Carols for Quire from the Old & New WorldsTrinity 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. DuffinWassail 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)

QuireCleveland

Ross W. Duffin, Artistic Director

Music & Art @ Trinity presents

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 CLEVELANDSopranos: Donna Fagerhaug, Megan Lapp, Judith Overcash, Lisa Rainsong,

Malina Rauschenfels, Gail WestAltos: David Acres, John McElliott, Beverly Simmons, Jay WhiteTenors: Evan Bescan, Jeremiah Heilman, Corey Shotwell, Tyler SkidmoreBasses: 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 record-ed 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 NOTESby 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 choral tour 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 1607 Es ist ein Ros, by Michael Praetorius, is a Christmas classic, which appears on our first Carols 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 annual Carols for Quire program, and wish you all the best of the season and the coming year!

— Ross W. Duffin

SINGERS BIOGRAPHIESCountertenor David Acres was a boy soprano at Exeter Cathedral, and studied music and art at Bethany College. In 1989, he founded the chamber choir Counterpoint, which now also includes string and brass ensembles. They have earned

renown for introducing audiences to rare and rediscovered works by composers from Perotin to Ugolini. David has sung with en-sembles throughout Europe and has recorded works of Tallis, Alonso Lobo, and Morales. Having relocated to Cleveland in 2013, where he sings with Quire and Trinity Cathedral, he continues to enjoy a trans-Atlantic career as singer and conductor.

Tenor Evan Bescan holds a Bachelor of Music de-gree from Capital University in Columbus, along with a Methodology Diploma from the Kodály Institute in Kecskemét, Hungary. He is currently a full-time elementary/middle school

music teacher at Stockyard Community School in Cleveland and a chorister at the Cathedral of St. John the Evangelist. Evan is also a consultant of the Freda Joyce Brint Foundation, using music to enhance learn-ing and life in people with Alzheimer’s and dementia.

Bass Ian Crane is a high school music teacher and performer. He teaches choir and band at Holy Name High School in Parma, and previously spent five years on faculty at Edinboro University of Pennsylvania, as instructor of bagpipes. He

has performed with many local groups, in-cluding Apollo’s Fire, Cleveland Carolers, and the Choir of the Cathedral of St. John the Evangelist. Ian earned a bachelor’s de-gree in music education from Cleveland State University and his master’s in conduct-ing from Kent State University. He resides in Lakewood, with his wife, Tricia, and children, Phoebe and Alexander.Soprano Donna Fagerhaug holds a Master of Arts degree in Church Music from Trinity Lutheran Seminary and her Bachelor’s of Music from the Conservatory at Capital

University, both in Columbus. Locally, she sings with Apollo’s Singers and Cantores Cleveland, and is the soprano soloist at Lakewood Congregational Church. Donna resides in Rocky River with her husband and three children.Baritone José Gotera began his choral training at age eight at St. Michael’s Choir School in Toronto. He sang with the Toronto Mendelssohn Choir and Tafelmusik, while complet-ing degrees at the University of Toronto. In Cleveland, he has sung with Apollo’s Fire, Cleveland Opera on Tour, Opera Circle, Opera Cleveland, and the Cleveland Orchestra Chorus. He completed an MA in Early Music at CWRU. At present, José is a voice instructor at Cleveland State University. He is also an instructor at Hiram College, where he teaches voice and directs the Hiram Men’s Chorus. José sings with the Trinity Cathedral Chamber Singers.Jeremiah Heilman, tenor, holds a doctorate in physics from Case Western Reserve University. He earned degrees in phys-ics and music theory and his-tory at the University of Notre Dame, where he sang with the Liturgical Choir, Basilica Schola, and Glee Club, played trombone in the Marching Band and Brass Ensemble, and conducted the Chapel Schola. He directed and arranged small ensemble and choral mu-sic for feasts and special events. In Cleveland, he has sung at the Cathedral of St. John the Evangelist and with the Opera Cleveland Chorus and Cantores Cleveland.Nathan Longnecker, bass, also sings with Apollo’s Singers, and works as vocal and keyboard freelancer. He has performed with Cantores Cleveland, the Cleveland Orchestra Chorus, Cleveland Opera Chorus, Jadran Chorus, and University Circle Chorale. As a church musician, he has direct-ed choirs, served as organist and pianist, and developed a hymn improvisation project. By day, he tends gardens as The Quiet Gardener.

Soprano Megan Huckabay Lapp, originally from Leth-bridge, Alberta, Canada, com-pleted her BMus and BEd at the University of Victoria, BC, and MMus at the University of

Washington. Inspired by the power of singing to unite communities and build confidence in young people, she has taught at the elementa-ry, secondary, and collegiate levels. Her most recent project was the creation of a musical for elementary students, based on the Green Belt Movement and the work of Nobel Prize win-ner Wangari Maathai. Megan has been hon-ored to study with Ellen Hargis at CWRU and Kendra Colton at Oberlin.

Baritone Brian MacGilvray is a musicology PhD candi-date at Case Western Reserve University, whose research fo-cuses on early modern France. He holds degrees in voice from Northwestern University and the University of Kentucky. His

choral experience includes Chicago Music of the Baroque, the Chicago Symphony Chorus, the Grant Park Symphony Chorus, Church of the Ascension (Chicago), and Trinity Cathedral (Cleveland).

John McElliott, countertenor, holds undergraduate degrees in voice and organ performance from the University of Akron and spent a year abroad as a choral scholar at Winchester Cathedral in the UK. He sings with several choral ensembles

in Northeast Ohio, including Apollo’s Fire and Trinity Cathedral’s Chamber Singers, in addi-tion to Quire Cleveland. John is president of Karen McFarlane Artists, where he man-ages concert careers for many of the world’s great concert organists and choirs. A versa-tile vocalist, he sings alto, tenor, and baritone parts in Quire, and also serves as the organi-zation’s Secretary.Soprano Judith Overcash enjoys an active musical career that ranges from medieval song to opera and musical theater. Judith earned her doctoral degree in early music perfor-mance practices from CWRU, with additional post-graduate work at UT-Austin and Indiana University in opera, music history, and the-ater. She appears regularly as a featured soloist

across the US and abroad, and performs locally with Quire, Apollo’s Fire, and as soloist and section leader at Trinity Cathedral and member of the Trinity Chamber Singers. In addition to performing, Judith is an educator, choral director, maintains a private vocal studio, and recently assumed the role of executive artistic director for the ensemble Cantores Ecclesiae. She has held positions of lecturer and adjunct faculty at Hiram College and CWRU.Bass Michael Peters has per-formed and recorded with some of the leading choirs in the United States, including the Oregon Bach Festival Chorus, Dale Warland Singers, Robert Shaw Festival Chorus, Mendelssohn Club of Philadelphia, and Vox Humana in Dallas. In Cleveland, he sings with Apollo’s Fire and as a soloist at the Church of the Covenant. For five years, he was Oaklawn-Tuttle Chair of Vocal Music, School Organist, and Instructor of the Arts at the Hill School, near Philadelphia, PA. Michael earned a BMA in organ performance and a BS in chemistry from the University of Michigan. He contin-ued his studies at Westminster Choir College of Rider University in Princeton, NJ, earning an MM in choral conducting. He has also taught choral music at the collegiate level. Soprano Lisa Rainsong’s musical life integrates compo-sition, education, vocal per-formance, and natural history. She earned her Doctor of Musical Arts in composition from the Cleveland Institute of Music and is a member of CIM’s Music Theory faculty. She per-forms with Quire Cleveland and Ensemble Lautenkonzert, among others. After earning a Naturalist Certificate from the Cleveland Museum of Natural History, Lisa developed a music-based approach to teaching classes on bird song and insect song identification. She is now in demand as a speaker at conferences and programs. In addition, she does field research on “singing insects” — crickets and katydids — that includes field recording, surveys for the Geauga (County) Park District, and in-service training for naturalists. listeninginnature@blogspot.com.

Soprano Malina Rauschenfels is a recent transplant from New York City, where she per-formed with Toby Twining Music and Alarm Will Sound, sang with various choirs, and taught privately. She studied cello and composition at the

Eastman and Juilliard Schools of Music, spe-cializing in both early music and new music. Her love of early music has led her to add ba-roque violin and treble viol to her instrumen-tarium. In Cleveland, she spends a lot of time planning concerts with her groups, Burning River Baroque and humAnomali, plays in the CWRU Viol Consort, and maintains a home studio, teaching violin, viola, cello, flute, and piano.

Corey Shotwell, tenor, holds a BM degree from Western Michigan University and is currently working toward his Master’s of Music in Vocal Performance at CIM, studying with Dean Southern. He recently participated in the 2013 Young

Artists Training Program at the Boston Early Music Festival, where he performed in a re-vival production of Handel’s Almira, under the direction of Paul O’Dette and Stephen Stubbs. He has also performed with Apollo’s Fire and the Grammy-nominated Seraphic Fire.

Beverly Simmons is a mezzo-soprano, graphic designer, and Executive Director of Quire Cleveland. She earned a doc-torate in early music at Stanford University, before moving to Cleveland in 1978. Her career has included stints as a CWRU

music professor, WCLV radio announcer, in-ternational artist manager, executive director, and mother of two. She founded the CWRU Early Music Singers and has sung with Apollo’s Fire since its inception, as well as with the Cleveland Opera Chorus, St. Paul’s Episcopal Church, and Temple Tifereth-Israel. Bev is also half of the cabaret duo, Rent-a-Yenta.Daniel Singer, baritone, is Director of Music at University School in Hunting Valley and Assistant Director of the Cleveland Orchestra Youth Chorus. An active guest conductor and clinician, he recently directed the OMEA District VI Junior Honor Choir. From 2003 to

2009, he worked as a performer, music director, and teacher in the Chicago area, sang with the Chicago Symphony Chorus, and was a vocalist and arrang-er with the Lakeside Singers. Danny has a BM in Music Education from Northwestern University and an MM in Choral Conducting from Michigan State University.Tenor Tyler Skidmore is an active music educator and performer. Teaching now at the same high school he at-tended, Tyler attempts to share the joys and challenges of cho-ral music with the students at Medina High School. He holds a bachelor’s degree in music education from Mount Vernon Nazarene University and a master’s in voice performance from Kent State University. Tyler has performed with other area choral ensembles, including Opera Cleveland, the Cleveland Orchestra Chorus and Chamber Chorus, and Apollo’s Fire.Soprano Gail West has worked with such eminent artists as Julianne Baird, Emma Kirkby, Suzie LeBlanc, Paul Hillier, and Benjamin Bagby. Currently a voice student of Ellen Hargis, she has been a member of Apollo’s Singers since its founding. Gail has been a member of CWRU’s Early Music Singers for over 20 years and is a soprano soloist at Church of the Good Shepherd. She lives in Cleveland Heights with her husband and three children.Countertenor Jay White sang eight seasons with the inter-nationally acclaimed ensemble Chanticleer, with whom he recorded 14 albums and gar-nered two Grammy Awards. Sought after as an interpreter of Medieval, Renaissance, and Baroque repertoire, he has appeared at early music festivals worldwide and has been fea-tured on national and international radio. He trained at the Early Music Institute at Indiana University and the University of Maryland, and has taught at the University of Delaware and DePauw University. Jay is currently Associate Professor of Voice at Kent State University.

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!

Some simple math:

You+ = SUCCESS!Quire

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CHRISTMAS EVETuesday, December 245 p.m. Family Eucharist and PageantThe Very Rev. Tracey Lind, preaching

10:30 p.m. Prelude Britten: A Ceremony of Carols Trinity Cathedral Choir with Jody Guinn, harp

11 p.m. Choral EucharistThe Very Rev. Tracey Lind, preaching

CHRISTMAS DAYWednesday, December 2510 a.m. Eucharist with CarolsThe Very Rev. Tracey Lind, preaching

BOAR’S HEAD AND YULE LOG FESTIVAL Saturday, December 283 p.m. and 5:30 p.m.Freewill offeringboarsheadcleveland.org

TEXTS & TRANSLATIONS

Alleluia, alleluia, alleluia.

1.  A newë work is come on hand through might and grace of Goddes son, To save the lost of ev’ry land, for now is free that erst was bond; We mow well sing alleluia.

2.  Now is fulfilled the prophecy of David and of Jeremy, And also of Isaie, Sing we therefore both loud and high: Alleluia, alleluia.

3.  Alleluia, this sweete song, out of a greene branch it sprung. God send us the life that lasteth long! Now joy and bliss be them among That thus can sing alleluia.

The Coventry Carol

Lully lulla, thou little tyne child, by by lully lullay.

1. O sisters too how may we do, for to preserve this day this poor youngling for whom we do sing, by by lully lullay.

2. Herod the king in his raging, charged he hath this day, his men of might in his own sight, all young children to slay.

3. That woe is me poor child for thee, and ever mourn and say, for thy parting, neither say nor sing, by by lully lullay.

Jesus Christ the Apple Tree

1.  The tree of life, my soul hath seen, Laden with fruit and always green; The trees of nature fruitless be, Compar’d with Christ the appletree.

2. This beauty doth all things excel, By faith I know, but ne’er can tell, The glory which I now can see, In Jesus Christ the appletree.

3. For happiness I long have sought, And pleasure dearly I have bought; I miss’d of all, but now I see ’Tis found in Christ the appletree.

4. I’m weary’d with my former toil, Here I shall set and rest awhile; Under the shadow I will be Of Jesus Christ the appletree.

5. With great delight I’ll make my stay, There’s none shall fright my soul away; Among the sons of men I see, There’s none like Christ the appletree.

6. I’ll sit and eat this fruit divine, It cheers my heart like spir’tual wine; And now this fruit is sweet to me, That grows on Christ the appletree.

7. This fruit doth make my soul to thrive, It keeps my dying soul alive; Which makes my soul in haste to be With Jesus Christ the appletree.

— R.H. (1761)

The Lamb

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, making all the vales rejoice? Little Lamb, who made thee? Dost thou know who made thee?

2. Little Lamb, I’ll tell thee, Little Lamb, I’ll tell thee: He is called by thy name, for he calls himself a Lamb: He is meek & he is mild, He became a little child: I a child & thou a lamb, We are called by his name. Little Lamb, God bless thee, Little Lamb, God bless thee.

— William Blake (1789)

The World’s Finest Chamber Music

Albers Triowith Orion Weiss, piano

4 February 2014Plymouth Church, UCC

2860 Coventry Rd•Shaker Heights, OH 44120

THE CLEVELAND CHAMBER MUSIC SOCIETY 216.291.2777

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Quire & CityMusic ClevelandSchubert Mass no. 6 in Eb major

May 14–18, 2014

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1.  Es ist ein Ros entsprungen aus einer Wurzel zart, als uns die Alten sungen, aus Jesse kam die Art, und hat ein Blümlein bracht, mitten im kalten Winter, wohl zu der halben Nacht.

2.  Das Röslein das ich meine, davon Esaias sagt, hat uns gebracht alleine, Marie die reine Magd. Aus Gottes ewgem Rat hat sie ein Kind geboren, wohl zu der halben Nacht.

1. A Spotless Rose is blowing, sprung from a tender root, of ancient seers’ foreshowing, of Jesse promis’d fruit; Its fairest bud unfolds to light, amid the cold, cold winter, and in the dark midnight.

2. 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.

— Tr. Catherine Winkworth (1869)

Kentucky [Ohio] Wassail Song

1.  Wassail, wassail, all over the town, Our cup is white and our ale is brown. Our cup is made from an old white oak, And our ale is made in Ohio. So it’s joy be to you and a jolly wassail!

2.  Oh good man and good wife, are you within? Pray lift the latch and let us come in. We see you asitting at the boot o’ the fire, Not athinkin’ of us in the mud and the mire. So it’s joy be to you and a jolly wassail!

3.  O, where is the servant with the silly little pin to open the latch and let us come in? For here in the draught it is our desire to nibble on a cheese and a toast by the fire! So it’s joy be to you and a jolly wassail!

4.  There was an old maid and she lived in a house, And she had for a pet a tiny wee mouse, Oh the house had a stove and the house was warm, And a little bit of liquor won’t do no harm. So it’s joy be to you and a jolly wassail!

5.  Oh a man in New York drank his sack from a pail, But all we ask is a wee wassail. Oh, husband and wife, alack, we part, God bless this house from the bottom of our heart, So it’s joy be to you and a jolly wassail!

Wassail Song

1.  Wassail, wassail, all over the town, our bread it is white and our ale it is brown; our bowl it is made of the green maple tree; in the wassail bowl we’ll drink unto thee. Wassail.

2.  Here’s a health to the ox and to his right eye, pray God send our master a good christmas pie, a good christmas pie as e’er I did see. In the wassail bowl we’ll drink unto thee. Wassail.

3.  Here’s a health to the ox and to his right horn pray God send our master a good crop of corn, a good crop of corn as e’er I did see. In the wassail bowl we’ll drink unto thee. Wassail.

4.  Here’s a health to the ox and to his long tail, pray God send our master a good cask of ale, a good cask of ale as e’er I did see. In the wassail bowl we’ll drink unto thee. Wassail.

5.  Come butler come fill us a bowl of the best; then I pray that your soul in heaven may rest; but if you do bring us a bowl of the small, may the Devil take butler, bowl and all! Wassail.

6.  Then here’s to the maid in the lily white smock, who tripp’d to the door and slipp’d back the lock; who tripp’d to the door and pull’d back the pin, for to let these jolly wassailers walk in.

Wassail, wassail, all over the town, wassail.

Hymn to the Virgin

1.  Of one that is so fair and bright Velut maris stella [like a star of the sea], Brighter than the day is light, Parens et puella [a parent and [yet] a maiden]: I cry to thee, thou see to me, Lady, pray thy Son for me, Tam pia [[you that are] so good], That I may come to thee. Maria [Mary]!

2.  Of consolation thou art best, felix fecundata [happy offspring]. Of all weary thou art rest, mater honorata [honored mother]. Beseech him with mild mood, that for us all shed his blood in cruce [on the cross], that we must come to him in luce [in light].

3.  All this world was forlorn Eva peccatrice [because of Eve the sinner], Till our Lord was yborn, De te genetrice [of you the mother]. With ave it went away Darkest night, and comes the day Salutis [of salvation;]; The well springeth out of thee. Virtutis [of virtue.].

4.  Lady, flower of everything, Rosa sine spina [rose without a thorn], 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].

1. The holly and the ivy, when they are both full grown, Of all the trees that are in the wood, the holly bears the crown.

REFRAIN: Oh, the rising of the sun and the running of the deer, The playing of the merry organ, sweet singing in the choir.

2. The holly bears a blossom as white as lily flower, And Mary bore sweet Jesus Christ to be our sweet savior.

Oh, the rising … singing in the choir.

3. The holly bears a berry as red as any blood, And Mary bore sweet Jesus Christ to do poor sinners good.

Oh, the rising … singing in the choir.

4. The holly bears a prickle as sharp as any thorn, And Mary bore sweet Jesus Christ on Christmas Day in the morn.

Oh, the rising … singing in the choir.

5. The holly bears a bark as bitter as any gall, And Mary bore sweet Jesus Christ for to redeem us all.

Oh, the rising … singing in the choir.

O nata lux de lumine, Jesu redemptor saeculi. Dignare clemens supplicum laudes precesque sumere. Qui carne quondam contegi. Dignatus es pro perditis. Nos membra confer effici, tui beati corporis.

Lux [aurumque], calida, gravisque pura, velut aurum canunt et canunt angeli, canunt molliter natum, modo natum.

— Tr. Charles Anthony Silvestri

O light born of light, Jesus, redeemer of mankind, mercifully deign to hear from suppliant voices praise and prayer. You, who to shield us from hell disdained to dwell in mortal form, grant us at the last to share in your blessed body.

Light, warm and heavy as pure gold, and the angels sing softly to the newborn baby.

— Edward Esch (b.1970)

1. Stille Nacht! Heilige Nacht! Alles schläft; einsam wacht Nur das traute hochheilige Paar. Holder Knabe im lockigten Haar, Schlafe in himmlischer Ruh!

2. Stille Nacht! Heilige Nacht! Gottes Sohn! O wie lacht Lieb´ aus deinem göttlichen Mund, Da schlägt uns die rettende Stund, Jesus in deiner Geburt!

3. Stille Nacht! Heilige Nacht! Die der Welt Heil gebracht Aus des Himmels goldenen Höhn Uns der Gnaden Fülle läßt sehn Jesum in Menschengestalt.

4. Stille Nacht! Heilige Nacht! Wo sich heut alle Macht väterlicher Liebe ergoß Und als Bruder huldvoll umschloß Jesus die Völker der Welt.

5. Stille Nacht! Heilige Nacht! Lange schon uns bedacht, als der Herr vom Grimme befreit, in der Väter urgrauer Zeit Aller Welt Schonung verhieß.

6. Stille Nacht! Heilige Nacht! Hirten erst kundgemacht durch der Engel Hallelujah, tönt es laut bei Ferne und Nah: Jesus der Retter ist da!

— Joseph Mohr (1792–1849)

1.  Silent Night! Holy Night! All asleep; wake alone Just the faithful, holiest pair. Holy infant with curly hair, Sleep in heavenly peace!

2.  Silent Night! Holy Night! Son of God! O how laughs Love from your divine mouth, Since the hour of our redemption, Jesus, at your birth!

3.  Silent Night! Holy Night! That the world salvation brought From the heavens’ golden heights We can see his boundless grace: Jesus in human form.

4.  Silent Night! Holy Night! Where today all the might Fatherly love has poured And the peoples of the world graciously Embraced Jesus as a brother.

5.  Silent Night! Holy Night! Long we hoped that we, As the Lord freed us from wrath, From the time of our fathers Worldwide protection decreed.

6.  Silent Night! Holy Night! Shepherds first to know the news Through the angels Hallelujah Sounding loudly far and near: Jesus the Savior is here!

— Tr. R. Duffin

1.  Procedenti puero, Eya, novus annus est! Virginis ex utero, Gloria laudis; Deus homo factus est, et immortalis.

2.  Sine viri semine Eya, novus annus est! natus est de virgine. Gloria laudis; Deus homo factus est, et immortalis.

3.  Sine viri copula Eya, novus annus est! natus ante secula. Gloria laudis; Deus homo factus est, et immortalis.

4.  In celorum solio, Eya, novus annus est! Benedicamus Domino. Gloria laudis; Deus homo factus est, et immortalis.

1.  To the boy proceeding, Rejoice, this is a new year! From the virgin’s womb, Give glory of praise; God is made man, and immortal.

2.  Without the seed of man, Rejoice … He is born from a virgin. Give glory …

3.  Without the junction of man, Rejoice … He is born before the world. Give glory …

4.  In the throne of heaven, Rejoice … Let us bless the Lord. Give glory …

What cheer? Good cheer! Be merry & glad this good New Year!

1. “Lift up your hartis & be glad in Christis birth,” the angel bad; say each to other, if any be sad: What cheer? Good cheer!

2.  Now the king of heav’n his birth hath take, joy & mirth we ought to make, say each to other, for his sake: What cheer? Good cheer!

3.  I tell you all with heart so free: Right welcome ye be to me; Be glad & merry, for charity! What cheer? Good cheer!

4.  The good man of this place in fere, you to be merry, he prayth you here, & with good heart he doth to you say: What cheer? Good cheer!

Save the dat∂!April 5 & 6, 2014

Shaker Heights & We◊lake

|e Land of HarmonyAmerican Choral Gems ∫om the Bay Psalm Book to Amy Beach

watch for information atquirecleveland.org

1. In the bleak midwinter, frosty wind made moan; Earth stood hard as iron, water like a stone; Snow had fallen, snow on snow, snow on snow, In the bleak midwinter, long ago.

2. Our God, heav’n cannot hold him, nor earth sustain; Heav’n & earth shall flee away when he comes to reign: In the bleak midwinter a stable place sufficed The Lord God Almighty, Jesus Christ.

3. Enough for him, whom cherubim, worship night and day, A breastful of milk, and a mangerful of hay;

Enough for him, whom angels fall down before, The ox and ass and camel which adore.

4. Angels and archangels may have gathered there, Cherubim and seraphim thronged the air; But only his mother, in her maiden bliss Worshipped the beloved with a kiss.

5. What can I give Him, poor as I am? — If I were a shepherd, I would bring a lamb, If I were a wise man, I would do my part,— Yet what I can I give him — give my heart.

— Christina Rossetti (1872)

ACKNOWLEDGMENTSQuire Cleveland is grateful to Music & Art @ Trinity, the Very Rev. Tracey Lind, Dean, and Todd Wilson, Director of Music & Worship, for hosting Quire Cleveland.

1.  To the boy proceeding, Rejoice, this is a new year! From the virgin’s womb, Give glory of praise; God is made man, and immortal.

2.  Without the seed of man, Rejoice … He is born from a virgin. Give glory …

3.  Without the junction of man, Rejoice … He is born before the world. Give glory …

4.  In the throne of heaven, Rejoice … Let us bless the Lord. Give glory …

We also wish to thank our generous donors: Nancy L. Adams, Ph.D., Edward Alix, Julie Andrijeski & J. Tracy Mortimore (in memory of Seymour Simmons, Jr.), Patricia Ashton, Thomas & Christine Babb, Bonnie Baker & Harry Fisher, Fred & Mary Behm, Virginia & Marvin Belveal, Dr. Peter Bennett, Clurie Bennis, Joanne Blazek, Rev. Catherine G. & Frank Borchert, Arthur V. Brooks, Ted Brown, Mary R. Bynum & J. Philip Calabrese, Alice & Don Cairns, David C. Carver, Kathleen Cerveny, Virginia & Matt Collings, Anne Cook, Louise Cooper, Gayle Crawford, Dr. Roman and Dr. Diana Dale, Agnes Dubray, Drs. Ross W. Duffin & Beverly Simmons, Ruth E. Fenske, Susan & Richard Figge, Dr. Mary C. Gerhart, Scott Godwin, Barbara R. Green, Robert E. & N. Sue Hanson, Mary Jane Hartwell (in memory of Shattuck Hartwell), Barbara R. Hawkins, Donald Hoffman, Dr. & Mrs. James Jacobsohn, F. Jenkins, Ursula Korneitchouk, Frank & Peg Krygowski, Kermit & Barbara Lind, Brenda Logan, Dorothy Lungmus, David Macko, Dr. & Mrs. Stephen Mahoney, Dr. & Mrs. J. Adin Mann, Mark McCarthy, John McElliott, Geraldine McElliott, James & Virginia Meil, Ed & Elaine Meyer, Paula Mindes & George Gilliam, Nancy M. Miller, Jean M. Minnick, Jewel Moulthrop & Evan Komito, Duncan Neuhauser, Charlotte Newman, Dan & Sue O’Neil, Russell Oberlin, Cynthia Peck & William Johnston, Carolyn & Perry Peskin,

Joanne Poderis, Peter Pogacar, Dr. & Mrs. Harry Pollock, Gay & Quentin Quereau, Dr. Richard Rodda & Janet Curry, Justin T. Rogers, Liz Wells & David Rothenberg, Roger & Elizabeth Salomon, Diane & Lewis Schwartz, Neil J. Sharp, Shirley Simmons, Seymour Simmons, Jr.‡, Nancy Stemmer & Laura Sims, Tyler Skidmore, Deborah Smith, Richard Snyder, Jordan Sramek, Dr. & Mrs. Ronald Strauss, Tim & Linda Tuthill, Nancy Tuttle, Robert & Diane Walcott, John West, Esq., W. Lane Wofford, Edith Yerger, Doreen A. Ziska, Cuyahoga Arts and Culture, and the Eaton Corporation.In addition, we thank Fr. Robert Kropac and historic St. Peter’s Church; Andria Derstine and the Harvard Club of Northeast Ohio; Yolanda Crisp, Westlake United Methodist Church Performing Arts Series; and Will Gotmer, Christ Episcopal Church, Shaker Heights.Thanks also to Ann Levin, making her début as Quire’s Box Office Manager, and all the ushers; as well as the CWRU Music Department; 90.3 WCPN Ideastream; 104.9 WCLV; Ωort∞simo design; Beth Segal Photography; Thomas Knab; and Sarah Bailey.The Ohio Arts Council helped fund this program with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.

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