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CORO CORO James MacMillan: Miserere Poetry in Music

“...what a superb “Four tracks and The Sixteen are, and less than 20 their especial affinity minutes into this Song of the Nativity with this music disc it is clear that heightens the impact this is something of these powerful really special.” performances.” gramophone cor16096 gramophone cor16134

The Complete Traditional Carol Collection Edmund Rubbra The Sixteen’s two In this beautiful best-loved carol new recording recordings in one The Sixteen slip-case set. explores some of Rubbra’s The perfect little-known yet Christmas ! distinctive choral cor16136 cor16144 music.

To find out more about The Sixteen, tours, and to buy CDs visit The Sixteen HARRY CHRISTOPHERS www.thesixteen.com cor16146 hristmas is that most important season of the year when love and hope prevail. CAbove all, it is a time for families, and we hope that this collection of carols will 1 Morten Lauridsen O magnum mysterium 6.44 bring the spirit of Christmas into your home. No other festival in the Christian year has (b.1943) inspired so many tunes. The typical carol is one that embraces basic emotions; words 2 and music are both simple and approachable. It is a pity, therefore, that in recent years, Howard Skempton lay ybounden 1.15 of well-known carols have become so elaborate, to the extent that they (b.1947) almost obscure a well-loved tune. 3 Traditional The Saviour’s work 4.04 4 Our collection is both traditional and contemporary. Of the seven traditional carols, Jackson The Christ-child 4.31 (b.1962) we have kept as close as possible to the original texts and have adopted their simple harmonisations from the old Oxford Book of Carols, first published in 1928. Most of 5 Down 4.50 these have sadly gone out of fashion (Somerset Carol and A Gallery Carol for example) but (1894-1930) we hope that, through this recording, they will become a part of the family Christmas 6 Traditional A Gallery Carol 1.41 once again. The bulk of the carols, however, are from our own time. Many of them have become classics in their own right, like the spiritually evocative O magnum mysterium by 7 Will Todd My Lord has come 3.43 Morten Lauridsen, ’s beautiful setting of There is a flower and Peter Warlock’s (b.1970) perfect yet tender miniature Bethlehem Down. There are many others which in the course 8 John Ireland The Holy Boy 3.25 of time will also become classics; all of them, by their unashamed simplicity, capture the (1879-1962) joy and sincerity of this most wonderful of seasons. 9 Henry O little town of Bethlehem 4.14 It only remains for us to wish you all a very happy Christmas where peace, love and (1869-1941) goodwill may prosper. bl John Gardner When Christ was born of Mary free 1.55 (1917-2011) bm Cecilia McDowall Now may we singen 3.30 (b.1951)

2 hristmas, the English name for and celebration. Christ, ‘that far- bn Traditional Children’s Song of the Nativity 2.08 C the Feast of the Nativity, the beaming blaze of majesty’ in Milton’s venerable Cristes masse, has been a rapt vision of the nativity, stands as the bo 1.14 source of inspiration to generations of eternal symbol of heaven and earth in (1897-1961) artists and a season of comfort and joy one, the human form divine, born not bp Alec Roth Song of the Shepherds 6.00 for countless souls since early medieval in a high palace but in a low stable to (b.1948) times, the moment when Christ the sol redeem all mankind. It is a story best verus, the ‘true sun’, brought eternal light told in human terms, one touched by bq Traditional Somerset Carol 1.52 to illuminate dark earth. The poetry common domestic experience, by the br Bob Chilcott The Shepherd’s Carol 3.16 of that moment, rooted in the fusion joys and fears around new life, the deep- (b.1955) of myth with history, has never lost its rooted, widely shared belief in salvation, bs Traditional This endris night 2.57 power to move and perhaps moves us and expressed most directly – yet with bt more than ever in an age when daily the greatest mystery – through music. John Rutter There is a flower 4.54 news of mankind’s destructive agency (b.1945) arises from all-too-human killing fields Song of the Nativity spans six centuries bu Traditional Christmas 3.42 and slaughter yards. The language of of . Its contents William Tyndale and the King James reach back to what the congregational cl Alan Bullard And looked down 2.36 , of Donne and Milton, Dickens pastor and musicologist Erik Routley (b.1947) and Hardy, of Rossetti, Dickinson, called ‘the singing ages’, the time of cm Traditional Dutch Carol 1.58 Eliot and Chesterton, and of unknown, medieval carols, mystery plays and cn James MacMillan O radiant dawn 3.27 untraceable folk poets has helped give folk rituals, and also encompass works (b.1959) voice to the Christmas story, weaving written within the past decade. Each colourful strands from New Testament composition expresses something of Total Running Time: 73.58 narratives and two millennia of the great mystery of the nativity, its Christian contemplation, myth-making mundane setting and transcendent

5 meaning, its ability to cultivate Nor in a place of paradise landscapes of the Pacific Northwest published composition, Adam lay compassion and fellow feeling. In Cider But in an ox’s stall …’ resounds in his ’s shimmering ybounden – a regular fixture in the with Rosie Laurie Lee reflects on the dissonances and merging harmonies. annual Festival of Nine spiritual essence of Christmas music- And two thousand became Lauridsen’s work was directly inspired by Lessons and Carols at King’s – stands making, recalling the carols he sang as real to us then; the houses, the halls, the the painting Still life with lemons, oranges as an engaging setting of words from a a boy in the Gloucestershire village of places of paradise had all been visited; and a rose by Francisco Zurbarán (1598- 15th-century carol manuscript. Howard Slad. Each year he and his pals would the stars were bright to guide the Kings 1664). ‘I sought to impart, as Zurbarán Skempton’s minimalist treatment tramp through the snow to reach the through the snow; and across the did before me, a transforming spiritual of the same text, written in 1999, is remote house of Joseph the farmer and farmyard we could hear the beasts in experience within what I call ‘a quiet more austere but no less affecting or sing their last carol of the day for him. their stalls. We were given roast apples song of profound inner joy’. I wanted memorable than Ord’s. It contemplates ‘Everything was quiet; everywhere there and hot mince-pies, in our nostrils were this piece to resonate immediately and the profound mystery of mankind’s was the faint crackling silence of the spices like myrrh, and in our wooden deeply into the core of the listener, to long suffering and redemption by the winter night,’ wrote Lee. box, as we headed back for the village, illumine through sound.’ birth of . there were golden for all.’ ‘We started singing, and we were all Boris Ord, at King’s College, The Christ-child was commissioned moved by the words and the sudden Morten Lauridsen’s O magnum Cambridge from 1929 to 1957, for the 2009 Festival of Nine Lessons trueness of our voices. Pure, very clear, mysterium inhabits Lee’s world of still demanded high standards from his and Carols at King’s. Gabriel Jackson and breathless we sang: silence, a place welcoming to emotions choristers. ‘He was tyrant and friend,’ furnishes his setting of G.K. Chesterton’s of ecstasy and bliss. Before moving to recalled one choral scholar from A , first published in As Joseph was walking Los Angeles in the 1960s to study at the early 1930s. ‘There was never a 1900, with sonorous harmonies and He heard an angel sing; the University of Southern California, hint of relaxation in the standard exquisite transformations of choral ‘This night shall be the birth-time Lauridsen served as a Forest Service expected…. We were certainly left texture. The prevailing mood is one of Of Christ the Heavenly King. firefighter near Mount St Helens in with the impression that, whatever rapt tenderness and reverence, touched He neither shall be bornèd his home state of Washington. The our achievement, Boris could always not least by a sense of the holy mother’s In Housen nor in hall, composer’s empathy for the vast natural imagine something better.’ Ord’s only unconditional love for her only son. Alec

6 7 Roth’s Song of the Shepherds was written to Bethlehem Down and sent them to carol’s solo verses into English for The Bridgwater, who recalled performing in 2013 to mark the quatercentenary of Warlock, who set them to music of Oxford Book of Carols in the late 1920s, the Somerset Carol as a child with his the metaphysical poet Richard Crashaw. considerable sensitivity and sonorous leaving its choral refrain to stand in the friends in the local streets to raise money It was commissioned by the Church of beauty. A copy of the new Christmas original . at Christmas. The Children’s Song of the St Mary the Less in Cambridge, where part-song appeared a few weeks later Nativity, commonly known as How far Crashaw served as priest from 1638 to in a seasonal supplement published by The Saviour’s work (The babe in Bethl’em’s is it to Bethlehem, marries the traditional 1643. Roth, perhaps best known for his the Daily Telegraph. Blunt later wrote laid) appears under ‘traditional’ in English -tune ‘Stowey’ to words by collaborations with the Indian novelist that the pair had ‘an immortal carouse the 1913 edition of Shaw and Dearmer’s Frances Alice Chesterton, wife of G.K. and poet Vikram , adapted verses on the proceeds and [we] decided to call English Carol Book. The Rev. Richard Chesterton and an accomplished author from Crashaw’s In the Holy Nativity of Our ourselves “Carols Consolidated”.’ Chope in his Carols for Use in Church of of verse, songs and children’s drama. Lord God: a Hymn Sung as by the Shepherds 1894, gives the anonymous words and for his rousing choral setting. Many traditional Christmas carols music as ‘Kentish’ in origin, while the The text of This endris night is preserved project the joyful news of Jesus’s birth. piece appears as an ‘Old Kentish Carol’ in a 15th-century manuscript housed Drink supplied the lubricant essential Rejoice and be merry belongs to the rich in R.R. Terry’s 1923 anthology of Old today in the Bodleian Library. It belongs to of Bethlehem Down. Anglican tradition of west gallery music. Christmas Carols. Whatever its regional to a genre of late-medieval lullaby carols Peter Heseltine (known to the musical Its words and music were recorded in a roots, this narrative carol makes a strong cast in the form of a dialogue between and occult worlds as Warlock) and his tune-book from Dorset, which in turn impression with its distinctive mix of the Virgin Mary and the infant Jesus. friend, the poet Bruce Blunt, were stone were published in 1919 as A Gallery modal and diatonic harmonies. Its tune, Other manuscript variants of the carol broke in December 1927. To remedy the Carol in Shaw and Dearmer’s The noted Erik Routley, ‘is very much of the exist in the National Library of Scotland, situation, they decided to write a modern English Carol Book. The earliest version 18th century’, while its words ‘tell of the the and the library of carol and sell it to a daily newspaper. On of the Dutch Carol (A child is born in preaching as well as the incarnation of Balliol College, Oxford. Whereas This the journey between The Plough in the Bethlehem) dates to 1599. The English Christ’. Come all you worthy gentlemen endris night offers a tender reflection Hampshire village of Bishop’s Sutton poet R.C. Trevelyan, who was married hails from Somerset, where its stirring on a mother’s love, The Lord at first did and The Anchor at nearby Ropley, to the Dutch Elizabeth van melody was notated by Cecil Sharp Adam make charts the broad course from Blunt conceived and hatched the words der Hoeven, translated the macaronic from the singing of a Mr Rapsey of mankind’s fall to the ‘coming of God’s

8 9 dear son’ and the promise of eternal life shape Bob Chilcott’s upbringing. He reflective setting of words by the early inspired by the angelic voice of one of his to come. The traditional carol, with its served as a boy chorister in the 1960s 15th-century priest and poet John St Luke’s choristers. It was first published refrain specific to Christmas Eve, was and later as a choral scholar at King’s Audelay, was written for the Choir of St as the third of four piano preludes, first published in the version heard College. The Shepherd’s Carol was John’s College, Cambridge, in the mid- transcribed for organ in 1919, adapted on this recording in William Sandys’s commissioned by King’s for its service 1980s. The motet’s eloquent simplicity as a song to words by the composer’s Christmas Carols, Ancient and Modern of of lessons and carols in 2000. Chilcott’s bears witness to its composer’s deep friend Herbert Brown almost two 1833. and contemplative piece, made timeless feeling for the Christmas message. decades later, and finally fashioned as an placed The Lord at first did Adam make as by its folksong idioms, considers the unaccompanied choral setting of Brown’s the first work in their influential Oxford nativity story from the perspective of The close harmonies of Will Todd’s Christmas text in 1941. When creating Book of Carols. the shepherds drawn by starlight to My Lord has come complement the his original setting of O little town of Bethlehem. loving-kindness of his carol verse. The Bethlehem, an enduring favourite with The great tradition of Christmas music work was selected for inclusion in a Christmas congregations worldwide, continues to thrive and grow, not least Almost four decades before Chilcott new Christmas anthology, published by Henry Walford Davies, Master of the through the work of Alan Bullard and created his haunting composition, a in 2011 to mark King’s Music from 1934 to 1941, turned Bob Chilcott. The former’s substantial young Cambridge-based musician the 50th anniversary of Carols for to words written upon his return from a catalogue of seasonal pieces includes made a seminal contribution to the 1. ‘Such an exciting moment,’ Todd visit to the Holy Land by the Philadelphia a sublime setting of words by G.K. future of sacred Christmas music. John recalls, ‘as I have wonderful memories clergyman Phillips Brooks. Chesterton, And all the stars looked Rutter’s work as co-editor of the second of singing music from the earlier Carols down. Bullard’s Britten-like ability volume of – popularly for Choirs in my formative years.’ John Gardner’s folk-like setting of When to convey verbal imagery in music known as the ‘Orange Book’ for the Christ was born of Mary free, first is harnessed throughout the piece, colour of its cover – supplied amateur John Ireland served as organist of St published in 1963, evokes the sound especially so in his treatment of poetic and professional choirs with a rich Luke’s, Chelsea, between 1904 and 1926. and spirit of late-medieval English similes of the Christ-child’s hair. The repertoire of restored and new seasonal The Holy Boy was written on Christmas carols by employing unison voices for distinctive combination of Cambridge, compositions, his own Shepherd’s Pipe Day 1913, the last before peace was the verse and two-part polyphony for Christmas and choral singing helped Carol among them. There is a flower, a shattered by the guns of war, and perhaps its Latin refrain. Text and music capture

10 11 the ‘mirth and glee’ of the first to hear for , O oriens, splendor 1 Morten Lauridsen (b.1943) news of the nativity. lucis aeternae, in which Christ’s eternal light is compared to the splendour of O magnum mysterium Choral music occupies a central place the rising sun. MacMillan magnifies the O magnum mysterium, O great mystery, in the output of Cecilia McDowall. text’s spirit of ecstasy by using repetition et admirabile sacramentum, and wonderful sacrament, The London-born composer shares and reiteration throughout the work, ut animalia viderent Dominum natum that the animals see the newborn Lord John Rutter’s gift for writing music including two six-fold statements of the iacentem in praesepio! lying in the manger! that touches audience hearts. Her word ‘come’ and six final amens. Beata Virgo, cuius viscera Blessed is the Virgin whose womb unaccompanied Christmas carol Now meruerunt portare was worthy to bear we may singen was written for the Christmas, stripped of commercial Dominum Christum. Christ the Lord. Concord Singers and first performed by cynicism and forced seasonal cheer, is Alleluia. Alleluia! them in the Bedford Corn Exchange in above all a celebration of life and love. Words: adapted from the Third and Fourth December 2007. McDowall’s unadorned It begins with a family story that invites at Matins on Christmas Day melodic writing and ringing harmonies compassion to attend the manger stall evoke an imaginary medieval and for all to reflect on childhood’s 2 soundscape, one apt to the setting of an corruptible innocence, to set aside Howard Skempton (b.1947) anonymous 15th-century text. hate and fear and search for the ‘meek- Adam lay ybounden ey’d peace’ within. Song of the Nativity Echoes of ’s hymn O offers a profound meditation in words Adam lay ybounden, Ne had the taken been, nata lux surface in the opening bars of and music on the ineffable mystery Bounden in a bond; The apple taken been, James MacMillan’s O radiant dawn. of love, its fleeting, fragile state when Four thousand winter Ne haddé never our lady MacMillan wrote the piece in 2007 left untended and transcendent force Thought he not too long. Abeen heaven’s queen. And all was for an apple, Blessed be the time for his choir at St Columba’s Catholic when cherished. An apple that he took, That apple taken was! Church in Glasgow. It sets an English As clerkés finden Therefore we may singen, translation of one of the seven ‘O’ © 2016 Andrew Stewart Written in theiré book. Deo gracias! Words: anon. 15th century 12 13 3 Traditional 4 Gabriel Jackson (b.1962) The Saviour’s work – The babe in Bethl’em’s manger laid The Christ-child Soloists: Mark Dobell tenor, Ben Davies baritone Soloist: Julie Cooper soprano

The babe in Bethl’em’s manger laid To preach the word of life divine, The Christ-child lay on Mary’s lap, The Christ-child lay on Mary’s heart, In humble form so low, And feed with living bread, His hair was like a light. His hair was like a fire. By wond’ring angels is surveyed To heal the sick with hand benign, (O weary, weary were the world, (O weary, weary is the world, Through all His scenes of woe. And raise to life the dead. But here is all aright.) But here the world’s desire.) Nowell, Nowell, etc. Nowell, Nowell, The Christ-child lay on Mary’s breast, The Christ-child stood at Mary’s knee, Now sing a Saviour’s birth, His hair was like a star. His hair was like a crown, He preached, He suffered, bled and died, (O stern and cunning are the kings, And all the flowers looked up at Him, All hail His coming down to earth, Uplift ‘twixt earth and skies; But here the true hearts are.) And all the stars looked down. Who raises us to Heav’n! In sinners’ stead was crucified, For sin a sacrifice. Words: Gilbert Keith Chesterton (1874-1936) A Saviour! sinners all around Sing, shout the wondrous word; Nowell, Nowell, etc. Let every bosom hail the sound, Well may we sing a Saviour’s birth, A Saviour! Christ the Lord. Who need a grace so given, Nowell, Nowell, etc. And hail His coming down to earth, Who raises us to Heaven. For not to sit on David’s throne With worldly pomp and joy, Nowell, Nowell, etc. He came on earth for sin to atone, Words: anon. 15th century And Satan to destroy. Nowell, Nowell, etc.

14 15 5 Peter Warlock (1894-1930) 6 Traditional Bethlehem Down A Gallery Carol – Rejoice and be merry

“When He is King we will give Him the Kings’ gifts, Rejoice and be merry in songs and in mirth! Myrrh for its sweetness, and gold for a crown, O praise our Redeemer, all mortals on earth! Beautiful robes”, said the young girl to Joseph, For this is the birthday of Jesus our King, Fair with her first-born on Bethlehem Down. Who brought us salvation, His praises we’ll sing!

Bethlehem Down is full of the starlight A heavenly vision appeared in the sky; Winds for the spices, and stars for the gold, Vast numbers of angels the shepherds did spy, Mary for sleep, and for lullaby music Proclaiming the birthday of Jesus our King, Songs of a shepherd by Bethlehem fold. Who brought us salvation, His praises we’ll sing!

When He is King they will clothe Him in grave-sheets, Likewise a bright star in the sky did appear, Myrrh for embalming, and wood for a crown, Which led the wise men from the East to draw near; He that lies now in the white arms of Mary They found the , sweet Jesus our King, Sleeping so lightly on Bethlehem Down. Who brought us salvation, His praises we’ll sing!

Here He has peace and a short while for dreaming, And when they were come, they their treasures unfold, Close-huddled oxen to keep Him from cold, And unto him offered myrrh, incense and gold. Mary for love, and for lullaby music So blessed for ever be Jesus our King, Songs of a shepherd by Bethlehem fold. Who brought us salvation, His praises we’ll sing! Words: Bruce Blunt (1899-1957) Words: Traditional, Church-gallery Book

16 17 7 Will Todd (b.1970) 8 John Ireland (1879-1962) My Lord has come The Holy Boy

Shepherds, called by angels, His love will hold me, Lowly, laid in a manger, Bend your heart to the wonder, called by love and angels; His love will cherish me, With oxen brooding nigh, The Birth, the Mystery mild, no place for them but a stable. love will cradle me. The Heav’nly Babe is lying, And worship, silent, adoring, My Lord has come. His Maiden Mother by. The Boy, The Heav’nly Child. Lead me, lead me to see Him, Sages, searching for stars, sages and shepherds and angels; Lo! the wayfaring sages, Dim the light of the lantern, searching for love in heaven; no place for me but a stable. Who journey’d far through the wild, And bare the mean abode, no place for them but a stable. My Lord has come. Now worship, silent, adoring, Yet gold and myrrh and incense My Lord has come. The Boy, The Heav’nly Child. Proclaim the Son of God. Words: Will Todd

Leave your work and your playtime, Lowly, laid in a manger And kneel in homage and prayer, By Virgin undefiled, The of Love is smiling Come worship, silent, adoring, Asleep in His cradle there. The Boy, The Heav’nly Child.

Words: Herbert S. Brown (dates unknown)

18 19 9 Henry Walford Davies (1869-1941) bl John Gardner (1917-2011) O little town of Bethlehem When Christ was born of Mary free

O little town of Bethlehem, How silently, how silently, When Christ was born of Mary free, This King is come to save His kind, How still we see thee lie! The wondrous gift is giv’n! In Bethl’em in that fair city, In the scripture as we find; Above thy deep and dreamless sleep So God imparts to human hearts Angels sung e’er with mirth and glee. Therefore this song have we in mind: The silent stars go by. The blessing of His heav’n. Yet in thy dark streets shineth No ear may hear His coming; In excelsis gloria, In excelsis gloria etc. The everlasting light; But in this world of sin, Christo paremus cantica, The hopes and fears of all the years Where meek souls will receive Him, still in excelsis gloria. Then, dear Lord, for Thy great grace, Are met in thee tonight. The dear Christ enters in. Grant us the bliss to see Thy face, Herdmen beheld these angels bright, Where we may sing to Thy solace. To them appeared with great light, For Christ is born of Mary; O holy Child of Bethlehem, In excelsis gloria etc. And, gather’d all above, Descend to us, we pray; And said, ‘God’s Son is born this night’. While mortals sleep, the angels keep Cast out our sin, and enter in, In excelsis gloria etc. Words: anon. 15th century Their watch of wond’ring love. Be born in us today. O morning stars, together We hear the Christmas angels Proclaim the holy birth, The great glad tidings tell: And praises sing to God the King, O come to us, abide with us, And peace to men on earth; Our Lord Emmanuel.

Words: Phillips Brooks (1835-93), Bishop of Massachusetts

20 21 bm Cecilia McDowall (b.1951) bn Traditional, arr. Now may we singen Children’s Song of the Nativity – How far is it to Bethlehem? Soloists: Alexandra Kidgell soprano, Jeremy Budd tenor Refrain: His ransom for us hath ypaid; Now may we singen as it is. How far is it to Bethlehem? Great kings have precious gifts, Quod puer natus est nobis. Good reason have we to be His. Be mercy asked and He be prayed, Not very far. And we have naught, The Babe to us that now is born, Who may deserve the heavenly bliss. Shall we find the stable room Little smiles and little tears Lit by a star? Are all we brought. Wonderful works He hath ywrought, And thus it is Forsooth ywis etc. He would not loss what was forlorn, But boldly again it bought; To some purpose God made man; Can we see the little Child, For all weary children And thus it is Forsooth ywis, I trust well to salvation. Is He within? Mary must weep. He asketh nought but that is His. What was his blood that from him ran If we lift the wooden latch Here, on His bed of straw Now may we singen as it is. But fence against damnation? May we go in? Sleep, children, sleep. Quod puer natus est nobis. And thus it is Forsooth ywis etc. May we stroke the creatures there, God in His mother’s arms, This bargain loved He right well, Almighty God in Trinity, Ox, ass, or sheep? Babes in the byre, The price was high and bought full dear. Thy mercy we pray with whole heart, May we peep like them and see Sleep, as they sleep who find Who would suffer and for us feel Thy mercy may all woe make fell Jesus asleep? Their heart’s desire. As did that Prince withouten peer? And dangerous dread from us to start.

And thus it is Forsooth ywis etc. And thus it is Forsooth ywis etc. If we touch His tiny hand Words: Frances Chesterton (1875-1938) Words: anon. 15th century Will He awake? Will He know we’ve come so far Just for His sake?

22 23 bo Boris Ord (1897-1961) Welcome to our wond’ring sight! I saw the curled drops, soft and slow, Eternity shut in a span! Come hovering o’er the place’s head, Adam lay ybounden Summer in Winter! Day in Night! Off’ring their whitest sheets of snow Heaven in Earth, and God in Man! To furnish the fair infant’s bed. Adam lay ybounden, Ne had the apple taken been, Great little one, whose glorious birth Forbear, said I, be not too bold; Bounden in a bond; The apple taken been, Lifts earth to heaven, stoops heaven to earth. Your fleece is white but ’tis too cold. Four thousand winter Ne had never our lady

Thought he not too long. Abeen heavené queen. We saw Thee in Thy balmy nest, I saw th’officious angels bring And all was for an apple, Blessed be the time Bright dawn of our eternal day; The down that their soft breasts did strow, An apple that he took, That apple taken was, We saw Thine eyes break from the east, For well they now can spare their wings, As clerkes finden Therefore we moun singen, And chase the trembling shades away. When heaven itself lies here below. Written in their book. Deo gracias! We saw Thee, and we blessed the sight; Forbear, said I, be not too rough; We saw Thee by Thine own sweet light. Thy down though soft’s not soft enough. Words: anon. 15th century Poor world, said I, what wilt thou do The babe no sooner ’gan to seek To entertain this starry stranger? Where to lay His lovely head, bp Alec Roth (b.1948) Is this the best thou canst bestow? But straight His eyes advised His cheek Song of the Shepherds A cold and not too cleanly manger? ’Twixt mother’s breasts to go to bed. Contend, ye powers of heaven and earth, Sweet choice, said I, no way but so, Soloists: Emilia Morton, Katy Hill soprano To fit a bed for this huge birth. Not to lie cold, yet sleep in snow.

Come we shepherds whose blest sight Gloomy night embraced the place Words: Richard Crashaw (1613-1649) Hath met love’s noon in nature’s night; Where the noble infant lay. from ‘In the Holy Nativity of Our Lord God: Come lift we up our lofty song, The babe looked up and showed His face; a Hymn Sung as by the Shepherds’ To wake the sun that sleeps too long. In spite of darkness, it was day. It was Thy day, sweet and did rise Not from the east, but from Thine eyes.

24 25 bq Traditional br Bob Chilcott (b.1955) Somerset Carol – Come all you worthy gentlemen The Shepherd’s Carol

Come all you worthy gentlemen God bless the ruler of this house, We stood on the hills, Lady, That may be standing by, And long on may he reign. Our day’s work done, Christ our blessed Saviour Many happy Christmases Watching the frosted meadows Was born on Christmas Day. He live to see again! That winter had won. The blessed Virgin Mary God bless our generation, Unto the Lord did say, Who live both far and near, The evening was calm, Lady, O we wish You the comfort And we wish them a happy, The air so still, and tidings of joy. a happy . Silence more lovely than music Words: traditional Folded the hill. Christ our blessed Saviour Now in the manger lay – There was a star, Lady, He’s lying in the manger, Shone in the night, While the oxen feed on hay. Larger than Venus it was The blessed Virgin Mary And bright, so bright. Unto the Lord did say, O we wish You the comfort Oh, a voice from the sky, Lady, and tidings of joy. It seemed to us then, Telling of God being born In the world of men.

And so we have come, Lady, Our day’s work done, Our love, our hopes, ourselves, We give to your Son. Words: Clive Sansom (1910-81)

26 27 bs Traditional bt John Rutter (b.1945) This endris night There is a flower Soloist: Alexandra Kidgell soprano This endris night I saw a sight, ‘For angels bright down to Me light; A star as bright as day, Thou knowest ‘tis no nay. There is a flower sprung of a tree, When Gabriel this maid did meet, And ever among, a maiden sung, And for that sight thou may’st delight The root thereof is called Jesse, With ‘’ he did her greet; ‘Lully, by by, lullay.’ To sing, “By by, lullay.”’ A flower of price; Between them two this flower was set There is none such in paradise. And safe was kept, no man should wit, This lovely lady sat and sung, ‘Now, sweet son, since Thou art a king, Till on a day And to her child did say, Why art Thou laid in stall? This flower is fair, and fresh of hue, ‘My son, my brother, father, dear, Why dost not order Thy bedding In Bethlem it could spread and spray. It fadeth never, but ever is new; Why liest Thou thus in hay? In some great kingés hall?’ The blessed branch this flower on grew When that fair flower began to spread ‘My sweetest bird, thus ‘tis required, ‘Methinks ‘tis right that king or knight Was Mary mild that bare Jesu; And His sweet blossom began to bed, Though Thou be king veray, Should lie in good array. A flower of grace; Then rich and poor of every land But nevertheless I will not cease And then among, it were no wrong Against all sorrow it is solace. They marvelled how this flower might spread, To sing “By by, lullay.”’ To sing “By by, lullay.”’ Till kingés three The seed hereof was Goddes sand, That blessed flower came to see. Words: anon. 15th century The child then spake in His talking, That God Himself sowed with His hand, And to His mother said, In Nazareth, that holy land, Alleluia. ‘Yea, I am known as heaven-king Amidst her arbour a maiden found; In crib though I be laid.’ This blessed flower Angels there came from heaven’s tower Sprang never but in Mary’s bower. To look upon this freshele flower, How fair He was in His colour And how sweet in His savour; And to behold How such a flower might spring in gold.

Words: John Audelay (fl.1426)

28 29 bu Traditional cl Alan Bullard (b.1947) Christmas Eve - The Lord at first did Adam make And all the stars looked down

The Lord at first did Adam make Now for the blessings we enjoy, The Christ-child lay on Mary’s lap, The Christ-child lay on Mary’s heart, Out of the dust and clay, Which are from Heaven above, His hair was like a light. His hair was like a fire. And in his nostrils breathed life, Let us renounce all wickedness (O weary, weary were the world, (O weary, weary is the world, E’en as the Scriptures say. And live in perfect love. But here is all aright.) But here the world’s desire.) And then in Eden’s Paradise Then shall we do Christ’s own command, He placed him to dwell, Ev’n His own written word, The Christ-child lay on Mary’s breast, The Christ-child stood at Mary’s knee, That he within it should remain And when we die, in Heaven shall His hair was like a star. His hair was like a crown, To dress and keep it well. Enjoy our living Lord. (O stern and cunning are the kings, And all the flowers looked up at Him, But here the true hearts are.) And all the stars looked down. Now let good Christians all begin Now let good Christians all begin etc. An holy life to live, Words: Gilbert Keith Chesterton (1874-1936) And to rejoice and merry be, And now the tide is nigh at hand, For this is Christmas Eve. In which our Saviour came; Let us rejoice, and merry be, Now mark the goodness of the Lord In keeping of the same. Which He for mankind bore, Let’s feed the poor and hungry souls, His mercy soon He did extend, And such as do it crave; Lost man for to restore; Then when we die, in Heaven we And then for to redeem our souls Our sure reward shall have. From death and hellish thrall, He said His own dear Son should be Now let good Christians all begin etc. The Saviour of us all. Words: Traditional Now let good Christians all begin etc.

30 31 cm Traditional Harry Christophers is known internationally as founder and conductor of The Sixteen as well as being a regular guest Dutch Carol – A child is born in Bethlehem conductor for many of the major symphony orchestras and opera Soloist: Emilia Morton soprano companies worldwide. He has directed The Sixteen choir and orchestra throughout Europe, America and Asia-Pacific, gaining a A child is born in Bethlehem, The angels above were singing then, distinguished reputation for his work in Renaissance, Baroque and Awaiteth Him all Jerusalem. Below were rejoicing the shepherd men. 20th- and 21st-century music. In 2000 he instituted The Choral Amor, amor etc. Pilgrimage, a national tour of English cathedrals from York to Borggreve Marco Photograph: Amor, amor, amor, amor! Canterbury in music from the pre-, as The Sixteen’s Quam dulcis est amor! Now let us all with the angels sing, contribution to the millennium celebrations. The Pilgrimage in Yea, now let our hearts for gladness spring. the UK is now central to The Sixteen’s annual artistic programme. The Son took upon Him humanity, That to the Father thus draws nigh. Amor, amor etc. Since 2008 Harry Christophers has been Artistic Director of Boston’s Handel and Haydn Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. Amor, amor etc. Words: traditional Dutch carol (1599) translated: R.C. Trevelyan As well as enjoying a partnership with the BBC Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin in the Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester and features in the highly successful BBC television series Sacred Music, presented by cn James MacMillan (b.1959) Simon Russell Beale. O radiant dawn Harry has conducted numerous productions for Lisbon Opera and English National Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Park O Radiant Dawn, Splendour of eternal Light, Sun of Justice: Opera. He is a regular conductor at Buxton Opera where he initiated a very successful come, shine on those who dwell in darkness and the shadow of death. cycle of Handel’s operas and including Semele, Samson, Saul and Jephtha. Isaiah had prophesied, ‘The people who walked in darkness have seen a great light; upon those who dwelt in the land of gloom a light has shone.’ Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Amen. Royal Welsh College of Music and Drama, and has been awarded the Honorary Degree of Doctor of Music by the University of Leicester. He was awarded a CBE in the 2012 Words: for 21st December Queen’s Birthday Honours.

32 33 After three decades of worldwide performance and recording, The Sixteen is recognised as one of the world’s greatest ensembles. Its special The Sixteen reputation for performing early English polyphony, soprano alto tenor bass masterpieces of the Renaissance, Baroque and Julie Cooper Ian Aitkenhead Simon Berridge Ben Davies early Classical periods, and a diversity of 20th- and 21st-century music, all stems from Sally Dunkley Daniel Collins Jeremy Budd Robert Evans the passions of conductor and founder, Harry Christophers. Camilla Harris Edward McMullan Mark Dobell Tim Jones The Sixteen tours internationally giving regular performances at the major concert halls Katy Hill Kim Porter George Pooley Rob Macdonald and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as Alexandra Kidgell Associate Artists of The Bridgewater Hall, Manchester, Artistic Associate of Kings Place Emilia Morton and hold a 2015-2016 Artist Residency at Wigmore Hall. The group also promotes The Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged performances of Purcell’s The Fairy Queen in Tel Aviv and London, a fully staged Recording Producer: Mark Brown production of Purcell’s King Arthur in Lisbon’s Belém Centre, and new productions of Recording Engineer: Mike Hatch (Floating Earth) Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea Recorded at: Church of St Alban the Martyr, Holborn, London, 7-9 December 2015 at English National Opera. Cover image: Adoration of by Taddeo di Bartolo (circa 1362-circa 1422) tempera on panel, detail / Over 150 recordings reflect The Sixteen’s quality in a range of work spanning the De Agostini Picture Library / G. Nimatallah / Bridgeman Images music of 500 years. In 2009 the group won the coveted Classic FM Gramophone Artist Design: Andrew Giles: [email protected] of the Year Award and the Baroque Vocal Award for Handel’s Coronation .

The Sixteen also features in the highly successful BBC television seriesSacred Music, 2016 The Sixteen Productions Ltd. the voi ces of presented by Simon Russell Beale. © 2016 The Sixteen Productions Ltd. Made in Great Britain In 2011, with the support of the Genesis Foundation, the group launched a new For further information about recordings on CORO or live performances and tours by training programme for young singers, called Genesis Sixteen. Aimed at 18- to 23-year- The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] olds, this is the UK’s first fully funded choral programme for young singers designed specifically to bridge the gap from student to professional practitioner. Also available as a studio master quality download at 34 www.thesixteen.com