I was sent this recording so I could hear O Come, All Ye Faithful as mentioned elsewhere in this issue. I could hardly tear myself away from the rich choral sounds singing some new, some old, but always singing well. There were favorites such as Lo, How a Rose E'er Blooming and Tschesnokoff's Salvation is Created. Somewhere between the drums and synth I needed to be reminded how beautiful the human voice really is. These 19 selections helped me remember...and my day is richer for it.

HARPSICHORD CAROLS
"Hard to choose which I like best... I especially loved how 'We Three Kings' developed...and the way you use the harpsichord is very idiomatic. In fact, I found that you are not afraid of exploiting the instrument in a very strong way...which is good. Loud chords, driving rhythms, lyrical passages mixed with unmeasured prelude...great."

"At the present we have a total of 11 SDG CDs in our library. The Jackson Berkey ATLANTIC FANTASY is an excellent addition. All of the compositions are quite modern in their mood, but very easy on the ear. I know our radio audience will enjoy listening to these selections. I am listening to S.S. Atlantus as I write you this. Thank You."

"NORMAN LUBOFF REMEMBERED is absolutely Beautiful! So taken with it! Absolutely Gorgeous. Can't tell you how much I enjoy it!"

FACETS CD provided a selection of music that was both relaxing and invigorating. Not only did it offer traditional classical selections, the inclusion of some unique variations on popular classical works and two of our favorite Berkey originals resulted in a recording that truly demonstrates the composer's skill and innovation. This CD will receive many playings in our listening room, in our automobiles, and on our patio.
Congratulations on another wonderful CD!

Solli Deo Gloria Cantorum is a 16-member profeessioal singing group from Omaha; it is under the direction of Almeda Berkey. She and her husband, Jackson Berkey, a noted composer in his own right, are the principal keyboardists for Mannheim Steamroller. They both sang with the Norman Luboff Choir in years past; many of the harmonies in their work are (fortunately) influenced by the Luboff style. Gaudete is their second CD. Much of it consists of familiar Christmas music (done beautifully, crisply, and with precision), but the other matierial on this album is the reason to buy it. To put it frankly, "Jesu, Son Most Sweet and Dear" with alto soloist Phyllis Noble, is one of the most hauntingly beautiful, extraordinary things I've ever heard. I know people who set their CD play to repeat this particular track over and over again. Other standout selections are Chesnekov's "Salvation is Created," and what is listed as "Ave Maria," which is the Bogoroditste Devo from Rachmaninov's Vespers. It is absolutely smashing, especially when the basses come in at the climax. A thoroughly satisfying album, done with taste and style; I'm please to recommend it.

JACKSON BERKEY HARP BOOK

"NORMAN LUBOFF REMEMBERED features arrangements composed by the choral conductor, performed by Soli Deo Gloria Cantorum under the direction of Almeda Berkey. Local composer Jackson Berkey accompanies the chorus on keyboards and percussion...Because of their connection to him, the Berkeys, who are also longtime members of Chip Davis' Mannheim Steamroller group, have a particular affinity for Luboff as a colleague and musical companion...The songs chosen for the disc showcase the composer's musical flexibility, displaying his ability to apply the famous 'Luboff sound' (thick clusters of inner voices over a very low bass foundation) to different styles of music. Throughout the disc, Soli Deo Gloria Cantorum does a beautiful job of producing the various harmonies and dynamics required for each arrangement..."

FACETS CD

"I just received my copy of NORMAN LUBOFF REMEMBERED yesterday and am thoroughly enjoying it -- a fabulous recording and remembrance of this outstanding musician!"

I am director of Concinnity, a small women's ensemble in Oswego, NY. I have just returned from our Christmas Concert this snowy afternoon, where we performed Berkey's COME THOU, LONG-EXPECTED JESUS and STILL, STILL NIGHT (along with Ceremony of Carols by Britten and other pieces). I needed to write and thank you, Sir, for the most glorious arrangements for these two songs I have ever heard. they were by far the most commented on selections we performed...the setting of a cathedral-like church, the harp, and 10 voices was heavenly. I only wish I had thought to record them to send you. I'm certain you would have been pleased. Thank you again!

"I am hearing great things about FACETS from people Jackson has given the D to. It is wonderful!"

"What a glorious experience it was to compete in the Llangollen International Musical Eisteddfod in Wales at their 50th Anniversary. On this, our first CD, we present the selections we chose....
The Detroit Concert Choir placed first in the mixed choir division which included a performance of Brazlian Psalm by American composer Jean Berger. We were then invited to enter the Choir of the World competition, the festival's highlight that determines the overall winner... After a stunning performance of the majestic Svte Tihy by Alexandre Gretchaninoff and the hauntingly ethereal Arma Lucis by Jackson Berkey, the Detroit Concert Choir was declared the Choir of the World by a panel of internationally renowned adjudicators.

My husband, Sam, and I played HOSANNA DOWN! (Piano 4-Hands) at church (our third time in...five years?) and got a standing ovation. It was a postlude, which made the ovation possible in a congregational church (members being much too inhibited otherwise to display emotion). We had a roaring good time playing it and send thanks from everone--from the ministers to Shirley Croonquist, who just retired from the choir after many decades. I'm looking forward to teaching your pieces...had too wild a year with too much required music this past winter and spring.

PIANO MUSIC BY JACKSON BERKEY

Jackson's new release is really an inspired! Never have I been moved to tears when listening to music, I'm a big guy - that just doesn't happen. but this new album is wonderful.

BERKEY MEETS HOROWITZ ON THE 503 "...Almeda Berkey's voice is liquid crystal..."

First, you probably haven't heard of this group, the Soli Deo Gloria Cantorum. Think of them as a midwestern "farm team" for Norman Luboff. The Berkeys, Almeda (the conductor), and her husband Jackson (composer of the title piece) were good friends of Luboff. They lived in Nebraska, and Luboff suggested they create their own choir to do the same kind of music (and have the fun) that Luboff did. The SDG Cantorum was the result.

Arma Lucis, the title cut of the recording, is a modern, but quite accessible work. Other selections included five spirituals, all arranged by Luboff, and a wide variety of other styles, from Lotti's Crucifixus from the early 18th century to a Kyrie by Knut Nystedt (circa 1970), and some early American music thrown in as well ("Chester" from the time of the American Revolution). The selections show off the versatility of the choir. They are well trained, with a solid tone, and are up to the demands of the wide range of music. Bruckner's Christus Factus Est and the sprirtual Wade in the Water are especially thrilling.....

Arvo

"....a CD of great music recorded by a great ensemble..."

"I accompanied a church choir in Douglasville, Georgia, Palm Sunday last. We performed Come Follow Me. I found it an amazing experience and would like to order another copy of the CD to pass along to other Atlanta musicians... Please let me know how to get my hands on a copy.

"All but one of the twelve tracks on this CD by Omaha resident and Mannheim Steamroller keyoardist Jackson Berkey prove to be selections that are equal parts arrangement and fantasia on old Christmas standards.

In addition to supplying harmonizations that are anything but typical (often employing off-kilter meters at cross purposes with the original), Berkey cleverly deconstructs the tunes, spinning out material based on motifs or somewhat longer segments. Stylistically, these entries are an eclectic fusion of classical, popo, and jazz idioms which fortunately don't come aqcross as jarring or inconsistent. Toanl, polytonal, and cluster-derived verticals coexist surprisingly well here. Some stuffy sorts may have their wince factor kick in when hearing this release, but your reviewer finds it attractive, charming, and tasteful.

Most of these items are scored for a duet of harpsichord and harp, though a few call for solo forces encompassing piano or one of the above two instruments. Both Berkey (keyboards) and Kathy Bundock Moore (harp) perform with skill and sensitivity. Sound and editing are exemplary. Surely there's no other holiday release quite like it."

Jackson Berkey, born in Huntingdon, PA, in 1942, is perhaps best known for his work with Mannheim Steamroller. His composition Gloria in excelsis Deo was originally written for three-part girls choir and piano, commissioned by Dan Nelson and the Edina High School Girls Chorus in Edina, MN. This work received its premiere in 1990. Walton Music's new unaccompanied version of this work incorporates the original piano part into a purely vocal structure for mixed choir with some minor changes. Much of the accessibility of the original version is lost, unfortunately, the result is a challenging work well suited for advanced church, community, college and festival choirs. The text is the opening phrase of the Gloria, presented throughout in Latin and English, and is appropriate for a wide variety of occasions.

The form of the composition closely resembles a rondo with an introduction and a climactic coda. The texture is largely homophonic, with frequent concerting of different vocal forces against one another. The piece varies in character from its energetic beginning, with ensuing syncopated rhythms and a contrasting rilassaro section towards the middle of the piece. The harmony is primarily tonal, though Berkey employs frequent dissonances in engaging ways. Rhythm is the piece's backbone, and Berkey's use of changing meter signatures and interesting groupings within these signatures provides the piece with its attractive drive and angularity.

The ranges of the vocal parts are, for the most part, accessible, save the final measures, when the second basses must descend to a low D and the first sopranos ascend to a B. The work's real difficulties arise as a result of the unaccompanied setting in combination with frequent and ever-changing divisi that varies from four to nine parts. While the scoring of such difficulties is accurate and clear, conductors should be aware that the issues presented by changing staff assignment will require detailed preparation and presentation when determining divisi in order to ensure the ensemble's successful navigation of its changes."

Described as "the first completed movement of Towers of Sagrada Familia, " this piece for orchestra and choir is a programming problem. The chorus plays an important role in this piece; yet, a majority of the approximately eleven minutes of its length is devoted to orchestra, and a check of the SDG Press® website did not show other movements.

In spite of that, this is a powerful musical statement. Echoes of Gorecki and Tavener abround, and the sparse, slowly evolving string writing creates a wonderful translucent canvas against which the winds and the choir paint their material. The effect can be one of mystery, as suggested by the composer's notes. He describes this music as a reaction to the Church of the Holy Family in Barcelona during a visit in 1999. The use of the text "Crucifixus" gives this music another meaning as well, that of intense mourning; therefore, it would be effective to program this piece in a concert containing other music of mourning and consolation.

The choral writing is technically simple. Tuning the dissonances is vital to its impact. The choral parts move in whole- and half-notes, ranges are modest, and the music is diatonic. The texture is extremely transparent and will allow for no deviation from the center of the pitch. The wind players must be good as well. Although their parts are not technically difficult, the ability to sustain a beautiful tone over long phrases is essential.

This is gorgeous music and it will be interesting to see the other movements. The music is well within the reach of high school, college, and community choirs who have access to a good orchestra, and could be effectively paired with a variety of music for chorus and orchestra.