Another classic from the John Rutter and the Cambridge Singers, whose recordings have become a tradition of Christmas around the world.

REVIEW:

Christmas Star is an entertaining collection of familiar holiday tunes and carols, all professionally performed by the Cambridge Singers. This is good, straight a cappella holiday mus­ic and should satisfy fans of that style[.]

­– All Music Guide (Stephen Thomas Erlewine)

1. Adeste fidelis (O Come All Ye Faithful) (arr. D. Willcocks)
2. What Child is This?
3. Ding Dong Merrily on High
4. Sing we to this merry company
5. The Sussex Mummers' Christmas Carol (arr. M. Allen)
6. The Little Road to Bethlehem
7. The Holly and the Ivy (arr. J. Rutter): The holy and the ivy
8. Carol of the Bells (arr. P. Wilhousky)
9. God rest you merry, gentlemen
10. The First Nowell
11. The Carol of the Angels
12. I saw three ships
13. Come, love we God
14. Torches, Op. 7a
15. Wexford Carol
16. Angels we have heard on high
17. Away in a manger (arr. J. Van)
18. Good King Wenceslas
19. Sussex Carol
20. A Merry Christmas
21. O Holy Night (Cantique de Noel) (arr. J. Rutter)
22. Hark! The Herald Angels Sing

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.

American Record Guide (11-12/97, p.194) - "...Among the soloists, tenor Paul Agnew and soprano Anna Crookes are excellent in every way....Summerly has a wonderful feel for Schütz, his Oxford group is very fine, and the music is wonderful."

CALDARA: Christmas Cantata

'Another red-letter entry in the Collegium/Cambridge Singers canon' - Choral Review

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

RYBA: Czech Christmas Mass / Missa Pastoralis

BRITTEN: A Ceremony of Carols / Friday Afternoons

This is a rather rare and special disc. Rare, because as far as I can tell this is the first recording in the original English language of this late Hindemith opera and special because it is very good.

Hindemith conducted the first English performance of the opera at the Juilliard School in New York just nine months before his death in December 1963. For the libretto he persuaded Thornton Wilder (1897-1975) to collaborate with him in adapting his own one-act play of the same name that he had written thirty years previously. Wilder remains a cornerstone of the American literary and theatrical establishment but was notoriously unwilling to allow his works to be used for alternative theatrical or musical use. Hence although The Matchmaker did make it to the stage as Jerry Herman's Hello Dolly, he refused permission for his most famous works; Our Town and The Skin of our Teeth. The latter was mooted as a musical by Bernstein - which the author accepted - but when that venture collapsed he rejected Bernstein's further approach to make it an opera. According to the liner written by Tappan Wilder - Wilder's nephew and literary executor - he was extremely well versed in music in general and opera in particular as well as many languages. Skills, one imagines, that must help the collaborative process between composer and librettist a lot.

The dramatic conceit behind this highly compressed work is essentially a simple one. The drama is presented in a single fluid sequence of Christmas dinners in one household over a period of ninety years. There is no significance with it being Christmas except that it is a day that brings families together so the audience witnesses the succeeding generations in the same setting. Apparently Orson Welles credited the original play as the inspiration behind the famous 'breakfast-montage' sequence in Citizen Kane where the audience witnesses the changing/decaying relationship between Kane and his first wife. Hindemith writes in a similarly fluid style - there is little division between scenes. He uses recurring motifs to signify the passing years. Wilder's libretto revisits moments of perfunctory conversation that will be familiar to every family; "how many years have we lived here?", "you were missed at church today", "I remember when ..." With such conversational text it comes as no surprise that Hindemith writes in an arioso/recitative style - this reminded me in technique if not style of that used by Vaughan Williams in his equally compact and dramatically potent Riders to the Sea. There are few if any arias or indeed ensembles. That being said a highlight of the score is a dramatically moving and technically brilliant sextet where Sam, one of the central family's sons is on leave from the army. He tells his family to act exactly as normal so he has memories to treasure and over their prattling inconsequential small talk he sings a touching counter-melody chorale-like song; "I will hold this tight! I shall remember you!"

To give some sense of the dramatic compression at work: Sam exits; "and so good-bye", the next line of the text laments his death in the war "He was only a boy, a mere boy ... What can we do ... only time can help " and the line following that has moved the plot forward by some years and introduces another character on another Christmas day. Memory, memorial and how we live through the actions and memories of our relatives past and future lie at the heart of this work. The house is the unchanging focal point - although the closing line of the work is "And they're building a new house" but it is the lives of the inhabitants of the house that count.

Not because the text is convoluted or opaque this is an opera that requires considerable concentration if you are not quite literally to lose the plot. Fortunately the entire libretto - in English and Hindemith's own German translation - is included. Layers of potential confusion are added by the fact that - as with many families - certain names are passed down hence we have two Lucias and two Rodericks. Even more confusion comes from the fact that the same singer sings both Lucias and another sings two different roles. Seen live, this might be clear through transitions of costume or setting - with only the ear to guide — blink (in an auditory sense) and you will have dropped a decade. My sole observation with this as a piece of theatre is, I wonder if the compression prevents the audience becoming engaged with any individual character - they simply do not inhabit the stage long enough. That being said, Wilder's drawing of character is so searching and well-observed that I think most of us would recognise personality types and scenarios from our own experience that give weight and resonance to these precisely-drawn sketches.

Hindemith makes no attempt to place the music in time or place. Just the opposite in fact - his chamber orchestra includes a rather anachronistic harpsichord. This was surely the right decision - with such an express journey over the best part of a century it would end up a patch-work of pastiche. Neither does he make any particular significance of it being Christmas except for the work's brief Prelude//Introduction which is a rather curdled and harmonically dense take on "God Rest Ye Merry Gentlemen" - which is about as un-merry as it is possible to imagine. In the essay accompanying the disc by Joel Haney he describes the work as one "which ponders the experience of time as a condition of human possibility and limitation -'the bright and the dark' - through the rise and decline of an American bourgeois family". The brilliance of both authors lies in the way they tie this sense of continuity across time - Hindemith's is a slightly subtler skill because he uses fragments of melody and motif which burrow into the subconscious so by the second or third listen the ear begins to pick up on the connections the music is making with recurring characters situations or text. Hence, this is the work of a master-craftsman. As so often, I find the accusation of Hindemith being a dry or dusty composer wholly without justification. No, he does not write big arching overtly emotional melodies. Rather he points to subtler, more 'real' scenarios which have resonance and truth for the engaged audience member.

So to this performance; Leon Botstein and his American Symphony Orchestra clearly thrive on the discovery and performance of little-known and under-appreciated works. In the past with some of the grander-scale and overtly Romantic works I have found Botstein's approach to be a degree clinical and unwilling to unbutton. Here the precision and measured emotion of Hindemith's score seems to chime perfectly with his aesthetic. This is a recording of a single live performance which given the ensemble complexities and unfamiliarity of the piece is remarkably good. There is no audible audience noise - my only sorrow is that the hall ambience is cut off very quickly at the end of the work - to preclude applause one supposes. The orchestra play very well - the engineering places the instruments quite closely behind the voices which occasionally obscures the text. All of the singers are of a very high standard and fortunately most of the text is sung with commendable clarity. Of particular brilliance is the beautifully light and clear singing of Kathryn Guthrie as Leonora. Indeed the entire cast are excellent both in ensemble and individually. None make any attempt to 'age' their voices with their characters - something perhaps an actor in the original theatrical version might.

Bridge present this single CD in a double CD case - presumably to allow for the thicker than usual liner/libretto. As well as the text the liner includes the usual performer biographies as well as two useful essays about the work. The disc runs for less than fifty minutes but so concentrated and complete in itself is the work that a filler would seem inappropriate and unnecessary. A fascinating and rather moving work. It reveals Hindemith and Wilder as masters of the slow-burn potent theatrical experience which lingers in the memory for the power of its insight into the human condition.

-- Nick Barnard, MusicWeb International

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’. 

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.

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)

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 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.

The Dutch reed quintet Calefax celebrates 35 years of adventurous and versatile musicianship with a collection of Musical Offerings from Johann Sebastian Bach, arranged by the ensemble’s saxophonist Raaf Hekkema. Arthur Klaassens joins the ensemble on a lupophone and English horn for Musikalisches Opfer, the main course of this programme, as well as for the 14 Canons, BWV 1087, creating a unique blend of wind instruments. The album concludes with Bach’s Canonic Variations on Vom Himmel hoch, BWV 769, a piece full of allusions to Christmas-related Bach pieces, including references to his Christmas Oratorio. Bach’s Musical Offerings is Calefax’ third PENTATONE release, after the well-received Dido & Aeneazz (2019), a virtuosic and eclectic recomposition of Purcell’s famous opera performed with trumpetist Eric Vloeimans, as well as Hidden Gems (2018), showcasing the quintet’s versatility with pieces ranging from Corelli and Satie to Nina Simone.

REVIEW:

For those who are intrigued by different readings of Bach’s masterpiece, this is one of the most piquant and unusual, with the composer’s matchless counterpoint given the closest possible attention The Dutch reed quintet’s take on Bach, arranged by the ensemble’s saxophonist Raaf Hekkema. Arthur Klaassens further expands the ensemble’s sonic palette by joining them on lupophone and cor anglaise for Musikalisches Opfer, the main course of this programme, as well as for 14 Canons, BWV 1087. The album concludes with Bach’s Canonic variations on Von Himmel hoch. All nine known versions of the melody have found a place in Raaf’s arrangement, resulting in a many-coloured Christmas collage.

-- Classical CD Choice (Barry Forshaw)

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

From the pipe organ at the Sono Luminus studio in Boyce, Virginia, we are pleased to present a fine selection of baroque organ music for the Christmas season. Felipe Dominguez (b. 1983) is a Chilean/American organist, harpsichordist, clavichordist, and musicologist. A graduate of Brigham Young University (B.M. 2010, M.M. 2012), he studied organ and harpsichord with Douglas Bush and Don Cook. He has pursued further postgraduate organ instruction in Europe with Edoardo Belotti, Hans Davidsson, Harald Vogel, and Leon Berben. Mr. Dominguez has performed as a soloist and in ensembles in Chile, Argentina, the United States and Europe.

Nun komm der Heiden Heiland (Oh, Come thou Savior of the Gentiles) is a German chorale normally sung during advent, and is a call for the Lord to come to Earth.

Lo, How a Rose E’er Blooming is a well known and beloved traditional chorale on the original harmonization by Michael Praetorius.

The chorale Lobt Gott, ihr Christen, allzugleich, (Praise God, you Christians, All Together) is set in verse 1 with the melody in the soprano and counterpoint in the two lower voices, and in verse 2 with the melody in the pedal and two lines in imitation on top.

Noël cette Journée (Christmas day today) imitates the French musette with a sustained pedal note, a sweet melody and elegant ornaments, painting an image of the French countryside.

Zipoli’s Pastorale also centers on the image of countryside landscape, which was a popular Christmas theme at the time in the spirit of the biblical annunciation to the shepherds.

Michau qui causoit ce grand bruit is a traditional French Noël treated in a very common structure of variations with different character, the first with a royal feel and the second with a courtesan air.

A ricercar is an imitative form that uses a melody as its main source of material for development. In the case of the Ricercare on “Ave Maria Klare”, a hymn for the Virgin Mary is used as the main source material.

Buxtehude’s Fantasia on “Wie schön leuchtet der Morgenstern” (How brightly Shines the Morning Star) is one of his greatest masterpieces. He uses small phrases of the chorale melody to develop contrasting sections full of color, energy, and beauty, which also provide an opportunity to highlight the wonderful colors of the organ.

Louis-Claude Daquin wrote a large collection of Noëls and his own performances were legendary in 18th Century Paris. His Noël variations normally present the melody first, followed by variations, at times very virtuosic as it is in this case.

Selections from the Oratorio “The Messiah” by Handel have long been a staple of the Christmas repertoire. This version of the pifa transcribed for the organ is highly ornamented and with its triple meter and dance character intends to take the listener back to the annunciation to the shepherds.

Böhm’s setting of “From Heaven Above,” a popular Christmas chorale, sets the melody as a solo, largely unornamented so it is easy to recognize, against a contrapuntal backdrop.

Voluntary V, Op. 6, by John Stanley though not a Christmas piece has all the hallmarks of a royal entrance. It begins with a contrapuntal section similar to a string ensemble, followed by a virtuosic trumpet solo (Oboe 8’).

This second setting of “From Heaven Above,” by Pachelbel is much different than the previous one, the melody being in the pedal with a Principal 8’ against Koppel Flute 4‘ and Quint 1 1/3‘ in the Swell that dance in counterpoint above the melody.

This 18th Century setting of a pastorale by Bernardo Pasquini is much more elaborated, making more use of counterpoint and varied harmonies throughout the piece. However, it stays true to the countryside character of pastorals.

In Sweet Rejoicing! (In Dulci Jubilo) Is a popular upbeat Christmas hymn. The first 16th Century version from the Fridolin Sichers Tablature is highly imitative, with phrases overlapping over each other very actively. The second version by J.S. Bach, written in his youth, is a highly ornamented version of the hymn that works in scales and arpeggios with a majestic end only as Bach can deliver.

REVIEW:

What distinguishes this release (other than the fine playing and sound) is the inviting combination of a few absolute Christmas classics with a treasure trove of lesser-known but vibrantly lively period works. In the end we get a good listen to the newly installed Sono Luminus organ, which sounds just right. And then the program scores big to my ears with a wide-ranging, musically ravishing collection of Baroque gems for the season. Highly recommended.

-- Gapplegate Classical Modern Music Review

Dale Warland's group stands on more than 30 years of first-rate performances and acclaimed recordings, and this one from 2002 is a fine representative of its sound and singing style, and of its well-loved Christmas repertoire. It's a warm, unaffected, unforced sound colored by natural resonance rather than the excessive vibrato that defines so many American choirs. The ensemble's legato technique is exemplary, and while all sections of this professional choir are superb, the sopranos are particularly notable for their uniformly lustrous tone. The repertoire titles will be very familiar to Christmas choral music fans, although the particular arrangements may not.


Some of these lesser-known settings include Donna Schultz's Il est né, Kirke Mechem's Fum, fum, fum! and Patapan, and director Warland's own Huron Carol and O little town of Bethlehem (set to the Forest Green tune). There are several fine Stephen Paulus contributions--Gabriel's Message and Three Nativity Carols--along with Jan Sandström's delightfully spooky and increasingly popular version of Es ist ein Ros entsprungen. Traditional favorites such as Wilhousky's Carol of the Bells and Norman Luboff's Joseph Dearest also make welcome appearances, and the disc concludes with Malcolm Sargent's (yes, that Malcolm Sargent) simple and lovely arrangement of Silent Night. Harp, oboe, percussion, and bells add occasional strokes of color, and the sound is ideal. In other words, this is a solidly performed, well-recorded program of the old and new (often combined in the same piece) that will fit nicely into any Christmas music collector's library.
--David Vernier, ClassicsToday.com

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.

Classical Music

Classical Music

This second set of Les Pleiades, ‘the collection of Ricercar re-releases’ is again devoted to the German Baroque religious repertoire. + Focusing on the Nativity repertoire, it extends from the early 17th c. to the generation of Bach: Schütz’s Christmas Oratorio, Yuletide cantatas by Christoph Graupner, Scheidt, Selle, Tunder, Lübeck, Buxtehude, Bruhns and more, recorded by world-class artists. + Also in this set one finds the evocation of Nativity scenes, from the Annunciation up to the Presentation in the Temple, as well as the reconstruction of a Lutheran Christmas service.

The “Vokalhelden” [vocal heroes] from the Education Program of the Berlin Philharmonic interpret 22 children’s songs from throughout all of Europe in arrangements by Peter Schindler. + The songs are performed in their respective languages or in a German transcription. + This CD is part of the “Lieder Project” an effort that promotes and benefits singing with children. + It emphasizes quality and is designed especially for children. + Proceeds from the Lieder Project are donated to causes furthering singing with children.