Personnel: Julian Cole (viols, rebec, double bass, recorders, percussion); Chris Rua (viols, recorders, shawm, oboe, harp, percussion); Lisle Kulbach (recorders, rebec, psaltery, harp, viols, violin, six-hole pipe); Tom Zajac (recorders, Renaissance flute, hurdy-gurdy, Jew's harp, bagpipe, pipe, tabor, sackbut, percussion), The Young Singers from the Washington Revels, The Handbell Choir of St. Peter's School Philadelphia, Pennsylvania (background vocals).
Recorded at St. Columbia's Episcopal Church, Washington, D.C. in June 1992. Includes liner notes by Susan Cooper.

Includes work(s) by Carl Heinrich Graun. Ensembles: Rheinische Kantorei, Das Kleine Konzert. Conductor: Hermann Max. Soloists: Ingrid Schmithüsen, Lena Susanne Norin, Klaus Mertens, Markus Schäfer.

Tchaikovsky's ballet The Nutcracker was first performed in St. Petersburg in 1890, damned with the faintest of praise by the Tsar, who remarked that it was "very nice". The composer himself expressed dissatisfaction with his music for The Nutcracker, a subject proposed by Marius Petipa and the Imperial Theatre Directorate in 1891 and first performed at the Maryinsky in December, 1892, again to a cool reception. The music itself, however, had already proved popular enough in a suite arranged by Tchaikovsky for a concert earlier in the year. The story of the ballet is drawn from E.T.A. Hoffmann's tale, Der Nussknacker und der M�userk�nig. Set in the eighteenth century, initially in the house of the President of one of the German states of the period, the ballet opens with a children's Christmas party, at which Drosselmeyer, a slightly sinister adult, brings presents, a doll for Clara, the daughter of the house, and a toy soldier for Franz, her brother. When the children are told not to open their presents, Drosselmeyer quietens them by giving the two a pair of nutcrackers, promptly broken by Franz who tries to crack the biggest nut he can find. The Czecho-Slovak Radio Symphony Orchestra (Bratislava), the oldest symphonic ensemble in Slovakia, was founded in 1929. The orchestra's first conductor was Franti�ek Dyk and over the past sixty years it has worked under the direction of several prominent Czech and Slovak conductors. The orchestra has made many recordings for the Naxas label ranging from the ballet music of Tchaikovsky to more modern works by composers such as Copland, Britten and Prokofiev. For Marco Polo the orchestra has recorded works by Glazunov, Gli�re, Rubinstein and other late romantic composers and film music of Honegger, Bliss, Ibert and Khachaturian. Ondrej Lenard was born in 1942 and had his early training in Bratislava, where, at the age of 17, he entered the Academy of Music and Drama, to study under Ludovit Rajter. His graduation concert in 1964 was given with the Slovak Philharmonic Orchestra and during his two years of military service he conducted the Army Orchestral Ensemble, later renewing an earlier connection with the Slovak National Opera, where he has continued to direct performances.

All proceeds earned by the Eaken Piano Trio from this recording will be donated to Habitat for Humanity, International.

Messiah was written with Handel's usual speed in 1741 for performance in Dublin, some of it rehearsed briefly by inadequate singers in Chester, as he made his way to Holyhead to embark for the voyage. The first performance was given at the New Music Hall in Fish-amble Street, Dublin, on 13th April, 1742, in aid of charity. The first London performance took place in Lent 1743 at Covent Garden, but the work failed to please, in part because of reservations that some held about the suitability of such a sacred subject for a theatre. Messiah only achieved it's lasting success after performances in 1750 in aid of the Foundling Hospital, established ten years earlier by Captain Thomas Coram. At his death in 1759 Handel left a fair copy of the score and all parts to the Hospital, an institution that continued to benefit from annual performances of the work. The Scholars Baroque Ensemble: The scholars Baroque Ensemble was founded in 1987 by David van Asch with the idea of complementing the "a-capella" work of the vocal ensemble The Scholars. This group, consisting also of the soprano Kym Amps, counter tenor Angus Davidson and tenor Robin Doveton, has had worldwide success during the last twenty years. The members of THE Scholars Baroque Ensemble are all specialists in the field of Baroque music and play original instruments (or copies) using contemporary techniques, singers and players work together without a director to produce their own versions of great masterpieces such as the St. John Passion by Bach, the 1610 Vespers by Monteverdi, Dido and Aeneas and The Fairy Queen by Purcell, the Messiah and Acis and Galatea by Handel, all of which are being released by Naxos. Concert performances by the ensemble have been highly praised by critics and audiences alike.

With forty or so complete recordings and countless discs of highlights, a Japanese performance of this most beloved of English choral works may seem an unlikely contender. Yet the Bach Collegium Japan has already established itself as one of the most interesting period ensembles specialising in Baroque music, and this account has much to recommend it, not least Suzuki’s obvious affection for the piece. The sound is warm and detailed, though occasionally the voices are swamped by the orchestra; tempi are thoughtfully judged and the fresh-voiced choir sings with remarkable clarity and impeccable diction. Suzuki has chosen two very young Japanese soloists for the soprano and countertenor parts, alongside two highly experienced English singers for the tenor and bass. Soprano Midori Suzuki has a light, boyish voice, not without imperfection but affectingly naive; countertenor Yoshikazu Mera has an innocent, tender alto range that belies a surprisingly powerful lower register; tenor John Elwes is agile, lyrical, perfectly focused; and David Thomas makes an imposing, if somewhat stentorian, bass. By pitting innocence against experience, Suzuki has achieved a particularly moving account.

-- Kate Bolton, BBC Music Magazine

Dance Instruction.

Classical Music

Traditionally carols were not necessarily confined to the Christmas season, but were dance-songs. The dancers of K�lbigk, indeed, found themselves in difficulties with the Church, condemned by an angry priest to dance for a whole year, as a punishment for their neglect of religious duties, carolling at an inappropriate time in the churchyard. Nevertheless, even in the Middle Ages, there were carols specifically for Christmas, the season with which nowadays these songs are most closely associated. It has become the fashion to use very considerable technical and musical skill in the arrangement of essentially simple and popular music for the kind of sophisticated performance to be found in the major English choral foundations, and on these arrangements composers annually use much ingenuity and artifice. The Tewkesbury Abbey carols open with The first Nowell, in an arrangement by Sir David Willcocks, a musician well known for his long association with King's College, Cambridge, and it's choir, and with the London Bach Choir. The series continues with another David Willcocks arrangement, this time of an old Basque carol, with well known words by S. Baring-Gould, Gabriel's Message. Other fine arrangements by David Willcocks include a version of the popular While shepherds watched their flocks, from Thomas East's 1592 publication, The Whole Booke of Psalmes with their Wonted Tunes, as they are sung in Churches. The Polish carol Infant holy, infant lowly is included, with the fifteenth century French Franciscan processional Come, o come Emmanuel. Two other French carols arranged by David Willcocks are Angels from the realms of glory and Quelle est cette odeur agr�able? (Whence is that goodly fragrance flowings?), the latter sung here in French. A final arrangement by David Willcocks in the present collection is of the traditional English watchman's song God rest ye merry, gentlemen.

Joy to the world, better known in the United States of America, is derived from Handel, and is based, initially and very simply, on the notes of the descending scale. The famous Festival of Nine Lessons and Carols established earlier in the present century at King's College, Cambridge, traditionally opens with the singing in procession of the Victorian Once in royal David's city, a setting by the nineteenth century English organist Henry John Gauntlett of words by Mrs. Cecil Frances Alexander. Gauntlett nearly became a pupil of Mozart's pupil and Mendelssohn's friend Attwood, but instead turned to the law, and practiced as a solicitor. He took lessons, however, from Samuel Wesley, and played the organ in the first Birmingham performance of Mendelssohn's oratorio Elijah. O little town of Bethlehem is by Walford Davies with words by the nineteenth century American Bishop Philips Brooks, while The Cherry Tree Carol has a traditional English origin, the folk-tune here arranged by Donald Hunt. In the bleak mid-winter, a setting of a poem by Christina Rossetti, has music by Gustav Holst, who arranged the traditional Sing aloud. Away in a manger is equally well known in two different versions. The setting better known in England is that by the American gospel music composer William James Kirkpatrick. The tune for the anonymous words is here arranged by Donald Hunt. Joys Seven is another traditional carol, the setting arranged by Stephen Cleobury of King's College, Cambridge. I wonder as I wander, arranged by Donald Hunt, and Jesus, Jesus, rest your head, arranged by Arthur Warrell, are taken from Appalachia, a rich source of original folk-song material, inherited from early settlers. In dulci jubilo, a German fourteenth century Macaronic carol, alternating Latin and vernacular words, is sung in a familiar nineteenth century arrangement by the antiquarian English composer Robert Lucas Pearsall. O little one sweet is familiar in J. S. Bach's harmonization of a melody by his seventeenth century compatriot Samuel Scheidt. The Shepherds' Rocking Carol is of Czech origin, a Christmas lullaby, and Ding dong! Merrily on high, with English words by G. R. Woodward, uses a sixteenth century French dance tune. O come, all ye faithful, in it's English version, is of composite authorship, with music of probable eighteenth century provenance, arranged by David Willcocks. The Coventry Carol is taken from the fifteenth century Pageant of Shearmen and Tailors, lamenting at the same time the Massacre of the Holy Innocents and while advertising the Shearmen's own wares, scissors, knives and shears. As I outrode is an English traditional carol and Unto us is born a son, a Latin carol of the fifteenth century, appears in the well known German collection Piae Cantiones, published in 1582. The anthology ends with Mendelssohn's Hark, the herald angels sing, adapted by W. H. Cumming, from a festival choral composition, here arranged by David Willcocks and Donald Hunt's arrangement of Silent Night, it's original German words written by Joseph Mohr in 1818, with a melody of the same date by Franz Gruber. The music of Stille Nacht was written on Christmas eve, presumably for performance at Midnight Mass at the church of St. Nicholas at Oberndorf, where Gruber was organist and choirmaster. On this first occasion the organ broke down, and a guitar was used in accompaniment.

The melting beauty of Arcangelo Corelli's justifiably famous "Pastorale" movement from his Concerto grosso in G minor, Op. 6, No. 8, seems to have suggested the idea for this very appealing recording of Italian Baroque music. The explicit pastoral Christmas theme of both the Corelli and Alessandro Scarlatti's 'Cantata pastorale' invites the listener to hear the trumpet featured in Alessandro Stradella's Sonata as a seraphic herald and the oboe featured in the concertos of Alessandro Marcello and Tomaso Albinoni as a shepherd's adoration. Under Helmut Mueller-Bruehl's sensitive direction, the Cologne Chamber Orchestra gives precise and joy-filled readings of this festive music.

Before television or radio, the piano was the focal point of the home. Holiday recordings such as Jacqueline Schwab's DOWN CAME AN ANGEL evoke the spirit of days gone by.
Best known for her solo piano soundtracks to Ken Burns's PBS documentaries, Schwab has a quaint, inviting touch on the keyboard and a wonderful appreciation of Appalachian musical tradition. The result is a warm, familiar Christmas sound filled with nostalgia. Schwab's piano shimmers with a delightful tone, like a parlor with a fireplace on a snowy day.
Though the album is entirely instrumental, the traditional hymns, carols, and spirituals were meant to be sung. To that end, the producers have included lyric sheets, giving families the opportunity to gather around the piano once again to experience a Christmas tradition.

Classical Music