It’s hard to believe that Trans-Siberian Orchestra’s landmark “Christmas Eve and Other Stories” album debuted 25 years ago. The first of an intended trilogy of Christmas-themed “rock operas,” the collection of non-carol songs, including the epic instrumental “Christmas Eve/Sarajevo,” set the band on a path towards being as much a part of Christmas as Frosty or The Grinch, and following in the footsteps of Mannheim Steamroller, which had forged a similar path over a decade earlier.

Without delving into too much history, the American band not surprisingly evolved from rock and roll roots, while incorporating classical, orchestral, symphonic, and progressive elements into its hard rock and heavy metal style. It also performs non-Christmas fare, but its fair to say is known for it – not least for fans who want a musical taste of the holidays but are no longer inspired by usual roll out of seasonal songs, even when given a fresh twist by new artists.

The Trans Siberian Orchestra has also been called an “arena juggernaut,” for its energetic and elaborate concerts, featuring lasers, pyrotechnics and other audio and visual aids, making for an always sold-out seasonal engagement, kind of like a rock and rock Nutcracker.

But the band/orchestra has another side which embraces the less-raucous spirit of the holidays, using tasteful sets and song arrangements, string sections, and sometimes even children’s choirs. This selection, “Christmas Canon,” from the 1998 album “The Christmas Attic” (second in the trilogy), brings together those elements on a song written by late group founder Paul O’Neill set to the tune of German composer Johann Pachelbel’s “Canon in D” (1680ish).

It’s a favourite of both Jen and me, and our small gift to you – three minutes and 31 seconds of joyful, serene tranquility – during this corona-plagued season that no one was expecting.