QuireCleveland

Carols forQuireTrinity Cathedral, Cleveland December 3–4, 2010

Ross W. Duffin, Artistic Director

Orientis partibus Anonymous (13th century)

Resonet in laudibus Orlando di Lasso (1532–1594)

E la don don Cancionero de Upsala (1556)Serenissima una noche Fray Gerónimo Gonzales (fl. ca.1633)Ay, ay galeguiños Fabián Ximeno (1595–1654)

This day Christ was born William Byrd (ca.1540–1623)

Personent hodie Anonymous (Piae cantiones, 1582), arr. R. DuffinIn the bleak midwinter Gustav Holst (1874-1934)The holly and the ivy arr. Henry Walford Davies (1869-1941)

Onzième Noël, en récit en taille, Louis-Claude Daquin (1694–1772)sur la tierce du Positif, avec la Pédalle de flûte, et en duo

Jonathan William Moyer, organ

Hodie Christus natus est Giovanni Gabrieli (ca. 1554–1612)

Intermission

Joseph est bien marié French (17th century), arr. R. DuffinQuelle est cette odeur agréable? French (ca.1700), arr. R. DuffinThe Huron Carol (Ies8s ahatonnia) St. Jean de Brébeuf (ca.1647), arr. R. Duffin

Noël “Une jeune pucelle” Michel Corrette (1707–1795)Jonathan William Moyer, organ

Away in a manger tune J. E. Spilman (1838), arr. J. S. Warren (1857)Judea (A Virgin unspotted) William Billings (1746–1800)Sherburne (While shepherds watched their flocks) Daniel Read (1757–1836)Shiloh (Methinks I see a heavenly host) Billings

O magnum mysterium Tomás Luis de Victoria (1548–1611)

In dulci jubilo Michael Praetorius (1571–1621)Es ist ein Ros entsprungen PraetoriusJoseph lieber, Joseph mein Johann Walther (1496–1570)Wachet auf Praetorius/Johann Sebastian Bach (1685–1750)

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 and choral leaders at many of the major churches in the greater Cleveland area, including the Cathedral of St. John, Church of the Covenant, St. Paul’s Episcopal Church, and Trinity Cathedral, among others, they have sung together in historically-informed ensembles, such as the Case Western Reserve University Early Music Singers and Apollo’s Singers of Apollo’s Fire. Quire performs five centuries of a cappella repertoire. The Cleveland Plain Dealer has praised “the inspired voices of Quire Cleveland” and the group’s “exceptional purity of pitch” and, according to Cool Cleveland, “the joyful sounds could easily have soared to the very heavens.”

Artistic Director Ross W. Duffin earned a doctorate from Stanford University, specializing in the performance practice of early music. He came to Case Western Reserve in 1978 to direct the nationally recognized historical performance program there. Duffin has published articles on music from the 13th to the 18th centuries, as well as editions of Renaissance music, and he makes many of Quire’s editions. His books include Shakespeare’s Songbook and How Equal Temperament Ruined Harmony (and Why You Should Care). With a grandfather who was a professional countertenor in London, England, soloist for Harold Darke and Herbert Murrill, and a mother who conducted her church choir, Duffin is a third-generation choral conductor. He has sung with Apollo’s Fire since its inception in 1992, and directs the Early Music Singers at Case.

Q UIRE CLEVELAND

Sopranos: Wendy Duncan, Donna Fagerhaug, Lisa Rainsong, Sandra Simon, Gail West

Altos: John McElliott, Ann Mullin, Beverly SimmonsTenors: Peter Hampton, Jeremiah Heilman, Tyler SkidmoreBasses: Ian Crane, José Gotera, Nathan Longnecker, Ray Lyons,

Jonathan Moyer

Board of Directors: John West, esq., President; John McElliott, Secretary/Treasurer; Beverly Simmons, Marketing Director; Ross W. Duffin, Artistic Director

Quire Cleveland is registered with the IRS as a 501(c)(3) tax-exempt, nonprofit organization.

s Save the Dates!Sunday, March 6, 2011, at 4:00 pm

Choral Gems from England, Flanders & GermanyChurch of St. Christopher’s by the River, Gates Mills

free & open to the public — everyone welcome

Wednesday, April 13, 2011, at 7:30 pmLobet den Herrn: German Music for Quire

Quire Cleveland returns to the Cathedral of St. John the Evangelistwith Scott Metcalfe, guest conductor

free admission — no tickets required — everyone welcome

s Check for details on our website:QuireCleveland.org

P ROGRAM NOTESChristmas has traditionally been a feast of music, and Quire Cleveland is delighted to offer the second annual program of Christmas fare, hosted by Music & Art @ Trinity. Once again, we offer a cornucopia of musical works expressing the joy and hope of the season, from sophisticated solemn motets to danceable villancicos, from Medieval and Renaissance Europe to Colonial Mexico, New France (Quebec), and America. Some works are back by popular demand—and available on the CD of last year’s concerts—but there are some new ones we hope you will enjoy, as well!

Since around the middle of the 19th century, the Medieval carol, Orientis partibus, has been popularly known as The Song of the Ass. Telling the story of the donkey on which Mary rode into Bethlehem, it was apparently sung as part of the Epiphany celebrations at Beauvais, France, from the Middle Ages to at least the 17th century. One 13th-century manuscript with the musical setting as used in Beauvais survives in the British Library. Our performance presents the entire song as it appears in the original manuscript, with additional verses inserted along the way.

The earliest known source for the melody and text of Resonet in laudibus is the Moosburger Graduale (ca.1360), a manuscript now in Munich. Lasso’s polyphonic setting is a joyous work with changes of meter to lilting triple, and sections for full choir along with some for fewer voices, passages of imitation and others where all voices declaim together. You will hear the tune in its German version, Joseph lieber, near the end of the program. Although born in Flanders and spending time in Italy, Lasso spent his last decades at the Court of Bavaria in Munich, so his use of this favorite German Christmas tune is no surprise.

The next set features a work from Spain that was printed in Italy, one work from Iberia that traveled to the New World, and one composed in Mexico. The Spanish work is from a collection of anonymous villancicos printed in Venice in 1556, which includes a special section of Christmas songs. The volume survives in only a single copy, now in the University Library in Uppsala, Sweden, so it has been dubbed the Cancionero de Upsala. One of its Christmas songs is E la don don, in which verses for men alternate with the full group. Serenissima una noche was composed by the Franciscan friar Gerónimo Gonzales, who was active in Portugal in the 1630s. Set for high voices, it features a wonderful “call to dance” as its refrain. The fourth work, Ay ay galeguiños is by organist and composer Fabián Ximeno, who was maestro de capilla at Mexico City Cathedral in the mid-17th century. Its lively and intricate 4-voice imitative sections are punctuated by high/low-voice duos. These latter two works are preserved in a manuscript now in the Mexican Instituto Nacional de Bellas Artes, but which originally belonged to the Holy Trinity Convent in Puebla, Mexico, from around the same time that mole poblano was invented there. These pieces are just as delicious.

William Byrd’s This day Christ was born is “A Carroll for Christmas Day” from his Psalmes, Songs, and Sonnets of 1611. In keeping with Byrd’s Catholic background in Protestant England, the text is a translation of the antiphon to the Magnificat for the Second Vespers of the Nativity. However, rather than sounding like a stately motet, it is instead in a full madrigalian style, with angelic voices entwining, and thrilling “alleluias.”

This next set features some favorite carols from the Anglican/Episcopal tradition. Personent hodie appears in the 1582 Piae Cantiones as a monophonic Christmas song in Latin (although there was also a Finnish version published in 1616, reflecting the apparent origin of the collection). The harmonization for Quire’s performance is based on Medieval and Renaissance contrapuntal procedures. In the bleak midwinter by Gustav Holst sets a Christmas poem by Christina Rossetti (sister of the artist/poet, Dante Gabriel Rossetti), published originally in Scribner’s Monthly magazine in January 1872. We conclude this set with H. Walford Davies’s memorable 1913 carol, The holly and the Ivy, with its captivating solo-duo verse opening.

The text of The holly and the ivy mentions “playing on the merry organ,” so it’s fitting that we hear some merry organ playing next. French composers were fond of turning carol melodies into organ solos, in the same way that Bach turned chorale tunes into fanciful chorale

preludes for organ solo. Jonathan Moyer offers two noels based on the same tune, Une jeune pucelle (an alternate name for the Une jeune fillette tune used for the Huron carol, below). The first setting is by Louis Claude Daquin, a keyboard prodigy of Italian Jewish extraction who played at the French court at the age of six and eventually became organist at Ste. Chapelle and Notre Dame. The second is by Michel Corrette, who hailed from a musical family from Rouen but spent most of his career as organist at the Jesuit College in Paris and the church of the Grand Prieuré of the Templars. He is best known for writing valuable method books for several instruments, including strings, winds, keyboard, and voice.

Last year’s Carols for Quire presented Sweelinck’s Hodie Christus natus est, with its “noe, noe” (noel, noel) reiterations throughout. This year we offer a setting of the same text by Giovanni Gabrieli from his Symphoniae Sacrae of 1597. In fact, the text is a Latin version of the same antiphon as in the piece by William Byrd, except that Gabrieli adds the rest of the angel’s proclamation at the end. Ten voices in double-choir texture trade the measured phrases of the text, with ecstatic acclamations of “alleluia” in syncopated triple meter interspersed throughout.

Around 1694, Marc Antoine Charpentier composed his Messe de Minuit pour Noel (Midnight Mass for Christmas), using popular tunes as themes for the mass movements. The first Kyrie is based on the tune of Joseph est bien marié; our arrangement is based on harmonizations in the Messe. One lovely French Christmas song that was composed later is Quelle est cette odeur agréable. It began to appear around 1700, and by 1728, had been hijacked by John Gay as the melody for the drinking song, Fill every glass, from his ballad-based Beggar’s Opera. The sweet tune is perfectly suited to its original Christmas setting.

Every schoolchild in Canada knows the Huron Carol as the earliest Canadian Christmas carol. Its attributed author, Jean de Brébeuf was, for the 1630s and ’40s, a Jesuit missionary among the Huron Indians at Fort Ste. Marie in Ontario, near the south end of Georgian Bay. Martyred in 1649 at the hands of the Iroquois, he became the first Canadian saint; but some years before that, he wrote this carol in Wendat (later Wyandot), the language of the Hurons. The earliest musical version survives in an early 20th-century collection with French words by a late 18th-century French/Indian notary, Paul Picard Tsa8enhohi. In its romanticized English translation, ’Twas in the moon of wintertime (by Jesse Edgar Middleton in 1926), the carol to that tune has achieved considerable fame, but there is no musical source for it before 1907. However, the melody was based on the 16th-century French tune, Une jeune fillette, which was also used by Charpentier for his Messe de Minuit pour Noël. The tune was famous all over Europe by that time, in Italy being long known as La Monaca after the first two lines of its text: “Madre non mi far monaca, che non mi volgio fare.” This is a story-line that relates to Nonette, its earliest title in France, based on the Une jeune fillette lyrics: “Mama, don’t make me become a nun, ’cause I don’t wanna.” This is an ironic—and therefore entirely plausible—choice of tune for a French Jesuit missionary in the wilds of Canada. It also happens that a separate American-Indian Christmas carol was copied in Maine in the early 18th century with a version of this same tune. Quire sings the original Wendat words to a version of the Une jeune fillette tune that was current when Brébeuf wrote the lyrics.

Next is a set of carols from the New World. The tune and text of Away in a manger are both American in origin, but the history of our arrangement is complicated. The tune comes from a musical setting for voice and guitar of Robert Burns’s love poem, “Flow gently sweet Afton,” published in Philadelphia in 1838 by J. E. Spilman. The carol’s first two stanzas, probably written by James R. Murray, first appeared in an 1885 Lutheran children’s collection, Little Children’s Book for Schools and Families, and were possibly written to celebrate Luther’s 400th anniversary two years earlier (which accounts for the occasional attribution to Luther himself). The third stanza appeared for the first time in Gabriel’s Vineyard Songs, published by Charles H. Gabriel in Louisville, Kentucky, in 1892. The Afton Water melody was first borrowed for the lyrics some time in the next decade, but we have taken the earliest part-setting of that tune for our performance. That three-voice setting is from Warren’s Minstrel, a shape-note collection published by James Sullivan Warren in Columbus, Ohio, in 1857. The lyrics, slightly varied from the common versions in use today, are from the earliest sources.

The other three American carols are by two of the most famous American composers of the late 18th and early 19th centuries, William Billings and Daniel Read. Judea is from Billings’s Singing Master’s Assistant, of 1778, and features a lively dance-like refrain, “Then let us be merry.” Read’s Sherburne, from his American Singing Book of 1785, presents the well-known lyrics of While shepherds watched their flocks by night, in a spirited setting. Finally, Shiloh is from Suffolk Harmony of 1786. Again, the tempo is lively and the feeling joyous. The harmonies, so reminiscent of shape-note singing, are uniquely American: “primitive” perhaps, by European standards of the time, but heartfelt and effective.

Tomás Luis de Victoria was the leading Spanish composer of the late Renaissance. O magnum mysterium is one of his most famous compositions, and indeed, one of the most famous motets of the entire Renaissance. Its opening 3-note descent and ascent of a fifth is so characteristic that many choral singers would recognize it, even without the words! It appeared in his first collection of motets, published in 1572, while Victoria was working at the Jesuit Collegio Germanico in Rome. The text is from a chant for Christmas morning.

The last set features German carols, including Michael Praetorius’s famous In dulci jubilo and Es ist ein Ros entsprungen from his Musae Sioniae collection of 1607. Praetorius must have loved Christmas music, because he published well over 100 settings, scattered over several volumes of choral repertoire. On occasion in these prints, he also presented works by other composers, such as the beautiful Joseph lieber setting by Luther’s Wittenberg colleague, Johann Walther. Walther’s piece was originally published in his Geistlich Gesangbüchlein of 1551. We close with Wachet auf, with the first two stanzas as set by Praetorius in 1607, and the final stanza in an exquisite chorale setting by Johann Sebastian Bach from his cantata of the same name (no. 140), written in Leipzig in November 1731. What more fitting ending to a program of Christmas choral music—or any music—than Bach?

— Ross W. Duffin

Painting & Photography in FranceSummer Workshops: June 29–July 21, 2011

with private mini-concerts by The Newberry ConsortArtists of every level — from beginners to professionals — are invited to experience France through sketching, painting, photography (film & digital), culinary arts, and music, under expert personalized guidance. Members of The Newberry Consort — Ellen Hargis, David Douglass, Ross Duffin & Beverly Simmons — will perform early French music in private mini-concerts for workshop participants.

Session I: Paris & Normandy June 29–July 10 Session II: Paris & The French Jura July 10–21

More information: FrancePhotoAndPainting.com

Art & Music

in

France

S INGERS’ BIOGRAPHIES

Ian Crane, bass, is a high school music teacher, performer, and student. He currently 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 is working on his master’s in choral conducting from Kent State University. He resides in Lakewood, with his wife, Tricia, and children, Phoebe and Alexander.

Wendy Duncan, soprano, studied vocal music at Kent State University’s Hugh A. Glauser School of Music under Melinda Thompson and James Mismas. She has been performing with Apollo’s Singers of Apollo’s Fire for 10 years, and has performed with the Canton Symphony Orchestra Chorus and many other area festival choirs. Wendy is a freelance soprano soloist, as well as a soloist and choir member at Bainbridge Community United Church of Christ and a cantor for St. Joan of Arc Church in Chagrin Falls. She also serves as president of the Musical Arts Association of Kenston and is a coach for Destination Imagination. With her family, she resides in Geauga County.

Donna Fagerhaug, soprano, 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. Locally, she sings with Apollo’s Singers and Cantores Cleveland. She serves as choir director at Celebration Lutheran Church in Chardon.

José Gotera, baritone, 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 degrees 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 lead for the chancel choir at Plymouth Church in Shaker Heights.

Peter Hampton, tenor, teaches middle school general music in the Lakewood Public Schools. He also sings with the choir at the Cathedral of St. John the Evangelist and directs a children’s choir through the Beck Center in Lakewood. Peter has his bachelor’s degree in Music Education (vocal emphasis) from Otterbein College in Westerville, Ohio, where he studied voice with Robert Nims. His choral experience includes singing in the United States premier of the Lord of the Rings Symphony, with the Columbus Symphony, Howard Shore conducting; and tours with choral ensembles to Austria, the Czech Republic, Switzerland, and France (which included a performance in Notre Dame Cathedral). He has also performed with the West Shore Chorale.

Jeremiah Heilman, tenor, recently received his doctorate in physics from Case Western Reserve University. Born in Washington state, he earned his bachelor’s degree in physics and a degree in music 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 conducted the Chapel Schola. He frequently directed and arranged small ensemble and choral music for feasts and special events. Since moving to Cleveland in 2001, he has been a member of the Choir of the Cathedral of St. John the Evangelist. He has also performed with the Opera Cleveland Cho rus and Cantores Cleveland.

Nathan Longnecker, bass, also sings with Apollo’s Singers, Cantores Cleveland, and is associate choir director at St. Christopher’s by the River.

Ray Lyons, baritone, has performed with the Case Early Music Singers, Cleveland Opera Chorus, and Cleveland Orchestra Chorus, and in local church choirs including Old Stone Church, Cathedral of St. John the Evangelist, Trinity Cathedral, and Temple Emanu El, as well as the Church of the Ascension and St. Bartholomew’s Church in New York City.

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 completed a year of graduate study in Early Music Performance at Case Western Reserve.

Treasurer of Quire Cleveland, John is also a soloist at the Church of the Covenant in University Circle, and performs with several area choral ensembles, including Apollo’s Fire. As president of Karen McFarlane Artists, John manages concert careers and tours for many of the world’s great concert organists and choirs.

Jonathan William Moyer, baritone, maintains a dynamic career as organist, pianist, harpsichordist, and conductor. He is organist and director of music of the Church of the Covenant in University Circle and a lecturer in organ and harpsichord at the Baldwin-Wallace Conservatory of Music. Currently pursuing an artist diploma in organ at the Oberlin Conservatory of Music, he holds a doctor of musical arts degree in organ from the Peabody Conservatory of Music. Winner of second prize in the 2008 International Musashino Organ Competition in Tokyo, most recently he performed the complete organ works of Olivier Messiaen in Baltimore. He serves on the executive committee of the Cleveland AGO, and resides in Shaker Heights with his wife, organist Kaori Hongo, and sons, Christopher Sho and Samuel Kazu.

Ann K. Mullin, mezzo-soprano, is senior program officer at the George Gund Foundation, where she oversees the foundation’s grantmaking strategy for education. A native of Cleveland, she received her Bachelor of Musical Arts degree from the University of Michigan and her Master of Business Administration from the Weatherhead School of Management at Case Western Reserve University. Ann resides in Cleveland with her husband, Doug Vanneste, a Montessori teacher at Urban Community School, and their four young children.

Lisa Rainsong, soprano, leads a musical life that integrates composition, education, vocal performance, and natural history. A member of the music theory faculty of the Cleveland Institute of Music, she holds a DMA in Composition from CIM and is member of the Cleveland Composers Guild. She performs as both soprano soloist and as a choral musician, singing with such ensembles as Apollo’s Singers and Ensemble Lautenkonzert, as well as Quire. In addition, she earned a Naturalist Certificate from the Cleveland Museum of Natural History and teaches classes on bird song and insect song identification. More information on her musical and naturalist work can be found at LisaRainsong.com.

Beverly Simmons, mezzo-soprano, holds a doctorate in early music from Stanford University. Her career has included stints as a CWRU music professor, WCLV radio announcer, international artist manager, executive director, free-lance graphic designer, and mother of two. She founded the CWRU Early Music Singers, which she directed for 21 years; and has sung with Apollo’s Fire from its start, as well as with St. Paul’s Episcopal Church, Cleveland Opera Chorus, Congregation Bethaynu, and Temple Tifereth-Israel. Founder/manager of the concert series Chapel, Court & Countryside, and marketing director of Quire, she is also half of the cabaret duo, Rent-a-Yenta.

Sandra Simon, soprano, is at home performing opera, oratorio, 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 Chautauqua Institution. A frequent guest of the Cleveland Composers Guild, she is a core member of Panoramicos, and also a longstanding member of Actor’s Equity. She has recorded for Telarc, Koch International Classics, New World Records, Eclectra, and NPR labels.

Tyler Skidmore, tenor, holds a bachelor’s degree in music education from Mount Vernon Nazarene University and is currently completing his master’s in choral conducting and voice performance at Kent State University. As a choral music teacher at Medina High School, he directs six student choirs. Tyler has performed with other area choral ensem bles, including Opera Cleveland, the Cleveland Orchestra Chorus, and Apollo’s Fire. He also sings in the barbershop quartet, What’s Next? (with fellow Quire member Ian Crane), and directs music at the Wadsworth Church of the Nazarene.

Gail West, soprano, 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 Fire 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.

Orientis partibus1 Out from lands of OrientWas the Ass divinely sent.Strong and very fair was he,Bearing burdens gallantly.Heigh, oh heigh, Sir Ass, oh heigh.2 Hey, Sir Ass, you sing hee-haw,Your fair mouth’s a sulky maw;You shall have your fill of hay,Oats enough to cast away.3 Slow he went on lagging feetTill the rod began to beat,And the pointed goad to prick,Thigh and sides, and make him kick.4 In the hills of Sichem bredUnder Reuben nourishedJordan stream he traversedInto Bethlehem he sped.5 With his flapping ears and longLo the harnessed son of song.He is chosen: hear his call,Ass of asses, lord of all.

T EXTS & TRANSLATIONS

6 Higher leaped than goats can bound,Doe and roebuck circled round,Median dromedaries’ speedOvercame, and took the lead.7 Red gold from Arabia,Frankincense and, from Sheba,Myrrh he brought and, through the door,Into the Church he bravely bore8 While he drags long carriagesLoaded down with baggages,He, with jaws insatiate,Fodder hard doth masticate.9 Chews the ears with barley corn,Thistle down with thistle corn.On the threshing floor his feetSeparate the chaff from wheat.10 Stuffed with grass, yet speak and sayAmen, Ass, with every bray:Amen, amen, say again:Ancient sins hold in disdain.

—tr. Henry Copley Greene

Resonet in laudibus, cum jucundis plausibus. Let praises ring out and joyful acclaim: the one whom Mary bore has appeared to the faithful in Zion. Let all sing together to the boy, strike the harp for the newborn king, speak with a holy voice: he has appeared whom Mary bore. This day appeared in Israel, what Gabriel foretold has been fulfilled. Eia, eia, A virgin has given birth to God, as He wished in His divine mercy.

E la don, donAnd the lady lady, virgin Mary, How we will dance!1. Oh friends, this night a virgin gave birthto a child so fine, there’s no equal on earth.And the lady lady … 2. Tell us who told you that a virgin gave birth,for we never heard such a thing, good sir.3. The angels sang glory to God in the highest,for in Bethlehem town the child was found.4. Through signs we were told that truth would be wrapped in a very skimpy blanket, a small boy, the true God.

5. Peter approaches the true God and the Virgin, he brings them a bundle that is full of treats.6. Now Beltran, sing for love of the Holy Child and after, John will sing, and then they’ll give us sweets.7. He will sing his song for Jesus my good friend, who will save us from all harm while we sleep through the night.

Serenissima una noche A most serene night is made greater because of an infant. On a crisp day in December, made auspicious by the stars in the sky, Step to the dance, and to the sun/son who is born by the grace of the true God. Today everyone confesses their faith.

Ay ay galeguiñosOh, Galician folk, oh, I see him there, oh, I look at him, oh, I see him in a manger. Oh, the Son of God, oh, who came to earth. Oh, I see him there, oh, I look at him, oh, I see him in a little cradle.1 Ah, let songs be sung and dances danced. Ah, play the little flutes and sound the tambourines, and make funny faces for my little loves.2 Ah, let’s celebrate him there between the beasts. Ah, how hard it is for him, being noble, ah, to be born poor on earth for us sinners.

This 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.

Personent hodie voces puerulae1 On this day earth shall ring with the song children sing to the Lord, Christ our King, born on earth to save us; him the Father gave us, from the virgin’s own womb was he thus created.2 His the doom, ours the mirth; when he came down to earth, Bethlehem saw his birth; ox and ass beside him from the cold would hide him. Thus was lost all the spoils of the prince of darkness.3 God’s bright star, o’er his head, Wise Men three to him led; kneel they low by his bed, lay their gifts before him, praise him and adore him. Frankincense, gold, and myrrh were their offerings for him.4 All the clerics there be, all the children with thee sing like angels that he by the world unbounded praises now be sounded. Let there be to our God glory in the highest.

—tr. Jane M. Joseph/R. Duffin

1 In the bleak midwinter, frosty wind made moan; Earth stood hard as iron, water like a stone;Snow had fallen, snow on snow, snow on snow, In the bleak midwinter, long ago.2 Our God, heaven cannot hold him, nor earth sustain; Heaven and earth shall flee away when he comes to reign: In the bleak midwinter a stable place sufficed The Lord God Almighty, Jesus Christ.3 Enough for him, whom cherubim, worship night and day, A breastful of milk, and a mangerful of hay; Enough for him, whom angels fall down before, The ox and ass and camel which adore.4 Angels and archangels may have gathered there, Cherubim and seraphim thronged the air;But only his mother, in her maiden bliss Worshipped the beloved with a kiss.5 What can I give Him, poor as I am? — If I were a shepherd, I would bring a lamb,If I were a wise man, I would do my part — Yet what I can I give him — give my heart.

1 The holly and the ivy, when they are both full grown, Of all the trees that are in the wood, the holly bears the crown.Oh, the rising of the sun and the running of the deer,The playing of the merry organ, sweet singing in the choir.2 The holly bears a blossom as white as lily flower,And Mary bore sweet Jesus Christ to be our sweet savior.3 The holly bears a berry as red as any blood,And Mary bore sweet Jesus Christ to do poor sinners good.4 The holly bears a prickle as sharp as any thorn, And Mary boresweet Jesus Christ on Christmas Day in the morn.5 The holly bears a bark as bitter as any gall,And Mary bore sweet Jesus Christ for to redeem us all.

Hodie Christus natus estToday Christ was born, noel, noel. Today the saviour appeared, alleluia. Today the angels sing on earth and the archangels rejoice, noel, noel. Today the just exult, saying: Glory to God in the highest, alleluia.

Joseph est bien marié 1. Joseph is well married to a girl of Jesse’s line. It’s something new to be a mother and girl. God made it happen: Joseph is well married.2 And when this was at the beginning that God wanted to save us He made descend to earth his only son, Jesus, to take human form in Mary: Joseph is well married.3. When Joseph had perceived that the woman had conceived, He was not a happy husband, was angry with Mary, and wanted her to go away: Joseph is well married.4. But the angel said unto him: Joseph, don’t be spiteful. Your saintly wife, Mary, is pregnant with the fruit of life. She has conceived without sin: Joseph is well married.5. The angels came there to see the redeemer Jesus. With a very beautiful chorus, then with loud and pretty voices, “Gloria,” they sang: Joseph is well married.6. Now pray we devotedly with good heart and humbly, that peace, joy, and good life to implore lady Mary to our necessity: Joseph is well married. —tr. R. Duffin

Quelle est cette odeur agréable1. What is this agreeable fragrance, shepherds, that ravishes our senses?Does it not exhale something more than the mingling of spring flowers?2. But what a blinding light in the night that comes to strike our eyes.The star of day, without his chariot, was he ever so radiant?

3. Here are many other wonders! Great God, what hear I in the strains?What voices! Never have our ears heard concerts so beautiful.4. Fear not, ye faithful, listen to the angel of the Lord;He tells of a mystery that will fill you with joy.5. At Bethlehem, in a manger has just been born for you a saviour.Let us go, that nothing prevents you from adoring your redeemer.6. God all-powerful, glory eternal be rendered to you to the heavens,so that peace will be universal, so that grace abounds everywhere. —tr. R. Duffin

Ies8s ahatonnia1 Have courage, you who are humans, Jesus, he is born; Behold, the spirit who had us as prisoners has fled; Do not listen to it, as it corrupts our minds; Jesus, he is born.2 They are spirits with a message for us, the sky people; they are coming to say, “Rejoice” “Marie, she has just given birth. Rejoice.” Jesus, he is born. 3 Three have left for such a place, those who are elders; A star that has just appeared over the horizon leads them there. He will seize the path, he who leads them there; Jesus, he is born. 4 As they arrived there, where he was born, Jesus, the star was at the point of stopping, he was not far past it. Having found someone for them, he says, “Come here”; Jesus, he is born. 5 Behold, they have arrived there and have seen Jesus, They praised many times, saying “Hurray, he is good in nature.” They greeted him with reverence, saying “Hurray” Jesus, he is born.6 “We will give to him praise for his name. Let us show reverence for him as he comes to be compassionate to us. It is providential that you love us and wish, ‘I should adopt them.’” Jesus, he is born. — tr. John Steckley

1 Away in a manger, no crib for a bed, the little lord Jesus lay down his sweet head.The stars in the heavens look’d down where he lay, the little lord Jesus asleep on the hay.2 The cattle are lowing, the poor Baby wakes. But little Lord Jesus no crying he makes.I love thee, lord Jesus, look down from the sky, and stay by my cradle, to watch lullaby.3 Be near me, lord Jesus, I ask thee to stay close by me forever and love me I pray.Bless all the dear children in thy tender care, and take us to heaven to live with Thee there.

Judea1 A Virgin unspotted ye Prophet foretold, Should bring forth a Saviour which now we behold To be our Redeemer from Death, Hell, and Sin, Which Adam’s transgression involved us in. Then let us be merry, put sorrow away, Our Saviour Christ Jesus was born on this day. 2 Through Bethlehem’s city, in Jewry it was, That Joseph and Mary together did pass, And for to be taxed when thither they came, Since Caesar Augustus commanded the same. 3 But Mary’s full time being come, as we find, She brought forth her first born to save all mankind, The inn being full, for this heavenly guest, No place there was found where to lay him to rest. 4 But Mary, blest Mary, so meek and so mild, soon wrapt up in swadlings this heavenly child: Contented he laid him where oxen do feed; The great God of nature approved of the deed. 5 Then presently after, the shepherds did spy vast numbers of angels to stand in the sky; so merrily talking, so sweet they did sing, all glory and praise to our heavenly king. 6 To teach us humility all this was done, then learn we from thence haughty pride for to shun; A manger his cradle who came from above, the great God of mercy, of peace and of love.

Sherburne1 While shepherds watched their flocks by night, All seated on the ground, The angel of the Lord came down, and glory shone a round. 2 ”Fear not,” said he (for mighty dread had seized their troubled mind,) “Glad tidings of great joy I bring, to you and all mankind.”3 ”To you, in David’s town this day is born of David’s line, the Saviour who is Christ the Lord, and this shall be the sign:4 ”The heavenly babe you there shall find to human view displayed all meanly wrapped in swathing bands and in a manger laid.”5 Thus spake the seraph and forthwith appeared a shining throng of angels, praising God on high, and thus addressed their song.6 “All glory be to God on high, and to the earth, be peace; Good will hence-forth from heav’n to men begin and never cease.”

Shiloh1&2 Methinks I see an heav’nly Host of Angels on the Wing; Methinks I hear their cheerful notes, so merrily they sing. Let all your Fears be banish’d hence. Glad tidings I proclaim. For there’s a Saviour born today, and Jesus is His name.3&4 Lay down your crooks, and quit your Flocks, to Bethlehem repair; And let your wand’ring steps be squared by yonder shining Star. Seek not in Courts or Palaces; Nor Royal curtains draw; But search the Stable, see your God extended on the Straw.5&6 Then learn from hence, ye rural Swains, the meekness of your God, Who left the boundless Realms of Joy, to ransom you with blood. The master of the inn refus’d a more commodious place; Ungen’rous Soul of savage mold, and destitute of Grace.7&8 Exult ye Oxen, low for joy, ye Tenants of the Stall, Pay your obeisance; on your knees unanimously fall. The Royal guest you entertain is not of common Birth, but second to the Great I Am; the God of heav’n and earth.9&10 Then suddenly a Heav’nly Host around the Shepherds throng. Exulting in the threefold God, and thus address their song. To God the Father, Christ the Son, and Holy Ghost accord; The first and last, the last and first, Eternal praise afford.

O magnum mysteriumO great mystery and wonderful sacrament, that animals might see the newborn Lord cast into a manger. O blessed virgin, whose womb was worthy of carrying the Lord Jesus Christ. Alleluia.

In dulci jubilo1 In 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.2 O Little Jesus, I ever long for you; comfort my spirit, O Best of Boys; through your goodness, O Prince of Glory, draw me after you!3 O Father’s Love! O Son’s Gentleness! Deeply were we stained By Our Sin; but you have gained for us the Joys of Heaven. O that we were there!4 Where are the Joys in any place but there? There, angels are singing New Songs, and the bells are ringing in the King’s Court. O that we were there!

Es ist ein ros entsprungen1 A spotless rose is lowing, sprung from a tender root, of ancient seers’ foreshowing of Jesse promised fruit; its fairest bud unfolds to light amid the cold, cold winter, and in the dark midnight.2 The rose which I am singing, whereof Isaiah said is from its sweet root springing in Mary, purest maid; for through our God’s great love and might, the blessed babe she bare us in a cold, cold winter’s night.

Joseph lieber, Joseph meinJoseph dearest, Joseph mine, help me rock the little child. God will reward you in paradise, so prays the young mother, Mary. Eya. The virgin kneels to God on whom he wishes divine mercy. Let all now sing together, make praise at the birth of the King, with pious voice say: Glory be to our infant Christ. Today he appears in Israel, as Gabriel predicted: a King is born.

Wachet auf1 Awake! cries the voice of the watchmen in the tower: awake thou city of Jerusalem. Midnight is the hour; they call us with ringing voices: where are ye wise virgins? Up then, the bridegroom comes; arise and take your lamps. Alleluia! Make yourselves ready for the wedding: you must go forth to meet him.2 Zion hears the watchmen singing The maidens’ hearts with joy are springing They wake and quickly to Him go. Their Friend comes in Heav’nly splendor With graceful strength, with mercy tender Their light is bright, their star doth glow. Now come, thou worthy One; Lord Jesus, God’s own Son Hosanna! We follow all To that glad hall To our Lord’s table we are called.3 Gloria to thee be sung with mortal and angelic tongue, with harps and cymbals fine. Of twelve pearls are the portals; in thy city we are the consorts of the angels high around thy throne. No eye has ever seen, no ear has ever heard such pleasure; thus we rejoice, io, io, for ever in sweet jubilation. — Philip Nicolai (1556–1608)

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A CKNOWLEDGMENTS

Quire Cleveland is grateful to Music & Art @ Trinity, and especially to the Canon for Music and Worship, Dr. Horst Buchholz, for hosting Quire Cleveland in this glorious space.

In addition, we thank Gregory Heislman, Cathedral of St. John the Evangelist; David Rothenberg and Oxford University Press; and Rev. T. Conrad Selnick and Yuri Sato, Church of St. Christopher’s by the River, Gates Mills.

We also wish to thank our generous donors: Edward Alix, Peter Bennett, David Carver, Anne Cook, Gayle Crawford, Ross W. Duffin & Beverly Simmons, Jeremiah Heilman, Donald Hoffman, F. Jenkins, Dr. & Mrs. J. Adin Mann, Gerry McElliott, John McElliott, Duncan Neuhauser, Russell Oberlin, Joanne Poderis, Peter Pogacar, Mr. & Mrs. Harry Pollock, Justin T. Rogers, David Saffron, Shirley Simmons, Mr. & Mrs. Seymour Simmons, Jr., John West.

Thanks also to the CWRU Music Department, Church of the Covenant, 90.3 WCPN Ideastream, 104.9 WCLV, 89.7 WKSU, Ωort∞simo design, Beth Segal Photography, Ian Crane, Thomas Knab, Ann Mullin, David Simmons-Duffin, Marilyn Landis, 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.

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