A CEREMONY OF CAROLS d Wie schön leuchtet der Morgenstern [1.21] f Now may we singen Cecilia McDowall (b.1951) [3.15] g Puer natus in Bethlehem Michael Praetorius [5.17]

Total timings: [62.46] 1 Drop down, ye heavens, from above Judith Weir (b.1954) [1.49] 2 Es ist ein Ros entsprungen Michael Praetorius (1571-1621) [2.32] 3 Lo, how a rose e’er blooming David Blackwell (b.1961) [3.43] 4 Resonet in laudibus Michael Praetorius [3.16] CHOIR OF THE QUEEN’S COLLEGE, OXFORD 5 The Three Kings Jonathan Dove (b.1959) [4.31] OWEN REES DIRECTOR

A Ceremony of Carols Benjamin Britten (1913-1976) LUCY WAKEFORD HARP 6 Procession [1.28] 7 Wolcum Yole! [1.26] www.signumrecords.com 8 There is no Rose [2.29] 9 That yongë child [1.49] 0 Balulalow [1.27] In 1942 Benjamin Britten sailed from America Street Choir, but by the time of publication the q As dew in Aprille [1.01] – where he had lived since 1939 – back to war- following year the work had become a piece ‘for w This little Babe [1.27] torn England. Before tackling the journey across treble voices’. Of the seven carols composed e Interlude [4.10] the Atlantic, the ship stopped in Halifax, Nova during the voyage, the texts of five were taken r In Freezing Winter Night [4.06] Scotia, and while there Britten bought a copy of from the anthology which Britten had purchased t Spring Carol [1.05] The English Galaxy of Shorter Poems, edited by in Halifax. Indeed, the idea of a Christmas y Deo Gracias [1.06] Gerald Bullett. As he noted in correspondence, sequence might well have germinated as he leafed u Recession [1.48] Britten used the twelve-day voyage to Liverpool through the first few pages of the book: the third, to complete his to St Cecilia ‘as well as fourth, and fifth poems in the volume are Adam i In dulci jubilo Michael Praetorius [2.55] 7 Christmas Carols – one had to alleviate the lay ibounden, There is no rose of such vertu, and o Good-will to men, and peace on Earth Dobrinka Tabakova (b.1980) [2.27] boredom’. These seven carols, written for women’s I sing of a maiden. The first of these became p O virga ac diadema Hildegard von Bingen (1098-1179) [5.18] voices and harp, were to form the core of his A the final carol in the Ceremony (there entitled a Michael Praetorius [1.01] Geborn ist Gottes Söhnelein Ceremony of Carols, Op. 28. The first performances ‘Deo Gracias’, the poem’s closing words, which s The Owl Toby Young (b.1990) [1.54] in 1942 were by the women’s voices of the Fleet Britten used as a refrain), preceding the plainsong

- 3 - Recession, while I sing of a maiden was given notes for the first recording of the work) wrote movement together (including the extraordinary Young (2017), and Cecilia McDowall (2007). At the title ‘As dew in Aprille’ (a striking simile in 1943 about how Britten here eschewed all concluding passage where the music gradually one point we interrupt the pattern of alternation that recurs in the middle three stanzas) in the sentimentality, creating fresh, vivid, and taut dissipates into silence) is another fragment to look back half a millennium further than Ceremony. The next group of Christmas poems expressions of clear-cut (if sometimes rapidly of plainchant, and indeed the most famous Praetorius, with Hildegard von Bingen’s O virga in Bullett’s anthology are four by the Elizabethan shifting) emotions: ‘This is not a nineteenth- chant motive of the middle ages and the early- ac diadema. Praetorius’s settings themselves poet and Catholic missionary priest Robert century Christmas…the picture is edged with a modern period: the opening of the Salve regina. highlight the longevity of much Christmas music: Southwell, from which Britten selected Behold, mysterious brightness – the figure of Innocence (The motive is thus not, as sometimes claimed, the texts and melodies of Resonet in laudibus, In a silly tender babe (entitled ‘In Freezing Winter undertowed by a distant sadness.’ The delicious simply an evocation of bells.) Britten thus brings dulci jubilo, Wie schön leuchtet der Morgenstern, Night’ in the Ceremony) and This little Babe. mixture of the viscerally direct and the mysterious Mary and Christ together musically at the centre and Puer natus in Bethlehem, for example, already Britten also wrote out onto blank pages of the – and of joy and melancholy – is achieved often of the Ceremony by combining two plainchants, had long histories at the time that Praetorius book two verses from a sixteenth-century Scots through the quick alternation of major and the juxtaposition evoking the endless published his settings – many of them in the carol, beginning ‘O my deare hert, young Jesu minor, as in the portrayal of the song of the representations of the Mother and Child in then fashionable dramatic double-choir style sweit’, entitled ‘Balulalow’ (the name of the nightingale in ‘That yongë child’, and throughout medieval and Renaissance art. In this movement – and they enjoy a strong presence in modern tune to which it was originally sung) in the ‘Balulalow’, while both ‘This little Babe’ and ‘Deo and in the addition of the plainchant Procession Christmas repertories through various settings Ceremony. Among the other manuscript additions Gracias’ – which are predominantly in the minor and Recession to frame the work and to evoke and arrangements. We draw attention to such to the book are two lines from the well-known – end in major-mode exultation. The intersection ritual, we can see connections between A continuities by means of one specific pairing of Latin carol Resonet in laudibus, which Britten and integration of old and new in the ‘7 Christmas Ceremony of Carols and the nineteenth-century old and new: Praetorius’s famous setting of clearly wrote down from memory, given the carols’ composed at sea was made still more Anglo-Catholic liturgical revivals and broader Es ist ein Ros entsprungen and David Blackwell’s mistakes which he made in the Latin. explicit in musical terms in some of the items neo-medievalist movements. treatment of the same tune and text, in the which Britten added to complete the Ceremony English version Lo, how a rose e’er blooming. Britten’s Ceremony of Carols thus encapsulates, after his return to England. At the centre of On this album we frame Britten’s Ceremony with as a project, the intersection of old and new the whole work – and the longest movement a broader juxtaposition and exploration of old Within a relatively short publishing career, which has been a pervasive feature of Christmas within it – stands the powerful and poignant and new in Christmas music. The programme from 1605 to his death in 1621, Praetorius music since the nineteenth century. But more harp Interlude. Most obviously, this is based alternates between the early seventeenth century disseminated through print an astonishingly specifically it has – since the 1940s – been upon the plainsong ‘Hodie Christus natus – works by that most prolific composer and rich array of music for Lutheran liturgical use, viewed simultaneously as a signal of Britten’s est’ which Britten added as the framing arranger of Lutheran Christmas music, Michael focusing particularly on settings of traditional turn back towards English musical and cultural Procession and Recession of the cycle; but the Praetorius – and the present: music by Judith melodies (especially ). Writing for double traditions and as a distinctly modern composition. four-note ostinato motive which accompanies Weir (1984), David Blackwell (2011), Jonathan choir predominates in the early volumes of his Edward Sackville-West (who provided the liner that plainsong and which binds the whole Dove (2000), Dobrinka Tabakova (2018), Toby monumental series Musæ Sioniæ, which includes

- 4 - - 5 - (in the second volume, 1607) the settings of the ‘alleluia’ which ends every verse, and also of the text for two, three, and four voices outburst of incandescence at ‘Fear not, for I will In dulci jubilo and Puer natus in Bethlehem through switches between triple and duple metre, respectively. His treatment of the hymn melody save thee; For I am the Lord thy God’, where the presented on this disc. Both represent the a device which is still more prominent in his (which he adapted from that of the Latin hymn chant – through still present – is surrounded by an prominence of macaronic texts – mixing elements six-voice setting of Resonet in laudibus, published Puer nobis nascitur, and which is familiar now aureole of up to seven-part writing. in Latin and the vernacular – in the Christmas in Eulogodia Sionia in 1611. The close echoing through its use for ‘Come, thou Redeemer of the repertory of the middle ages and beyond, and of the top two voices at the opening here is earth’) is playfully elusive: in the opening duet it The most telling moment in David Blackwell’s more generally the juxtaposition of Latin and a nice play on the first word, ‘resonet’, and acts as the lower ‘supporting’ voice until the last arrangement of Lo, how a rose e’er blooming (in German which was quite common practice in Praetorius’s gift for textural drama is to the fore phrase, when it suddenly shifts to the top voice origin, the German Es ist ein Ros entsprungen Lutheran churches. The opening stanza of In in the high-spirited repetitions of ‘eia, eia’ for high an octave higher, and these two voices continue as set by Praetorius) is likewise achieved dulci jubilo (which is all that Praetorius sets in voices, low voices, and the full ensemble. to take turns in singing phrases of the melody by transformation of the familiar melody. At this version) switches constantly between Latin in the other two verses. the beginning of the third verse, to evoke the and German, while in Puer natus in Bethlehem Praetorius’s published collections demonstrate ‘radiance’ and ‘glorious splendour’, dispelling the first verse of the medieval Latin hymn is his commitment to providing settings of chorales The links between old and new among the modern the darkness, Blackwell transports the melody to then repeated in German translation (‘Ein Kind and other traditional melodies in a broad works on the recording are at their strongest a higher key and pitch, floating magically above geborn zu Bethlehem’), whereafter the Christmas spectrum of styles from grand and complex to in the opening work, Judith Weir’s setting of the the sustained key-note of the piece and evoking the scene is presented in German, with a return to simple four-part chordal harmonisations. The Advent Prose Drop down, ye heavens, from above. meeting of heaven and earth at the Incarnation. a mixture of Latin and German stanzas for the latter end of the spectrum is represented in the Weir’s setting is a treatment of the plainsong concluding offering of praise. This particular sixth volume of his Musæ Sioniæ series (1609), melody; she includes the opening antiphon Dorothy L. Sayers’s striking reimagining of the German translation of the Latin hymn, and the which includes two recorded here: Es ist and the fourth verse (‘Comfort ye, comfort ye my story of the Magi, ‘The Three Kings’, was published associated melody, date from the mid sixteenth ein Ros entsprungen and Philipp Nicolai’s Wie people…’) in which the promise of salvation in her first book of poetry in 1916, in the midst century. The resplendent eight-voice textures schön leuchtet der Morgenstern (known to English- is given, and then (as occurs in liturgical of the Great War. Sayers portrays the kings as, and chiming dialogues between the two choirs speaking audiences as ‘How brightly shines performance) repeats the antiphon. The texture successively, ‘very young’, ‘a man in prime’, and produce vivid evocations of communal rejoicing the morning star’). Likewise simple in texture for most of the piece – including the hushed ‘very old’, and the gifts they bear are presented in In dulci jubilo, and the whole work is an is the dance-like Geborn ist Gottes Söhnelein, opening and closing sections – is evocative of in the reverse of the conventional biblical exuberant exercise in reworking and varying which Praetorius published as part of a series simple medieval techniques for harmonising order: the young king brings myrrh, the second the melodic phrases of the traditional melody. of Christmas texts inserted after the verses of chant: here, the sopranos and basses sing the incense, and the third gold. This inversion puts In the lengthy Per natus in Bethlehem Praetorius a Magnificat setting in his Megalynodia Sionia chant in octaves, with one or more of the inner the emphasis – in Sayers’ poem and Dove’s keeps the listeners’ attention partly through (1611). Praetorius here engineers a delightful voices providing harmonic colour. This simplicity setting – on the traditional foreshadowing of the varied and witty manner in which he treats musical crescendo by setting the three stanzas and reserve makes all the more dramatic the Christ’s Passion and death in the kings’ gifts:

- 6 - - 7 - myrrh represents the embalming oil for burial, on aspects of familiar medieval soundscapes, and Sayers draws a connection also with the with its use of drones in the verses, voices moving bitter gall offered to Christ on the Cross: the in parallel fourths, bare fifths at cadences, and young king ‘came bearing a branch of myrrh alternation of metres. Similar metrical devices than which no gall is bitterer’. Reference forward characterise Dobrinka Tabakova’s Good-will to to the Passion was common in medieval carols, men, and peace on Earth, and the composer and the specific language here in Sayers’ text likewise achieves a ‘playful element’ (in her also recalls a verse of The Holly and the Ivy: ‘The words): the traditions of conviviality associated holly bears a bark as bitter as any gall’, where with carols (again traceable to their medieval ‘the bark’ stands for the Cross. The ‘ballads’ origins) are here reinforced by the use of sung by the young king are therefore ‘doleful’, and clapping as another component in the texture. Dove’s music evokes this with the sombre Toby Young looks partly to another tradition – ostinatos of the lullaby music which begins that of folk music – in The Owl, but in so doing the piece and punctuates it as a refrain. The he evokes similar conviviality and indeed uses assigning of the most bitter gift to the ‘very a similar pattern of alternating metres to young’ king adds poignancy, inflected perhaps that of McDowall’s and Tabakova’s works. by what was occurring on the Western Front. But the mood shifts decisively for the third king: Owen Rees © 2020 Dove provides ebullient music of sparkling vivacity to portray the golden gifts – ‘gauds’, ‘glittering toys’, and ‘baubles’ – given for the baby boy’s delight.

The text of Now may we singen likewise represents the focus in many late-medieval English carols on Christ’s suffering and sacrifice as propitiation for our sin. Cecilia McDowall’s setting of this macaronic text (the refrain of which ends with the Latin ‘quod puer natus est nobis’) draws overtly

- 8 - - 9 - TEXTS & TRANSLATIONS Aus Gottes ewgem Rat From God’s eternal counsel hat sie ein Kind geboren wohl zu der halben Nacht. she bore a child, even in the middle of the night. 1 Drop down, ye heavens, from above Judith Weir Das Blümelein so kleine, das duftet uns so süß, The little flower, so small, that smells so sweet mit seinem hellen Scheine vertreibts die to us, Drop down, ye heavens, from above, Finsternis: dispels the darkness with its bright glow: and let the skies pour down righteousness. Wahr’ Mensch und wahrer Gott, true man and true God, Comfort ye, comfort ye my people; hilft uns aus allem Leide, rettet von Sünd und Tod. it helps us in all suffering, saves us from sin and my salvation shall not tarry. death. I have blotted out as a thick cloud thy transgressions: anon. (v.1–2), Friedrich Layriz (v.3) Fear not, for I will save thee; For I am the Lord thy God, 3 Lo, how a rose e’er blooming the Holy One of Israel, thy Redeemer. David Blackwell Drop down, ye heavens, from above, and let the skies pour down righteousness. Lo, how a rose e’er blooming from tender root hath sprung, of Jesse’s lineage coming, as men of old have sung, from the Advent Prose brought forth her flower bright amid the cold of winter, and in the dark midnight. 1 Es ist ein Ros entsprungen Michael Praetorius The rose which I am singing whereof Isaiah told is Mary purest maiden who bears the holy child: Es ist ein Ros entsprungen aus einer Wurzel zart, A rose has sprung from a tender branch, at God’s eternal will wie uns die Alten sungen, von Jesse kam die Art as the ancients sang to us, its kind came from Jesse, she bore for us a Saviour and stays a virgin still. und hat ein Blümlein bracht and it has brought forth a little bloom mitten im kalten Winter, wohl zu der halben in the midst of cold winter, even in the middle of O flower whose radiance tender with sweetness fills the air, Nacht. the night. dispel in glorious splendour the darkness everywhere. True man yet very God, Das Röslein, das ich meine, davon Jesaia sagt, The little rose that I mean, of which Isaiah spoke, from sin and death now save us, and share our heavy load. hat uns gebracht alleine Marie, die reine Magd. was brought to us by Mary alone, the pure maid.

- 10 - - 11 - 4 Resonet in laudibus The second king was a man in prime, The third king was very old, Michael Praetorius O balow, balow la lay, O balow, balow la lay, The solemn priest of a solemn time, Both his hands were full of gold, Resonet in laudibus Let Sion with the faithful O balow, balow la lay, O balow, balow la lay, cum iucundis plausibus sound praises With eyes downcast and reverent feet Many a gaud and glittering toy, Sion cum fidelibus: with joyous applause: He brought his incense sad and sweet, Baubles brave for a baby boy, apparuit quem genuit Maria. the child born of Mary has appeared. O balow, balow la lay, O balow, balow la lay, Sunt impleta quæ prædixit Gabriel. What Gabriel foretold has been fulfilled. Gifts for a baby King, O. Gifts for a baby King, O. Eia, eia, virgo Deum genuit, Eia, eia, a virgin has given birth to God, quem divina voluit clementia. as the divine mercy willed. Dorothy L. Sayers Hodie apparuit in Israel: Today he has appeared in Israel: ex Maria virgine est natus Rex. a king has been born from the virgin Mary. Magnum nomen Domini Emmanuel, Great is the name of the Lord Emmanuel, quod annunciatum est per Gabriel. as was announced by Gabriel. 6 – u A CEREMONY OF CAROLS Benjamin Britten anon., 14th century 6 Procession and u Recession 5 The Three Kings Jonathan Dove Hodie Christus natus est: Today Christ was born. hodie Salvator apparuit: Today the Saviour has appeared. The first king was very young, hodie in terra canunt angeli, Today the angels sing on earth, O balow, balow la lay, lætantur archangeli: the archangels rejoice. With doleful ballads on his tongue, hodie exultant justi dicentes: Today the just exult, saying: O balow, balow la lay, gloria in excelsis Deo. Alleluia! Glory to God in the highest, alleluia! He came bearing a branch of myrrh Than which no gall is bitterer, Antiphon, Second Vespers of the Nativity O balow, balow la lay, Gifts for a baby King, O.

- 12 - - 13 - 7 Wolcum Yole! By that rose we may we see 0 Balulalow He came al so stille There be one God in persons three, There his moder lay, Wolcum be thou hevenè king. Wolcum Yole! Pares forma. O my deare hert, young Jesu sweit, As dew in Aprille Wolcum, born in one morning. Wolcum for whom Prepare thy creddil in my spreit, That falleth on the spray. we sall sing! The aungels sungen the shepherds to: And I sall rock thee to my hert Wolcum be ye Stevene and Jon. Wolcum Gloria in excelsis Deo! And never mair from thee depart. Moder and mayden Innocentes everyone. Gaudeamus. But I sall praise thee evermoir Was never none but she: Wolcum, Thomas marter one. Wolcum, be ye, Good With sanges sweit unto thy gloir; Well may such a lady Newe Yere. Leave we all this werldly mirth, The knees of my hart sall I bow, Goddes moder be. Wolcum, Twelfthe Day both in fere. Wolcum, and follow we this joyful birth. And sing that richt Balulalow! anon., c. 1400 seintes lefe and dere, Transeamus. from James, John, and Robert Wedderburn, Wolcum Yole! Wolcum! anon., 14th century Ane Compendious Buik of Godly and Spirituall Sangis (1567) w This little Babe Candelmesse, Quene of bliss, Wolcum bothe to more and lesse. 9 That yongë child q As dew in Aprille This little Babe so few days old, Wolcum be ye that are here, Wolcum Yole! Is come to rifle Satan’s fold; Wolcum alle and make good cheer. Wolcum alle That yongë child when it gan weep I sing of a maiden All hell doth at his presence quake, another yere. With song she lulled him asleep: That is makèles: Though he himself for cold do shake; Wolcum Yole! Wolcum! That was so sweet a melody King of all kings For in this weak unarmèd wise anon., 14th century It passèd alle minstrelsy. To her son she ches. The gates of hell he will surprise. The nightingalë sang also: 8 There is no Rose Her song is hoarse and nought thereto: He came al so stille With tears he fights and wins the field, Whoso attendeth to her song There his moder was, His naked breast stands for a shield; There is no rose of such vertu And leaveth the first then doth he wrong. As dew in Aprille His battering shot are babish cries, As is the rose that bare Jesu. That falleth on the grass. His arrows looks of weeping eyes, anon., 14th century Alleluia. His martial ensigns Cold and Need, He came al so stille And feeble Flesh his warrior’s steed. For in this rose conteinèd was To his moder’s bour, Heaven and earth in litel space, As dew in Aprille His camp is pitchèd in a stall, Res miranda. That falleth on the flour. His bulwark but a broken wall;

- 14 - - 15 - The crib his trench, haystalks his stakes; His royal liveries wear; y Deo Gracias Ne had the appil takè ben, Of shepherds he his muster makes; The Prince himself is come from heav’n; The appil takè ben, And thus, as sure his foe to wound, This pomp is prizèd there. Adam lay ibounden, Ne haddè never our lady The angels’ trumps alarum sound. Bounden in a bond; A ben hevenè quene. With joy approach, O Christian wight, Four thousand winter My soul, with Christ join thou in fight; Do homage to thy King, Thought he not to long. Blessèd be the time Stick to the tents that he hath pight. And highly praise his humble pomp, That appil takè was. Within his crib is surest ward; Wich he from Heav’n doth bring. And all was for an appil, Therefore we moun singen, This little Babe will be thy guard. An appil that he tok, Deo gracias! Robert Southwell (1561–1595) If thou wilt foil thy foes with joy, As clerkès finden anon., 15th century Then flit not from this heavenly Boy. t Spring Carol Written in their book. Robert Southwell (1561–1595) Pleasure it is i r In Freezing Winter Night To hear iwis, In dulci jubilo The Birdès sing, Michael Praetorius Behold a silly tender babe, The deer in the dale, In freezing winter night, The sheep in the vale, In dulci jubilo In sweet rejoicing, In homely manger trembling lies – The corn springing. nun singet und seid froh: now sing and be joyful: Alas a piteous sight! God’s purvayance Unsers Herzens Wonne our heart’s bliss The inns are full; no man will yield For sustenance, leit in præsepio rests in a manger This little pilgrim bed. It is for man. und leuchtet als die Sonne and shines like the sun But forced he is with silly beasts Then we always matris in gremio. in his mother’s lap. In crib to shroud his head. To him give praise, Alpha es et O. You are Alpha and Omega. And thank him than. anon., 14th century This stable is a Prince’s court, William Cornish (d. 1523) This crib his chair of State; The beasts are parcel of his pomp, The wooden dish his plate. The persons in that poor attire

- 16 - - 17 - o Good-will to men, and peace on Earth sed divina claritas in nobilissima virga te but divine brightness within the noblest branch Dobrinka Tabakova Let mortals catch the sacred flame, produxit. brought you forth. Till round the world the son shall fly Behold a lucid Light appears, Which sounds the Great Redeemer’s Name O virga, floriditatem tuam Deus in prima O branch, God foresaw your flowering Which brightens all the eastern sky, And glory be to God on high. die creaturæ suæ previderat. on the first day of his creation. Hark, hark what sounds salute our ears, All glory give to God on high. ‘Heavenly Sound’, c. 1840, from Ralph Dunstan, Et te Verbo suo auream materiam, And by his Word he made you of golden substance, The Cornish Song Book o laudabilis Virgo, fecit. O praiseworthy Virgin. ‘Good-will to men, and peace on Earth’, The Heav’nly Choirs united cry O quam valde plangendum et lugendum O how much it is to be mourned and lamented At the Divine Redeemer’s birth; est quod tristicia in crimine per consilium that by a crime through the And glory be to God on high. serpentis in mulierem fluxit. serpent’s advice sadness flowed into a woman.

Nam ipsa mulier quam Deus matrem omnium For that woman whom God ordained to be the i O virga ac diadema posuit viscera sua cum vulneribus ignorantiæ mother of all Hildegard von Bingen decerpsit, lacerated her womb with wounds of ignorance et plenum dolorem generi suo protulit. and bore the fullness of pain for her offspring. O virga ac diadema purpure regis O branch and diadem of royal purple, quæ es in clausura tua sicut lorica: who in your enclosure are like a breastplate. Sed, o aurora, de ventre tuo novus sol But, o dawn, from your womb came forth a new sun processit qui omnia crimina Evæ absersit, that has effaced all of Eve’s crimes, Tu frondens floruisti in alia vicissitudine Bringing forth leaves, you flowered in a different clime et maiorem benedictionem per te protulit and through you bore a blessing for mankind quam Adam omne genus humanum produceret. than that in which Adam begat the whole human quam Eva hominibus nocuisset. greater than the harm done by Eve. race. Unde, o Salvatrix, quæ novum lumen Therefore, O Saviour, may you who bore the new light Ave, ave, de tuo ventre alia vita processit Hail, hail, from your womb came a different life humano generi protulisti: for the human race qua Adam filios suos denudaverat. than that in which Adam left his children naked. collige membra Filii tui ad cælestem armoniam. gather up the limbs of your Son into heavenly harmony. O flos, tu non germinasti de rore nec de guttis O flower, you did not germinate from dew nor Hildegard von Bingen (1098–1179) pluviæ nec aer desuper te volavit from drops of rain, nor did the breeze hover over you,

- 18 - - 19 - a Geborn ist Gottes Söhnelein All through the silver stillness Under the soaring heaven Michael Praetorius Wingbeats will rise in chorus. Here is the glory written Owl of the midnight forest, Fleet as a comet falling through the sky. Geborn ist Gottes Söhnelein God’s son is born And rising a silent king. zu Bethlehem, ein Kindelein, as a child in Bethlehem, All through the silver stillness und liegt in einem Krippelein, and lies in a little crib, Praise for the ring of gold that rounds the year. Wingbeats will rise in chorus. gewunden arm in Windelein. meanly wrapped in swaddling bands. Praise for the Christmastide and what it keeps. Owl of the midnight forest, Praise for the owl beneath the stars And rising a silent king soaring high, soaring! Schlaf sanft in meines Herzens Schrein, Sleep gently in my heart’s shrine, Unresting guardian of peace. Jennifer Thorp dein zugerichtes Wiegelein. your prepared little cradle, Verlaß mich nicht in Not und Pein, Do not leave me in need and pain, Immanuel, mein Brüderlein. Emmanuel, my little brother. d Nun laßt uns singen und sein froh Now let us sing and be joyful Wie schön leuchtet der Morgenstern mit den Spielern in organo with the organ players Michael Praetorius und mit den Sängern in coro and with the singers in the quire benedicamus Domino. let us bless the Lord. Wie schön leuchtet der Morgenstern How fair shines the morning star voll Gnad’ und Wahrheit von dem Herrn, full of grace and truth from the Lord, die süße Wurzel Jesse! the sweet root of Jesse! Du Sohn David aus Jakobs Stamm, You son of David from Jacob’s line, mein König und mein Bräutigam, my king and my bridegroom, s The Owl Within we have our comfort and our rest, hast mir mein Herz besessen, have taken possession of my heart, Toby Young We nod engulfed in richness at the heart. lieblich, freundlich, lovely, friendly, The owl overhead is sleepless still schön und herrlich, groß und ehrlich, beautiful and glorious, great and honourable, Out in the sweet and solid winter dark It watches the waking of the earth. reich von Gaben, rich in gifts, The owl is hunting on a silver wing. hoch und sehr prächtig erhaben! high and exalted in splendour! It skims above a world fallen asleep Under this soaring heaven And knows the many secrets of the wind. Here is the glory written, Philipp Nicolai, c. 1596 Fleet as a comet falling through the sky.

- 20 - - 21 - f Now may we singen To some purpose God made man: g Puer natus in Bethlehem Cecilia McDowall I trust well to salvation; Michael Praetorius What was his blood that from him ran This Babe to us that now is born, But fence against damnation? Puer natus in Bethlehem, A child is born in Bethlehem, Wonderful works He hath y-wrought; unde gaudet Jerusalem. therefore rejoice, Jerusalem! He would not loss what was forlorn, And thus it is… Alleluia. Alleluia. But boldly again it brought. Almighty God in Trinity, Ein Kind geborn zu Bethlehem A child is born in Bethlehem, And thus it is, forsooth ywis, Thy mercy we pray with whole heart: Des freuet sich Jerusalem. therefore rejoice, Jerusalem! He asketh nought but that is His. Thy mercy may all woe make fell; Alleluia. Alleluia. Now may we singen as it is, And dangerous dread from us to start. Here he lies in a crib. Quod puer natus est nobis. Hier liegt es in dem Krippelein. And thus it is… Ohn Ende ist die Herrschaft sein. His kingdom is without end. Alleluia. This bargain loved He right well: Alleluia. anon., medieval The price was high and bought full dear; Das Öchselein und das Eselein The ox and the ass Who would suffer and for us feel erkannten Gott den Herren sein. recognise God to be the Lord. As did that Prince withouten peer? Alleluia. Alleluia.

And thus it is… Die König aus Saba kamen dar. The kings from Saba came. Gold, Weihrauch, Myrrhen brachten sie dar. They offered gold, frankincense, and myrrh. His ransom for us hath y-paid; Alleluia. Alleluia. Good reason have we to be His; Be mercy asked and He be prayed, Sein Mutter ist die reine Magd, His mother is a pure maid, Who may deserve the heavenly bliss. die ohn ein Mann geboren hat. who gave birth without a man. Alleluia. Alleluia. And thus it is… Die Schlang ihn nicht vergiften konnt. The snake could not poison him. Ist worden unser Blut ohn Sünd. Our blood has been made sinless. Alleluia. Alleluia.

- 22 - - 23 - Er ist uns gar gleich nach dem Fleisch. He is like us in the flesh. Der Sünden nach ist er uns nicht gleich. He is unlike us in sins. Alleluia. Alleluia.

Damit er uns ihm machet gleich, Thus he makes us like himself und wieder brächt zu Gottes Reich. and brings us back to God’s kingdom. Alleluia. Alleluia.

In hoc natali gaudio For this joyous birth Benedicamus Domino. let us bless the Lord. Alleluia. Alleluia.

Laudetur sancta Trinitas. Let the Holy Trinity be praised. Deo dicamus gratias. Let us give thanks to God. Alleluia. Alleluia

Für solche gnadenreiche Zeit For such gracious times sei Gott gelobt in Ewigkeit. let God be praised eternally. Alleluia. Alleluia. anon., 16th century

- 24 - - 25 - CHOIR OF THE QUEEN’S COLLEGE OXFORD ‘An undoubted jewel in Britain’s choral scene’ Mind (2018) both went straight to no. 1 in the (BBC Music Magazine), the Choir of The Queen’s Specialist Classical Chart in their first week of College Oxford is among the finest and most sales; BBC Music Magazine commented that active university choirs in the UK. Its extensive A New Heaven shows ‘the singers at their concert schedule involves appearances across radiant best’ and Choir and Organ described The the UK and abroad, including work with the House of the Mind as ‘a gem of a CD’. 2019 saw Academy of Ancient Music, the Orchestra of the release of a recording of music by the great the Age of Enlightenment, and the Oxford Tudor composer John Taverner, which received Philharmonic Orchestra. It regularly tours abroad, a Diapason d’or and was described by Diapason and recent concert tours have included Taiwan, as ‘a splendid triumph of English choral art China, the USA, Sri Lanka, Italy, Sardinia, at its best’. Queen’s Choir has also recorded Portugal, Spain, France, the Low Countries, and for film at the famous Abbey Road Studios, and . The group broadcasts frequently on BBC appears on the Grammy-nominated soundtrack Radio, and during the academic year it provides of the Warner-Brothers film Harry Potter and Soprano Alto Bass the music for regular services in the splendid the Half-Blood Prince. The choir’s TV work Eleanor Bray Lydia Carr Matthew Buchan Baroque chapel of The Queen’s College. has included Lucy Worsley’s A Merry Tudor Emily Coatsworth Sarah Coatsworth Rory Booth Christmas (BBC2) in 2019. Isabella Grive Joani Etskovitz Laurence Cummins The choir’s wide-ranging repertory, on recordings Cate Hall Miranda Gronow Rowan Ireland and in concerts and services, includes a rich For further information about the choir and its Rachel Howe Sarah Mattinson Jacob Sternberg array of Renaissance and Baroque music and activities, please see: 14, 15 Rebecca Howitt Elizabeth Nurse Jonathan Pratt contemporary works. Its CD of Dixit Dominus www.queenschoir.com 5, 14, 20 Olivia Hugh-Jones Anna Thomas Hugo Till settings by Handel and Alessandro Scarlatti was twitter.com/queenschoir Angharad Kellett James Tomlinson hailed as ‘a disc of unusually high calibre’ by facebook.com/queenschoir Margaret Lingas Tenor Early Music Review and awarded 5 stars by Alexandra Moss 5, 10, 15 Jacob Alston Chamber Organ Choir and Organ. Carols from Queen’s enjoyed Tamsin Sandford Smith Jacob Clark Laurence John nine weeks in the Specialist Classical Charts, Melissa Talbot 9, 20 Andrew Doll Pau Rius Valor Numbers indicate soloist was ‘Drive Featured Album of the Week’ on Gareth Smith credits for each CD track Classic FM, and was a Telegraph Christmas pick. Alistair Walker A New Heaven (2017) and The House of the

- 26 - - 27 - OWEN REES Spain, and England, including many previously unknown or little-known works which he himself Owen Rees is Professor of Music at the University has discovered and edited. His interpretations of Oxford, and Fellow in Music and Organist of these repertories have been acclaimed as (Director of Music) at The Queen’s College. He ‘rare examples of scholarship and musicianship directs the Choir of The Queen’s College and combining to result in performances that are conducts the professional early-music choir both impressive and immediately attractive Contrapunctus. His work as a conductor has to the listener’, and he has been described as taken him to many parts of the world, including ‘one of the most energetic and persuasive the USA, China, Spain, Portugal, Germany, voices’ in this field. Switzerland, Italy, France, Norway, and the Netherlands, and he is much in demand As a scholar, Owen Rees has published widely on internationally as a leader of choral workshops. many of the foremost Renaissance composers, including Josquin, Morales, Guerrero, Victoria, His recordings have three times been shortlisted and Byrd. He is renowned as one of the world’s for the Gramophone Early Music Award, have been foremost authorities on Portuguese Renaissance selected as Editor’s Choice in Gramophone and music, and appears regularly on BBC Radio 3 Choral and Song Choice in BBC Music Magazine, in discussions of early music. His most and featured in the ‘20 Classical Recordings recent book, published by Cambridge University of the Year’ 2015 in The Sunday Times. His CDs Press, is a study of Victoria’s famous Requiem with Queen’s and other choirs, on the Signum, of 1603 and of the whole genre of polyphonic Hyperion, and Avie labels, encompass a Requiem music in the late Renaissance and remarkably wide variety of choral repertory from early Baroque. the Renaissance to contemporary works. BBC Music Magazine recently hailed his interpretations of choral music as ‘revelatory and even visionary’. He has brought to the concert hall and recording studio substantial repertories of magnificent Renaissance music, particularly from Portugal,

- 28 - - 29 - LUCY WAKEFORD

As well as being a member of the Nash Ensemble, Lucy is currently principal harp with the Orchestra of the Royal Opera House, Covent Garden, and a member of the Britten Sinfonia. She was previously principal harp with the Philharmonia Orchestra from 2001 to 2011.

After studying at the Royal College of Music Recorded in the Church of St Michael and All Angels, Oxford, 1–3 July 2019 with Marisa Robles, Lucy continued her studies Producer – Adrian Peacock Recording Engineer, Mixing, and Mastering – Mike Hatch in Paris with Gerard Devos and in London Editors – Adrian Peacock and Will Brown with Skaila Kanga. She has been a prize winner Chamber organ supplied by Robin Jennings in several international competitions including Cover Image – © Shutterstock 2nd prize in the Israel harp competition and Session photos – © Tim Thorne 1st prize in the Cité des Arts international Design and Artwork – Woven Design www.wovendesign.co.uk competition held in Paris. Lucy was selected P 2020 The copyright in this sound recording is owned by Signum Records Ltd for representation by the Young Concert Artists © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Trust in 1998. Concerto appearances include Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action the Ginastera with the Israel Philharmonic and by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored Royal Philharmonic orchestras, the Debussy in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

Dances with the London Symphony Orchestra, SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. and the Mozart flute and harp concerto with +44 (0) 20 8997 4000 E-mail: [email protected] the Bournemouth Symphony Orchestra and the www.signumrecords.com Britten Sinfonia.

- 30 - - 31 - ALSO AVAILABLE on signumclassics

A New Heaven The House of the Mind Choir of The Queen’s College, Oxford Choir of The Queen’s College, Oxford Owen Rees director Owen Rees director SIGCD475 SIGCD491

“Queen’s College Choir is on top form in this deftly programmed “With breathtakingly gorgeous tone, Rees and his Queen’s College disc…the singers at their radiant best” forces have produced a gem of a CD” BBC Music Magazine Choir and Organ

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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