One of the unanticipated developments in my life after I retired from the newsroom was that I became an amateur choral singer, first as a charter member of Revels Singers in Boston and now with the much smaller but no less excellent Quoddy Voices.

In that, I’ve been blessed to work under four incredible music directors and also experience a few other fine conductors, each bringing something unique to the enterprise.

Still, the newest vocal maestro is truly one of a kind, yet still of the highest standards.

When he stepped up to the task in September, he handed out stacks of sheet music from four or five different sources, a very wide range of repertoire, maybe 30 pieces in all.

We set about sight-reading these, and I found myself getting teary as I recalled earlier experiences. Leadbelly’s “Bring Me a Little Water, Sylvie” was a staple of the Boston Revels’ autumn equinox Riversing along the Charles River, and backing up our teens’ choreographed routines was always exciting. “Wild Mountain Thyme” always ended the spring equinox concert, with David Coffin leading the audience gathered into a large circle, holding hands. “All God’s Critters (Place in the Choir)” raised many other memories, especially of Quaker children but also with the composer himself, who lived just outside Dover. And then there was Sweelinck’s joyous “Hodie,” my introduction to polyphony at the opening of the second classical concert I ever attended, the Roger Wagner Chorale around 1960. Never, ever, would I have imagined actually singing that – well, not until the past few years.

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While I’m relatively new to being a member of a musical ensemble, I can say it’s a remarkable identity to assume. We expect to be followers, even with our own grumbling in the back row.

And that’s where Gene threw us a curve ball this fall. He wanted our opinion in what pieces we want to do, including those on our upcoming holidays concerts.

As others said, “The conductor’s always come in with the the pieces and said this is what we’re going to perform. Let’s get started.” To which, in our new situation, they added they were feeling a bit disoriented and perhaps even dismayed.

Well, he did want us to rate the pieces before us, something like a homework assignment, so here’s what I added to my ratings sheet:

“I’m guessing that many of the others will be leaning toward pop/rock songs they’re familiar with and find fun. As you see, I lean the other way, looking for pieces that stretch me to explore and achieve more. Looking at scores from the bass line is a fresh perspective. The tenors and ladies typically get most of the action while we’re stuck in the basement. (No pun intended.) Or even sidelines. I don’t mind holding a drone note in modal music, including Eastern Orthodox services, but what I’ve seen in the pop/rock harmonies seems pretty rote, uninventive, or shallow with little to hold my continued interest, especially if we were to do some deep rehearsal.

“On the other hand, doing one-time run throughs, perhaps with an audience, could be a fun community event, our own version of a pops concert. Summertime, even?

“Or even a hymn sing?

“Still, you asked, and thanks for that. And you’d still get my vote if we were selecting a music director. (My, that was an experience with my previous choir down in Boston.)”

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I am happy to report that the Renaissance and other classical repertoire that I favor came in at the top of the stack, but there’s also a healthy blend outside of my usual comfort zone. The process did cut into our concert preparation time, but I’m confident we’ll catch up.

This really is a fun group to be part of, and that runs top to bottom and back up. I’d say things are percolating.