LUX

LUX AND QUORUS PRESENT

A Christmas Concert

Maryland State Boychoir Center for The Arts

Baltimore, Maryland

January 5, 2019
6:00 PM

 LUX

Soprano Eby Buscher, Amanda Densmoor, Austin Nikirk, Beth Ann Zinkievich
Alto Margot Cohen, Abigail Hines, Kimberly Parr, Anya Trudeau
Tenor Anthony Jones, Robby Napoli, Zach Taylor, John-Paul Teti
Bass Ciaran Cain, Tim Crane, John Mullan, Tommy Rust

Praised by composers such as Eric Whitacre and Paul Mealor, Lux is a semi-professional
chamber choir that specializes in contemporary choral music. Founded in 2014 by
member Robby Napoli, the ensemble performs with a dedication to excellence,
innovation, and accessibility in choral performance. Lux has been hailed as “incredibly
impressive” by Benjamin Olinsky, Artistic Director of The 18th Street Singers, and as
“beautiful,” “lovely,” and “wonderful” by composers, music educators, performers, and
listeners all over the east coast. Their 2018 album Now Ye Heavenly Powers was met with
great acclaim from composers, critics, and others, becoming the Featured Choral Album
on Classical MPR’s choral radio station, joining past winners such as Voces8, Tenebrae,
and The Sixteen.

Tenor 1 Jordan McKinney, Zach Taylor
Tenor 2 Troy Bailey, Scott Nunn
Bass 1 Ralph Bernabe, Tate Tiemann
Bass 2 Tommy Rust, Darren Schmidt

Quorus is a men’s chamber ensemble based in the Baltimore metropolitan area. Founded
in 2014, Quorus strives to present choral music written for men’s voices at a high level of
proficiency and musicianship. Quorus is currently the ensemble-in-residence at St. Joseph
Roman Catholic Church in Cockeysville, MD, in partnership with Dr. Lynn Trapp, Director
of Liturgy and Music.

All Lux songs conducted by Robby Napoli, except O magnum mysterium, conducted by Tommy Rust. Program
notes by John-Paul Teti, Robby Napoli, and Austin Nikirk. Program note for “My Lord Has Come” adapted
from the composer’s website. Latin translations for works performed by Lux by John-Paul Teti. “Maria durch
ein Dornwald ging” translated by Lucas Barkley. Thank you to Frank Napoli for photography. Lux would like
to thank John Vengrouskie, our sound engineer, without whom we wouldn’t have our recordings, and St.
Jerome Academy in Hyattsville, MD, for rehearsal space. Quorus would like to thank St. Joseph Catholic
Church for their continued support as ensemble-in-residence. Lux and Quorus would like to extend a
collective thanks to the Maryland State Boychoir for letting us perform here.

Welcome to the Maryland State Boychoir Center for the Arts. We’re glad you could join us
for tonight’s concert. Both groups have put a lot of work into it and we hope you will enjoy
it. Please silence your cell phones and any other noise-making devices you may have in
the moments before the concert begins.

While admission to tonight’s concert is free of charge, the scores and licenses we need in
order to do this are not. If you are able to donate, we would greatly appreciate it.

Donations will be split evenly between the two groups. We can accept cash, checks, and
credit/debit card. Checks should be made out to “Lux Choir, Inc.” Donations are tax-
deductible to the full extent permitted by law under IRC sections 501(c)(3) and 170.

Your support—for either or both groups—means a great deal to all of us.

Thank you for coming.

15TH CENTURY ENGLISH CAROL

Nowell! Nowell! This is the Salutacion

arr. Gary Ruschman (b. 1975)
Performed by Quorus

With Nowell! Nowell! This is the Salutacion, Gary Ruschman has arranged a Medieval melody for
tenor and bass voices in characteristic styles of the time period, employing drones and parallel
organum as it alternates between two main melodies from the original Medieval piece. The refrain
repeats the description of the appearance of the angel Gabriel, with the storytellers’ momentous
joy through a quickly moving and mixed-meter melody.

TEXT
Nowell, nowell, nowell! This is the salutacion of angel Gabriel!
Tidings true there be come new, Sent from the Trinity
By Gabriel to Nazareth, city of Galilee:
A clean maiden and pure virgin, Through her humility
Hath conceived the person second in deity.

Nowell, nowell, nowell! This is the salutacion of angel Gabriel!

“Hail virgin, celestial, The meek’st that ever was:
Hail Temple of deity And mirror of all grace,
Hail virgin pure I thee ensure, Within full little space
Thou shalt receive Him conceive And shall bring great solace.”

Nowell, nowell, nowell! This is the salutacion of angel Gabriel!

Then again to the Angel, She answered womanly,
“Whatever my Lord command me do, I will obey meekly.”
“Ecce sum humilima Ancilla Domini; Secundum verbum tuum,”
[“I am the humble slave of the Lord; according to your word]
She said, “Fiat Mihi.” [May it be done to me.]

Nowell, nowell, nowell! This is the salutacion of angel Gabriel!

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PAUL MANZ (1919-2009)

E’en So, Lord Jesus, Quickly Come

Text by Ruth Manz, based on text from the book of Revelation.
Performed by Quorus

The writing of E’en So, Lord Jesus, Quickly Come came at a time of great stress in the Manz
household. John Manz, the three-year-old son of Paul and Ruth, developed a rare type of double
pneumonia, which required hospitalization and painful treatments to lower his temperature. It
became important for Paul and Ruth to give twenty-four hour attention as John’s condition
became critical. During this time Paul composed a motif and Ruth wrote a text based on the last
chapter of Revelation as a way of expressing their hope and grief. John recovered and later
became a Pastor in the Lutheran Church. The original dedication of the piece read “For those who
prayed for John” but the dedication was later shortened to read “To John.”
—taken from the score

TEXT
Peace be to you and grace from Him
Who freed us from our sins,
Who loved us all and shed His blood
That we might saved be.
Sing Holy, Holy to our Lord,
The Lord, Almighty God,
Who was and is and is to come;
Sing Holy, Holy, Lord!
Rejoice in heaven, all ye that dwell therein,
Rejoice on earth, ye saints below,
For Christ is coming, is coming soon,
For Christ is coming soon!
E’en so, Lord Jesus, quickly come,
And night shall be no more;
They need no light nor lamp nor sun,
For Christ will be their All!

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ANONYMOUS

Puer natus in Bethlehem

O Come, O Come, Emmanuel
O come, o come, Emmanuel arranged by Kevin Keller (b. 1961)
Performed by Quorus

It is rather fitting that these two pieces be performed together, as both melodies come from the
rich tradition of Gregorian chant. Puer Natus in Bethlehem is performed as the original Gregorian
chant with stylistically fitting harmonization. For this performance it is then linked to Kevin
Keller’s O Come, O Come Emmanuel, which is also based in a Gregorian chant melody. This melody,
though it is best known as the tune for this familiar Advent text, was originally written in the 15th
century to the text Bone Jesu dulcis cunctis. Keller’s modern-day arrangement of this centuries-old
melody treats it in a Barbershop style, which can be heard especially in the final cadence.
TEXT (PUER NATUS IN BETHLEHEM) TRANSLATION
Puer natus in Bethlehem, Alleluia. A Child is born in Bethlehem;
Unde gaudet Jerusalem. Alleluia. Exult for joy, Jerusalem!
Hic jacet in præsepio, Alleluia. There, in a manger lowly, lies.
Qui regnat sine termino. Alleluia. He who reigns above the skies.
Cognovit bos et asinus, Alleluia. The ox and ass in neighbouring stall.
Quod puer erat Dominus. Alleluia. See in that Child the Lord of all.
Reges de Saba veniunt, Alleluia. And kingly pilgrims, long foretold.
Aurum, thus, myrrham offerunt. Alleluia. From East bring incense, myrrh, and gold,
Intrantes domum invicem, Alleluia. And enter with their offerings.
Novum salutant principem. Alleluia. To hail the new-born King of Kings.
De matre natus virgine, Alleluia. He comes, a maiden mother's Son.
Sine virili semine; Alleluia. Yet earthly father hath He none;
Sine serpentis vulnere, Alleluia. And, from the serpent's poison free.
De nostro venit sanguine; Alleluia. He owned our blood and pedigree.
In carne nobis similis, Alleluia. Our feeble flesh and His the same.
Peccato sed dissimilis; Alleluia. Our sinless kinsman He became,
Ut redderet nos homines, Alleluia. That we, from deadly thrall set free.
Deo et sibi similes. Alleluia. Like Him, and so like God, should be.
In hoc natali gaudio, Alleluia. Come then, and on this natal day.
Benedicamus Domino: Alleluia. Rejoice before the Lord and pray.
Laudetur sancta Trinitas, Alleluia. And to the Holy One in Three.
Deo dicamus gratias. Alleluia. Give praise and thanks eternally.

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(see program note on previous page)

TEXT (O COME, O COME EMMANUEL)

Veni, veni Emmanuel!
Captivum solve Israel!
Qui gemit in exilio,
Privatus Dei Filio,
Gaude, gaude, Emmanuel
nascetur pro te, Israel.

O come, O come, Emmanuel,

And ransom captive Israel,
That mourns in lonely exile here,
Until the Son of God appear.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.

O come, Thou Dayspring, from on high,

And cheer us by Thy drawing nigh;
Disperse the gloomy clouds of night,
And death's dark shadows put to flight.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.

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TRADITIONAL GERMAN CAROL

Maria durch ein Dornwald ging

arr. Stefan Claas (b. 1950).
Performed by Lux

Maria durch ein Dornwald ging is a German Christmas carol of murky origins, published no later
than 1850. Stefan Claas’s setting of his home country’s carol sets three verses, featuring just the
tenors and basses, then only the sopranos and altos, and finally the full choir in the last verse. This
final verse begins on the same note, and gradually peels off into a robust major chord on the Greek
liturgical phrase “Kyrie eleison”—“Lord, have mercy.”

TEXT TRANSLATION
Maria durch ein Dornwald ging. Mary walked through a thorny wood.
Kyrie eleison. Lord, have mercy.
Maria durch ein Dornwald ging, Mary walked through a thorny wood,
der hat in sieben Jahr kein Laub getragen. That had not borne leaf for seven years.
Jesus und Maria. Jesus and Mary.

Was trug Maria unter ihrem Herzen? What does Mary carry under her heart?
Kyrie eleison. Lord, have mercy.
Ein kleines Kindlein ohne Schmerzen, das trug A little child without pains—
Maria unter ihrem Herzen: That is what Mary carries under her heart.
Jesus und Maria. Jesus and Mary.

Da haben die Dornen Rosen getragen. Then the thorn [bushes] grew roses.
Kyrie eleison. Lord, have mercy.
Als das Kindlein durch den Wald getragen, As the little child traveled through the wood,
da haben die Dornen Rosen getragen. Then the thorn [bushes] grew roses.
Jesus und Maria. Jesus and Mary.

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MORTEN LAURIDSEN (b. 1943)

O magnum mysterium
Responsorial chant from the Matins of Christmas
Performed by Lux

One of the most celebrated and well-known choral pieces by a living composer, Morten
Lauridsen’s O magnum mysterium is a serene setting of a common Christmas text and perfectly
depicts the “great mystery” of Jesus’s birth. The piece is filled with examples of text-painting,
though the most striking use of it comes on the word virgo. Lauridsen writes here a dissonant note
—the only note of this sort in the entire piece—used very specifically in this instance to
foreshadow the Virgin Mary’s pain at her son’s crucifixion years after his birth.

TEXT TRANSLATION
O magnum mysterium, O great mystery
et admirabile sacramentum and wondrous sacrament
ut animalia viderent Dominum natum jacentem that animals should see the newborn Lord
in praesepio. lying in their manger.

Beata Virgo Blessed [is] the virgin

cujus viscera meruerunt portare Dominum whose womb merited to carry Christ the Lord.
Christum. Alleluia! Alleluia!

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ARVO PÄRT (b. 1935)

O Weisheit (from Sieben Magnificat-Antiphonen)

Magnificat antiphon for Vespers on December 17
Performed by Lux

The O antiphons are one of the most well-known Christian liturgical texts. They are a set of short
verses prayed as part of the Vespers (evening prayer) service in the 7 days before Christmas in
many Christian traditions. The famed O come, O come Emmanuel text is a paraphrase of these
antiphons. Because the verses are recited before the Magnificat prayer (which Pärt has also
famously set to music), they are sometimes known as the Magnificat Antiphons, and it is under this
title that Arvo Pärt set all seven (in a German translation rather than the original Latin). This is the
first one: O wisdom; in Latin, O sapientiae; in German, O Weisheit. The piece is classic Pärt: the
choir is treated almost like bells and the rhythm is simple and in full service to the text.

TEXT
O Weisheit, hervorgegangen aus dem Munde des Höchsten,
die Welt umspannst du einem Ende zum andern,
in Kraft und Milde ordnest du alles:
O komm und offenbare uns den Weg der Weisheit und der Einsicht,
O Weisheit.

TRANSLATION
O wisdom, proceeding from the mouth of the most high,
You encircle the world from one end to the other.
You order all things with might and mercy.
O come to us and reveal the way of wisdom and understanding,
O wisdom.

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FELIX MENDELSSOHN (1809-1847)

Hark! The Herald Angels Sing

arr. Andrew Hawryluk (b. 1980). Text by Charles Wesley.
Performed by Quorus

Hark! The Herald Angels Sing is one of the more well-known Christmas carols around the world.
Though the basic text has existed since about 1750, its associated tune did not come about until
1840, when music from Mendelssohn’s Gutenberg Cantata. Andrew Hawryluk’s setting of this
beloved Christmas hymn begins with a simple harmonization of the original hymn tune, then
bursting into exclamations of glory for God in the wake of his Son’s birth.

TEXT
Hark! the herald angels sing, Hail the heaven-born prince of peace!
“Glory to the new-born King! Hail the Son of Righteousness!
Peace on earth, and mercy mild, Light and life to all he brings,
God and sinners reconciled.” Risen with healing in his wings
Joyful, all ye nations, rise, Mild he lays his glory by,
Join the triumph of the skies; Born that man no more may die:
With the angelic host proclaim, Born to raise the sons of earth,
“Christ is born in Bethlehem.” Born to give them second birth.
Hark! the herald angels sing, Hark! the herald angels sing,
“Glory to the new-born King!” “Glory to the new-born King!”

Christ, by highest heaven adored:

Christ, the everlasting Lord;
Late in time behold him come,
Offspring of the favoured one.
Veiled in flesh, the Godhead see;
Hail, the incarnate Deity:
Pleased, as man, with men to dwell,
Jesus, our Emmanuel!
Hark! the herald angels sing,
“Glory to the new-born King!”

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DARREN SCHMIDT (b. 1995)

St. Joseph
Text from Ballachulish 1884
Performed by Quorus

A piece from the collection of Quorus member and young, emerging composer Darren
Schmidt, St. Joseph was written in 2017 to be performed by Quorus at the church where
they serve as the ensemble-in-residence, St. Joseph’s Catholic Church in Cockeysville,
MD.
TEXT
A cloistered garden was the place where Mary grew, God’s perfect flower;
one; only one discerned her grace, and visited her bower.
God’s choice was his; by love made strong to guard the mother of the king;
No heart, save hers, had e’er a song so sweet as his to sing.

Blessed are all who take their part amid the carol singing throng;
Thrice blest the meditative heart whose silence is a song.

Yet lives there on the sacred page no record of a word from him;
God’s ark he guards, a silent sage, pure as the Cherubim.

But sweeter than the sweetest word recorded of the wise and good,
his silence is a music heard on high and understood.

Blessed are all who take their part amid the carol singing throng;
Thrice blest the meditative heart whose silence is a song.

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TRADITIONAL

Ihr Kinderlein, kommet

arr. Darren Schmidt (b. 1995)
Performed by Quorus

This soothing melody is a song beckoning children to look into the nativity scene,
describing it in great detail. The original poem, written by a Catholic priest in the 1800’s,
was married to a pre-existing tune some years into the 19th century. This arrangement by
Quorus bass Darren Schmidt, was written specifically for Quorus, and keeps intact the
gentle serenity of the original piece.

TEXT TRANSLATION
Ihr Kinderlein, kommet, o kommet doch all!
 Come, little children, oh, come, one and all,
Zur Krippe her kommet in Bethlehems Stall
 To Bethlehem’s stable, in Bethlehem’s stall.
und seht, was in dieser hochheiligen Nacht
 And see with rejoicing this glorious sight,
der Vater im Himmel für Freude uns macht!
 Our Father in heaven has sent us this night.


O seht in der Krippe im nächtlichen Stall,
 Oh, see in the manger, in hallowed light
seht hier bei des Lichtleins hell glänzendem A star throws its beam on this holiest sight.
Strahl
 In clean swaddling clothes lies the heavenly
den reinliche Windeln, das himmlische Kind,
 Child,
viel schöner und holder als Engel es sind!
 More lovely than angels, this Baby so mild.


Da liegt es, das Kindlein, auf Heu und auf Stroh,
 There lies the Christ Child, on hay and on straw;
Maria und Josef betrachten es froh.
 The shepherds are kneeling before Him with awe.
Die redlichen Hirten knien betend davor,
 And Mary and Joseph smile on Him with love,
hoch oben schwebt jubelnd der Engelein Chor. While angels are singing sweet songs from above.

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KIRBY SHAW (b. 1941)

Run To The Manger

Text by the composer
Performed by Quorus Darren Schmidt, Tate Tiemann, and Zach Taylor, soloists

Run to the Manger is a rousing Spiritual written by Kirby Shaw, bursting with excitement at the
birth of Jesus. Syncopated rhythms and rising key changes set the energy higher and higher
between solos to the climax of the piece at the final cadence.
TEXT
Gonna run, run, run, run, run to the manger,
Gonna run, run, run to see the baby boy!
Gonna run, run, run, run, run to the manger,
Gonna fill my heart with heav’nly joy!

Well, I talked to the shepherds the other day

Hurryin’ on down t’ward Bethl’hem way.
Now they told me ‘bout the birth of the baby boy,
So pardon me please while I jump for joy!

Gonna run, run, run, run…

Now I ain’t worried, ain’t no ways tired,

‘Cuz the tiny baby boy’s set my soul on fire!
So I talked to my feet, said, “Are you ready to fly?”
My feet said, “Son, let’s testify!”

Gonna run, run, run, run…

Well I’m movin’ up the mountain, ‘cross the valley low,

‘round through the meadow, down the dusty road.
Well now don’t try to stop me, ‘cuz I won’t slow down,
’til I’m standin’ by the manger on holy ground.

Gonna run, run, run, run to the manger,

Gonna run, run, run to see the baby boy!
Gonna run, run, run, run, run to the manger,
Gonna fill my heart with heav’nly joy!

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HERBERT HOWELLS (1892-1983)

Sing Lullaby
Text by F.W. Harvey (1888-1957)
Performed by Lux

Howells was a British composer known for his large body of works for Anglican church choirs and
services. Sing Lullaby comes from a set of three “Carol-Anthems,” of which he said, “This was the
third in the set. Here too a poet found the verses for me. F.W. Harvey, the Gloucestershire poet,
friend of Ivor Gurney had written and published the poem only a short time before this setting was
made.” The beginning of the piece creates a soothing lulling theme under the melody, contrasted
by the treatment of the second stanza of the poem, which alludes to Jesus’ crucifixion.

TEXT
Sing lullaby, The naked blackthorn’s growing
While snow doth gently fall, To weave his diadem.
Sing lullaby To Jesus Sing lullaby to Jesus
Born in an oxen stall. While thickly snow doth fall.
Sing lullaby to Jesus Sing lullaby to Jesus
Born now in Bethlehem. The Savior of all.
Sing lullaby.

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FRANZ X. GRUBER (1787-1863)

Silent Night
arr. Jonathan Rathbone (b. 1975). Original German text by Joseph Mohr (1792-1848).
Verses 1 and 2 trans. by J.F. Young (1820-1885), verse 3 trans. by Elizabeth Poston (1905-1987).
Performed by Lux

Silent Night is one of the most famous carols of all time, and recently celebrated its 200th
anniversary (on December 24, 2018). The lyrics were written by Joseph Mohr, who walked 3
kilometers from his home on Christmas Eve to bring it to his friend Franz Gruber and asked him to
compose a simple melody for it that could be played on the guitar. The piece was premiered during
the liturgy that night and has been of the most beloved Christmas carols ever since. This gorgeous,
simple arrangement by Jonathan Rathbone begins with a soprano and alto arrangement, then
transitions to the tenors and basses, before combining in eight parts for a rich third verse.

TEXT
Silent night, holy night, all is calm, all is bright.
Round yon virgin mother and child, holy infant so tender and mild,
Sleep in heavenly peace, sleep in heavenly peace.

Silent night, holy night; shepherds quake at the sight.

Glories stream from heaven afar, heavenly hosts sing “Alleluia”
Jesus the savior is born, Jesus the savior is born.

Silent night, holy night, holy babe, smiles alight

Radiant from thy innocent face in this saving hour of thy grace,
Jesus, Lord, at thy birth, Jesus, Lord, at thy birth.

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JONATHAN LANE (b. 1958)

There Is No Rose Of Such Virtue

15th century English text. Author unknown.

Performed by Lux Austin Nikirk, Margot Cohen, John Mullan, and Tommy Rust, soloists

The text of There is No Rose of Such Virtue is taken from the Trinity carol roll (a manuscript of 13
English carols), where it appears along with a melody and harmonization. The 13 carols on the roll
are the oldest surviving polyphonic music (music with multiple voices) in English. Although Lane
takes only the words from the Trinity carol version, this composition is similarly light and simple.

TEXT
There is no rose of such virtue as is the rose that bare Jesu.
Alleluia.

For in this rose contained was heaven and earth in little space.
Res miranda. [Marvelous thing.]

By that rose we may well see that he is God in persons three.

Pares forma. [Equal in form.]

The angels sungen [i.e. sung] the shepherds to, “Gloria in excelsis Deo.” [Glory to god in the highest.]
Gaudeamus. [Let us rejoice.]

Leave we all this worldly mirth and follow we this joyful birth.
Transeamus. [Let us turn.]

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JOHN H. HOPKINS, JR. (1820-1891)

We Three Kings
arr. Marshall Webb (b. 1957). Text by the composer.
Performed by Quorus

We Three Kings originated just north of here, in Williamsport, Pennsylvania, making it the first
widespread Christmas carol that originates in the United States. Marshall Webb’s jazzy setting of
this familiar Christmas carol will keep you on your toes with new keys and new meters. Though it
features three verses and three choruses, not one is exactly alike.

TEXT
We three kings of Orient are Oh, star of wonder, star of might
Bearing gifts, we traverse far Star with royal beauty bright
Field and fountain Westward leading
Moor and mountain Still proceeding
Following yonder star Guide us to thy perfect light

Oh, star of wonder, star of might Frankincense to offer have I

Star with royal beauty bright Incense owns a deity nigh
Westward leading Prayer and praising, all men raising
Still proceeding Worship God on high
Guide us to thy perfect light
Oh, star of wonder, star of might
Born a babe on Bethlehem's plain Star with royal beauty bright
Gold we bring to crown him again Westward leading
King forever, ceasing never Still proceeding
Over us all to reign Guide us to the perfect light

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GREG GILPIN (b. 1964)

Ding-a-ding-a-ding
Text by the composer.
Performed by Quorus

This fun piece from the mind of Greg Gilpin uses a technique called “vocal layering,” in which the
composers treats the voices of the choir almost like loops in a Digital Audio Workstation. He first
introduces the main theme in the basses, then layering the other bell-like patterns on top. As the
texture thickens with more and more voices, they ring out together to sing the joys of Christmas,
fading back into the soundscape of the beginning of the piece.

TEXT
Merrily on high, hear the bells ring.
Merrily, the heavens sing.
Merrily on high, hear the bells ring.
O'er the earth, they ding dong ding.

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TRADITIONAL AUSTRIAN CAROL

Still, Still, Still

arr. Richard Cook
Performed by Quorus

Richard Cook’s setting of this beautiful Austrian carol emphasizes its roots as a folk lullaby, using
the harmony to paint a picture of a still Christmas night. Though it is known today as a Christmas
song, the tune itself was discovered (without link to Christmas) in a folksong collection in Salzburg.
Though the English translation has gone through many permutations, the German text has
remained largely the same.

TEXT
Still, still, still,
One can hear the falling snow.
For all is hushed,
The world is sleeping,
Holy Star it's vigil keeping.
Still, still, still,
One can hear the falling snow.

Sleep, sleep, sleep,

'Tis the eve of our Saviour's birth.
The night is peaceful all around you,
Close your eyes,
Let sleep surround you.
Sleep, sleep, sleep,
'Tis the eve of our Saviour's birth.

Dream, dream, dream,

Of the joyous day to come.
While guardian angels without number,
Watch you as you sweetly slumber.
Dream, dream, dream,
Of the joyous day to come.

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GUSTAV NORDQVIST (1886-1980)

Jul, Jul, Strålande Jul

Text by Edvard Evers
Performed by Quorus

Jul, Jul, Strålande Jul is a Swedish Christmas song written in 1921, immediately becoming one of the
most common carols of the 20th century in Sweden. Since its conception, it has been recorded and
performed internationally by thousands of performers in choirs and orchestras. The soothing
harmony of the piece fits the text, centered around the healing nature of Christmas, envisioned as
white wings wrapped “around all the people’s sighs.”

TEXT TRANSLATION
Jul, jul, strålande jul, Christmas, Christmas glorious Christmas
glans över vita skogar, Shine over white forests
himmelens kronor med gnistrande ljus, The crowns of heaven with sparkling lights
glimmande bågar i alla Guds hus, Glistening bows in each of gods houses
psalm, som är sjungen från tid till tid, A hymn sung time and time again
eviga längtan till ljus och frid! Eternal longing for light and peace
Jul, jul, strålande jul, Christmas, Christmas, glorious Christmas
glans över vita skogar! Shine over white forests
   
Kom, kom, signade jul! Come, come holy Christmas
Sänk dina vita vingar Wrap your white wings
över stridernas blod och larm, Around the blood and turmoil of war
över all suckan ur människobarm, Around all the people's sighs
över de släkten, som gå till ro, Around all the families who travel to peace
över de ungas dagande bo! Around the youth's daily lives
Kom, kom, signade jul! Come, come, holy Christmas
Sänk dina vita vingar! Bring your white wings down

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TRADITIONAL ENGLISH CAROL

Coventry Carol
arr. Ola Gjeilo (b. 1978)
Performed by Lux Eby Buscher, soloist

The Coventry Carol is an English carol that dates to the 16th century. It gets its name from the town
of Coventry, where it was originally performed as part of a mystery play. The text refers to the
Massacre of the Innocents, in which King Herod feels threatened after the Magi inform him that
they have come to worship a king, and decides to have all children under the age of three executed.
The original music contains an extremely jarring dissonance in one line, unusual for music of the
day but quite fitting for the horrifying subject matter. Here, however, Gjeilo takes the melody and
writes a waltz-like choral accompaniment around it, which eventually grows into his trademark
thick 8-part texture, which somehow retains the coldness necessary for the brutal text.

TEXT
Lully, lullay, Thou little tiny Child, by, by, lully, lullay.
O sisters, too, how may we do for to preserve this day
This poor youngling for whom we sing, ‘By by, lully, lullay’?

Herod the King, in his raging, charged he hath this day

His men of might in his own sight all children young to slay.
Then woe is me, poor child, for thee, and ever mourn and say:
For thy parting, nor [i.e. neither] say nor sing, ‘By by, lully lullay’.

Lully, lullay, Thou little tiny Child, by, by, lully, lullay.

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BENJAMIN BRITTEN (1913-1976)

Sweet Was The Song

Text from William Ballet’s “Lute Book”
Performed by Lux

This setting for treble voices is actually Britten’s second setting of this melody, the first being an
SATB arrangement in the “Christ’s Nativity” Suite. The revision masterfully adjusts the harmonies
to fit into the closer range of upper voices. The refrain that repeats throughout the song, “lulla,
lullaby,” is harmonized by the outer parts, painting an awe-filled vision of Mary’s song, while the
middle voice carries the melody. A Marian text, this poem evokes both the Magnificat and the birth
of Jesus in two separate but related strophes.

TEXT
Sweet was the song the virgin sung,
When she to Bethlem Juda came,
And was delivered of a son,
That blessed Jesus hath to name.
Lulla, lulla, lulla, lullaby,
Lulla, lulla, lulla, lullaby,
Sweet Babe, sang she.
My son and eke a saviour born,
Who hast vouchsafed from on high
To visit us that were forlorn.
Lalula, lalula, lalulaby,
Sweet Babe, sang she,
And rocked Him sweetly on her knee.

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WILL TODD (b. 1970)

My Lord Has Come

Text by the composer
Performed by Lux

This heartfelt setting of words by the composer begins with a very soft drone over which the
sopranos introduce the expressive melody. This melody is passed around the choir throughout the
piece, never straying from its calm and content nature except to accentuate God’s love for the
speaker, further brought out by the poet by breaking the strophic form of the text.

TEXT
Shepherds, called by angels, called by love and angels;
No place for them but a stable.
My Lord has come.

Sages, searching for stars, searching for love in heaven;

No place for them but a stable.
My Lord has come.

His love will hold me, his love will cherish me, love will cradle me.

Lead me, lead me to see him, sages and shepherds and angels;
No place for me but a stable.
My Lord has come.

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FRANZ BIEBL (1906-2001)

Ave Maria (Angelus Domini)

Traditional Catholic prayer
Performed by Lux and Quorus Zach Taylor and Robby Napoli, soloists

German composer Franz Biebl’s Ave Maria is really a setting of a longer traditional Catholic prayer
called the Angelus, which includes the full text of the Ave Maria interwoven with other texts
depicting Mary’s agreement to be the mother of God. The composition was brought to the US by
the Cornell University Glee Club after they met Biebl at a radio station while on tour in Germany
and has enjoyed widespread popularity ever since.

TEXT TRANSLATION
Angelus Domini nuntiavit Mariae The angel of the Lord announced to Mary,
Et concepit de Spiritu Sancto: And she conceived through the Holy Spirit.

Ave Maria, gratia plena, Dominus tecum, Hail Mary, full of grace, the Lord is with you.
Benedicta tu in mulieribus et benedictus fructus Blessed are you among women, and blessed is the
ventris tui, Jesus. fruit of your womb, Jesus.

Maria dixit: “Ecce ancilla Domini. Fiat mihi Mary said: “Behold the handmaid of the Lord.
secundum verbum tuum.” Ave Maria… Let this be done to me according to your word.”
Hail Mary…

Et verbum caro factum est et habitavit in nobis. And the word was made flesh and lived among
us.
Ave Maria, gratia plena, Dominus tecum,
Benedicta tu in mulieribus et benedictus fructus Hail Mary, full of grace, the Lord is with you.
ventris tui, Jesus. Sancta Maria, mater Dei, ora pro Blessed are you among women, and blessed is the
nobis peccatoribus, nunc et in hora mortis nostrae. fruit of your womb, Jesus. Holy Mary, mother of
Amen. God, pray for us sinners, now and in the hour of our
deaths. Amen.

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Like Quorus on Facebook—search for “Quorus”.
Contact for more info via email at [email protected]

Thank you for coming.

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