A Cavalier Christmas

The Ebor Singers Chelys Consort of Paul Gameson conductor A Cavalier Christmas (1583-1625) 1. See, see the Word is incarnate [7:22] 14. O God that guides the cheerful sun [4:13] William Byrd (c. 1539/40-1623) A Carol for New-year’s Day 2. Behold I bring you glad tidings [6:02] Total playing time [66:28] Richard Dering (c. 1580-1630) The Ebor Singers 3. Laetamini cum Maria [2:44] Chelys Consort of Viols 4. Quem vidistis, pastores [2:38] Paul Gameson conductor (1586-1630) 5. O quam tu pulchra es [3:26]

Martin Peerson (c. 1572-1651) 6. Upon my lap my sovereign sits [9:58]

William Lawes (1595-1662) 7. Aire [3:22]

Henry Lawes (1595-1662) 8. Hark, shepherd swains [3:48]

George Jeffreys (c. 1610-85) 9. Hark, shepherd swains [5:08] for the Nativity of our most blessed Saviour 10. Busy time this day [3:59] About The Ebor Singers: for the Blessed Innocents Day 11. Brightest of days [3:54] ‘They are a perfectly balanced group [...] A beautiful disc in fine sound‘ for Epiphany The Yorkshire Post John Jenkins (1592-1678) ‘The choir sing with unanimity and a good blend’ Newark Siege Early Music Review 12. Pavan [6:51] 13. Galliard [2:56] A Cavalier Christmas Jesus’s life, setting an original text by Godfrey Goodman, a Catholic-leaning chaplain to James The was one of the most I and his queen. Gibbons’s music was copied turbulent periods of English history, as king and published throughout the mid-seventeenth and parliament wrestled for influence over century, but was eclipsed in this regard by the other: the consequences destabilised William Byrd (c. 1539/40-1623) – a Catholic and eventually redefined the country’s who nevertheless worked at the Chapel political, social and religious landscape. Royal under Protestant monarchs Elizabeth During the early days of the Civil War, the I and James I. Behold, I bring you glad Puritan-influenced parliament sought to tidings is a contrafactum of the abolish holy days, and in particular Ne irascaris, which was widely disseminated Christmas Day, ‘the Old heathen’s Feasting throughout the century in Latin and English; Day in honour of Saturn their Idol-God, while most English versions retained the the Papist’s Massing Day, the True Christian penitential theme but failed to capture the Man’s Fasting Day’. By contrast, first in inflexion of the original Latin in the music, and then at his war-torn court in the text of this setting matches the Latin Oxford, Charles I continued to celebrate underlay perfectly. However, the Christmas Christmas in style, assembling the best message could not be further removed musicians and poets to provide from the original’s sentiment of a Catholic entertainment alongside other festivities. recusant, and one is left unsure whether Royalist poets, including Richard Herrick, any thought went into this pairing of text wrote Christmas odes that were performed and music, or if it were an intentional before the King at Oxford. subversive re-working of the original. Either way, however, it was the performance of We begin our own celebration looking back such anthems/ that maintained the to music from the early part of Charles I’s impression that Charles I had High Church reign. Orlando Gibbons (1583-1625) was or worse, Catholic sympathies. This version a musician in the but died appears in the ‘Caroline’ part books from when the Chapel accompanied Charles to Peterhouse College, Cambridge, which reflects Canterbury to meet his queen, Henrietta- the elaborate style of worship there under Maria, for the first time. Gibbons’s verse the mastership of John Cosin (1594-1672), anthem See, see the Word is incarnate who was closely associated with Charles I explores a wide range of themes from and his queen Henrietta-Maria. Charles had inherited Gibbons from the homophonic motet style of with Charles I’s court, both in London and work that depicts the battle, mourning the musical establishment of his father, but he (1560-1628, another English émigré in Oxford. Sources of cycles of texts for dead and celebrating victory. There were was keen to encourage of his ) and Heinrich Schütz (1585-1672) Christmas by ‘Cavalier’ poets such as several sieges of Newark, but it is possibly own generation – Richard Dering (c. 1580- rather than the polyphonic Latin works of William Cartwright (1611-1643), Robert the second (February-March 1644, relieved 1630), William (1602-1645) and Henry Byrd that Dering would have known when Herrick (1591-1674) and Richard Crashaw by Prince Rupert before he marched north) Lawes (1595-1662), and George Jeffreys he left England. Publications of Italian (c. 1613-1649) written for Charles during this or third (November 1645-May 1646, which (c. 1610-85). The works of Dering and small-scale concertato motets were available period survive, but the music does not. It only ended following the King’s own Alessandro Grandi (1586-1630) reflect from London booksellers; for instance, is tempting to consider Lawes’ piece and surrender to Parliament) that Jenkins is music at Henrietta-Maria’s private chapel, Jeffreys purchased many such books for his Jeffreys’ Christmas sequence as part of this responding to. at Somerset House while the court was still employer Sir Christopher Hatton III (1605- tradition, using the musical form of the verse in London, and then at Merton College 1670) of Kirby Hall in Northamptonshire. anthem but more like odes, intended for Described as ‘A Carol for New-year’s Day’, once the court had moved to Oxford. The Hatton joined Charles I’s court at Oxford the King’s Chamber rather than his Chapel. William Byrd’s six-part O God that guides Catholic liturgy which was displayed bare- in 1643 when, according to Anthony Wood, The three Christmas feasts selected by the cheerful sun effectively combines the faced confirmed for some that the Queen Jeffreys became organist for the king. It is Jeffreys – Nativity, Holy Innocents, Epiphany genres of solo song and consort anthem, was intent on converting the King to likely that his own conceratato motets, – were popular during Elizabeth’s reign and with two separate verses given by a soprano (indeed, French agents close to the Queen alongside those of Dering and Italians such are represented in the texts for Charles’s solo and five viols, followed by a six-voice hoped she would). Dering had converted as Grandi – all copied by Jeffreys while in Christmas odes. The works by Lawes and chorus. This structure of few voices for the to Catholicism while travelling in Europe in Oxford – enhanced the liturgy of Henrietta- Jeffreys are scored for chamber ensemble, verse and tutti for the chorus has been a the 1610s, and following an appointment Maria’s Catholic chapel. well suited to Charles’s limited resources in consistent method adopted for arranging in Brussels, he returned to England in 1625 Oxford, but equally to clandestine services carols from medieval times, and it can also as organist to Henrietta-Maria. It is likely Martin Peerson (1571-1650) was Master of both composers were writing for during be seen in Lawes’ and Jeffreys’ pieces. O that Dering’s small scale motets such as the Choristers of St Paul’s Cathedral during the Commonwealth. Jeffreys, particularly, God that guides appears in Byrd’s final Laetamini cum Maria were written for the reign of Charles I and, more fortunate shows a familiarity with the Italian style published collection of music, Psalmses, the Queen’s chapel, and they show the than some of his contemporaries, received demonstrated by abrupt harmonic shifts and Songs, and Sonnets of 1611. influence of Italian composers such as a stipend once services were discontinued expressive melodic writing. Grandi and Antonio Cifra (1584-1629). under the Protectorate. Upon my lap my © 2017 Paul Gameson Dering’s small scale motets remained sovereign sits, from Private Musicke for player and John Jenkins had popular after his death – indeed, Oliver Voyces and Viols (1620) is a simple syllabic been active at court before the English Civil Cromwell (1599-1658) was quite taken by air, a lullaby sung by the Blessed Virgin Mary. War, but when hostilities broke out he, like them – but were not published until after many others, migrated to the rural countryside. the Restoration. Quem vidistis, pastores was The anonymous text Hark, shepherd swains He was close to musicians at the Oxford court, published in Antwerp in his Cantica Sacra was set by and George Jeffreys. including the Lawes brothers and Anthony of 1618 and demonstrates the Continental Lawes, like Jeffreys, was closely associated Wood. Newark Siege is an extraordinary Texts & translations Lord; with Alleluia, we triumph in victory, the serpent’s head is bruised, Orlando Gibbons (1583-1625) Christ’s kingdom exalted, 1. See, see the Word is incarnate and heaven laid open to sinners. See, see the Word is incarnate; Amen. God is made man in the womb of a Virgin. Shepherds rejoice, wise men adore Bishop Godfrey Goodman (1583-1656) and angels sing ‘Glory be to God on high: peace on earth, good will towards men.’ William Byrd (c. 1539/40-1623) 2. Behold I bring you glad tidings The law is cancelled, Jews and Gentiles Behold I bring you glad tidings of great joy, converted by the preaching of glad tidings which shall be to all people. of salvation. For unto you is born this day a saviour, The blind have sight and cripples have their which is Christ the Lord. And there was motion; diseases cured, the dead are raised, with the angels an host of heavenly soldiers, and miracles are wrought. praising God and saying: Let us welcome such a guest with Hosanna. Glory be to God on high, and peace on earth, goodwill towards men. The Paschal Lamb is offered, Christ Jesus made a sacrifice for sin. Luke 2, vv. 10-11, 13-14 (King James Version) The earth quakes, the sun is darkened, the powers of hell are shaken; and lo, he is risen up in victory. Richard Dering (c. 1539/40-1623) Sing Alleluia. 3. Laetamini cum Maria Laetamini cum Maria, omnes qui diligitis eam, See, O see the fresh wounds, quoniam in prole mater, in partu virgo. the gored blood, the prick of thorns, Gaude et laetare, virgo mater Domini. Alleluia. the print of nails. And in the sight of multitudes a glorious ascension. Rejoice and be glad with Mary, all ye that love her. Who, in offspring a mother, in birthgiving a virgin, When now he sits on God’s right hand where rejoice and be glad, virgin mother of the Lord. Alleluia. all the choir of heaven all jointly sing: Glory be to the Lamb that sitteth on the throne. Antiphon, Little Office of the Blessed Virgin Mary Let us continue our wonted note with Hosanna: Blessed be He that cometh in the Name of the

4. Quem vidistis, pastores You have ravished my heart with Henry Lawes (1595-1662) to groan too you cannot signify; when his Quem vidistis, pastores? one glance of your eyes, 8. Hark, shepherd swains precious death shall abide fixed by your side, Dicite, annuntiate nobis, and with one hair of your neck. & ye then shall sum into eternity. in terris quis apparuit. Arise, make haste my love, my dove, George Jeffreys (c. 1610-85) Natum vidimus et choros angelorum my fair one, my immaculate one. 9. Hark, shepherd swains Anonymous collaudantes Dominum, Alleluia. for the Nativity of our most blessed Saviour Song of Songs 4, vv. 9 & 11 Hark, shepherd swains; awake, give ear and Whom did you see, shepherds? banish fear. Behold, good news I bring to you, 11. Brightest of days Speak and tell us: which shall accrue great joy of heart to all that for Epiphany who has appeared on earth? Martin Peerson (c. 1572-1651) dwell in Israel. To you in Bethlehem there is Brightest of days, blessed with two lights more, We saw the new-born and choirs of 6. Upon my lap my sovereign sits born today a saviour Christ, the Lord, whom A sun and star, than any day before; angels praising the Lord. Alleluia. Upon my lap my sovereign sits heavens obey. To try the truth, haste on and Show us this glorious babe for which the sky, And sucks upon my breast; ye the babe shall see. Sweet babe, fair spark Besides its thousand old, gets a new eye. Responsory, Matins, Christmas Day Meantime his love maintains my life of heavenly light, so poorly dight in clothing The patriarch’s hope is full, thus Abram’s seed And gives my sense her rest. mean, most like a wretch lodged in a catch. Exceeds the stars, and makes the stars exceed. Sing lullaby, my little boy, But now in honour of this mean born king, Study the heavens all, and learn to know Alessandro Grandi (1586-1630) Sing lullaby, mine only joy! hark how my fellow soldiers sweetly sing: The star above, the Jacob’s staff below. 5. O quam tu pulchra es All glory be to God above, whose gracious His glorious attendants move on high, O quam tu pulchra es, amica mea, When thou hast taken thy repast, love this Prince of Peace has sent, whose Although by ox and ass himself doth lie. columba mea, speciosa mea. Repose, my babe, on me; birth rings peace on earth, in whom by faith So Lord, thou drawers to thee souls of each size, Favus distillans labia tia, sponsa, So may thy mother and thy nurse may all mankind God’s favour find. Now then By the ass the simple, by the star the wise. mel et lac sub lingua tua, Thy cradle also be. both heaven and earth keep holy day, et odor vestimentorum tuorum Sing lullaby, my little boy, and jointly sing we all, Alleluia. Anonymous sicut odor thyris. Sing lullaby, mine only joy! Vulnerasti cor meum, soror mea, Anonymous in uno osculorum tuorum, Richard Rowlands (1565-1630) William Byrd et in uno crine colli tui. 14. O God that guides the cheerful sun Surge propera, amica mea, columba mea, George Jeffreys A Carol for New-year’s Day formosa mea, immaculata mea. 10. Busy time this day O God that guides the cheerful Sun, for the Blessed Innocents Day By motions strange the year to frame, How fair you are, my love, Busy time this day, Thou may’st go sleep or Which now returned whence it begun, my dove, my fair one. play, the groans of infants slain do count thy From heaven extols thy glorious name. Honeycomb drips from your lip, my bride, moments for thee, and their pain procures thy This new-year's season sanctify, honey and milk are under your tongue, ease and gain. But blessed babes, all your With double blessings of thy store, and the scent of your garments is like laments and woes Are but like cyph’ring O’s. That graces new may multiply, the scent of incense. Herod did miss the figure, and til he comes And former follies reign no more. With gr P Anon Amen. And bothgiv So shallourheartswithhea With Ang Tha New w As newbornbabesfr New lif New cr Old AdamLor Th’ erf old y t w orming editionsbyP ymous e th edding g e bec ea a ear byc t els brigh e tur ful thank y f omes theNew es mak e laudandpr ace inhea d fr armen our om use t oursouls se ispas e usev s t om malicek o DrJona ts OChris v en ma aul Gameson xpel: aise t ery one, - t andgone, y v ear w en agr o sa y see o thee. than W t w eep, v ell. e cr e. ee, a ainwrigh v e: t

Paul Gameson The Ebor Singers period in the English Civil War, the Siege The members of Chelys are active in the Paul founded The Ebor Singers initially to of York. wider early music world, playing with develop his own research into English and Acclaimed for performances and recordings ensembles such as the Rose Consort of French seventeenth-century repertoire, but that sparkle with fresh insight and vibrant www.eborsingers.org Viols, the Orchestra of the Age of in more recent years he has enjoyed musicality, The Ebor Singers has earned a Enlightenment, and . They are collaborative projects with composers such reputation as one of the most exciting vocal keen teachers and can be found on courses as Kerry Andrew and Ambrose Field. ensembles in the north of England. The choir Chelys Consort Of Viols around the UK and abroad, including the draws its members from professional and Benslow Trust, NORVIS, Dartington, the As a choral director he has given choral professionally-trained amateur singers in Chelys take their name from the ancient Irish Recorder and Viol Summer School, workshops in the UK and abroad. the region. The choir was founded in 1995 Greek word which referred to a bowed lyre, the Easter Early Music Course, and by their director, Dr Paul Gameson, as part said to have been invented by the god coaching school, university and music of his ongoing research into French and Hermes. The word was borrowed by college viol consorts. English vocal music of the seventeenth renowned English violist Christopher Simpson century, and this repertoire remains a focus on the title page of his treatise ‘The Division www.chelysconsort.co.uk of the group. The choir is also committed to Viol’ when he translated the work into the promotion of new music, encouraging Latin. It is perhaps particularly apt then that young composers to write for voices – the group’s debut album was the world Paul Gameson (conductor) notably through the NCEM Young Composers premiere recording of Simpson’s Airs for Award and their own St Cecilia Commissions two trebles and two basses, a disc Dr Paul Gameson is an Associate Lecturer at – and maintaining strong links with enthusiastically reviewed by early music the University of York, where he completed composers, including Kerry Andrew, publications and wider classical reviewers his PhD on sacred music in seventeenth- Philip Moore and Ambrose Field. alike, including four stars in The Guardian. century France. His continuing research includes the dissemination of French music As well as their concert series held in York The members of Chelys are leading exponents from this period in English manuscripts, and Minster, the choir has performed in festivals of the viol, particularly as a consort instrument, the social, political and musical influences in the UK and abroad, and leads education and their consort viols are strung entirely in on English sacred music during the English and composition workshops, including the gut (not strings overwound with metal) as Civil War. NCEM Young Composers Award. They are also would have been the case historically, which an Associate choir at York Minster, and lends a particularly distinctive sound to the His editions have been published by York regularly sing services there. This is the group. They frequently collaborate with other Early Music Press and have been used by group’s second disc for Resonus Classics; period instrumentalists and singers, and have groups including the Gabrieli Consort and the first, Music for Troubled Times also had music written for them by award Corona Coloniensis. (RES10194), explores music from another winning composer Jill Jarman.

The Ebor Singers Soloists Emma Delaney Track 1 Sopranos Moira Johnston Tracks 8-9 Emma Delaney Anna Snow Tracks 3 & 8-11 Katherine Harper Laura Baldwin Track 14 Moira Johnston James Cave Track 6 Charlotte Livesley Jason Darnell Tracks 3, 5, 6 & 10-11 Anna Snow Pierre Dechant Tracks 1 & 6 Clare Steele-King Paul Gameson Tracks 8-11 Helen Webb Jones Jonathan Hanley Track 1 Christopher O’Gorman Tracks 5 & 8-11 Altos Sam Hucklebridge Tracks 1, 3, 5, 6 & 8-11 Laura Baldwin James Cave Louisa Dobson Chelys Consort of Viols Charlotte Nettleship-Philips Adam Piplica Ibrahim Aziz Sammi Tooze Jenny Bullock Alison Kinder Tenors Susanna Pell Jason Darnell Sam Stadlen Pierre Dechant Paul Gameson Organ: David Pipe Jonathan Hanley Directed by Paul Gameson Christopher Hughes James Gereats Christopher O’Gorman

Basses Timothy Ferguson Sam Hucklebridge Ben Philips Paul Tyack Robert Webb More titles from Resonus Classics Music for Troubled Times: The English Civil War & Siege of York The Ebor Singers & Paul Gameson (conductor) RES10194

‘[...] there’s much to enjoy. [...] These committed and sympathetic performances take wing’ Gramophone

To Bethlehem: Carols & Motets for Christmas Kantorei of Kansas City Chris Munce (director) RES10175

‘Their singing is exceptionally good: flawless intonation coupled with an irresistible warmth and depth’ The Arts Desk

© 2017 Resonus Limited è 2017 Resonus Limited Recorded in the National Centre for Early Music, York, on 2-3 March 2015 Producer: Matthew Bennett Engineer: David Rose Executive producer: Adam Binks Cover image: Winter forest by mammuth (iStock)

RESONUS LIMITED – UK

[email protected] www.resonusclassics.com RES10202