NOVEMBER seems very early, even by Canberra standards, to be celebrating Christmas and earlier still considering most Orthodox Christians celebrate Christmas Day around January 7.

Not at all, says British composer, conductor, producer Antony Pitts, just 10 months into his directorship of the Song Company, which he took over from Roland Peelman, as he embarks on a tour of the final concert for the year, “An Orthodox Christmas”.

“We’re not nearly as early as the shops,” he reminds “CityNews”.

And, as for the idea that everything has to revolve around December 25, Pitts rejects that, pointing out that there was a considerable lead up to the birth of the Christ child, to say nothing of the aftermath, including “what Herod did” and the holy family’s flight to Egypt, all grist to the musical mill.

When it comes to vocal music, he believes nothing is quite so “gorgeous” as the Orthodox tradition, something to challenge a choir as sophisticated as the Song Company.

He hasn’t chosen music from the Orthodox liturgy, but rather music informed by Eastern European, Greek and other Orthodox connections, joined by old favourites and selections from “The Naxos Book of Carols.”

In particular, he expects the carols to be upbeat, really well-known and “rousing”.

The centrepiece of this pre-Christmas performance will be “Behold!”, a newly-commissioned work by Australian composer Anastasia Pahos starting nine months earlier than the “silent night” in Bethlehem, traversing the visit of the Three Wise Men, Herod’s attempt to annihilate the first-born and going so far as events in the Book of Revelation.

Pitts is having two bob each way and will also incorporate Arvo Pärt’s pre-Christmas “Magnificat”, “A Carol for Christmas” by Ivan Moody, “O Holy of Holies” by Antony Pitts himself, “Reges Tharsis” by John Sheppard, “The Lamb” by John Tavener and a new arrangement of “Hark the Herald Angels Sing” by Jonathan Pitts.

He has been very much inspired by Byzantine chanting, which he describes as “tending to have a drone part and up to six-part polyphony”. This obviates the necessity for accompaniment, perfect for an ensemble that excels in a cappella work.

Pitts says the “huge cultural transition both in lifestyle and in place” experienced since he arrived from England with his family around Christmas last year has been balanced by the welcome he has been given by Australians.

He’s talked at length to his predecessor Peelman, now director of the Canberra International Music Festival, and says he expects to be back here with the company for the 2016 festival.