The Chorale, founded four years ago by its director, Tina Johns Heidrich, has recently been chosen to sing in the White House this Christmas. In its brief existence it has sung in Carnegie Hall and twice been the winner of MacDonald’s “Gospelfest Competition.” Impressive credentials! And let it be known that Heidrich is a music graduate of Western Connecticut State University.

Throughout the entire program the Chorale was accompanied by the skillful pianist Joseph Jacovino, Jr., and also by a brass ensemble. In certain works a flute, clarinet, or bass guitar also participated. Unfortunately some of the names of these musicians were omitted from the program.

The Chorale sang in the sanctuary’s large alcove behind the altar. As a result the sound of the instruments, which were in front of the singers, reached the listeners more immediately than that of the voices. Also, the piano, with its stringy and metallic sound, seemed overly amplified and often intruded upon the Chorale’s fine pianissimos and altogether sensitive dynamics.

The opening selection was a celebration of Thanksgiving, “Creatures of our God and King,” by Mark Hayes. During the first half of the program one heard such familiar holiday melodies as “Silent Night,” “Away in the Manger,” “Hark the Herald Angels Sing” and “O Little Town of Bethlehem,” all interwoven in various selections by generally unfamiliar composers or arrangers.

Special notice must be given to “Gloria,” a contemporary sacred three-movement work by the English composer John Rutter. This original score proved to be the chief musical entrée of the day. The lovely second movement, “Domine Deus,” was sung with an almost devout reverence that cast a spell on the audience.

“Gloria,” with its concluding brass fanfare and vocal brilliance, displayed the artistry for which the Chorale has become known.

Of the many pieces superbly sung with instrumental accompaniment, it is notable that the spiritual “Goin’ To Bethlehem,” sung a cappella, received the most enthusiastic and loudest applause.

Throughout the program, Heidrich led the group with an economy of conducting motions and the singers responded with equal precision.

The program had its international flavor as well, with selections like “Gesu Bambino,” “Thula S’Thandwa” (a Zulu Lullaby), “Hanukkah Nagilah,” and “Cantar,” (performed with a Cuban Salsa beat). The finale was Heidrich’s own arrangement of the rousing “Amen,” moving up the musical scale to a bursting and climatic final ending — well, not quite. As I was leaving it was being repeated with the audience clapping to the rhythms. Finally the musicians were given a shouting and standing ovation.