The world-class vocal ensemble Chicago a cappella does Christmas choral music fans a real service by daring to create a program entirely of contemporary (primarily within the last 20 or so years) works that defy the usual and predictable holiday concert choices that guarantee instant audience familiarity and gratification (not that there's anything wrong with those beloved, treasured standards!). Most of the works featured here require a bit more-than-usual attention from listeners--the composers and arrangers obviously approached such common texts as "What sweeter music", "Il est Né, le Divin Enfant", "O Come, O Come Emmanuel", "Noël nouvelet", "I wonder as I wander", "Lo Yisa Goy", and "The Huron Carol" with an idea to say something that hadn't already been said. And they do--splendidly. Then we have entirely original pieces by Stephen Paulus (Splendid Jewel--from a 14th-century Italian text), Gwyneth Walker (The Christ-child's Lullaby--inspired by a traditional Hebridean song), Richard Proulx (Prayer of the Venerable Bede--from a text found on the wall of Galilee Chapel in Durham Cathedral), and Danish composer Per Nørgård (En stjerne er sat--a dialogue between the Angel and the shepherds).

It's a tribute to the power of the Christmas story and to its enduring, compelling fascination for composers that the best of them continue--more than 2000 years later--to devote their efforts to writing music to recognize and celebrate the birth of Christ. And we are fortunate to have choirs of this caliber to bring this music to us in a context that presents it most favorably and gives it a permanent presence in our listening repertoire.

Another of the disc's strengths is the sheer variety of music, from the Nigerian setting of the text "For unto us a child is born" by Christian Onyeji, to Rosephanye Powell's "spiritual-like" Who is the baby?, to Yemeni composer Chaim Parchi's alluring Chanukah tune "Aleih Neiri", arranged for choir by Zamir Chorale of Boston founder Joshua Jacobson. The nine singers of Chicago a cappella are absolutely right-on in every respect, and the sound is ideal. This is an unqualified success, a holiday treat, a musical bounty that will both challenge and enliven your Christmastime listening. Highly recommended!

--David Vernier, ClassicsToday.com

AllMusic praised The Benvenue Fortepiano Trio’s “intensity, commitment, and unfettered navigation of Schumann’s scores.” This release is the third in the ensemble’s series dedicated to the works of Robert Schumann (1810-1856). This volume features Schumann’s most influential chamber work, the Piano Quintet in E flat Op. 44. The piece, which was premiered in 1843, is remembered for it’s “extroverted, exuberant” character. It is considered one of Schumann’s finest works. The ensemble performs here on period instruments, which enhances the recording by creating the intimate atmosphere for which this chamber music was written. Fanfare Magazine writes that the atmosphere creates “an enlightened view of the music.” The Benvenue Fortepiano Trio is pianist Eric Zivian, performing here on a Franz Rousch 1841 fortepiano, violinist Monica Hugget, performing on a 1770 Dutch, and cellist Tanya Tomkins, playing on an 1811 Joseph Panormo.

The Brook Street Band has easily earned its reputation as “the smartest new baroque band around” (The Times, London). Among today’s most notable Handel specialists, the group’s founder, cellist Tatty Theo, and harpsichordist, Carolyn Gibley, turn their attention for only the second time to the music of J.S. Bach as well as his son Carl Philip Emmanuel. Like father, like son, each wrote three Sonatas for viola da gamba and harpsichord. These works have long been a valued part of the cello repertoire, but this recording is the first to make use of a regular four-string baroque cello.

The flourishing culture of the classical guitar in Japan is further revealed in the third volume of this admired series. The expressive nature of music for guitar and for the harmonica often represents the principles of Ma – the idea of space and time. Takemitsu’s contemporary arrangements of popular songs, where virtuosity fuses with flexible spirituality, are of extraordinary originality whilst melodic inventiveness is the hallmark of Hikaru Hayashi’s varied pieces. There are also examples from film scores and explorations of sound qualities, such as Yoshimatsu’s intensely evocative and masterful Forgetful Angel II.

he music of the Stift Heiligenkreuz in the Vienna woods became known throughout the world a few years ago: the CD “Chant – Music for Paradise”, on which Cistercian monks from the monastery sang Gregorian chorals, became an international chart success. On this CD, the esoteric aspect of contemplative sacred vocal music is less prominent; the focus is rather on the power of the vocal and instrumental works of the baroque age that are linked liturgically. In fact, a brother of the monastery wrote some extremely important compositions as early as the 17th century; one of the places in which he published them was the collection “Cultus Harmonicus”. From the works of Father Alberich Mazak, the musical form of a baroque liturgical mass at the Stift Heiligenkreuz can also be reconstructed and this has been complemented on the CD by pieces from other composers of the 17th century. Leading the way here is the ensemble dolce risonanza, the founder and conductor of which, Florian Wieninger, reconstructed the vespers for Holy Cross Day (Exaltatione Sanctae Crucis, 14 September). The CD therefore offers a variety of ways of approaching the music: celebrate solemn vespers in the company of the dolce risonanza ensemble and the monks of the Stift Heiligenkreuz while you discover the works of an Austrian composer that were almost unknown until now and which have been preserved in the library of the Stift Heiligenkreuz.

Following their critically acclaimed debut recording of the complete string trios of Hans Gál and Hans Krása, which garnered a Gramophone Editor’s Choice, Ensemble Epomeo turns to music by Eastern European and Russian composers written in the latter half of the 20th century. Each work bears a distinct personal compositional stamp, providing for captivating listening and enlightening contrasts: the Polish Penderecki’s dramatic and lyrical String Trio of 1990 – 91, the Russian compositional giant Schnittke’s String Trio of 1985, the haunting Trio of the increasingly recognised and respected Weinberg from 1950, and the ever-enigmatic Hungarian Kurtág, whose continuously evolving signs, games and messages represent a collection of highly individual miniatures.