Shepherds came, their praises bringing,
who had heard the angels singing:
'Far from you be fear unruly,
Christ is King of glory born.'
Wise men whom a star had guided
incense, gold, and myrrh provided,
made their sacrifices truly
to the king of glory born.
Jesus born the King of heaven,
Christ to us through Mary given,
to your praise and honour duly
be resounding glory done.
Words: Anonymous German, 14th Century
Away in a manger – Traditional, arr Gary Cole
Soloist: Charlie Hodgkiss
This is Gary Cole's arrangement of another Christmas favourite, and shows that a modern approach can breathe new life into a traditional tune. W J Kirkpatrick's melody is easily recognisable amongst the rich choral accompaniment. Each stanza modulates to a new key, with a tenor soloist singing the tune in the middle of the harmonic texture in the second verse. A final step up into the last verse leads to a more familiar, almost chorale-like treatment of the tune, with interesting harmonic moments, before coming to a gentle close.
Away in a manger, no crib for a bed,
the little Lord Jesus laid down his sweet head.
The stars in the bright sky looked down where he lay,
the little Lord Jesus, asleep on the hay.
The cattle are lowing, the baby awakes,
but little Lord Jesus, no crying he makes;
I love thee, Lord Jesus! Look down from the sky
and stay by my side till morning is nigh.
Be near me, Lord Jesus, I ask thee to stay
close by me forever, and love me, I pray;
bless all the dear children in thy tender care,
and fit us for heaven to live with thee there.
Words: Anonymous, verses 1&2 published 1884, verse 3 published 1892
O magnum mysterium – Morten Laurisden
Rather than a shout for joy, Laurisden's setting of this Matins responsory text is much more inward looking; a quiet affirmation of the beautiful majesty of Christ's birth, with just as much emotional intensity as any of the numerous other settings. A work of brilliance through understatement, it reflects on the image of Mary as mother the baby Jesus and ponders the great mystery (magnum mysterium) that God Almighty would choose to come to earth as a vulnerable child, born in a humble manger, using constantly moving harmony and dissonance to draw the listener's attention to the words. The “Alleluia” that ends the piece has the same introspection that characterises this beautiful anthem.
O magnum mysterium,
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in praesepio!
Beata Virgo, cujus viscera meruerunt,
portare Dominum Christum.
Alleluia!
O great mystery,
and woundrous sacrament,
that animals should see the new-born Lord,
lying in their manger!
Blessed is the Virgin whose womb was worthy to bear the Lord Jesus Christ.
Alleluia!
Words from the fourth of nine responsories for Matins of Christmas Day
I saw three ships – Traditional, arr Philip Marshall
Marshall's arrangement of this traditional English carol can be summed up in a mood of fun, using all the resources of the full choir and organ, from upper and lower voices alone to thrilling descants and a verse for men's voices to provide a rich, energetic and always interesting arrangement of all nine verses. While the tune is based on the familiar “Greensleeves”, which three ships the words refer to exactly is not quite as clear. Could they be the camels, the “ships of the desert”, that brought the three kings? Regardless, this is another refreshing arrangement of a well-loved traditional carol.
I saw three ships come sailing in
On Christmas day in the morning.
And what was in those ships all three,
On Christmas day in the morning?
Our Saviour Christ and His lady,
On Christmas day in the morning.
Pray whither sailed those ships all three,
On Christmas day in the morning?
O they sailed into Bethlehem,
On Christmas day in the morning.
And all the bells on earth shall ring,
On Christmas day in the morning.
And all the angels in Heav’n shall sing,
On Christmas day in the morning.
And all the souls on Earth shall sing,
On Christmas day in the morning.
Then let us all rejoice amain,
On Christmas day in the morning.
Words: Anonymous, published in Sandys' Christmas Carols Ancient and Modern, 1833
INTERVAL
A spotless rose – Herbert Howells
Soloist: Jacob Dennison
A stand-out in early 20th century repertoire, this mini-masterpiece is loved by choirs around the world. Smooth and melodic, Howells sets two verses of the German carol “Es ist ein Ros entsprungen” in translation, using tasteful modal harmony to reflect the devotional nature of the text, which references the prophets of the Old Testament who predicted the birth of the Messiah, God's Chosen One. Howells continually changes time signature in order to reflect the natural spoken rhythms of the words themselves. He chooses to set the second verse twice, the first time led by a warm Baritone solo with the choir accompanying distantly, and then repeating with the full choir.
A spotless rose is blowing
Sprung from a tender root,
Of ancient seers’ foreshowing,
Of Jesse promised fruit;
Its fairest bud unfolds to light
Amid the cold, cold winter
And in the dark midnight.
The rose which I am singing,
Whereof Isaiah said,
Is from its sweet root springing
In Mary, purest Maid;
For through our God’s great love and might
The blessed babe she bare us
In a cold, cold winter’s night.
Words: Anonymous German 16th century, translated by Catherine Winkworth
There is no rose – John Joubert
Joubert's delicate carol draws on mediaeval influences to illuminate this 15th century text that, like so many carols tonight, describes the mystery of the nativity. The 'rose' spoken of is the Blessed Virgin Mary, to whom this Cathedral church is dedicated. The opening verse is sung by the trebles and altos, with a melody that has unexpected leaps; this gives way to the Alleluia that moves in a more step-wise fashion, reminiscent of plainsong. Each verse ends with a Latin salutation: Alleluia, of rejoicing; Res miranda, the wonder of the immaculate conception; Pares forma, that God is given form equal to mortal men; Transeamus, that we must go to the manger to see the birth of Christ.
There is no rose of such virtue
As is the rose that bare Jesu:
Alleluia (Alleluia!)
For in this rose contained was
Heav'n and earth in little space:
Res miranda (thing of wonder)
By that rose we may well see
There be one God in persons three:
Pares forma (Equal in form)
Then leave we all this worldly mirth
And follow we this joyful birth:
Transeamus (Let us go!)
Words: Anonymous English, c. 1420
Benedicamus Domino – Peter Warlock
Composed in 1918, this rousing carol sets words from another 15th century manuscript source, and captures a festal mood. It is harmonically quite straightforward, especially compared to the majority of Warlock's output, with moments of light and shadow created by the fleeting appearance of minor moments in this otherwise major tonality, setting the stage for the bustling rhythms and varied use of choral textures. Warlock (whose real name was Philip Heseltine) was a regular visitor to Cornwall during his life and even stayed in the Tinner’s Arms in Zennor.
Procedenti puero
Eya, nobis annus est!
Virginis ex utero
Gloria! Laudes! Deus homo factus est et immortalis.
Sine viri semine
Eya, nobis annus est!
Natus est de virgine
Gloria! Laudes! Deus homo factus est et immortalis.
Sine viri copia
Eya, nobis annus est!
Natus est ex Maria
Gloria! Laudes! Deus homo factus est et immortalis.
In hoc festo determino
Eya, nobis annus est!
Benedicamus Domino!
Gloria! Laudes! Deus homo factus est et immortalis.
A boy comes forth,
Eya, this is our time,
From the womb of a virgin.
Glory! Praise! God is made man and immortal.
Without the seed of a man
Eya, this is our time,
He is born of a virgin.
Glory! Praise! God is made man and immortal.
Without the means of a man,
Eya, this is our time,
He is born of Mary
Glory! Praise! God is made man and immortal.
On this appointed feast,
Eya, this is our time,
Let us bless the Lord.
Glory! Praise! God is made man and immortal.
Words from the Sloane MS
Christmas Blessing – Philip Stopford
This lilting benediction is another fine example of Stopford's uncomplicated and melodic style. Set for three-part treble voices, it uses a text selected from the Church of Ireland's Book of Common Prayer, which Stopford would have known from his time as Organist at St Anne's Cathedral, Belfast. The smooth and flowing textures state the words clearly and calmly, fitting the nature of the prayer itself.
May the joy of the angels,
the gladness of the shepherds,
the worship of the wise men,
and the peace of the Christ child
be yours this Christmas;
May Christ who by his incarnation
gathered into one all things earthy,
all things heavenly and fill you with joy and peace;
And the blessing of God,
the father and the Son and the Holy Spirit,
be with you and remain with you always.
Amen.
Words from the Church of Ireland Book of Common Prayer, adapted by Stopford
What sweeter music – John Rutter
While Stopford may be leading a new generation of composers specialising in accessible music, John Rutter can be considered the establishment. Both his arrangements and his original compositions, especially his carols, are well-known by choirs of all ages. Most famously used in the United states for a car commercial, this carol was written for the choir of King's College, Cambridge, and shows Rutter's ease for both melody and word setting. While the words, written originally by Robert Herrick, an English 17th century poet, are rooted in a metaphysical tradition, they are much lighter in style that texts by more famous poets like George Herbert or John Donne.
What sweeter music can we bring,
Than a carol, for to sing
The birth of this our heavenly King?
Awake the voice! Awake the string!
Dark and dull night, fly hence away,
And give the honour to this day
That sees December turned to May.
Why does the chilling winter’s morn
Smile, like a field beset with corn?
Or smell like a meadow newly-shorn
Thus, on the sudden? Come and see
The cause, why things thus fragrant be:
‘Tis he is born, whose quickening birth
Gives life and lustre, public mirth,
To heaven, and the under-earth.
We see him come, and know him ours,
Who, with his sunshine and his showers,
Turns all the patient ground to flowers.
The darling of the world is come,
And fit it is, we find a room
To welcome him, to welcome him.
The nobler part,
Of all the house here, is the heart,
Which we will give him; and bequeath
This holly, and this ivy wreath,
To do him honour; who’s our King,
And Lord of all this revelling.
Words: Robert Herrick, adapted by Rutter
Christmas Truce – Graham Fitkin
This piece sets the poem “A carol from Flanders” by Frederick Niven (1878-1944), which recounts the spontaneous Christmas Truce that occurred across the Western Front in 1914. It was commissioned by Truro Cathedral for the Festival of Nine Lessons and Carols in 2011.
The text is an account of the events that took place on Christmas Eve, 1914, without tying it down to just one place. Almost six months into the war, the battles of attrition had not only taken their toll on the opposing armies but also the land itself, with the infamous “No Man's Land” standing between miles of barbed wire trenches, but also the men themselves. Stories that seem fantastic with historical hindsight abound, and have taken on a mythic status: Tales of men waving flags, singing carols to each other, playing football and exchanging gifts, stories of home, and sharing packets of cigarettes that took place were reported to senior officers on both sides, who quickly ordered that the men resume shooting at each other.
Fitkin creates an uncertain atmosphere from the start, by just using the trebles singing a plaintive tune over divided altos and tenors, with all three parts coming in together on “but neither cared to fire first”. The basses enter after the first statement of “for it was Christmas Day”, and the tune moves to the tenors in the centre of the texture. The arch-like phrases slowly build, with a clear, homophonic texture. The line “Not all the Kings and financiers, and they who rule us could prevent these things” is a direct reference to the orders issued to restart the fighting, which were ignored in isolated pockets. The carol reaches its climax with the words “God speed the time when every day shall be Christmas day.” The basses hold a great pedal note, like an organ, while trebles, altos and tenors divided into six parts above repeat “Christmas day”; a rich, celebratory sound. The last statement of “Christmas Day” is left hanging on a dissonant chord cluster, full of anguish, a reminder that the war continued for a four more years.
In Flanders on Christmas morn
The trenched foreman lay,
The German and the Briton born,
And it was Christmas Day.
The red sun rose on fields accurst,
The grey fog fled away;
But neither cared to fire first,
For it was Christmas Day!
They called out from each to each
Across the disarray,
For dreadful had been their loss:
"Oh, this is Christmas Day!"
Their rifles set aside,
One impulse to obey;
'Twas just the men on either side,
Just men — and Christmas Day.
They dug graves for all their dead
And over them did pray:
And Englishmen and Germans said:
"How strange a Christmas Day!"
Between the trenches then they met,
Shook hands, and e'en did play
At games on which their hearts were set
On happy Christmas Day.
Not all the kings
And financiers and they
Who rule us could prevent these things —
For it was Christmas Day.
Oh ye who read this truthful rime
From Flanders, kneel and say:
God speed the time when every day
Shall be Christmas Day.
Words: Frederick Niven
(First performance 23rd December 2011 at Truro Cathedral)
The twelve days of Christmas – Traditional, arr John Rutter
Finally, we return to John Rutter to round off the concert with his fantastic arrangement of this traditional festive favourite. The tune we use today was formalised in 1909 by the English composer Frederic Austin, who added the now famous phrase at “five gold rings”. Although it is probably of French origin, the best-known version of the words, which detail an almost impossible and ever-expanding list of gifts come from England in 1780, published in the children's book “Mirth without Mischief”. In this arrangement, all four choir parts get a go at the opening tune before the “fifth day” where they join in harmony each time. Rutter varies the forces in a colourful, often witty manner, to reflect the words in each verse, with the accompaniment bubbling away underneath to build to a rousing conclusion: Mirth without mischief indeed!
On the first day of Christmas,
My true love sent to me
A partridge in a pear tree.
On the second day of Christmas,
My true love sent to me
Two turtle-doves and
A partridge in a pear tree.
On the third day of Christmas,
My true love sent to me
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the fourth day of Christmas,
My true love sent to me
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the fifth day of Christmas,
My true love sent to me
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the sixth day of Christmas,
My true love sent to me
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the seventh day of Christmas,
My true love sent to me
Seven swans a-swimming,
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the eighth day of Christmas,
My true love sent to me
Eight maids a-milking,
Seven swans a-swimming,
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the ninth day of Christmas,
My true love sent to me
Nine ladies dancing,
Eight maids a-milking,
Seven swans a-swimming,
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the tenth day of Christmas,
My true love sent to me
Ten lords a-leaping,
Nine ladies dancing,
Eight maids a-milking,
Seven swans a-swimming,
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the eleventh day of Christmas,
My true love sent to me
Eleven pipers piping,
Ten lords a-leaping,
Nine ladies dancing,
Eight maids a-milking,
Seven swans a-swimming,
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
On the twelfth day of Christmas,
My true love sent to me
Twelve drummers drumming,
Eleven pipers piping,
Ten lords a-leaping,
Nine ladies dancing,
Eight maids a-milking,
Seven swans a-swimming,
Six geese a-laying,
Five golden rings.
Four calling birds,
Three French hens,
Two turtle-doves and
A partridge in a pear tree.
Programme notes by Paul-Ethan Bright
