Sing We Now of Christmas

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Imagine a wintry day in the Christmas season. Inside a pub, Irish and Scottish traditional musicians regale locals and travelers alike with their playing. In wander carolers, seeking shelter from the snow, but hardly in the mood to stop their evening s music-making. Soon, caroling from the choir mixes with the instrumental riffs of the traditional musicians, and the warmth from their collaboration literally chases the cold winter away. This scene is created annually in Charleston, SC in the Taylor Music Group’s Celtic Christmas presentations and it is brought into the listener’s living room with this recording.

SATURDAY NIGHT WAS THREE Christmas concerts in one: a healthy dose of choral music, a little foot-stomping fiddlin’, and an Irish-music ensemble featuring a guitarist, singer, and songwriter—all under the creative hand of Robert Taylor in “Now We Sing of Christmas” at the Cathedral of St. Luke andSt. Paul.

As usual with the Dr. Taylor’s productions, it was a tasteful, eclectic mix of music in a spirited, entertaining evening.

With chorus members—candles in hand—lining the aisles and balconies, soprano Kori Miller came on stage and slowly uttered a series of hauntingly beautiful notes (echoed by other sopranos in the aisles) from “Sanctus,” part of a Celtic Mass by Irish-born, contemporary composer Michael McGlynn. This work is known for “evoking a powerful sense of peace,” so appropriate for a Christmas concert.

Watching Robert Taylor conduct, I realized how much the whole production, as well as the conducting, is his personal canvas, and how much he relishes the experience. He selects the pieces, adds his arrangements to some of them, writes the narration, finds companion poems and stories (even some jokes), and weaves everything into a musical tapestry.

Two good examples were “Estampie Natalis” by twentieth-century composer Vaclav Nelhybel (who died at age 39), and the popular “The Little Drummer Boy” (originally titled “The Carol of the Drum”) written in 1941 by American classical composer Katherine Kennicott Davis. In the first, a drum beat gives the piece a tribal rhythm, while in the second work a similar rhythm is supplied by the slow-rumbling bass voices.

But what stood out was the texture of both compositions and how much they evince Dr. Taylor’s love of musical complexity, sound layers, and nuances of orchestration. He is a perfectionist when it comes to the notes, but something else became apparent as he stood with his score in near darkness, urging his singers on: that he is pleasantly obsessed with extracting the exact pitch, tempo, dynamics, and synchronization—not for their own sake, but to reach and convey a sense of spiritual serenity. Yes, the best music—like the best painting, dance, and theatre— is always about more than itself. But first you have to get “it” right, as Robert Taylor well knows.

In another song, “Lux Aurumque” (Light of Gold) by the popular young American composer and conductor Eric Whitacre, Dr. Taylor filled his musical canvas with the quietest singing I have ever heard. It was wondrous sound, yet it was as close to silence as sound can get. Delicate and stunning, and just one indication of the devotion of his chorus.

Another indication came in the traditional Irish Christmas carol, “Wexford Carol,” arranged by Dr. Taylor and featuring the rich bass voice of guest artist, Benjamin Lee. The brief pauses were as palpable as the singing in this lyrical piece in which we could see, feel, and hear the entire chorus breathing as one. Surely it is moments like this which give so much satisfaction to chorus members and conductors.

The same can be said for Na Fidléirí, the local fiddling group (of kids 8 to 18) who played three Irish songs with impeccable unity. This is a lively, charming, disciplined group who know their music. Watching them is enough to inspire any parent to want their child to learn an instrument, not just for musical ability, but for the concentration, dedication, and demeanor it builds. The founder of Na Fidléirí is Mary Taylor, who teaches—with equal effectiveness—the Suzuki method at Ashley Hall.

Talk about a musical family: Robert and Mary also have a 17-year-old daughter, Kiri, whose soprano voice sparkled in one of the evening’s choral solos. Not surprisingly, she exhibits the same ability and focus as her parents.

Between the contemplative choral music and the Irish foot-stompin’, we also heard several songs by the velvety-smooth acoustical guitar player, John Doyle, who is known for his harmonic and rhythmic expertise. John is regarded as “one of the most influential and important musicians in Irish music” and “a world-class interpreter of traditional songs.” What a joy to hear a folk-guitar master who, with his stage presence, demonstrates what it means to be a captivating performer as well as musician.

Joining Mr. Doyle was the Green Isles Ensemble that comprises Susan Conant (flutes and whistles), Mary Taylor (fiddle), Charmaine Leclair (cello), Phyllis Mauney (harp), Ryan Leveille (percussion), and Jake Lilley (guitar). They did not get center stage, but they certainly helped make this unique holiday concert a success.

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It  is worth noting, too, that the front of the chancel was sharply lit by spotlights mounted in the balcony, giving the “stage” a theatrical look. The musicians and chorus were also amplified with professional microphones that delivered a rich sound into the cavernous apse of this magnificent building. During other concerts here I have often remarked to myself about the dim, gray-blue lighting. This evening was a pleasant exception. And it was nice for a change not to have telephone-pole recording mikes obscuring the audience’s view, as is so often the case at musical events these days.

The Taylor Music Group

presents a repeat performance of

Celtic Christmas

Sunday, December 11th at 4:00pm

Holy Spirit Catholic Church, Johns Island

Presented by the Kiawah Island Council for the Arts