IT is amazing how many Christmas traditions have pagan origins. Yule is typical, a Norse midwinter festival. Yule Riding became a time of such 'legitimised disorder' - witness the Lords of Misrule - that our archbishop had it banned in 1572.

No such anarchy prevailed on Saturday. On the contrary, the York Waits - reincarnation of the city's medieval town band - gave a display of consummate discipline and immense breadth, covering the Christmas music of seven countries from the 16th and early 17th centuries.

The six gentlemen are renaissance players par excellence, adept on at least four and as many as nine instruments each.

This lent an infinite variety of colours to their palette. In company with Deborah Catterall's warm, clear soprano, it made an aural - and visual - feast.

Several of the pieces were original, early versions of tunes now well-known. Let All Mortal Flesh, now a sober Advent hymn, was heard as a jaunty 'brawl' (dance) called Picardy, strummed over two hurdy-gurdies.

A Neapolitan ditty, sung over Italian bagpipes, was later stolen by Handel for an aria in Messiah.

Greensleeves, a pot pourri of wassailing carols from all over the country, a highly decorated Past Three O'Clock, a Catalan lullaby, and Provenal bedlam in Touro-louro-louro - all added to the fun.

Best of all was the slow lilting cradle-song, Joseph Lieber, Joseph Mein, sung over four enormous, low-voiced recorders, a magical effect. Christmas is here!

Updated: 11:28 Monday, December 20, 2004