LUX
LUX AND QUORUS PRESENT
A Christmas Concert
Maryland State Boychoir Center for The Arts Baltimore, Maryland
January 5, 2019 6:00 PM

LUX Soprano
Eby Buscher, Amanda Densmoor, Austin Nikirk, Beth Ann Zinkievich
Alto
Margot Cohen, Abigail Hines, Kimberly Parr, Anya Trudeau
Tenor
Anthony Jones, Robby Napoli, Zach Taylor, John-Paul Teti
Bass
Ciaran Cain, Tim Crane, John Mullan, Tommy Rust
Praised by composers such as Eric Whitacre and Paul Mealor, Lux is a semi-professional chamber choir that specializes in contemporary choral music. Founded in 2014 by member Robby Napoli, the ensemble performs with a dedication to excellence, innovation, and accessibility in choral performance. Lux has been hailed as “incredibly impressive” by Benjamin Olinsky, Artistic Director of The 18th Street Singers, and as “beautiful,” “lovely,” and “wonderful” by composers, music educators, performers, and listeners all over the east coast. Their 2018 album Now Ye Heavenly Powers was met with great acclaim from composers, critics, and others, becoming the Featured Choral Album on Classical MPR’s choral radio station, joining past winners such as Voces8, Tenebrae, and The Sixteen.
Tenor 1
Jordan McKinney, Zach Taylor
Tenor 2
Troy Bailey, Scott Nunn
Bass 1
Ralph Bernabe, Tate Tiemann
Bass 2
Tommy Rust, Darren Schmidt
Quorus is a men’s chamber ensemble based in the Baltimore metropolitan area. Founded in 2014, Quorus strives to present choral music written for men’s voices at a high level of proficiency and musicianship. Quorus is currently the ensemble-in-residence at St. Joseph Roman Catholic Church in Cockeysville, MD, in partnership with Dr. Lynn Trapp, Director of Liturgy and Music.
All Lux songs conducted by Robby Napoli, except O magnum mysterium, conducted by Tommy Rust. Program notes by John-Paul Teti, Robby Napoli, and Austin Nikirk. Program note for “My Lord Has Come” adapted from the composer’s website. Latin translations for works performed by Lux by John-Paul Teti. “Maria durch ein Dornwald ging” translated by Lucas Barkley. Thank you to Frank Napoli for photography. Lux would like to thank John Vengrouskie, our sound engineer, without whom we wouldn’t have our recordings, and St. Jerome Academy in Hyattsville, MD, for rehearsal space. Quorus would like to thank St. Joseph Catholic Church for their continued support as ensemble-in-residence. Lux and Quorus would like to extend a collective thanks to the Maryland State Boychoir for letting us perform here.
Welcome to the Maryland State Boychoir Center for the Arts. We’re glad you could join us for tonight’s concert. Both groups have put a lot of work into it and we hope you will enjoy it. Please silence your cell phones and any other noise-making devices you may have in the moments before the concert begins. While admission to tonight’s concert is free of charge, the scores and licenses we need in order to do this are not. If you are able to donate, we would greatly appreciate it. Donations will be split evenly between the two groups. We can accept cash, checks, and credit/debit card. Checks should be made out to “Lux Choir, Inc.” Donations are taxdeductible to the full extent permitted by law under IRC sections 501(c)(3) and 170. Your support—for either or both groups—means a great deal to all of us.
Thank you for coming.
15TH CENTURY ENGLISH CAROL
Nowell! Nowell! This is the Salutacion arr. Gary Ruschman (b. 1975) Performed by Quorus With Nowell! Nowell! This is the Salutacion, Gary Ruschman has arranged a Medieval melody for tenor and bass voices in characteristic styles of the time period, employing drones and parallel organum as it alternates between two main melodies from the original Medieval piece. The refrain repeats the description of the appearance of the angel Gabriel, with the storytellers’ momentous joy through a quickly moving and mixed-meter melody.
TEXT
Nowell, nowell, nowell! This is the salutacion of angel Gabriel! Tidings true there be come new, Sent from the Trinity By Gabriel to Nazareth, city of Galilee: A clean maiden and pure virgin, Through her humility Hath conceived the person second in deity. Nowell, nowell, nowell! This is the salutacion of angel Gabriel! “Hail virgin, celestial, The meek’st that ever was: Hail Temple of deity And mirror of all grace, Hail virgin pure I thee ensure, Within full little space Thou shalt receive Him conceive And shall bring great solace.” Nowell, nowell, nowell! This is the salutacion of angel Gabriel! Then again to the Angel, She answered womanly, “Whatever my Lord command me do, I will obey meekly.” “Ecce sum humilima Ancilla Domini; Secundum verbum tuum,” [“I am the humble slave of the Lord; according to your word] She said, “Fiat Mihi.” [May it be done to me.] Nowell, nowell, nowell! This is the salutacion of angel Gabriel!
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PAUL MANZ (1919-2009)
E’en So, Lord Jesus, Quickly Come Text by Ruth Manz, based on text from the book of Revelation. Performed by Quorus The writing of E’en So, Lord Jesus, Quickly Come came at a time of great stress in the Manz household. John Manz, the three-year-old son of Paul and Ruth, developed a rare type of double pneumonia, which required hospitalization and painful treatments to lower his temperature. It became important for Paul and Ruth to give twenty-four hour attention as John’s condition became critical. During this time Paul composed a motif and Ruth wrote a text based on the last chapter of Revelation as a way of expressing their hope and grief. John recovered and later became a Pastor in the Lutheran Church. The original dedication of the piece read “For those who prayed for John” but the dedication was later shortened to read “To John.” —taken from the score
TEXT
Peace be to you and grace from Him Who freed us from our sins, Who loved us all and shed His blood That we might saved be. Sing Holy, Holy to our Lord, The Lord, Almighty God, Who was and is and is to come; Sing Holy, Holy, Lord! Rejoice in heaven, all ye that dwell therein, Rejoice on earth, ye saints below, For Christ is coming, is coming soon, For Christ is coming soon! E’en so, Lord Jesus, quickly come, And night shall be no more; They need no light nor lamp nor sun, For Christ will be their All!
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ANONYMOUS
Puer natus in Bethlehem O Come, O Come, Emmanuel O come, o come, Emmanuel arranged by Kevin Keller (b. 1961) Performed by Quorus It is rather fitting that these two pieces be performed together, as both melodies come from the rich tradition of Gregorian chant. Puer Natus in Bethlehem is performed as the original Gregorian chant with stylistically fitting harmonization. For this performance it is then linked to Kevin Keller’s O Come, O Come Emmanuel, which is also based in a Gregorian chant melody. This melody, though it is best known as the tune for this familiar Advent text, was originally written in the 15th century to the text Bone Jesu dulcis cunctis. Keller’s modern-day arrangement of this centuries-old melody treats it in a Barbershop style, which can be heard especially in the final cadence. TEXT (PUER NATUS IN BETHLEHEM)
TRANSLATION
Puer natus in Bethlehem, Alleluia. Unde gaudet Jerusalem. Alleluia. Hic jacet in præsepio, Alleluia. Qui regnat sine termino. Alleluia. Cognovit bos et asinus, Alleluia. Quod puer erat Dominus. Alleluia. Reges de Saba veniunt, Alleluia. Aurum, thus, myrrham offerunt. Alleluia. Intrantes domum invicem, Alleluia. Novum salutant principem. Alleluia. De matre natus virgine, Alleluia. Sine virili semine; Alleluia. Sine serpentis vulnere, Alleluia. De nostro venit sanguine; Alleluia. In carne nobis similis, Alleluia. Peccato sed dissimilis; Alleluia. Ut redderet nos homines, Alleluia. Deo et sibi similes. Alleluia. In hoc natali gaudio, Alleluia. Benedicamus Domino: Alleluia. Laudetur sancta Trinitas, Alleluia. Deo dicamus gratias. Alleluia.
A Child is born in Bethlehem; Exult for joy, Jerusalem! There, in a manger lowly, lies. He who reigns above the skies. The ox and ass in neighbouring stall. See in that Child the Lord of all. And kingly pilgrims, long foretold. From East bring incense, myrrh, and gold, And enter with their offerings. To hail the new-born King of Kings. He comes, a maiden mother's Son. Yet earthly father hath He none; And, from the serpent's poison free. He owned our blood and pedigree. Our feeble flesh and His the same. Our sinless kinsman He became, That we, from deadly thrall set free. Like Him, and so like God, should be. Come then, and on this natal day. Rejoice before the Lord and pray. And to the Holy One in Three. Give praise and thanks eternally. 8 of 28
(see program note on previous page) TEXT (O COME, O COME EMMANUEL)
Veni, veni Emmanuel! Captivum solve Israel! Qui gemit in exilio, Privatus Dei Filio, Gaude, gaude, Emmanuel nascetur pro te, Israel. O come, O come, Emmanuel, And ransom captive Israel, That mourns in lonely exile here, Until the Son of God appear. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. O come, Thou Dayspring, from on high, And cheer us by Thy drawing nigh; Disperse the gloomy clouds of night, And death's dark shadows put to flight. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel.
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TRADITIONAL GERMAN CAROL
Maria durch ein Dornwald ging arr. Stefan Claas (b. 1950). Performed by Lux Maria durch ein Dornwald ging is a German Christmas carol of murky origins, published no later than 1850. Stefan Claas’s setting of his home country’s carol sets three verses, featuring just the tenors and basses, then only the sopranos and altos, and finally the full choir in the last verse. This final verse begins on the same note, and gradually peels off into a robust major chord on the Greek liturgical phrase “Kyrie eleison”—“Lord, have mercy.”
TEXT Maria durch ein Dornwald ging.
TRANSLATION Mary walked through a thorny wood.
Kyrie eleison.
Lord, have mercy.
Maria durch ein Dornwald ging,
Mary walked through a thorny wood,
der hat in sieben Jahr kein Laub getragen.
That had not borne leaf for seven years.
Jesus und Maria.
Jesus and Mary.
Was trug Maria unter ihrem Herzen?
What does Mary carry under her heart?
Kyrie eleison.
Lord, have mercy.
Ein kleines Kindlein ohne Schmerzen, das trug
A little child without pains—
Maria unter ihrem Herzen: Jesus und Maria.
That is what Mary carries under her heart. Jesus and Mary.
Da haben die Dornen Rosen getragen.
Then the thorn [bushes] grew roses.
Kyrie eleison.
Lord, have mercy.
Als das Kindlein durch den Wald getragen,
As the little child traveled through the wood,
da haben die Dornen Rosen getragen.
Then the thorn [bushes] grew roses.
Jesus und Maria.
Jesus and Mary.
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MORTEN LAURIDSEN (b. 1943)
O magnum mysterium Responsorial chant from the Matins of Christmas Performed by Lux One of the most celebrated and well-known choral pieces by a living composer, Morten Lauridsen’s O magnum mysterium is a serene setting of a common Christmas text and perfectly depicts the “great mystery” of Jesus’s birth. The piece is filled with examples of text-painting, though the most striking use of it comes on the word virgo. Lauridsen writes here a dissonant note —the only note of this sort in the entire piece—used very specifically in this instance to foreshadow the Virgin Mary’s pain at her son’s crucifixion years after his birth.
TEXT
TRANSLATION
O magnum mysterium,
O great mystery
et admirabile sacramentum
and wondrous sacrament
ut animalia viderent Dominum natum jacentem that animals should see the newborn Lord in praesepio.
lying in their manger.
Beata Virgo
Blessed [is] the virgin
cujus viscera meruerunt portare Dominum
whose womb merited to carry Christ the Lord.
Christum. Alleluia!
Alleluia!
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ARVO PÄRT (b. 1935)
O Weisheit (from Sieben Magnificat-Antiphonen) Magnificat antiphon for Vespers on December 17 Performed by Lux The O antiphons are one of the most well-known Christian liturgical texts. They are a set of short verses prayed as part of the Vespers (evening prayer) service in the 7 days before Christmas in many Christian traditions. The famed O come, O come Emmanuel text is a paraphrase of these antiphons. Because the verses are recited before the Magnificat prayer (which Pärt has also famously set to music), they are sometimes known as the Magnificat Antiphons, and it is under this title that Arvo Pärt set all seven (in a German translation rather than the original Latin). This is the first one: O wisdom; in Latin, O sapientiae; in German, O Weisheit. The piece is classic Pärt: the choir is treated almost like bells and the rhythm is simple and in full service to the text. TEXT O Weisheit, hervorgegangen aus dem Munde des Höchsten, die Welt umspannst du einem Ende zum andern, in Kraft und Milde ordnest du alles: O komm und offenbare uns den Weg der Weisheit und der Einsicht, O Weisheit. TRANSLATION O wisdom, proceeding from the mouth of the most high, You encircle the world from one end to the other. You order all things with might and mercy. O come to us and reveal the way of wisdom and understanding, O wisdom.
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FELIX MENDELSSOHN (1809-1847)
Hark! The Herald Angels Sing arr. Andrew Hawryluk (b. 1980). Text by Charles Wesley. Performed by Quorus Hark! The Herald Angels Sing is one of the more well-known Christmas carols around the world. Though the basic text has existed since about 1750, its associated tune did not come about until 1840, when music from Mendelssohn’s Gutenberg Cantata. Andrew Hawryluk’s setting of this beloved Christmas hymn begins with a simple harmonization of the original hymn tune, then bursting into exclamations of glory for God in the wake of his Son’s birth.
TEXT
Hark! the herald angels sing, “Glory to the new-born King! Peace on earth, and mercy mild, God and sinners reconciled.” Joyful, all ye nations, rise, Join the triumph of the skies; With the angelic host proclaim, “Christ is born in Bethlehem.” Hark! the herald angels sing, “Glory to the new-born King!”
Hail the heaven-born prince of peace! Hail the Son of Righteousness! Light and life to all he brings, Risen with healing in his wings Mild he lays his glory by, Born that man no more may die: Born to raise the sons of earth, Born to give them second birth. Hark! the herald angels sing, “Glory to the new-born King!”
Christ, by highest heaven adored: Christ, the everlasting Lord; Late in time behold him come, Offspring of the favoured one. Veiled in flesh, the Godhead see; Hail, the incarnate Deity: Pleased, as man, with men to dwell, Jesus, our Emmanuel! Hark! the herald angels sing, “Glory to the new-born King!”
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DARREN SCHMIDT (b. 1995)
St. Joseph Text from Ballachulish 1884 Performed by Quorus
A piece from the collection of Quorus member and young, emerging composer Darren Schmidt, St. Joseph was written in 2017 to be performed by Quorus at the church where they serve as the ensemble-in-residence, St. Joseph’s Catholic Church in Cockeysville, MD. TEXT
A cloistered garden was the place where Mary grew, God’s perfect flower; one; only one discerned her grace, and visited her bower. God’s choice was his; by love made strong to guard the mother of the king; No heart, save hers, had e’er a song so sweet as his to sing. Blessed are all who take their part amid the carol singing throng; Thrice blest the meditative heart whose silence is a song. Yet lives there on the sacred page no record of a word from him; God’s ark he guards, a silent sage, pure as the Cherubim. But sweeter than the sweetest word recorded of the wise and good, his silence is a music heard on high and understood. Blessed are all who take their part amid the carol singing throng; Thrice blest the meditative heart whose silence is a song.
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TRADITIONAL
Ihr Kinderlein, kommet arr. Darren Schmidt (b. 1995) Performed by Quorus
This soothing melody is a song beckoning children to look into the nativity scene, describing it in great detail. The original poem, written by a Catholic priest in the 1800’s, was married to a pre-existing tune some years into the 19th century. This arrangement by Quorus bass Darren Schmidt, was written specifically for Quorus, and keeps intact the gentle serenity of the original piece.
TEXT
TRANSLATION
Ihr Kinderlein, kommet, o kommet doch all! Zur Krippe her kommet in Bethlehems Stall und seht, was in dieser hochheiligen Nacht der Vater im Himmel für Freude uns macht!
Come, little children, oh, come, one and all, To Bethlehem’s stable, in Bethlehem’s stall. And see with rejoicing this glorious sight, Our Father in heaven has sent us this night.
O seht in der Krippe im nächtlichen Stall, seht hier bei des Lichtleins hell glänzendem Strahl den reinliche Windeln, das himmlische Kind, viel schöner und holder als Engel es sind!
Oh, see in the manger, in hallowed light A star throws its beam on this holiest sight. In clean swaddling clothes lies the heavenly Child, More lovely than angels, this Baby so mild.
Da liegt es, das Kindlein, auf Heu und auf Stroh, Maria und Josef betrachten es froh. Die redlichen Hirten knien betend davor, hoch oben schwebt jubelnd der Engelein Chor.
There lies the Christ Child, on hay and on straw; The shepherds are kneeling before Him with awe. And Mary and Joseph smile on Him with love, While angels are singing sweet songs from above.
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KIRBY SHAW (b. 1941)
Run To The Manger Text by the composer Performed by Quorus
Darren Schmidt, Tate Tiemann, and Zach Taylor, soloists
Run to the Manger is a rousing Spiritual written by Kirby Shaw, bursting with excitement at the birth of Jesus. Syncopated rhythms and rising key changes set the energy higher and higher between solos to the climax of the piece at the final cadence. TEXT
Gonna run, run, run, run, run to the manger, Gonna run, run, run to see the baby boy! Gonna run, run, run, run, run to the manger, Gonna fill my heart with heav’nly joy! Well, I talked to the shepherds the other day Hurryin’ on down t’ward Bethl’hem way. Now they told me ‘bout the birth of the baby boy, So pardon me please while I jump for joy! Gonna run, run, run, run… Now I ain’t worried, ain’t no ways tired, ‘Cuz the tiny baby boy’s set my soul on fire! So I talked to my feet, said, “Are you ready to fly?” My feet said, “Son, let’s testify!” Gonna run, run, run, run… Well I’m movin’ up the mountain, ‘cross the valley low, ‘round through the meadow, down the dusty road. Well now don’t try to stop me, ‘cuz I won’t slow down, ’til I’m standin’ by the manger on holy ground. Gonna run, run, run, run to the manger, Gonna run, run, run to see the baby boy! Gonna run, run, run, run, run to the manger, Gonna fill my heart with heav’nly joy!
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HERBERT HOWELLS (1892-1983)
Sing Lullaby Text by F.W. Harvey (1888-1957) Performed by Lux Howells was a British composer known for his large body of works for Anglican church choirs and services. Sing Lullaby comes from a set of three “Carol-Anthems,” of which he said, “This was the third in the set. Here too a poet found the verses for me. F.W. Harvey, the Gloucestershire poet, friend of Ivor Gurney had written and published the poem only a short time before this setting was made.” The beginning of the piece creates a soothing lulling theme under the melody, contrasted by the treatment of the second stanza of the poem, which alludes to Jesus’ crucifixion.
TEXT Sing lullaby, While snow doth gently fall,
The naked blackthorn’s growing To weave his diadem.
Sing lullaby To Jesus
Sing lullaby to Jesus
Born in an oxen stall.
While thickly snow doth fall.
Sing lullaby to Jesus
Sing lullaby to Jesus
Born now in Bethlehem.
The Savior of all. Sing lullaby.
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FRANZ X. GRUBER (1787-1863)
Silent Night arr. Jonathan Rathbone (b. 1975). Original German text by Joseph Mohr (1792-1848). Verses 1 and 2 trans. by J.F. Young (1820-1885), verse 3 trans. by Elizabeth Poston (1905-1987). Performed by Lux Silent Night is one of the most famous carols of all time, and recently celebrated its 200th anniversary (on December 24, 2018). The lyrics were written by Joseph Mohr, who walked 3 kilometers from his home on Christmas Eve to bring it to his friend Franz Gruber and asked him to compose a simple melody for it that could be played on the guitar. The piece was premiered during the liturgy that night and has been of the most beloved Christmas carols ever since. This gorgeous, simple arrangement by Jonathan Rathbone begins with a soprano and alto arrangement, then transitions to the tenors and basses, before combining in eight parts for a rich third verse.
TEXT Silent night, holy night, all is calm, all is bright. Round yon virgin mother and child, holy infant so tender and mild, Sleep in heavenly peace, sleep in heavenly peace. Silent night, holy night; shepherds quake at the sight. Glories stream from heaven afar, heavenly hosts sing “Alleluia� Jesus the savior is born, Jesus the savior is born. Silent night, holy night, holy babe, smiles alight Radiant from thy innocent face in this saving hour of thy grace, Jesus, Lord, at thy birth, Jesus, Lord, at thy birth.
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JONATHAN LANE (b. 1958)
There Is No Rose Of Such Virtue 15th century English text. Author unknown. Performed by Lux
Austin Nikirk, Margot Cohen, John Mullan, and Tommy Rust, soloists
The text of There is No Rose of Such Virtue is taken from the Trinity carol roll (a manuscript of 13 English carols), where it appears along with a melody and harmonization. The 13 carols on the roll are the oldest surviving polyphonic music (music with multiple voices) in English. Although Lane takes only the words from the Trinity carol version, this composition is similarly light and simple.
TEXT There is no rose of such virtue as is the rose that bare Jesu. Alleluia. For in this rose contained was heaven and earth in little space. Res miranda. [Marvelous thing.] By that rose we may well see that he is God in persons three. Pares forma. [Equal in form.] The angels sungen [i.e. sung] the shepherds to, “Gloria in excelsis Deo.� [Glory to god in the highest.] Gaudeamus. [Let us rejoice.] Leave we all this worldly mirth and follow we this joyful birth. Transeamus. [Let us turn.]
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JOHN H. HOPKINS, JR. (1820-1891)
We Three Kings arr. Marshall Webb (b. 1957). Text by the composer. Performed by Quorus We Three Kings originated just north of here, in Williamsport, Pennsylvania, making it the first widespread Christmas carol that originates in the United States. Marshall Webb’s jazzy setting of this familiar Christmas carol will keep you on your toes with new keys and new meters. Though it features three verses and three choruses, not one is exactly alike.
TEXT We three kings of Orient are Bearing gifts, we traverse far Field and fountain Moor and mountain Following yonder star Oh, star of wonder, star of might Star with royal beauty bright Westward leading Still proceeding Guide us to thy perfect light Born a babe on Bethlehem's plain Gold we bring to crown him again King forever, ceasing never Over us all to reign
Oh, star of wonder, star of might Star with royal beauty bright Westward leading Still proceeding Guide us to thy perfect light Frankincense to offer have I Incense owns a deity nigh Prayer and praising, all men raising Worship God on high Oh, star of wonder, star of might Star with royal beauty bright Westward leading Still proceeding Guide us to the perfect light
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GREG GILPIN (b. 1964)
Ding-a-ding-a-ding Text by the composer. Performed by Quorus This fun piece from the mind of Greg Gilpin uses a technique called “vocal layering,� in which the composers treats the voices of the choir almost like loops in a Digital Audio Workstation. He first introduces the main theme in the basses, then layering the other bell-like patterns on top. As the texture thickens with more and more voices, they ring out together to sing the joys of Christmas, fading back into the soundscape of the beginning of the piece.
TEXT Merrily on high, hear the bells ring. Merrily, the heavens sing. Merrily on high, hear the bells ring. O'er the earth, they ding dong ding.
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TRADITIONAL AUSTRIAN CAROL
Still, Still, Still arr. Richard Cook Performed by Quorus Richard Cook’s setting of this beautiful Austrian carol emphasizes its roots as a folk lullaby, using the harmony to paint a picture of a still Christmas night. Though it is known today as a Christmas song, the tune itself was discovered (without link to Christmas) in a folksong collection in Salzburg. Though the English translation has gone through many permutations, the German text has remained largely the same.
TEXT Still, still, still, One can hear the falling snow. For all is hushed, The world is sleeping, Holy Star it's vigil keeping. Still, still, still, One can hear the falling snow. Sleep, sleep, sleep, 'Tis the eve of our Saviour's birth. The night is peaceful all around you, Close your eyes, Let sleep surround you. Sleep, sleep, sleep, 'Tis the eve of our Saviour's birth. Dream, dream, dream, Of the joyous day to come. While guardian angels without number, Watch you as you sweetly slumber. Dream, dream, dream, Of the joyous day to come.
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GUSTAV NORDQVIST (1886-1980)
Jul, Jul, Strålande Jul Text by Edvard Evers Performed by Quorus Jul, Jul, Strålande Jul is a Swedish Christmas song written in 1921, immediately becoming one of the most common carols of the 20th century in Sweden. Since its conception, it has been recorded and performed internationally by thousands of performers in choirs and orchestras. The soothing harmony of the piece fits the text, centered around the healing nature of Christmas, envisioned as white wings wrapped “around all the people’s sighs.”
TEXT Jul, jul, strålande jul, glans över vita skogar, himmelens kronor med gnistrande ljus, glimmande bågar i alla Guds hus, psalm, som är sjungen från tid till tid, eviga längtan till ljus och frid! Jul, jul, strålande jul, glans över vita skogar! Kom, kom, signade jul! Sänk dina vita vingar över stridernas blod och larm, över all suckan ur människobarm, över de släkten, som gå till ro, över de ungas dagande bo! Kom, kom, signade jul! Sänk dina vita vingar!
TRANSLATION Christmas, Christmas glorious Christmas Shine over white forests The crowns of heaven with sparkling lights Glistening bows in each of gods houses A hymn sung time and time again Eternal longing for light and peace Christmas, Christmas, glorious Christmas Shine over white forests Come, come holy Christmas Wrap your white wings Around the blood and turmoil of war Around all the people's sighs Around all the families who travel to peace Around the youth's daily lives Come, come, holy Christmas Bring your white wings down
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TRADITIONAL ENGLISH CAROL
Coventry Carol arr. Ola Gjeilo (b. 1978) Performed by Lux
Eby Buscher, soloist
The Coventry Carol is an English carol that dates to the 16th century. It gets its name from the town of Coventry, where it was originally performed as part of a mystery play. The text refers to the Massacre of the Innocents, in which King Herod feels threatened after the Magi inform him that they have come to worship a king, and decides to have all children under the age of three executed. The original music contains an extremely jarring dissonance in one line, unusual for music of the day but quite fitting for the horrifying subject matter. Here, however, Gjeilo takes the melody and writes a waltz-like choral accompaniment around it, which eventually grows into his trademark thick 8-part texture, which somehow retains the coldness necessary for the brutal text.
TEXT Lully, lullay, Thou little tiny Child, by, by, lully, lullay. O sisters, too, how may we do for to preserve this day This poor youngling for whom we sing, ‘By by, lully, lullay’? Herod the King, in his raging, charged he hath this day His men of might in his own sight all children young to slay. Then woe is me, poor child, for thee, and ever mourn and say: For thy parting, nor [i.e. neither] say nor sing, ‘By by, lully lullay’. Lully, lullay, Thou little tiny Child, by, by, lully, lullay.
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BENJAMIN BRITTEN (1913-1976)
Sweet Was The Song Text from William Ballet’s “Lute Book” Performed by Lux This setting for treble voices is actually Britten’s second setting of this melody, the first being an SATB arrangement in the “Christ’s Nativity” Suite. The revision masterfully adjusts the harmonies to fit into the closer range of upper voices. The refrain that repeats throughout the song, “lulla, lullaby,” is harmonized by the outer parts, painting an awe-filled vision of Mary’s song, while the middle voice carries the melody. A Marian text, this poem evokes both the Magnificat and the birth of Jesus in two separate but related strophes.
TEXT Sweet was the song the virgin sung, When she to Bethlem Juda came, And was delivered of a son, That blessed Jesus hath to name. Lulla, lulla, lulla, lullaby, Lulla, lulla, lulla, lullaby, Sweet Babe, sang she. My son and eke a saviour born, Who hast vouchsafed from on high To visit us that were forlorn. Lalula, lalula, lalulaby, Sweet Babe, sang she, And rocked Him sweetly on her knee.
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WILL TODD (b. 1970)
My Lord Has Come Text by the composer Performed by Lux This heartfelt setting of words by the composer begins with a very soft drone over which the sopranos introduce the expressive melody. This melody is passed around the choir throughout the piece, never straying from its calm and content nature except to accentuate God’s love for the speaker, further brought out by the poet by breaking the strophic form of the text.
TEXT Shepherds, called by angels, called by love and angels; No place for them but a stable. My Lord has come. Sages, searching for stars, searching for love in heaven; No place for them but a stable. My Lord has come. His love will hold me, his love will cherish me, love will cradle me. Lead me, lead me to see him, sages and shepherds and angels; No place for me but a stable. My Lord has come.
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FRANZ BIEBL (1906-2001)
Ave Maria (Angelus Domini) Traditional Catholic prayer Performed by Lux and Quorus
Zach Taylor and Robby Napoli, soloists
German composer Franz Biebl’s Ave Maria is really a setting of a longer traditional Catholic prayer called the Angelus, which includes the full text of the Ave Maria interwoven with other texts depicting Mary’s agreement to be the mother of God. The composition was brought to the US by the Cornell University Glee Club after they met Biebl at a radio station while on tour in Germany and has enjoyed widespread popularity ever since.
TEXT
TRANSLATION
Angelus Domini nuntiavit Mariae
The angel of the Lord announced to Mary,
Et concepit de Spiritu Sancto:
And she conceived through the Holy Spirit.
Ave Maria, gratia plena, Dominus tecum,
Hail Mary, full of grace, the Lord is with you.
Benedicta tu in mulieribus et benedictus fructus
Blessed are you among women, and blessed is the
ventris tui, Jesus.
fruit of your womb, Jesus.
Maria dixit: “Ecce ancilla Domini. Fiat mihi
Mary said: “Behold the handmaid of the Lord.
secundum verbum tuum.” Ave Maria…
Let this be done to me according to your word.” Hail Mary…
Et verbum caro factum est et habitavit in nobis. And the word was made flesh and lived among us. Ave Maria, gratia plena, Dominus tecum, Benedicta tu in mulieribus et benedictus fructus
Hail Mary, full of grace, the Lord is with you.
ventris tui, Jesus. Sancta Maria, mater Dei, ora pro Blessed are you among women, and blessed is the nobis peccatoribus, nunc et in hora mortis nostrae. fruit of your womb, Jesus. Holy Mary, mother of Amen.
God, pray for us sinners, now and in the hour of our deaths. Amen. 27 of 28
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Thank you for coming.
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