In December: Choral Octavo SoundTrax CD

The text and melody work in perfect concert here, neither overshadowing the other. Althouse anchors the piece in a universal symbol (the candle) that resonates across Chanukah, Christmas, Kwanzaa, and beyond, which means you can program this with integrity in any December concert without fumbling toward inclusivity. The optional clarinet parts add textural warmth without requiring an instrumental ensemble, giving you flexibility based on what musicians you have available.

Quiet reflection with depth underneath. The piece never raises its voice, yet the layered harmonies create a sense of collective remembrance that feels both intimate and communal. There is weight in the simplicity, the kind of beauty that lingers after the final chord fades.

This octavo works for concert choirs, holiday festivals, and community choruses seeking repertoire that honors multiple December traditions without becoming precious or overly sentimental. It suits intermediate to advanced choirs comfortable with rich voicing and emotional restraint.

• Let the pensive quality of the melody breathe; resist the urge to rush through phrases, especially in the verses where simplicity is the point.
• If you include the clarinet parts, balance them as a subtle doubling voice rather than a melodic lead; they should enhance reflection, not call attention to themselves.
• Use the SoundTrax CD to lock the harmonic foundation during rehearsals, but encourage singers to internalize the part relationships so the performance feels organic, not mechanical.

Position this as the emotional centerpiece of a December concert, perhaps following more festive selections or preceding them as an opening statement. It pairs naturally with other multicultural holiday pieces and works especially well in candlelit or evening concert settings where the mood can settle without distraction.

• Balancing independent voice parts in close harmony
• Sustaining legit tone and phrasing across longer note values
• Conveying emotional nuance through restraint rather than volume
• Sight-reading optional instrumental doublings and adjusting blend accordingly