Marc-Antoine Charpentier’s Messe de Minuit pour Noël, Troisième Magnificat H. 79, Salve puerule, and an assortment of carols

Sunday, December 10th, 2023 @ 7:30pm
Southminster United Church, 15 Aylmer Ave, Ottawa

Visit the concert page for live streaming information and post-performance recording.

Tonight’s performance is dedicated to the memory of Brian Law, 1943-2023.


Performers | Program | Word of Welcome from the Chair | An Introduction by the Music Director | Program Notes | Biographies | Rideau Chorale | Special Acknowledgements | Donors & Sponsors | Program Text & Translation


Rideau Chorale and Kevin Reeves, Music Director, are joined by:

Clare Jackson: Soprano 1
Barb Delong: Soprano 2
Mary Zborowski: Alto
Michael Ruddy: Tenor
Phillip Holmes: Bass
Carson Becke: Portative Organ
Adam Nelson: Violin 1
Maria Nenoiu: Violin 2
Galina Rezaeipour: Violin 3
Kevin James: Viola
Gabriela Ruiz: Cello
Vicente García: Bass
Eulalie Emeriaud: Recorder 1
Perrine Schneegans: Recorder 2


Marc-Antoine Charpentier (1643-1704)
Troisième Magnificat, H 79

See Text & Translation

Marc-Antoine Charpentier (1643-1704)
Salve puerule from In nativitate Domini nostri Jesu Christi canticum, H 42

See Text & Translation


Marc-Antoine Charpentier (1643-1704)
Messe de Minuit pour Noël, H 9

Agnus Dei

See Text & Translation

We Three Kings arr. Kevin Reeves

See Text

The Huron Carol arr. Kevin Reeves

See Text

Good King Wenceslas arr. Kevin Reeves

See Text


I’m very pleased to welcome you to our performance of Marc-Antoine Charpentier’s beautiful music. This evening we’ll explore three of his pieces and have you join us in three well-known carols.

You’ll note that tonight’s performance is dedicated to the memory of Brian Law who left us at the end of November. Brian came to Ottawa from Britain in 1965 at the tender age of 22. And he brought music. Over the next 14 years he developed the music program at St. Matthew’s church to the excellent standard of British college and cathedral choirs. He then went on to found Thirteen Strings, lead the Cantata Singers, the Ottawa Choral Society and the Ottawa Symphony. He also led the opera chorus at the NAC for many years. And along the way he worked with and mentored many choristers and soloists.

One of these is Kevin Reeves, who I’m proud to welcome as our new Music Director. Kevin performed as a tenor soloist for many years before settling into conducting and his other love, film-making. He has a long and distinguished connection to the National Capital Region music scene and we feel extremely lucky to have him lead us into the future.

Rideau Chorale is a volunteer-run, charitable organization and we rely on the support of donors and sponsors. Their 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.

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 region. Check out our website for more information about our activities and how you can support Rideau Chorale.

Enjoy the performance and the best to you this season!

Janice Manchee
Chair, Rideau Chorale Executive Committee


Welcome to this evening of music by Charpentier – a terrific way to soak in the festive mood of Christmas.

This is my first outing as Music Director of Rideau Chorale, and I’ve very much enjoyed working with this jovial crew of choristers. 

For me, this is a concert marked by a tinge of sadness; the man who set me on this winding path of choral music many years ago – Brian Law – left this world on Monday, November 27, peacefully, in his New Zealand farmhouse. We have truly lost a giant, and I’m grateful to Rideau Chorale for dedicating this concert to his memory. 

However, we must soldier on, and I’m looking forward to varying musical experiences with this ensemble, and watching it grow with each one. I hope you will join us to witness this growth from concert to concert.

Thank you!

Kevin Reeves
Music Director, Rideau Chorale


Born in 1643 in the diocese of Paris, Marc-Antoine Charpentier entered the world the same year that Louis XIII unexpectedly left it. He grew up in the turbulent era of regency and civil war known as the Fronde that preceded the ascension of the child-king, Louis XIV, later dubbed the Sun King. Little is known about his early musical instruction until at about age 20. This is when he embarked on a journey to Rome during which he studied with the great Italian composer of oratorios and motets, Giacomo Carissimi (1605-1674), Master of Music at the German Jesuit College.

Upon his return to Paris in 1670 three years later, Charpentier’s newly Italianate compositional style was enthusiastically received by Marie de Lorraine, the Duchesse de Guise, a noblewoman who was one of the most influential figures in the artistic and religious life of Paris at the time. Charpentier lived and worked under her patronage at her Paris residence, the palatial Hôtel de Guise, for eighteen years. He was chiefly a composer of devotional music for her family and her large and splendid ensemble of household musicians. 

The Guise family’s connections also allowed Charpentier to write incidental music for Corneille and Molière’s The Imaginary Invalid in 1672. Though Molière died the following year, Charpentier maintained a close association with the Théâtre Français until 1685. During this period, his reputation grew so much that he also regularly wrote church music for the royal family, despite never being able to secure a permanent position as a royal composer. 

Many scholars believe that the monopoly over the performance of secular stage works held by the king’s favourite composer, Jean-Baptiste Lully, drove Charpentier to turn chiefly to the composition of religious oratorios and liturgical music instead.

Shortly before her death in 1688, his patron Mademoiselle de Guise helped to secure Charpentier one of the most coveted musical directorships in Paris, the post of maître de musique for the Jesuits of the church of Saint-Louis (today Saint-Paul-Saint-Louis). He worked in this position until 1698 when he succeeded François Chaperon as maître de musique of the Sainte-Chapelle, the royal chapel within the medieval Palais de la Cité in Paris. This was the most prestigious position in France after the Chapelle Royale in Versailles, and one which he held until his death on 24 February 1704.

Though he was an incredibly well-known composer of sacred music during his lifetime, Charpentier’s music was largely forgotten until a resurgence in interest in his life and works took place in France after World War II. Thankfully for us he left an extensive, though mostly unpublished,, oeuvre of compositions at his death, most of which survive in 28 hand-copied volumes. 

Unique to Charpentier was his ability to balance elements of Italian and French national styles in equal measure. This was a tricky endeavour as the French found Italian music to be crude and overly emotional and conversely, Italians found French music to be dull and stiff. While he drew a considerable amount of criticism from some contemporaries, Charpentier’s music is characterized by the best of both: the subtle refinement of the French and the visceral harmonies of the Italians. 

Tonight’s program includes three of Charpentier’s sacred works: His third Magnificat; the chorus Salve Puerule from the motet, In navitatem Domini nostri Jesu Christi canticum, H. 41; and the Messe de Minuit pour Noël.

Charpentier’s Troisième Magnificat H.79 was likely written in the late 1680s for the Jesuit church of Saint-Louis in the Marais quarter in Paris. The exuberant text of the Magnificat is the Latin version of the pregnant Virgin Mary’s song of praise (Luke 1:46-55), one of the most ancient Christian hymns. The text of this prayer is traditionally sung during the office of Vespers, the Catholic evening prayer service that takes place at dusk. Over his lifetime, Charpentier produced ten grand Magnificat settings for different arrangements of instruments and voices, often alternating between solos, duets/trios, and choruses on different lines of text for variety and contrast. One unique insight we are able to get from Charpentier’s unpublished manuscripts is that the names of the soloists who premiered the work are sometimes written on the score. The singers listed in this particular Magnificat are professional opera singers who were hired to sing during special services at Saint-Louis, a lavish expense which earned the church the moniker of ‘church of the Opéra’ and attracted many of the intellectual and social elite of Paris. 

Salve Puerule has been dated to the period between 1683 and 1685 and was written for the musicians employed by Charpentier’s patron Mademoiselle de Guise to be performed as part of a miniature oratorio, a sacred narrative work without actions or scenery. This particular oratorio tells the Nativity story with Mlle. de Guise’s musicians playing the parts of narrators, shepherds, and angels. Salve Puerule, ‘Hail, little child,’ is the tender final chorus of the short work. Out of the 34 Latin oratorios composed by Charpentier, his Christmas oratorios are the most intimate in scale. They feature an equal balance between Italian and French stylistic elements including instrumental ritornelli (refrains) and choruses resembling French noëls, Christmas carols which were often based on melodies borrowed from popular secular songs.

The Messe de Minuit was written around 1694 for the midnight mass on Christmas Day at the church of Saint-Louis and is a wonderful example of a Baroque parody mass, a work which borrows popular secular melodies and sets them to the words of the Mass Ordinary. The works ‘parodied’ in the Messe de Minuit are ten French noëls, much like in Charpentier’s small oratorios. While the Council of Trent banned the borrowing of secular melodies in liturgical music, the parody mass was an established French custom which was generally tolerated by the clergy and offered a heightened sense of excitement for congregants. The resulting music is fresh, charming, and undeniably joyful, jubilantly ushering in the birth of the Christ child. One can only imagine the atmosphere inside the candle-lit church of Saint-Louis on Christmas eve 1694. The past two years had been marked by one of the worst famines in French history as crops failed and an estimated 1.3 million people died. How bittersweet might the celebrations have felt to the congregants as they observed the arrival of another Christmas, while acutely feeling the absence of so many. 

Rounding out the program are three carols arranged by Rideau Chorale Music Director Kevin Reeves. 

We Three Kings was composed by John Henry Hopkins Jr in 1857 for a Christmas pageant at the General Theological Seminary in New York City. To achieve a more ‘ancient’ sound, Hopkins composed this carol in the Aeolian mode. This is why many people describe it as sounding ‘minor’ or ‘medieval.’ It was the first widely popular carol written in the United States.

The Huron Carol was written around 1642 by Jean de Brébeuf, a Jesuit missionary at ‘Sainte-Marie among the Hurons’ near modern-day Midland, Ontario. Originally written in the Wendat language as a tool to Christianize the Wendat people, Jesous Ahatonhia (“Jesus is Born”) tells the nativity story. The song’s melody was based on the earlier French folk song, “Une Jeune Pucelle” (“A Young Maid”). Paul Tsawenhohi Picard, a Wendat chief, translated the carol into French in 1899. Following this, the settler-Canadian journalist and historian Jesse Edgar Middleton published an English version in 1927 in an illustrated book called Huron Carol: The First Canadian Christmas Carol. Middleton’s version is not a translation, but a complete rewriting based on his stereotypical understanding of Indigenous people. For example, ‘Gitchi Manitou’ is not a Wendat, but an Algonquin term. Nonetheless, this haunting carol is widely sung in North America and continues to resonate in many Christian Indigenous communities.

Good King Wenceslas recounts an imagined episode in the life of Wenceslaus I, Duke of Bohemia, a tenth-century saint and martyr. In this story, Wenceslas braves a harsh winter night to give alms to a peasant in need. Freezing and exhausted, his page is about to give up, but the king urges him on. Like other works in tonight’s program, the tune to Good King Wenceslas is taken from a much older carol. Though the lyrics only date to the nineteenth century, the melody, “Tempus adest floridum” (“Eastertime has come”) is from a thirteenth-century spring carol.

Renée Olo
PhD Candidate, Historical Musicology, University of Pennsylvania


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.


Clare Jackson, Soprano 1

Clare Jackson has been part of Ottawa’s choral community for over two decades. She is a member of Seventeen Voyces and has sung with the Ottawa Bach Choir, the Carleton University Choir, and the Notre-Dame Cathedral as a cantor and chorister. 

Clare has had the opportunity to perform at the National Arts Centre, Carnegie Hall in New York, and St. Peter’s Basilica in Rome. As a soloist, Clare has appeared with the Choirs of St. Matthew’s Anglican Church, Ottawa Savoy Society, Nepean Choir, and the Chamber Music Society of Mississauga. A trained violinist and violist, Clare performed with the Mississauga Symphony Orchestra in her hometown. Clare is delighted to be singing with the Rideau Chorale today.

Barb Delong, Soprano 2

Originally from Montreal, Barb did her vocal studies through the Toronto Royal Conservatory of Music. She performed several lead roles in musical theatre productions before becoming a chorister and soloist with many Ottawa choirs including the Centennial Choir, University of Ottawa Choir, Opera Lyra, Cantata Singers, the Bach Choir, Musica Divina and recently OperOttawa. 

She has also been recorded by the CBC for Artscape. Earlier this year she understudied the role of “Wraith 1” in Andrew Agar’s production of Dracula. She is currently a member of Seventeen Voyces under the direction of Kevin Reeves. This is her first appearance with the Rideau Chorale.

Mary Zborowski, Alto

Mezzo soprano Mary Zborowski sings regularly with Ewashko Singers, Seventeen Voyces, and OperOttawa. She was a core member of the Opera Lyra Ottawa (OLO) chorus, and previously sang with Cantata Singers of Ottawa, the National Arts Centre (Ottawa) Festival Chorus, and the Windsor Classic Chorale. 

Solo roles have included Sprecher (Die Zauberflote/ Mozart), La Zelatrice (Suor Angelica/ Puccini), Butterfly’s mother (Madama Butterfly/ Puccini), the Orange seller (Carmen/ Bizet), Cherubino and Marcellina (Le Nozze di Figaro/ Mozart), and Mary (Laud to the Nativity/ Respighi).

In addition to solo work, Mary is the founding member of Baladears, a quartet of Ottawa area sopranos. She is grateful for the opportunity to appear with the Rideau Chorale.

Michael Ruddy, Tenor

Ottawa-based tenor Michael Ruddy is a NATS award-winning musician who demonstrates his musical sensitivity in each performance. Michael is a familiar face in Ottawa’s classical music circles, having performed both as a soloist and chorister with ensembles like Musica Divina, Seventeen Voyces, Cantata Singers, and the Canadian Centennial Choir. He has also featured in CBC live recordings and performed on the National Arts Centre stage under the direction of Trevor Pinnock. 

Michael’s repertoire spans from Medieval to Romantic, with forays into eclectic and jazz genres thanks to collaborations with Kevin Reeves and Seventeen Voyces. With a voice that resonates emotion, Michael has consistently moved and captivated local audiences.

Phillip Holmes, Bass

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.


Executive Committee Members

Chair: Janice Manchee
Treasurer: Hélène Caron
Membership Coordinator & Secretary: Hilary Esmonde-White
Members-At-Large: Frances Isaac, Mark Olo, Krisha Séguin

Artistic Leadership

Music Director: Kevin Reeves
Accompanist: Carson Becke

Performing Members

Soprano: Susan Ambrose, Rhona Einbinder-Miller, Hilary Esmonde-White, Irenka Farmilo, Sylvia Grambart, Paula Hurtig, Elizabeth Irvine, Frances Isaac, Lucia Marc, Anne McGorrian, Annick Morin, Jocelyn Stoate, Elizabeth Tromp, Anna van Holst Pellekaan, Dorothy Wood, Allison Woyiwada, Hiroko Yokota-Adachi.
Alto:  Stephanie Barrett, Miriam Bayly, Elspeth Butterworth, Hélène Caron, Isabella Grigoroff, Olivia Hadwen, Jasmine Hamilton, Angela Kelly, Lori Marsh, Miloslava Minnes, An Ngo, Pamela Robinson, Linda Russell, Mary Wilson.
Tenor: Keith Bider, Guy Bujold, Janice Manchee, Yves Ménard, David Oliver, Peter Robb, Tug Williams.
Bass: Tomo Adachi, David Dawson, Don Leek, Greg Lopinski, Martin McCurdy, Geoffrey Oliver, Mark Olo, Tim Schobert, Jacob Zwiers.


Webmaster and Technology: Emily Walpole
Choir Coordinator: Miriam Carpenter


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.


Rideau Chorale deeply appreciates the contributions of our volunteers.

Score Procurement: Anna van Holst Pellekaan
Section Leads: Annick Morin (Soprano), Mary Wilson (Alto), Tug Williams (Tenor), Mark Olo (Bass).
Set-up: Anne McGorrian, Krisha Séguin, Tug Williams.
Social Media: Linda Russell, Anna van Holst Pellekaan.
Sponsorship & Fundraising: Guy Bujold, Paula Hurtig, Janice Manchee, Yves Menard, Mark Olo, Liz Tromp.
Supplies & Storage: Sylvia Grambart, 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, Grace Carpenter, Ian Carpenter, Edie Fraser, Joann Garbig, Penny MacDonald, Barbara Morris, Janice Seline.

Concert Staff

Audio & Video: Mike Mullin
Technical Support: Reid Smith
Graphics: Peter Polgar



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.


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


Judith Young – Premium Livestream Sponsor






Troisième Magnificat H. 79. Marc-Antoine Charpentier

Magnificat anima mea Dominum; et exsultavit spiritus meus in Deo salutari meo, quia respexit humilitatem ancillae suae; Eccce enim ex hoc beatam me dicent omnes generationes.

My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour. For he hath regarded: the lowliness of his handmaiden: For behold, from henceforth:All generations shall call me blessed.

Quia fecit mihi magna, qui potens est, et sanctum nomen ejus. Et misericordia eius a progenie in progenies timentibus eum. Fecit potentiam in brachio suo; dispersit superbos mente cordis sui;

For he that is mighty hath magnified me: and holy is his Name. And his mercy is on them that fear him: throughout all generations. He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts.

deposuit potentes de sede, et exaltavit humiles; esurientes implevit bonis et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae, sicut locutus est ad patres nostros, Abraham et semini eius in saecula.

He hath put down the mighty from their seat: and hath exalted the humble and meek. He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath helped his servant Israel: As he promised to our forefathers, Abraham and his seed for ever.

Gloria Patri et Filio, et Spiritui Sancto, sicut erat in principio, et nunc, et semper: et in Saecula saeculorum. Amen.

Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen.

English version from the Book of Common Prayer (1662)

Salve puerule from In nativitate Domini nostri Jesu Christi canticum: H. 421. Marc-Antoine Charpentier

Salve puerule, salve te nellule, o nate parvule, quam bonus est. Tu coelum deseris, tu mundo nasceris, nobis te ut miseris assimiles.

Greetings from us, babe so poor and small. Full of grace. Thou cam’st down from heaven for us, For the good of all men.

O summa bonitas, excelsa Deitas, vilis humanitas fit hodie. Aeternus nascitur, immensus capitur, et rei tegitur sub specie.

Fill our hearts, highest blissfulness, goodness and humanity are now here. He who is born for us brings eternity, overcoming the transitory forever.

Virgo puerpera, beata viscera, Dei cum opera dant Filium. Gaude flos virginum, gaude spes hominum, fons lavans criminum, proluvium.

Virgin, chosen of God, thou hast borne his Son, we were lost in sin for all time. Virgin, rejoice, thy Son will be our deliverer, will free us from guilt forever.

Translation: John Coombs

Messe de Minuit pour Noël, H. 9. Marc-Antoine Charpentier


Kyrie eléison, Kyrie eléison, Kyrie eléison. Christe eléison, Christe eléison, Christe eléison. Kyrie eléison, Kyrie eléison, Kyrie eléison

Lord, have mercy. Christ, have mercy. Lord, have mercy.


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. Domine Deus, Rex coelestis, Deus Pater omnipotens.

Glory to God in the highest, And on earth peace to people of good will. We praise you, we bless you, we adore you, we glorify you, we give thanks for your great glory, Lord God, heavenly King, O God almighty Father.

Domine Fili Unigenit 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. 

Lord Jesus Christ, Only Begotten Son, Lord God, Lamb of God, Son of The Father, you take away the sins of the world, have mercy on us;  you take away the sins of the world, receive our prayer; you are seated at the right hand of the Father have mercy on us.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu: in gloria Dei Patris. Amen.

For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.


Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.

We believe in one God, the Father, the Almighty, maker of heaven and earth, of all that is, seen and unseen.

Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.

We believe in one Lord, Jesus Christ, the only Son of God, God from God, Light from Light, true God from true God, begotten, not made, of one Being with the Father: through him all things were made.

Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.

We believe in one Lord, Jesus Christ, the only Son of God, God from God, Light from Light, true God from true God, begotten, not made, of one Being with the Father: through him all things were made.

Qui propter nos homines et propter nostram salutem. Descendit, descendit, descendit,  descendit, descendit de coelis. Credo, credo. Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.

For us and for our salvation he came down from heaven. By the power of the Holy Spirit  he became incarnate from the Virgin Mary, and was made man.

Crucifixus etiam pro nobis sub Pontio Pilato: passus, et sepultus est, et resurrexit tertia die, secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris.

For our sake he was crucified under Pontius Pilate: he suffered death and was buried, on the third day he rose again in accordance with the Scriptures, he ascended into heaven and is seated at the right hand of the Father.

Et iterum venturus est cum gloria, judiciare vivos et mortuos, cujus regni non erit finis.

He will come again in glory to judge the living and the dead, and his kingdom will have no end.

Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre, Filioque procedit.

We believe in the Holy Spirit, the Lord, the giver of life: who proceeds from the father and the son.

Qui cum Patre, et Filio simul adoratur et conglorificatur: qui locutus est per prophetas.

With the Father and the Son he is worshiped and glorified: he has spoken through the Prophets.

Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum.

We believe in one holy catholic and apostolic Church. We acknowledge one baptism for the forgiveness of sins.

Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

We look for the resurrection of the dead,
and the life of the world to come. Amen.


Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua.  Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Holy, holy, holy, Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Agnus Dei

Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: dona nobis pacem.

Lamb of God, who takes away the sins of the world: have mercy on us. Lamb of God, who takes away the sins of the world: have mercy on us. Lamb of God, who takes away the sins of the world: grant us peace.

We Three Kings arr. Kevin Reeves

We three kings of Orient are; Bearing gifts we traverse afar, Field and fountain, moor and mountain, Following yonder star.

O star of wonder, star of light, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

Born a king on Bethlehem’s plain, Gold I bring to crown him again, King forever ceasing never over us all to reign. 

O star of wonder, star of light, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

Frankincense to offer have I; Incense owns a Deity nigh; Prayer and praising, voices raising, worshipping God on high.

O star of wonder, star of light, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

Myrrh is mine, its bitter perfume, Breathes a life of gathering gloom; Sorr’wing, sighing, bleeding, dying, sealed in the stone cold tomb. 

O star of wonder, star of light, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

O Glorious now behold him arise; King and God and sacrifice; Alleluia, Alleluia, Sounds through the earth and skies.

O star of wonder, star of light, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

The Huron Carol arr. Kevin Reeves

Twas in the moon of winter time when all the birds had fled.  That mighty Glitch Manitou sent angel choirs instead.  Before their light the stars grew dim and wand’ring hunters heard the hymn.  

Jesus your King is born, Jesus is born, in Excelsis gloria.

Within a lodge of broken bark the tender babe was found.  A ragged robe of rabbit skin enwrapped his beauty round.  But as the hunter braves drew nigh the angel song rang loud and high.

Jesus your King is born, Jesus is born, in Excelsis gloria.

The earliest moon of winter time is not so round and fair, as was the ring of glory on the helpless infant there.  The chiefs from far beyond him knelt with gifts of fox and beaver pelt.

Jesus your King is born, Jesus is born, in Excelsis deo.

O children of the forest free O sons of Manitou, the holy child of earth and heav’n is born today for you.  Come kneel before the radiant boy, who brings you beauty, peace and joy.

Jesus your King is born, Jesus is born, in Excelsis gloria.

Good King Wenceslas arr. Kevin Reeves

Good King Wenceslas looked out on the Feast of Stephen.  When the snow lay round about deep and crisp and even.  Brightly shone the moon that night though the front was cruel, when a poor man came in sight gath’ring winter fuel.

“Hither, page, and stand by me, if thou know’st it telling. Yonder peasant who is he, where and what his dwelling.”

Sire, he lives a good league hence, underneath the mountain right against the forest fence by St. Agnes’ fountain.” 

“Bring me flesh and bring me wine, bring me pine logs hither, thou and I will see him dine, when we bear him thither.”

Page and monarch forth they went, forth they went together through the rude wind’s wild lament and the bitter weather.

“Sire the night is darker now, and the wind blows stronger.  Fails my heart I know not how I can go no longer!”

“Mark my footsteps my good page, tread thou in them boldly.  Thou shalt find the winter’s rage freeze thy blood less coldly.”

In his master’s steps he trod where the show lay dinted.  Heat was in the very sod which the Saint had printed.  Therefore Christian men be sure, wealth or rank possessing, Ye who now will bless the poor, shall themselves find blessing.