Christmas Choral Works
One great thing about Christmas is the choral music, which is some of the most inspiring ever given to humankind by the Providence of God. Another great thing is that choirs have over a month to own these choral riches, from the first Sunday of Advent through Christmastide. Like most, the RCC Choir was happy to see the gladsome season come around, and below are audio files for the Sunday mornings of the season, and from the Christmas Eve mini-concerts (lasting about 45 minutes), which were a tradition for the whole 11 years of music ministry:
Carol of the Bagpipers (arr. MR): This extremely interesting 16th c. carol provided Handel with the tune for "He Shall Feed His Flock," from Messiah:
performed here with krummhorns doubling the men's "zums" under the women's lead. Of course, the requisite instrumental solo is MR on the Galician bagpipes. (performed at RCC on Christmas Eve, 1994)
Sans Day Carol: One of the great John Rutter carols, this is also called "The First Tree in the Greenwood." Diane plays the enchanting piano score by John Rutter. (RCC choir, 1993)
Good Christian Men, Rejoice (arr. MR) Lou Rose is the mighty baritone in this unusual treatment of the 16th c. carol. The early consort plays several
verses with recorders, bass krummhorn and organ. Lou does a walkabout in the sanctuary as he sings the solo verses. MR provides the bass recorder and krumm, and Diane, as always, is at the piano/organ. (1997)
Joseph, Dearest (Ger. Joseph, Lieber, Joseph, Mein; arr. MR): Used in the 16th c. advent "mystery plays," the melody is 14th c. Singing the children's solos are 10-yr. old Jada West, and 11- yr. old
Johnny Wolfe (caught just before his voice changed!). They're are both grown up now, but we'll always remember them as the kinder, Joseph and Mary. This ancient carol has a fascinating history that listeners might want to investigate. (1993)
Now Sing We Joyfully Unto God (Gordon Young): MR says: "Of all the performances by this great choir over the many years, this one is
my favorite...and it's difficult to pick a favorite from the huge wealth of surpassing choral pieces from this tremendous choir." Immediately after the last resounding D major chord, two comments spontaneously emanated in rapid succession from the listeners: Rev. Mike Kennison, the pastor, said "Amen!" and Kathy Lawlace, sitting on the front row exclaimed, "That's amazing!" It rather was. This is the RCC choir at its finest. Diane plays well the difficult piano score. (1994)
Carol of the Bells (arr. MR): Here's a bell choir piece. There's nothing like bells to teach all kinds of stealthy good theory to the choir:
it enhances teamwork, delineates the scale, and reinforces rhythmic concepts. The best part is, the remedial lessons in theory are painless, because playing bells is so much fun.
Shepherd's Pipe Carol (arr. MR): The little "shepherd boy" who sang the solos in this John Rutter carol is Jada West, and she was
12 at the time...in 1997. Jada became a FB friend just the other day, and I have added this song as a welcome gift for the little blond girl who was in the adult choir at such a young age (she started as an 8-yr. old moppet!). She earned her keep by doing great solo work for us: see "Joseph Dearest," on this page.
Noel Nouvelet: This trad. French carol is a Christmas favorite: solos are by Katie and John. (1993)
Also hear Katie and John in "O Holy Night," below.
O Holy Night: Katie Burdick and John Flynt, sing the solos and last verse duet in this Advent favorite. The RCC Choir also joins in.
Diane provides the accompaniment on the Yamaha 6' 1" acoustic grand, fitted with fiber optic sensors to add simultaneous organ. For those interested in knowing the singers' compass, this setting is in Eb. (1994)
Sussex Carol (arr. MR): Said to be from the 17th c. and perhaps earlier, this tune was written down by Ralph Vaughn Williams (1919), taken from a woman near Sussex, hence its name. It has one of the most
lilting and charming melodies of all early English carols. Lou Rose provides the baritone solo. Diane plays piano. By law, we must give a bagpipe alert: the finale of this carol is not for the faint of heart. (1997)
One Is For the Christchild (music arr. & comp. MR; Pub. Sam Fox Music): This song was written in the early '70's while MR was a grad student in theory & composition at the University of Miami. The RCC
choir performs it here, but the Michael Roy Singers recorded it on an album 25 years earlier in 1973. In this live recording, solos are by Becky Spence, soprano; and Lou Rose, baritone. (1998)
Listen to the studio recording-------->
We Wish You the Merriest (words/music: Les Brown): It was Christmas, 1997 down at the Redlands Church. Our stellar baritone, Lou Rose,
brought me this choral piece that could only be sung by a professional vocal group or a very agile and talented choir that could sound like a vocal group; that was us. You would expect this kind of choralwork from Les Brown of the Band of Renown. Lou sings the solo, and this chart is a lot of fun. Notice, choral folk, that the choir reins in the vibrato for this one, and nails those chords with added tones..
Do You Hear What I Hear? (Arr. MR): An unusual arrangement of the pop Christmas carol, accompanied by handbells, guitar and
piano. Some choristers are "ringin' and singin'." Solos are by Jan and MR. Diane M. plays piano. This is from the Christmas Eve in-house mini-concert, 1994.
At the Gate of Heaven - (arr. MR): This enchanting lullaby is arranged for children's
voices, piano, flute and bass flute. Doris
Hurwitt is playing flute; MR, bass flute; Diane Maltby, piano. This is from the Christmas Eve concert, 1998, RCC.
Bright, Bright, the Holly Berries: (Alfred Burt) Jan and Michael Roy sing this listenable
and challenging arrangement of one of the
enchanting Alfred Burt carols (he also wrote Caroling, Caroling). Michael plays guitar (recorded a bit too loud, alas), and Diane supplies the organ accompaniment. This song, setting, and guitar part is quite complex, and one of its difficulties is lengthy lyrical phrases which requires long-winded singing. But,..we were in our prime (Christmas Eve, 1993).
Creator of the Stars of Night: (Joe Cox) This haunting, ethereal carol is taken from 9th c. plainsong. This is the RCC choir at its
seasonal best. The stellar choir always ascended even higher with Christmas fare, which was a favorite genre for us. Diane Maltby is at the Yamaha midi-grand; MR conducts and leads the men: Christmas Eve, 1995.
Pat-a-Pan: Bernard de La Monnoye (1641–1728): a French carol that tells of the birth of Christ, with the shepherds playing simple
musical instruments. The onomotopoeic sounds of the drum give the carol its name. This was performed on Christmas Eve, 1993 by the RCC choir. Diane Maltby is at the piano; Dale Chapel provides percussion; MR conducts and plays the flute interludes.
Once in Royal David's City - The 17th v. tune is "Irby," written by Henry Gauntlet. It is arr. here by John Ness Beck, and sung by
the RCC choir on Christmas Eve, 1997. The choir is in fine form here, esp. in their near perfect unisons, a choral art that is underappreciated. Diane Maltby plays piano and organ simultaneously at the 6' 1" Yamaha midi-grand.
King Jesus Is His Name (Christmas Eve, 1997) - Here's an entertaining song for Christmas with a particularly funky piano
score well-played by Diane Maltby, who is on record as saying, "I like this song because I got through it!.. I practiced my fanny off!" Dale Chapel adds percussion. The choir got into the swing of this American spiritual and the interpretation is spot on.
I Saw Three Ships (arr. MR): This ancient English carol uses sailing vessels as metaphors. Maritime activity was widespread
and important to the survival of coastal folk in ancient Britain, therefore, the use of such symbolism was also prolific. The ships may represent the "ships of the desert," that the Magi rode to see the Christchild. MR wrote the Galician pipes into this arrangement, which regaled both the huge audience and the band. The Redland Singers gave an excellent account of themselves, together in concert with all these fine musicians in the band. (note: this performance was with the Greater Miami Symphonic Band, 2002 after the era of the Redlands Community Church choir, under the direction of Michael Roy, had come to an end. This is not the Redlands Choir, but the Redlands Singers, a para-church choir that existed for 2 years)
Come Unto Me - Mary Kay Beall - Christmas Eve concert, 1997
Welcome, Yule - This Christmas anthem was performed first by the RCC Choir with the Greater Miami Symphonic Band in a Christmas
Long Time Ago in Bethlehem - Trad. Caribbean Carol - Arr. MR - Christmas Eve concert 1998. The RCC vocal group assist Michael and Jan in this arr. which is usually a duet.
concert at Gusman Hall on the Univ. of Miami campus. The band, of course, accompanied. We later acquired the piano transcription, which Diane plays excellently: any symphonic transcription to keyboard will likely, and necessarily, be difficult. It is here performed with piano at RCC on Christmas Eve, 1998. This performance was actually superior overall to that with the band, with the choir doing a stellar job on a rangy and complex choral piece. Find the other performance with the band below:
All Earth Rejoice - Antonio Vivaldi (1678 - 1741) Christmas Eve concert, 1993. This anthem features a quite pleasing three part canon between men and sopranos and altos. Diane shines at the piano.
Hodie -- This was perhaps, 1994; the RCC choir is rehearsing for our Christmas mini-concert on Christmas Eve. It's a little spotty in a few places but most of it is good, and the ending chord is fantastic. This was only posted in Jan. 2023.
Christmas Music for Voices - This rendition is our own sounding of the song in our church environs. Instead of a full 90-piece symphonic
band, we have the irrepressible Diane Maltby at the piano, missing not a note of this piano transcription of a full band orchestration.
O Come, O come Emmanuel - Arr. MR - There are a few problems with this recording, but the one right thing is it's the only recording
ever made of this arrangement. The circumstances of it's being recorded are also extraordinary: the RCC choir was in a remote sanctuary with a very nice Allen Organ in place. MR was directing the choir with an ambient sound: two microphones halfway back in this huge sanctuary. He, however, had a mic close to himself, which explains why he is a little too prominent on the bass part, which he sang as he directed. But, this exists.