Harry Christophers, founder and conductor of the Sixteen, writes that performances of A Ceremony of Carols have become so routine that practices alien to the composer's intent have become enshrined and unthinkingly repeated from performance to performance. Christophers' intent is to look freshly at the score and follow it faithfully and without preconceptions. His performance does, in fact, sound newly imagined, with some surprises in tempos, dynamics, and articulation that make good musical sense. Most noticeable is ...
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Harry Christophers, founder and conductor of the Sixteen, writes that performances of A Ceremony of Carols have become so routine that practices alien to the composer's intent have become enshrined and unthinkingly repeated from performance to performance. Christophers' intent is to look freshly at the score and follow it faithfully and without preconceptions. His performance does, in fact, sound newly imagined, with some surprises in tempos, dynamics, and articulation that make good musical sense. Most noticeable is maintaining the same tempo throughout "This Little Babe," Britten's frighteningly close three-part canon, which when taken at the correct speed can inspire fear in both performers and audience, as well it should. At the end of the piece, in most performances, conductors allow the tempo to go slack, as if in relief at making it through the hard part. Christophers keeps precisely to the original tempo, allowing Britten's longer note values to provide the respite from the torrent preceded it,...
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