Fantasia
Saturday, December 7, 2024 @ 7:30pm
Southminster United Church, 15 Aylmer Ave, Ottawa
Visit the concert page for live streaming information and post-performance recording.
UPDATE: the livestream has been cancelled due to technical difficulties, our sincerest apologies. We will post the recording of the concert on YouTube at our earliest convenience, please see our Social Media (Instagram and Facebook) for details.
CONTENTS
Word of Welcome from the Chair | An Introduction by the Music Director | Program | Program Notes | Performers | Rideau Chorale | Special Acknowledgement | Donors & Sponsors | Upcoming Concerts | Program Text & Translation
WORD OF WELCOME FROM THE CHAIR
Welcome to our first performance of the 2024-25 season. Tonight you’ll hear a selection of beautiful seasonal works, by Ralph Vaughan Williams, J.S. Bach, and local composers.
Vaughan Williams was not only a stellar composer but also, as is often the case, a fascinating man. Please take a moment and read the program notes to discover more about the pieces we’ll be singing and the people who wrote them.
Rideau Chorale is a volunteer-run, charitable organization and we rely on the support of our donors and sponsors. Your generosity allows us to stage these concerts and work alongside, and learn from, professional musicians. Also key to our efforts are the dedicated volunteers, both choir members and others. Our donors, sponsors, and volunteers are truly appreciated.
There is another group essential to our ability to share this wonderful musical experience and that is, of course, you. Thank you for allowing us the pleasure of singing for you.
We continue to welcome singers from across the National Capital Region. Check out our website for more information about our activities and how you can support Rideau Chorale.
Enjoy the performance!
Janice Manchee
Chair, Rideau Chorale
AN INTRODUCTION BY THE MUSIC DIRECTOR
I’m so pleased that Rideau Chorale is presenting not one, but two Bach cantatas this evening; Wachet auf, ruft uns die Stimme (BWV 140) also known as ‘Sleepers Awake’ – one of Bach’s most famous cantatas, and Das neugeborne Kindelein (BWV 122) (The new-born infant child). The other major work is ‘Fantasia on Christmas Carols’ by Ralph (pronounced ‘Rafe’) Vaughan Williams.
As the ensemble gets to know these works more intimately week by week, there is the realization that music doesn’t get much more joyous, or profound – in keeping with the season’s celebrations. Because of the intricacies and occasionally, pyrotechnical aspects of these works, I’ve come to witness the enthusiasm Rideau Chorale has shown in facing these musical challenges, and also the fun they’ve had. To me, this is what community choirs are all about.
I hope you, the listener, enjoy this evening of Advent and Christmas music as much as we have enjoyed preparing it.
Kevin Reeves
Music Director, Rideau Chorale
PROGRAM
Break Forth, O Beauteous Heavenly Light – J.S. Bach (Christmas Oratorio)
Kathleen Radke, soprano; Adam Sperry, tenor
Text
Das neugeborne Kindelein – J.S. Bach, BWV 122
Kathleen Radke, soprano; Adam Sperry, tenor; Phillip Holmes, baritone
Text & Translation
Fantasia on Christmas Carols – Ralph Vaughan Williams
Phillip Holmes, baritone
Text
INTERMISSION
Wachet auf, ruft uns die Stimme – J.S. Bach, BWV 140
Text & Translation
Gloucestershire Wassail – arr. Kevin Reeves
Text
Medley of Carols – arr. Andrew Ager
Text
Sing-along
O Come, All Ye Faithful (Text)
Hark! The Herald Angels Sing (Text)
PROGRAM NOTES
Ralph Vaughan Williams Fantasia on Christmas Carols (1912)
As the musicologist Alain Frogley described him, Ralph Vaughan Williams (1872-1958) was “one of those rare beasts, a popular twentieth-century composer.”
Vaughan Williams’ compositional style uniquely represented a specific moment in pre-war and wartime English music in that his compositional style embraced the beauty and sentimentality of traditional English music, while combining it with a unique individual style at once influenced by the impressionism of his teacher Maurice Ravel, but quite different in practice.
At the end of his life, he was revered as a national figure, however very quickly after his death, trends in composition changed in favour of a more daring harmonic language and his more accessible style of composition went out of vogue within the world of elite performance. Despite this, his overall reputation remained strong.
Vaughan Williams has become a cornerstone of English choral composition across the Anglosphere and his works continue to be beloved of amateur choirs. While the relegation of his music to the amateur realm might have bothered some of his contemporaries, Vaughan Williams himself would likely have been untroubled by it. He was a passionate advocate for community choirs and amateur music-making throughout his life.
Vaughan Williams was an early participant in the first English Folk Song revival. Beginning in 1903, he devoted around 30 days each year to traveling across England, collecting over 800 little-known folk songs over the course of ten years.
Among these songs were a number of Christmas carols, several of which he set in tonight’s selection, Fantasia on Christmas Carols (1912). This work, dedicated to his friend and fellow folk song-collector Cecil Sharp, includes several carols collected by Sharp and their friend Ella May Leather. The most popular among these include “The Truth Sent from Above,” “Come All You Worthy Gentlemen,” and The Sussex Carol (“On Christmas Night all Christians Sing”).
While these carols may seem familiar to us today, we owe their current popularity to the early-twentieth-century revival of interest in English regional music, spearheaded by Vaughan Williams and like-minded enthusiasts.
Bach and the Chorale Cantata
Johann Sebastian Bach was not an innovator in the sense of creating entirely new musical forms, but rather a master of perfecting and elevating existing genres. His chorale cantatas, for example, were built on two centuries of Lutheran musical tradition.
At the heart of this tradition was the belief that congregational singing should be accessible to all, regardless of social or educational background. In the early 16th century, Martin Luther and others undertook the monumental task of creating a German Lutheran hymnbook that would allow ordinary people to participate in the worship service. These hymns, known as chorales, were simple four-part settings of sacred texts in the vernacular designed for congregational singing.
By Bach’s time, some 200 years later, these hymns had become beloved, integral parts of Lutheran worship.
Over the years, composers had elaborated the basic melodies of these chorales, incorporating them into larger, multi-movement works called cantatas. These cantatas included the familiar chorale melodies, interwoven with original paraphrases of sacred texts that deepened and elaborated upon the message of the hymn.
Cantatas functioned like a second sermon, with their texts and music designed to provide religious guidance that connected to the daily lives of the congregants. The use of familiar melodies allowed the congregation to easily engage with the music and reflect on its spiritual message.
J.S Bach – Break Forth, O Beauteous Heavenly Light
Break Forth, O Beauteous Heavenly Light is taken from Bach’s “Christmas Oratorio” BWV 248.
This larger work was written in 1735 and was subdivided into six shorter cantatas, each of which were performed to mark the important feast days between Christmas Day (December 25) and Epiphany (January 6). Break Forth, originally titled Brich an, o schönes Morgenlight (Break Now, O Beautiful Morning-Light), was first performed in Saint Nicholas’ Church in Leipzig on the day after Christmas.
The cantata tells the story of the annunciation of Christ’s birth to the shepherds who were in the fields, watching their flocks by night. The morning light referenced in the cantata was, in fact, the light shining down from heaven, breaking through the metaphorical darkness of the hills outside of Bethlehem. The sun had risen, the saviour of the world was born.
Likewise, we hope that the brightness of this beloved chorale breaks through the darkness of the December sky to warm your hearts like it did for those who first heard it on a chilly morning in 1735.
J.S Bach Cantata 122 – Das neugeborne Kindelein (The New-born Little Child)
This Cantata was composed during Bach’s first year as director of music at St. Thomas’s Church in Leipzig. For that liturgical year, Bach wrote a cantata for every Sunday that corresponded to the appropriate texts and readings for the day.
Over the course of his tenure in Leipzig, Bach reportedly completed five full cantata cycles, though only two of these have survived. If that sounds like a lot of work, it absolutely was! Composing was not Bach’s only responsibility. In addition to writing a cantata every week, he oversaw the church’s musical operations, conducted the boys’ choir, taught regular school subjects like Latin in the church’s adjoining school, and even cared for the choirboys who lived with him and his family.
Cantata 122 was written for the first Sunday after Christmas in 1724. In this time, the festive period between Christmas and Epiphany was marked with great pomp. Making it even more exciting that year, the first Sunday after Christmas fell on New Year’s Eve.
As a result, Bach chose to eschew the theme of traditional gospel reading for the day, which recounts Jesus’ presentation at the temple, and instead selected a hymn that had no direct connection to the reading.
The hymn text, Das neugeborne Kindelein (The Newborn Little Child), was written by the Thuringian clergyman Cyriakus Schneegaß (1546-1597), while the melody was composed by Melchior Vulpius (c.1570-1615), a well-known hymn composer and cantor from Weimar.
J.S.Bach Cantata 140 – Wachet auf, ruft uns die Stimme (Sleepers Awake, the Voice Calls to Us)
The best known of the two cantatas presented tonight, Wachet auf, was composed for the last Sunday of the church year and had its first performance on November 25, 1731.
This Sunday was traditionally dedicated to reflecting on the Last Days. The epistle for the day, 1 Thessalonians 5:1-11, addresses preparation for the Last Judgment, while the gospel reading, Matthew 25: 1-13, tells the parable of the ten virgins.
In this parable, Jesus urges his disciples to always be prepared for his return. The ten virgins are instructed to take their lamps and go out to meet the bridegroom. Five are foolish and fail to bring extra oil, while five are wise and prepare in advance. All ten fall asleep while waiting and when they wake, their lamps have burned out. The foolish virgins go out to buy more oil and miss the bridegroom, while the wise ones stay and are invited to the wedding feast.
This parable serves as an allegory for entry into the Kingdom of Heaven, where only those who have adequately prepared their spirits for Christ’s coming are granted admission.
The text and music for the chorale (Wachet auf, ruft uns die Stimme) was written in 1599 by the theologian Philipp Nicolai. In addition to the original hymn, an anonymous later poet expanded the original material by adding texts for recitatives and arias, many of which are inspired by and quote the Song of Solomon, Old Testament love poetry about the relationship between Christ and faithful Christians.
In the solo movements, Bach musically interprets the Song of Solomon by writing dialogues between Jesus (bass) and a faithful soul (soprano).
The final choral movement of the cantata presents the original chorale in its entirety, and one can’t help but imagine the congregation singing along to this final, majestic iteration of their beloved hymn.
Andrew Ager
Andrew Ager has written a substantial catalogue of works for most genres of instrumental and vocal ensembles. His music is described as a lyrical and distinctive mixture of traditional and contemporary. He is also busy as an arranger/orchestrator. Having worked in this field already for 30+ years, he recently began studying with renowned orchestrator Mikhail Grigorevich Bogdanov, a senior faculty member of the Moscow State Tchaikovsky Conservatory.
“Medley of Carols is a selection of favourite Christmas tunes, arranged for this year’s instrumental ensemble with choir. I am delighted to have been asked to write this version for the Rideau Chorale.”
Kevin Reeves
Rideau Chorale’s Music Director, Kevin Reeves’ arrangement of Gloucestershire Wassail is also being presented tonight, “Having produced arrangements of a half dozen carols or so for Thirteen Strings, Gloucestershire Wassail was my last one during conductor Kevin Mallon’s tenure (since he stepped down last year). It is more or less a Christmas drinking song – featuring English farmers toasting a handful of their barnyard animals, and finally, the maid who unlatched the door to the pub. Mercifully, I have included only six of the ten verses.”
Renée Olo
PhD Candidate, Historical Musicology, University of Pennsylvania
PEFORMERS
Kevin Reeves, Music Director & Conductor
As a chorus master, Kevin has prepared choirs for many international conductors – mostly through the National Arts Centre – including Trevor Pinnock, Franz Paul Decker, Lydia Adams, Jiri Belohlavek, Iwan Edwards, Robert Cooper, Jean-Francois Rivest and Pinchas Zukerman. Kevin is also a composer and three years ago presented the world premiere of his comic opera ‘Nosferatu’ – based on the filming of the 1922 silent classic. He has also recently completed a full-length opera based on the true story of Anahareo and Grey Owl’s life in the bush.
In his spare time, Kevin directs documentaries, short films, dramas and Classical music videos and has won several international awards as a result. His hobbies include drawing caricatures, collecting original cartoon art, painting landscapes, and watching a lot of television – good and bad.
Soloists
Kathleen Radke, Soprano
Kathleen Radke holds an opera diploma from Wilfrid Laurier University and a Bachelor of Music and Performance Diploma from McMaster University. In the realm of oratorio, Kathleen has showcased her talent in Handel’s Messiah, Saul, Solomon, and Dixit Dominus, as well as Bach’s Cantatas Nr. 4, 106 & 150. She has also lent her voice to Haydn’s Lord Nelson Mass, Mozart’s Requiem and Dvorak’s Mass in D.
Not only does Kathleen excel in oratorio, but she has also made her mark in the world of opera. With roles such as Pamina and Papagena (Die Zauberflöte), Mlle. Silberklang (Die Schauspieldirektor), Elisetta (Il matrimonio segreto), Oberto (Alcina), Najade (Ariadne auf Naxos), and Suor Angelica, she has proven her versatility as a soprano. Kathleen has also been recognized for her recordings, notably on the 2020 JUNO Award-winning CD “Händel: Dixit Dominus, Bach and Schütz: Motets” with the Ottawa Bach Choir.
Adam Sperry, Tenor
Praised for his “rich vocals and dynamic palette” (Holly Harris, Opera Canada, Fall 2019) Manitoban tenor Adam Sperry has had the privilege of performing with many companies across Canada. Recent highlights include: the role of Hoffmann in Offenbach’s The Tales of Hoffmann with Manitoba Underground Opera, tenor soloist in CAMMAC’s production of Handel’s Messiah, Jay Gatsby in the world premiere of Andrew Ager’s The Great Gatsby with New Opera Lyra, tenor soloist with the Georgian Bay Concert Choir in their production of Haydn’s Missa in Tempora Belli,Le Remendado in Bizet’s Carmen with Southern Ontario Lyric Opera, and the tenor soloist in Carmina Burana with the Winnipeg Symphony Orchestra.
Phillip Holmes, Baritone
Phillip Holmes, bass-baritone, lives on the family farm in Clarendon, Quebec.
In 2006 Phillip completed a Bachelor of Music Degree in Voice Performance, at the University of Ottawa.
Phillip has sung with the Ottawa Choral Society, the Cantata Singers, CAMAC, the Cathedral Choir of Men and Boys, The Valley Festival, Seventeen Voyces Toronto’s MacMillan Singers, and Germany’s Bachakademie Festival Chor. He has performed as a soloist in Mendelssohn’s Elijah, Brahms’ Requiem, Handel’s Messiah, Faure’s Requiem, Rossini’s Stabat Mater, Rutter’s Mass for the Children, Orff’s Carmina Burana, and Vaughn William’s Five Mystical Songs.
Phillip has been teaching high school Theatre Arts for the past 16 years having directed numerous award-winning high school musicals. In that time, he was also a founding director of the classical music festival Under the Pines.
Orchestra
Violin 1: Adam Nelson
Violin 1: Maria Nenoiu
Violin 2: Lucas Olsen-Willford
Violin 2: Micheline Kinsella
Viola: Ryan Vis
Viola: Gunnar Foerstel
Cello: Gabriela Ruiz
Bass: Pat Bigelow
Oboe 1: Frederic Hodgson
Oboe 2: Celina Hawkins
Harpsichord: Marie Bouchard
Organ: Andrew Ager
RIDEAU CHORALE
Executive Committee Members
Chair: Janice Manchee
Treasurer: Miriam Bayly
Membership Coordinator & Secretary: Hilary Esmonde-White
Members-At-Large: Frances Isaac, Mark Olo, Krisha Séguin (Assistant Secretary)
Artistic Leadership
Music Director: Kevin Reeves
Accompanist: Carson Becke
Performing Members
Soprano: Susan Ambrose, Gabrielle Dewalt, Hilary Esmonde-White, Sylvia Grambart, Paula Hurtig, Elizabeth Irvine, Frances Isaac, Deborah MacAskill, Aditi Magdalena, Lucia Marc, Jocelyn Stoate, Anna van Holst Pellekaan, Huguette Voyer, Dorothy Wood, Allison Woyiwada, Hiriko Yokota-Adachi.
Alto: Miriam Bayly, Elspeth Butterworth, Lesley Cameron, Hélène Caron, Isabella Grigoroff, Olivia Hadwen, Angela Kelly, Donna Lougheed, Joanne Maika-White, Lori Marsh, Miloslava Minnes, An Ngo, Pamela Robinson, Laura Smith, Mary Wilson, Maha Zayed.
Tenor: Keith Bider, Guy Bujold, Sarah Dewalt, Janice Manchee, Yves Ménard, Ian Nicol, Peter Robb.
Bass: Tomo Adachi, David Dawson, Donald Leek, Greg Lopinski, Ian MacMillan, Marty McCurdy, David Oliver, Geoffrey Oliver, Mark Olo, John Royle, Tim Schobert, Jacob Zwiers.
Personnel
Webmaster & Technology: Emily Walpole
Choir Coordinator: Mikayla Odut
Volunteers
Rideau Chorale deeply appreciates the contributions of our volunteers.
Score Procurement: Hilary Esmonde-White, Anna van Holst Pellekaan.
Section Leads: Liz Tromp (Soprano), Mary Wilson (Alto), Keith Bider (Tenor), Marty McCurdy (Bass).
Set-up: Susan Ambrose, Dave Dawson, Sylvia Grambart, Elizabeth Irvine, Angela Kelly,Lori Marsh, Geoffrey Oliver, John Royle.
Sponsorship & Fundraising: Guy Bujold, Paula Hurting, Janice Manchee, Yves Menard, Mark Olo, Liz Tromp.
Supplies & Storage: Paula Hurtig, Dorothy Wood.
Website: Hilary Esmonde-White, Janice Manchee.
Concert Team: Frances Isaac, Janice Manchee, Mark Olo, Krisha Séguin.
Concert Marshall: Anna van Holst Pellekaan.
Concert Program: Mark Olo, with special thanks to Renée Olo.
Front of House: Frances Baker, Abby Carter, Maureen Fallis, Lily Fletcher, Edith Fraser, Bryan Halliday, Linda Russell, Janice Seline, Michael Trépanier, Alan White, Peter Zanette.
Concert Staff
Audio & Video: Mike Mullin
Technical Support: Abijah Zwiers
Graphics: Emily Walpole
SPECIAL ACKNOWLEDGEMENT
Rideau Chorale and its members respectfully acknowledge that the land on which we gather, rehearse, and perform our music is the traditional unceded territory of Algonquin Anishnaabeg People. We are grateful to have the opportunity to be present in and perform on this land.
DONORS & SPONSORS
Donors
Rideau Chorale wishes to acknowledge the generosity of our valued donors in helping us to present this concert. Gifts such as these make it possible for the choir to cover the considerable costs involved. If you are interested in making a donation (tax-deductible), learn more on our website.
Premium Donors
In loving memory of music lover Patrick O’Brien-Hitching (1939-2018) Video Recording Sponsor (Fantasia and Handelfest)
.Judith Young – Cello Sponsor (Fantasia)
.Sponsors
We would also like to thank the businesses whose generous sponsorships have supported this concert. We encourage you to patronize our business sponsors and let them know that you appreciate their support of Rideau Chorale.
Premium
Business
Community
UPCOMING CONCERTS
PROGRAM TEXT & TRANSLATION
Break Forth, O Beauteous Heavenly Light – J.S. Bach (Christmas Oratorio)
Break forth, O beauteous heav’nly light,
And usher in the morning;
Ye shepherds, shrink not with affright,
But hear the angel’s warning.
This Child, now weak in infancy,
Our confidence and joy shall be,
The pow’r of Satan breaking,
Our peace eternal making.
Das neugeborne Kindelein – J.S. Bach, BWV 122
Chorus
German:
Das neugeborne Kindelein,
das herzeliebe Jesulein
bring abermal ein neues Jahr
der auserwählten Christenschar.
English
The new-born little child,
Little Jesus, beloved of the heart,
Again brings a new year
To the chosen Christian flock.
Aria – Bass
German:
O Menschen, die ihr täglich sündigt,
ihr sollt der Engel Freude sein.
Ihr jubilierendes Geschrei,
daß Gott mit euch versöhnet sei,
hat euch den süßen Trost verkündigt.
English
O mankind, which commits sins every day,
You shall be the angels’ joy.
Their jubilant cries
That God is reconciled with you
Has prophesied to you sweet consolation.
Recitative – Soprano
German:
Die Engel, welche sich zuvor
vor euch als vor Verfluchten scheuen,
erfüllen nun die Luft im höhern Chor,
um über euer Heil sich zu erfreuen.
Gott, so euch aus dem Paradies
aus englischer Gemeinschaft stieß,
läßt euch nun wiederum auf Erden
durch sine Gegenwart vollkommen selig werden:
So danket nun mit vollem Munde
vor die gewünschte Zeit im neuen Bunde!
English
The angels, who formerly
Shied away from you, as from a curse,
Now fill the air in a lofty choir,
To rejoice about your salvation.
God, who forced you out of Paradise,
Out of the company of angels,
Allows you again now, on earth,
To be completely happy
Through His presence:
So now be thankful with full voice
For the desired time in the new covenant.
Aria – Soprano, Alto, & Tenor
German:
Ist Gott versöhnt und unser Freund,
O wohl uns, die wir an ihn glauben,
was kann uns tun der arge Feind,
sein Grimm kann unsern Trost nicht rauben;
Trotz Teufel und der Höllen Pfort,
ihr Wüten wird sie wenig nützen:
das Jesulein ist unser Hort.
Gott ist mit uns und will uns schützen.
English
If God is reconciled and is our friend,
O happy are we who believe in Him,
What can the wicked enemy do to us?
His anger cannot rob us of our comfort;
Despite the devil and hell’s gates,
Their rage will be of little use to them,
Little Jesus is our treasure.
God is with us and will protect us.
Recitative – Bass
German:
Dies ist ein Tag, den selbst der Herr gemacht,
der seinen Sohn in diese Welt gebracht.
O selge Zeit, die nun erfüllt!
O gläubig’s Warten, das nunmehr gestillt!
O Glaube, der sein Ende sieht!
O Liebe, die Gott zu sich zieht!
O Freudigkeit, so durch die Trübsal dringt
Und Gott der Lippen Opfer bringt!
English
This is a day
That the Lord Himself has made,
Who brought His Son into this world.
O blessed time, that is now fulfilled!
O faithful waiting, that is now over!
O faith, which beholds its end!
O love, which draws God to itself!
O happiness, which keeps going through difficulties
And brings God an offering from its lips!
Chorale
German:
Es bringt das rechte Jubeljahr,
was trauren wir denn immerdar?
Frisch auf! Itzt ist es Singens Zeit,
das Jesulein wendt alles Leid.
English
It brings the true year of jubilation,
Why then should we remain mournful?
Arise, afresh! Now it is time to sing,
Little Jesus puts aside all sorrow.
Fantasia on Christmas Carols – Ralph Vaughan Williams
This is the truth sent from above,
The truth of God, the God of love;
Therefore don’t turn me from your door,
But hearken all, both rich and poor.
Ah…
The first thing, which I will relate,
Is that God did man create
The next thing, which to you I’ll tell,
Woman was made with man to dwell.
Ah…
Then after this, ‘twas God’s own choice
To place them both in Paradise,
There to remain from evil free
Except they ate of such a tree.
Ah…
And they did eat, which was a sin,
And thus their ruin did begin;
Ruined themselves, both you and me,
And all of their posterity.
Thus we were heirs to endless woes,
Till God the Lord did interpose
And so a promise soon did run
That he would redeem us by his Son.
That he would redeem us by his Son.
Ah…
Come all you worthy gentlemen
That may be standing by.
Christ our blessed Saviour
Was born on Christmas day.
The blessed virgin Mary
Unto the Lord did pray,
O we wish you the comfort and tidings of Joy!
The blessed virgin Mary
Unto the Lord did pray,
O we wish you the comfort and tidings of Joy!
Christ our blessed Saviour
Now in the manger lay;
He’s lying in the manger,
While the oxen feed on hay.
The blessed Virgin Mary
Unto the Lord did pray.
O we wish you the comfort and tidings of joy!
The blessed Virgin Mary
Unto the Lord did pray.
O we wish you the comfort and tidings of joy!
Tidings of joy, tidings of joy, comfort and tidings of joy!
O we wish you the comfort and tidings of joy!
The blessed Virgin Mary
Unto the Lord did pray.
O we wish you the comfort and tidings of joy!
On Christmas night all Christians sing
To hear the news the angels bring.
On Christmas night all Christians sing
To hear the news the angels bring.
News of great joy, news of great mirth,
News of our merciful King’s birth.
News of great joy, news of great mirth,
News of our merciful King’s birth.
When sin departs before thy grace,
Then life and health come in its place.
When sin departs before thy grace,
Then life and health come in its place.
Angels and men with joy may sing
All for to see the new-born King.
All for to see the new-born King,
The new born King,
Angels and men with joy may sing
All for to see the new-born King.
God bless the ruler of this house,
And long, on may he reign;
From out of darkness we have light,
Which makes the angels sing this night:
Many happy Christmases
He live to see again!
From out of darkness we have light,
Which makes the angels sing this night:
God bless our generation
Who live both far and near;
“Glory to God and peace to men,
Both now and evermore, Amen.”
And we wish them a happy, a happy New Year!
God bless the ruler of this house,
And long, on may he reign;
Many happy Christmases
He live to see again!
God bless our generation
Who live both far and near;
And we wish them a happy, a happy New Year!
A happy New Year!
A happy New Year!
A happy New Year!
A happy New Year!
O we wish you a happy, a happy New Year!
Both now and evermore, Amen.
Wachet auf, ruft uns die Stimme – J.S. Bach, BWV 140
Chorus
German:
Wachet auf, ruft uns die Stimme
Der Wächter sehr hoch auf der Zinne,
Wach auf, du Stadt Jerusalem!
Mitternacht heißt diese Stunde;
Sie rufen uns mit hellem Munde:
Wo seid ihr klugen Jungfrauen?
Wohl auf, der Bräutgam kömmt;
Steht auf, die Lampen nehmt!
Alleluja!
Macht euch bereit
Zu der Hochzeit,
Ihr müsset ihm entgegen gehn!
English
Wake up, the voice calls to us
Of the watchmen, high up on the ramparts,
Awake, o city of Jerusalem!
This hour is called midnight;
They call us with a bright voice:
Where are you, wise virgins?
Up! The bridegroom is coming;
Get up, take your lamps!
Alleluia!
Prepare yourselves
For the wedding,
You must go forth to meet him!
Recitative – Tenor
German:
Er kommt, er kommt,
Der Bräutgam kommt!
Ihr Töchter Zions, kommt heraus,
Sein Ausgang eilet aus der Höhe
In euer Mutter Haus.
Der Bräutgam kommt, der einem Rehe
Und jungen Hirsche gleich
Auf denen Hügeln springt
Und euch das Mahl der Hochzeit bringt.
Wacht auf, ermuntert euch!
Den Bräutgam zu empfangen!
Dort, sehet, kommt er hergegangen.
English
He is coming, he is coming,
The bridegroom is coming!
Ye daughters of Zion, come out,
Hurriedly he makes his egress from on high
And comes into your mothers’ house.
The bridegroom comes, who like a roe deer
And like a young stag
Cavorts on the hills
And brings you the wedding banquet.
Wake up, bestir yourselves
To receive the bridegroom!
There, look, he comes hither.
Aria – Soprano & Bass
German:
Seele (Soprano): Wenn kömmst du, mein Heil?
Jesus (Basso): Ich komme, dein Teil.
Seele: Ich warte mit brennendem Öle
Eröffne den Saal
Jesus: Ich öffne den Saal
Beide: Zum himmlischen Mahl,
Seele: Komm, Jesu!
Jesus: Komm, liebliche Seele!
English
Soul (Soprano): When will you come, my saviour?
Jesus (Bass): I am coming, your share.
Soul: I wait with burning oil.
Open the hall
Jesus: I open the hall
Together: For the heavenly banquet,
Soul: Come, Jesus!
Jesus: Come, lovely soul!
Chorale
German:
Zion hört die Wächter singen,
Das Herz tut ihr vor Freuden springen,
Sie wachet und steht eilend auf.
Ihr Freund kommt vom Himmel prächtig,
Von Gnaden stark, von Wahrheit mächtig,
Ihr Licht wird hell, ihr Stern geht auf.
Nun komm, du werte Kron,
Herr Jesu, Gottes Sohn!Hosianna!
Wir folgen all
Zum Freudensaal
Und halten mit das Abendmahl.
English
Zion hears the watchmen sing,
Her hear bounds with joy,
She wakes, and quickly gets up.
Her friend comes from heaven in splendour,
Strong in mercy, embodying truth,
Her light grows bright, her star rises.
Now come, o worthy crown,
Lord Jesus, Son of God!
Hosianna!
We shall all follow you
To the hall of joy
And participate in the supper.
Recitative – Bass
German:
So geh herein zu mir,
Du mir erwählte Braut!
Ich habe mich mit dir
Von Ewigkeit vertraut.
Dich will ich auf mein Herz,
Auf meinem Arm gleich wie ein Siegel setzen
Und dein betrübtes Aug ergötzen.
Vergiss, o Seele, nun
Die Angst, den Schmerz,
Den du erdulden müssen;
Auf meiner Linken sollst du ruhn,
Und meine Rechte soll dich küssen.
English
Come, then, inside to me,
O bride that I have chosen!
To you I have
Forever betrothed myself.
I will place you on my heart
And on my arm, like a seal
And delight your sorrowful eye.
Forget, o soul, now
The anguish, the pain
That you had to endure;
You shall rest on my left arm
And my right one shall caress you.
Aria – Soprano & Bass
German:
Seele (Soprano): Mein Freund ist mein,
Jesus (Basso): Und ich bin sein,
Beide: Die Liebe soll nichts scheiden.
Seele: Ich will mit dir in Himmels Rosen weiden,
Jesus: Du sollst mit mir in Himmels Rosen weiden,
Beide: Da Freude die Fülle, da Wonne wird sein.
English
Soul (Soprano): My friend is mine,
Jesus (Bass): And I am yours,
Together: Nothing shall break love asunder.
Soul: I will graze amid heaven’s roses with you,
Jesus: You shall graze amid heaven’s roses with me,
Together: Where abundant joy and delight will be.
Chorale
German:
Gloria sei dir gesungen
Mit Menschen- und englischen Zungen,
Mit Harfen und mit Zimbeln schon.
Won zwölf Perlen sind die Pforten,
An deiner Stadt; sind wir Konsorten
Der Engel hoch um deinen Thron.
Kein Aug hat je gespürt,
Kein Ohr hat je gehört
Solche Freude.
Des sind wir froh,
Io, io!
Ewig in dulci jubilo.
English
May Gloria be sung unto you
From the tongues of men and angels,
With harps and cymbals.
Made of twelve pearls are the gates
Of your city; we attend upon
The angels high up around your throne.
No eye has ever detected,
No ear has ever heard
Such joy.
Therefore we are elated,
Io, io!
Forever in dulci jubilo.
Gloucestershire Wassail – arr. Kevin Reeves
Wassail! Wassail! All over the town,
Our toast it is white and our ale it is brown;
Our bowl it is made of the white maple tree;
With the wassailing bowl, we’ll drink to thee.
Here’s to our horse, and to his right ear,
God send our master a happy New Year;
A happy New Year as e’er he did see,
With my wassailing bowl I drink to thee.
Here’s to our mare, and to her right eye,
God send our mistress a good Christmas pie;
A good Christmas pie as e’er I did see,
With my wassailing bowl, we’ll drink to thee.
And here is to Fillpail and to her left ear
Pray God send our master a happy New Year
And a happy New Year as e’er he did see,
With the wassailing bowl, we’ll drink to thee.
Come butler, come fill us a bowl of the best,
Then we hope that your soul in heaven may rest
But if you do draw us a bowl of the small
Then down shall go butler, bowl and all.
Then here’s to the maid in the lily white smock,
Who tripped to the door and slipped back the lock,
Who tripped to the door and pulled back the pin
For to let these jolly wassailers in.
Medley of Carols – arr. Andrew Ager
Here we come a wassailing among the leaves so green;
Here we come a wassailing so fair to be seen.
Love and joy come to you, and to you your wassail too;
And God bless you and send you a Happy New Year,
And God send you a Happy New Year.
Our wassail cup is made of the rosemary tree,
And so is your beer of the best barley.
Love and joy come to you, and to you your wassail too;
And God bless you and send you a Happy New Year,
And God send you a Happy New Year.
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.
The rising of the sun, And the running of the deer,
The playing of the merry organ, Sweet singing in the choir.
The holly bears a blossom, As white as any flower,
And Mary bore sweet Jesus Christ, To be our sweet Saviour.
The rising of the sun, And the running of the deer,
The playing of the merry organ, Sweet singing in the choir.
God rest ye merry gentlemen, Let nothing you dismay,
Remember Christ our Saviour was born on Christmas Day;
To save us all from Satan’s pow’r when we had gone astray.
O tidings of comfort and joy, comfort and joy;
O tidings of comfort and joy.
“Fear not, then,” said the angel,” “Let nothing you afright;
This day is born a Saviour of a pure virgin bright,
To free all those who trust in Him from Satan’s pow’r and might.”
O tidings of comfort and joy; O tidings of comfort and joy.
All you kin and kinsfolk, That dwell both far and near;
We wish you a Merry Christmas and a Happy New Year.
Love and joy come to you, and to you your wassail too;
And God bless you and send you a Happy New Year,
And god send you a Happy New Year.
Love and joy come to you, And to you your wassail too,
And Godbless you and send you a Happy New Year,
And God send you a Happy New Year, A Happy New Year.
O Come, All Ye Faithful
O come, all ye faithful, joyful and triumphant,
O come ye, O come ye to Bethlehem!
Come, and behold Him, born the King of angels!
O come, let us adore Him;
O come, let us adore Him;
O come, let us adore Him, Christ the Lord!
God of God, Light of Light,
Lo, He abhors not the virgin’s womb;
Very God, begotten not created;
O come, let us adore Him;
O come, let us adore Him;
O come, let us adore Him, Christ the Lord!
Sing, choirs of angels; sing in exultation;
Sing all ye citizens of heav’n above!
Glory to God, all glory in the highest!
O come, let us adore Him;
O come, let us adore Him;
O come, let us adore Him, Christ the Lord!
Hark! The Herald Angels Sing
Hark! The herald angels sing,
“Glory to the newborn King;
Peace on earth, and mercy mild,
God and sinners reconciled!”
Joyful, all ye nations, rise,
Join the triumph of the skies;
With angelic hosts proclaim,
“Christ is born in Bethlehem!”
Hark! The herald angels sing,
“Glory to the newborn King!”
Christ, by highest Heav’n adored;
Christ the everlasting Lord;
Late in time, behold Him come,
Offspring of a virgin’s womb.
Veiled in flesh the Godhead see;
Hail th’incarnate Deity,
Pleased with us in flesh to dwell,
Jesus our Emmanuel.
Hark! The herald angels sing,
“Glory to the newborn King!”
Hail the heav’nly Prince of Peace!
Hail the Sun of Righteousness!
Light and life to all He brings,
Ris’n with healing in His wings.
Mild He lays His glory by,
Born that man no more may die;
Born to raise the sons of earth,
Born to give them second birth.
Hark! The herald angels sing,
“Glory to the newborn King!”