymn All glory, laud, and honour.

The programme opened with a resounding rendition of Parry’s I was glad, which gave much delight to the attendees. Straightway followed an excerpt from Handel’s Messiah complete with recitative; climaxing with the text glory to God in the highest. Then came an even greater treat; the accompanying altos, tenors and basses (ATB) exited stage right to expose a more-than-competent treble line which superbly delivered five Bach pieces including the ever-popular Jesu, Joy of Man’s Desiring. The trebles pointed the words carefully, floating phrases and thrills and triplets with impressive control. The ATB rejoined the trebles to begin the main work for the evening – Handel’s Coronation Anthem No. 2: The King Shall Rejoice.

Conductor Audley Davidson suggested to the audience, confidently, that they refrain from applauding until after the final item in the five-selection work. The opening fanfare was especially potent with organ (Ann MnNamee); piano (Archie Dunkley); flutes (Nicholas La Rock and Vered Eyal-Saldinger); trumpets (Hopeton Williams and Everol Wray) and timpani (Delroy Franklin) rising in regal triumph. Though just seven instruments, the orchestral sound was extraordinary. The choral forces joined evoking goosebumps all around. The fanfaric instrumentation with sincere vocal harmonies and fugues dictated the ambience of a true coronation. For the twenty five -minute duration of the work the audience found great pain in remaining obedient to the conductor’s request. (This choice of work may prove most appropriate as speculation grows over when the succession of a male British monarch will take place.)

Intermission interrupted.

The Christmas-themed second half had a lighter composition of well known pieces. In dramatic fashion the choir returned to the stage having traded their purple choral robes for white shirts with the appurtenant college tie. They opened with Sing Noel arranged by Althouse and Goss’s See Amid the Winter’s Snow. The latter featured three treble solos which left audience members, many of whom parents of choristers, beaming with pride. Popular carols followed with the audience being enlisted for the singing of Hark! the herald-angels sing and the chorus of We Three Kings. The choir also presented some unaccompanied pieces to pitch perfection: while Angels from the realms of glory was a little rushed, the tempo, tone and interpretation of O little one sweet lulled the audience into silence.

What followed was more than stirring. An uncommon occurrence at KCCC concerts, the choir added simple, yet impactive choreography. This was to the excitement of the audience. The short Jamaican suite featured Dexter’s Good News and a refreshing version of the well-liked Sing de chorus arranged by the choir’s own conductor – key changes and all. These were intended to close the show, but the shouts for more could barely be hushed by the concert’s emcee, known for his speaking voice, Ed Wallace.

After the necessary courtesies and acknowledgements, the choir returned with two pieces; the final being the always upstanding Hallelujah Chorus from Handel’s Messiah. The audience applauded and applauded. A light of achievement sparkled over the choristers.

Of note, however, is that the concert’s late attendees provided a great disturbance as they hustled during the earlier pieces. This should be considered faux pas; especially the ones who proudly strolled down the centre aisle during choir’s performance seemingly oblivious to their unpunctuality. Ushers should provide guidance.

The evening offerings lacked only active expression from the faces of the choristers and only more Jamaican item. These would have been the fragrance to the wonderful bouquet that was presented to the audience.

The excellent tradition that is the KCCC is a wonderful manifestation of co-operation and service that continues to inspire many. The fact that the new purples sing alongside never-yielding Old Boys, who continue to serve the group, augurs well for its continuity and it standard always being maintained; if not improved.