Christmas Around the World
by Barry E. Kopetz
Suggestions to the conductor …
The opening of this joyous music should be piu marcato as the ensemble
crescendo leads to the presentation of Angels We Have Heard on
High at rehearsal 5. Here, the music should continue in a marcato
vein until 13, where a change to legato will be more in character
with the lyrics. It is recommended that the conductor (and when
possible, the ensemble as well) sing the lyrics to achieve the
proper style. The ritardando beginning at the measure before
28 may begin sooner if it assists the conductor in making a smoother
transition.
The anacrusis to measure 28 in first clarinet should be in the
style of the next song, Away in a Manger. While the tenor saxophone
part contains the complete counter-melody, the baritone and first
trumpet should play in a manner that sounds as if one line is being
played by two performers. The baritone should play separated but
not “short!” In the absence of finger cymbals, suspended
cymbal struck lightly with a triangle beater is a satisfactory
substitution.
Two bars before 48, the tom-toms should introduce Fum, Fum, Fum “with
bounce,” and soft yarn mallets are the preferred choice to
achieve this. All lines performing the dotted-eighth-sixteenth
rhythm should perform it in similar style, that is, the dotted
eighth should be separated from the sixteenth note. Again, staccato
markings should be played separated, but not played as short as
possible in order to achieve the light, bounce to the style. Be
sure to provide adequate space after the caesura in measure 65
prior to beginning the new section.
Lo How a Rose ‘ere Blooming should be performed in a reverent
style. This implies long note values, molto legato. As the orchestration
is “choir” oriented, take time to see that each choir
is balanced carefully within itself so that when the resources
are combined that there is a full, rich balanced ensemble quality.
A rubato approach to the tempo is in order in this music, using
the nature of the lyrics to establish the interpretation. Be sure
to elongate the note values at 85 in order to maximize the contrast
into the next section.
The downbeat of measure 89 should literally “light up” the
audience. It is in the brisk style of Jingle Bells, and there should
be no dragging of the tempo. Give a clear preparatory pulse to
be certain that all are following the conductor right at the establishment
of the new tempo. Importantly, care must be taken to balance the
repeated ostinato pattern (sleigh bell players always seem to drag!)
so that the clusters are always heard n equal balance.
At measure 127, there must be clarity of the various melodic lines,
including Joy to the World in the woodwinds, followed the dissonant
statement of the first notes of Jingle Bells. Trills should be
given small crescendi so as to not disappear within the texture.
And be sure to maintain a steady tempo in the final two measures
so that there is no rushing at the end. The piece should end with
flair, so attention to articulation style, accenting only as marked
will assist in achieving the proper effect.
