John Rutter: Brass at Christmas

I wouldn't say that John Rutter owns Christmas, but it can seem that way. Rutter has a rare compositional talent. He writes substantial music. It's rewarding for both serious listeners and casual audiences. 

And it's also rewarding to sing. Professional choirs can perform it with little rehearsal. And amateur choirs -- with practice -- can also sing Rutter's music.

And Rutter has written and arranged a lot of music for Christmas. So this is the time of year you're most likely to hear him in concert.

Many of the carols on this release will be familiar to Rutter enthusiasts. And they benefit from these performances with the Black Dyke Band. Classical Christmas music and brass are a natural fit. Luc Vertomemen's arrangements take full advantage of the ensemble. 

The Black Dyke Band is one of the foremost brass ensembles in the world. And this release shows them at their best. Rutter carols have solid, singable melodies. These arrangements also sing. Even if you don't know these works, the music has a charm that can pull you in.

The Sheffield Philharmonic Chorus joins the ensemble for some selections. It's a great combination. The chorus has a smooth, blended sound that's ideal for Rutter's music. And the vocal tracks add variety and interest to the program.

If you've collected Rutter's recordings on Collegium, this album will augment them nicely. If not, this is an appealing stand-alone release. And certainly, one that adds to the holiday mood. At least in my house, that is. 

John Rutter: Brass at Christmas
arranged by Luc Vertommen
Black Dyke Band; Nicholas Childs, conductor
Sheffield Philharmonic Chorus; Darius Battiwalla, director
Naxos 8.574564

Ukrainian Christmas a Joy in Any Language

Here is a Christmas album everyone can enjoy. Even if you don't like Christmas. And especially if you're tired of the same old holiday tunes. Ukrainian composer Bohdan Kryvopust has put together a wonderrful album of Christmas carols from his native land. 

The release features the artistry of Ukrainian violinist Solmiya Ivakhiv. She's supported by the Lviv National Philharmonic Symphony Orchestra, directed by Serhii Khorovets.

The liner notes spell out the intent. "Produced during a time of Russia’s ruthless war on Ukrainian soil, the melodies and music-making of these artists take on extra meaning. Ukrainians are a spivuchy nation – a singing people who will not be silenced. No matter what difficulty befalls them, they lift their voices in song, and their holiday carols always lift their spirits."

I was unfamiliar with most of these Ukrainian carols. But every track on this album is absolutely beautiful. The arranger, the soloist, the orchestra, and the conductor are indeed on a mission.  And that mission is to make the most joyous musical celebration possible. 

And they succeed. There's energy and urgency in these performances that's hard to describe. But what a listening experience! It is festive music, but there's more. 

These musicians communicate a sense of pride. Pride in their shared cultural traditions that stretch back centuries. 

Kyrvopust's "Fantasia" on the Bell Carol is a real showpiece. And Ivakhiv plays it with fire and verve. Even though I wasn't familiar with most of these carols, they all evoke the holiday spirit. 

Among the many classical holiday albums released this year, "Ukrainian Christmas" is a real standout. Heck, I'd even say it's one of the standouts of the past decade. 

Highly recommended.

Ukrainian Christmas
Arranged by Bohdan Kryvopust
Solomiya Ivakhiv, violin
Lviv National Philharmonic Symphony Orchestra; Serhii Korovets, conductor
Naxos 8.574677

A Minstrel's Christmas -- Timeless Performances by Alfred Deller

Alfred Deller was one of the pioneers of early music. He was a countertenor who helped define the sound of early music in the 1950s and 1960s. Deller was known for his use of vibrato and improvised ornamentation. 

Current authentic practices have moved away from the Deller sound. But he remains a major influence in the field.

Alto culls several recordings made between 1956 and 1965 to create this compilation. The sound, the repertoire, and the performances together create something that seems timeless. 

The sound has a softness that's of its time. These analog recordings are devoid of extreme highs or lows. To me, the music sounds slightly faded, like an old, well-loved photograph. 

Deller's performances also have an old-fashioned quality to them. There is some very fine singing here. But it's not modern classical style, and it's not modern early music style either. It's something different, and now a little old-fashioned.

The music selections are also of their time. Today one expects an early music Christmas album to be just that. Authentic performances of music from a certain era. The playing should adhere to accepted performance practices of said style period.

Deller gives us a variety of carols old and new. There are some legitimate early music selections. But there are also some 19th and even 20th Century carols. The collection includes "Once in Royal David's City,." It Came Upon a Midnight Clear," and "The Twelve Days of Christmas."

But all are performed by Alfred Deller and the Deller Consort in an early music style. We hear lute and recorder, not modern instruments. In some cases, the harmonies have been simplified to conform to earlier styles. And Deller's clear, bell-like voice removes any trace of modernism from these selections. 

It all combines to create an album of music that seems timeless. Like many of our favorite carols, these selections sound old. But it's difficult to say how old, exactly. It's as if these versions have always been around, waiting to be recorded. 

It's not exactly early music, definitely not pop or light classical.  "A Minstrel's Christmas" is an album that interprets these classics in its own way.

 A Minstrel's Christmas
Alfred Deller, counter-tenor
The Deller Consort
Desmond Dupré, lute; Steven Taylor, recorder
Alto

German Christmas Music of the Renaissance a Welcome Regift

Sometimes regifting isn't a bad thing. This release originally came out in 1978. At that time Orpheus was a sub-label of the Musical Heritage Society. As a classical Christmas album, it's simply first-rate. And it's been out of print for decades. So thanks, Alto, for regifting (or rather reissuing) "In Dulci Jubilo."

The sound of the recording holds up pretty well. It's not as crisp and detailed as a modern digital recording, and that's fine. The soft definition of the sound gives it an intimate character somehow.

Elly Ameling delivers some performances that dazzle with their simplicity. She sings in a straightforward fashion that suits the music. The program is a selection of late 16th to early 17th-century German hymn tunes. They were meant to be sung in a non-pretentious and non-performative style.

The religious expression is heartfelt and direct. And that's how Ameling sings these selections. Other voices join in from time to time, providing contrast to the program. The accompaniment remains modest throughout the album. Jus a recorder, krummhorn, violas da braccio, lute, and a viola da gamba.

This is intimate music-making indeed. And as a Christmas album, it provides a respite from the busyness of the season. Forty-plus minutes of quiet contemplation. Thanks for the regift! 

In Dulci Jubilo: German Christmas Music of the Renaissance
Elly Ameling, soprano
Orpheus Records OR 320

Michael Praetorius Christmas music given exceptional performances

Quick. Name a Michael Praetorius Christmas carol. OK, now name another besides "Lo, How a Rose Er Blooming." There are several -- as this release shows. 

Praetorius was a major contributor of music to the early Lutheran church. He published nine volumes of Musae Sioniae, collections of Lutheran chorales.

And amongst this music were chorales for the Advent and Christmas seasons. Included are several melodies best-known through Praetorius. In addition to "Es ist ein Ros enstrpungen" there's "in Dulci Jubilo." And there's "Wie schön leuchtet der Morgenstern" (How Brightly Shines the Morning Star).

Also included is a setting of the Magnificat. The fledgling Protestant church wanted music with clarity. The words had to be clearly heard by the congregation. Praetorius managed that, while at the same time providing some gorgeous Gabrieli-inspired polyphony. 

Marcus Creed directs the SWR Vokalensemble in some beautiful performances. The ensemble has a smooth, blended sound that exudes warmth. This is how I imagine these works would have been sung in one of the larger churches in the early 1600s. 

This release isn't just for early music lovers. I recommend it to anyone who appreciates great choral singing. And also anyone who's ready for some exceptionally well-written seasonal music  

Michael Praetorius: In Dulci Jubilo
Christmas Music from Musae Sioniae   
SWR Vokalensemble; Miachel Creed, director
SWR Classics

An Elizabethan Christmas - Fretwork's gift to all

Fretwork marks its 35th anniversary with this holiday release. Although "holiday release" hardly describes this album. 

The celebration of Christmas was quite different than it is today. In fact, it was quite different from the Victorian Christmas traditions that now define the holiday. 

Advent, the time leading up to Christmas, was a time for mediation, not celebration. The celebrations were for Christmastide (the 12 days of Christmas). There was plenty of music for these seasons in the Tudor era, and most of it was religious in nature. 

Fretwork and mezzo-soprano Helen Charlston present a first-rate program. It combines somber Advent music with joyful Christmas selections.

Charlston has a warm, rich tone that casts an ethereal beauty over the music. She's especially effective in the Advent selections. In William Byrd's "Out of the Orient Cyrstal Skies," for example, her long, sustained tones radiate calm and serenity.

Charlston's performances in the Christmas selections have a reserved energy to them. That's befitting, I think, for music performed at court. There's a certain elegance in her delivery that appealed to me. 

And of course, Fretwork performed to their usual high standards. This ensemble knows their business, and they know it well. The playing is expressive, yet precise.

If you plan to spend time this Christmas in a comfy chair with a hot drink, plan to get this release. Though the music is over four centuries old, it still has the power to soothe.

An Elizabethan Christmas
Byrd, Gibbons. Holborne, Peerson, Weelkes
Fretwork
Helen Charlston, mezzo-soprano
Signum Classics

A Tudor Christmas delivers the spirit of the age

The liner notes for this release are very clear. This is NOT a historical recreation of a Christmas from the 1600s. Rather, it's sort of an impression of what one might have heard during the holidays in Tudor or Stuart England.

I can accept that premise. Christmas music as a separate genre really didn't develop until the Victorian Age. In the Renaissance, the music of the season was simply the sacred music written for Advent and Christmas.

What was heard in the courts and manor houses? Most likely popular music, performed by whatever musicians were on hand.

David Swinson uses that idea as his starting point. In this case, the musicians available are the eight-voice Trinity Boys Choir and the early music group L'Amonia Sonara.

The program consists of anthems and instrumental tunes related to the season (some only tangentially so).

William Byrd, Thomas Tallis, Anthony Holborne, and Orlando Gibbons are all represented. Marginally seasonal works include John Tavener's "in Nomine," Anthony Holborne's "Cradle Pavan," and John Dowland's "Mr. Henry Noel his Galliard."

The choir has a clear crystalline sound that is the essence of the British choral tradition. The ensemble blend is quite good, with excellent vocal control. The soloists have a nice, rounded tone that's never strident.

L'armonia Sonora provides variety, accompanying the choir with different instrumental combinations.

Both ensembles are small, and the performances quiet and intimate. Perhaps there never was a concert like this back in the day, but I don't think that matters.

I heard a collection of well-performed early music. And these performances seemed to come from an earlier age -- even if it was just in my imagination.

A Tudor Christmas
Trinity Boys Choir; David Swinson, director
L'armonia Sonora; Mieneke van der Velden, conductor
Rondeau ROP8002

The Secret Life of Carols -- not what you think

If you -- like me -- are looking for a seasonal recording with a fresh perspective, check out "The Secret Life of Carols." The early music ensemble The Telling presents a collection of (mostly) familiar carols in intimate performances.

Unlike, say, the Boston Camerata, The Telling doesn't give us the historical development of each piece. Rather, they bring out the ancient yet timeless character of their material.

Soprano Claire Norburn and mezzo-soprano Kaisa Pulkkinen are accompanied by harpists Jean Kelly and Ariane Prüssner. The pure, sustained tones of the singers combined with the quiet sounds of the medieval and Celtic harps cast the music in a soft glow of candlelight.

The arrangements are primarily Medieval, but also personal to the ensemble. "Stille Nacht" isn't performed with guitar (as it was originally). But the two singers and Celtic harp create a hushed sound that recreates the emotional impact of the original.

"Patapan" becomes a stately pavane that runs counter to most arrangements. And yet it seems perfectly suited to the music. Even Johann Sebastian Bach's O Jesulein süß, BWV 493 benefits from The Telling's arrangments. It's also sung as a duet with the Celtic harp. Here the instrument almost has a music box quality to it I found quite charming.

Other stand-outs for me include the 16th Century Catalonian carol "El Noi de la Mare." I was not familiar with this piece before. Jean Kelly's baroque harp reinforces the simple beauty of the tune.

The overall mood of this album is serene directness. Here's the music, simply performed. And yet each track held my attention. Carols I had heard for decades didn't sound the way they always did. Thanks to The Telling for letting me in on the carols' secrets.

The Secret Life of Carols
800 Years of Christmas Music
The Telling
First Hand Records FHR 94