Featuring the Brandenburg Choir

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O euchari in laeta via arr. Alex Palmer Hildegard von Bingen (1098 – 1179)

Hildegard von Bingen was a true polymath, noted for her contributions to philosophy, religion, natural history and music. Among medieval composers, a relatively large volume of her work survives, including a collection of 77 Lieder (songs) and some other works. This song is based on the 75th of these, titled De Sancto Euchario. As with all medieval chant, this song has no indication of tempo. Renditions of such chant are therefore somewhat open to interpretation, however this arrangement puts a decidedly novel spin on the original melody, which has been commissioned as an adaptation for the Brandenburg Orchestra and Choir, as well as soloist soprano Bonnie de la Hunty.

Rorate coeli / Veni veni Emmanuel Gregorian Chant

This number is a combination of two ancient examples of plainsong: the body of chants used in worship by the Western Church. It is by definition monophonic, meaning that it consists of a single melody without accompaniment. The first of these is Rorate coeli, the text of which comes from the book of Isaiah, and is typically performed during Advent, the period leading up to Christmas. Its text translates as ‘Drop down dew, ye heavens, from above, and let the clouds rain the just’. In this rendition it is followed by Veni veni Emmanuel, a hymn also associated with the period of Advent. The text translates as ‘O come, o come, Emmanuel’. The first documented example of the hymn’s text is from 1710, although its origins may date back to before the year 800.

Nuch komm der Heyden HeylandJohann Crüger (1598 – 1662)

Johann Crüger was a German composer of the early Baroque period. During his lifetime, he travelled across Germany to study and work. He had at least 19 children, although many died in infancy and due to plague, which was common in the period. The text of the work was by the eminent theologian Martin Luther, and its title translates as ‘Now come, Saviour of the heathens’. Like the previous item on the program, it is traditionally associated with the period of Advent. The tune has inspired composers including JS Bach and Max Reger.

Ich steh an deiner Krippen hierJohannes Eccard (1553 – 1611)

Johannes Eccard is a little-known German composer of the late Renaissance and early Baroque periods. He composed exclusively vocal works, which are highly regarded for their excellent command of polyphonic writing – a style which features multiple voices singing simultaneous lines of independent melody. This setting was most likely written to a different text to that which we are hearing at these performances, as this text was written by fellow German Paul Gerhardt in 1653, after Eccard’s death. It was common in the period to take existing music and add popular contemporary lyrics, which is likely how this particular setting came to be wedded to this text. The text, which translates as ‘I stand by your manger here’, is a well-known Christmas hymn, and its most famous setting was by JS Bach in 1736.

Noël! Noël!Program Notes

While shepherds watchedChristopher Tye (1505 – 1572) Nahum Tate (1652 – 1715)

The text to this carol is by the Irish poet Nahum Tate, which in Australia is usually sung to the tune Winchester Old, which was first published in The Whole Book of Psalmes in 1592. This tune has its origins in English composer Christopher Tye’s setting of the Acts of the Apostles from 1553. The carol describes the Annunciation to the shepherds – the appearance of an angel to inform a group of shepherds of the imminent birth of Jesus. The carol has a long history within the Church of England; while most carols, which were rooted in folk music, were considered too secular for use in church service in the 18th century, this one was approved by the church and was thus widely disseminated. This particular version was performed at the Brandenburg’s first Noël! Noël! concerts in 2000 by soprano Sara Macliver.

Laudate dominumClaudio Monteverdi (1567 – 1643)

Claudio Monteverdi is considered one of the foremost figures in music history, having composed prolifically during the late Renaissance and early Baroque periods, acting as a bridge between these two styles. Laudate dominum, translating as ‘O, Praise the Lord’, are the opening words in Latin of Psalm 117, a text which has been set by composers including Byrd, Bach and Mozart. Like the previous piece on the program, this was performed by Sara Macliver at the Brandenburg’s first Christmas concerts in 2000.

Gartan mother’s lullabyarr. Alex Palmer Traditional

The text and tune of this traditional lullaby are Irish, although its exact age is unclear. It was collected and published by the Irish composer Herbert Hughes in 1904, and its origins are in the parish of Gartan, in County Donegal. The area is best known as the birthplace of Columba, one of the three patron saints of Ireland, and is in the north of the present-day Republic of Ireland. It is thoroughly Irish in character, featuring several references to Irish mythology, geography and language. These include references to Aoibheall, the queen of the Northern Fairies; Siabhra, a general Irish term for a fairy; and Tearmann, a town in the Gartan parish.

Maria MagdalenaFrancisco Guerrero (1528 – 1599)

Francisco Guerrero was a composer of the Renaissance, born and raised in the southern Spanish region of Andalucía. He was renowned from a young age as a singer and composer, and was published outside of Spain, which was uncommon for the time. He travelled extensively during his life, including visits to Bethlehem and Jerusalem – on one return voyage, his ship was attacked by pirates, who robbed him and rendered him destitute for some time afterwards. He eventually died in Seville’s plague outbreak of 1599. His music, which is noted for its tunefulness, includes both sacred and secular works, and in many ways was advanced for its time. This motet – a kind of Renaissance vocal work – was published in Venice in 1570, and tells the story of Mary Magdalene visiting the tomb of Jesus with spices to anoint his body.

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We three kings of Orient are arr. Alex Palmer John Henry Hopkins Jr. (1820 – 1891)

This well-known Christmas carol, first published in 1863, was written by the American composer John Henry Hopkins Jr. Hopkins was born in Pittsburgh, Pennsylvania, and wrote the music as part of a Christmas pageant for his young nieces and nephews. The original text is written to allow three male singers to each sing a verse from the perspective of one of the three kings who bestowed gifts upon baby Jesus, describing their offerings in turn. This arrangement adapts the tune in a humorous way, which tosses fragments of the melody around the various instruments of the orchestra. This showcases a range of techniques for the string instruments and sackbuts, as well as a host of percussion instruments.

‘Ô nuit’ from Hyppolyte et Aricie arr. Paul Dyer Jean-Philippe Rameau (1683 – 1764)

Hippolyte et Aricie was the first opera composed by the French composer Jean-Philippe Rameau, one of the leading musical figures in the Baroque period in France. While he is now highly regarded, the opera premiered to great controversy, and was described by contemporary reviewers as “Baroque” – a term which at the time had pejorative connotations. This particular version is based on a harmonization by Joseph Noyon (1888 – 1962), a French organist and composer.

O little town of Bethlehemarr. Alex Palmer Lewis Redner (1831 – 1908) Phillips Brooks (1835 – 1893)

The text for this beloved Christmas carol was written by the American priest Phillips Brooks, who was inspired after visiting the town of Bethlehem in 1865. In the Commonwealth, this text is usually sung to the older tune known as Forest Green, which was collected in 1903 by the English composer Ralph Vaughan Williams from a Mr. Garman, resident in the town of Forest Green, Surrey. Vaughan Williams harmonised and published the tune in 1906, which is the best-known version in Australia today. This version is an arrangement of this tune for three sackbuts and Baroque trumpet. Sackbuts are forerunners to the modern trombone which prevailed during the Renaissance and Baroque eras.

A sparkling ChristmasAlex Palmer (1992 – )

This new work for string quartet by young Sydney-based composer Alex Palmer was commissioned by Paul Dyer for this year’s Noël! Noël! performances. The work takes melodies from four famous Christmas carols: Ding Dong Merrily on High, Hark the Herald Angels Sing, God Rest Ye Merry Gentlemen and Joy to the World. The piece begins with a rapid rhythmic introduction that becomes the accompaniment for each of the four carols. These are then gradually layered on top of each other to create a whimsical and effervescent combination of Christmas favourites.

Only in sleepĒriks Ešenvalds (1977 – )

The text to this work is by American poet Sarah Teasdale (1884 – 1933), and tells a nostalgic story of childhood and dreaming. This musical setting is by the Latvian composer Ēriks Ešenvalds, who has emerged as one of the most popular choral composers of the last decade, and has set several of Teasdale’s poems. His music is noted for its rich, evocative harmonies and its expansive, spacious structures. This piece features a soprano solo throughout, which soars luminously above the choir.

‘Let the bright seraphim’ from SamsonGeorge Frideric Handel (1685 – 1759)

The German, later British, composer George Frideric Handel is recognised as one of the central figures of the Baroque period. Samson is an example of an English-language oratorio, a musical form common at the time that is similar to opera, but usually presented in concert form rather than staged. Oratorios typically lack costumes or props, and are focused on sacred topics: in this case the Biblical story of the Israelite Samson, renowned for his superhuman strength. This aria comes from towards the end of the oratorio, and is a plea from an Israelite woman to the seraphim – the highest class of angels – to hail Samson after his death. It is popular for its virtuosic and colourful interplay of trumpet and soprano.

White Christmasarr. Jonathan Rathbone Irving Berlin (1888 – 1989)

The American composer Irving Berlin is renowned for his long and illustrious life: he wrote over 1,500 songs as well as the scores for 20 original Broadway shows and 15 original Hollywood films. Composer Douglas Moore said that he “caught and immortalized in his songs what we say, what we think about, and what we believe”. The young Berlin arrived in New York City at the age of five, along with his family who were most likely fleeing violent anti-Semitic sentiment in his native Russia. The song White Christmas was penned for the 1942 film Holiday Inn, and its rendition by Bing Crosby is often considered the best-selling single of all time. One version of its origin is that Berlin wrote the song in sunny California, and it is certainly a nostalgic take on the winter wonderland fantasy not often seen there, or in Australia.

Noël! Noël!Program Notes

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O holy nightarr. Alex Palmer Adolphe Adam (1803 – 1856)

The music to this carol is by the French composer Adolphe Adam, who is best known for his ballet Giselle. The original French text was penned by the poet Placide Cappeau (1808 – 1877), who was an abolitionist and likened the redemption of Jesus to freedom from slavery. Due to Cappeau’s socialist beliefs, the church leadership banned the carol, but its great popularity ensured its continued performance throughout France. Some time around 1855, the American abolitionist John Sullivan Dwight heard the carol and was inspired to write the English version we are hearing at these performances. It is also believed to be the second song ever broadcast on radio, when Canadian inventor Reginald Fassenden played the piece in an experimental AM radio program on Christmas Eve in 1906 (he broadcast Handel’s Ombra ma fui shortly before it, which takes the first prize).

Stille NachtFranz Xaver Gruber (1787 – 1863)

Among the most famous Christmas carols ever written, Stille Nacht, or Silent Night as it is known in English, was first performed on Christmas Eve in 1818. The composer, Franz Xaver Gruber, was the organist at the parish church in the town of Oberndorf, in modern-day Austria. This is the traditional penultimate number at the Brandenburg’s Noël! Noël! performances, and has been performed in a host of languages and styles over the years. It was originally written for performance by the duo of Gruber himself alongside Oberndorf parish priest Joseph Mohr. Gruber later set the carol for four voice parts, brought to life in these performances by the Brandenburg Choir.

O come, all ye faithfulTraditional

O come, all ye faithful is the traditional finale to the Brandenburg’s Noël! Noël! performances, and this year is no exception. The hymn has been attributed to various composers, and while the earliest manuscript of the work bears the name of King John IV of Portugal (1604 – 1656), it is likely that the tune is even older. The text was originally written in Latin as Adeste fideles, and has been translated into various languages countless times. The most famous English translation, which closes this performance today, was written by the English priest Frederick Oakeley in 1841, and has become a ubiquitous part of Christmas celebrations ever since.

Noël! Noël!Program Notes LEANNE SULLIVAN

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The Brandenburg has become a cultural treasure as Australia’s national Baroque orchestra. Next year we will celebrate our 30th Anniversary. Looking to the future, we are as determined and ambitious as ever to innovate and inspire.

We ask your support to help us to continue to deliver excellence and offer exhilarating performances to audiences across Australia for many years to come.

To support us with a generous tax-deductible donation, please visit donations.brandenburg.com.au or phone 1300 782 856

“ I have been playing with the Brandenburg since the beginning in 1989. Thanks to Paul and the Brandenburg I’ve had the opportunity to work with the finest musicians in the world.”TOMMIE ANDERSSON PRINCIPAL GUITAR/THEORBO

The Brandenburg was founded on an ambitious dream of sharing the experience of the wonderous world of Baroque and historically-informed music performance as widely as possible.

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8 – 21 MAY

English Baroque with Circa

Series Two

A tumbling commotion of musicians and acrobats collide in an explosive collaboration of contemporary circus and music from the English Baroque.

The Brandenburg Concertos

Series One

27 FEBRUARY – 10 MARCH

The Four SeasonsSeries Five

1 – 15 NOVEMBER

Noël! Noël!Series Six

This immensely popular series is not just carols but a mischievous affirmation of life that fuses the modern with the ancient. Filled with many special surprises and timeless musical treasures including O Come All Ye Faithful and Stille Nacht.

7 – 18 DECEMBER

24 JULY – 4 AUGUST

Handel’s Anthems & Fireworks

Series Three

The Brandenburg Concertos reveal the imperishable genius of J.S. Bach. Experience these enduringly exquisite concertos in one unforgettable evening.

From a biting winter to a summer storm, join acclaimed Baroque violin soloist, Shaun Lee-Chen, in a bold re-imagining of this much-loved classic. Telemann Concerto for 4 Violins in G Major, TWV40:201 Telemann Water Music, TWV 55:C3 Vivaldi The Four Seasons, Op. 8

A joyous and jubilant concert of crowning glories by master composer George Frideric Handel. Handel Coronation Anthems, HWV 258-261 Handel Concerto for Oboe No. 3 in G Minor, HWV 287 Handel Music for the Royal Fireworks, HWV 351

Next Generation Baroque

Series Four

Introducing audiences to four electrifying young artists who have glimpsed the future with a program to include: Halvorsen Passacaglia for Violin and Viola after Handel Handel Tu del ciel ministro eletto from Julius Ceasar Vivaldi Violin Concerto in E Minor, Op. 11, No. 2

11 – 22 SEPTEMBER