Carols for Quire from the Old & New Worlds

Music & Art @ Trinity presents

QClevelanduire Ross W. Duffin,Artistic Director Carols for Quire from the Old & New Worlds Trinity Cathedral, Cleveland December 20–22, 2013 — please hold your applause until the end of each set. —

Alleluia: a newë work Anonymous English (15th century) Alleluia: a newe work (1952) Peter Wishart (1921–1984) The Coventry Carol (1534) attr. Robert Croo, arr. R. Duffin The Coventry Carol(1956) Kenneth Leighton (1929–1988) Jesus Christ the Apple Tree (1805) Jeremiah Ingalls (1764–1838) Jesus Christ the Apple Tree (1967) Elizabeth Poston (1905–1987) The Lamb(1927) Charles Wood (1866–1926) The Lamb(1982) John Tavener (1944–2013) Es ist ein Ros (1607) Michael Praetorius (1571–1621) A spotless rose (1919) Herbert Howells (1892–1983) A spotless rose (2010) Paul Mealor (b.1975) Kentucky [Ohio] Wassail Song collected by John Jacob Niles, arr. R. Duffin Wassail Song (1913) Ralph Vaughan Williams (1872–1958) —intermission— Of one that is so fair and bright Anonymous (ca.1300), arr. R. Duffin A Hymn to the Virgin (1930) Benjamin Britten (1913–1976) The holly and the ivy Herefordshire Traditional, arr. R. Duffin The holly and the ivy(1913) arr. Henry Walford Davies (1869–1941) O nata lux (1575) Thomas Tallis (1505–1585) Lux aurumque (2009) Eric Whitacre (b.1970) Stille Nacht (1818) Franz Gruber (1787–1863) In the Bleak Midwinter (1906) Gustav Holst (1874–1934) Procedenti puero Anonymous (13th century), arr. R. Duffin Benedicamus Domino (1918) Peter Warlock (1894–1930) What cheer? to a ground Anonymous English (16th century), arr. R. Duffin What cheer? (1961) William Walton (1902–1983) ABOUT QUIRE Quire Cleveland provides a vital connection to distant lands and ages past through the human voice. By breathing life into choral works from the Middle Ages, Renaissance and Baroque eras, and beyond — some of which have lain silent for centuries — Quire reveals the universality, timelessness, and humanity of this music. In addition to being soloists, choral leaders, and educators at many of the major churches, synagogues, and schools in northern Ohio, members of the ensemble have sung together in historically-informed ensembles, such as the Case Western Reserve University Early Music Singers and Apollo’s Singers of Apollo’s Fire. Quire performs nine centuries of a cappella repertoire.

QUIRE CLEVELAND Sopranos: Donna Fagerhaug, Megan Lapp, Judith Overcash, Lisa Rainsong, Malina Rauschenfels, Gail West Altos: David Acres, John McElliott, Beverly Simmons, Jay White Tenors: Evan Bescan, Jeremiah Heilman, Corey Shotwell, Tyler Skidmore Basses: Ian Crane, José Gotera, Nathan Longnecker, Brian MacGilvray, Michael Peters, Daniel Singer

Board of Directors: Richard Rodda, ph.d., President; Ross W. Duffin,dma , Artistic Director; Beverly Simmons, dma, Executive Director; John McElliott, Secretary; Gerald P. Weinstein, ph.d., cpa, Treasurer Quire Cleveland a 501(c)(3) tax-exempt, nonprofit organization.

Quire’s founding Artistic Director, Ross W. Duffin, is an award- winning scholar, specializing in the performance practice of early music. As director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook (both published by W. W. Norton), have gained international renown. In addition to many of the works in this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete for its Madrigalian Motets recording, A Josquin Anthology (Oxford University Press), the St. Matthew Passion by Richard Davy (A-R Editions), and A Performer’s Guide to Medieval Music (Indiana University Press). He has also sung with Apollo’s Fire since its inception in 1992. Ross’s maternal grandfather was a professional countertenor and conductor in London, England, and his mother directed her church choir in London, Ontario—making him a third-generation choral conductor. PROGRAM NOTES by Ross W. Duffin

The seed for this program came from Quire co-founder, secretary, and countertenor, John McElliott. Having grown up in the rich Episcopal music tradition, he wanted Quire to sing some of the exquisite standards of the 20th-century English Christmas repertoire. Much as I too love that music, I wanted to relate it somehow to Quire’s mission to present earlier choral music, so I have paired each of John’s proffered pieces with an earlier work, either on the exact same text, or on a related one. This way, we can hear how composers of different eras or generations were differently inspired by the same sentiment. The result is this program, which I hope you enjoy hearing as much as we have enjoyed preparing it. We begin with Alleluia: a newë work. The modern version is a choraltour de force, composed in 1952 by Peter Wishart. Wishart was born in Crowborough, a Sussex town that was a favorite holiday spot for my mother’s family, during the time that Wishart was a young lad there. Rapidly overlapping entries and sophisticated counter- rhythms, combined with luscious chord clusters make this a brilliant fanfare for the opening of a program. Before we get to Wishart, we sing the original, anonymous setting of the lyric, from a 15th-century manuscript in the Bodleian Library at Oxford. The burden, or refrain, heard at the beginning and between each stanza, consists entirely of repeated “Alleluia”s, first in a two-voice texture, then repeated in full chorus. The verses also present lines by soloists, reinforced immediately by the chorus, exactly as Wishart does in his setting. Of the six original stanzas, we sing the three that Wishart used for his setting. The Coventry Carol gets its name from the Shearmen & Tailors Pageant, a religious play presented annually by Coventry tradesmen in the 16th century. The song has been attributed to Robert Croo, from 1534, but the early source was a copy of the play from 1591, which was destroyed in a fire in 1879. The only extant version of the early piece is an 1825 edition by Thomas Sharp. Although the piece may have been crudely composed, certain aspects of Sharp’s transcription led me to believe that he may have misread some aspects of the original notation (with no way to check that now). I have therefore reconstructed what I think may have been the original version, regularizing some of the metrical features and adding a missing tenor voice. That early version is paired with Kenneth Leighton’s lilting 1956 setting, with its soaring soprano solo. Both settings present three stanzas of the lullaby, but with the middle verse decrying Herod’s massacre of the innocents. Next are two settings of Jesus Christ the Apple Tree. The original poem and Ingalls’s 1805 setting show seven verses, but how all verses are to be set to the music is not clear, and indeed, verse 5 is often omitted in performance. In fact, Elizabeth Poston omits verses 5 & 6 in her sweet 1967 setting of the lyric. She attributes the lyric to Joshua Smith, a New Hampshire Baptist minister, from a hymn collection of 1784, whereas we now know it was first printed in London in 1761 and signed by “R. H.” The music to Ingalls’s setting is based on the Quick March from the pantomime, Oscar and Malvina, produced at Covent Garden, London, in 1791. William Shield was the composer, but left the score to be completed by William Reeve, and it’s unclear which of them composed the Quick March. The Lamb is a poem from Songs of Innocence and Experience (1789) by William Blake. The lyric plays on the multiple identifications of a lamb as a baby sheep, a young child, and Jesus, the “Lamb of God.” It may have been intended to be sung, but there are no musical settings from Blake’s time. We present two settings from the 20th century, beginning with a 1927 piece by Charles Wood, an Anglo-Irishman from Armagh, and the famous 1982 setting by Sir John Tavener, who died last month. Tavener’s Lamb was composed in honor of his nephew Simon’s third birthday, again emphasizing the connection to a young child. Wood sets the two stanzas in a more straightfoward strophic setting in the 19th-century tradition. Tavener plays on the innocence of the lamb by featuring only high voices at the beginning, using basically the same music for the second stanza. The doubling of low voices for this second stanza gives a much different musical impression, and Tavener’s delicious dissonance contrasts sharply with the harmonic lushness of Wood’s setting. The next set includes three pieces. The 1607Es ist ein Ros, by Michael Praetorius, is a Christmas classic, which appears on our firstCarols for Quire CD. The second CD of Carols for Quire includes Herbert Howell’s exquisite 1919 setting of that same lyric, as translated in 1869 by the English hymnwriter, Catherine Winkworth (1827– 1878). With its heartfelt baritone solo, Howell’s setting is gorgeous. But in November 2012, I heard the ensemble Tenebrae perform a more recent setting of Winkworth’s translation, as part of a larger work by the contemporary composer Paul Mealor. It’s so different in style from the Howells, and so stunning with its angelic high soprano and sepulchral low bass parts, that I couldn’t resist sharing it with you. “Wassail” is both an ancient toast — meaning something like “Good health!” — and also a mulled cider that was drunk as part of “wassailing” festivities, typically on the 12th Night of Christmas. The age-old practice of wassailing exists as a folk tradition in many parts of the United Kingdom, even today. Some wassail song versions made their way to North America, and the first one we are singing tonight was collected by Kentuckian composer and balladeer, John Jacob Niles, as The Kentucky Wassail. I have created a harmonized version and changed the words slightly to make it more appropriate for Ohio, since Kentucky did not have much claim on the lyrics in the first place! That song is paired with Ralph Vaughan Williams’s 1913 joyful setting of the Gloucestershire Wassail, perhaps the most famous of all the local wassail traditions. Benjamin Britten’s 1930 Hymn to the Virgin features one choir in English, answered by a second choir in Latin. This is based on a macaronic poem (lyrics in English and Latin) from around 1300, but unfortunately that original poem survives without any associated melody. I noticed, however, that the unusual versification of the lyric matched very closely another hymn to the Virgin from the same time period, Edi beo thu, which survives as a two-voice musical setting in a manuscript of around the same date. I therefore fit the poem, Of“ one that is so fair and bright,” to the Edi beo thu music, providing a period musical setting for the lyric. The imagery in the two early poems is so similar that it seems possible that some medieval musician might have made the same connection! Quire has sung Walford Davies’s lovely setting of The holly and the ivy in previous Christmas programs, and it appears on our second Carols CD. I was aware that Davies had arranged the piece, but never quite sure of his source. What I found was that one of the earliest musical versions of the lyric seems to be in the Herefordshire folk tradition, so I harmonized that song attempting to be true to the spirit of the piece. American Eric Whitacre is probably the most successful choral composer living today; his “Virtual Choir” of 2009 was an internet sensation, and the piece that made it famous was Lux Aurumque. It sets an Edward Esch (b.1970) poem, “Light and gold,” that Whitacre admired and had translated into Latin for the purpose. Featuring 185 singers online from twelve different countries, and viewed over three million times, it is probably no accident that Lux Aurumque has textural elements reminiscent of Gyorgy Ligeti’s Lux æterna, made famous by its use in Stanley Kubrick’s 2001: A Space Odyssey. We pair it here with an earlier Lux piece of transcendent simplicity, O nata lux, by Thomas Tallis. Here, the chord clusters of Whitacre are foreshadowed by Tallis’s pungent cross-relations — simultaneous occurrences of notes like C and C#, or F and F#. In the bleak midwinter, the touching 1906 carol by Gustav Holst [on the Carols for Quire (volume 2) CD], is one of the most beloved of all of our Christmas selections and one of the most-viewed on YouTube. Since there is no earlier setting of Christina Rossetti’s 1872 poem (and since Harold Darke’s famous setting was only three years later), I decided to pair it with another iconic Christmas carol that features the cold stillness of winter, Stille Nacht (“Silent Night”), composed around 1818 by Franz Gruber. Our arrangement is based on the earliest surviving version of the piece. Peter Warlock (the nom de plume of Philip Heseltine) was a short-lived, Anglo-Welsh composer, who developed a keen interest in historical English music. While known for his songs written in the Renaissance lutesong tradition, Benedicamus Domino shows his awareness of even earlier English styles, with passages in the distinctive parallel first-inversion chords of 15th-century fauxbourdon (or faburden, as the English called it), along with some more up-to-date harmonies. In spite of its title, the work actually begins “Procedenti puero …” and that is the name of a conductus found in two manuscripts of the 13th century which, presumably, furnished Warlock’s lyric. I have harmonized its monophonic melody, using techniques from the 13th- century four-voice conductus repertoire. Our final pair uses a poem,“What cheer? Good cheer!” found in a Balliol College, Oxford, manuscript now known as the Richard Hill Commonplace Book (1500–33). Commonplace books were simply blank books, in which individuals wrote poems, reflections, and other sayings they wanted to remember or carry with them — a manuscript “mix list,” if you will. Peter Warlock had published a unison setting of this lyric in 1928, but we are presenting William Walton’s whimsical setting from 1961. Hill included no music in his commonplace book, and there are no musical sources for it from the 16th century. However, the lyric fits perfectly to the well- known Elizabethan tune Greensleeves. I have set it to the earlier, duple version of that melody, using mostly William Byrd’s quotation of the tune in one of his six-voice fantasies for viols. With its refrain, “Be merry and glad this good new year!,” this lyric seems like an excellent way to end the fifth annualCarols for Quire program, and wish you all the best of the season and the coming year! — Ross W. Duffin SINGERS BIOGRAPHIES Countertenor David Acres University, both in Columbus. was a boy soprano at Exeter Locally, she sings with Apollo’s Cathedral, and studied music Singers and Cantores Cleveland, and art at Bethany College. In and is the soprano soloist at 1989, he founded the chamber Lakewood Congregational choir Counterpoint, which now Church. Donna resides in also includes string and brass Rocky River with her husband ensembles. They have earned and three children. renown for introducing audiences to rare Baritone José Gotera began and rediscovered works by composers from his choral training at age eight Perotin to Ugolini. David has sung with en- at St. Michael’s Choir School sembles throughout Europe and has recorded in Toronto. He sang with the works of Tallis, Alonso Lobo, and Morales. Toronto Mendelssohn Choir Having relocated to Cleveland in 2013, where and Tafelmusik, while complet- Q he sings with uire and Trinity Cathedral, he ing degrees at the University of continues to enjoy a trans-Atlantic career as Toronto. In Cleveland, he has singer and conductor. sung with Apollo’s Fire, Cleveland Opera on Tenor Evan Bescan holds Tour, Opera Circle, Opera Cleveland, and the a Bachelor of Music de- Cleveland Orchestra Chorus. He completed gree from Capital University an MA in Early Music at CWRU. At present, in Columbus, along with a José is a voice instructor at Cleveland State Methodology Diploma from the University. He is also an instructor at Hiram Kodály Institute in Kecskemét, College, where he teaches voice and directs Hungary. He is currently a full- the Hiram Men’s Chorus. José sings with the time elementary/middle school Trinity Cathedral Chamber Singers. music teacher at Stockyard Community Jeremiah Heilman, tenor, holds School in Cleveland and a chorister at the a doctorate in physics from Case Cathedral of St. John the Evangelist. Evan Western Reserve University. is also a consultant of the Freda Joyce Brint He earned degrees in phys- Foundation, using music to enhance learn- ics and music theory and his- ing and life in people with Alzheimer’s and tory at the University of Notre dementia. Dame, where he sang with Bass Ian Crane is a high school the Liturgical Choir, Basilica music teacher and performer. Schola, and Glee Club, played trombone in He teaches choir and band at the Marching Band and Brass Ensemble, and Holy Name High School in conducted the Chapel Schola. He directed Parma, and previously spent and arranged small ensemble and choral mu- five years on faculty at Edinboro sic for feasts and special events. In Cleveland, University of Pennsylvania, he has sung at the Cathedral of St. John the as instructor of bagpipes. He Evangelist and with the Opera Cleveland has performed with many local groups, in- Chorus and Cantores Cleveland. cluding Apollo’s Fire, Cleveland Carolers, Nathan Longnecker, bass, also and the Choir of the Cathedral of St. John sings with Apollo’s Singers, and the Evangelist. Ian earned a bachelor’s de- works as vocal and keyboard gree in music education from Cleveland freelancer. He has performed State University and his master’s in conduct- with Cantores Cleveland, the ing from Kent State University. He resides in Cleveland Orchestra Chorus, Lakewood, with his wife, Tricia, and children, Cleveland Opera Chorus, Jadran Phoebe and Alexander. Chorus, and University Circle Soprano Donna Fagerhaug holds a Master Chorale. As a church musician, he has direct- of Arts degree in Church Music from Trinity ed choirs, served as organist and pianist, and Lutheran Seminary and her Bachelor’s of developed a hymn improvisation project. By Music from the Conservatory at Capital day, he tends gardens as The Quiet Gardener. Soprano Megan Huckabay across the US and abroad, and Lapp, originally from Leth- performs locally with Quire, bridge, Alberta, Canada, com- Apollo’s Fire, and as soloist pleted her BMus and BEd at and section leader at Trinity the University of Victoria, BC, Cathedral and member of the and MMus at the University of Trinity Chamber Singers. In Washington. Inspired by the power of singing addition to performing, Judith to unite communities and build confidence in is an educator, choral director, young people, she has taught at the elementa- maintains a private vocal studio, and recently ry, secondary, and collegiate levels. Her most assumed the role of executive artistic director recent project was the creation of a musical for for the ensemble Cantores Ecclesiae. She has elementary students, based on the Green Belt held positions of lecturer and adjunct faculty Movement and the work of Nobel Prize win- at Hiram College and CWRU. ner Wangari Maathai. Megan has been hon- Bass Michael Peters has per- ored to study with Ellen Hargis at CWRU and formed and recorded with some Kendra Colton at Oberlin. of the leading choirs in the United Baritone Brian MacGilvray States, including the Oregon is a musicology PhD candi- Bach Festival Chorus, Dale date at Case Western Reserve Warland Singers, Robert Shaw University, whose research fo- Festival Chorus, Mendelssohn cuses on early modern France. Club of Philadelphia, and Vox He holds degrees in voice from Humana in Dallas. In Cleveland, he sings with Northwestern University and Apollo’s Fire and as a soloist at the Church of the University of Kentucky. His the Covenant. For five years, he was Oaklawn- choral experience includes Chicago Music of Tuttle Chair of Vocal Music, School Organist, the Baroque, the Chicago Symphony Chorus, and Instructor of the Arts at the Hill School, the Grant Park Symphony Chorus, Church near Philadelphia, PA. Michael earned a BMA of the Ascension (Chicago), and Trinity in organ performance and a BS in chemistry Cathedral (Cleveland). from the University of Michigan. He contin- John McElliott, countertenor, ued his studies at Westminster Choir College holds undergraduate degrees in of Rider University in Princeton, NJ, earning voice and organ performance an MM in choral conducting. He has also from the University of Akron taught choral music at the collegiate level. and spent a year abroad as a Soprano Lisa Rainsong’s choral scholar at Winchester musical life integrates compo- Cathedral in the UK. He sings sition, education, vocal per- with several choral ensembles formance, and natural history. in Northeast Ohio, including Apollo’s Fire and She earned her Doctor of Trinity Cathedral’s Chamber Singers, in addi- Musical Arts in composition tion to Quire Cleveland. John is president from the Cleveland Institute of Karen McFarlane Artists, where he man- of Music and is a member ages concert careers for many of the world’s of CIM’s Music Theory faculty. She per- great concert organists and choirs. A versa- forms with Quire Cleveland and Ensemble tile vocalist, he sings alto, tenor, and baritone Lautenkonzert, among others. After earning parts in Quire, and also serves as the organi- a Naturalist Certificate from the Cleveland zation’s Secretary. Museum of Natural History, Lisa developed a Soprano Judith Overcash enjoys an active music-based approach to teaching classes on musical career that ranges from medieval song bird song and insect song identification. She is to opera and musical theater. Judith earned now in demand as a speaker at conferences and her doctoral degree in early music perfor- programs. In addition, she does field research mance practices from CWRU, with additional on “singing insects” — crickets and katydids post-graduate work at UT-Austin and Indiana — that includes field recording, surveys for the University in opera, music history, and the- Geauga (County) Park District, and in-service ater. She appears regularly as a featured soloist training for naturalists. listeninginnature@ blogspot.com. Soprano Malina Rauschenfels 2009, he worked as a performer, is a recent transplant from music director, and teacher in New York City, where she per- the Chicago area, sang with the formed with Toby Twining Chicago Symphony Chorus, Music and Alarm Will Sound, and was a vocalist and arrang- sang with various choirs, and er with the Lakeside Singers. taught privately. She studied Danny has a BM in Music cello and composition at the Education from Northwestern Eastman and Juilliard Schools of Music, spe- University and an MM in Choral Conducting cializing in both early music and new music. from Michigan State University. Her love of early music has led her to add ba- Tenor Tyler Skidmore is an roque violin and treble viol to her instrumen- active music educator and tarium. In Cleveland, she spends a lot of time performer. Teaching now at planning concerts with her groups, Burning the same high school he at- River Baroque and humAnomali, plays in the tended, Tyler attempts to share CWRU Viol Consort, and maintains a home the joys and challenges of cho- studio, teaching violin, viola, cello, flute, and ral music with the students at piano. Medina High School. He holds Corey Shotwell, tenor, holds a bachelor’s degree in music education from a BM degree from Western Mount Vernon Nazarene University and a Michigan University and is master’s in voice performance from Kent currently working toward his State University. Tyler has performed with Master’s of Music in Vocal other area choral ensembles, including Opera Performance at CIM, studying Cleveland, the Cleveland Orchestra Chorus with Dean Southern. He recently and Chamber Chorus, and Apollo’s Fire. participated in the 2013 Young Soprano Gail West has worked Artists Training Program at the Boston Early with such eminent artists Music Festival, where he performed in a re- as Julianne Baird, Emma vival production of Handel’s Almira, under Kirkby, Suzie LeBlanc, Paul the direction of Paul O’Dette and Stephen Hillier, and Benjamin Bagby. Stubbs. He has also performed with Apollo’s Currently a voice student of Fire and the Grammy-nominated Seraphic Ellen Hargis, she has been a Fire. member of Apollo’s Singers Beverly Simmons is a mezzo- since its founding. Gail has been a member soprano, graphic designer, and of CWRU’s Early Music Singers for over 20 Executive Director of Quire years and is a soprano soloist at Church of Cleveland. She earned a doc- the Good Shepherd. She lives in Cleveland torate in early music at Stanford Heights with her husband and three children. University, before moving to Countertenor Jay White sang Cleveland in 1978. Her career eight seasons with the inter- has included stints as a CWRU nationally acclaimed ensemble music professor, WCLV radio announcer, in- Chanticleer, with whom he ternational artist manager, executive director, recorded 14 albums and gar- and mother of two. She founded the CWRU nered two Grammy Awards. Early Music Singers and has sung with Sought after as an interpreter Apollo’s Fire since its inception, as well as of Medieval, Renaissance, and with the Cleveland Opera Chorus, St. Paul’s Baroque repertoire, he has appeared at early Episcopal Church, and Temple Tifereth- music festivals worldwide and has been fea- Israel. Bev is also half of the cabaret duo, tured on national and international radio. He Rent-a-Yenta. trained at the Early Music Institute at Indiana Daniel Singer, baritone, is Director of Music University and the University of Maryland, at University School in Hunting Valley and and has taught at the University of Delaware Assistant Director of the Cleveland Orchestra and DePauw University. Jay is currently Youth Chorus. An active guest conductor Associate Professor of Voice at Kent State and clinician, he recently directed the OMEA University. District VI Junior Honor Choir. From 2003 to Some simple math: + = SUCCESS! QClevelanduire You This is Quire Cleveland’s 6th season! In this short time, we’ve: • performed music of Italy, Slovenia, Germany, Austria, France, Spain, Flanders, England, Canada, Mexico, and the United States, from the 9th to 21st centuries • recorded for Oxford University Press and NPR’s All Things Considered • been viewed on YouTube 190,000+ times • collaborated with CityMusic Cleveland, Cleveland Composer’s Guild, Music & Art @ Trinity, Cleveland Virtuosi Chamber Orchestra, American Guild of Organists, et al.; • produced three CDs of Carols for Quire and Madrigalian Motets • recorded music never before performed • kept ticket prices low & family friendly in unparalleled musical experience Won’t you help Quire continue to thrive with your tax-deductible donation? You’ll feel richly rewarded for your participation. Every gift, in any amount, is valuable and appreciated! Use the remittance envelope in your program or go to our website, QuireCleveland.org, and donate through PayPal. Thank you!

Trinity Cathedral invites you to spend Christm as with us. CHRISTMAS EVE CHRISTMAS DAY Tuesday, December 24 Wednesday, December 25 5 p.m. 10 a.m. Family Eucharist and Pageant Eucharist with Carols The Very Rev. Tracey Lind, preaching The Very Rev. Tracey Lind, preaching 10:30 p.m. BOAR’S HEAD AND Prelude Britten: A Ceremony of Carols YULE LOG FESTIVAL Trinity Cathedral Choir with Jody Guinn, harp Saturday, December 28 11 p.m. 3 p.m. and 5:30 p.m. Choral Eucharist Freewill offering The Very Rev. Tracey Lind, preaching boarsheadcleveland.org

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2230 Euclid Avenue • Cleveland, OH 44115 • 216.771.3630 • www.trinitycleveland.org FREE PARKING AT PROSPECT AND EAST 22ND ST. TEXTS & TRANSLATIONS Alleluia, alleluia, alleluia. Jesus Christ the Apple Tree 1. A newë work is come on hand 1. The tree of life, my soul hath seen, through might and grace of Goddes son, Laden with fruit and always green; To save the lost of ev’ry land, The trees of nature fruitless be, for now is free that erst was bond; Compar’d with Christ the appletree. We mow well sing alleluia. 2. This beauty doth all things excel, 2. Now is fulfilled the prophecy By faith I know, but ne’er can tell, of David and of Jeremy, The glory which I now can see, And also of Isaie, In Jesus Christ the appletree. Sing we therefore both loud and high: 3. For happiness I long have sought, Alleluia, alleluia. And pleasure dearly I have bought; 3. Alleluia, this sweete song, I miss’d of all, but now I see out of a greene branch it sprung. ’Tis found in Christ the appletree. God send us the life that lasteth long! 4. I’m weary’d with my former toil, Now joy and bliss be them among Here I shall set and rest awhile; That thus can sing alleluia. Under the shadow I will be Of Jesus Christ the appletree. The Coventry Carol 5. With great delight I’ll make my stay, Lully lulla, thou little tyne child, There’s none shall fright my soul away; Among the sons of men I see, by by lully lullay. There’s none like Christ the appletree. 1. O sisters too how may we do, 6. I’ll sit and eat this fruit divine, for to preserve this day It cheers my heart like spir’tual wine; this poor youngling for whom we do sing, And now this fruit is sweet to me, by by lully lullay. That grows on Christ the appletree. 2. Herod the king in his raging, 7. This fruit doth make my soul to thrive, charged he hath this day, It keeps my dying soul alive; his men of might in his own sight, Which makes my soul in haste to be all young children to slay. With Jesus Christ the appletree. 3. That woe is me poor child for thee, — R.H. (1761) and ever mourn and say, The Lamb for thy parting, neither say nor sing, by by lully lullay. 1. Little Lamb, who made thee? Dost thou know who made thee? Gave thee life and bade thee feed by the stream and o’er the mead, Gave thee clothing of delight, softest clothing wolly bright, Gave thee such a tender voice, The World’s Finest Chamber Music making all the vales rejoice? Little Lamb, who made thee? Albers Trio Dost thou know who made thee? with Orion Weiss, piano 2. Little Lamb, I’ll tell thee, 4 February 2014 Little Lamb, I’ll tell thee: Plymouth Church, UCC He is called by thy name, 2860 Coventry Rd•Shaker Heights, OH 44120 for he calls himself a Lamb: He is meek & he is mild, THE CLEVELAND He became a little child: CHAMBER I a child & thou a lamb, MUSIC SOCIETY We are called by his name. 216.291.2777 Little Lamb, God bless thee, www.ClevelandChamberMusic.org Little Lamb, God bless thee. — William Blake (1789) 1. Es ist ein Ros entsprungen 1. A Spotless Rose is blowing, aus einer Wurzel zart, sprung from a tender root, als uns die Alten sungen, of ancient seers’ foreshowing, aus Jesse kam die Art, of Jesse promis’d fruit; und hat ein Blümlein bracht, Its fairest bud unfolds to light, mitten im kalten Winter, amid the cold, cold winter, wohl zu der halben Nacht. and in the dark midnight. 2. Das Röslein das ich meine, 2. The Rose which I am singing, davon Esaias sagt, whereof Isaiah said, hat uns gebracht alleine, is from its sweet root springing Marie die reine Magd. in Mary, purest maid; Aus Gottes ewgem Rat For through our God’s great love and might, hat sie ein Kind geboren, the Blessed Babe she bare us wohl zu der halben Nacht. in a cold, cold winter’s night. — Tr. Catherine Winkworth (1869)

Kentucky [Ohio] Wassail Song Wassail Song 1. Wassail, wassail, all over the town, 1. Wassail, wassail, all over the town, Our cup is white and our ale is brown. our bread it is white and our ale it is brown; Our cup is made from an old white oak, our bowl it is made of the green maple tree; And our ale is made in Ohio. in the wassail bowl we’ll drink unto thee. Wassail. So it’s joy be to you and a jolly wassail! 2. Here’s a health to the ox and to his right eye, 2. Oh good man and good wife, are you within? pray God send our master a good christmas pie, Pray lift the latch and let us come in. a good christmas pie as e’er I did see. We see you asitting at the boot o’ the fire, In the wassail bowl we’ll drink unto thee. Wassail. Not athinkin’ of us in the mud and the mire. 3. Here’s a health to the ox and to his right horn So it’s joy be to you and a jolly wassail! pray God send our master a good crop of corn, 3. O, where is the servant with the silly little pin a good crop of corn as e’er I did see. to open the latch and let us come in? In the wassail bowl we’ll drink unto thee. Wassail. For here in the draught it is our desire 4. Here’s a health to the ox and to his long tail, to nibble on a cheese and a toast by the fire! pray God send our master a good cask of ale, So it’s joy be to you and a jolly wassail! a good cask of ale as e’er I did see. 4. There was an old maid and she lived in a house, In the wassail bowl we’ll drink unto thee. Wassail. And she had for a pet a tiny wee mouse, 5. Come butler come fill us a bowl of the best; then I Oh the house had a stove and the house was warm, pray that your soul in heaven may rest; And a little bit of liquor won’t do no harm. but if you do bring us a bowl of the small, may the So it’s joy be to you and a jolly wassail! Devil take butler, bowl and all! Wassail. 5. Oh a man in New York drank his sack from a pail, 6. Then here’s to the maid in the lily white smock, But all we ask is a wee wassail. who tripp’d to the door and slipp’d back the lock; Oh, husband and wife, alack, we part, who tripp’d to the door and pull’d back the pin, God bless this house from the bottom of our heart, for to let these jolly wassailers walk in. So it’s joy be to you and a jolly wassail! Wassail, wassail, all over the town, wassail.

Quire & CityMusic Cleveland Schubert Mass no. 6 in E major May 14–18, 2014 b FREE Concerts a¬ over Town! Hymn to the Virgin 1. The holly and the ivy, when they are both full grown, 1. Of one that is so fair and bright Of all the trees that are in the wood, Velut maris stella [like a star of the sea], Brighter than the day is light, the holly bears the crown. Parens et puella [a parent and [yet] a maiden]: REFRAIN: Oh, the rising of the sun I cry to thee, thou see to me, and the running of the deer, Lady, pray thy Son for me, The playing of the merry organ, Tam pia [[you that are] so good], sweet singing in the choir. That I may come to thee. 2. The holly bears a blossom Maria [Mary]! as white as lily flower, 2. Of consolation thou art best, And Mary bore sweet Jesus Christ felix fecundata [happy offspring]. to be our sweet savior. Of all weary thou art rest, Oh, the rising … singing in the choir. mater honorata [honored mother]. Beseech him with mild mood, 3. The holly bears a berry that for us all shed his blood as red as any blood, in cruce [on the cross], And Mary bore sweet Jesus Christ that we must come to him to do poor sinners good. in luce [in light]. Oh, the rising … singing in the choir. 3. All this world was forlorn 4. The holly bears a prickle Eva peccatrice [because of Eve the sinner], as sharp as any thorn, Till our Lord was yborn, And Mary bore sweet Jesus Christ De te genetrice [of you the mother]. on Christmas Day in the morn. With ave it went away Darkest night, and comes the day Oh, the rising … singing in the choir. Salutis [of salvation;]; 5. The holly bears a bark The well springeth out of thee. as bitter as any gall, Virtutis [of virtue.]. And Mary bore sweet Jesus Christ 4. Lady, flower of everything, for to redeem us all. Rosa sine spina [rose without a thorn], Oh, the rising … singing in the choir. Thou bare Jesu, heaven’s king, Gratia divina [by divine grace.]: Of all thou bearest the prize, Lady, queen of paradise Electa [chosen [by God]]: Maid mild, mother es effecta [you are made]. 5. Well he knows he is thy son, ventre quem portasti [whom you carried in your womb]. He will not thy will undone, parvum quem lactasti [baby whom you suckled]. So gentle and so good he is; He hath brought us to bliss superni [most high], that hides the foul pit inferni [of hell]. O nata lux de lumine, O light born of light, Jesu redemptor saeculi. Jesus, redeemer of mankind, Dignare clemens supplicum mercifully deign to hear from suppliant voices laudes precesque sumere. praise and prayer. Qui carne quondam contegi. You, who to shield us from hell Dignatus es pro perditis. disdained to dwell in mortal form, Nos membra confer effici, grant us at the last to share tui beati corporis. in your blessed body.

Lux [aurumque], calida, gravisque pura, velut Light, warm and heavy as pure gold, aurum canunt et canunt angeli, canunt molliter and the angels sing softly to the newborn baby. natum, modo natum. — Edward Esch (b.1970) — Tr. Charles Anthony Silvestri

1. Stille Nacht! Heilige Nacht! 1. Silent Night! Holy Night! Alles schläft; einsam wacht All asleep; wake alone Nur das traute hochheilige Paar. Just the faithful, holiest pair. Holder Knabe im lockigten Haar, Holy infant with curly hair, Schlafe in himmlischer Ruh! Sleep in heavenly peace! 2. Stille Nacht! Heilige Nacht! 2. Silent Night! Holy Night! Gottes Sohn! O wie lacht Son of God! O how laughs Lieb´ aus deinem göttlichen Mund, Love from your divine mouth, Da schlägt uns die rettende Stund, Since the hour of our redemption, Jesus in deiner Geburt! Jesus, at your birth! 3. Stille Nacht! Heilige Nacht! 3. Silent Night! Holy Night! Die der Welt Heil gebracht That the world salvation brought Aus des Himmels goldenen Höhn From the heavens’ golden heights Uns der Gnaden Fülle läßt sehn We can see his boundless grace: Jesum in Menschengestalt. Jesus in human form. 4. Stille Nacht! Heilige Nacht! 4. Silent Night! Holy Night! Wo sich heut alle Macht Where today all the might väterlicher Liebe ergoß Fatherly love has poured Und als Bruder huldvoll umschloß And the peoples of the world graciously Jesus die Völker der Welt. Embraced Jesus as a brother. 5. Stille Nacht! Heilige Nacht! 5. Silent Night! Holy Night! Lange schon uns bedacht, Long we hoped that we, als der Herr vom Grimme befreit, As the Lord freed us from wrath, in der Väter urgrauer Zeit From the time of our fathers Aller Welt Schonung verhieß. Worldwide protection decreed. 6. Stille Nacht! Heilige Nacht! 6. Silent Night! Holy Night! Hirten erst kundgemacht Shepherds first to know the news durch der Engel Hallelujah, Through the angels Hallelujah tönt es laut bei Ferne und Nah: Sounding loudly far and near: Jesus der Retter ist da! Jesus the Savior is here! — Joseph Mohr (1792–1849) — Tr. R. Duffin 1. In the bleak midwinter, frosty wind made moan; Enough for him, whom angels fall down before, Earth stood hard as iron, water like a stone; The ox and ass and camel which adore. Snow had fallen, snow on snow, snow on snow, 4. Angels and archangels may have gathered In the bleak midwinter, long ago. there, Cherubim and seraphim thronged the air; 2. Our God, heav’n cannot hold him, nor earth sustain; But only his mother, in her maiden Heav’n & earth shall flee away when he comes to reign: bliss Worshipped the beloved with a kiss. In the bleak midwinter a stable place sufficed 5. What can I give Him, poor as I am? — The Lord God Almighty, Jesus Christ. If I were a shepherd, I would bring a lamb, 3. Enough for him, whom cherubim, worship night and day, If I were a wise man, I would do my part,— A breastful of milk, and a mangerful of hay; Yet what I can I give him — give my heart. — Christina Rossetti (1872)

1. Procedenti puero, Eya, novus annus est! 1. To the boy proceeding, Rejoice, this is a new year! Virginis ex utero, Gloria laudis; From the virgin’s womb, Give glory of praise; Deus homo factus est, et immortalis. God is made man, and immortal. 2. Sine viri semine Eya, novus annus est! 2. Without the seed of man, Rejoice … natus est de virgine. Gloria laudis; He is born from a virgin. Give glory … Deus homo factus est, et immortalis. 3. Sine viri copula Eya, novus annus est! 3. Without the junction of man, Rejoice … natus ante secula. Gloria laudis; He is born before the world. Give glory … Deus homo factus est, et immortalis. 4. In celorum solio, Eya, novus annus est! 4. In the throne of heaven, Rejoice … Benedicamus Domino. Gloria laudis; Let us bless the Lord. Give glory … Deus homo factus est, et immortalis.

What cheer? Good cheer! Be merry & glad this good New Year! 1. “Lift up your hartis & be glad 3. I tell you all with heart so free: in Christis birth,” the angel bad; Right welcome ye be to me; say each to other, if any be sad: Be glad & merry, for charity! What cheer? Good cheer! What cheer? Good cheer! 2. Now the king of heav’n his birth hath take, 4. The good man of this place in fere, joy & mirth we ought to make, you to be merry, he prayth you here, say each to other, for his sake: & with good heart he doth to you say: What cheer? Good cheer! What cheer? Good cheer!

Save the dat∂! April 5 & 6, 2014 Shaker Heights & We◊lake |e Land of Harmony American Choral Gems ∫om the Bay Psalm Book to Amy Beach watch for information at quirecleveland.org ACKNOWLEDGMENTS Quire Cleveland is grateful to Music & Art @ Trinity, the Very Rev. Tracey Lind, Dean, and Todd Wilson, Director of Music & Worship, for hosting Quire Cleveland.

We also wish to thank our generous donors: Joanne Poderis, Peter Pogacar, Dr. & Mrs. Nancy L. Adams, Ph.D., Edward Alix, Julie Harry Pollock, Gay & Quentin Quereau, Andrijeski & J. Tracy Mortimore (in memory Dr. Richard Rodda & Janet Curry, Justin of Seymour Simmons, Jr.), Patricia Ashton, T. Rogers, Liz Wells & David Rothenberg, Thomas & Christine Babb, Bonnie Baker & Roger & Elizabeth Salomon, Diane & Lewis Harry Fisher, Fred & Mary Behm, Virginia Schwartz, Neil J. Sharp, Shirley Simmons, & Marvin Belveal, Dr. Peter Bennett, Clurie Seymour Simmons, Jr.‡, Nancy Stemmer & Bennis, Joanne Blazek, Rev. Catherine G. & Laura Sims, Tyler Skidmore, Deborah Smith, Frank Borchert, Arthur V. Brooks, Ted Brown, Richard Snyder, Jordan Sramek, Dr. & Mrs. Mary R. Bynum & J. Philip Calabrese, Alice Ronald Strauss, Tim & Linda Tuthill, Nancy & Don Cairns, David C. Carver, Kathleen Tuttle, Robert & Diane Walcott, John West, 1. To the boy proceeding, Rejoice, this is a new year! Cerveny, Virginia & Matt Collings, Anne Cook, Esq., W. Lane Wofford, Edith Yerger, Doreen From the virgin’s womb, Give glory of praise; Louise Cooper, Gayle Crawford, Dr. Roman A. Ziska, Cuyahoga Arts and Culture, and the God is made man, and immortal. and Dr. Diana Dale, Agnes Dubray, Drs. Ross Eaton Corporation. 2. Without the seed of man, Rejoice … W. Duffin & Beverly Simmons, Ruth E. Fenske, He is born from a virgin. Give glory … In addition, we thank Fr. Robert Kropac and Susan & Richard Figge, Dr. Mary C. Gerhart, historic St. Peter’s Church; Andria Derstine Scott Godwin, Barbara R. Green, Robert E. & and the Harvard Club of Northeast Ohio; 3. Without the junction of man, Rejoice … N. Sue Hanson, Mary Jane Hartwell (in memory He is born before the world. Give glory … Yolanda Crisp, Westlake United Methodist of Shattuck Hartwell), Barbara R. Hawkins, Church Performing Arts Series; and Will Donald Hoffman, Dr. & Mrs. James Jacobsohn, Gotmer, Christ Episcopal Church, Shaker 4. In the throne of heaven, Rejoice … F. Jenkins, Ursula Korneitchouk, Frank & Peg Heights. Let us bless the Lord. Give glory … Krygowski, Kermit & Barbara Lind, Brenda Logan, Dorothy Lungmus, David Macko, Thanks also to Ann Levin, making her début as Dr. & Mrs. Stephen Mahoney, Dr. & Mrs. J. Quire’s Box Office Manager, and all the ushers; Adin Mann, Mark McCarthy, John McElliott, as well as the CWRU Music Department; 90.3 Geraldine McElliott, James & Virginia Meil, WCPN Ideastream; 104.9 WCLV; Ωort∞simo Ed & Elaine Meyer, Paula Mindes & George design; Beth Segal Photography; Thomas Gilliam, Nancy M. Miller, Jean M. Minnick, Knab; and Sarah Bailey. Jewel Moulthrop & Evan Komito, Duncan The Ohio Arts Council helped fund this Neuhauser, Charlotte Newman, Dan & Sue program with state tax dollars to encourage O’Neil, Russell Oberlin, Cynthia Peck & economic growth, educational excellence, and William Johnston, Carolyn & Perry Peskin, cultural enrichment for all Ohioans.

Join in the Quire Sing in the Shower Hum around the House Croon in the Car Warble at Work Yodel in the Yard Belt at the Bar Harmonize with Humanity |e Perfe± Stocking StuΩers! Carols for Quire CDs Volumes 1 & 2, recorded live in concert — $10 each — only $5 with the purchase of another CD* (*at full price)

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