Gloria!

A Christmas Concert Featuring 
JOHN RUTTER’S GLORIA
& Other Seasonal Works
& Audience Carols

Rideau Chorale with Brass Ensemble & James Caswell, Organ
Matthew Larkin, Guest Conductor
Saturday, December 3, 2022 @7:30PM
Southminster United Church, 15 Aylmer Ave, Ottawa, ON
Visit the concert page for live streaming information and the post-performance recording

CONTENTS

Program | Word of Welcome | Program Notes | Program Texts | Biographies | Brass Ensemble | Members of Rideau Chorale | Artistic Leadership | Special Acknowledgements | Executive Leadership | Special Acknowledgments | Donors | Sponsors | Support

PROGRAM

Gloria John Rutter
I.   Gloria in excelsis Deo
II.  Domine Deus, Rex Caelestis
III. Quoniam Tu Solus Sanctus

INTERMISSION

O Come, All Ye Faithful Arrangement by David Willcocks 

Sans Day Carol Arrangement by Terry Brynaert 

I Wonder as I Wander Arrangement by Andrew Balfour 

In the Stillness Sally Beamish 

The Snow Lay on the Ground Arrangement by Julian Wachner 

Still, Still, Still Arrangement by Matthew Culloton 

Lully, Lulla, Lullay Philip Stopford 

The Rideau Carol David Rain

Festival First Nowell Arrangement by Dan Forrest 

WORD OF WELCOME

I am so pleased to welcome you to Gloria!, Rideau Chorale’s first concert of the 22/23 season, and a fitting way to launch the holiday season. 

We are once again so fortunate to have Matthew Larkin as our Guest Music Director for this fall. The choir has grown, in number, and more importantly, in its musical development under his leadership, and we are extremely grateful to him for taking on this role amidst all his other varied musical endeavours here in Ottawa and elsewhere. 

We are also grateful for the inspiring rehearsals led by James Caswell, who joins today as organist.  And we are always thankful for Carson Becke, our accomplished accompanist.

Rideau Chorale is a volunteer-run, charitable organization, and relies on audience turnout and the support of generous patrons to keep the music alive. So we thank you for being here, for allowing us the pleasure of singing for you and sharing this musical experience together. Thank you to our many local corporate sponsors, and our donors, who have helped us to be able to finance our concerts and engage the professional leadership and support to make these performances happen. Thanks as well to our many hard-working volunteers, including my fellow Board members. 

We continue to welcome aspiring choristers from the Ottawa-Gatineau region. I invite you to check out the choir’s website for news, updates, and details on how you can help support our music and efforts. 

I hope you enjoy tonight’s performance! Best of the season to all of you. 

Elizabeth Tromp
Chair, Rideau Chorale Executive

PROGRAM NOTES

Perhaps one of the best-known passages in the biblical New Testament comes from an account by St. Luke. In the second chapter of his Gospel, he writes (originally transcribed in Greek) epi gēs eirēnē en anthrōpois eudokias (ἐπὶ γῆς εἰρήνη ἐν ἀνθρώποις εὐδοκίας), or being translated, on earth, peace to men (people) of good will (the whole scene is laid out in Luke 2:8-20). These words are spoken by a company of angels, as they appear to shepherds tending their flocks in the hill country around Bethlehem. From Luke’s telling of it, the shepherds then make their way to the manger where the Christ Child is lying in the loving arms of his mother Mary, with the ever-faithful Joseph standing watch. At first, given the sudden appearance in the sky of a chorus of angels, the shepherds are alarmed at the sight. But from the first notes of angel-song, Glory to God in the highest, they realize that this spectacle comes to them as a blessing. In that moment, the whole world is changed, setting in motion a multi-century quest by humanity to find a better way of being and living. This is rooted in a faith quest that is not necessarily defined by a particular doctrine, orthodoxy, or culture, nor by an episcopal or apostolic succession, nor by how we look, what we eat, or wear, or whether we go to church. We all want to believe in something, and learn more of what that something is. Luke’s message assures us that what we truly seek, we will surely find – if our hearts and minds are open to revelation and redemption. Of particular importance is that the angels appeared to shepherds – not kings, bishops, emperors, potentates, bankers, politicians, or property owners. This resonates fully with Luke’s account of another famous song, found in the first chapter of that same Gospel. In her Magnificat, Mary sings, he has put down the mighty from their thrones, and exalted the humble and meek (Luke 1:46-55).

The early theologians knew the power of these words and sentiments, and it is for this reason that Luke’s account of the angel-song was written up as one of the first great hymns of the church, the Gloria in excelsis. The Gloria is the first hymn (or canticle) heard in the rubrics of the Holy Eucharist (or the Mass), and these powerful words have been set by composers many more times than can likely be counted. John Rutter put his pen to paper in 1974 (on a commission from the Mel Olson Singers of Omaha, Nebraska), and what resulted was the composer’s first “major” composition, with the text spread over three movements – each with an exultant and reverent character, and scored for full chorus, a large brass choir, percussion, and organ. Rutter’s contributions to the world of choral music cannot be understated. After being educated at Highgate School in London, he attended Cambridge University (and Clare College), where he sang in the chapel choir and began to write and arrange music. His first compositions were published by Oxford University Press when he was barely eighteen, and it is fair to say that he hasn’t looked back. His music appears on nearly every chorister’s bucket list, and particularly at Christmas. Anyone attending carol services and concerts this December will almost certainly encounter something composed or arranged by John Rutter. He really is that big. 

So much of the Nativity narrative has to do with traveling. Just as family and friends travel to see us (or we them) at this time of year, so did the shepherds – having been beseeched by the angels – travel from the hill country to the stable in Bethlehem. So did the Magi come from the East, guided by the Star, visit the manger and offer their gifts of rare devotion. So did the beasts themselves enter the stall, and pay homage to the Christ Child. We hear and recite the story of these experiences in well-known Christmas hymns, such as O come, all ye faithful, and The First Nowell. Audience members will have the opportunity to “sing along” tonight, with these two 18th century classics – both of which have been given modern readings in arrangements by David Willcocks and Dan Forrest. In carol settings such as Cree composer Andrew Balfour’s I wonder as I wander, a lone traveler gazes at the night sky, and ponders the immense mystery that is God descending to earth to suffer and die for our redemption. What kind of ruler does something like that? It’s humbling to consider, yes, but it’s empowering too. That realization has a powerful quietness to it, as heard in British composer Sally Beamish’s intimate setting of Katrina Shepherd’s poem, In the stillness, which in turn complements American conductor Matthew Culloton’s ravishing arrangement of the German carol Still, still, still. Thrown into the mix is the multi-fun (and somewhat chaotic) setting by Hawaiian composer and organist Julian Wachner of The snow lay on the ground, in which a somewhat trite Catholic children’s song takes on mammoth and epic proportions. Once again, the traveler is invited to share in the miracle that has happened, and stands back to describe the scene either in private contemplation or public exuberance. 

But then, not all travel is happy travel. Some travel is essential, and necessary for survival. And this is part of the Christmas story, too. When the Magi brought their gifts to the manger, included among them was myrrh, which in those times was frequently used as a burial spice. Not only did this foretell what death Jesus was to suffer, but also his ultimate victory over death when he rose from the tomb. But in the meantime, there were more pressing matters. Herod, the ruler of Judea, was intensely threatened by the rumours of an Infant King, and so he set out to find and kill the Child before things went any further. Because he wasn’t sure where Jesus was, or what he looked like, his order was carried out indiscriminately. This gave rise to an exodus of refugees seeking safety in Egypt, and these included the Holy Family themselves. English composer Philip Stopford’s setting of the old Miracle Play song, Lully, Lulla, Lullay, is a reworking of the traditional Coventry Carol (named for the city in which the play was first performed). It captures the sorrow and tenderness of the text beautifully, and serves as a reminder to us that no life is complete without some measure of uncertainty and even suffering. But in the end, we will rise victorious, just as Jesus did. 

Local composers Terry Brynaert (a member of the choir) and David Rain have contributed two highly individual and colourful renderings of equally vivid texts. Terry’s Sans Day Carol is an appropriately rustic treatment of a “traditional” Cornish poem, which in term references the panoply of human experience – from birth even to death – that Jesus shares with us, through the imagery of the holly tree. David, in setting some poetry of his own, effectively captures a more secular experience of the season in his Rideau Carol, with the hustle and bustle of the shops, the crowds, the figurines, and the manger scenes, all found in a Byward Market that will perhaps see again the better days that he describes. All in all, the themes of this concert are to explore and display in full colour the experience and magic of Christmas. It’s more than just having a holiday – it’s about having faith in ourselves and one another, and a message for the living. 

Lastly, my thoughts turn to the community that is the Rideau Chorale. I have been honoured and privileged to be entrusted with the choir’s musical leadership and stewardship for the past fifteen months, and over three concerts. Thank you to all of the singers, the leadership, to Liz, to Carson, and to my conducting colleagues James and Kevin who have stepped in during those times I’ve needed to be working elsewhere. I wish you nothing but continued success and growth as we part ways after tonight, and may your music always be blessed, tonight, tomorrow, and in the coming seasons and years. 

Matthew Larkin, FRCCO, STD
Founding Artistic Director, CAELIS Academy Ensemble, Ottawa Resident Conductor, New Opera Lyra
Custodian for Music, St. Andrew’s Church
Concert Organist and Conductor

PROGRAM TEXTS

Gloria (from the ordinary of the mass/translation from the Book of Common prayer, 1662)

1. Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus Te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. 

(Gloria in excelsis Deo.)

Glory be to God on high, and on earth peace, good will towards men. We praise thee. We bless thee. We worship thee. We glorify thee. We give thanks to thee for thy great glory. (Glory be to God on high.)

2. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

O Lord God, heavenly King, God the Father Almighty. O Lord, the only-begotten Son Jesu Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us.

3. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen. (Gloria in excelsis Deo. Amen.)

For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen. (Glory be to God on high. Amen.)

Sans Day Carol Arrangement by Terry Brynaert 

Now the holly bears a berry as white as the milk,
And Mary bore Jesus, all wrapped up in silk,
And Mary bore Jesus Christ our Saviour for to be,
And the first tree in the greenwood, it was the holly.

Holly! Holly!

And the first tree in the greenwood, it was the holly!
Now the holly bears a berry as green as the grass,
And Mary bore Jesus, who died on the cross,
And Mary bore Jesus Christ our Saviour for to be,
And the first tree in the greenwood, it was the holly.

Holly! Holly!

And the first tree in the greenwood, it was the holly!
Now the holly bears a berry as black as the coal,
And Mary bore Jesus, who died for us all,
And Mary bore Jesus Christ our Saviour for to be,
And the first tree in the greenwood, it was the holly.

Holly! Holly!

And the first tree in the greenwood, it was the holly!
Now the holly bears a berry as blood is it red,
And Mary bore Jesus who rose from the dead,
And Mary bore Jesus Christ our Saviour for to be,
And the first tree in the greenwood, it was the holly.

Holly! Holly!

And the first tree in the greenwood, it was the holly!

I Wonder as I Wander Arrangement by Andrew Balfour 

1. I wonder as I wander, out under the sky,
How Jesus the Savior did come for to die
For poor ordinary people like you and like I.
I wonder as I wander, out under the sky.

2.  When Mary birthed Jesus, all in a cow’s stall,
Came wise men and farmers and shepherds and all,
And high from the heavens a star’s light did fall;
The promise of the ages it then did recall.

3.  If Jesus had wanted for any wee thing,
A star in the sky or a bird on the wing,
Or all of God’s angels in heaven for to sing,
He surely could have had it, ’cause he was the king.

4.  I wonder as I wander, out under the sky,
How Jesus the Savior did come for to die
For poor ordinary people like you and like I.
I wonder as I wander, out under the sky.

In the Stillness Sally Beamish

In the stillness of a church Where candles glow,

In the softness of a fall Of fresh white snow,

In the brightness of the stars That shine this night,

In the calmness of a pool Of healing light,

In the clearness of a choir That softly sings,

In the oneness of a hush Of angels’ wings,

In the mildness of a night By stable bare,

In the quietness of a lull Near cradle fair,

There’s a patience as we wait For a new morn,

And the presence of a child Soon to be born.

The Snow Lay on the Ground Arrangement by Julian Wachner 

1. The snow lay on the ground, the stars shone bright,
When Christ the Lord was born on Christmas night.

Refrain:
Venite, adoremus Dominum,
Venite, adoremus Dominum.

2. ‘Twas Mary, Virgin pure of holy Anne,
That brought into this world the God made man.
She laid him in a stall at Bethlehem;
The ass and oxen shared the roof with them. [Refrain]

3. Saint Joseph, too was near to tend the child,
To guard him, and protect his mother mild:
The angels hover’d round, and sang this song:
Venite, adoremus Dominum. [Refrain]

4. And thus that manger poor became a throne;
For he whom Mary bore was God the Son.
O come, then, let us join the heav’nly host,
To praise the Father, Son, and Holy Ghost. [Refrain]

Still, Still, Still Arrangement by Matthew Culloton 

1. Still, still, still
One can hear the falling snow.
For all is hushed,
The world is sleeping,
Holy Star its vigil keeping.
Still, still, still,
One can hear the falling snow.

2. 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.

3. 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

Lully, Lulla, Lullay Philip Stopford 

Lully, lulla, lully, lulla
Lully, lulla, lully lulla
By by, lully lullay
Lully, lulla, 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?
Lully, lulla, lully lulla
By by, lully lullay
Lully, lulla, thou little tiny child
By by, lully lullay

Herod, the king,
In his raging,
Charged he hath this day
His men of might
In his own sight
All young children to slay

Lully, lulla, lully, lulla
By by, lully lullay
Lully, lulla, thou little tiny child
By by lully lullay

That woe is me,
Poor child for thee!
And ever morn and day
For thy parting
Neither say nor sing

By by, lully lullay!
Lully, lulla, lully lulla
By by, lully lullay
Lully, lulla, thou little tiny child
By by, lully lullay
By by, lully lullay

The Rideau Carol David Rain 

Chut, chut, chut, chut, chut, chut, chutes
Il est, il est né, l’enfant est né.
Chantent, chantent, chantent nos trois flûtes.
As the icy curtain descends, et la Veille de Noël daylight ends, 
To the wise old Outaouais river flow both frozen canal and rivière Rideau.

Chut, chut, chut, chut, chut, chut, chutes
Il est, il est né, l’enfant est né. 
Chantent, chantent, chantent nos trois flûtes.
A child is born this winter’s night, three flutes proclaim it soft and light.
La joie de la nuit (no need to feel rushed) amène la paix, in tones most hushed.
Autour de la Colline et la grande Galerie, festive lights ev’rywhere and a giant Christmas tree. 
We gaze at window scenes of stables and creches. The Market’s alive, “All aboard”, les calèches.
We ski, we skate, we slip and we slide.  Was sailing, was sailing in stairwells. Caroling, caroling, caroling with pride. Mais l’hiver est long (of this we too sing). Dreaming of the warmth that’s to come next spring.

Chut, chut, chut, chut, chut, chut, chutes
Il est, il est né, l’enfant est né.
Chantent, chantent, chantent nos trois flûtes.
As the icy curtain descends, et la Veille de Noël daylight ends, 
To the wise old Outaouais river flow both frozen canal and rivière Rideau.

Chut, chut, chut, chut, chut, chut, chutes
Il est, il est né, l’enfant est né.
Chantent, chantent, chantent nos trois flûtes.

Festival First Nowell Arrangement by Dan Forrest  *AUDIENCE INVITED TO JOIN

The first Noel, the angels did say, was to certain poor shepherds in fields where they lay,
In fields where they lay keeping their sheep, on a cold winter’s night that was so deep.

Nowell, Nowell, Nowell, Nowell! Born is the King of Israel.
They looked up and saw a star shining in the east beyond them far.
And to the earth it gave great light, and so it continued both day and night.

Nowell, Nowell, Nowell, Nowell! Born is the King of Israel.
Then let us all with one accord sing praises to our heavenly Lord,
That hath made heaven and earth of nought, and with His blood mankind hath bought.

Nowell, Nowell, Nowell, Nowell! Born is the King of Israel.

BIOGRAPHIES

Matthew Larkin, Guest Music Director & Conductor

Matthew Larkin was born in Oxford, England, and came to Canada shortly before his sixth birthday. He was educated at Lord Strathcona School in Kingston, Ontario, and received his early musical training as a chorister at St. George’s Cathedral, later serving as assistant organist.

He attended the University of Toronto as organ scholar of Trinity College, where he was a student of John Tuttle, and subsequently the Royal College of Music. One of Canada’s most influential liturgical musicians, he has held appointments in Toronto, Ottawa, and Victoria, and was director of music at Christ Church Cathedral, Ottawa, for fifteen years.

Active as a choral director and conductor, he founded the Caelis Academy Ensemble and has served as musical director of a number of other noteworthy Canadian ensembles. His recital work has taken him worldwide, and his collaborative projects have produced commercially successful recordings on several labels, including his most recent release on the ATMA Classique label.

He is conversant in a number of musical genres, and is well-known as a composer, arranger, and educator. Matthew is a Fellow of the Royal Canadian College of Organists and has served as a member of its Examinations Committee. He currently serves as Custodian for Music at St. Andrew’s Church in Ottawa, dividing his time between there and Toronto, while attending to choral, conducting, recital, recording, and live-streaming projects.

Matthew Larkin is represented by Domoney Artists Management.

James Caswell, Organist

James Caswell is the vocal and choral performance teacher at Canterbury High School, a position he has held for 22 years. He is also the  director of the Canterbury Trebles Women’s Ensemble, and the Minister of Music at Glebe-St. James United Church. James has a strong passion for exploring choral music of a wide range of styles and he puts particular emphasis on building community and creating safe, collaborative spaces in the ensemble setting.

James has directed the Anglican Chorale of Ottawa, on six performing tours of cathedrals in England, Scotland, Ireland, and Wales. James was the music director of the Canadian Centennial Choir for 15 years, and previously was the music director and organist at First Baptist Church, Ottawa. He has been a guest conductor and clinician for many ensembles in the Ottawa region and is very excited to find renewed opportunities as a collaborative organist/pianist.

Carson Becke

Canadian pianist Carson Becke ( www.carsonbecke.com ) has performed worldwide.
He holds a doctorate in musicology from the University of Oxford, and is the director of Pontiac Enchanté, a concert series in Quebec. His recordings can be heard on Spotify, iTunes, and YouTube.

He forms one half of Duo Octavian, a two-piano ensemble that he co-founded with fellow pianist Suren Barry in 2016. Duo Octavian seeks to expand the two-piano repertoire with their own arrangements of various works and with arrangements/commissions by other performers/composers.

Carson is committed to raising awareness about climate change and other environmental challenges through music. He is enacting those ideas through his directorship of the Pontiac Enchanté concert series: environmental sustainability is one of the cornerstones of its mission.

Carson lived in the United Kingdom for fifteen years: first in London, and then in Oxford. In 2019 he moved home to Ottawa, Canada, where he currently lives with his partner Madeline, and their dog Jerry.

BRASS ENSEMBLE

Trumpets: Malcolm Horava, Michelle Ash, Andrea MacDougall, Bruno Godère
Horn: Patrick Cauthers
Trombones: Eric Prodger, Sam Gervais, Leonard Ferguson
Tuba: Keith Hartshorn-Walton
Timpani: Dominique Moreau
Percussion: Zachary Pulak

MEMBERS OF RIDEAU CHORALE

Soprano: Lucia Marc*, Susan Ambrose, Holly Bickerton, Loretta Keeves Cassidy, Kathy Dobbin, Laetitia Dongmo, Hilary Esmonde-White, Julie Fletcher, Paula Hurtig, Liz Irvine, Frances Isaac, Aditi Magdalena*, Anne McGorrian, Nancy Savage, Krisha Séguin*, Elizabeth Tromp, Anna van Holst Pellekaan, Susanna Wiens,  Dorothy Wood,  Allison Woyiwada, Hiroko Yokota-Adachi

Alto:  Mary Wilson, Miriam Bayly, Elspeth Butterworth, Hélène Caron, Tara Dentry, Rachel Grattan, Janice Gray, Isabella Grigoroff, Natalia Jaworska, Angela Kelly, Andrea Lockwood, Joanne Maika-White, An Ngo*, Mary Nightingale, Monika Rahman, Susan Rich, Susan Robertson, Pamela Robinson, Linda Russell, Margaret Schatzky 

Tenor: Tug Williams, Keith Bider, Guy Bujold, Lawrence Cumming, Neal Hill, Alexander Joubert, Chris King, Michael Koros, Janice Manchee, Yves Menard, David Oliver, Peter Robb 

 Bass: Mark Olo, Tomo Adachi, Terry Brynaert, Jorge Dastis, David Dawson*, Don Leek, Greg Lopinski, Martin McCurdy, Tim Schobert

*Soloists

ARTISTIC LEADERSHIP

Guest Music Director & Conductor:  Matthew Larkin
Accompanist:  Carson Becke

SPECIAL ACKNOWLEDGEMENTS

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 the Algonquin Anishnaabeg People.  We are grateful to have the opportunity to be present in, and to perform on, this land.

EXECUTIVE LEADERSHIP

Chair: Elizabeth Tromp
Treasurer: Hélène Caron
Membership Coordinator: Susan Robertson
Secretary: Greg Lopinski
Members-At-Large: Rhona Einbinder-Miller, Hilary Esmonde-White, Frances Isaac

SPECIAL ACKNOWLEDGEMENTS

Volunteers

Front of House operations: Rosmarie Gerber and her team
Graphics and Social Media: Monika Rahman
Website: Emily Walpole, Alexander Joubert, Natalia Jaworska, Hilary Esmonde-White
Sponsorship, Fundraising and Communications: Janice Manchee
Staging: An Ngo 
Choir Marshall: Anna van Holst Pellekaan
Program Compilation: Hilary Esmonde-White
Ticket Sales: Hélène Caron

Additional Credits

Audio & Video: Mike Mullin
Technical Support: Reid Smith

DONORS, SUPPORT & 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. In particular, we wish to acknowledge the generosity of Rena Upitis. If you are interested in making a donation (tax-deductible), learn more on our website.

SUPPORT

We are grateful for the support of Allegra Printing and Diffusart

SPONSORS

We would also like to thank the Ottawa businesses whose generous sponsorships have supported this concert. We encourage you to patronize our sponsors and let them know that you appreciate their support of Rideau Chorale.

PREMIUM ($500)

BUSINESS ($250)

COMMUNITY ($85)

Avenue Lock & Security