Anderson, Sleigh Ride

Leroy Anderson’s Sleigh Ride is a wintertime classic with an enduringly playful spirit. Written in 1948—during a heat wave, as Anderson later recalled—it does not depict any particular holiday, but instead creates an irresistible musical scene: jingling bells, a bright horse-drawn rhythm, gusts of wintry excitement, and a cheerful ride through the snow.

Its charm lies in Anderson’s extraordinary craftsmanship. Every detail is perfectly timed, from the clip-clop of the percussion to the famous trumpet “horse whinny” near the end. The music glides between sparkling melodies, warm lyrical passages, and quick bursts of comic surprise, all orchestrated with clarity and wit.

Creston, Concertino for Marimba and Orchestra

Commissioned by conductor Frédérique Petrides for her all-women ensemble, the Orchestrette Classique, Creston’s Concertino was written to demonstrate the instrument’s remarkable potential as a solo voice with orchestra. Its premiere, with marimbist Ruth Stuber, was among the earliest major appearances of the marimba in a concerto setting, at a time when the marimba was still a rarity on the concert stage. Creston’s three-movement work is compact, colorful, and irresistibly rhythmic. The opening Vigorous contrasts a driving rhythmic idea with a more lyrical theme, giving the soloist opportunities for rapid passagework, ringing chords, and sweeping glissandi. The central Calm movement reveals the marimba’s warmer, more intimate side: a reflective melody unfolds in rich four-mallet chords, briefly gathering intensity before returning to tranquility. The lively finale combines the energy of a scherzo with the brilliance of a finale, its buoyant 6/8 rhythms allowing lyric and dramatic gestures to flash by in quick succession.

Schubert, Mass in G, D. 167

Written during an extraordinarily fertile period, Franz Schubert composed his Mass in G major, D. 167, in 1815, when he was only eighteen. Compact, direct, and deeply expressive, it is one of his most beloved sacred works. Rather than aiming for monumental scale, Schubert creates an intimate devotional atmosphere, setting the familiar Latin text with melodies of remarkable warmth and naturalness.

The Mass moves swiftly through its six traditional sections, balancing gentle lyricism with an instinct for unforgettable melody, . The opening Kyrie unfolds with quiet humility; the Gloria brings buoyant energy; and the Credo is shaped with unusual economy and clarity. In the Benedictus, solo voices emerge in tender conversation before the chorus returns, while the concluding Agnus Dei offers a serene, prayerful close.