Sometime in the year 2020 the term “business as usual” became obsolete, and nowhere was the impact of that event more widely and immediately felt than in the arts, specifically in the arena of public performance, where the reliable “usual-ity” of concerts, plays, and special celebrations abruptly ended–and likely will never return in the same form as before. And what regular performance event is better known or more popular around the world than the annual Festival of Nine Lessons and Carols from King’s College, Cambridge? This new recording is the venerable choir’s answer to how to satisfy its devoted listeners in the face of the cancellation of its live Christmas Eve celebration with audience at King’s Chapel in 2020.
As explained by King’s music director Daniel Hyde (this is his first recording with the choir since his appointment in 2019): “This album is a combination of Christmas music recorded as a backup for the service of Nine Lessons and Carols, with other specially recorded seasonal music.” Uniquely, it was done in an empty chapel, the choir “spread out around the stalls.” Since this program is not the actual service, we get only the music (20 selections in all)–no readings or congregational singing, which for repeated listening is a good thing; plus, to fill the time we get several “extra” works, including Bob Chilcott’s lovely setting of Still, still, still, an Elizabeth Poston piece that’s not Jesus Christ the Apple Tree–titled As I sat on a sunny bank–and a couple of organ solos by Matthew Martin, notably Francis Pott’s prodigiously inventive, tumultuous, virtuosic Improvisation on Adeste, fideles.
It’s great to have the many old favorites–Once in royal David’s city (of course); Darke’s In the bleak midwinter; Vaughan Williams’ Sussex Carol; Willcocks’ Of the Father’s heart begotten–among several less familiar, equally worthy selections (Philip Moore’s The angel Gabriel, for instance). And we do get the expected hymns O come, all ye faithful and Hark! the herald angels sing (with Philip Ledger’s descant), glorious enough even without the usual audience participation. I appreciated the empty-chapel ambience–the choir and organ more vibrant than we usually hear. And the documentation, including an interview with director Hyde and notes on each musical work, are exceptionally detailed and informative.
The determination and care that brought this project to fruition under very challenging circumstances confirms the enduring legacy of a 580-year-old institution that remains both resourceful and relevant. And yet, referring to the “unique” nature of this project, and to its record of “a very unusual, private, and lonely Christmas as we did all we could to keep our fragile tradition going,” Hyde assures us: “it will never happen again.” Although we certainly appreciate having this beautiful recording, regarding the circumstances that necessitated it, we can only hope he’s right.