“And the light shineth in darkness; and the darkness comprehended it not.” John the Evangelist’s words inspired the title of a remarkable Christmas cycle, rendering its profound message, diverting our attention from glittering decorations and refocusing on the very reason for celebrating Christmas – commemorating the birth of Jesus Christ. Many a time with a breath-taking directness, traditional carols clearly capture the poetics of the Nativity and the story of those who were there. Such carols were precisely that which resounded in the mind of Jirí Slavík, a seasoned young jazz musician and composer with a penchant for folklore, in the spring of 2020, when a pandemic locked us down in our homes. “No one had the slightest inkling as to when we would again be able to play and sing together.” The songs immediately became a source of hope, hope that light would begin shining soon. The carols acquired their shape, sometimes soft and intimate, at others bolder, symphonically opulent. Interludes and songs inspired by the Biblical story came to life, ultimately engendering a whole cycle. From the beginning, it was intended to be performed by Ondráš – an orchestra and choir specialising in folk music, yet willing to cross the genre’s borders. As interpreted by the singers and instrumentalists, the Bohemian and Moravian carols sound absolutely natural, be they presented in the usual “dulcimer” texture, or in unconventional colour arrangements. This type of music – just like any music retelling a powerful story – requires quietening. When we let tranquillity take over our minds, we may touch upon a secret. The Nativity story in Bohemian and Moravian Christmas carols

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)

“A heartfelt and joyous contemplation of the sweet Infant Jesus lying in the manger...“ - this quote by the songwriter Johann Rist gives us the theme for the collection of Christmas music by Werner Fabricius. The conductor of the ensemble La Protezione della Musica, Jeroen Finke, put together a cross-section of Werner Fabricius’ music focusing on Christmas music. Besides of a number of more intimate song settings for the Christmas festivities and some dance movements, he focuses on the two large vocal-instrumental compositions in Festo Nativitatis Christi from Fabricius’ most important work.

At long last! In the image of all the great jazz stars with any self-respect, the band Louis Prima Forever has taken up some of the immaculate standards and popular songs (by Mariah Carey, George Michael)associated with the magic of Christmas. You can catch the scent of fir trees already, so watch out... because Louis Prima Forever doesn't totally belong to the "Xmas album" tradition that reeks of squeaky-clean tinsel. These guys are as hot as chestnuts and swing so hard that Santa Claus would slip a disc. In fact this record would shake any party to life and make your Christmas feel like New Year's Day!

Christmas has always been a source of inspiration for musicians, and this harp album contains many Christmas pieces and famous melodies. Robert Nicolas Charles Bochsa (1789–1856) wrote much harp music, including his fantasy on Adeste fideles. Joseph Mazzinghi’s (1765–1844) Andante from Sonata Op.30/3 consists of a series of variations on the melody that almost a century later would become the famous song Deck the Halls.

Charles Oberthür’s (1845–1924) “Virgo Maria” is based on the ancient Marian hymn O Sanctissima. Edmund Schüecker's (1860–1911) Weihnachtslied is not inspired by any traditional Christmas melody. Dutch composer Johannes Snoer’s (1868–1936) Phantasia combines the two themes of the Christmas carols Stille Nacht and Es ist ein' Ros' entsprungen.

In France, Alphonse Hasselmans (1845–1912) was the most important harp tutor at the Paris Conservatory, teaching Tournier, Renié, Grandjany, and Salzedo. Rather than depicting a light-hearted holiday scene, Hasslemans’ Conte de Noël evokes Christmas ghost tales. Marcel Tournier (1879–1951) succeeded Hasselmans at the Paris Conservatory. Tournier’s two pieces here are from his four volumes of Images. Les enfants expresses children’s joy watching the nativity scene, and Cloches evokes the sound of bells under the snow. Hasselmans’ first choice for his replacement was, however, not Tournier, but Henriette Renié (1875–1956), perhaps the most important female harp music composer. The melancholic Conte de Noël opens her collection of Six Pièces brèves. Marcel Grandjany (1891–1975) composed many pieces that remain part of study and concert programs for the harp, and his version of Stille Nacht here contrasts with Snoer’s version. Marcel Samuel-Rousseau’s (1882-1955) Variations Pastorales are inspired by an old French popular carol. Carlos Salzedo’s (1885-1961) compositions for harp were innovative: he invented and described several of the effects that are still used in contemporary harp music.

Pianist Marina Baranova looks at Christmas through the eyes of an outsider. “I was born into a Jewish family in Ukraine and am the great-granddaughter of a rabbi. So I've never celebrated Christmas before, which allows me to look at it from the outside.“ On her new album “White Letters“ she makes her experiences audible. “This album reflects those sensations.” In her unique musicality, which combines light-fingered virtuosity with compositional sensitivity, she creates a world between Christian melodies, Ukrainian winter tunes and Jewish festival of lights sounds. All works oscillate between original, sensitive arrangement and free improvisation.

“My recording somewhat resembles a playlist that makes my personal perception of the winter mood audible. Famous Christmas pieces from the classical period meet my own compositions, works by Ukrainian composers meet pieces by Jewish tone poets such as Ernest Bloch, Rosy Wertheim and Grigory Frid, which symbolize the Hanukkah festival of lights for me,“ says the composer and pianist, who was born in Kharkiv and now lives in Hanover. The bandwidth of the album's works cuts a wide swath: from Bach-ian borrowings combined with “There's Always Tomorrow“ by Jewish composer Johnny Marks to the originally Ukrainian (and now world-famous) Christmas carol “Carol of the Bells“ to her own compositions, such as “Homeland,“ which she dedicates to her hometown.

At Christmas, we are especially touched by vocal music. Johann Sebastian Bach's Christmas Oratorio ensures sold-out churches for organizers. Last Christmas, Silent Night and Feliz Navidadare played over and over again in department stores. Choral music also provides a suitable musical setting for baking Christmas biscuits and wrapping presents. What is it that makes this music so appealing? Is it just the memories and traditions associated with it, or does the general atmosphere of Christmas songs already result in a radically different sound? Even in a secular world, Advent and Christmas maintain their central importance in the course of the year. The focus has evolved from the Christian celebration of the birth of Jesus to a festival of mutual affection.

It was in the Baroque period that composers first began to compose music for Christmas that reflected the special character of the Feast, and these works are showcased on this new release from Christophorus featuring instrumental music for the Christmas season from this period. Each of these tracks has been taken from the extensive Christophorus recording catalog and features the very best early music ensembles, including Musica Fiorita, Ars Antiqua Austria, Harmonie Universelle, La Petite Bande, and many more.

“The music of Christmas Tidings consists of new settings of some familiar words and other entirely original tracks that I have written over many years.” (Brian Knowles) “Brian Knowles has a wonderful gift of melody. All his pieces are full of character showcasing his gift for marrying text and music to create songs that are a joy to sing and a delight to listen to. This album contains pieces in a variety of different styles and moods, attractive and deeply moving new carols full of invention and insight and others that bring a welcome freshness and life to traditional texts. No doubt, it will enrich and invigorate your Christmas for years to come.” (David Ogden)

This joyful new release is a showcase of Christmas songs for voice, reed, and piano. Encompassing a wide range of Christmas music from traditional sacred songs to modern pieces like White Christmas, this album is sure to have something for every Christmas lover. Founded in Luxemburg in spring of 2015, the Trio Cénacle dedicates itself to keep on searching to new possible interpretations of the art of lied performing. They are joined by the talented and accomplished Calamus Reed Quintet.

The Ebor Singers, with director Paul Gameson, returns to the Resonus Classics label with an album of American Christmas music. The contemporary American Christmas choral tradition is a remarkable confluence of stylistic confluences, sacred and secular, which reflect the country’s cultural vibrancy more so than other times of year. Featuring works from composers including Morten Lauridsen, Eric Whitacre, Stephen Paulus, Susan LaBarr, Abbie Betinis, Timothy C. Takach, Jake Runestad, Matthew Culloton, René Clausen, Alfred Burt, Dan Forrest and Melissa Dunphy, the ensemble is joined by harpist Rachel Dent and oboist Jane Wright.

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

Christmas and its singular atmosphere have inspired numerous musicians and composers over the centuries. Following several “conventional” albums and the crossover project “Next Horizon”, the oboist Vilém Veverka too has succumbed to the irresistible Yuletide charm and decided to present “his Christmas”. The album’s leitmotif is Antonio Vivaldi’s L'inverno (most likely performed on the oboe for the very first time!). In addition to pieces by other Baroque Masters (Bach, Handel), it includes a musical account of Argentinean tango-flavoured winter (Ástor Piazzolla), as well as the songs Stille Nacht, Adeste fideles and Chtíc, aby spal (Wanting Him to Sleep), without which one would be hard pressed to imagine Christmas. The album is adorned by Patricia Janecková’s gracious voice, and it features two very special guests, the harpist Katerina Englichová and the soprano Adéla Rehorová. As in the case of other Veverka albums, Martin Hybler has contributed with arrangements, and the soloist is accompanied by the same musicians he was on the previous project, “Next Horizon”. Owing to its encompassing a wide range of genres and neoclassical arrangement, the album will undoubtedly delight not only virtuoso oboe lovers, but also many other listeners. Vilém Veverka’s Christmas – virtuoso, sparkling, colorful ...

The Christmas carol has its origins in the Middle Ages but it has since embraced a wide variety of musical backgrounds. In this album, religious sentiment is set in many different contexts – from the mystery plays to an African American spiritual, from its origins in Gregorian Chant and 16th-century secular dance to traditional examples rooted in poetry. Some of the most famous and beautiful examples are heard alongside energizing contemporary carols to present a tapestry of the genre across the centuries.

CONTENTS:

• trad.: Tomorrow Shall be my Dancing Day
• Holst: In the Bleak Mid-winter (Cranham)
• Niles: I wonder as I wander
• Sweelinck: Hodie Christus natus est
• trad.: Sans Day Carol
• Ord: Adam lay ybounden
• trad.: Go tell it on the mountain
• Whitacre: Lux aurumque
• Vaughan Williams: Five English Folksongs
• Beamish: In the stillness
• trad.: Ding dong! merrily on high
• trad.: A Virgin most pure
• Willan: Hodie Christus natus est
• trad.: Coventry Carol
• Biebl: Ave Maria
• trad.: My Dancing Day (Arr. B. Chilcott for Choir)
• Gruber: Silent Night
• trad.: The First Nowell

REVIEW:

The Edison Singers is a Canadian mixed adult choir (7-5-6-6 are listed for this album) founded in Ontario by Noel Edison in 2018. Their singing is well balanced, with commendable precision and clear delivery of the texts. This was recorded in the Basilica of Our Lady Immaculate in Guelph, Ontario. The sound has the spacious ambiance you would expect from such a building. Here is a satisfying Christmas album with a different touch.

-- American Record Guide

Composed using his own libretto, Nikolay Rimsky-Korsakov created this magical opera based on the short story by Nikolay Gogol ‘The Night before Christmas’ in which Vakula the handsome blacksmith wants to marry the rich farmer’s daughter Oksana, who in turn demands that he must first bring her the Tsarina’s shoes. Meanwhile a witch on her broomstick gathers the stars and the devil steals the moon – demonic forces trying to hinder this romantic union. There is little repertoire in musical theatre in which enchantment and enlightenment come together so happily as in Rimsky-Korsakov’s fairy-tale operas, and this Oper Frankfurt production was considered ‘a perfect seasonal tonic’ by the Financial Times.