Carols forQuire from the Old & NewWorldsTrinity Cathedral, Cleveland December 21-23, 2012

— please hold your applause until the end of each set. —

Gabriel from heaven’s king Dublin Troper (early 14th century)Christe redemptor Guillaume Du Fay (ca.1397–1474)There is no rose Anonymous English (15th century) Ave rex angelorum Anonymous English (ca.1430-44)Nowell sing we Anonymous English (ca.1450)Quid petis, o fili? Richard Pygott (ca.1485–1549)*Rey a quien reyes adoran Anonymous (Cancionero de Uppsala, 1556) Dadme albriçias Anonymous (Cancionero de Uppsala)Canite tuba in Sion Jakob Handl (1550–1591)A solis ortus cardine Giovanni Pierluigi da Palestrina (1525–1594)

—intermission—

Puer natus in Bethlehem Anonymous (Piæ cantiones, 1582) Verbum caro factum est Anonymous (Piæ cantiones, 1582) Gaudete Anonymous (Piæ cantiones, 1582)Venite exultemus William Byrd (1543–1623)In dulci jubilo (a 8) Michael Praetorius (1571–1621)Quem pastores laudavere PraetoriusPsallite, unigenito (Singt und klingt) PraetoriusChantons Noel Mathiew Sohier (d. ca.1560)Venès lèu vèire la pièucello Jean-Baptiste Lully (1632–1687)Tous les bourgeois de Châtre Anonymous French (17th century)Emanuel: As shepherds in Jewry William Billings (1746–1800)Unto us a child is born Joseph Stone (1758–1837)Salter’s Hall: Hark! the glad sound Thomas Smith (1832)

______*All music edited by Ross Duffin, except Quid petis.

QuireCleveland

Ross W. Duffin, Artistic Director

Music & Art @ Trinity presents

ABOUT Q UIREQuire Cleveland is a professional choral ensemble founded in 2008 to perform the glorious choral masterpieces of the Medieval, Renaissance, and Baroque eras and beyond. Members of the ensemble are highly-trained musicians, collectively representing nearly 500 years of choral experience. In addition to being soloists, music directors, and educators at many of the major churches, synagogues, and schools in northeast Ohio, they have sung together in historically-informed ensembles, such as the Early Music Singers at Case Western Reserve University and Apollo’s Singers of Apollo’s Fire. Quire performs nine centuries of a cappella repertoire. The Cleveland Plain Dealer has praised “the inspired voices of Quire Cleveland,” ClevelandClassical.com has called their singing “ecstasy-producing” and, according to Cool Cleveland, “the joyful sounds could easily have soared to the very heavens.”

Q UIRE CLEVELANDSopranos: Donna Fagerhaug, Judith Overcash, Lisa Rainsong,

Malina Rauschenfels, Sandra Simon, Gail WestAltos: Tracy Cowart, John McElliott, Beverly Simmons, Jay WhiteTenors: Evan Bescan, Jeremiah Heilman, Bryan Munch, Tyler SkidmoreBasses: Ian Crane, José Gotera, Nathan Longnecker, Ray Lyons,

Brian MacGilvray, Daniel SingerBoard of Directors: Richard Rodda, ph.d., President; Ross W. Duffin, dma, Artistic Director; Beverly Simmons, dma, Executive Director; John McElliott, Secretary; Gerald P. Weinstein, ph.d., cpa, Treasurer

Quire Cleveland a 501(c)(3) tax-exempt, nonprofit organization.

Artistic Director and tenor Ross W. Duffin was born in London, Ontario, and attended the University of Western Ontario there. He received his master’s and doctoral degrees from Stanford University, where he specialized in the performance practice of early music. He came to Case Western Reserve University in 1978 to direct the na-tionally recognized historical performance program there. He is the Fynette H. Kulas Professor at CWRU, where he also directs the Early Music Singers when not serving as Music Department chair.

Ross has made a name for himself as a scholar in a wide range of repertoires, publishing articles on music from the 13th to the 18th centuries. His edition of Du Fay chansons won the Noah Greenberg Award from the American Musicological Society for work of benefit to both scholars and performers, and his Shakespeare’s Songbook won the AMS inaugural Claude Palisca Prize.

Many of the editions and arrangements sung by Quire Cleveland are his. Other publications include a selection of Josquin motets for Oxford University Press, a re-construction of the early Tudor St. Matthew Passion by Richard Davy, and motets from the Jacobean period (recently recorded by Quire Cleveland, thanks to a grant from Cuyahoga Arts & Culture). His book, How Equal Temperament Ruined Harmony (and why you should care)—called by one reviewer “the most subversive book on a musical subject I’ve ever read”—has generated speaking invitations throughout North America and Europe. He has also sung with Apollo’s Fire since its inception in 1992.

Ross’s maternal grandfather was a professional countertenor in London, England, and his mother conducted her church choir in London, Ontario—making him a third-generation choral conductor.

P ROGRAM NOTESby Ross W. Duffin

Quire Cleveland is pleased to bring you another wonderful selection of musical works expressing the joy and hope of the Christmas season—from chant and sophisticated solemn motets to danceable villancicos, from Medieval and Renaissance Europe all the way to 19th-century America.

The 13th-century English piece, Gabriel from Heven King, also exists in Latin, as Angelus ad virginem. That title is actually named by Chaucer in the Canterbury Tales, as sung by Nicholas the Clerk in the “Miller’s Tale.” The song tells the story of the dialog between Mary and the Angel Gabriel at the Annunciation; we are highlighting the dialog by having men sing Gabriel’s part and women sing Mary’s. The Middle English text is comprehensible but slightly hard to follow, so we are fortunate that the romantic poet Gerard Manley Hopkins (1844–89) made a rendering of it that has formed the basis of our singing version. The musical text is taken from two manuscripts of the 14th century.

Next is a setting of the Gregorian Christmas hymn, Christe redemptor, by the great 15th-century Franco-Flemish composer Guillaume Du Fay. Du Fay alternates verses of chant with his polyphonic setting, using the chant melody in the top voice of the texture, though slightly ornamented in a way that is referred to as a “paraphrase.” This type of setting shows an early use of a fauxbourdon texture, where the outer voices are frequently in parallel at a distance of a sixth, and the middle voice is exactly a fourth below the top. The result is a texture of sweet, parallel first-inversion triads that we strongly associate with late-medieval polyphony and that seems related to what the French writer Martin le Franc referred to ca.1440 as “La contenance angloise”—the English Guise.

From the same century in England come several Christmas songs in a popular form for lyric works at the time—the carol. So common did this form become for Christmas works that nowadays we use the term “carol” by itself to denote a Christmas song, though it did not originally have that connotation. The typical carol uses a refrain, or “burden,” which alternates with several verses, as in the first and third pieces in this set. Another feature of these delightful English carols is the use of “macaronic” text, that is, lyrics that move back and forth between Latin and another language—in this case, English. Whether the title is English or Latin, they all include lyrics in both languages.

An English carol from the early 16th century is Quid petis, o fili?, which survives as the most substantial musical work in a manuscript copied for the court of Henry VIII. Like Gabriel from Heven King, it uses imagined details and dialog to tell the story. Here, the long, Latin “burden” for the chorus alternates with florid soloists’ verses in English that tell the story of Mary interacting tenderly with the baby Jesus.

The next set features two works from Spain from a collection of anonymous villancicos printed in Venice in 1556, which includes a special section of Christmas songs. Though printed, the volume survives in only a single copy, now in the University Library in Uppsala, Sweden, so it has been dubbed the Cancionero de Uppsala. One of its handful of Christmas songs is Rey a quien, which presents Trinitarian imagery in a lively, syncopated setting, characteristic of the repertoire. Dadme albriçias features soprano solos and duets with tenor, alternating with the chorus.

Jakob Handl (also known as “Gallus”) was born in Slovenia and worked mainly in Austria before spending his last few years in Prague. His Canite tuba in Sion, based on an Office antiphon for the Fourth Sunday of Advent, features an unusual scoring for low voices which interweave in close counterpoint. It was published in 1586 in the first volume of Handl’s monumental four-volume edition of his own motets, which he began to publish shortly after his arrival in Prague.

Palestrina’s A solis ortus cardine sets a chant hymn for Christmas morning, at the service of Lauds. One highly unusual feature of the piece is that Palestrina sets the well-known Gregorian melody in a different mode (Dorian, rather than Phrygian), even though such a version does not survive in any period chant books. We have used a reconstruction of this apparent source melody for our chant. Like Du Fay’s hymn, Palestrina’s setting uses alternatim technique, where verses of the chant alternate with polyphonic verses variously for three, four, and ultimately five voices. Published in 1589, during which time Palestrina was maestro di cappella at St. Peter’s in Rome, it also survives in manuscripts copied by Palestrina himself, so it seems to be a work of which he was especially fond.

The next three works were published in the 1582 Latin collection Piæ Cantiones, though a Finnish version published in 1616 may reflect the origin of the collection. Puer natus in Bethlehem is a strophic hymn based on the Introit for Christmas Day; it is set in Piæ Cantiones, rather unusually, as a duo. I have expanded the texture to include a four-voice arrangement, in addition to an array of textures in the many stanzas, with solos, duos, and quartets, for women and men, and both together. Verbum caro is another hymn based on a famous Christmas chant. Again, this charming, lilting work is monophonic in the original source, and I have harmonized it, using historical contrapuntal techniques. The vigorous last work of the set, Gaudete, appears in Piæ Cantiones only as a four-voice refrain. The lyrics to the stanzas are printed in the source without music for them, so I have created a monophonic verse, and harmonized it for the last stanza to match the refrain.

William Byrd’s Venite exultemus is the final work in his Gradualia collection of 1607 and, as such, the last Latin work ever published by Byrd. The text comes from Psalm 94 in the Latin bible (Psalm 95 in the English bible) and would have been used as a psalm for Christmas, among other feasts. It shows Byrd reveling in the interplay of lively voices in sunny counterpoint. This is among the works recently recorded for Quire Cleveland’s forthcoming CD of Jacobean motet (supported by a generous grant from Cuyahoga Arts & Culture), to be released next year.

Michael Praetorius must have loved Christmas music, because he published well over a hundred settings, scattered over several volumes of choral repertoire. This set features German carols from three of his Musæ Sioniæ collections of 1607–1609. In dulci jubilo is extremely well known, and a four-voice setting appears on Quire’s first Carols for Quire CD. This lovely double-choir setting of it, from Musæ Sioniæ II (1607), is rarely performed. Quem pastores from Musæ Sioniæ V (1607) calls for a succession of different soprano voices in its opening refrain. The piece is often heard with instrumental accompaniment, but all voices are texted throughout, so that is how we are performing it. The lively Psallite unigenito, from Musæ Sioniæ VI (1609), has both a Latin and a German text (Singt und klingt), which we perform in alternation. The pairs of voices answering each other and the patter of the rapid text declaimed by all the voices make for a very fun piece!

The French seem to have been fond of parodies—repurposed works—from a very early date. Chantons was originally a chanson by Mathieu Sohier called Mon pere m’y marié, from a collection published in 1534. Not long after, in 1537, a priest named Y. L. Crestot published a Christmas text—a “noel”—to be sung in place of the secular chanson lyric; I have put them together for our performance. A similar thing happened with the second piece, Venès lèu, which was originally a drinking song, Qu’ils sont doux, Bouteille, by Jean-Baptiste Lully, for Molière’s play Le Médecin malgré lui (1665). Three years later, Nicolas Saboly wrote a lyric in Provençal—a regional language from southern France—that turned the song into a cute story about shepherds visiting the Christ child. The last song from the set was used in Marc Antoine Charpentier’s Messe de Minuit, a modified form in the Laudamus te section of the Gloria. Charpentier also did more straightforward arrangements of it as a Christmas work for organ solo or for an ensemble of instruments, and those have formed the basis of our harmonization. The text seems to have originated once again with Fr. Crestot, in a Christmas poetry collection published around 1537. This was a forerunner of the many editions of the Grande Bible des Noels that were published well into the 19th century.

Finally, we return to the early American repertoire we explored in our first Christmas CD. Billing’s Emanuel is a delightfully rustic setting of the story of the annunciation to the shepherds. It was published in The Psalm Singer’s Amusement of 1781. The second piece is a 1793 setting by Joseph Stone of a text familiar to all from the famous chorus in Handel’s Messiah, “For unto us a child is born.” Stone must have known Handel’s setting, but his own is very different, with solos, duos, and trios adding variety to the texture. The piece was never published and survives in a manuscript tunebook now in the library at UCLA. We close with a hymn-like setting of the triumphant Salter’s Hall—“Hark! the glad sound”—by Thomas Smith (1832), setting a 1735 lyric by Philip Doddridge.

— Ross W. Duffin

S INGERS BIOGRAPHIESTenor Evan Bescan holds a Bachelor of Music degree from Capital University in Columbus, Ohio, along with a Methodology Diploma from the Kodály Institute in Kecskemét, Hungary. He sings with the Cathedral Choir at

the Cathedral of St. John the Evangelist and is currently a member of Cantores Cleveland and Trinity Chamber Singers. He has also performed with Opera Columbus and the Kecskeméti Fesztival Korous. Evan is current-ly a full-time elementary/middle school mu-sic teacher at Stockyard Community School in Cleveland.

Mezzo-soprano Tracy Cowart has performed with many period ensembles, including Apollo’s Fire, La Donna Musicale, the Newberry Consort, Opera Lafayette, Trinity Cathedral Chamber Orchestra, Washington Bach Consort, and the choir of

the Church of the Advent. Also known for her interpretations of new music, Tracy recently performed the world premiere of Armando Bayolo’s Kaddish: Passio: Rothko and the role of “Hadewijch” in Louis Andriessen’s Die Materie, both with the Great Noise Ensemble. She is currently pursuing a DMA in Historical Performance Practice at CWRU.

Bass Ian Crane is a high school music teacher and performer. He teaches choir and band at Holy Name High School in Parma, and previously spent five years on faculty at Edinboro University of Pennsylvania, as instructor of bagpipes. He has performed

with many local groups, including Apollo’s Fire, the Cleveland Carolers, and the Choir of the Cathedral of St. John the Evangelist. Ian earned a bachelor’s degree in music education from Cleveland State University and his master’s in conducting from Kent State University. He re-sides in Lakewood, with his wife, Tricia, and children, Phoebe and Alexander.Soprano Donna Fagerhaug holds a Master of Arts degree in Church Music from Trinity Lutheran Seminary and a Bachelor of Music

from the Conservatory at Capital University, both in Columbus, Ohio. Locally, she sings with Apollo’s Singers and Cantores Cleveland, and is the soprano so-loist at Lakewood Congregational Church. Donna resides in Rocky River with her husband and three children.Baritone José Gotera began his choral training at age eight at St. Michael’s Choir School in Toronto. He sang with the Toronto Mendelssohn Choir and Tafelmusik while completing de-grees at the University of Toronto. In Cleveland, he has sung with Apollo’s Fire, Cleveland Opera on Tour, Opera Circle, Opera Cleveland, and the Cleveland Orchestra Chorus. He completed an MA in Early Music at CWRU. At present, José is a music instructor at Hiram College, where he teaches voice and directs opera/musical theater workshop and the Hiram men’s chorus. He is also the baritone section leader for the chancel choir at Plymouth Church in Shaker Heights.Jeremiah Heilman recently earned his doctorate in phys-ics from Case Western Reserve University. Born in Washington State, he earned his bachelor’s in physics and a degree in mu-sic theory and history at the University of Notre Dame, where he sang with the Liturgical Choir, Basilica Schola, and Glee Club, played trombone in the Marching Band and Brass Ensemble, and con-ducted the Chapel Schola. He frequently di-rected and arranged small ensemble and cho-ral music for feasts and special events. Since moving to Cleveland in 2001, he has been a choir member at the Cathedral of St. John the Evangelist. He has also performed with the Opera Cleveland Chorus and Cantores Cleveland.Bass Nathan Longnecker also sings with Apollo’s Singers. When not singing, Nathan is proprietor of The Quiet Gardener, providing garden-ing service to homeowners.

Bass/baritone Ray Lyons does statistical programming and con-sulting in library performance measurement. He has performed with the Old Stone Singers, Cleveland Orchestra Chorus, Cleveland Opera Chorus, Cantores Cleveland, Cleveland

Music School Settlement Vocal Chamber Ensemble, CWRU Early Music Singers, and in choirs at the Cathedral of St. John the Evangelist, Trinity Episcopal Cathedral, Church of the Covenant, Park Synagogue, Temple Emanu El, and the Church of the Ascension and St. Bartholomew’s Church in New York.

Baritone Brian MacGilvray is a musicology PhD student at CWRU, whose research fo-cuses on music and culture in seventeenth-century France. He has degrees in voice and opera from Northwestern University and the University of Kentucky.

His past choral experience includes Chicago Music of the Baroque, the Chicago Symphony Chorus, the Grant Park Symphony Chorus, and Church of the Ascension (Chicago). He has also sung at Chamber Opera Chicago and the Kentucky Opera Theater.

Tenor Bryan Munch received his engineering degree and MBA from Case Western Reserve University, where he participat-ed in Early Music Singers, Case Concert Choir, Footlighters mu-sicals, and Speakeasy. He sings regularly with the choir at St.

Paul’s Episcopal Church in Cleveland Heights and has performed with the Temple Tifereth-Israel and Apollo’s Fire. In the summer, Bryan travels around the Midwest, singing with his wife’s uncles in the barbershop/gospel quartet Vocal-A-Chord. He is a proud father, resi-dent of Shaker Heights, and currently works at Progressive Insurance in Mayfield Heights.

John McElliott, countertenor, holds undergraduate degrees in voice and organ performance from the University of Akron and spent a year abroad as a choral scholar at Winchester Cathedral in the UK. He sings with several choral ensembles

in Northeast Ohio, including Apollo’s Fire and

Trinity Cathedral’s Chamber Singers, in addi-tion to Quire Cleveland. John is president of Karen McFarlane Artists, where he man-ages concert careers for many of the world’s great concert organists and choirs. A versa-tile vocalist, he sings alto, tenor, and baritone parts in Quire Cleveland, and also serves as the organization’s Secretary.Soprano Judith Overcash is at home with a repertoire rang-ing from medieval song to opera and oratorio to musi-cal theater. She holds MA and DMA degrees in Early Music Performance Practices from CWRU, with additional post-graduate work at UT-Austin and Indiana University where she studied opera, music history, and theater. She has appeared as a fea-tured soloist across the US and abroad and as guest artist and faculty at a variety of interna-tional workshops and festivals. Judith is also a professional choral director, maintains a pri-vate vocal studio, and as lecturer and adjunct faculty has taught music history, vocal peda-gogy, graduate research methods, and applied voice at Hiram College and CWRU.Soprano Lisa Rainsong’s musi-cal life integrates composition, education, vocal performance, and natural history. She earned her Doctor of Musical Arts in Composition from Cleveland Institute of Music and is a mem-ber of CIM’s Music Theory fac-ulty. She is also a professional singer who per-forms as both soloist and as choral musician, not only with Quire Cleveland, but also with Apollo’s Fire and Ensemble Lautenkonzert, among others. Having earned a Naturalist Certificate from the Cleveland Museum of Natural History, Lisa teaches classes on bird song and insect song identification through-out Northern Ohio. lisarainsong.com

Malina Rauschenfels is a com-poser, multi-instrumentalist, and vocalist recently trans-planted to Cleveland from New York City. In Cleveland, she has joined the choir at Trinity Cathedral and Cantores Cleveland, as well as playing baroque cello and singing with the emerging ensemble Burning River Baroque. In NYC,

she sang with the acclaimed Marble Santuary Choir and played cello and sang with Toby Twining Music, as well as maintaining an ac-tive private studio of cellists and violinists. She attended the Eastman School of Music and the Juilliard School for her BM and MM in cello performance and composition. mali-narauschenfels.com

Mezzo-soprano Beverly Simmons is a singer, graph-ic designer, and Executive Director of Quire Cleveland. She earned a doctorate in early music at Stanford University, before moving to Cleveland in 1978. Her career includes

stints as a CWRU music professor, WCLV radio announcer, international artist man-ager, executive director, and mother of two. She founded the CWRU Early Music Singers and has sung with Apollo’s Fire since its in-ception, as well as with the Cleveland Opera Chorus, St. Paul’s Episcopal Church, and Temple Tifereth-Israel. Bev is also half of the cabaret duo, Rent-a-Yenta.

Soprano Sandra Simon is at home performing opera, ora-torio, and musical theater. She has performed in the US and abroad with such ensembles as Tafelmusik, Handel & Haydn Society, Memphis Symphony, Red {an Orchestra}, Apollo’s

Fire, Cleveland Jazz Orchestra, and the King’s Noyse, as well as Opera Atelier Toronto, Cleveland Opera, Singapore Arts Festival, and the Chautauqua Institution. A frequent guest of the Cleveland Composers Guild, she is a core member of Panorámicos, and also a longstanding member of Actor’s Equity. She has recorded for Telarc, Koch International Classics, New World Records, Eclectra, and NPR labels.

Daniel Singer, baritone, is Director of Music at University School in Hunting Valley and Assistant Director of the Cleveland Orchestra Youth Chorus. An active guest conductor and clinician, he recently directed the OMEA

District VI Junior Honor Choir. From 2003

to 2009, he worked as a performer, music di-rector, and teacher in the Chicago area, sang with the Chicago Symphony Chorus, and was a vocalist and arranger with the Lakeside Singers. Danny has a BM in Music Education from Northwestern University and an MM in Choral Conducting from Michigan State University.

Tenor Tyler Skidmore is an ac-tive music educator and per-former. Teaching now at the same high school he attended, Tyler attempts to share the joys and challenges of choral music with the students at Medina High School. He holds a bachelor’s de-gree in music education from Mount Vernon Nazarene University and a master’s in voice performance from Kent State University. Tyler has performed with other area choral ensembles, including Opera Cleveland, The Cleveland Orchestra Chorus and Chamber Chorus, and Apollo’s Fire.

Soprano Gail West has worked with such eminent artists as Julianne Baird, Emma Kirkby, Suzie LeBlanc, Paul Hillier, and Benjamin Bagby. Currently a voice student of Ellen Hargis, she has been a member of Apollo’s Singers since its founding. Gail has been a member of CWRU’s Early Music Singers for over 20 years and is a soprano soloist at Church of the Good Shepherd. She lives in Cleveland Heights with her husband and three children.

Countertenor Jay White sang eight seasons with the interna-tionally acclaimed ensemble Chanticleer, with whom he re-corded 14 albums and garnered two Grammy Awards. Sought af-ter as an interpreter of Medieval, Renaissance, and Baroque reper-toire, he has appeared at early music festivals worldwide and featured on national and in-ternational radio programs. He trained at the Early Music Institute at Indiana University and the University of Maryland, and has taught at the University of Delaware and DePauw University. Jay is currently Associate Professor of Voice at Kent State University.

YouThis is Quire Cleveland’s 5th Anniversary Season! Hard to believe that we’ve:

• performed music of Slovenia, Germany, Austria, France, Spain, Flanders, England, Canada, Mexico, and the United States, from the 9th to 21st centuries

• recorded for Oxford University Press and NPR’s All Things Considered• been viewed on YouTube 130,000+ times• collaborated with CityMusic Cleveland, Cleveland Composer’s Guild, Music & Art @

Trinity, Cleveland Virtuosi Chamber Orchestra, American Guild of Organists, et al.;• produced two CDs of Carols for Quire from the Old & New Worlds• recorded music never before performed

• kept ticket prices low, while offering an unparalleled musical experience

Won’t you help Quire continue to thrive with your tax-deductible donation? You’ll feel richly rewarded for your participation. Every gift, in any amount, is valuable and appreciated! Please use the remittance envelope in your program or go to our website, QuireCleveland.org, and donate through PayPal. Thank you for your generosity!

Some simple math:

+ = SUCCESS!QuireCleveland

T EXTS & TRANSLATIONS

1. Gabriel, from heaven’s king Sent to the maiden sweet, Brought to her blissful tiding And fair ’gan her to greet. “Hail be thou, full of grace aright! For so God’s Son, the heaven’s light, Loves man, that He a man will be and take Flesh of thee, maiden bright, Mankind free for to make Of sin and devil’s might.”2. Gently to him answer gave The gentle maiden then: “In what wise should I bear Child, that know not man?” Th’ angel said to her: “O dread thee nought. ’Tis through the Holy Ghost that wrought Shall be this thing whereof tidings I bring: Lost mankind shall be bought By thy sweet childbearing, And out of torment brought.”3. When the maiden understood And th’ angel’s words had heard, Gently, of her own mild mood, The angel she answered: “Our Lord His handmaiden, I-wis, I am, that here above us is: Concerning me fulfilled be thy saw; That I, since His will is, Be, out of nature’s law A maid with mother’s bliss.”4. The angel went away thereon And parted from her sight And straightway she conceived a Son Through th’ Holy Ghost His might. In her was Christ contain’d anon, True God, true man, in flesh and bone; Born of her too When time was due; who then Redeemed us for His own, And bought us out of pain, And died for us t’atone.5. Filled full of charity, Thou matchless maiden-mother, Pray for us to him that He For thy love above other, Away our sin and guilt should take, And clean of every stain us make And heaven’s bliss, when our time is to die, Would give us for thy sake; With grace to serve him by Till He us to him take.

—Gerald Manley Hopkins, S.J. (1844–1889)

Christe, Redemptor omnium1. Christ, the Father’s only Son, Whose death for all redemption won, Before the worlds, of God most high Begotten all ineffably,2. The Father’s light and splendor, thou, Their endless hope to thee that bow, Accept the prayers and praise today That through the world thy servants pay.3. Salvation’s Author, call to mind How, taking form of humankind, Born of a Virgin undefiled, Thou in man’s flesh becam’st a child.4. Thus testifies the present day Through every year in long array, That thou, salvation’s source alone, Proceedest from the Father’s throne.5. Whence sky and stars and earth’s abyss, And sea, and all that therein is, Shall still, with laud and carol meet, The Author of thine advent greet.6. And we, who by thy precious blood From sin redeemed are marked for God, On this the day that saw the birth, Sing the new song of ransomed earth.7. Glory to thee, eternal Lord, Born into time as Virgin’s son, And to Father and to Holy Ghost In eternity’s timeless now. Amen.

There is no rose of such virtue as is the rose that bare Jesu. 1. There is no rose of such virtue as is the rose that

bare Jesu. Alleluia.2. For in this rose contained was heaven and earth

in little space; Wonderful things.3. By that rose we may well see that he is God in

persons three, in such fashion.4. The angels sungen the shepherds to: Glory to

God in the highest: Let us rejoice.5. Leave we all this worldly mirth, and follow we

this joyful birth; Let us cross over.

Ave rex angelorumHail, king of the angels, and hail, king of the heavens,and hail, prince from pole to pole.Hail, most mighty in thy working, hail, thou lord of all thing; I offer thee gold as to a king.

N.B. Patrons have asked for biographies and photos of the singers, so for reasons of space, the original texts are not included here. They may be found at the QUIRE CLEVELAND website, or by using this QR code:

Nowell sing we, both all and some, now the King of peace-making is y-come.1. It arose in love and lysse.

Now Christ, his grace he gan us gysse, and with his body us bought to bliss, both all and some.

2. Of the fruit of the womb of Mary bright, both God and man in her alight, out of disease he did us dight, both all and some.

3. A boy born to us was sent, to bliss us bought, fro bale us blent, and else to woe we had ywent, both all and some.

4. The light will shine with love and light, in Mary mild his pennon pight, in her took kind with manly might, both all and some.

5. Glory to thee ay and bliss, God unto his grace he us wysse, the rent of heaven that we not miss, both all and some.

Quid petis, o fili?What do you seek, O my son? says the sweetest

mother, kiss kiss.O father, O son, give me kisses of praise.The mother, full mannerly, and meekly as a maid,Looking on her little son, so laughing in lap laid,So prettily, so pertly, so passingly well apay’d,Full softly and full soberly unto her sweet son she

said:What do you seek, O my son? …I mean this by Mary, our Maker’s mother of might.Full lovely looking on our Lord, the lantern of light,Thus saying to our Saviour; this saw I in my sight;This reason that I rede you now, I rede it full right.What do you seek, O my son? …Musing on her manners so nigh marr’d was my

main,Save it pleased me so passingly that past was my

pain;Yet softly to her sweet son, me-thought I heard her

sain:Now gracious God and good sweet babe, yet once

this game again:What do you seek, O my son? …

Rey a quien reyes adoran 1. King whom kings adore, who is the signal which is Three and one, and one and three,2. As it is, no one can seal nor seek to heal,3. Well, we can save, only with faith.4. And this is the sign, this is the one who endures, Three and one, and one and three,5. King whom …

A solis ortus cardineThis day Christ was born,This day our Savior did appear,This day the Angels sing in earth, the Archangels are glad.This day the Just rejoice, saying:Glory be to God on high. Alleluia.

Dadme albricias, hijos d’Eva! 1. Sons of Eve, reward my tidings! Why should we make gifts to you? Born is He, the Adam new. Almighty God, what glad tidings! 2. Pay my boon, and sing for joy, For tonight is born our Savior, 3. The Messiah promised to us, Man and God, a virgin’s boy4. By his birth, he gives us pardon For the sin and wrong we do. Born is He, the Adam new. Almighty God, what glad tidings! 5. Sons of Eve …

Canite tuba in SionBlow ye the trumpet in Zion, call together the nations, tell it out among the people, and sayBehold, God our Savior cometh.Tell it out and make it to be heard, speak aloud and cryBehold, God our Savior cometh.

A solis ortus cardine 1. From the rising of the sun to the ends of the earth, let us sing of Christ the Prince, born of the Virgin Mary.2. The blessed creator of the world put on a servant’s body, so that, liberating the flesh through taking flesh, he would not lose what he had made.3. The virgin mother’s belly is filled with heavenly grace; the girl’s womb carries secrets which she has not known.4. The modest dwelling of her body becomes God’s new temple; untouched, not knowing a man, at a word she conceived the Son in her womb.5. By her birth pangs she brought forth the one whom Gabriel had foretold, and whom the Baptist, leaping within the womb, had recognized as Lord.6. He consented to lie in the hay; he did not shrink from the manger; and with little milk he was fed, who does not allow even the birds to hunger.7. The heavenly chorus rejoices, and the angels sing God’s praise,

Save the date!Saturday, May 25, 2013

St. Peter Catholic Church

Quire Cleveland performs Pure Palestrina

Jameson Marvin guest conductor

and to the shepherds is now made known the Shepherd who is the creator of all.8. Jesus, to you be glory, who are born of a virgin, with the Father and the loving Spirit, for eternal ages. Amen.

—Tr. Mick Swithinbank

Puer natus in Bethlehem 1. A boy was born in Bethlehem, and so

Jerusalem rejoices, alleluia. 2. He assumes the flesh of man, the most

high Word of the Father, alleluia. 3. By Gabriel the messenger, a virgin

conceived a son, alleluia. 4. Born of a virgin mother, without the seed

of man, alleluia. 5. Without the wound of the serpent, he

came out of our blood, alleluia. 6. Like us in flesh, but unlike us in sin,

alleluia. 7. Like a bridegroom coming out of the

chamber, he went forth from his mother’s womb, alleluia.

8. He lies in a manger, who reigns without end, alleluia.

9. The ox and ass knew that the child was the Lord, alleluia.

10. And the angel to the shepherds, reveals who is the Lord, alleluia.

11. The Magi come from afar; gold, frankincense, and myrrh they offer, alleluia.

12. Entering in each other’s houses, salute him who is born, alleluia.

13. Rejoice in this birthday, bless the Lord, alleluia.14. The Holy Trinity be praised, let us say thanks to

God, alleluia. —Tr. R. Duffin

Verbum caro factum est1. On this day, as the year goes round, life is given

to all mankind with the birth of a little son of the virgin Mary.

2. Oh, happy woman, the glory of whose womb washes the crimes of the world: of the Virgin

Mary.3. The star brought forth the sun, the sun conferred

salvation, true flesh he took out of the Virgin Mary.

4. The fountain of streams is born of its own accord for the people, whom he released form bondage: of the Virgin Mary.

5. Praise, honor, power to the Lord God, the Father and the Son, the Holy One and Comforter together: of the Virgin Mary.

—Tr. R. Duffin

Venite exultemus Domino O come, let us sing unto the Lord: let us heartily rejoice in the strength of our

salvation.Let us come before his presence with

thanksgiving,and show ourself glad in him with psalms. Amen. — Ps. 94 [95]: 1–2, Great Bible (1539)

GaudeteRejoice, rejoice, Christ is born of the Virgin Mary,

rejoice.1. The time of grace is present, the truth for which

we hoped, devoutly render songs of joy. Rejoice.2. God has become man, astounding nature, the

world is renewed by the reign of Christ. Rejoice.3. Ezechiel’s closed gate is traversed, whence

light arose, salvation is found. Rejoice.4. Therefore, friends, sing now in the light,

bless the Lord, salvation through our King. Rejoice.

—Tr. R. Duffin

In dulci jubiloIn sweet jubilation, now sing and be happy; our heart’s joy reclines in a manger, and like the sun he shines in his mothers’ lap. You are the Beginning and the End.

Psallite, unigenitoRefrain: Sing psalms to the only begotten Christ, son of God,Lord of redemption, little boy, lying in a manger.A tiny child lies in the manger; all the dear little angels serve the child and sing well to him, Sing psalms …Sing and ring! Jesus, child of God, and little son of Mary, sing and ring, our dear little Jesus lies inthe manger, near the ox and ass.

—Tr. R. Duffin

Chantons1. Sing “Noel,” one and all, I beg you for the honor

of Mary, who for nine months carried him without any pain. The angel for courtesy hailed Mary, saying,

“Mary, you will conceive the son of God, without any pain.”2. In Bethlehem alone, she gave birth to Jesus; the angel, with his trumpet, exhorted the

shepherds, without any pain. They went together to see the sweet lamb. In a poor stable, without hearth or linens, they saw Mary, who nursed her son.3. The shepherds all together returned to the fields,

singing, so it seemed to me, with good heart, “Noel.” After matins they began to dance.

Now let us therefore pray to the father and his triumphant son, and his blessed mother, who grants us salvation without any pain.

—Tr. R. Duffin

Venès lèu1. Come quickly to see the little one, come quickly,

gentle shepherds. Her child is whiter than the snow, and twinkles like a star. Ah, ah, ah, how the mother is pretty! Ah, how the child is fair.

2. Oh, Christopher, the night is so clear, oh, Christopher, leap quickly to the ground. And go to the peace of Judea, to see Jesus, a rare sight. Oh, oh, oh, I’m getting up soon, oh, I want to see him soon.

3. Who’s that knocking at the door? Who is it? I am your friend, who embraces the appearance of the child. They say it’s a good friend at the door. Hey, hey, come let us in, hey, come let us in.

4. You are wrong, you and your son, you are painfully wrong. I’d like you shepherds all to push off; you can never hold your counsel. Shh, shh, shh, for the infant slumbers, shh, for the little one sleeps.

5. Great gawker, don’t delay, great gawker, be quiet a while. Speak softly, and walk more quietly than a snail. Soft, soft, soft, for the infant rests, soft, let him rest.

—Tr. R. Duffin

Tous les bourgeois de Châtre1. All the citizens of Châtres and those of

Montlhéry they all went four by four, in chasing cares away. On this particular day, on which the Virgin Mary near the ox and ass—don, don—laid Jesus down—la, la—in a stable.

2. The angels of radiance sang a lot of songs to the shepherds and shepherdesses who watched their flocks. Among all these regions, and all across the waves saying that the darling boy—don, don—was born nearby—la, la—to save the world.

3. When they had finished drinking, a fellow from Aveaux made a good soup with plenty of turnips!

Chickens, also pigeons, to make good cheer and ducklings, too, and pheasants were brought by Jean Rabot—smart lad—to Jesus and his mom.

4. When everyone was seated, a young boy from Nevers upon a pleasant lute sang a thousand lovely airs. In all the diverse keys, mixing his serenading with trumpet and bugle—don, don—with Alleluia—la, la—to Joseph and Mary.

—Tr. R. Duffin

Emanuel1. As shepherds in Jewry were guarding their

sheep, Promisc’usly seated, estranged from sleep, An angel from heaven presented to view, And thus he accosted the trembling few; Dispel all your sorrows and banish your fears, For Jesus your Savior in Jewry appears.2. Though Adam the first in rebellion was found, Forbidden to tarry on hallowed ground; Yet Adam the second appears to retrieve The loss you sustain’d by the devil and Eve. Then shepherds, be tranquil, this instant arise, Go visit your Savior and see where He lies.3. A token I leave you, whereby you may find This heavenly stranger, this friend to mankind: A manger‘s his cradle, a stall his abode, The oxen are near him and blow [breathe?] on

your God. Then shepherds, be humble, be meek and lie

low, For Jesus your Savior’s abundantly so.4. This wonderous story scarce cool’d on the ear, When thousands of angels in glory appear; They join in the concert, and this was the theme: All glory to God, and good will towards men. Then shepherds, strike in, join your voice to

the choir, And catch a few sparks of celestial fire.5. Hosanna! the angels in ecstasy cry, Hosanna! the wandering shepherds reply; Salvation, redemption are center’d in One, All glory to God for the birth of his Son. Then shepherds, adieu, we commend you to

God, Go visit the son in his humble abode.6. To Bethlehem city the shepherds repair’d, For full confirmation of what they had heard; They enter’d the stable, with aspect so mild, And there they beheld both the Mother and

Child. Then make proclamation, divulge it abroad, That gentle and simple may hear of the Lord.

Join in the QuireSing in the Shower

Hum around the HouseCroon in the CarWarble at Work

Yodel in the YardBelt at the Bar

Harmonize with Humanity

Unto us a child is born, unto us a son is given: and the government shall be upon his shoulder: Hallelujah, hallelujah! and his name shall be called Wonderful, Counsellor, the mighty God, the everlasting Father, the Prince of Peace. Hallelujah, hallelujah! Of the increase of his government and peace, there shall be no end, upon the throne of David, and upon his kingdom, to order it, and to establish it, with judgment and justice from henceforth, even for ever. The zeal of the Lord of hosts will perform this. Hallelujah, hallelujah!

—Isaiah 9: 6–7

Salter’s Hall1. Hark, the glad sound! the Savior comes, the

Savior promised long; Let every heart prepare a throne, and every

voice a song.2. On Him the Spirit, largely poured, exerts His

sacred fire; Wisdom and might, and zeal and love, His holy

breast inspire. 3. He comes the prisoners to release, in Satan’s

bondage held; The gates of brass before Him burst, the iron

fetters yield.4. He comes, from thickest films of vice to clear

the mental ray, And on the eyes oppressed with night to pour

celestial day.5. He comes the broken heart to bind, the bleeding

soul to cure; And with the treasures of His grace to enrich the

humble poor.6. Our glad hosannas, Prince of Peace, thy

welcome shall proclaim; And Heav’n’s eternal arches ring with Thy

belovèd Name. —Philip Doddridge (1735)

2230 Euclid Avenue • Cleveland, OH 44115 • 216.771.3630 • www.trinitycleveland.orgFree parking at prospect and east 22nd st.

connect with us:

Trinity Cathedral invites you to

spend Christmas with us.

CHristmAs EvEMonday, december 245 p.m. Family Eucharist and PageantThe Very Rev. Tracey Lind, preaching

10:30 p.m. PreludeMusic for choir, organ and trumpet

11 p.m. Choral EucharistThe Rt. Rev. Mark Hollingsworth, Jr., preaching

CHristmAs DAytuesday, december 2510 a.m. Eucharist with CarolsThe Very Rev. Tracey Lind, preaching

BOAr’s HEAD AnD yulE lOg FEstivAl – 50tH AnnivErsArysaturday, december 293 p.m. and 5:30 p.m.50th Anniversary of this Cleveland Christmas tradition.

A CKNOWLEDGMENTSQuire Cleveland is grateful to Music & Art @ Trinity, the Very Rev. Tracey Lind, Dean, and Todd Wilson, Director of Music & Worship, for hosting Quire Cleveland. We also wish to thank our generous donors: Nancy L. Adams, Ph.D., Edward Alix, Patricia Ashton, Fred & Mary Behm, Virginia & Marvin Belveal, Peter Bennett, Joanne Blazek, Rev. Catherine G. Borchert, Arthur V. Brooks, Edward R. Brown, Mary R. Bynum & J. Philip Calabrese, David Carver, Kathleen Cerveny, Virginia & Matt Collings, Anne Cook, Louise Cooper, Gayle Crawford, Ross W. Duffin & Beverly Simmons, Mary C. Gerhart, Scott Godwin, Barbara R. Green, Robert E. & N. Sue Hanson, Mary Jane Hartwell, Barbara R. Hawkins, Jeremiah Heilman, Donald Hoffman, Jim & Gale Jacobsohn, F. Jenkins, Ursula Korneitchouk, Frank & Peg Krygowski, Brenda Logan, Dorothy Lungmus, Dr. Stephen & Mary Ann Mahoney, Dr. & Mrs. J. Adin Mann, Mark McCarthy, Geraldine McElliott, John McElliott, James & Virginia Meil,Ed & Elaine Meyer, Jewel Moulthrop & Evan Komito, Duncan Neuhauser, Charlotte Newman, Russell Oberlin, Cynthia Peck & William Johnston, Carolyn & Perry Peskin, Joanne Poderis, Peter Pogacar, Mr. & Mrs. Harry Pollock, Gay & Quentin Quereau, Richard Rodda & Jan Curry; Justin T. Rogers, Liz Wells & David Rothenberg, David Saffron, Roger & Elizabeth Salomon, Diane & Lewis Schwartz, Shirley Simmons, Mr. & Mrs.‡ Seymour Simmons, Jr., Nancy Stemmer & Laura Sims, Tyler Skidmore, Deborah Smith, Richard Snyder, Jordan Sramek, Tim & Linda Tuthill, Robert & Diane Walcott, John West, W. Lane Wofford, Edith Yerger, Doreen A. Ziska.In addition, we thank Fr. Robert Kropac and St. Peter Catholic Church; as well as David Ruler and the Luther Memorial Concert Series.Thanks also to the CWRU Music Department; 90.3 WCPN Ideastream; 104.9 WCLV; Ωort∞simo design; Beth Segal Photography; Thomas Knab; Sarah Bailey; David Simmons-Duffin; and the ushers.The Ohio Arts Council helped fund this program with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans. Quire Cleveland also wishes to thank the residents of Cuyahoga County for their support through a public grant from Cuyahoga Arts & Culture.

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APOLLO'S FIRE • BAYARTS • BECK CENTER FOR THE ARTS • CHAGRIN VALLEY LITTLE THEATRE •

CLEVELAND BOTANICAL GARDEN • CLEVELAND INTERNATIONAL FILM FESTIVAL • CLEVELAND

MUSEUM OF ART • CLEVELAND MUSEUM OF NATURAL HISTORY • THE CLEVELAND ORCHESTRA •

CLEVELAND PLAY HOUSE • CLEVELAND PUBLIC THEATRE • DANCECLEVELAND • GREAT LAKES

SCIENCE CENTER • GREAT LAKES THEATER • GROUNDWORKS DANCETHEATER • HEIGHTS YOUTH

THEATRE • IDEASTREAM • KARAMU HOUSE • MALTZ MUSEUM OF JEWISH HERITAGE • MUSEUM OF

CONTEMPORARY ART CLEVELAND • NATURE CENTER AT SHAKER LAKES • ROCK AND ROLL HALL OF

FAME AND MUSEUM • SPACES • WESTERN RESERVE HISTORICAL SOCIETY • & MANY OTHERS

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