Including some of the most beautiful baroque Christmas music on offer, this programme makes for the perfect Christmas collection. 'This is period-instrument performance at its best', wrote American Record Guide on the CD's original release. It is re-issued here for the first time. Three popular favourites, Corelli's gorgeous concerto for Christmas Eve, an idyllic Christmas concerto by Vivaldi, and Manfredini's Concerto grosso are complemented by two little-known cantatas by Telemann and Scarlatti. Each of the Italian composers has his own voice, contrasting tremendously with the more rugged German style of Telemann. Susan Gritton is the soloist in Scarlatti's cantata, described by Classic CD as 'ravishing and ravishingly sung... worth anyone's CD token'. This is a disc of intimate Christmas music, which will make an ideal stocking filler. As Classic CD wrote at the time of the original release, 'This is a delightful addition to the Christmas market, and the careful selection of its items and superb recording ensure that, like the traditional puppy, it's not just for Christmas'.

REVIEW:

These Baroque concertos and cantatas are all associated with Christmas, although some only marginally. The Scarlatti and Telemann cantatas were written for Christmas. The Manfredini and Corelli concertos probably received their associations with Christmas because each contains a pastorale movement, shepherds’ music in 12/8 time that Italian folk tradition associated with Christmas (the “Pifa” from Handel’s Messiah is another example). The Vivaldi concerto, one of his typical string concertos, seems to have received its seasonal connection from Vivaldi’s practice of programming it at Christmas time.

All of this music is delightful to hear. Many of Fanfare’s readers will probably have one or more of these works already, especially the concertos. The two cantatas are less often encountered, especially the Telemann, from the first movement of which we get the English carol Good Christian Men Rejoice. The playing and singing are excellent in all respects. Susan Gritton makes a major contribution in the solos of the Scarlatti cantata. Members of Collegium 90’s choir are equally good as soloists in the Telemann. Presiding over all, Simon Standage directs lively performances that respect the score and never stray into extremes of tempo.

This collection was issued 10 years ago under the title “Per la notte di natale.” In this reissue, Chandos provides full notes along with texts and translations, for which I commend them. Anyone looking for an enjoyable collection of Baroque music associated with Christmas need look no further.

-- Fanfare

Over the years John Rutter's Christmas recordings with his outstanding Cambridge Singers have become essential components of holiday tradition for choral music fans around the world. Throughout the 1980s and early '90s Rutter's legions of followers were treated to several now-classic CD albums for Collegium, including Christmas Night, Christmas with the Cambridge Singers, and Christmas Day in the Morning. It's from these recordings that the present program was drawn, with the addition of two newly issued tracks--Dormi, Jesu and Love came down at Christmas. Yes, if you already own those other discs, for completeness' sake and, well, just because it's a new Rutter release, you'll still have to have this one. And that's not a bad thing at all, especially since all of these tracks have been remastered in notably clearer, more vibrant sound than their 10- or 15-year-old predecessors.

The selections focus on Rutter's own compositions, with "a sprinkling" of his arrangements of traditional carols organized (in typical Rutter/Cambridge Singers fashion) into a thematically grouped program--Prologue, The Christmas Story, Christmas Night, Christmas reflections, Christmas Joy, and Epilogue--the latter consisting of a lovely setting of Silent Night, made for a 1988 BBC television production. And speaking of classics, among the 23 pieces heard here is Rutter's masterpiece, What sweeter music, a staple of Christmas programs everywhere (and a continuing presence in a popular series of Volvo commercials), sounding even more glorious than ever. [11/23/2002]

--David Vernier, ClassicsToday.com

The Emory Symphonic Winds, comprised of members of the Emory Wind Ensemble and the Atlanta Youth Wind Symphony, are American leaders in the commissioning of new music. Bruce Broughton’s In the World of Spirits was dedicated to the ensemble and is a work of action, dynamism and electric physicality. Christmas carols and hymns are explored by Gustav Holst while Jennifer Higdon charts the intangible beauty of music itself. Alfred Reed’s Russian Christmas Music is a classic of symphonic band writing: rich, colorful and sonorous.

The importance of Christmas inspired many composers to write music for the occasion, some designed to be performed in church services, others for concert or secular celebration. This 6 album set combines oratorios and concertos by Schütz, Telemann, Bach, Corelli, Rinck, Saint-Saëns, Herzogenberg, Clarke, Nicolai. Some of the finest artists and ensembles in the Hanssler catalog are showcased on these recordings, including Iona Brown, Joachim Held, Hannoversche Hofkapelle, Collegium vocale Siegen, Monteverdi-Orchester Munchen, Oregon Bach Festival Chamber Orchestra, and many more.

REVIEWS:

Christmas has inspired many composers to compose magnificent music, on the one hand for church services and on the other hand for festive concerts outside the church. This masterful box with 6 CDs contains oratorios and concertos by Schütz, Telemann, Bach, Corelli, Rinck, Saint-Saëns, Herzogenberg and Clarke, performed by some of the best artists and ensembles in the Hänssler catalogue, including Iona Brown, Joachim Held, Hannoversche Hofkapelle, Collegium vocale Siegen, Monteverdi-Orchester Munchen, and the Oregon Bach Festival Chamber Orchestra.

-- Stretto

As Christmas approaches, an avalanche of familiar Christmas tunes rumbles in the distance. Even in the case of large-scale Christmas compositions, the same works seem to be repeated too often, but Hänssler's six-disc box set reminds us that the repertoire is much wider.

The greatest work is Heinrich von Herzogenberg's (1842–1900) idyllic oratorio "The Birth of Christ" (1894), which spreads the event into a spectacle borrowing familiar and lesser-known Christmas carols based on the Old Testament and the Gospel of Luke. Herzogenberg, who was one of Brahms's supporters, represents full Romanticism at its tenderest, sometimes generously sweet. Schütz's "A Christmas Story" is more familiar and would work better as a period-style performance. Arnold Bruckhorst's (c. 1675–c. 1725) twenty-minute "Christmas History" is, on the other hand, a new acquaintance, as is Christian Heinrich Rinck's (1770–1846) even shorter classic Romantic Christmas Cantata. All performances are homely and competent, without causing great artistic tremors. Saint-Saëns' Christmas Oratorio can be found in more sophisticated recordings, but why, for example, Otto Nicolai's charming Christmas Overture is never heard in concerts?

Telemann's big and handsome oratorio Heilig, heilig, Heilig ist Gott (1747) is useless to look for elsewhere. The documentation only includes lists of works and performance information.

-- Rondo Classic

Viol consort Fretwork and mezzo soprano Helen Charlston explore the more reflective and sombre Christmas celebrations of Elizabethan England, in a collection of works by William Byrd, Anthony Holborne, Orlando Gibbons and Martin Peerson. With celebrations confined strictly to the 12 days from Christmas Eve to Epiphany, the preceding Advent was regarded as a time of religious introspection, with music composed to mark both fasting and feasting. Byrd’s consort songs for voice and 5 viols encompass this range, from the joyous Out of the Orient Crystal Skies – ending with an exuberant ‘Falantidingdido’, a word whose meaning is lost to history – to his Lullaby, a ‘song of sadnes and pietie’ that became one of Byrd’s most enduringly famous songs.

In 2021, Fretwork celebrates its 35th anniversary. In the past three and a half decades they have explored the core repertory of great English consort music, from Taverner to Purcell, and made classic recordings against which others are judged. In addition to this, Fretwork have become known as pioneers of contemporary music for viols, having commissioned over 40 new works. Acclaimed for her musical interpretation, presence and “warmly distinctive tone” (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Helen won first prize in the 2018 Handel Singing Competition and was a finalist in the Hurn Court Opera Competition, and the Grange Festival International Singing Competition.

At the end of the fourteenth century, musical worlds collided in England as Byzantine Emperor Manuel II Palaiologos spent Christmas at King Henry IV’s royal court. For the first and only time, florid chant, polyphony, royal ceremonial, and imperial acclamations from both kingdoms and rites echoed antiphonally in London’s Eltham Palace. Cappella Romana’s performance is illuminated by the latest research on historically informed performance of medieval music. Cappella Romana tells this musical story of cultural contact in international crisis with clarity and beauty.

Travel back to a Christmas like no other before or since, with music for the Nativity of Christ not heard in centuries. Vocal ensemble Cappella Romana combines passion with scholarship in its exploration of early and contemporary music of the Christian East and West. Its name refers to the medieval Greek concept of the Roman oikoumene (inhabited world), which embraced Rome and Western Europe as well as the Byzantine Empire of Constantinople (“New Rome”) and its Slavic commonwealth. A Byzantine Emperor at King Henry’s Court is Cappella Romana’s 30th release.

REVIEW:

What is most striking here is that Cappella Romana, although deeply immersed in Byzantine ways of singing, also accomplishes a very different and distinctive sound for the English pieces, adding an appealing bit of gravel in the texture. As with other Cappella Romana recordings, this one was splendidly recorded at the Madeleine Parish in Portland, Oregon. With detailed booklet notes exploring the various issues involved, this is a unique and fascinating medieval release.

-- AllMusic.com (James Manheim)

The WESER-RENAISSANCE ensemble had two goals in mind in its concert series “Breslau – A City in the Heart of Europe”: the first was to offer musical enjoyment and the second was to remember an old cultural environment that had been forgotten for many decades. The music manuscripts and printed editions discovered in the Berlin State Library attest to the great diversity and high quality of music culture in what was once the capital of Silesia. “Die Geburt unsers Herrn and Heylands Jesu Christi” (The Birth of our Lord and Savior Jesus Christ), a Christmas narrative by Tobias Zeutschner, who was active at Breslau’s principal churches St. Bernhardin and St. Mary Magdalene, forms the focus of the present selection from these sources in a program entitled “Weihnachten im Breslau des 17. Jahrhunderts – Festmusik in der Kirche St. Maria Magdalena” (Christmas in Seventeenth-Century Breslau – Festive Music in the Church of St. Mary Magdalene). This early example of a Biblical history composition is richly scored for eighteen voices.

Kevin Puts is one of America’s most exciting and important composers. His first opera, Silent Night, with a libretto by Mark Campbell, was commissioned by Minnesota Opera. It premiered in 2011 and went on to win the Pulitzer Prize. A work profound and sweeping emotional power, it has since entered the modern operatic repertoire with remarkable speed, enjoying world-wide performances. The opera is based on Christian Carion’s screen-play for the 2005 French war film Joyeux Noël, and its fictionalized subject is the series of Christmas truces on the Western Front in 1914.

REVIEWS:

American composer Kevin Puts’ first opera, Silent Night, with a libretto by Mark Campbell, was commissioned by Minnesota Opera, the house where this live recording was made. The opera's subject is the Christmas truce on the Western Front in 1914.

Various languages are used in the opera, German, French, English, Italian, and even Latin.

Puts and Campbell have packed the serious theme into a complex score, very colorful and modern in style, with painfully dissonant and wonderfully lyrical moments. Overall, the opera is good for an impressive musical experience, though the question is whether the visuals of the theatrical experience are missing from the audio recording. On the other hand, with just the audio there is more focus on the music, and it is, after all, quite expressive and convincingly performed in this live recording.

-- Pizzicato

As we have already heard in his orchestral works, Puts is a highly compelling and innovative orchestrator, and here he is equally compelling in the field of opera where he works within the conventions of solos, duets and choruses. They are then brought together by the British-born conductor, Courtney Lewis. It is not the type of story you can enjoy, but the opera, which takes two hours, must rank amongst the most outstanding staged in recent times. Add to this the ideally balanced recording, and it becomes self-recommending. The twin disc comes with English. This, and the slim two disc jewel case with notes on the artists, is then presented in a cardboard box.

– David's Review Corner (David Denton)

LET THE BRIGHT SERAPHIM • Christopher Monks, cond; Elin Manahan Thomas (sop); Crispian Steele-Perkins (tpt); Armonico Consort (period instruments) • SIGNUM SAGCD289 (59:07)

BACH Jauchzet Gott in allen Landen, BWV 51. A. SCARLATTI Su le sponde del Tebro. TELEMANN Trumpet Concerto in D. HANDEL Music for the Vauxhall Gardens: HWV 63, 14, 42, 20, 74. Water Music: Overture; Air; Hornpipe. Samson, HWV 57, “Let the Bright Seraphim”

When does an early-music ensemble go Pop? Or Mod for that matter? The answer may well be when it’s Armonico Consort, with its very eclectic and sometimes even bizarre (though they call it “original”) programming, which features themed concerts designed to attract new audiences to classical music. To read the description of their concerts so far, with rubrics such as “Too Hot to Handel,” “Naked Byrd,” or “Monteverdi’s Flying Circus,” one wonders whether this is a revamped branding in order to be hip, or if someone in Britain has gone off the reservation. Whatever one’s view of this sort of advertising, there is little doubt that they have made some impressive achievements, such as founding the AC Academy for interactive music education, which will no doubt assure a bright future for music in England, at least. This disc seems to take a more sedate view, using George Fredrick Handel’s famous aria from Samson as the title. Here, the ensemble under Christopher Monks partners with soprano Elin Manahan Thomas and trumpeter Crispian Steele-Perkins, both well-known superstars in the early-music world, to create a program of favorites.

The cantata Jauchzet Gott in allen Landen is a tried and true soprano display piece, whose final Alleluia is a magnificent tour de force for both voice and clarion trumpet, especially since it follows on to the sedate cantus firmus colophon “Sei Lob und Preis” in typically Bachian cantata style. The Scarlatti cantata too is a favorite for sopranos seeking to outdo the great Farinelli, while every trumpeter worth anything has in his or her repertory the Telemann D-Major Trumpet Concerto, with its flashy runs and showy sequences. Where the program departs from the ordinary is with the so-called “Music for the Vauxhall Gardens,” a paean towards the popular outdoors venue in London during the 18th century, where summer concerts were given in a rather impressive pavilion. The five pieces include a sort of greatest hits parade compiled by Steele-Perkins after similar bits and pieces published in the 1740s by John Walsh, concluding with some works from the Water Music , once ascribed to Handel but now probably by one of his subordinates, John Grano (1692-1748), and of course the title aria. As a concert, it is recognizable, even perhaps a bit well worn, since almost all of the pieces have been recorded previously by people such as Steele-Perkins himself and Emma Kirkby.

The result is something that purists might find redundant, though the performances themselves are quite good. Thomas has a nice, vibrant voice that blends well with the period instruments, and the Consort is both in tune and has some nice phrasing in these warhorses, which is the mark of absolute professionalism. Steele-Perkins performs ably for his part, with just enough variability to be able to discern the valveless quality of his natural trumpet, performing the various virtuoso parts with agility and alacrity. My hesitancy in the face of such a performance is that most who are knowledgeable of the period will not find these renditions out of the ordinary, even though they are expert. Moreover, the program itself will only appeal to a certain audience since many listeners will already have equally expert recordings of entire pieces at hand, though perhaps not all on one disc. Still, if one is just beginning to explore either the world of the Baroque, or even classical music at all, this should have some appeal.

FANFARE: Bertil van Boer

After two successful albums on Signum Records, the American vocal ensemble Cantus present their first Christmas album, Into The Light.

The “engaging” (New Yorker) low-voice ensemble Cantus is widely known for its trademark warmth and blend, innovative programming and riveting performances of music ranging from the Renaissance to the 21st century.

REVIEWS:

“Into the Light” reaches into pockets of brightness and the anticipation of a happier New Year as the sun anxiously arcs back to longer days.

Cantus, an a cappella ensemble featuring the deeply rich resonances of eight distinguished male voices, ushers in the holidays most unconventionally. Though several favorites are represented, the status quo is turned upside down. A heavy investment of arrangements and adaptations surfaces and in the most extraordinary way. Rhythmic textures also cut across a wide range of grains, providing an irresistible élan. Note cutoffs, dynamics and tempos are immaculate while chording is uniquely contemporary and full of positivism…this is what adds such special luminescence.

As an example, Cantus captures the pulsating essences of Aguinaldo Carols with its jazzy verve. Christmas is nuanced inside Joni Mitchell’s 1971 bittersweet River which leans to the heavier gravity of the album, including the nostalgic We Toast the Days, penned by Minnesotan Linda Kachelmeier. A special treat is Chris Foss’ World Premiere take of Clement Clarke Moore’s epic poem that sparkles with quixotic notes and unusual vocal dynamics...this piece holds the listener in deep fascination, and it renders big smiles and a chuckle or two! On another dimension Reginald Bowens tips his hat to I Saw Three Ships, giving the traditional English melody a sassy Manhattan Transfer‑like lilt that lifts the piece onto the page of modernity. Traditional music from around the world is also respectfully represented. Occasionally Cantus utilizes an instrumental accompaniment, such as the guitar (and energized Children Go!) or the percussive woodblock (a spirited Mensaje de Paz) that adds to the album’s variety.

Cantus brings thoughtful reminder of hope and happiness as we glance inside the portal of the future. Though a minuscule light beams at this time of year, the apex will broaden as we ring in 2023.

Cantus is a shining, pulsating octet…perfect in precision, innate in integration.

-- ConcertoNet

Their second Christmas album on Signum Records, Armonico Consort and Christopher Monks return with a new album featuring a collection of carols both old and new. They have created the perfect soundtrack for those who love an atmosphere at Christmas. Featuring world premiere recordings by Composer Toby Young and the first ever recording of ‘Star Song’ by Jonathan Dove on a Christmas album, there are also exquisitely sublime versions from ‘Silent Night’ to ‘Away in a Manger’.

"It is ten years since our last carols recording, and we have collected some incredible works we have been so keen to record, including several commissioned from our composer in residence. Christmas somehow manages to inspire composers to write the most imaginative, both in terms of creativity and melodiousness, and Toby is an expert at making Christmas music sound just as we want it to be!" -- Christopher Monks

Sebastian Weigle conducts this acclaimed Oper Frankfurt production of Rimsky-Korsakov’s operatic rarity Christmas Eve. This CD version is taken from the same live performances as the DVD/Blu-ray, released in November 2022 (2.110738 and NBD0154V). Rimsky-Korsakov blends Christian and pagan elements, Ukrainian folk songs and carols, and atmospheric orchestral interludes in this vivacious and fantastical village romance.

Christmas in Medieval England allows listeners to share the beauty, excitement, intensity and variety found in a Blue Heron concert performance. It includes plainchant, carols, and other music for Advent and Christmas from 15th c. England. It is comprised entirely of tracks recorded live at First Church in Cambridge, Congregational in December 2013. The disc should find favor with fans of Blue Heron’s first CD release (BHCD1001), which contained music of 15th c. France. “… one of the Boston music community’s indispensables.” (Boston Globe)

Anders Miolin here expresses the universality of Christmas by selecting festive songs from across the world and creating fantasies on them.

Here he uses songs from Russia and Poland, as well as Scotland, Mexico and his native Sweden. In his adaptations he employs a wide variety of styles.

He also includes two of his own compositions: Azure Christmas is a memory of a Christmas he celebrated on Martinique, while Stellæ nocte hibernali somniantes (‘Winter Night Dreaming Stars’) catches the experience of ‘standing in the snow looking up at the clear winter sky, with all its twinkling stars dreaming on our behalf’.