- O Radiant Dawn, MacMillan (from the Apse)
- Of the Father's heart
- For unto us a child is born, Handel
- A spotless rose, Howells
- Ave Maria, Mawby
- God rest you merry
- O magnum mysterium, Lauridsen
- Gloria, Missa Sancti Nicolai, Haydn
- In the bleak midwinter, Darke
- One in Royal David's City
- L'adieu des bergers, Berlioz
- Jauchzet frolocket (Christmas Oratorio), J S Bach
- O come all ye faithful
- Hark the Herald
Congregational carols are in bold. Everything but the Howells and Lauridsen involves the orchestra.
Since 2008, when the seating capacity was limited because of scaffolding, we have repeated the Celebration on a second night. This has certainly justified itself through the greater number of tickets sold overall, but is also beneficial from a musical standpoint. The programme is demanding as it involves singing more diverse repertoire than usual over a large orchestra in a less resonant space than the Apse. Putting it all together in two short rehearsals on the day (choir only, then choir & orchestra) is a challenge and can leave the singers feeling tired before the first performance. The opportunity to sing the programme again means that all the preparation work feeds into a second, and usually more relaxed, confident and enjoyable, performance.
As during the tour concerts, the singers are more exposed. We have had some discussion about presentation in recent song schools so the boys are aware of the need to engage the audience visually as well as aurally, and have even had another smiling practice, but the most important thing is to read well ahead and then sing without heads sagging down into the music folders. This will also increase alertness to ensemble and improve focus of sound. And of course it looks good - and what people hear is in no small way influenced by what they see.
To those of you familiar with English choral repertoire, does the opening phrase of the MacMillan introit remind you of the opening of a Latin motet by a Tudor composer?
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