On Sunday afternoon, November 21, 1999, at 2:00 p.m. at the 419th Concert Worldwide, 330th in New York, 218th at Carnegie Hall, I attended a MidAmerica production that featured the New England Symphonic Ensemble . This concert contained several different compositions from large groups of musicians, including an orchestra and a choir. This concert was divided into three different parts. First there was the Vivaldi which was divided into 12 sections. Virginia-Gene Rittenhouse was the Musical Director, Raymond Sprague was the Conductor, Judith Von Housers Voice was the Soprano, Mary Nessinger the Voice was the Mezzo Soprano, and Elizabeth Hastings was the Portable. There was a reprise in the first Gloria section which opened the symphony. After the first intermission, the musicians performed Magnificant by Mohaycn, Ave Maria op 12 by Brahms, Magnificant by Vaughan Williams and Cantique de Marie by Larson. Nancy Menk was the conductor, Judith Von Houser was the soprano and Mary Nessinger was the mezzo-soprano. The first three sections were musical settings of the magnificent text, all for the women with trembling voices and the orchestra. This recital was more dramatic due to the addition of precussion which added a screaming sound to the end of the last section of the Canticle of Mary which depicts Mary's free spirit. They also played a Williams Manificant solovin oboe. After the second intermission, the musicians performed the Puccini which was divided into six sections. Solveig Holmquist was the conductor, Thomas C. Laine was the tenor, and voice James Demler was the baritone. The choir bears the major burden of their music. Thomas C. Laine presented the tenor in Creed and James Demler presented the baritone in Agnas Dei. This piece also contained a fugue and a chorale. Additionally, all instruments were mixed to produce harmony. In the first part of this recital, the Vivaldi contained a string quartet. After the first intermission, I looked at the podium and noticed the precusions were added, including timpani, bass drum, tylophone and cymbals. In this recital, Nancy Menk was the conductor, Judith Von Houser was the soprano who played a high note, and Mary Nessinger was the mezzo-soprano who played a slightly softer note. This part of the concert was divided into four pieces. First there was M. Haydn's Magnificent (the orchestral accompaniment was edited from the composer's manuscript by Mark Nabholz). This piece consisted of strings without violas, two French horns and an organ..