Program Notes

Leroy Anderson – Sleigh Ride (1948)

Leroy Anderson’s Sleigh Ride is the quintessential orchestral winter romp. Remarkably, Anderson first conceived this sparkling piece during a sweltering July heat wave in 1946, perhaps dreaming of cooler scenes. He completed it in 1948, and it was premiered that year by Arthur Fiedler and the Boston Pops. Ever since, Sleigh Ride has become one of the most performed holiday songs in the U.S. beloved for its infectious energy and clever musical effects.

In this piece you’ll hear the orchestra vividly imitate the joy of a horse-drawn sleigh excursion. The clip-clop of hooves is recreated by wooden temple blocks, and a sharp whip-crack sound spurs the team onward. Anderson even includes a witty horse whinny, achieved by a trumpet near the end of the ride. With jingle bells jangling and a lively melody that practically sings even without words, Sleigh Ride paints a cheerful picture of glistening snow and holiday cheer. It’s no surprise that this tune – originally written as an instrumental and only later given lyrics – has become a seasonal staple that listeners young and old recognize instantly. This piece was last performed by the BCSO in 2024 and is a regular staple in Holiday Traditions.

Pyotr Ilyich Tchaikovsky – The Nutcracker Suite (1892)

From Tchaikovsky’s iconic ballet The Nutcracker, this orchestral suite gathers a few of its most enchanting musical moments. Interestingly, Tchaikovsky introduced The Nutcracker’s music to audiences in a concert setting months before the ballet premiered. In March 1892 he conducted a selection of pieces (including the now-famous Dance of the Sugar Plum Fairy) in St. Petersburg, where it was met with immediate delight. The full ballet itself – a Christmas fantasy about young Clara’s dream journey through a land of sweets – had a lukewarm initial reception that December. But its music quickly charmed listeners, and over the 20th century The Nutcracker Suite became a holiday favorite worldwide.

In tonight’s performance, we hear three beloved excerpts from The Nutcracker:

• Overture – A grand, swirling introduction that spirits us into a magical Christmas Eve scene.
• March – A brisk toy-soldier parade, marked by crisp brass fanfares and snappy percussion.
• Dance of the Sugar Plum Fairy – A short, sparkling piece of music that feels light and magical, as if the Sugar Plum Fairy herself is tiptoeing through a world of winter glitter.

Each piece showcases Tchaikovsky’s gift for memorable melody and vivid orchestration. The Sugar Plum Fairy music was revolutionary: Tchaikovsky discovered the newly invented celesta in Paris and begged his publisher to keep it secret so he could wow audiences with its “divinely beautiful tone”. The plan worked – at the ballet’s premiere, the ethereal sound of the celesta during this dance left listeners in awe. Whether in the spirited energy of the March or the shimmering delicacy of the Sugar Plum dance, the Nutcracker Suite distills the charm and magic of Tchaikovsky’s ballet into a delightful concert experience. This was last performed by the BCSO, with a Duke Ellington twist, in 2024.

Walter Kent & Kim Gannon – I’ll Be Home for Christmas (1943)

One of the most nostalgic songs of the holiday season, I’ll Be Home for Christmas was written in 1943 during World War II. Lyricist Kim Gannon and composer Walter Kent crafted the song as a heartfelt voice for soldiers longing for home. It was famously recorded by Bing Crosby that year, and its poignant closing line – “I’ll be home for Christmas, if only in my dreams” – resonated deeply with Americans at war. (In fact, the song was so touching that the BBC banned it from British radio, fearing the lyrics might lower morale among WWII troops.) Over time, “I’ll Be Home for Christmas” became a beloved standard, recorded by countless artists and still evoking a lump in the throat for many listeners.

Tonight’s orchestral rendition lets the melody speak with tender simplicity. A gentle introduction leads to the familiar tune carried by a solo instrument (perhaps a cello or warm horn), while the strings provide a cozy, halo-like harmony. The music swells with feelings of hope and yearning, then falls back to a soft, bittersweet close – as if imagining a reunion that for now lives “only in my dreams.” In any era, the simple message of this song – the yearning to be with loved ones for the holidays – never fails to touch hearts and remind us of what truly matters at Christmas. This was most recently performed by the BCSO in 2022.

John Barnes Chance – Variations on a Korean Folk Song (1965)

American composer John Barnes Chance took a simple Korean folk melody and transformed it into a vibrant tapestry of orchestral variations. Chance encountered the tune “Arirang” while serving with the U.S. Army in South Korea in the late 1950s. “Arirang,” often considered an unofficial national song of Korea, is full of bittersweet emotion – the folk lyrics tell a tale of love, separation, and longing for reunion. Inspired by this haunting melody, Chance wrote Variations on a Korean Folk Song in 1965 for concert band, and it earned him the American Bandmasters Association’s prestigious Ostwald Award the following year. (In tonight’s program, we hear an orchestral adaptation of this band work.)

Chance first presents the plaintive five-note folk theme, then sends it through a series of inventive variations. In one section the melody dances briskly, with woodwinds and xylophone playfully embellishing the tune in running notes. Another variation turns slow and lyrical, letting the theme sing out gently in a new way (at one point, heard upside-down in musical inversion). Later, the music shifts into a bold march, and then a sonorous, expansive passage with brass and winds trading phrases. Finally, the original “Arirang” tune returns triumphantly, unadorned and heartfelt. Even though Variations on a Korean Folk Song isn’t a Christmas piece, its themes of longing and joyful return resonate with the season’s spirit of homecoming and unity. This is the BCSO’s first performance of this work.

Traditional – Hava Nagila 

The exuberant Hebrew folk song Hava Nagila (which means “Let Us Rejoice”) brings a burst of celebratory energy to our program. The melody itself originated as a Hassidic tune in Eastern Europe, and it was eventually set to Hebrew lyrics around 1918 in Jerusalem. It quickly spread through the Jewish diaspora as a song of celebration, traditionally sung at weddings, bar mitzvahs, and festivals. In this modern orchestral arrangement, Hava Nagila opens with an infectious clarinet solo that soon blossoms into a full-orchestra dance. The tempo accelerates, the percussion and brass join exuberantly, and one can easily imagine dancers linking arms in the hora.

With its upbeat minor-key tune and driving rhythm, this piece invites everyone to clap along and share in its spirit of joy. The orchestra’s treatment highlights the song’s folk origins – listen for fiddle-like string passages and playful woodwind trills. By the final refrain, Hava Nagila has the concert hall practically spinning in celebration. It’s a wonderful reminder of how music can express communal happiness across cultures, echoing the universal joy of the holidays when communities come together in song. This is the BCSO’s first performance of this work.

Bruce Chase – Around the World at Christmas Time (1960)

Arranger Bruce Chase takes us on a globe-trotting musical tour in Around the World at Christmas Time, a medley that stitches together holiday tunes from various cultures. In this single piece, you’ll hear carols spanning several continents, highlighting how different nations celebrate the season in song.

Chase’s masterful transitions weave these disparate melodies into one continuous suite. One moment, the orchestra is playing a tender, hymn-like strain from a European carol; the next, it shifts into the lively 6/8 dance of the Ukrainian Carol of the Bells. Each segment retains its cultural character – the pastoral warmth of strings in Silent Night, the sprightly woodwinds in The First Noël, the brassy exuberance of Joy to the World (among other tunes). By the medley’s end, this musical journey underlines a heartwarming message: no matter the language or origin, music brings us together in celebration. (Fittingly, this echoes our season’s America at 250 themes of unity through diversity, as we approach the nation’s 250th birthday.) Last performed by the BCSO in 2008.

Luther Henderson – A Canadian Brass Christmas (arr. 1970s)

Originally arranged for the famous Canadian Brass quintet, A Canadian Brass Christmas brings a big, brassy shine to a trio of favorite carols. Luther Henderson – a noted American arranger who bridged the worlds of jazz, Broadway, and classical music – created this medley with an ear for showmanship and style.

In Henderson’s arrangement, the brass section takes center stage. You’ll hear playful dialogues between the high trumpets and the rich trombones and tuba, as they bounce melodic phrases back and forth. The music swings with a gentle jazzy lilt in places – one can imagine a touch of Big Band flair – and in other moments it bursts into majestic, organ-like harmonies that fill the hall. Throughout the medley, the brass instruments shine with a golden glow, supported by snappy percussion and warm woodwind interjections. By the final triumphant notes, this arrangement invites us to bask in the joyous sounds of the season, delivered with all the sparkle and polish of a classic Canadian Brass performance. This was last performed by the BCSO in 2011

John Rutter – All Things Bright and Beautiful (1974)

British composer John Rutter is beloved for his uplifting choral works, and All Things Bright and Beautiful is a shining example of his gift. Rutter created this piece as a musical setting of a classic 19th-century English hymn (lyrics by Cecil Frances Alexander, first published in 1848) that praises the wonders of creation – “all things bright and beautiful, all creatures great and small.” His version was first published in 1974, scored for choir and orchestra.

Rutter’s music here truly paints a picture of pastoral beauty. You might imagine sunlit meadows and babbling brooks as the woodwinds introduce the lilting main melody. Flutes and oboes trade phrases, like birds singing to each other, while the strings provide a soft, lush backdrop. The harmonies are warm and hymn-like, building to a radiant peak as if in heartfelt worship, then receding to a peaceful close. Throughout the piece, the mood remains reverent and thankful – a graceful interlude amid our program’s jubilant holiday fare. It’s easy to hear why Rutter’s melodies, with their sincerity and grace, have become favorites of choirs and audiences around the world. Last performance by your BCSO was in 2002.

John Rutter – Donkey Carol (1972)

In this charming carol, John Rutter gives an unlikely hero a moment in the spotlight: the humble donkey who carried Mary to Bethlehem. Donkey Carol has a playful, almost storybook character. The music lilts along in a bouncing 6/8 rhythm, as if mimicking the jolly clip-clop of a donkey’s gait. Woodwinds and pizzicato strings scamper in merry dialogue, and now and then the orchestra pauses for a cheeky bray – one can almost imagine the donkey letting out an affectionate “hee-haw”!

The melody is catchy and lighthearted, showcasing Rutter’s knack for writing tunes that bring a smile to the face. Listen for moments when a solo instrument, like a bassoon or trumpet, takes on a comedic role, perhaps imitating the donkey’s personality. As the carol builds to its final refrain, it invites us to view the Nativity scene from a fresh, down-to-earth perspective – through the eyes (and ears) of a simple creature witnessing the first Christmas. In the end, Donkey Carol radiates a sense of childlike wonder, perfectly capturing the innocent joy of the holiday. This was most recently performed by the BCSO in 2019.

George Frideric Handel – “Hallelujah” Chorus (from Messiah, 1741)

No holiday concert would be complete without the “Hallelujah” Chorus from Handel’s Messiah. This transcendent chorus, composed in 1741, is arguably the most famous celebratory piece in all of music. Interestingly, Messiah was originally conceived as an Easter oratorio and was first performed in April 1742, but by the 19th century it had become a yuletide tradition to perform it during Christmas time. The “Hallelujah” Chorus comes at the close of Messiah’s second part, heralding the biblical promise of Christ’s reign on earth. From its opening measures, the music bursts forth in majestic counterpoint – voices (or in our case, instruments) enter in grand succession on the single word “Hallelujah,” creating waves of sound that ring with jubilation.

This chorus also carries a wonderful tradition: audience members often rise to their feet when the “Hallelujah” begins. Supposedly, King George II was so moved during an early London performance in 1743 that he stood up, and naturally everyone else followed suit so as not to offend the king! Whether fact or legend, the custom of standing has endured for centuries. Feel free to participate (you won’t be alone). Standing or not, it’s hard not to be stirred by this music’s power. Handel marshals trumpets, timpani, strings, and chorus in a powerful alliance, driving toward the final triumphant declaration: “Hallelujah!” Under Maestro Moon Doh’s baton, the BCSO musicians will deliver the exhilarating fanfares and uplifting harmonies that have inspired audiences for nearly 280 years. It’s a moment of pure musical exaltation – a fitting climax to the story of Messiah and a highlight of any holiday celebration. This was last performed by your BCSO in 2019

Bob Cerulli – Holiday Pops Sing Along 

Now it’s your turn to join in! Conductor-arranger Bob Cerulli has put together an upbeat pops medley of holiday favorites designed for audience participation. Holiday Pops Sing-Along strings together a garland of familiar tunes including Santa Claus Is Comin’ to Town, Rudolph the Red-Nosed Reindeer, Have Yourself a Merry Little Christmas, and I’ll Be Home for Christmas. Each song flows right into the next, keeping the energy high and the festive spirit rolling along.

The orchestra plays in a fun, swinging style, with plenty of wink and sparkle – you might hear jazzy brass riffs, cheeky woodwind ornaments, and percussion that positively jingles. Don’t be shy about singing or clapping to these classics; in fact, that’s the whole point! The lyrics to these songs are likely etched in your memory, so feel free to belt out “Santa Claus is comin’ to town” or to shout, “like a lightbulb!” after Rudolph’s name. By the time the medley nears its end, the entire hall is usually alive with people singing along and sharing a smile. And rumor has it, a very special jolly guest might appear to help conduct that final big chorus – so keep an eye out (and your Santa hats ready)! Take out your phones, sing at the top of your lungs, take a selfie with Santa, and tag the BCSO on your favorite social media channel. This is a regular Holiday Traditions piece performed by your BCSO.

Bob Cerulli – Christmas Sing Along 

Keep those phones out! Cerulli’s second sing-along suite brings everyone together on some of the most cherished Christmas carols. This medley features Joy to the World, O Come, All Ye Faithful, Hark! The Herald Angels Sing, and Silent Night. The format is simple: the orchestra plays and you, the audience, provide the vocals! We invite you to sing out on each of these beloved tunes – no need to hold back, and no need to worry if you haven’t sung in a while. In this communal caroling, enthusiasm counts more than perfection.

From the exultant opening strains of Joy to the World to the reverent hush of Silent Night, this sequence of carols takes us through the emotional landscape of Christmas. The orchestra supports each hymn with rich harmonies and swelling accompaniments but never overpowers the melody – the goal is to lift our voices in unison. You’ll feel the triumph when we all sing “Joy to the World, the Lord is come!” and the warmth as the hall echoes with “Glo-ooo-ria” in Hark! The Herald Angels Sing. Finally, we’ll dim the lights (at least in spirit) for Silent Night, as its peaceful lullaby envelops us. By the end of this sing-along, concertgoers and musicians share in a beautiful moment of unity, our voices joined in celebration of the season. This sing-along was last performed by the BCSO in 2005.

Johann Strauss Sr. – Radetzky March (1848)

We close our festive evening with the rousing Radetzky March, composed by Johann Strauss Sr. in 1848. This jaunty march was written to commemorate an Austrian military victory, and it has an infectious optimism that has kept it popular ever since. In fact, when the piece was first played for a gathering of Austrian officers, they spontaneously began clapping and stomping along with the music. That tradition lives on today: at the annual New Year’s concerts in Vienna, the Radetzky March is always an encore, and audiences clap along in a particular pattern – softly at first, then more exuberantly the second time the big melody repeats.

The music itself is straightforward and spirited. A snare drum roll sets the marching tempo, and the orchestra presents a bold, brassy theme that practically invites you to tap your foot (or clap your hands). The melody has a catchy, hummable quality – you might find yourself whistling it on the way home. During the softer passages, listen for the playful interchange between plucked strings and chirping woodwinds, as if the music is winking that another rousing refrain is coming. And when that main theme returns in full force, go ahead and join the fun by clapping in time – you’ll be part of a time-honored Viennese tradition! The Radetzky March, though not a Christmas carol, embodies the joy of communal celebration. It’s a jubilant, good-spirited number that sends everyone out into the winter night on a high note, hands clapping and hearts light. This iconic piece of music was last performed by your BCSO in 1993.