THE MUSIC GOURMET

Saturday evening marked the eighth year I have reviewed the Naples Philharmonic's annual "Seasonal Treasures" concert. The single evening, always a sell out, is held in the downtown Naples First Presbyterian Church, rather than at the Phil. Brice Gerlach, the Phil's accompanist of chorales, serves as director of music and organist at the church.

This year, in a packed sanctuary, on a stage filled to overflowing, were James Cochran, director of the Philharmonic Center Chorale, the 70-member Chorale, a harpsichord, the magnificent organ and the most members of the Philharmonic Orchestra utilized to date for this program. I briefly wondered if concertmaster Glenn Basham exhaled too vigorously, whether or not he and his chair might fall off the edge of the platform, where both he and Cochran were precariously perched.

Unlike previous years when I've always had strong personal favorites, this year the entire program was so uniformly special, I am hard pressed to give any single selection more of a gold star than another. The wonderfully balanced chorale did itself proud; there were non-stop key performances by every section of the orchestra; Michele Byrd, Gerlach's wife and a beautifully voiced soprano, gave as fine a performance as I have heard her give; and Cochran's accompaniment on the harpsichord, in addition to his conducting, were top drawer.

The Philharmonic Center Chorale The audience was completely engrossed in the program, singing along from time to time as requested and — even more fun — quietly joining in even when not requested. But why not? I looked up during one of the splendid arrangements by the late, great Robert Shaw and saw several members of the orchestra smiling and singing along.

That's when you know it's a truly great concert!

The program opened with a glorious performance of "Winchester Te Deum" by contemporary British composer John Rutter, one of the greatest vocal composers of all time, who is known for his lush, otherworldly harmonics. "Te Deum" was, from its first few notes, breathtakingly fine. "We acknowledge thee to be our God," intoned the chorale, the joyful notes issuing from the hammered chimes the perfect icing on the cake.

The program could have ended right there, and everyone in the audience would most assuredly have gotten their money's worth.

But the evening of pearls was just beginning.

For one of Johann Sebastian Bach's greatest works, his Cantata No. 51 "Jauchzet Gott in allen Landen" ("Praise God in All the Land"), Matt Sonneborn, the Phil's principal trumpet, moved front and center to join Cochran at the harpsichord in accompanying Michelle Byrd. I gained a new appreciation for Sonneborn's technical and aesthetic facility, since it would be very easy for a trumpet to overpower a single voice. Instead, Sonneborn's beautiful performance, including some finely executed trills, made the first movement even better.

After resting during Byrd's "Wir beten zu den Tempel an" ("We Pray to Him in our Temple"), he joined concertmaster Basham and principal 2nd David Mastrangelo as the Cantata burst forth in the final "Alleluja."

Next up was a very different kind of joyous music: Robert Shaw and R.R. Bennet's First Suite of the "Many Moods of Christmas." Any album featuring the Robert Shaw Chorale was a "must have" for wonderfully creative arrangements of the "old familiars" during the '60s and '70s. Saturday evening, these selections, during which the audience had moments to sing along as well, were hugely popular with the crowd. After all, unless you are from a different planet, who doesn't recognize "Good Christian Men Rejoice," "Silent Night" or "Oh Come, All Ye Faithful"?

The almost obligatory Handel's "Hallelujah Chorus" from "Messiah" ended the first half of the program, the audience rising to join their voices with the Chorale.

Hanukah was by no means ignored in the program, as the second half opened with a brisk arrangement of "Traditional Sounds of Hanukah." Several members of the audience nodded to the energetic music.

Before the program concluded, there were opportunities for everyone to enjoy numerous fine contributions by Dickie Fleisher, principal harpist; Suzanne Kirton, principal flutist; Judy Christy, principal oboe; Andrew Snedecker, co-principal oboe; Adam Satinsky, principal cellist; and non-stop excellent contributions from the strings, percussion and brass sections.

An absolutely gorgeous performance of Mozart's "Laudate Dominum" ("Praise be to God"), the eerily different "Carols of the Night," a standing ovation, and it was too soon over.

This choral music concert is always on my short list of "must-see" events. At $28, it's one of the best bargains in town. Make a note to watch for the chorale the next time I recommend a program of theirs. You won't regret it.

Peg Goldberg Longstreth was trained as

a classical musician. She owns Longstreth-

Goldberg Art Gallery in Naples.