Local classical musicians took the lead in concerts during the first full weekend of October. Many local ensembles opened their 2024-25 season with memorable performances plus the promise of more great dates to follow.

 Two local Episcopal churches and one Presbyterian church served as the venues for three of these concerts. First on the roster was Choral Arts Philadelphia’s “Pipe and Voice,” led by Chestnut Hill conductor Donald Meineke. Choral Arts was accompanied by organists John Walthausenm (music director at the First Presbyterian Church in Germantown) and Thomas Gaynor (assistant organist & choirmaster at St. Mark’s Episcopal Church, Locust Street) in a performance at the Episcopal Church of the Holy Trinity in Center City. 

 Tempesta di Mare, Philadelphia Baroque Orchestra, opened its 2024-25 season Sunday afternoon with a program entitled “Stolen” in the Presbyterian Church of Chestnut Hill. Then, later in the afternoon, director of music and organist Andrew Kotylo led the first Choral Evensong of the season at St. Paul’s Episcopal Church, Chestnut Hill.

 Meineke’s program at Holy Trinity celebrated the completion of its organ project – restoring the existent “choir organ” in the chancel and installing in the gallery the Moller pipe organ from First Baptist Church of Philadelphia. The former is bright and neo-baroque while the latter is lushly romantic. Together, they provide Holy Trinity with an infinite variety of music for choir and organ.

 Meineke chose music composed for French cathedrals, mostly notably Notre Dame, Paris. Works by Durufle, Dupre, Poulenc, Messiaen, Ducasse, Villette and Yves Castagnet’s “Messe Salve Regina.” It was the afternoon’s major work and provided Walthausen and Gaynor ample opportunities to reveal their respective instruments individually and in ensemble.

 The concert also allowed Meineke to display the virtuosic and expressive singing of Choral Arts. The choir spanned the gamut of emotions each composer wrote for it.

 Choral Arts Philadelphia’s season continues with “Carols by Candle Light” Saturday, Dec. 7, at 4 p.m. The choir will then celebrate New Year’s Eve with a performance of Bach’s Mass in B minor,” Tuesday, Dec. 31, at 4 p.m. Both concerts are set for the Church of the Holy Trinity – which by right of scale, beauty and (now) organs reasonably should be the cathedral church of the Episcopal Diocese of Pennsylvania. Visit www.ChoralArtsPhila.org. for more information.

 Tempesta on The Hill

 Tempesta’s Oct. 6 program focused on music composed by George Frideric Handel based on scores he allegedly stole from his teacher, Reinhard Keiser. What really matters in the end is that Handel remains one of the towering musical geniuses of all time and that Keiser composed some beautiful music.

 I was particularly taken by his Concerto in D. Divided into five movements, the score is characterized by imaginative orchestration, vibrant rhythms, pungent harmonies and piquant melodies. Tempesta played it with admirable technical command plus beguiling and stylish musicality.

 Tempesta’s season continues with “Duo Silvio” Nov. 23 & 24, and then a “Neapolitan Christmas” Dec. 13-15. For more information call 215-755-8776 or visit www.tempestadimare.org.

 Choral Evensong

 I was especially eager to attend Choral Evensong, Oct. 6, to hear St. Paul’s newly restored Aeolian-Skinner pipe organ during an actual service. And what a musical treat it turned out to be.

 Music director Andrew Kotylo led his choir and organ scholar Andy Brown in a musical program of works by Messiaen, Berton, L’Estrange, Matthias and Whitlock. The choir was particularly adept in its renditions of L’Estrange’s “Magnificat” and “Nunc dimittis” from her “King’s College Service” and Mathias’ anthem, “Let All the People Praise Thee, O God.” And, of course, the organ sounded like a symphony orchestra. 

 St. Paul’s will host a Choral Evensong Sunday, Nov. 3, at 5 p.m. for the Feast of All Souls. For more information visit www.stpaulschestnuthill.org. 

 Hayes’ Homecoming

 David Hayes made his triumphant return to Philadelphia the first weekend of October. He conducted the Chamber Orchestra of Philadelphia in two performances as its new music director. 

 The concerts took place in the Kimmel Center’s Perelman Theater Friday evening, Oct. 4, and Sunday afternoon, Oct. 6. Although the “marquee name” for the program was pianist Michelle Cann in Beethoven’s “Emperor” Concerto No. 5 in E-flat major, Opus 73, it was the performances given two newer works that made the strongest impression on me.

 The first was Adolphus Hailstork’s “Sagrada: Sonata da Chiesa No. 2.” Composed in one unbroken movement that proffers an expansive use of chromatic tonality, spaciously laid out layers of timbres, expressive dynamics and focused emotional delineation, it received a stellar rendition by Hayes and the Chamber Orchestra. The performance – and the composer, himself, who was in attendance – received a heartfelt ovation.

 The second work new to me was Michael Torke’s “December,” a tonal description of autumn turning into winter. While “Sagrada” might be described as “neo-romantic,” I’d label Torke’s opus as “neo-baroque” – full of spikey dissonances, energetic rhythms, edgy textures, and a cleanly defined ABA form. Once again, Hayes and the players of the Chamber Orchestra gave it a riveting reading.

 You can contact NOTEWORTHY at Michael-caruso@comcast.net.