David Archuleta Fans Germany

As expected, David’s vocal artistry, combined with his magical team of musicians and arrangers, offer the listener fresh, exciting arrangements to these popular Christmas songs and carols.

Here is a link to the credits for this album. It’s a long list, so is it any wonder that this album is a winner?

So, I invite you to sit back and enjoy David’s music as you read this Masterclass review.

And if you haven’t yet purchased his CD, you can do so now through Amazon.Com and ITunes.

1. Joy To The World

This begins with an ethereal orchestral introduction followed by David’s luscious vocal style. This is a very good arrangement that becomes increasingly better as the song progresses. The chord progressions in this song are very good indeed.

Personally, I felt that the song rose to enormous heights in the middle of this song, where one can hear the orchestra play the closing refrain of “Angels We Have Heard On High”. At this point, David not only highlighted the strength and beauty of his gorgeous upper range, but also emphasized what a creatively mature artist he is and will continue to be.

Additionally, the background vocals added a mystical quality to this song.

The ending is truly spectacular -the goosebumps are starting to form on my arm. David’s liberated vocal style, that soulful quality that we have come to know and love is revealed in splendor and glory as he vocalizes the final strains of this beautiful song. Excellent!

2. Angels We Have Heard On High

The producer(s) correctly programmed the inclusion of this song. As I mentioned above, the refrain of “Angels We Have Heard On High” was heard in “Joy To The World” and someone was intelligent enough realize that this would make a logical segue for the second track. Kudos!

I loved the instrumental opening – very baroque in style and hinting at an harmonic underlay from J.S. Bach’s, “Jesu Joy Of Man’s Desiring”. Just lovely and extremely creative.

David’s voice sounds wonderfully focused and pure in this song and his voice stays true to the “oh” vowel during the sustained “Gloria” segments.

It was exciting to hear the multiple key changes during this song, culminating in a grandiose and dignified finale to this number

Oh my – here is the “Jesu Joy Of Man’s Desiring“. Please believe me when I say I did not know David was going to go full throttle at “Jesu Joy Of Man’s Desiring” in the middle of this song when I stated earlier: “…hinting at an harmonic underlay from J.S. Bach’s, ”Jesu Joy Of Man’s Desiring”.

I was typing as I was listening – similar to when I watch American Idol. I guess my ear has not aged along with the rest of my body. Ha!

This is an excellent arrangement of this beautiful sacred carol. David’s voice is gorgeous beyond belief and just soars with ease and transparency above the orchestral arrangement.

Ah, yes, now the lovely quiet ending of “Jesu Joy”once again, with David’s soulful vocal gift to complete this exquisite arrangement. Bravo!

3. O Come All Ye Faithful

I have always loved this song. The harmonic progressions in this song introduce endless possibilities for arrangers, so I am interested to hear what happens over the course of this number.

However, I must say that, although David’s voice sounds rich and resonant in his upper range, I wish he would support his lower range more efficiently.

Also, he has to monitor his decision-making process when he breathes. For instance, when he sings “O Come Ye, O Come Ye To Bethlehem”, he should breathe after the first “Ye” and then carry the rest of the phrase through in one breath. The phrase would sound less fragmented.

He encountered the same problem when he sang “O Come Let Us Adore (breath) Him, Christ the Lord”. That phrase should be sung in one breath.

I felt that the orchestral accompaniment was moving too quickly for him. David’s phrasing would have been more fluid if he had been given the opportunity to create more space in his musical line, thus giving him ample time to breathe in a relaxed manner.

However, David’s articulation is so crisp and so clear- you never have to strain to understand a word.

The key change in the middle of this song is dynamite and, at this point, David and the musicians go on their own magical adventure through Bethlehem. As David and his team of musicians work their melodic and harmonic wizardry, the overall effect is just phenomenal, . Beautiful beyond belief!

Additionally, the percussive elements were wisely interjected in this song, thus increasing power and authority in this arrangement.

4. Silent Night

This is, for many, the most treasured of Christmas carols. It speaks so simply and, yet, so beautifully to the truth, spirit and meaning of Christmas.

David’s voice sounds controlled and expressive at the beginning of this song and, as the song moves forward, David’s reverence for whom he is singing is absolutely heavenly. How can one not feel and appreciate David’s strong and very spiritual communicative skills?

The orchestra confidently grows in momentum and sound before the key change into the third verse – but not too much! Very tastefully, done!

And, as David ends this lovely carol, I am left with a sense of peace.

Thank you, David and team for keeping the song’s meaningful lyrics front and center. So often, I have heard this song butchered beyond recognition, so I am grateful to be listening to artists who respect and appreciate composer Franz Xavier Gruber’s original composition.

5.The First Noel

Oh my, how I love this song. When I have a moment, I will have to add a video of my choir performing an adapted John Rutter arrangement of this song. This is truly a singer’s song. The wonderful melodic lines of this song allows the singer’s voice to soar and the orchestral possibilities are endless.

But I digress. Time to press the “play” button” and hear David’s personal vision of this most sacred of carols. Here we go!

I hear bells, then David, then strings and some soft percussion. I love the baroque “feel” to this arrangement – very similar to one performed by my choir, the Timmins Youth Singers. This style perfectly compliments this carol – the melody has a music-box quality in the rhythmic component that I absolutely adore.

David’s voice sounds very good – always so expressive and so passionate.

And, once again, we are treated to a neat key change at the end of the second refrain, on the word of “Israel“. And, it allows David to access his baritone range with better strength and clarity than was heard earlier on in this recording.