I only learned of these concerts at the First Congregational Church in Kennebunkport because of one Larry Vennell, fellow Mason and Nasson graduate. What concerts you may well ask? The series of five Monday night concerts at the church.

The concerts are to raise money for the repair and restoration of the organ at the church. That organ is an E. & G. G. Hook organ built in 1854, originally given to the church by the South Congregational church in 1916. I listened to the timbre of that organ played by Frederick MacArthur at the concert on the 24th and I am pleased to report that it has a beautiful combination of stops and that organ is worthy of getting some necessary and tender loving care.

I had never been in this church before. The acoustics are warm and live at the same time and the worshipers there are fortunate to have such a warm environment for their services. 

At this opening concert, the soloist was tenor, Neal Ferreira accompanied on the organ and piano by Frederick MacArthur. They were introduced by Joyce P. Rice the music director of the church. Mr. Ferreira started his program with the singing of the national anthem. It was evident from the start that Mr. Ferreira has a robust and resonant trained tenor voice and it seemed to me that he knew how to use it. The only drawback, at least to me and at least for this recital, was that I believe that he was not sufficiently warmed up and that he was consistently under pitch for most of his selections.

Mr. MacArthur began his participation with a professional accounting of “Rigaudon” by Campra. He showed his skill at the instrument in his use of registration in accompanying the soloist especially in “Abide With Me” by Liddle. Other vocal selections at the onset included “Thine is the Greatness” by Galbraiti and “Bist Du Bei Mir” by Bach.

Mr. Ferreira’s phrasing and diction were excellent, not only in these works but throughout the balance of the program.

MacArthur gave an fine accounting of the “Prelude in C Major” by Bach.

Ferreira followed by performing several operatic selections explaining where the solos fit in the respective works. However well he performed these selections I cannot understand nor excuse the fact that either he was unaware of the intonation problems or was unable to do anything about them which detracted from the otherwise fine performances of these familiar arias by Donizetti, Handel, and Verdi.

After an organ selection by Callahan, Mr. MacArthur moved to the vintage console Steinway (1905) for the balance of the program.

Ferreira concluded the balance of his concert with works from Broadway with selections by Lerner & Lowe, and Rodgers and Hammerstein.

Now really warmed up he sang a vintage Fox Trot arrangement from Puccini’s “Madam Butterfly.” His best effort occurred with the encore, Gershwin’s “Summertime.”  Yes, it IS a soprano solo, but he sang it beautifully.

Other Monday concerts will feature the following: On July 31, Roric Cunngham, cello; Aug. 7, Liesl Quigley, soprano; Aug. 14, Carson Cooman, organ — he is composer-in-residence and organist at the Memorial Church at Harvard University; and on Aug. 21 is Drowned Valley (Old Time Bluegrass and Gospel.) There was a reception following the concert where the culinary abilities of several were in evidence. For music lovers in this area, this series is a worthy musical one and it’s purpose, the restoration of it’s organ equally worthy.

— Dr. Morton Gold is a composer/conductor, retired educator and an arts reviewer for the Journal Tribune.