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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.

by Peter Ingle

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

Hosts Marc Overton and Jennifer Foster discuss the church music scene in Charleston, South Carolina. Host Jennifer Foster chats with College of Charleston Director of Choral Programs Rob Taylor about the choirs he is conducting at this year’s Piccolo Spoleto festival. We’ll hear Brian Galante’s Ave Maria and A Clear Midnight from his Taylor Festival Singers. Host Marc Overton takes a turn with Joan Singer, founder of Quintango, as they discuss that group’s ten-year evolution at Spoleto. This is followed by Ástor Piazzolla’s Adios Nonino performed by QuinTango. Host Marc Overton talks about the Young Artist Series at Piccolo Spoleto. Jennifer Foster interviews violinist . She tells us why she loves playing in the Spoleto Chamber Music series. Then we hear a violin and piano arrangement of Leonard Bernstein’s West Side Story Suite performed by Chee-Yun. Overtones: Marc Overton mentions his favorite parts and most disappointing parts about Spoleto so far

Taylor Festival Choir have released a new CD titled “Sing We Now of Christmas” for Christmas 2010!  Read below to see what people are saying about the recording and the live performances of music from the recording.  You can purchase the CD here.

Posted by Phil Muse on Audio Video Club of Atlanta Holiday Classical reviews December 2010:

Robert Taylor, director of choral activities at the College of Charleston, SC, leads his own Taylor Festival Choir “Sing We Now of Christmas” (MSR Classics), a choral feast that will linger long in your memory after you’ve heard it. The music’s spell is enhanced by the accompanying instruments, giving it a middle eastern flavor that is appropriate to many of the selections dealing with holy birth and holy mystery. Besides the catchy lilt and sway of Liz Carroll’s Celtic fiddle, John Doyle’s guitar and mandola, and Kim Robertson’s Celtic harp, we have Susan Conant playing various whistles and recorders and Danny Mallon on a variety of percussion instruments including finger cymbals, wood railing, jingle bells, and bodhran, a Celtic frame drum with an open end for the hand to control the pitch. The exquisite vocal artistry of the 28 member Taylor Festival Singers will take your breath away in stylish, imaginative arrangements of carols and traditionals such as I Saw Three Ships, In the Bleak Midwinter, Wexford Carol, Wassail, Lord of the Dancing Day, Coventry Carol, Patapan, and the Basque traditional Gabriel’s Message (in a superb arrangement by Stephen Paulus). Less familiar, but equally moving are Today the Virgin (John Tavener), Estampie Natalis (Vaclav Nelhybel, from a 16th century original), and Children’s Song of the Nativity, arranged by Ralph Vaughan Williams from an English traditional. The artistry of the choir and vocalists is such as to discourage home listener sing-alongs, though if you’re like me you will be more than content to sit back and enjoy this musical feast. I even liked the Little Drummer Boy, to which I’d been so over-exposed I didn’t think anyone’s version could possibly enchant me.

From the Amazon.com CD page:

This is the perfect gift for the Advent Season. The Taylor Festival Choir, conducted by Robert Taylor, have finally recorded a Christmas CD. So many of my favorite carols have been reinterpreted here with a Celtic flair. Virtuosic performances by singers and imstrumentalists combine to offer a spiritual restorative during this bustling, over-scheduled Season. Sit back and relax with your beverage of choice…be it a steaming cup of tea or cider, or perhaps a Guinness. Robert Taylor’s version of Mrs. Fogarty’s Christmas Cake can’t help but elicit a chuckle. In the Bleak Midwinter, as arranged by Brian Galante, is just about the loveliest thing I’ve ever heard. Karen Marrolli has given Patapan an unexpected mystical feel, transporting the listener to an earlier age replete with high stone walls and the scent of a peat fire, while Liz Carroll and John Doyle add their artistry to this not to be missed arrangement. The Taylor Festival Choir has a sound no other choir has, beautifully blending to provide an exquisite listening experience. You will emerge refreshed and in tune with the Christmas Season.

I cannot end this review wtihout a special mention of the young soloist on the final track, Children’s Song of the Nativity. The ethereal quality of her voice is deightful, and perfectly suited to this piece. I hope you have the opportunity to hear Sing We Now of Christmas by the Taylor Festival Choir. Merry Christmas!

I usually don’t post my opinions but I couldn’t agree more with the first two. The music is exceptional. The only additional comments would be to refer you to their website if you want to get a real feel for who they are as well as tell you if you have any Celtic leanings, the music WILL take you make in time.

This CD is awesome. The choir’s voices are so beautiful. The version of Little Drummer Boy is mesmerizing because the tempo is not too fast. The tracks with the Celtic improvisations with Liz Carroll and John Doyle are very clever and uplifting. Sing we now of Christmas is my favorite. What an ingenious arrangement. I have listened to it a couple of dozen times already. Mrs. Fogarty’s cake is very funny. The Whitacre and McGlynn selections are such a nice change of pace from the worn out christmas carols that are usually on holiday cds. This is definitely my favorite Christmas Cd in my collection. I hope the Taylor Festival Choir makes one every year!

My wife leaned over and said “This is the best thing we’ve seen in thee years in Charleston.” I agree! What a great array of talent across the board, from the young fiddlers, to the fine, fine singers and players, to the brilliance of Mr. Doyle. Above all, congrats to the visionary who dreamed it, and scored it out.