Christmas Music
This seasonal page features MR's favorite music on this
site for Advent and Christmastide.
Enjoy the music of the season.:
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)
Good King Wenceslas: This is a cut from one of the Michael Roy Singers Christmas albums. In concert, the singers numbered
four or five; only three singers were on this album: Connie, Jan and Michael Roy. MR overdubbed the men's vocal parts, guitar, elec. bass and woodwinds. The organ was played by Bruce Oelker. arranged: MR
Good Christian Men, Rejoice: sung live and a cappella in concert, and later digitally remastered in the studio. The singers are
Connie Baker, lead; Jan, alto; Gary Fry, tenor; and Michael Roy, bass-baritone. As professional vocal groups know well, it is one thing to do an impeccable performance in the controlled conditions of the studio, and quite another to sound like this in live concert.
A-Soalin': This guitar-intensive carol was made known by Peter, Paul & Mary during the golden age of folk. This rather complex
arrangement has a quodlibet written into the last verse; the four different tunes sounding simultaneously are: both the verse and refrain melodies of "A-Soalin' "; "God Rest Ye Merry Gentlemen"; and "Masters In This Hall." MR is doing the guitar work.
"A-soalin;" was a 17th c. custom in England in which homeless street urchins would go door-to-door a few days before Christmas asking for food, including soal cakes - a simple pastry. The quodlibet echos the different sets of orphans on the street, each singing a carol in order to entice homeowners to give them something from "the barrel in the cellar." The waifs would also accept a penny or even a ha' penny.
Here We Come a-Caroling: An ancient carol, but arr. here in modern harmonies. The 6/8 rhythmnic figures have been
smoothed out to 4/4, and new verses written my MR. The pristine vocals are fast-paced and near perfection.
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 pure chords with all the delicious added tones.
In the Middle of the Night: A Christmas song by MR, written back in the 70's. This version was overdubbed by Michael and Jan, and is a solo with background vocals. On the recording: guitars, elec. bass, flute and bass flute, and digital drums.
In the Bleak Midwinter: From the Michael Roy Singers Christmas album, the lyrics are a poem by Christina Rossetti, 1972. The music is generally
ascribed to Gustav Holst, 1906. Arr. by MR, and sang in their "Great Christmas Concerts," during the '70's, this lesser known English carol speaks of the winters of northern climes, and the icy harmonies are intended to evoke the crisp and still air of a winter's day.
Bright, Bright, the Holly Berries: (Alfred Burt) Jan and Michael Roy sing this challenging arrangement of one of the
enchanting 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 require long-winded singing. But,..we were in our prime.
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 GMS band. The Redland Singers gave an excellent account of themselves, together in concert with all these fine musicians in the band.
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.
We Wish You a Merry Christmas (arr. MR): from a MR Singers "Great Christmas Concert, 1975: fast-paced and fun.
Welcome, Yule - This Christmas anthem was performed first by the RCC Choir with the Greater Miami Symphonic Band in a Christmas
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 band performance here:
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)
De Glorious a-Kingdom: a trad. Caribbean carol from the Christmas album. Connie, Jan and Michael Roy sing; MR plays guitars & bass. Arr.: MR
Hallelujah (from Messiah: G. F. Handel):
As oratorio lovers know, the chorus, Hallelujah, is from Part II of Messiah, and
is thus not in Part I: the "Christmas section." Nevertheless, it is invariably performed with Part I, and usually as the finale. Here is one of the most provocative renditions you will likely hear: a small chamber choir of superb singers accompanied not by piano, or by a string ensemble, but by early instruments. In the early consort are recorders, viols, portative organ, harpsichord, and sackbut, the latter overlaying the men's unisons and tenor choral parts.
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)
Beautiful City: The New Christy Minstrels sang this one back in the '60's, and a decade later MR arranged it for the Singers
and added another verse to the lyrics. MR played the guitars and bass. Singers are Connie, Jan and MR.
Hear the audio file and see the score to Beautiful City.
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. (1994)
Jingle bells: One of the toughest challenges for an arranger is to come up with fresh ideas for a well-worn song that
has passed into standard singalong fare. Here's MR's best try at it. The guitar and background vocals help the task. Jan likes this chart because she gets to sing a lot of funky harmonies.
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)
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.
One Is For the Christchild (music arr. & comp. MR; Pub. Sam Fox Music): This is the title song for the Michael Roy Singers'
Christmas album, accompanied with guitar, bass and drums. Singing are Connie (lead), Jan (alto), and Michael Roy (men's parts) (MR plays guitar).
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 Music School. In this version, the piano (Diane M.) is added to guitar and drums, and a full choir sings as opposed to the small vocal group.
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 excellent unisons, a choral art that is underappreciated. Diane Maltby plays piano and organ simultaneously at the 6' 1" Yamaha midi-grand. Listen as the Rev. Mike Kennison says a soft but heartfelt "amen."
Below is a selection of audio files taken from the Immanuel concerts and Sunday Morning services.
In Thee Is Gladness: In Dir Ist Fruede, Giovanni G. Gastoldi, ca. 1556-1622, setting by Daniel Kallman. Violin, Allison Northup; recorder, Michael Roy; 'cello, Christy Littlejohn; piano, Diane M. Easter Sunday Service, 2006.
Worthy Is the Lamb, from Messiah: This mighty chorus from Handel's masterpiece is the finale of the oratorio. It is conceded to be level five choral music. This weighty choral piece would rarely be attempted by a non-professional church choir of only 15 singers. Nevertheless, the Immanuel
Choir had the capability to sing this sprawling 7+ minute chorus, with its 7 pages of amens. The cellist and violinist joined in with the piano. Within the "amens," in the instrumental interlude, where a violin duet is written, MR plays the 2nd violin part on tenor baroque recorder. You have heard "Worthy Is the Lamb" performed by large symphonic choruses and professional chamber choirs,..now give a listen to a small, volunteer, resident church choir as it gives the great baroque chorus a praiseworthy rendition.
Listen Only
Soon Ah Will Be Done (arr. MR): This pre-Civil War spiritual was performed in a 2005 Country/Bluegrass Concert by the Immanuel Singers. The percussionist is Dean Vellenga. Karen Richason is playing string bass. MR is directing and singing with his basses; piano, Diane M.
Listen and
view score
Whoopie-Ty-Yi-Yo (arr. MR): To exemplify the vast idiomatic range of the Immanuel Singers, here is an enjoyable choral piece. It was one song in a 30-minute compilation of frontier and cowboy songs called the Western Medley. MR plays guitar. Mark Richason joins in on the 5-string banjo, and Karen Richason plays string bass. The baritone solo is by Lou Rose.
Shenandoah (arr. MR): Garrison Keillor, being of Lutheran heritage, naturally loves choral music. He had a comedy sketch on his Prairie Home Companion spoofing that "Shenendoah" was arranged way too often and legislation should be passed to outlaw any further charts on this tune.
He was being facetious, of course, but all choral directors and arrangers will appreciate the wry wit. Immediately after MR heard the skit, he went home and wrote this arrangement to get it under the wire before it became a felony.
Listen only
Listen and
view score
Turn Your Radio On (Alfred E. Brumley, 1937, arr. MR): It used to be that rural folk who lived way up in the mountains had only their RCA console radios to keep in contact with the outside world. This old mountain radio gospel song speaks of that era. This is a vocal group culled from the Immanuel Singers: Beverley Murdock & Claudia Springer sing soprano; Jan is the alto singer & soloist; John Flynt & Chris Moore, the tenors; MR is singing the bass and playing guitar. The concert is in 2007.
Listen only
Listen and
view score
Glory Opener (medley) (Arr. MR): The master recording was made in rehearsal and extra vocal parts were added in the studio to balance the stereo spectrum. MR also laid down another guitar and elec. bass to the final mix. Diane is at the piano. The songs in the medley are: Train To Glory (which MR wrote for this medley); In That Great Gettin' Up Mornin'; Poor Wayfaring Stranger; We'll Understand It Better By and By; Finale: a reprise of all the songs in quodlibet. Poor Wayfaring Stranger is particularly effective with its contrasting minor key. One may view the score while listening. There is a compelling live-in-concert performance of this here --->
Come, Christians, Join to Sing (Arr. MR): The Immanuel Choir sings an fine introit (Arr. MR), accompanied by two violins (Alison Northup and Anubis de lama Li) 'cello (Christy Littlejohn), and piano (Diane Maltby). The unisons and tone quality are impeccable.
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Below is a selection of audio files taken from the Immanuel concerts and Sunday Morning services.
In Thee Is Gladness: In Dir Ist Fruede, Giovanni G. Gastoldi, ca. 1556-1622, setting by Daniel Kallman. Violin, Allison Northup; recorder, Michael Roy; 'cello, Christy Littlejohn; piano, Diane M. Easter Sunday Service, 2006.
Worthy Is the Lamb, from Messiah: This mighty chorus from Handel's masterpiece is the finale of the oratorio. It is conceded to be level five choral music. This weighty choral piece would rarely be attempted by a non-professional church choir of only 15 singers. Nevertheless, the Immanuel
Choir had the capability to sing this sprawling 7+ minute chorus, with its 7 pages of amens. The cellist and violinist joined in with the piano. Within the "amens," in the instrumental interlude, where a violin duet is written, MR plays the 2nd violin part on tenor baroque recorder. You have heard "Worthy Is the Lamb" performed by large symphonic choruses and professional chamber choirs,..now give a listen to a small, volunteer, resident church choir as it gives the great baroque chorus a praiseworthy rendition.
Listen Only
Soon Ah Will Be Done (arr. MR): This pre-Civil War spiritual was performed in a 2005 Country/Bluegrass Concert by the Immanuel Singers. The percussionist is Dean Vellenga. Karen Richason is playing string bass. MR is directing and singing with his basses; piano, Diane M.
Listen and
view score
Whoopie-Ty-Yi-Yo (arr. MR): To exemplify the vast idiomatic range of the Immanuel Singers, here is an enjoyable choral piece. It was one song in a 30-minute compilation of frontier and cowboy songs called the Western Medley. MR plays guitar. Mark Richason joins in on the 5-string banjo, and Karen Richason plays string bass. The baritone solo is by Lou Rose.
Shenandoah (arr. MR): Garrison Keillor, being of Lutheran heritage, naturally loves choral music. He had a comedy sketch on his Prairie Home Companion spoofing that "Shenendoah" was arranged way too often and legislation should be passed to outlaw any further charts on this tune.
He was being facetious, of course, but all choral directors and arrangers will appreciate the wry wit. Immediately after MR heard the skit, he went home and wrote this arrangement to get it under the wire before it became a felony.
Listen only
Listen and
view score
Turn Your Radio On (Alfred E. Brumley, 1937, arr. MR): It used to be that rural folk who lived way up in the mountains had only their RCA console radios to keep in contact with the outside world. This old mountain radio gospel song speaks of that era. This is a vocal group culled from the Immanuel Singers: Beverley Murdock & Claudia Springer sing soprano; Jan is the alto singer & soloist; John Flynt & Chris Moore, the tenors; MR is singing the bass and playing guitar. The concert is in 2007.
Listen only
Listen and
view score
Glory Opener (medley) (Arr. MR): The master recording was made in rehearsal and extra vocal parts were added in the studio to balance the stereo spectrum. MR also laid down another guitar and elec. bass to the final mix. Diane is at the piano. The songs in the medley are: Train To Glory (which MR wrote for this medley); In That Great Gettin' Up Mornin'; Poor Wayfaring Stranger; We'll Understand It Better By and By; Finale: a reprise of all the songs in quodlibet. Poor Wayfaring Stranger is particularly effective with its contrasting minor key. One may view the score while listening. There is a compelling live-in-concert performance of this here --->
Come, Christians, Join to Sing (Arr. MR): The Immanuel Choir sings an fine introit (Arr. MR), accompanied by two violins (Alison Northup and Anubis de lama Li) 'cello (Christy Littlejohn), and piano (Diane Maltby). The unisons and tone quality are impeccable.
More Photos