A Christmas record that is almost perfect

Press, 18 December 1985, Page 18

A Christmas record that is almost perfect

By

ALLAN FRANCIS

CHRISTMAS CAROLS FROM CANTERBURY CATHEDRAL. The Choir of Canterbury Cathedral directed by Allan Wicks with David Flood, Organ. BBC RECORDS. EMI REC 429.

Christmas in the record store, as with other locations, is rapidly becoming a traditional affair. It has not i always been the case. At one stage every artist, however unlikely, turned to thoughts of Christmas, so ending up by artificially simulating festive spirit in series of unconvincing songs that owed more to commerce than to Santa Claus. Dolly Parton for instance, or Kenny Rogers, did thenbest to turn Christmas into a singularly blowsy affair with a selection of plastic thoughts on the matter. Other companies have tried to churn out the intensely well-known carols, doing it on the cheap with anonymous artists and ending up with budget offerings (three for the price of one), and thinning out the spirit accordingly. If nothing else, 1985 is memorable for the conspicuous lack of recordings spouting ersatz thoughts on Christmas. What is left is the small raft of quality material that has lingered by reasons of sheer quality rather than commercial greed.

“Messiah” is still with us and rightly so; new versions are making their annual appearance and the Christopher Hogwood set on L’Oiseau Lyre DlB9 D 3 is well worthy of attention. Likewise, the Jessye Norman account of Sacred Songs for Philips—not intentionally Christmassy, is

superbly fitting for the occasion.

Nothing could be so right for Christmas though, than the 1981 version of 18 Carols and a splendid rounding-off by the organist of J. S. Bach’s “Chorale Prelude in Dulci Jubilo” BWV 729 at the close of the programme, issued by EMI several years ago.

If anyone asked for the perfect Christmas record, there could be few to better this one. It has the right blend of old, the ones that spring readily to mind, and the not so well-known.

The familiar ones, such as “Silent Night” or “Come All Ye Faithful” are arranged and sung so convincingly that one instantly forgets all the fakes that have badgered the listener for years and have put people off such fine carols.

All the arrangements and the harmony on this excellent album are top class; it has come stealthily, into reckoning by reasons of quality and superb vocal craftsmanship—like a “thief in the night/’ and the impact is one of increasing intensity. The more you play it, the better it becomes.

Instead of the usual bland repeats of stone-faced tunes churned out mechanically, these are delicately balanced and exquisitely sung by a decent-sized choir who understand the proper atmosphere and intentions of Christmas.

The secular hymns, “Unto Us a Child is Born,” “The Infant King,” “The Seven Joys of Mary” contrast

nicely with the "dancing” carols, “Ding Dong, Merrily on High” and “Tomorrow Shall be my Dancing Day.” Few realise the importance of the traditional English carol, so' those underrated tunes make for a pleasing change in this group. Older residents from Britain will indeed rejoice in the rare strains of such tunes as* “Angels from the Realms of Glory,” .“0 Come, 0 Come Emmanuel’.’ or the famous “Holly and the Ivy.” And what a nice touch to have the organist and the Cathedral bell-ringers finish off the programme! The listener is left with a fine version of Bach’s ‘Tn Dulcio Jubilo,” followed by' “Rounds into Changes” by the 12 old bells. This is how Christmas should be, with perhaps readings, from the Dylan Thomas “Child’s Christmas in Wales” recording to finish it air off.