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DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK JOHN SCOTT CONDUCTOR Matthew Martin (B

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DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK JOHN SCOTT CONDUCTOR Matthew Martin (B DANCING DAY MUSIC FOR CHRISTMAS SAINT THOMAS CHOIR OF MEN & BOYS, FIFTH AVENUE, NEW YORK JOHN SCOTT CONDUCTOR RES10158 Matthew Martin (b. 1976) John Rutter (b. 1945) Dancing Day 1. Novo profusi gaudio [3:36] Dancing Day Part 1 Music for Christmas Patrick Hadley (1899-1973) 17. Prelude [3:35] 2. I sing of a maiden [2:55] 18. Angelus ad virginem [1:55] 19. A virgin most pure [5:04] Benjamin Britten (1913-1976) 20. Personent hodie [1:57] A Ceremony of Carols, Op. 28 Part 2 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York 3. Procession [1:32] 21. Interlude [4:05] 4. Wolcum Yole! [1:24] 22. There is no rose [1:53] 3-15 & 17-24 5. There is no Rose [2:26] 23. Coventry Carol [3:54] Sara Cutler harp [1:46] 1 & 16 6. That yonge child 24. Tomorrow shall be my Stephen Buzard organ 7. Balulalow [1:21] dancing day [3:03] Benjamin Sheen organ 2 & 25-26 8. As dew in Aprille [1:02] 9. This little babe [1:30] Traditional English 10. Interlude [3:32] arr. Philip Ledger (1937-2012) John Scott conductor 11. In Freezing Winter Night [3:50] 25. On Christmas Night [2:00] 12. Spring Carol [1:14] (Sussex Carol) 13. Adam lay i-bounden [1:12] 14. Recession [1:37] William Mathias (1934-1992) [1:41] 26. Wassail Carol Benjamin Britten 15. A New Year Carol [2:19] Total playing time [63:58] Traditional Dutch arr. John Scott (b. 1956) About the Saint Thomas Choir of Men & Boys: 16. King Jesus hath a garden [3:20] ‘The tone of the New York trebles is sweet and healthy’ Soloists: 6 BBC Music Magazine John Dominick Mignardi Sehjin Jo 7 & 22 Daniel Suter, Leif Pedersen 11 ‘The choir bring a sense of freshness, vigour and refinement to these works’ Ian Osborne & Nicholas Rhodes 12 MusicWeb International Conor Frost, Nicholas Rhodes & John Dominick Mignardi 15 Augustine Segger 22 Dancing Day: Music for Christmas the harpist. Up to this point Britten had not yet decided on treble voices to sing the work: Benjamin Britten (1913-1976) he variously described it as for ‘children’s A Ceremony of Carols voices’ and for ‘women's voices’. For the concert on 4 December, it was described After spending three years in the United as ‘for boys’ voices’. The work was immediately States and Canada, Britten returned to welcomed by critics. The anonymous critic England in 1942. While waiting for a ship for The Times wrote on 22 December 1942 at Halifax, Nova Scotia, in March 1942 of the National Gallery performance that he bought a copy of The English Galaxy ‘the general effect is one of remarkable of Shorter Poems (edited by Gerald Bullett). spontaneity […] The series is something The voyage home was productive: not more than a ‘ceremony’; a group of only did he compose the Hymn to St exquisite short pieces which are a genuine Cecilia but also started work on a set enrichment of the repertory of carols.’ of carols, five of which were settings of medieval English texts from John Rutter (b. 1945) The English Galaxy. After he arrived Dancing Day in England (17 April), Britten added two further carols (’Wolcum Yole!’ and ‘Spring In 1973, the harpist Muriel Liddle asked Carol’). In this version (without ‘That John Rutter to compose a work for upper yongë Childe’ or the Interlude for harp), voices and harp. According to Rutter, Liddle A Ceremony of Carols was first performed hoped that ‘it would provide an occasional on 5 December 1942 in Norwich Castle, alternative, or indeed a companion piece’ sung by the women’s voices of the Fleet to Britten’s A Ceremony of Carols. While the Street Choir conducted by T.B. Lawrence, scale and scoring are similar, there’s also a with Gwendoline Mason as the harpist, crucial difference: Britten composed new repeating the work at the National Gallery settings of the texts, but Rutter based Concerts in London a few days later. Dancing Day on the traditional melodies Britten then revised the work into its as well. He was clearly attracted to the definitive form and this was given at challenge of following Britten (and Holst the Wigmore Hall on 4 December 1943 before him) in composing for a choir of with the Morriston Boys’ Choir conducted upper voices with harp. Described in the by Britten with Maria Korchinska as score as ‘a cycle of traditional Christmas carols’, Dancing Day was commissioned Patrick Hadley (1899-1973) The original version of Britten’s New Year William Mathias (1934-1992) by the West Midlands Arts Association I sing of a Maiden Carol was almost exactly contemporary Wassail Carol Op. 26 No. 1 and given its first performance in Coventry with Hadley’s I sing of a Maiden and it Cathedral on 26 January 1974, and it is Wounded in the final weeks of the First was also first published in 1936, as the After studies at Aberystwyth University and dedicated to Muriel Liddle. Rutter later World War (he lost part of his right leg), fifth of the ‘twelve children’s songs’ in the Royal Academy of Music (where he was wrote: ‘The first performance […] being Patrick Hadley went to Pembroke College, the collection Friday Afternoons for unison a pupil of Lennox Berkeley), Mathias quickly in Coventry Cathedral I couldn’t resist Cambridge, where his father was Master, voices and piano. The anonymous medieval made a name for himself as a composer of including the Coventry Carol (with its then to the Royal College of Music (RCM) text was drawn from Walter de la Mare’s vital, brilliantly scored orchestral music original vocal harmonies unaltered) in where he studied composition with Ralph 1931 anthology Tom Tiddler’s Ground. notable for their spicy harmonies (his first what turned out to be a cycle of six Vaughan Williams and conducting with Adrian In August 1971 Britten finished an two piano concertos are among his earliest carols, introduced by a harp prelude Boult. Hadley joined the staff of the RCM arrangement of the carol for high voices works). As a student in Aberystwyth, Mathias based on Angelus ad Virginem and in 1925 and his own compositions began (SSA) and piano, and this was published had composed a setting of the Gloria, and with a contrasting interlude inspired to be influenced the music of Delius and by Boosey and Hawkes the same year. in the early 1960s he began to produce a by There is no rose of such virtue, by folk music. In 1931 he composed The steady stream of church music – pieces another lovely medieval carol.’ Trees So High, a ‘symphonic ballad’, that John Scott (b. 1956) that he regarded as an extension of his was his first major work. His setting of ‘I King Jesus hath a Garden concert composing rather than as a separate Matthew Martin (b. 1976) sing of a maiden’ came a few years later: activity. The first performance of Mathias’s Novo profusi gaudio it was first published by the Year Book Both the words and music of King Jesus Wassail Carol was given at the Festival of Press in 1936 as No. 408 in its series of hath a Garden come from the Netherlands. Nine Lessons and Carols in King’s College, Like so many medieval carol texts, ‘unison and part songs’, and it was The text was published in 1577 and the Cambridge, on 24 December 1964, with Novo profusi gaudio (’News of great joy’) described as a ‘two-part song for female melody a few years later in 1609. Reprinted the King’s College Choir conducted by David is a linguistic mish-mash, a so-called voices with piano accompaniment’. A in the collection Het oude Nederlandsche Willcocks. The organ scholar that year was macaronic text combining Latin, English moving and tranquil setting of the same lied at the start of the twentieth century, the young Andrew Davis. and French. Marked ‘Festivamente’, medieval text that Britten was to include it was spotted by the priest and carol Matthew Martin’s setting is an energetic a decade later in A Ceremony of Carols collector George Ratcliffe Woodward, Philip Ledger (1937-2012) and exciting Christmas motet, driven (’As dew in Aprille’). Hadley returned to who asked his friend Charles Wood to On Christmas Night (Sussex Carol) by a flamboyant organ part. It was Cambridge in 1938 as a music lecturer harmonise the tune, the version in which first performed on 14 December 2010 and in 1944 composed his secular cantata, it became popular after being printed in The words of this carol were originally by the choir of Westminster The Hills. He continued to teach in the Cowley Carol Book in 1919. It was published in 1684 (in Ghent, Belgium) in Abbey conducted by Robert Quinney, Cambridge until his retirement in 1962. during his time as organ scholar at A Small Garland of Pious and Godly Songs and repeated at the Abbey’s Service St John’s College, Cambridge (1974–8) collected by Bishop Luke Waddinge for his of Lessons and Carols on 23 December. Benjamin Britten that John Scott made this arrangement. parishes in Wexford, Ireland. Given these A New Year Carol Irish-Belgian origins, it’s reasonable to ask how it came to be known as the ‘Sussex Carol’. The explanation is that on 24 May 1904, Vaughan Williams took down a version of the words and melody sung by Mrs Verrall of ‘Monk’s Gate, near Horsham, Sussex’ (his manuscript notes are headed ‘On Xmas Night’) and he subsequently included it in his Fantasia on Christmas Carols in 1912, as well as in carol collections including the first edition of the Oxford Book of Carols in 1928.
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