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Deck the Hall with Quire for Christmas! fa la la la la . quirecleveland.org 7th Annual Carols for Quire December from the Old & 4 ,5 & 6, 2015 New Worlds Trinity Cathedral Historic St. Peter’s downtown cleveland ross w. duffin artistic director elcome to the 7th annual production of Carols for Quire from the Old & New Worlds! Since Wour second season, Quire Cleveland has celebrated the holidays with music from around the globe (well, Europe & North America), spanning centuries from the Middle Ages to the present day. These concerts not only celebrate the multi-cultural community that is Northeast Ohio, but they also provide opportunities to collaborate with other artists. Through the Cleveland Composers’ Guild, we held a competition for a brand new work; last year, we engaged the best baroque instrumentalists in Cleveland (who also rank among the best in the world); and we’ve reached out to choral organizations throughout the region. Quire Cleveland programs are also a platform for modern-day premieres — exquisite and fascinating music that has lain dormant for centuries is reconstructed and/or edited for Quire by our artistic director, Ross Duffin. So you get to hear the earliest AND the latest in choral music! Music’s effect on the brain proves how essential singing is to humankind. Publications like This is Your Brain on Music (Daniel Levitin, 2006), The Music Instinct (Philip Ball, 2010), The Power of Music: Pioneering Discoveries in the New Science of Song (Elena Mannes, 2011), and Imperfect Harmony (Stacy Horn, 2013) show how both singing and listening to song produce satisfying and therapeutic sensations and even improve one’s neurochemistry. According to Civil Rights historian Bernice Johnson Reagon, singing is as elemental as eating or breathing, “because we are a singing people and that’s in the culture. ... It is that essential to your strength and your sanity.” We hope that YOU will join in the Quire — sing in the shower; hum around the house; croon in the car; warble at work; yodel in the yard; belt at the bar; harmonize with humanity — and always keep a song in your heart! Beverly Simmons Executive Director Save the dates! May 20–21, 2015 England’s Phœnix: William Byrd Glorious Motets & Anthems nestled around his magisterial Mass for 5 Voices with Pre-concert Lectures by Byrd’s biographer, Dr. Kerry McCarthy QClevelanduire Ross W. Duffin, Artistic Director 7th Annual Carols for Quire from the Old & New Worlds December 4, 2015 Trinity Cathedral December 5 & 6, 2015 Historic St. Peter Church PROGRAM Once in royal David’s city Henry John Gauntlett (1805–1876) (arr. Ross W. Duffin) Gail West, solo treble Joy Make we joy now in this fest Anon. 15th-century English (arr. RWD) Iloidcam ja remuidcam Anon. 16th-century Finnish (arr. RWD) Gaudete in Domino Giaches de Wert (1535–1596) Make we joy now in this fest William Walton (1902–1983) Shepherds Quem vidistis, pastores? Richard Dering (ca.1580–1630) Anthem from Luke Joseph Stephenson (1723–1810) Il s’en va loin de la terre, from L’Enfance du Christ Hector Berlioz (1803–1869) Flowers Ave rosa sine spinis Ludwig Senfl (ca.1486–1542/3) Meklētāja ceļš ir galā Andrejs Jansons (b.1938) There is a flow’r John Rutter (b.1945) Margaret Carpenter, solo soprano Intermission Christmas Day Christe, Redemptor omnium Guillaume DuFay (ca.1397–1474) Hodie Christus natus est Cipriano de Rore (1515–1565) Arise and hail the sacred day Stephenson Tomorrow shall be my dancing day William Sandys (1792–1874) (arr. David Willcocks) Following a Star Magi veniunt ab Oriente Jacobus Clemens non papa (ca.1510–1555) A un niño llorando al yelo Francisco Guerrero (1528–1599) I wonder as I wander American traditional (arr. Andrew Carter) Twelfth Night Reges de Saba venient Anon. 16th-century English (arr. RWD) Die zwölf heiligen Zahlen Anon. 16th-century German (arr. RWD) Twelve days of Christmas Anon. 18th-century English (arr. Ian Humphris) ABOUT QUIRE CLEVELAND Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage. With highly-trained professional musicians — who collectively represent 500 years of choral singing — the ensemble has earned both popular and critical acclaim. Quire contributes to the artistic life of our community in unique ways, including collaborations with such organizations as the Cleveland Museum of Art, Cleveland Composers Guild, Music & Art at Trinity, CityMusic Cleveland, The Cleveland Foundation, and many choirs and choral organizations. Now in its eighth season, Quire Cleveland has presented more than 50 concerts and produced five CDs of music from the 12th to the 21st centuries. Artistic Director Ross W. Duffin creates unique editions for Quire, and plans programs that are appealing and accessible. In addition to live and recorded broadcasts on classical radio, Quire recordings have been included in the Oxford Recorded Anthology of Western Music (OUP) and Listening to Music (Schirmer). An education program, initiated in 2014, offers free workshops and lectures. With concert videos posted on YouTube, Quire Cleveland’s reach has indeed been world-wide, attracting over 400,000 views from 198 countries. Soprano: Margaret Carpenter, Donna Fagerhaug, Gabrielle Haigh, Lisa Rainsong, Malina Rauschenfels, Gail West Alto: Megan Kaes Long, Joseph Schlesinger, Beverly Simmons, Jay White Tenor: Evan Bescan, Kevin Foster, Bryan Munch, Van Parker, Corey Shotwell Bass: Ian Crane, José Gotera, Nicolas Haigh, Nathan Longnecker, John McElliott, Michael McKay Organ: Nicolas Haigh k Quire’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook, have gained international renown. In addition to many of the carols in this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103), A Josquin Anthology, the St. Matthew Passion by Richard Davy, and A Performer’s Guide to Medieval Music. He has sung with Apollo’s Fire since its inception in 1992. NOTES Quire Cleveland’s seventh annual holiday program begins with the piece used annually by King’s College, Cambridge, to open their renowned Lessons & Carols service. My arrangement is based on the original by Henry George Gauntlett, but adds some harmonies and a new descant for the final verse. Continuing the King’s tradition, we invite you to join in singing the melody for verses 4 through 6. The rest of the program pairs old and new pieces on the same or related texts (as we recorded in the 3rd CD volume of Carols for Quire), using sets of related pieces from a wide range of time periods and places of origin. The first set, Joy, begins with a 15th-century English carol. The original survives with only two voice parts, to which I have added a third voice in the style of other pieces from the same source. That same lyric is used also for the last piece in the set, by William Walton. In between are a Finnish version of Gaudete, from Piæ Cantiones (sung in Latin on the CD Carols for Quire, volume 2). That 1582 collection was republished with Finnish versions of the lyrics in 1616, though no music was included. I’m not aware of any setting of the Finnish lyrics to the music of the Latin original, so this may be a premiere of sorts. The third piece of the set is a short motet by the great Franco-Flemish Renaissance composer Giaches de Wert. Next we focus on the role of the Shepherds in the Christmas story. Because of his Catholic faith, the English Renaissance composer Richard Dering spent many years working on the continent, but returned to become musician to Henrietta Maria, the Catholic bride of Charles I, in 1625. His motet contrasts the high-voice questioner against the lower voices of the shepherds in a charming dialogue. The composer of the next piece, Joseph Stephenson, lived and worked in England, but his music so suited American taste that much of it was republished in this country and, indeed, it sounds a lot like home-grown shape-note music. The final piece of the set is the shepherds’ farewell to the Holy Family as they leave Bethlehem, from L’Enfance du Christ by Hector Berlioz. Our Flowers set begins with the extraordinary Ave rosa sine spinis by the Swiss composer Ludwig Senfl. He spent a good part of his career at the Bavarian court in Munich, as music director to the court of Duke Albrecht. His “rose” motet is a trope — a verbal expansion — of the prayer Ave Maria, which you can see embedded in all caps in the text. This work is followed byMeklētāja ceļš (The Christmas Rose), by the Latvian composer Andrejs Jansons, in which echoes of Slavic and Eastern European folksongs can be heard. The first half of the program ends with John Rutter’s There is a flower. His setting of an early 15th-century poem by John Audelay was a commission from the Choir of St.
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