By Tim Smith
The Baltimore Sun online,  December 4, 2007

I've said it before, and I'll say it again -- memorable music-making doesn't just come from the most-publicized performers or just in the biggest, most obvious places around here. Folks who nearly filled the Gordon Center in Owings Mills Saturday night heard a performance of Bach's incomparable B minor Mass by the Concert Artists of Baltimore that, in terms of expressive force, could hold its own against some mighty competition, local and beyond.

You can deduct points here and there for, say, a couple of vocal soloists who didn't have quite enough technical or tonal solidity. Or for some inconsistencies in the choral sound (especially at the opening of the Credo) and maybe an instrumental passage or two. But by any standard, what conductor Edward Polochick achieved here was remarkable. Tempos were beautifully judged, with plenty of dancing momentum balanced by wonderfully spacious reflection. Phrases were alive with nuance and expressive richness. Textures were clear, even amid contrapuntal complexities. The life force in this eloquent, ecumenical music emerged from the first measures and never flagged. 

Among the notable solo efforts: soprano Christine Kavanagh and mezzo Beth Stewart, blending sweetly in the Christe eleison section; flutist Kristin Winter-Jones, weaving beautiful threads of tonal gold through the Domine Deus portion of the Gloria (soprano Faith Okkema and tenor Heyk Chae did lovely work here, too); the supple horn playing of Mark Hughes later in the Gloria; and, in several passages, cellist Gita Ladd. The orchestra seemed tighter and more dynamic than ever, with especially shining work from the trumpet section.

Bach's Mass, which can be viewed as the culmination of his musical and spiritual development, presents a huge challenge. Polochick and his Concert Artists met that challenge handsomely in an absorbing, often touching performance.