Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Explore the sounds of Christmas heard round the world! Marty Haugen has masterfully arranged carols from France, Scotland, West Africa, Germany, Poland, Mexico, and other countries as well as the USA. Many include parts for both children's choirs and adult choirs, and all are beautifully scored for a wide range of instruments in the Haugen tradition.

Classical Music

Classical Music

American Record Guide raves "...These are state-of-the-art early-music performances, German style, with a good deal of technical polish and energy....The soloists are admirable, especially bass Klaus Mertens....Tenor Andreas Post has a light, reedy sound that is well suited to the idiom."

Classical Music

Classical Music

Classical Music

Classical Music

Recorded in: St Jude on the Hill, Hampstead, London 11-17 January 1991 Producer(s) Tim Oldham Sound Engineer(s) Richard Lee Peter Sheldon (Assistant)

Classical Music

Classical Music

The unique radiance of traditional English choral singing that made Agnus Dei such a phenomenon is displayed in this set of international Christmas music by Higginbottom & The Choir of New College, Oxford. Mixing familiar tunes with less frequently heard gems, the carol texts take the listener from Annunciation through Epiphany with music from around the world - including the eloquent Poulenc Christmas Motets and Herbert Howell's haunting carol-anthems.

Bach's Christmas Oratorio consists of six cantatas, the first of which was first performed at Christmas in 1734 at the town church of Leipzig, the Nikolaikirche, in the morning, with an afternoon performance at the Tomaskirche. The second part was performed on 26th December, in the morning at the Tomaskirche and in the afternoon at the Nikolaikirche, while the third was performed only at the Nikolaikirche on 27th December. The fourth part was performed first on 1st January 1735, the Feast of the Circumcision, at the Tomaskirche and in the afternoon at the Nikolaikirche, while the fifth for the first Sunday of the New Year, 2nd January, was only performed in the morning at the Nikolaikirche. The sixth part was given two performances on 6th January, the Feast of the Epiphany, first at the Tomaskirche and then at the larger Nikolaikirche. Although the work makes considerable use of music originally composed for other purposes, the cycle was clearly conceived as a unified work, to which the elaboration of the first chorale at the end of the sixth part bears witness. The impression is enforced by choice of keys and formal structure, in spite of the original intention of performance of each part on a different day during the twelve days of Christmas. The first three parts deal with Christmas itself, the birth of Christ and the message to the shepherds at Bethlehem. The Evangelist intervenes only once in the fourth part to mention the circumcision and naming of Jesus. In the fifth are the reactions of the Wise Men to Bethlehem, their departure ending the Evangelist's account. The instruments used in the Christmas Oratorio include the ubiquitous four part string orchestra, with a keyboard continuo part for organ, the bass line doubled by cello and bassoon. Transverse flutes, rather than recorders, are used in some movements while the oboes used include pairs of ordinary oboes as well as pairs of the alto and tenor of the family, the oboe d'amore and the oboe da caccia. Brass instruments include three natural trumpets, their melodic parts restricted by their nature to the brilliant upper clarino register. Timpani make their due appearance with the trumpets. Two natural horns, corni da caccia, make a brief appearance in two numbers in the fourth part. There are four vocal soloists, soprano, alto, tenor and bass.

CHRISTMAS WITH PAUL PLISHKA

JOY TO THE WORLD

Includes the greatest story ever told. Ensemble: Philharmonic Symphony Orchestra. Conductor: Richard Hayman.

Classical Music

Track Listing
1. Abbots Bromley Horn Dance
2. Room's Opening Lines
3. Wassail Carol
4. Father Christmas Verse
5. Boar's Head Carol, The
6. Constant Billy
7. Here We Come a-Wassailing
8. Villagers All!
9. There Was a Pig
10. Monk's March, The
11. Dargason
12. Fra Giovanni
13. Holly and the Ivy, The
14. Fool's Verse
15. Lord of the Dance
16. Brass Fanfare
17. Masters in This Hall
18. Shakespeare Lines
19. Nova! Nova!
20. Nativity
21. Alle Psallite Cum Luya
22. Moon Shines Bright, The
23. St. George's Verse
24. Sword Dance Tunes
25. Shortest Day, The
26. Wren Song, The
27. Apple Tree Wassail
28. 12 Days of Christmas, The
29. Fool's Farewell, The
30. Sussex Mummers' Carol

There are Christians who refuse to celebrate the season because of its pagan origins, grounded in Solstice revels. These origins were made abundantly clear when John Langstaff first staged the Christmas Revels in New York City's Town Hall in 1957. The Revels, then, were a celebration of the rebirth of the New Year, but Langstaff added a twist. He would also enfold Christ -- the "Lord of the Dance" -- into his pageant, arguing that His death and rebirth fit perfectly into ancient pagan ritual. This 1978 version of The Christmas Revels offers but one version of the ever-evolving procession, featuring Langstaff as lead baritone on favorites like "The Boar's Head Carol" and "Lord of the Dance." A large cast, performing choral vocals, spoken parts, and instrumentals, brings an energetic dignity to a mixture of traditional songs, dances, ritual, and poetry. While the spoken portions of the Revels probably work better in a live theater experience, its important to remember that the program is meant as a community celebration. While some people will find this music a bit eccentric, the sort of thing one might hear on public radio on Christmas Eve; The Christmas Revels breaks away from yet another version of "Silent Night" and offers a refreshing way to celebrate the season. Pagans of all stripes will also be glad to have a holiday album to call their own. ~ Ronnie D. Lankford, Jr.

Songs for Singing Children with John Langstaff