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Synopsis
A Christmas Carol in Concert is a richly orchestrated, theatrical retelling of Charles Dickens’ beloved classic—designed to delight symphony audiences of all ages. This full-length concert work weaves familiar holiday carols and original themes into a dramatic narrative, with the orchestra as a central storytelling voice.
The evening opens with a spooky overture based on “God Rest Ye, Merry Gentlemen”, setting a foreboding yet festive tone. We meet Ebenezer Scrooge in his counting house on Christmas Eve, where visits from his cheerful nephew (“We Wish You a Merry Christmas” refracted through a Stravinskyan lens) and a charitable gentlewoman (“Good King Wenceslaus”) are met with the infamous “Bah! Humbug!”
Alone in his cold home, Scrooge is startled by spectral sounds culminating in the arrival of Jacob Marley, whose warning is underscored by rising tone clusters that peak in a chilling wail. Three ghosts will visit that night to redeem Scrooge’s soul.
The Ghost of Christmas Past arrives to the soaring “Flight Theme,” which recurs in seven orchestral variations. Together they revisit Old Fezziwig’s joyous dance party (“Deck the Halls” as a rousing Irish fiddle tune) and the poignant moment when Belle ends her engagement to Scrooge (“Coventry Carol”).
The Ghost of Christmas Present bursts onto the scene with a constantly modulating “Joy to the World”, transforming Scrooge’s parlor into a holiday cornucopia. At the Cratchit home, the family’s humble feast (“Adeste Fideles” in shifting meters) builds to Tiny Tim’s triumphant toast, “God bless us, everyone!” Their joy is shadowed by the revelation of Tim’s fragile health, as the orchestra deconstructs “Adeste” and blends “Away in a Manger” with original themes in a haunting aerial tour of hospitals and prisons. Two children, Ignorance and Want, emerge as musical shards of familiar carols, sounding a warning of societal peril.
The Ghost of Christmas Future enters to a menacing bolero built on original themes. Scrooge witnesses his grim legacy: callous business associates gossiping to a music hall ditty, a lonely corpse in his bed (an eerie “O Come, O Come, Emmanuel”), and Tiny Tim’s death (a tender Mozartian theme). At last, before his own grave (“Von Himmel Hoch” as a dirge-like chorale), Scrooge vows to change. Murmuring strings give way to triumphant fanfares from “We Three Kings”, as dawn and redemption break through in a jubilant carillon.
Christmas morning brings comic relief and transformation: Scrooge surprises Mrs. Dilber with a raise in her salary, donates generously, and reconciles with his nephew (“While Shepherds Watched” as sprightly walking music and a reprise of “We Wish You a Merry Christmas”). The narrator closes with “Silent Night”, beginning on gentle marimba and swelling to full orchestra before the iconic final line, “God bless us, everyone!”
The bows feature an exhilarating accelerando through “Joy to the World”, culminating in a rip-roaring orchestral cabaletta—a joyous finale that brings audiences to their feet.
A Christmas Carol in Concert is a richly orchestrated, theatrical retelling of Charles Dickens’ beloved classic—designed to delight symphony audiences of all ages. This full-length concert work weaves familiar holiday carols and original themes into a dramatic narrative, with the orchestra as a central storytelling voice.
The evening opens with a spooky overture based on “God Rest Ye, Merry Gentlemen”, setting a foreboding yet festive tone. We meet Ebenezer Scrooge in his counting house on Christmas Eve, where visits from his cheerful nephew (“We Wish You a Merry Christmas” refracted through a Stravinskyan lens) and a charitable gentlewoman (“Good King Wenceslaus”) are met with the infamous “Bah! Humbug!”
Alone in his cold home, Scrooge is startled by spectral sounds culminating in the arrival of Jacob Marley, whose warning is underscored by rising tone clusters that peak in a chilling wail. Three ghosts will visit that night to redeem Scrooge’s soul.
The Ghost of Christmas Past arrives to the soaring “Flight Theme,” which recurs in seven orchestral variations. Together they revisit Old Fezziwig’s joyous dance party (“Deck the Halls” as a rousing Irish fiddle tune) and the poignant moment when Belle ends her engagement to Scrooge (“Coventry Carol”).
The Ghost of Christmas Present bursts onto the scene with a constantly modulating “Joy to the World”, transforming Scrooge’s parlor into a holiday cornucopia. At the Cratchit home, the family’s humble feast (“Adeste Fideles” in shifting meters) builds to Tiny Tim’s triumphant toast, “God bless us, everyone!” Their joy is shadowed by the revelation of Tim’s fragile health, as the orchestra deconstructs “Adeste” and blends “Away in a Manger” with original themes in a haunting aerial tour of hospitals and prisons. Two children, Ignorance and Want, emerge as musical shards of familiar carols, sounding a warning of societal peril.
The Ghost of Christmas Future enters to a menacing bolero built on original themes. Scrooge witnesses his grim legacy: callous business associates gossiping to a music hall ditty, a lonely corpse in his bed (an eerie “O Come, O Come, Emmanuel”), and Tiny Tim’s death (a tender Mozartian theme). At last, before his own grave (“Von Himmel Hoch” as a dirge-like chorale), Scrooge vows to change. Murmuring strings give way to triumphant fanfares from “We Three Kings”, as dawn and redemption break through in a jubilant carillon.
Christmas morning brings comic relief and transformation: Scrooge surprises Mrs. Dilber with a raise in her salary, donates generously, and reconciles with his nephew (“While Shepherds Watched” as sprightly walking music and a reprise of “We Wish You a Merry Christmas”). The narrator closes with “Silent Night”, beginning on gentle marimba and swelling to full orchestra before the iconic final line, “God bless us, everyone!”
The bows feature an exhilarating accelerando through “Joy to the World”, culminating in a rip-roaring orchestral cabaletta—a joyous finale that brings audiences to their feet.
"Loved John Forster's music. There's bits of Liszt and Stravinsky mixed in with the classic carols. Great to fun to play.”
- New Haven Symphony Member
- New Haven Symphony Member
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