O Holy Night

A MERTON CHRISTMAS CHOIR OF MERTON COLLEGE, OXFORD OXFORD PHILHARMONIC ORCHESTRA BENJAMIN NICHOLAS CHOIR OF MERTON COLLEGE, OXFORD O Holy Night OXFORD PHILHARMONIC ORCHESTRA A MERTON CHRISTMAS BENJAMIN NICHOLAS

1 All bells in paradise John Rutter (b. 1945) [4:59] 11 O holy night Adolphe Adam (1803–1856), arr. John Rutter [5:20]

2 Shepherd’s Pipe Carol John Rutter [2:52] 12 It came upon the midnight clear trad. English, arr. Arthur Sullivan (1842–1900) [2:53] Alexander Little organ Descant: David Willcocks 3 Jesus Christ the apple tree Elizabeth Poston (1905–1987) [3:20] 13 The Bird of Dawning* Bob Chilcott [3:22] 4 Hark! the herald-angels sing Felix Mendelssohn (1809–1847) [3:28] Clare Webb soprano Alexander Little organ Descant: David Willcocks (1919–2015) 14 Away in a manger W. J. Kirkpatrick (1838–1921), [2:27] 5 The Shepherds’ Farewell Hector Berlioz (1803–1869) [4:50] arr. David Willcocks

6 Unto us is born a son trad., arr. David Willcocks [2:17] 15 In dulci jubilo trad. German, [3:13] Peter Shepherd organ arr. Robert Lucas de Pearsall (1795–1856) 7 In the bleak mid-winter Harold Darke (1888–1976) [4:25] 16 What child is this? Thomas Hewitt Jones (b. 1984) [4:21] Oliver Kelham tenor Eleanor Hicks soprano 8 The Shepherd’s Carol Bob Chilcott (b. 1955) [3:32] 17 O come, all ye faithful J. F. Wade (c.1711–1786), arr. David Willcocks [4:59] Peter Shepherd organ 9 I sing of a maiden Patrick Hadley (1899–1973) [2:25] Peter Shepherd organ 18 O magnum mysterium Morten Lauridsen (b. 1943) [6:06] 10 Silent night Franz Xaver Gruber (1787–1863), arr. John Rutter [3:20] Total playing time [68:19]

Recorded on 27-29 June 2016 Cover image: Fra Angelico (c.1387–1455), Join the Delphian mailing list: * premiere recording in the Chapel of Merton Annunciatory Angel (detail), 1450–1455, www.delphianrecords.co.uk/join College, Oxford gold leaf and tempera on wood panel/ Merton College, Oxford gratefully acknowledges the generous support of David Ure towards making this recording. Producer/Engineer: Paul Baxter Detroit Institute of Arts/Bequest of Eleanor Like us on Facebook: 24-bit digital editing: Paul Baxter Clay Ford/Bridgeman Images www.facebook.com/delphianrecords With thanks to the Warden and Fellows of the House of Scholars of Merton College, Oxford 24-bit digital mastering: Paul Baxter Choir photography © John Cairns ‘Shepherd’s Pipe Carol’ music and words by John Rutter © Oxford University Press 1967. Words reproduced by permission. Design: John Christ Delphian Records Ltd – Edinburgh – UK Follow us on Twitter: All rights reserved. ‘All bells in paradise’ music and words by John Rutter © Collegium Music Publications 2013. Exclusively licensed Booklet editor: Henry Howard www.delphianrecords.co.uk @delphianrecords worldwide to Oxford University Press. Words reproduced by permission of Oxford University Press. All rights reserved. Notes on the music

At once sacred and secular, pagan and Seuse, a Dominican monk, first heard the carol a well-loved carol, its origins are still the source Christ is risen today’), it was only in 1855 that Christian, a solemn song and a lively dance, one night in 1328. Sitting alone in his cell, an of much debate and uncertainty. The music the English organist William Cummings had the Christmas carol is a mongrel musical form, angel appeared and invited the monk to join in a has been attributed variously to the composers the idea of fitting the words to Mendelssohn’s a paradox of conflicting origins and ideas. The heavenly song: ‘In dulci jubilo / Nun singet und Arne, Handel, Gluck and even John IV, King of Festgesang – a melody originally composed to first carol might have been composed by the seid froh!’ The arrangement recorded here dates Portugal, while the original Latin text (‘Adeste celebrate the 400th anniversary of Gutenberg’s angels themselves, sung to the shepherds on from the nineteenth century. Robert Lucas de fideles’) may or may not have been written invention of moveable type. Finally, text and a hillside outside Bethlehem, but it was a genre Pearsall takes the simple carol and weaves it by St Bonaventure. Most probable, however, melody were in tune, forming the enduring that had a long, rough journey through field into a work of sophisticated grace, setting it for is that the carol was written in the 1740s by partnership we know today; the well-loved and street, court and even alehouse, before five solo voices and four choral parts. Melody, one John Francis Wade, a Catholic exile from descant was again supplied by David Willcocks. it would return to its sacred roots and take up rhythm, harmony are all substantially altered, yet England living in France. One thing we do formal residence in church. the strength of the carol is such that is remains know for certain though is the origin of David If ‘Hark! the herald’ represents one side of the at all times itself, despite Pearsall’s most artful Willcocks’s inspired descant – composed one nineteenth-century carol tradition – triumphant, But return it did, yielding us some of the manipulations. evening on the train home to Cambridge after a solemn, formal – then Silent night reflects loveliest and best-known tunes of the Bach Choir rehearsal in London. Borrowing the the other. Intimate and lovely, this cradle song repertoire, starting a musical tradition that That ‘In dulci jubilo’ is still so popular across chorus from ‘Ding, dong, merrily on high’, it has is a musical nativity scene, a delicate portrait continues and thrives today, even as other Europe today is largely thanks to its inclusion become as much a fixture of a contemporary of mother and child that spoke emotively to musical genres fade and falter. The carols in the Piae Cantiones – a sixteenth-century British Christmas as the original carol itself. the Victorian values of home and family. Many recorded here span almost 700 years, Finnish publication that gathered together a legends surround its composition, including beginning in the thirteenth century and number of medieval Latin hymns and songs, Hark! the herald-angels sing is another a charming tale of mice chewing through a continuing right up to the present day. Their including ‘In dulci jubilo’ and ‘Puer nobis carol with a surprisingly complicated history. church organ, forcing schoolmaster Franz Xaver musical styles may vary, but what unites nascitur’, best known to us today in Britain as Hymn books tend to attribute the text to the Gruber and priest Joseph Mohr to compose a them is a shared spirit, that sense of ‘joy and Unto us is born a son. Unlike ‘In dulci jubilo’ Methodist author Charles Wesley and the carol that could be sung to the accompaniment wonder’ that first drew the nineteenth-century however, this hearty carol with its soaring music to Mendelssohn, but the reality is rather of a guitar. Though sadly untrue, it points to the carol collector William Wallace Fyfe and so chant melody was not reworked for an English- more complicated. Wesley, so the story goes, essence of the carol’s appeal – its simplicity – a many like him to their task. speaking public in the nineteenth century, and inspired by the glorious pealing of bells of quality John Rutter’s light-touch arrangement had to wait until 1902 for its first publication Christmas day, composed verses beginning skilfully preserves. It’s joy that is uppermost in In dulci jubilo – a in the timeless translation of George Ratcliffe ‘Hark how all the welkin rings’. The archaic piece that epitomises the duality of the medieval Woodward that we hear here. ‘welkin’ (meaning heavens) and theological But if amateurs are responsible for many of the carol. The lilting, triple-time rhythm glances back complexities of the original text troubled his carols of this period, others have their origins to the Christmas carol’s origins as a carole – an Its stately melody might sound as ancient as fellow preachers, two of whom had a hand in in the professional musical world. Berlioz’s Old French dance – while the words redirect ‘Unto us’ or ‘In dulci jubilo’, but O come, all ye editing the carol to the version we know today. The Shepherds’ Farewell actually forms the music’s celebratory energy towards a faithful is in fact a much later addition to the Originally sung to the tune ‘Easter Hymn’ (best part of a much larger oratorio L’enfance du spiritual subject. Legend has it that Heinrich carol repertoire. Surprisingly though for such known now as the melody for Wesley’s ‘Jesus Christ (1854) about the childhood of Jesus, but Notes on the music this charmingly naive chorus was originally manger’. Written in 1849 by the Revd Edmund championed by Vaughan Williams, Holst and unaccompanied melody into an exquisite strophic composed with no such grand context in mind. Hamilton Sears, the former is a poignant others, and partly also perhaps by the newly carol for upper voices. Built around a simple C A musical joke between friends, the melody first statement of both hope and fear – hope for the popularised service of Nine Lessons and major triad, the melody is designed to work in appeared as Berlioz’s contribution to a friend’s redemption offered by the ‘love-song’ of the Carols pioneered at Truro Cathedral and then many textures including a round. The effect of autograph album. Subsequently performed angels, but fear that the brewing tensions that at King’s College, Cambridge. Composed in these staggered entries is of joyous, spontaneous under a pseudonym it proved a hit, inspiring the would eventually erupt into the Civil War would 1909 by Harold Darke (later acting Director creation – music that, like the God it portrays, has composer to extend it into a concert work. But deafen mankind to its sound. While Americans of Music at King’s), In the bleak mid-winter no beginning and no end. even here Berlioz’s shepherds retained their favour a lilting 6/8 setting, in England the words remains a favourite today, displacing Holst’s rusticity, reflected in the carol’s uncomplicated are most often sung to Arthur Sullivan’s stately simpler setting of Christina Rossetti’s text in The golden age of carol-writing that began homophony and short introduction with its echo melody, whose shifts between the major and popularity. The beauty of the carol is the variety with Holst and Vaughan Williams continues of bagpipes or similar folk instruments. minor perfectly capture the tensions of the text. – both textural and emotional – it achieves among today’s living composers – none more within the confines of its strophic structure, successfully than Bob Chilcott and John Rutter. Best known as the composer of the ballets Children became an important new focus opening with such infinite delicacy and fragility Laden with memorable melodies and generous Giselle and Le corsaire, the Frenchman for carols during the nineteenth century, as and closing with confident affirmation. harmonies, Rutter’s music has become Adolphe Adam was also the author of O holy collections such as Mrs C.F. Alexander’s Hymns synonymous with Christmas. The two carols night, or ‘Cantique de Noël’ as it was originally For Little Children (1848) demonstrate. Along Many contemporary carols look to the past featured here span the gamut of the composer’s titled. The subject may have been sacred, but with ‘O little town of Bethlehem’, Away in a for their inspiration. Patrick Hadley’s I sing career – The Shepherd’s Pipe Carol written in the musical language of the carol, all soaring manger is one of the most enduring of these of a maiden (1936) takes a fifteenth-century 1963 while he was still an undergraduate, and climaxes and long-breathed melody lines, children’s carols, but one that has faced more text – a tender portrait of the Virgin Mary – and All bells in paradise commissioned for the 2012 is the stuff of the stage – it’s no coincidence than is fair share of controversies. Originally bridges the gap of centuries in a two-part, service of Nine Lessons and Carols at King’s. that it has been sung by almost every major published in 1884 as ‘Luther’s Cradle Song’ it upper-voices setting that opens with stark They showcase two contrasting moods, both opera singer at one time or another. The took over 50 years to debunk the notion that medieval directness before growing into a more typical of Rutter’s work. words too, though unimpeachably devotional, Martin Luther was its author. And then there’s extrovert, contemporary climax. A miracle of were originally the work of a wine-merchant, the seemingly innocent line, ‘But little Lord compressed invention, its musical concision, While ‘All bells in paradise’ takes a contemplative Placide Cappeau, subsequently translated and Jesus, no crying he makes’. Some scholars have however, is as nothing compared to Elizabeth approach to its text, catching the ‘awe and reworked into the version we know today. taken this to suggest that the infant Jesus was Poston’s Jesus Christ the apple tree. wonder’ of the season in its long, arching lines not fully human, a heresy others have hotly and unaffected unison texture, ‘The Shepherd’s The nineteenth century’s love of carols was contested. Poston, an English composer best known for Pipe Carol’ is a setting that bursts with joyful by no means limited to Europe. America, still her work for radio and television, here sets energy. Rhythms pulse with syncopation, setting a young country and keen to establish its own The twentieth century saw a tremendous an eighteenth-century hymn-text from New up an infectious dance no listener can refuse to festival traditions, was the source for a number surge in carol writing and arranging among Hampshire, mirroring the symbolism of its join. The innocence, the delight of Christmas is of classics of the period including both It came Britain’s classical composers, a phenomenon lovely text – Christ as the Tree of Life – in music distilled here in this irrepressible carol. upon the midnight clear and ‘Away in a partly driven by the folk music revival that blossoms outwards from a single line of Notes on the music Texts

Bob Chilcott is another composer with a pop out of place, but prefigures the speaker’s later 1 All bells in paradise 2 Shepherd’s Pipe Carol musician’s instinct for melody – an instinct realisation that ‘Nails, spear shall pierce him Deep in the cold of winter, Going through the hills on a night all starry demonstrated nowhere more clearly than The through,’ cutting to the bittersweet essence of Darkness and silence were ev’rywhere; On the way to Bethlehem, Shepherd’s Carol. Another King’s commission, the Nativity. Softly and clearly, there came through Far away I heard a shepherd boy piping the carol puts words and music into the mouths the stillness On the way to Bethlehem. of the shepherds who seek the infant Jesus. One of the most performed and recorded of A wonderful sound to hear: Angels in the sky brought this message nigh: Just as Berlioz found a rustic sincerity for his all contemporary classical works, Morten All bells in paradise I heard them ring, ‘Dance and sing for joy that Christ the newborn shepherds over 100 years earlier, so Chilcott Lauridsen’s O magnum mysterium uses a Sounding in majesty the news that they bring; King is come to bring us peace on earth, and gives his a wistfulness, a simplicity, that is hard musical language of guileless simplicity to All bells in paradise I heard them ring, he’s lying cradled there at Bethlehem.’ to resist. Commissioned by Merton College tell the most momentous of spiritual tales. Welcoming our Saviour, born on earth a for the Merton Choirbook, Chilcott’s The Bird Described by the composer himself as ‘a quiet ‘Tell me, shepherd boy piping tunes so merrily heavenly King. of Dawning, unusually for a carol, sets words song of profound inner joy’, the anthem seeks On the way to Bethlehem, from Hamlet. They speak of Jesus’s birth – a to capture the mystery of the incarnation, the All bells in paradise I heard them ring: Who will hear your tunes on these hills so lonely time when ‘No fairy takes, nor witch hath power ‘great mystery’ of the title, speaking both to its ‘Glory to God on high’ the angel voices sing. On the way to Bethlehem?’ to charm,’ a time that is ‘hallow’d’. The simple joys but also its pains. Lauridsen has described Angels in the sky brought … Lost in awe and wonder, opening phrase becomes a musical mantra, the unexpected G sharp on the word ‘Virgo’ Doubting, I asked what this sign might be: ‘None may hear my pipes on these hills so lonely returning again and again through the carol – the work’s sole accidental – as ‘the most Christ our Messiah revealed in a stable, On the way to Bethlehem; almost as a talisman – a musical hope of things important note in the piece’, leading the ear A marvellous sight to see. But a King will hear me play sweet lullabies to come. The choir cling to it, embellishing it to contemplate the sorrows to come even at All bells in paradise … When I get to Bethlehem.’ ever more richly with counter-melodies and this moment of deepest joy. Joy and wonder Angels in the sky came down from on high, jazz-infused harmonies, as though to repeat it is remain, but added to them is a sense of fragility, He comes down in peace, a child in humility, Hovered o’er the manger where the babe was to affirm it, to make it so. of loss, that pierces through all the mistletoe The keys to his kingdom belong to the poor; lying cradled in the arms of his mother Mary, and starlight to the true meaning of Christmas. Before him shall kneel the kings with sleeping now at Bethlehem. Best known as the Christmas text for the their treasures, melody ‘Greensleeves’, William Chatterton © 2017 Alexandra Coghlan Gold, incense and myrrh. ‘Where is this new King, shepherd boy Dix’s poem What child is this? was originally All bells in paradise … piping merrily, written with no particular tune in mind, and has Alexandra Coghlan is a music journalist and Is he there at Bethlehem?’ All bells in paradise I heard them ring: since been used by a number of composers. critic who has contributed to publications ‘I will find him soon by the star shining brightly ‘Glory to God on high’ the angel voices Thomas Hewitt Jones’s setting takes up the including The Spectator, Prospect, Opera, In the sky o’er Bethlehem.’ sweetly sing. questioning spirit of the verse, its uncertainty, the New Statesman and The Independent. Angels in the sky brought … and pairs it with a melody whose distinctive She is the author of Carols from King’s John Rutter (b. 1945) rising sixth seems almost like a musical (Ebury Press, 2016). question mark. The minor key at first seems Texts

‘May I come with you, shepherd boy This fruit doth make my soul to thrive, Hail the heav’n-born Prince of Peace! 6 Unto us is born a son piping merrily, It keeps my dying faith alive; Hail the Sun of Righteousness! Unto us is born a son, Come with you to Bethlehem? Which makes my soul in haste to be Light and life to all he brings, King of quires supernal: Pay my homage too at the new King’s cradle, With Jesus Christ the apple tree. Ris’n with healing in his wings; See on earth his life begun, Is it far to Bethlehem?’ Mild he lays his glory by, anon., 18th c. Of lords the Lord eternal. Angels in the sky brought this message nigh: Born that man no more may die, ‘Dance and sing for joy that Christ the infant Born to raise the sons of earth, Christ, from heav’n descending low, King is born this night in lowly stable yonder, 4 Hark! the herald-angels sing Born to give them second birth. Comes on earth a stranger; born for you at Bethlehem.’ Hark! … Ox and ass their owner know, Hark! the herald-angels sing Becradled in the manger. John Rutter Glory to the newborn King; Charles Wesley (1707–1788), with alterations Peace on earth and mercy mild, This did Herod sore affray, God and sinners reconciled. And grievously bewilder, 3 Jesus Christ the apple tree 5 The Shepherds’ Farewell Joyful all ye nations rise, So he gave the word to slay, The tree of life my soul hath seen, Join the triumph of the skies Thou must leave thy lowly dwelling, And slew the little childer. Laden with fruit and always green: With th’angelic host proclaim, The humble crib, the stable bare. Of his love and mercy mild The trees of nature fruitless be Christ is born in Bethlehem. Babe, all mortal babes excelling, This the Christmas story; Compared with Christ the apple tree. Hark! the herald-angels sing Content our earthly lot to share. And O that Mary’s gentle Child Glory to the newborn King. Loving father, loving mother, His beauty doth all things excel: Might lead us up to glory! Shelter thee with tender care! By faith I know, but ne’er can tell Christ, by highest heaven adored, O and A and A and O, The glory which I now can see Christ, the everlasting Lord, Blessed Jesus, we implore thee Cum cantibus in choro,1 In Jesus Christ the apple tree. Late in time behold him come With humble love and holy fear, Let our merry organ go, Offspring of a Virgin’s womb: In the land that lies before thee, For happiness I long have sought, Benedicamus Domino.2 Veiled in flesh the Godhead see, Forget not us who linger here! And pleasure dearly I have bought: Hail th’incarnate Deity May the shepherd’s lowly calling, 1 With songs in the choir I missed of all; but now I see 2 Pleased as man with man to dwell Ever to thy heart be dear! Let us bless the Lord ’Tis found in Christ the apple tree. Jesus, our Emmanuel. Blest are ye beyond all measure, Piae Cantiones, 1582, I’m weary with my former toil, Hark! … tr. George Ratcliffe Woodward (1848–1934) Thou happy father, mother mild! Here I will sit and rest awhile: Guard ye well your heav’nly treasure, Under the shadow I will be, The Prince of Peace, The Holy Child! Of Jesus Christ the apple tree. God go with you, God protect you, Guide you safely through the wild!

Hector Berlioz (1803–1869), tr. Paul England (d. 1932) Texts

7 In the bleak mid-winter If I were a wise man 9 I sing of a maiden 10 Silent night I would do my part; In the bleak mid-winter I sing of a maiden Silent night! holy night! Yet what I can I give him – Frosty wind made moan, That is makeless: All is calm, all is bright Give my heart. Earth stood hard as iron, King of all kings Round yon virgin mother and child. Water like a stone; Christina Rossetti (1830–1894) To her son she ches. Holy infant so tender and mild, Snow had fallen, snow on snow, Sleep in heavenly peace. He came all so still Snow on snow, 8 The Shepherd’s Carol Where his mother was, Silent night! holy night! In the bleak mid-winter, As dew in April Shepherds quake at the sight. Long ago. We stood on the hills, Lady, That falleth on the grass. Glories stream from heaven afar, Our day’s work done, Our God, heaven cannot hold him Heav’nly hosts sing Alleluia! Watching the frosted meadows He came all so still Nor earth sustain; Christ the Saviour is born! That winter had won. To his mother’s bower, Heaven and earth shall flee away As dew in April Silent night! holy night! When he comes to reign: The evening was calm, Lady, That falleth on the flower. Son of God, love’s pure light In the bleak mid-winter The air so still, Radiant beams from thy holy face A stable-place sufficed Silence more lovely than music He came all so still With the dawn of redeeming grace, The Lord God Almighty Folded the hill. Where his mother lay, Jesus, Lord, at thy birth. Jesus Christ. As dew in April There was a star, Lady, That falleth on the spray. Joseph Mohr (1792–1848), tr. John F. Young (1820–1885) Enough for him, whom Cherubim Shone in the night, Worship night and day, Larger than Venus it was Mother and maiden was A breastful of milk, And bright, so bright. Never none but she: And a mangerful of hay; Well may such a lady Oh, a voice from the sky, Lady, Enough for him, whom Angels God’s mother be. It seemed to us then Fall down before, Telling of God being born anon., c.1400 The ox and ass and camel In the world of men. Which adore. makeless – virginal And so we have come, Lady, ches – chose What can I give him, Our day’s work done, Poor as I am? Our love, our hopes, ourselves, If I were a shepherd We give to your son. I would bring a lamb; Clive Sansom (1910–1981) Texts

11 O holy night 12 It came upon the midnight clear For lo! the days are hastening on, 14 Away in a manger By prophet-bards foretold, O Holy Night! The stars are brightly shining, It came upon the midnight clear, Away in a manger, no crib for a bed, When with the ever-circling years It is the night of the dear Saviour’s birth. That glorious song of old, The little Lord Jesus laid down his sweet head; Comes round the age of gold; Long lay the world in sin and error pining. From angels bending near the earth, The stars in the bright sky looked down When peace shall over all the earth Till he appeared and the soul felt its worth. To touch their harps of gold: where he lay, Its ancient splendours fling, A thrill of hope the weary world rejoices, ‘Peace on the earth, goodwill to men, The little Lord Jesus, asleep on the hay. And the whole world give back the song For yonder breaks a new and glorious morn. From heav’n’s all-gracious King.’ Which now the angels sing. The cattle are lowing; the baby awakes, Fall on your knees! Oh, hear the angel voices! The world in solemn stillness lay But little Lord Jesus, no crying he makes. O night divine, O night when Christ was born. To hear the angels sing. Edmund Sears (1810–1876) I love thee, Lord Jesus; look down from the sky Led by the light of faith serenely beaming, Still through the cloven skies they come, And stay by my side until morning is nigh. With glowing hearts by his cradle we stand. With peaceful wings unfurled, 13 The Bird of Dawning Be near me, Lord Jesus; I ask thee to stay So, led by light of a star sweetly gleaming, And still their heav’nly music floats Some say that ever ’gainst that season comes Close by me for ever, and love me, I pray. Here came the wise men from the Orient land. O’er all the weary world; Wherein our Saviour’s birth is celebrated, Bless all the dear children in thy tender care, The King of Kings lay thus in lowly manger; Above its sad and lowly plains, The bird of dawning singeth all night long: And fit us for heaven to live with thee there. In all our trials born to be our friend. They bend on hovering wing, And then, they say, no spirit dares stir abroad; He knows our need, to our weakness And ever o’er its Babel sounds anon. American, first printed 1884 (verses 1-2) The nights are wholesome, then no no stranger, The blessed angels sing. and 1892 (verse 3) planets strike, Behold your King! Before him lowly bend! Yet with the woes of sin and strife No fairy takes, nor witch hath power to charm, Truly he taught us to love one another, The world has suffered long; So hallow’d and so gracious is the time. His law is love and his Gospel is peace. Beneath the angel-strain have rolled William Shakespeare (1564–1616) from Hamlet, Act I, Scene I Chains shall he break, for the slave is Two thousand years of wrong; our brother, And man, at war with man, hears not And in his name all oppression shall cease. The love-song which they bring; Sweet hymns of joy in grateful chorus O hush the noise, ye men of strife, raise we, And hear the angels sing. Let all within us praise his holy name. Christ is the Lord! Then ever, ever praise we, His power and glory ever more proclaim!

Placide Cappeau (1808–1877), tr. John Sullivan Dwight (1813–1893) Texts

15 In dulci jubilo 16 What child is this? 17 O come, all ye faithful In dulci jubilo In sweet rejoicing What child is this who, laid to rest, O come, all ye faithful, Let us our homage shew; On Mary’s lap is sleeping? Joyful and triumphant! Our heart’s joy reclineth Whom angels greet with anthems sweet, O come ye, O come ye to Bethlehem; In praesepio; In the crib; While shepherds watch are keeping? Come and behold him And like a bright star shineth, This, this is Christ the King, Born the King of Angels: Matris in gremio. In the mother’s lap. Whom shepherds worship and angels sing: O come, let us adore Him, Christ the Lord. Alpha es et O. You are Alpha and Omega. Haste, haste to bring him praise, God of God, The babe, the son of Mary! O Jesu parvule! O little one, Jesus! Light of light, I yearn for thee alway! Why lies he in such mean estate, Lo, he abhors not the Virgin’s womb; Hear me, I beseech Thee, Where ox and ass are feeding? Very God, O puer optime! Best of boys! Good Christians, fear: for sinners here Begotten, not created: My prayer let it reach Thee, The silent Word is pleading. O come … O princeps gloriae! Prince of glory! Nails, spear shall pierce him through, Child, for us sinners Trahe me post te! Carry me in your wake! The Cross be borne for me, for you; Poor and in the manger, Hail! hail the Word made flesh, O Patris caritas, O love of the Father, Fain we embrace thee, with awe and love; The babe, the son of Mary! O Nati lenitas! O gentleness of the Son! Who would not love Thee, Deeply were we stained So bring him incense, gold, and myrrh: Loving us so dearly? Per nostra crimina; By our sins; Come, peasant, king, to own him! O come … But thou hast for us hast gained The King of Kings salvation brings: Coelorum gaudia, The joys of heaven, Let loving hearts enthrone him! O that we were there! Raise, raise the song on high! The Virgin sings her lullaby. Ubi sunt gaudia, where, Where are joys to be found, Joy! joy! for Christ is born, If that they be not there? The babe, the son of Mary! There are angels singing Nova cantica, New songs, William Chatterton Dix (1837–1898) There the bells are ringing In Regis curia. In the courts of the King. O that we were there!

attrib. Heinrich Seuse (c.1295–1366), tr. Robert Lucas de Pearsall (1795–1856) Texts Biographies

Sing, choirs of angels, 18 O magnum mysterium The Choir of Merton College is one of In recent years the choir’s impressive Sing in exultation, Oxford’s leading mixed-voice choirs. During commitment to new music, centred on the O magnum mysterium et admirabile Sing, all ye citizens of heav’n above! term-time it sings the services in the college’s Merton Choirbook commissioning project, has sacramentum, ut animalia viderent Glory to God, thirteenth-century chapel. Outside term, the seen it give first performances of new choral Dominum natum iacentem in praesepio! In the highest: choir tours regularly, most recently visiting works by Harrison Birtwistle, Judith Weir, Beata virgo, cuius viscera meruerunt O come … Sweden, France and the USA. Concert John Tavener, James MacMillan, Jonathan portare Dominum Christum. Alleluia. performances have included Duruflé’s Dove and many more. In April 2014 the Choir Yea, Lord, we greet thee, O great mystery and wonderful Requiem in Gloucester Cathedral as part of the of Merton College gave the world premiere Born this happy morning; sacrament, that the animals beheld Cheltenham Music Festival, Tallis’s Spem in performances of Gabriel Jackson’s The Jesu, to thee be glory given! the newborn Lord lying in the crib! alium at the Beaujolais Festival and Mozart’s Passion of our Lord Jesus Christ in Oxford and Word of the Father, Blessed Virgin, whose womb was worthy Requiem in Saint-Germain-des-Prés, Paris. New York. Now in flesh appearing! to carry the Lord Christ. Alleluia. The choir appears often in London, at St John’s John Frederick Wade (c.1711–1786) et al., Smith Square and Cadogan Hall, and makes Benjamin Nicholas is Matins responsory for the feast of the Nativity tr. Frederick Oakeley (1802–1880, verses 1, 2, 4 & 5) frequent broadcasts on BBC Radio 3. Director of Music at Merton & William Thomas Brooke (1848–1917, verse 3), with alterations College, Oxford. As a The choir’s debut CD, In the Beginning conductor he has appeared (Delphian DCD34072), features music by with the City of London Gombert, Weelkes, Holst, Copland and Sinfonia, Oxford Philharmonic Gabriel Jackson and was named Editor’s Orchestra, the Trondheim Choice in the December 2011 edition of Soloists and The Holst Gramophone magazine. Advent at Merton Singers, in works such as Elgar’s The Dream (DCD34122) was released in 2012 and of Gerontius, Holst’s Savitri and Duruflé’s spent six weeks in the Specialist Classical Requiem. His most recent organ recording, Chart. Two further recordings – The Merton of Elgar’s organ works (Delphian DCD34162), Collection (DCD34134) and The Marian was described by the Sunday Times as ‘a Collection (DCD34144) – combine medieval musical and technical achievement alike’. and Renaissance music with new works from the Merton Choirbook, a major commissioning He was heavily involved in the design project undertaken to mark the College’s and installation of the new Dobson organ 750th anniversary in 2014, while last at Merton, and also directs the annual year’s Viri Galilaei: Favourite Anthems from Passiontide at Merton festival. In September Merton (DCD34174) maintained the run of 2016 he conducted the first rehearsals of the glowing reviews. new Merton College Girls’ Choir. Biographies

A former pupil of David Sanger for organ to appear in its series at Sir Christopher Choir of Merton College, Oxford Oxford Philharmonic Orchestra and Denise Ham for conducting, Benjamin Wren’s Sheldonian Theatre. Following Nicholas held the organ scholarships at his remarkable Oxford debut with the Reed Rubin Organist Altos Violin 1 Oboe Chichester Cathedral, at Lincoln College, Orchestra in 2013, world-renowned violinist & Director of Music Frances Buist Yuri Zhislin Daniel Finney Benjamin Nicholas Lila Chrisp Charlotte Scott Jessica Mogridge Maxim Vengerov became its first Artist Oxford and at St Paul’s Cathedral before Patrick Dunachie Anna Harpham moving to Tewkesbury Abbey, where he in Residence. Since then, Vengerov and Organ Scholars Jeremy Kenyon Shlomy Dobrinsky Clarinet directed the Schola Cantorum – itself the focus the Oxford Philharmonic have undertaken Peter Shepherd Alice Walker David Rix of seven Delphian recordings – until 2012. tours in the UK and have recorded the violin Alexander Little Olivia Williams Violin 2 Lorraine Schulman concerti of Brahms and Sibelius, for the latter Colin Callow Established in 1998, the Oxford gaining special permission from the Sibelius Sopranos Tenors Greta Mutlu Bassoon Amelia Brown Matthew Bannatyne Nemanja Ljubinkovic John Orford family to record the original 1904 version. Philharmonic Orchestra occupies a unique Roseanna Cawthray Stern Clement Collins-Rice Erzsebet Racz position within the UK’s orchestral landscape. In recognition of the Oxford Philharmonic Elizabeth Curtis Thomas Dyer Trumpet Formerly known as Oxford Philomusica and Orchestra’s contribution to education and Polly Gamble Jack Evans Viola Joe Atkins hailed as ‘thoroughly impressive’ by BBC performance in Oxford, the Orchestra and Naomi Gardom Harry George Jon Thorne Stuart Essenhigh Music Magazine, its reputation is based its Music Director were awarded the City of Anna Gatrell Oliver Kelham Karin Norlen on the uncompromising artistic standards Oxford’s Certificate of Honour in 2013. The Emma Hall Horn Eleanor Hicks Basses Cello Richard Dilley continual search for excellence underpins the of its founder and Music Director Marios Bridget McNulty Alistair Clark Peter Adams Jon Bareham Papadopoulos and maintained by some of the Oxford Philharmonic Orchestra’s reputation Phoebe Pexton Frederick Crowley Martin Thomas finest musicians in the UK. As an orchestra of and is reflected in an ensemble that strives Alexandra Powell Thomas Herring Trombone the highest quality, the Oxford Philharmonic to create bold musical statements with every Jemimah Taylor Alexander Ho Double Bass Danny Scott attracts some of the world’s greatest artists concert it presents. Clare Webb Jonathan Hobbs Tom Martin Patrick Keefe Tuba Edward Mair Flute David Gordon Shute Tony Robb (doubling piccolo) Robert Manasse Harp Sally Pryce Also available on Delphian

Viri Galilaei: Favourite Anthems from Merton The Merton Collection: Merton College at 750 Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips DCD34174 DCD34134 The choir’s fifth Delphian recording in five years again showcases the In 2014, the University of Oxford’s Merton College celebrates its 750th talents of its joint directors, with Peter Phillips’ love of polyphony year. Benjamin Nicholas and Peter Phillips’ specially conceived journey complemented by Benjamin Nicholas’s flair and commitment in some through seven centuries of choral repertoire provides a bird’s-eye view of of the twentieth century’s major choral works. Bookending these some important moments in musical history, and features two composers ‘favourites’ are Patrick Gowers’ now iconic Ascension Day anthem personally associated with the College – John Dunstaple and Lennox Viri Galilaei and Jonathan Dove’s newly minted Te Deum. Berkeley – as well as three new works commissioned for the anniversary celebrations. The choir, a relatively recent addition to this illustrious college’s ‘captivating … deliciously expansive … The choir’s singing is notable for complement of treasures, gives stylish and committed performances in the its clarity, and [Nicholas and Phillips] bring to these performances a famous acoustic of Merton’s thirteenth-century chapel. warm-hearted fondness which is as indefinable as it is apparent’ — Gramophone, April 2016 ‘fine musicianship, commitment and versatility’ — Choir & Organ, January/February 2014

Advent at Merton The Marian Collection Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips DCD34122 DCD34144 The beginning of Advent is celebrated with a particular solemnity at Benjamin Nicholas again draws from the landmark collection of more than Merton. For its second recording, the choir explores the musical riches fifty-five works written in celebration of the College’s 750th anniversary. that adorn this most special time in the church’s year, centring on a Here, a new work by Judith Weir (newly appointed Master of the Queen’s newly commissioned sequence of Magnificat antiphons from seven Music) heads a set of the four Marian antiphons, all specially commissioned leading composers including Howard Skempton, Eˉriks Ešenvalds and from female composers, while two further premiere recordings represent Sir John Tavener. The mingled hopes, fears and expectations of the the work of regular Merton collaborators Gabriel Jackson and Matthew season are beautifully articulated by this fervent body of young singers. Martin. At the other end of the chronological spectrum, Peter Phillips’ expert direction of Byrd’s rarely performed Salve Regina, a bold statement of ‘an immensely accomplished and responsive mixed-voice choir … Catholic faith from Reformation England, and of John Nesbett’s late Delphian’s recorded sound is beautiful’ 15th-century Magnificat, a piece whose neglect on disc is astonishing, — International Record Review, December 2012 completes this portrait in sound of a woman who is at once virgin and mother, human and God-bearer, suppliant and Queen of Heaven. ‘astonishing versatility’ — Gramophone, December 2014 DCD34192