All the Stars Looked Down: A John Rutter Celebration

Christmas would not be Christmas without The Choir of King’s College, Cambridge. Whether it is the annual service of Festival of Nine Lessons and Carols or one of their numerous records devoted to Seasonal music, they are as significant a part of the celebrations as are Mince Pies, Turkey, and Pigs in Blankets. And what would Yuletide be without Sir John Rutter. Often known as Mr Christmas, he has made a major contribution to carols and hymns with many becoming standard favourites. Nevertheless, this attribution is a little unfair as he has produced much that is secular or pertaining to other dates in the Christian calendar.

The present album is a celebration of John Milford Rutter’s 80^th birthday - he was born on 24 September 1945 – which focuses on his legacy of Carol and Choral traditions. The album features orchestral originals and arrangements, played by the Britten Sinfonia, conducted by the current Director of Music for the Choir of King's College, Cambridge, Daniel Hyde.

The selection of the repertoire includes some well-loved carols alongside lesser-known pieces.

Among the original Rutter carols are the beautiful Dormi, Jesu, written for the Carols from Kings concert in 1998. The tender Nativity Carol is the earliest of his surviving works, completed aged sixteen. The title track, All the stars looked down was composed in 2023 in memory of Stephen Cleobury, who was Director of Music at King’s College from 1982 to 2019. The touching text was penned by English author, journalist, poet, and Christian apologist, G.K. Chesterton. All Bells in Paradise which celebrates Christmas joy, dates from 2012.

Of considerable interest are the two extracts from Rutter’s Five Meditations for orchestra. We hear What Sweeter Music and Candlelight. These are transcriptions made in 2003 of short choral works dating from the nineteen-eighties. He explains that he made these arrangements so that “listeners could allow their imaginations to roam at will as they [heard] the music” rather than be subject to the “specific meanings and references” of the original texts. It is a pleasing conceit. I only wish that all five Meditations could have been included on this disc.

Another aspect of this recording lies in its orchestral treatments of beloved carols - bold, full-blooded reworkings that rekindle familiar tradition with fresh spirit. Among them are gutsy, brilliant takes on David Willcocks’s iconic arrangements of Hark! the Herald Angels Sing and O Come, All Ye Faithful, now clothed in orchestral grandeur.

Carols not from Rutter’s pen, include Philip Ledger’s serene carol A Spotless Rose, the rarely heard O little town of Bethlehem written by Henry Walford Davies, completed by Daniel Hyde, and orchestrated by Stephen Cleobury. Childhood favourite, Away in a Manger is heard in a delicate arrangement by David Hill and Unto us is born a son from Piae Cantiones, has been realised by David Willcocks. This group is concluded with Daniel Hyde’s evocative orchestration of Ralph Vaughan Williams take on the Sussex Carol.

The remainder of the programme features traditional carols arranged by John Rutter. Particularly lovely, is Parisian composer Adolphe Adam’s O Holy Night. One of his most cherished pieces is the Sans Day Carol, realised from an old Cornish song. The collation of texts that make up the Hereford Carol was originally coupled with a traditional tune, arranged by conductor and organist Christopher Robinson, and subsequently orchestrated by Rutter. Child in a Manger was based on a traditional Celtic melody: the music deploys a simple lullaby, developed into an attractive meditation on the Incarnation. Finally, everyone’s well-loved Silent Night by Franz Xaver Gruber is given and almost symphonic treatment, complete with an orchestral interlude.

The performance is impeccable: the singing is perfect, the accompaniments sympathetic and the recording excellent. The liner notes by David Hyde and John Rutter are most helpful. The texts are included. The booklet is beautifully illustrated and includes details of the performers.

A lovely compilation of Christmas Music that features the indisputable talents of John Rutter. It will appeal to his fans, old and new. Happy Birthday Sir John!

Track Listing:
Felix Mendelssohn, arr. David Willcocks - Hark! the herald angels sing.
Philip Ledger - A spotless rose
John Rutter - All bells in paradise
English traditional, arr. Ralph Vaughan Williams, orch. Daniel Hyde - Sussex Carol
Adolphe Adam, arr. John Rutter - O Holy Night
Henry Walford Davies, orch. Stephen Cleobury & Daniel Hyde - O little town of Bethlehem
John Rutter - Five Meditations for Orchestra: III. ‘Candlelight’
Cornish traditional, arr. John Rutter - Sans Day Carol
From ‘Piae Cantiones,’ arr. David Willcocks - Unto us is born a son.
John Rutter - Five Meditations for Orchestra: I. ‘What sweeter music’
Traditional, arr. Christopher Robinson, orch. John Rutter - Hereford Carol
Traditional, arr. John Rutter - Child in a manger
John Rutter - Dormi, Jesu
John Rutter - Nativity Carol
John Rutter - All the stars looked down.
Franz Xaver Gruber, arr. John Rutter - Silent night
English traditional, arr. David Hill - Away in a manger
John Francis Wade, arr. David Willcocks - O come, all ye faithful.
The Choir of King’s College, Cambridge Britten Sinfonia/Daniel Hyde
rec. 2023 and 2025, Chapel of King’s College, Cambridge
Texts included.
King’s College Cambridge KGS0075

John Rutter: Shepherd’s Pipe Carol

My earliest introduction to the music of John Rutter was the second volume of Carols for Choirs. It was in use by Coatbridge High School ‘senior’ and ‘junior’ ensembles under the guidance of music teacher Mrs Gallagher. At the same time copies had been bought by my local church, St Andrews, Stepps for the Christmas services. Carols for Choirs 2 had been published in 1970 by Oxford University Press and was jointly edited by David Willcocks and John Rutter. Included in this book were a number of arrangements by the latter, including ‘Come Leave your Sheep’, ‘Here we come a Wassailing’ and the ‘Twelve Days of Christmas’. There were also two original numbers – ‘Nativity Carol’ and ‘Shepherd’s Pipe Carol.’ This latter was to quickly become the composer’s signature tune.

Unfortunately, the John Rutter website is not forthcoming on information: it is more commercial than informative. For example, there is not a complete works list giving dates of composition and first performances. Curiously, I can find no mention there of the composer’s orchestral works. Any information about his music has to be pieced together from various liner notes and various short notices. 

The ‘Shepherd’s Pipe Carol’ was originally composed (text and music) for a carol concert at Clare College, Cambridge during the mid-sixties. It was duly published by OUP in 1967 and was also available in a number of arrangements including ‘unison voices with easy accompaniment, shortened and simplified’, ‘unison voices with optional descant’ and ‘solo voice with slightly simplified accompaniment.’ The version presented in Carols for Choirs 2 was for the standard SATB (soprano, alto, tenor and bass).  The score specifies a piano accompaniment, however it is quite possible to play on the organ. Certainly it is one of more difficult accompaniments in the book, and requires a gentle but accurate, soft ‘syncopated’ playing style. An orchestral arrangement was made and it is often heard in this guise.

The sentiment of the carol celebrates the piping of a shepherd boy journeying to see the baby Jesus in the stable at Bethlehem. The composer has suggested that the inspiration for this work may have come from his experience of having sung in Gian Carlo Menotti’s Christmas opera Amahl and the Night Visitors. The Hyperion CD liner notes (CDA67425) quote the composer: ‘I think the piping heard as Amahl heads for Bethlehem with the Wise Men may have stuck in my mind.’

The carol begins with a little introduction on the piano/organ which is subsequently used as a bridge passage between some stanzas of the carol. The music of the first verse features a dialogue between the tenors and basses and the full choir. This is repeated for the second stanza. The central section of the carol is more reflective: the sopranos sing ‘dolce et legato’ about the shepherd boy musing that ‘none may hear my pipes on these hills so lonely…But a King will hear me play sweet lullabies…’ The work ends with a call to ‘pay my homage to the new King’s cradle’ and the voices of angels ‘singing for joy…that Christ the infant King is born this night in lowly stable yonder.’

John Rutter makes use of a number of time signatures, often closely juxtaposed. His tonality is largely confined to F major, although the composer uses a number of catchy chromatic additions as well as a little bit of harmonic ‘side-slipping’ here and there.

It is not possible to give the words of this carol in my ‘post’ as both the music and the text are still in copyright. However there are many performances of this piece available on CD (27 versions at the current count on Arkiv) and also on YouTube. My personal preference is the Hyperion record featuring Polyphony, the City of London Sinfonia conducted by Stephen Layton. 

John Rutter: Partita for orchestra

Many people will be listening to, and singing the music of, John Rutter over the coming few weeks.  He is now traditionally regarded as ‘Mr Christmas’ in the musical world. Certainly sales of his delightful Christmas carols will have made a strong impression on his bank account.  Yet there is another side to this composer which has been largely ignored not only by the general public, but the by composer himself. I hunted around on his website for any reference to the above orchestral work: I found nothing. In fact there is not even a ‘list of works.’  Nor was there any mention of his charming ‘Suite for Strings’, released on Naxos.

I accept that the Partita is a ‘rare ‘excursion into the field of orchestral music.  However a work that is fundamentally as well-contrived as the Partita deserves recognition. This piece was written in 1976 when the composer was 31 years old. It was a commission for the 50^th Anniversary gala concert of the Ernest Read Music Association.  Read (1879-1965) was an English conductor, organist and teacher. He had a major influence on musical education in the first half of the 20^th century. In 1931 he formed the Ernest Read Symphony Orchestra which is still going strong in 2013.

The musical form of a Partita was used in the 17^th century as another name for a ‘suite’ which usually contained a number of dance movement. The most famous example is undoubtedly J.S. Bach’s Partitas for unaccompanied violin.  However, in the twentieth century, contemporary composers have embraced the form with interesting examples from Alfredo Casella, Walter Piston, Ture Rangström and our own William Walton.

Rutter has written (quoted Alan Frank, Musical Times April 1976) ‘Responsiveness to a whole spectrum of musical moods and dedication in overcoming technical obstacles are second nature to young performers, and on top of that there’s a bubbling exuberance that I find irresistible. These qualities came to mind and I found myself turning to three of the 20^th-century composer heroes of my own teens: Ravel, with his exquisite refinement of mood and orchestral wizardry: Walton, whose wonderful intense music seems almost electrically charged: and Gershwin, melodist extraordinary. The Partita is an affectionate homage to them; working on the piece I became aware of their perhaps surprising affinity and also my own indebtedness to all three.’

John Rutter’s Partita is composed in three movements. These are not actually named after traditional dances. The opening ‘Vivace’ is full of rhythmic energy and attractive melodies tossed about the orchestra.   This is followed by a much deeper ‘Aria’ which seems to move to a mode of expression that the composer did not pursue. This is moving and challenging music that is far removed from any suggestion of ‘light’. The work concludes with a ‘finale’ which appears to be in reality a tarantella. This is exuberant, sparkling music that is well written and effectively showcases the various sections of the orchestra.

Stylistically, the Partita sits on a fence – between serious-light. It is none the worse for that ambiguity. The work was first heard on April 26 1976 at the Royal Festival Hall.

John Rutter’s ‘Partita’ is available on ASV CD WHL2131 which I believe is deleted at the moment. However, an MP3 download is available from Amazon. 

John Rutter: Jesus Child

I was never really a big enthusiast of John Rutter’s choral music – either the liturgical pieces or the more ubiquitous Christmas Carols. However a number of years ago a friend of mine bought me the Hyperion CD ‘Music for Christmas’. This disc is a retrospective of some 22 ‘favourite’ carols by Mr Rutter.

At first I thought ‘Hmmm,’ but I decided to listen to it and to try to approach it with an open mind -free of preconceived notions. Now I must hold my hand up, as they say in the North Country, and admit that there are some really lovely, if largely populist, numbers on this disc. However the one that stood out most was Jesus Child. This carol, along with the attractive Donkey Carol, was composed in the early nineteen seventies and dedicated to ‘Simon Lindley and the boys of St Alban’s School Choir.’
Jesus Child is perhaps the one carol in the repertoires that does not somehow suggest cold and frost and generally seasonal weather – at least from a European perspective. The rhythm and the feel of this music are suggestive of the Caribbean, rather than Cambridge. Even the swing of the words is suggestive of West Indian patois rather than Standard English.
“Have you heard the story that they’re telling ‘bout Beth-le-hem
Have you heard the story of the Jesus Child!”
And of course the refrain nods even more to a ‘gospel music' style– “Sing alleluia, brother, sing alleluia sisters…”
The vocal score appears to suggest that the carol is actually quite long – there are some 12 pages plus selected repeats. Yet the sheer pace of ‘brisk and very light’ ensures that interest never flags. The carol was originally scored for 2 flutes, double bass, claves, maracas, and organ or piano. However it is perfectly effective using only the keyboard instruments.
The Hyperion web site suggests that “John Rutter… has become the musical equivalent of Dickens, synonymous with the season" and that his music has been “colouring Christmases around the world for more than three decades.”

It is easy to see that Christmas music has always remained very dear to Rutter, who regarded the Christmas Carol Service as being the highlight of his musical year. He is quoted as saying that "Christmas is for many people the only time of year when they have contact with choral music". Sad but most probably true.
Listen and watch a performance of Jesus Child on YouTube
John Rutter’s Music for Christmas can be found on Hyperion CDA 67425

John Rutter: Suite for Strings

Ask virtually any music lover and I guess that everyone will know one or other of John Rutter’s popular Christmas carols such as the Shepherds Pipe Carol or the Nativity Carol. Or perhaps it will be his magisterial Requiem that has impressed. Yet unbeknown to many people, the composer has written a few orchestral works which well deserve a hearing.

Perhaps one of his finest is the beautiful Suite for Strings which was written in 1973. It is based on a number of well known English folksongs that make up each of the four movements:-

1. A- roving

2. I have a bonnet trimmed with blue

3. O, Waly Waly

4. Dashing away with the smoothing iron

The opening movement has a kind of nautical saltiness to it that uses the jaunty tune ‘A rovin’ yet this is balanced with the more reflective counter melody ‘I sowed the seed of love.’ Of course the ‘racy’ tune wins the day.

The second movement is my favourite. This is a perfect evocation of an elegant young lady who is keen to display her new bonnet to the local swains! Yet perhaps she is a little shy and is apprehensive about possible comments. This is well scored and balanced and perfectly satisfying. From the last section I believe she found her hearts desire…

The ‘slow’ movement is based on the folksong 'O Waly Waly.' To people of a certain generation this will be associated with the late Kathleen Ferrier. However the strings play this tune with a definite sense of regret and sometimes intensity that matches the words:-

O love is handsome and love is fine,

And love is charming when it is true;

As it grows older it groweth colder

And fades away like the morning dew.

Yet the blues are dispelled with an almost Handelian rendition of ‘Dashing away with the smoothing iron.’ Of course the tune does not have its way – for the ‘Bailiffs Daughter’ make an appearance and all’s well that ends well:-

O stay, O stay, thou goodly youth!

She's alive, she is not dead;

Here she standeth by thy side,

And is ready to be thy bride…

…and no doubt bound for a lifetime of ironing!

Other orchestral works by John Rutter that are worth exploring include the Partita, the Antique Suite for flute & harpsichord, the Beatles Concerto and Five Mediations for Orchestra. Perhaps more about these later?

John Rutter's ‘Suite’ on Naxos 8.554186