Henigman also joined in Kenneth Jennings’ beautifully expressive “Calm on the listening ear of night.” The were more jaunty syncopations in Bob Chilcott’s The Rose in the Middle of Winter. Verses of “The holly and the ivy” were treated in jolly syncopations, the refrain in more reflective music. The late Stephen Paulus’ Three Nativity Carols added oboe and harp, beautifully played by, respectively, Willa Henigman and Laura Logan Brandenburg. (The “bleak mid-winter” required some imagination on a 75 degree evening in Dallas.) Herbert Howells’ “A spotless Rose” was all flowing aural fragrance, until the exquisite crunches in the final “cold, cold winter’s night.” Jason Awbrey delivered the solo with a finely textured baritone, elegant diction and sensitive shaping of lines. One of the standouts was Dallas composer Joel Martinson’s “In the bleak mid-winter.” Introductory harmonies floated like drifting snow, setting up imaginative harmonization of Gustav Holst’s familiar tune. But these were announced as Krehbiel favorites, and surely he was entitled to his picks. There was much contrasting of upper and lower voices, with plenty of ooh-la-la harmonies. ![]() Yes, much of the Christmas fare - original works and carol arrangements mostly from the 20th century- had a familial resemblance.
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