Wexford Carol, performed by Alison Krauss and Yo-Yo Ma
This simple Irish carol is unusual in that it does not have a repeated refrain, but simply five verses that tell the Christmas story. Krauss' clear, bluegrass-style voice, backed by a simple string arrangement led by renowned classical cellist Ma, doesn't try to over-ornament the arrangement, but rather allows the beauty of the tune and the lyrics to stand on their own. It's as simple and awe-inspiring as the first Christmas itself.
Once in Royal David's City, performed by Aled Jones and Libera
I love the sound of a boys' choir, and this recording of the traditional hymn opens with a glorious, clear boy soprano solo, joined by a few other youthful voices, then the melody is passed to an adult soloist. Finally the entire boys' choir joins in the background, and then continues on alone for another verse, ending with the adult soloist blending in with the full ensemble. The barely-there string accompaniment provides just enough anchor without overpowering the voices. Close your eyes and you'll think you're sitting in an Anglican chapel in Yorkshire.
Breath of Heaven, performed by Amy Grant
Grant rewrote the original lyrics to tell the Christmas story from Mary's perspective. Backed by a simple piano accompaniment with a few additional wind, string, and percussion instruments, Grant's plaintive, whispering voice perfectly expresses both Mary's fear and her faith: "I am waiting in a silent prayer; I am frightened by the load I bear. In a world as cold as stone, must I walk this path alone? Be with me now. Breath of heaven, hold me together, be forever near me." So moving.
Rocking Carol, performed by Mairi Macinnes and William Jackson
One of many traditional "lullaby" carols, this recording features a single voice and a harp, joined only by a few handbells and a synthesized continuo. The simple setting, along with Macinnes' clear Irish soprano, is perfect for this lovely carol.
In the Bleak Midwinter, performed by Dan Fogelberg
Written by choral director John Rutter, this piece is most often arranged for a full chorus with a fully-scored accompaniment, often even with an orchestral backing. But Fogelberg's folksy guitar arrangement and gentle voice allow the listener to truly focus on the glorious melody and meaningful lyrics. It gives me chillbumps every time.
I Saw Three Ships, performed by Orla Fallon
A traditional English carol. the dance-like tune lends itself well to the pennywhistle and bodhran used in this arrangement. Fallon's clear voice - which you may recognize from her tours with "Celtic Woman" - dances right alongside the instruments. It is believed that the "ships" referred to in the song are not sailing ships, but rather camels, the "ships of the desert."
Mary's Boy Child, performed by Harry Belafonte
Most of us are familiar with the pop version of this song recorded by Boney M. But Belafonte's velvety solo vocals, slow and easy tempo, and the mellow, harp- and violin-based arrangement of this recording gives the song a completely different feel.
O Holy Night, performed by Jennifer Hudson
This song has been recorded by dozens, probably even hundreds, of classical, opera, jazz, and pop singers: Luciano Pavarotti, Andrea Bocelli, Celine Dion, Patti Labelle, Mariah Carey, Ella Fitzgerald, Mahalia Jackson, just to name a few. Hudson's is one of my favorites for finding a balance between excellent technical musicianship and heartfelt expression. If you prefer a more "classical" performance, try Josh Groban's recording instead. You'll get goosebumps from either one.
Have Yourself a Merry Little Christmas, performed by Michael Buble
Buble's smooth-as-butter and warm-as-toast jazz vocals - and orchestra - are at their finest in this mellow, laid-back recording that rivals even the perfection of Karen Carpenter's 1978 recording. Carpenter's version makes me want to curl up by the fire; Buble's makes me want to curl up by the fire drinking champagne.
The Coventry Carol, performed by Anuna
This lovely carol is sometimes arranged in a major key and sometimes with minor variations. This particular arrangement for a cappella women's voices features unusual chords, with occasional dissonant harmonies and unexpected chord progressions. The bell-like notes hang in the air of the stone cathedral, leaving a haunting echo in their wake when the piece ends with a final resolve. Simply breathtaking.
The Holly and the Ivy, performed by The Mediaeval Baebes
Another traditional carol performed with a simple instrumental accompaniment and pure, clear women's voices, this arrangement uses an interesting descant as well as simple harmonies. The perfect diction and complete lack of vibrato keep the focus on the lovely lyrics and the simplicity of the melody.
Away in a Manger, performed by Home Free
This lovely setting follows the most common pattern for contemporary a cappella arrangements and opens with a solo voice backed by "oohs" and beat-boxing, then adds other voices one at a time, with the addition of a gorgeous clear descant mid-verse and a few repeated lines. I love the mix of traditional and contemporary techniques, and the hummed "lullaby" verse at the end. A lovely take on an old chestnut.
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