2CD Set

J.S. BACH / CHRISTMAS ORATORIOARRANGED BY BILL DOBBINS

DISC 1

1 Chor: Jauchzet, frohlocket! [9.56] Soloists: Klaus Osterloh flügelhorn • Hans Dekker drums

2 Rezitativ: Es begab sich aber zu der Zeit [1.37] Soloist: Philip Lawson baritone

3 Arie: Bereite dich, Zion [6.33] Soloists: Timothy Wayne-Wright countertenor • Jens Neufang clarinet

4 Rezitativ: Und sie gebar [0.42] Soloist: Philip Lawson baritone

5 Choral: Ach, mein herzliebes Jesulein! [1.24]6 Rezitativ: Und es waren Hirten [0.47] Soloist: Philip Lawson baritone

7 Rezitativ: Und der Engel sprach [0.46] Soloists: Philip Lawson baritone • David Hurley countertenor

8 Arie: Frohe Hirten, eilt, ach eilet [5.10] Soloists: Philip Lawson baritone • Günther Bollmann trombone

9 Rezitativ: Und das habt zum Zeichen [0.32] Soloist: Philip Lawson baritone

0 Arie: Schlafe, mein Liebster [10.43] Soloists: Paul Phoenix tenor • John Goldsby bass • Paul Shigihara guitar

q Rezitativ: Und da der Engel von ihnen gen Himmel [0.17] Soloist: Philip Lawson baritone

w Chor: Lasset uns nun gehen gen Bethlehem [1.25]e Rezitativ: Und sie kamen eilend und funden beide [1.17] Soloist: Philip Lawson baritone

r Arie: Schließe, mein Herz [5.52] Soloist: Joris Roelofs clarinet

t Rezitativ: Und die Hirten kehrten wieder um [0.31] Soloist: Philip Lawson baritone

y Choral: Seid froh dieweil [3.10]u Chor: Herrscher des Himmels, erhöre das Lallen [4.39] Soloists: Frank Chastenier piano • Andy Haderer trumpet

Total Timings [55.22]

DISC 2

1 Chor: Fallt mit Danken, fallt mit Loben [10.03] Soloists: Ludwig Nuß trombone • Olivier Peters alto flute

2 Rezitativ: Und da acht Tage um waren [0.38] Soloist: Philip Lawson baritone

3 Rezitativ mit Choral Rezitativ: Wohlan! dein Name [1.48] Soloists: David Hurley countertenor • Stephen Connolly bass

4 Arie: Ich will nur dir zu Ehren leben [6.55] Soloists: Christopher Gabbitas baritone • Karolina Strassmayer flute

5 Rezitativ: Da Jesus geboren war [0.31] Soloist: Philip Lawson baritone

6 Chor mit Rezitativ: Wo ist der neugeborne König [1.45] Soloist: Timothy Wayne-Wright countertenor

7 Choral: Dein Glanz all Finsternis verzehrt [2.53]

J.S. BACH / CHRISTMAS ORATORIOARRANGED BY BILL DOBBINS

DISC 1

1 Chor: Jauchzet, frohlocket! [9.56] Soloists: Klaus Osterloh flügelhorn • Hans Dekker drums

2 Rezitativ: Es begab sich aber zu der Zeit [1.37] Soloist: Philip Lawson baritone

3 Arie: Bereite dich, Zion [6.33] Soloists: Timothy Wayne-Wright countertenor • Jens Neufang clarinet

4 Rezitativ: Und sie gebar [0.42] Soloist: Philip Lawson baritone

5 Choral: Ach, mein herzliebes Jesulein! [1.24]6 Rezitativ: Und es waren Hirten [0.47] Soloist: Philip Lawson baritone

7 Rezitativ: Und der Engel sprach [0.46] Soloists: Philip Lawson baritone • David Hurley countertenor

8 Arie: Frohe Hirten, eilt, ach eilet [5.10] Soloists: Philip Lawson baritone • Günther Bollmann trombone

9 Rezitativ: Und das habt zum Zeichen [0.32] Soloist: Philip Lawson baritone

0 Arie: Schlafe, mein Liebster [10.43] Soloists: Paul Phoenix tenor • John Goldsby bass • Paul Shigihara guitar

q Rezitativ: Und da der Engel von ihnen gen Himmel [0.17] Soloist: Philip Lawson baritone

w Chor: Lasset uns nun gehen gen Bethlehem [1.25]e Rezitativ: Und sie kamen eilend und funden beide [1.17] Soloist: Philip Lawson baritone

r Arie: Schließe, mein Herz [5.52] Soloist: Joris Roelofs clarinet

t Rezitativ: Und die Hirten kehrten wieder um [0.31] Soloist: Philip Lawson baritone

y Choral: Seid froh dieweil [3.10]u Chor: Herrscher des Himmels, erhöre das Lallen [4.39] Soloists: Frank Chastenier piano • Andy Haderer trumpet

Total Timings [55.22]

DISC 2

1 Chor: Fallt mit Danken, fallt mit Loben [10.03] Soloists: Ludwig Nuß trombone • Olivier Peters alto flute

2 Rezitativ: Und da acht Tage um waren [0.38] Soloist: Philip Lawson baritone

3 Rezitativ mit Choral Rezitativ: Wohlan! dein Name [1.48] Soloists: David Hurley countertenor • Stephen Connolly bass

4 Arie: Ich will nur dir zu Ehren leben [6.55] Soloists: Christopher Gabbitas baritone • Karolina Strassmayer flute

5 Rezitativ: Da Jesus geboren war [0.31] Soloist: Philip Lawson baritone

6 Chor mit Rezitativ: Wo ist der neugeborne König [1.45] Soloist: Timothy Wayne-Wright countertenor

7 Choral: Dein Glanz all Finsternis verzehrt [2.53]

8 Arie: Erleucht auch meine finstre Sinnen [7.04] Soloists: Stephen Connolly bass • John Marshall flügelhorn • Paul Heller bass clarinet

9 Rezitativ: Da das der König Herodes hörte [0.17] Soloist: Philip Lawson baritone

0 Rezitativ: Warum wollt ihr erschrecken? [0.43] Soloist: Timothy Wayne-Wright countertenor

q Rezitativ: Und ließ versammlen alle Hohenpriester [1.48] Soloist: Philip Lawson baritone

w Rezitativ: Da berief Herodes die Weisen Heimlich [0.58] Soloists: Philip Lawson baritone • Stephen Connolly bass

e Rezitativ: Du Falscher, suche nur den Herrn zu fällen [0.58] Soloist: David Hurley countertenor

r Arie: Nur ein Wink von seinen Händen [5.38] Soloists: David Hurley countertenor • Frank Chastenier piano

t Rezitativ: Als sie nun den König gehöret hatten [1.24] Soloist: Philip Lawson baritone

y Rezitativ: Und Gott befahl ihnen im Traum [0.25] Soloist: Philip Lawson baritone

u Rezitativ: So geht! Genug [1.54] Soloist: Paul Phoenix tenor

i Rezitativ: Was will der Höllen Schrecken [0.49]o Choral: Nun seid ihr wohl gerochen [5.26] Soloist: Hans Dekker drums Total Timings [51.59]

www.signumrecords.com

THE KING’S SINGERS / WDR BIG BAND / BILL DOBBINS Conductor

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When Lucas Schmid, producer of the WDR Big Band, first mentioned his interest in a program of music from the Christmas Oratorio of J.S. Bach, arranged to feature this ensemble in combination with the King’s Singers, I was immediately interested and excited. Having collaborated several times with this group of uniquely gifted vocalists, including the WDR Big Band’s Bach 2000 project, I knew there was an opportunity to create something very special indeed. Bach composed the work between 1734 and 1735. Since each of the six cantatas that make up the Christmas Oratorio was originally intended for a particular Sunday in the liturgical year, the sheer quantity of music is far too much for a single performance. The first major part of my work, then, would be the musical selection.

The practice of translating selected pieces from the classical music repertoire into a jazz or jazz related idiom has always seemed to me to be a natural and especially fruitful one, since the best music in both traditions shares the same powerful creative elements at its core. The musical language of chromatic tonality that blossomed during the time of Bach, and continued to play a central role in western music through the first half of the twentieth century, is essentially the same language used by mainstream jazz musicians

from the inception of that music up to the present time. The primary additional elements in jazz are those coming from the potent tradition of blues music and its related genres, the rhythmic element of swing, and the personal sounds and expressive devices through which jazz musicians have greatly expanded the ranges and variety of sounds produced on western musical instruments. And the element of improvisation, a vital ingredient in any jazz performance, was also an indispensable skill for the musicians of Bach’s time, in which music was an inclusive and holistic discipline, as it largely remains in jazz today.

Many young jazz musicians and even more jazz students are unaware that most of their harmonic vocabulary, and much of their thematic material as well, was developed by European composers, and Bach was already working with much of this at the highest level of artistic expression in the early 1700s. On the other hand, many classical musicians and even more classical music students are unaware that it is primarily jazz musicians who continue to creatively use and maintain the unique language of chromatic tonality from which all the works of their standard repertoire were composed. In fact, I am convinced that if Bach were alive today, he would certainly be involved in jazz, since jazz is the music of our time that

8 Arie: Erleucht auch meine finstre Sinnen [7.04] Soloists: Stephen Connolly bass • John Marshall flügelhorn • Paul Heller bass clarinet

9 Rezitativ: Da das der König Herodes hörte [0.17] Soloist: Philip Lawson baritone

0 Rezitativ: Warum wollt ihr erschrecken? [0.43] Soloist: Timothy Wayne-Wright countertenor

q Rezitativ: Und ließ versammlen alle Hohenpriester [1.48] Soloist: Philip Lawson baritone

w Rezitativ: Da berief Herodes die Weisen Heimlich [0.58] Soloists: Philip Lawson baritone • Stephen Connolly bass

e Rezitativ: Du Falscher, suche nur den Herrn zu fällen [0.58] Soloist: David Hurley countertenor

r Arie: Nur ein Wink von seinen Händen [5.38] Soloists: David Hurley countertenor • Frank Chastenier piano

t Rezitativ: Als sie nun den König gehöret hatten [1.24] Soloist: Philip Lawson baritone

y Rezitativ: Und Gott befahl ihnen im Traum [0.25] Soloist: Philip Lawson baritone

u Rezitativ: So geht! Genug [1.54] Soloist: Paul Phoenix tenor

i Rezitativ: Was will der Höllen Schrecken [0.49]o Choral: Nun seid ihr wohl gerochen [5.26] Soloist: Hans Dekker drums Total Timings [51.59]

www.signumrecords.com

THE KING’S SINGERS / WDR BIG BAND / BILL DOBBINS Conductor

- 5 -

When Lucas Schmid, producer of the WDR Big Band, first mentioned his interest in a program of music from the Christmas Oratorio of J.S. Bach, arranged to feature this ensemble in combination with the King’s Singers, I was immediately interested and excited. Having collaborated several times with this group of uniquely gifted vocalists, including the WDR Big Band’s Bach 2000 project, I knew there was an opportunity to create something very special indeed. Bach composed the work between 1734 and 1735. Since each of the six cantatas that make up the Christmas Oratorio was originally intended for a particular Sunday in the liturgical year, the sheer quantity of music is far too much for a single performance. The first major part of my work, then, would be the musical selection.

The practice of translating selected pieces from the classical music repertoire into a jazz or jazz related idiom has always seemed to me to be a natural and especially fruitful one, since the best music in both traditions shares the same powerful creative elements at its core. The musical language of chromatic tonality that blossomed during the time of Bach, and continued to play a central role in western music through the first half of the twentieth century, is essentially the same language used by mainstream jazz musicians

from the inception of that music up to the present time. The primary additional elements in jazz are those coming from the potent tradition of blues music and its related genres, the rhythmic element of swing, and the personal sounds and expressive devices through which jazz musicians have greatly expanded the ranges and variety of sounds produced on western musical instruments. And the element of improvisation, a vital ingredient in any jazz performance, was also an indispensable skill for the musicians of Bach’s time, in which music was an inclusive and holistic discipline, as it largely remains in jazz today.

Many young jazz musicians and even more jazz students are unaware that most of their harmonic vocabulary, and much of their thematic material as well, was developed by European composers, and Bach was already working with much of this at the highest level of artistic expression in the early 1700s. On the other hand, many classical musicians and even more classical music students are unaware that it is primarily jazz musicians who continue to creatively use and maintain the unique language of chromatic tonality from which all the works of their standard repertoire were composed. In fact, I am convinced that if Bach were alive today, he would certainly be involved in jazz, since jazz is the music of our time that

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combines a richly evocative chromatic musical language with the creative discipline of improvisation in a myriad of instrumental and vocal combinations from solo performers to chamber ensembles and large orchestras. Jazz also maintains a connection to folk and popular music, and is rooted in a strong rhythmic idiom that has often been connected to social dancing. Of course, Bach used folk music, chant themes and hymn tunes as melodic sources, and his music also has a powerful rhythmic aspect, which was sometimes related to dance rhythms of the day.

There are those who may question the translation of sacred music into idioms that have elements in common with popular music. Although I certainly have no such objections, it is worth pointing out that much of the musical content in the Christmas Oratorio was adapted from Bach’s secular works, combined with a new text. These parody techniques were of great use to such a prolific composer. Since much of Bach’s secular music was composed for singular events, such as a king’s name day or a prince’s birthday, the adaptation of particularly memorable pieces for church music enabled these works to have a longer performance life and to be heard by a wider audience. (1) It is interesting to note here, that many people had objections when gospel musicians

such as Thomas Dorsey began to set the texts of old hymns and sacred songs to music that came from blues and African-American folk and popular traditions, and then brought this music into the church. For many church going black Americans of the 1920s and 1930s, jazz and the blues were the devil’s music. One of Thomas Dorsey’s most successful arguments to some of these hardnosed critics was, “Why should we leave some of the best music to the devil?”(2)

It is clear enough to me, that the music of Bach is so strongly communicative that it can easily stand some rhythmic transformation and a tasteful degree of harmonic enrichment without losing its essential meaning. There are even rhythmic elements in the original version that clearly suggest specific Latin or jazz rhythmic genres, as a comparison of the original piano vocal score of the oratorio with the arrangements presented here will clearly demonstrate. There are also modal colours in some of the melodies that suggest jazz related idioms. At the end of the vocal sections of the chorus number, Ruler of Heaven (Herrscher des Himmels), the sonorities in the original music suggest blues. Likewise, in the subsequent chorus number, Fall with praises and thanksgiving (Fallt mit danken, fallt mit Loben), the gospel vamp that starts the improvised trombone solo was

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clearly suggested in the rising and falling harmonies of the opening thematic section of the piece. The masterful counterpoint in the tenor aria, I only live to give thee worship (Ich will nor dir zu Ehren leben), demanded a basic swing approach in order to maintain the clarity of the independent melodic lines. There is imaginative use of both syncopation and chromaticism in many sections of the original version that is centuries ahead of its time. One of the best examples is the soprano aria, But a gesture from his hands (Nur ein Wink von seinen Händen). My use of an unusual Latin rhythm in triple meter simply brings added emphasis to these beautiful aspects of the music.

Perhaps the most impressive characteristic of Bach’s music is its ability to speak to and to nourish the whole person. It is easy enough to find examples of music in today’s world that are primarily intellectual, emotional or physical. In fact, most music we hear tends to appeal primarily to one side of our experience. But the greatest music, of whatever historic period, has food for the intellect, the emotions, and the body. There is no music that exemplifies this ideal of completeness and balance better than the music of Bach. And any music that can rightly be referred to as timeless embodies this ideal.

My aim in arranging this program of music from Bach’s Christmas Oratorio for the WDR Big Band and the King’s Singers was threefold. First, I wanted to select chorus numbers, arias and chorales that represent the musical diversity and imagination to be found in the six cantatas that comprise the entire work, while also retaining the recitatives of the Evangelist, which convey the Christmas story as presented in the Gospels. Next, I wanted to translate the musical content and dramatic character of the original into the more contemporary idioms of American jazz and Latin music, while remaining true to the spirit of Bach’s original material. Finally, I wanted to arrange and orchestrate the selections in a manner that features the extraordinary talents of both the WDR Big Band and the King’s Singers to best advantage.

There are moments in the programme where the big band roars in its customary fashion, but others when the woodwinds and flugelhorns create a more restrained and subtle orchestral sound. The individual sections of the band are featured as well as the full ensemble, and the wealth of individual solo talent also plays a central role in developing the moods of the larger pieces in a personal and spontaneous manner. Of course, the King’s Singers are the featured “solo-

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combines a richly evocative chromatic musical language with the creative discipline of improvisation in a myriad of instrumental and vocal combinations from solo performers to chamber ensembles and large orchestras. Jazz also maintains a connection to folk and popular music, and is rooted in a strong rhythmic idiom that has often been connected to social dancing. Of course, Bach used folk music, chant themes and hymn tunes as melodic sources, and his music also has a powerful rhythmic aspect, which was sometimes related to dance rhythms of the day.

There are those who may question the translation of sacred music into idioms that have elements in common with popular music. Although I certainly have no such objections, it is worth pointing out that much of the musical content in the Christmas Oratorio was adapted from Bach’s secular works, combined with a new text. These parody techniques were of great use to such a prolific composer. Since much of Bach’s secular music was composed for singular events, such as a king’s name day or a prince’s birthday, the adaptation of particularly memorable pieces for church music enabled these works to have a longer performance life and to be heard by a wider audience. (1) It is interesting to note here, that many people had objections when gospel musicians

such as Thomas Dorsey began to set the texts of old hymns and sacred songs to music that came from blues and African-American folk and popular traditions, and then brought this music into the church. For many church going black Americans of the 1920s and 1930s, jazz and the blues were the devil’s music. One of Thomas Dorsey’s most successful arguments to some of these hardnosed critics was, “Why should we leave some of the best music to the devil?”(2)

It is clear enough to me, that the music of Bach is so strongly communicative that it can easily stand some rhythmic transformation and a tasteful degree of harmonic enrichment without losing its essential meaning. There are even rhythmic elements in the original version that clearly suggest specific Latin or jazz rhythmic genres, as a comparison of the original piano vocal score of the oratorio with the arrangements presented here will clearly demonstrate. There are also modal colours in some of the melodies that suggest jazz related idioms. At the end of the vocal sections of the chorus number, Ruler of Heaven (Herrscher des Himmels), the sonorities in the original music suggest blues. Likewise, in the subsequent chorus number, Fall with praises and thanksgiving (Fallt mit danken, fallt mit Loben), the gospel vamp that starts the improvised trombone solo was

- 7 -

clearly suggested in the rising and falling harmonies of the opening thematic section of the piece. The masterful counterpoint in the tenor aria, I only live to give thee worship (Ich will nor dir zu Ehren leben), demanded a basic swing approach in order to maintain the clarity of the independent melodic lines. There is imaginative use of both syncopation and chromaticism in many sections of the original version that is centuries ahead of its time. One of the best examples is the soprano aria, But a gesture from his hands (Nur ein Wink von seinen Händen). My use of an unusual Latin rhythm in triple meter simply brings added emphasis to these beautiful aspects of the music.

Perhaps the most impressive characteristic of Bach’s music is its ability to speak to and to nourish the whole person. It is easy enough to find examples of music in today’s world that are primarily intellectual, emotional or physical. In fact, most music we hear tends to appeal primarily to one side of our experience. But the greatest music, of whatever historic period, has food for the intellect, the emotions, and the body. There is no music that exemplifies this ideal of completeness and balance better than the music of Bach. And any music that can rightly be referred to as timeless embodies this ideal.

My aim in arranging this program of music from Bach’s Christmas Oratorio for the WDR Big Band and the King’s Singers was threefold. First, I wanted to select chorus numbers, arias and chorales that represent the musical diversity and imagination to be found in the six cantatas that comprise the entire work, while also retaining the recitatives of the Evangelist, which convey the Christmas story as presented in the Gospels. Next, I wanted to translate the musical content and dramatic character of the original into the more contemporary idioms of American jazz and Latin music, while remaining true to the spirit of Bach’s original material. Finally, I wanted to arrange and orchestrate the selections in a manner that features the extraordinary talents of both the WDR Big Band and the King’s Singers to best advantage.

There are moments in the programme where the big band roars in its customary fashion, but others when the woodwinds and flugelhorns create a more restrained and subtle orchestral sound. The individual sections of the band are featured as well as the full ensemble, and the wealth of individual solo talent also plays a central role in developing the moods of the larger pieces in a personal and spontaneous manner. Of course, the King’s Singers are the featured “solo-

- 8 -

ist” in my personal vision of this creative masterpiece. Just as the WDR Big Band is one of the world’s premiere jazz orchestras in terms of both virtuosity and musical versatility, it would be hard to imagine a vocal group better equipped than the King’s Singers to bring a fresh perspective to this musical treasure from the early eighteenth century. They are truly one of a kind, and this collaboration is especially enjoyable when the material we are working with is of such high caliber. Each of the individual singers has featured selections here, but their remarkable qualities as an ensemble are the focal point of much of the work. In addition to the two unaccompanied chorales, there are numerous moments within the larger pieces where there is little or no accompaniment, and their command of exquisite subtlety and expressive nuance can be fully appreciated. At other times they have the opportunity to sing full force with the support and encouragement of a powerful and driving big band. The abundance of musical skills and creative potential involved in the entire team here is truly an arranger’s dream.

I would like to thank Lucas Schmid and the WDR in Cologne for providing the opportunity for such a special program to be created. I sincerely hope that

you all enjoy listening to this music as much as we enjoyed making it.Bill Dobbins

Footnotes:(1) Christoph Wolff: Johann Sebastian Bach: the learned musician. New York/London: W.W. Norton & Company, Inc., 2000.(2) George T. Nierenberg: Say Amen, Somebody. Carmel, California: Pacific Arts Video Records, 1984.

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ist” in my personal vision of this creative masterpiece. Just as the WDR Big Band is one of the world’s premiere jazz orchestras in terms of both virtuosity and musical versatility, it would be hard to imagine a vocal group better equipped than the King’s Singers to bring a fresh perspective to this musical treasure from the early eighteenth century. They are truly one of a kind, and this collaboration is especially enjoyable when the material we are working with is of such high caliber. Each of the individual singers has featured selections here, but their remarkable qualities as an ensemble are the focal point of much of the work. In addition to the two unaccompanied chorales, there are numerous moments within the larger pieces where there is little or no accompaniment, and their command of exquisite subtlety and expressive nuance can be fully appreciated. At other times they have the opportunity to sing full force with the support and encouragement of a powerful and driving big band. The abundance of musical skills and creative potential involved in the entire team here is truly an arranger’s dream.

I would like to thank Lucas Schmid and the WDR in Cologne for providing the opportunity for such a special program to be created. I sincerely hope that

you all enjoy listening to this music as much as we enjoyed making it.Bill Dobbins

Footnotes:(1) Christoph Wolff: Johann Sebastian Bach: the learned musician. New York/London: W.W. Norton & Company, Inc., 2000.(2) George T. Nierenberg: Say Amen, Somebody. Carmel, California: Pacific Arts Video Records, 1984.

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3 Arie (Alt) Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn!Deine Wangen müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!

4 Rezitativ (Evangelist) Und sie gebar ihren ersten Sohn, und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

5 ChoralAch mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Daß ich nimmer vergesse dein!

Zweiter Teil

6 Rezitativ (Evangelist) Und es waren Hirten in derselben Gegend auf dem Felde bei den Hürden, die hüteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr.

7 Rezitativ (Evangelist und Engel)Und der Engel sprach zu ihnen: Fürchtet euch nicht, siehe, ich verkündige euch große Freude, die

Aria (Alto) Prepare thyself, Zion, with tender desire the Fairest and Dearest to behold with thee soon! Thy cheeks today must shine the lovelier; hasten most ardently the Bridegroom to love.

Recitative (Evangelist)And she brought forth her first-born Son, and wrapped him in swaddling clothes, and laid him in a manger, because there was no other room for Them in the Inn.

ChoraleOh little Jesu, my heart’s love, make Thyself a clean soft little bed, in which to rest in my heart’s inmost shrine, that I may never forget Thee.

Part Two

Recitative (Evangelist)And there were shepherds in the same country abiding in the fields, keeping watch over their flocks by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

Recitative (Evangelist and Angel) And the angel said unto them: fear not: behold, I bring you good tidings of great joy, which shall be

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TEXT & TRANSLATION

DISC 1Erster Teil

1 ChorJauchzet, frohlocket! auf, preiset die Tage, Rühmet, was heute der Höchste getan! Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an!Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren!

2 Rezitativ (Evangelist) Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte.

Part One

Chorus Rejoice, exult! up, glorify the days, praise what the All Highest this day has done! Set aside fear, banish lamentation, strike up a song full of joy and mirth!Serve the All Highest with glorious choirs! Let us worship the name of the Lord!

Recitative (Evangelist) And it came to pass at this time, that a decree went out from Caesar Augustus, that all the world should be taxed; and everyone went to be taxed, each to his own city. Then also Joseph arose from Galilee, from the city of Nazareth, into the land of Judaea, to the city of David, which is called Bethlehem; because he was of the house and lineage of David; and he took with him to be taxed Mary, his espoused wife, who was with child. And when they were there, the time came that she should be delivered.

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3 Arie (Alt) Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn!Deine Wangen müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!

4 Rezitativ (Evangelist) Und sie gebar ihren ersten Sohn, und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

5 ChoralAch mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Daß ich nimmer vergesse dein!

Zweiter Teil

6 Rezitativ (Evangelist) Und es waren Hirten in derselben Gegend auf dem Felde bei den Hürden, die hüteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr.

7 Rezitativ (Evangelist und Engel)Und der Engel sprach zu ihnen: Fürchtet euch nicht, siehe, ich verkündige euch große Freude, die

Aria (Alto) Prepare thyself, Zion, with tender desire the Fairest and Dearest to behold with thee soon! Thy cheeks today must shine the lovelier; hasten most ardently the Bridegroom to love.

Recitative (Evangelist)And she brought forth her first-born Son, and wrapped him in swaddling clothes, and laid him in a manger, because there was no other room for Them in the Inn.

ChoraleOh little Jesu, my heart’s love, make Thyself a clean soft little bed, in which to rest in my heart’s inmost shrine, that I may never forget Thee.

Part Two

Recitative (Evangelist)And there were shepherds in the same country abiding in the fields, keeping watch over their flocks by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

Recitative (Evangelist and Angel) And the angel said unto them: fear not: behold, I bring you good tidings of great joy, which shall be

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TEXT & TRANSLATION

DISC 1Erster Teil

1 ChorJauchzet, frohlocket! auf, preiset die Tage, Rühmet, was heute der Höchste getan! Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an!Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren!

2 Rezitativ (Evangelist) Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte.

Part One

Chorus Rejoice, exult! up, glorify the days, praise what the All Highest this day has done! Set aside fear, banish lamentation, strike up a song full of joy and mirth!Serve the All Highest with glorious choirs! Let us worship the name of the Lord!

Recitative (Evangelist) And it came to pass at this time, that a decree went out from Caesar Augustus, that all the world should be taxed; and everyone went to be taxed, each to his own city. Then also Joseph arose from Galilee, from the city of Nazareth, into the land of Judaea, to the city of David, which is called Bethlehem; because he was of the house and lineage of David; and he took with him to be taxed Mary, his espoused wife, who was with child. And when they were there, the time came that she should be delivered.

- 13 -

Geschichte sehen, die da geschehen ist, die uns der Herr kundgetan hat.

e Rezitativ (Evangelist)Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen. Da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kind gesaget war. Und alle, für die es kam, wunderten sich der Rede, die ihnen die Hirten gesaget hatten. Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen.

r Arie (Alt) Schließe, mein Herze, dies selige Wunder Fest in deinem Glauben ein!Lasse dies Wunder, die göttlichen Werke, Immer zur Stärke Deines schwachen Glaubens sein!

t Rezitativ (Evangelist)Und die Hirten kehrten wieder um, preiseten und lobten Gott um alles, das sie gesehen und gehöret hatten, wie denn zu ihnen gesaget war.

y ChoralSeid froh dieweil, Daß euer Heil Ist hie ein Gott und auch ein Mensch geboren, Der, welcher ist Der Herr und Christ In Davids Stadt, von vielen auserkoren.

thing which is come to pass, which the Lord hath made known unto us.

Recitative (Evangelist)And they came with haste, and found both Mary and Joseph, and the babe lying in a manger. And when they had seen it, they published abroad the word which was spoken to them concerning the child. And all that heard it wondered at the tidings which the shepherds had told unto them. But Mary kept all these things and pondered them in her heart.

Aria (Alto) Lock, my heart, this blessed wonder fast within thy belief.Let the miracle of the divine works ever be the strength of thy weak faith!

Recitative (Evangelist)And the shepherds returned again, praising and giving thanks to God for everything that they had seen and heard, as it was told unto them.

ChoraleBe joyful, meanwhile, that our Saviour is here born both God and man, He, Who Is the Lord and Christ in the city of David chosen of many.

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allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David.

8 Arie (Tenor)Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen!

9 Rezitativ (Evangelist)Und das habt zum Zeichen: Ihr werdet finden das Kind in Windeln gewickelt und in einer Krippe liegen.

0 Arie (Alt) Schlafe, mein Liebster, genieße der Ruh, Wache nach diesem vor aller Gedeihen!Labe die Brust, Empfinde die Lust, Wo wir unser Herz erfreuen!

Dritter Teil

q Rezitativ (Evangelist)Und da der Engel gen Himmel fuhr,sprachen die Hirten untereinander:

w ChorLasset uns nun gehen gen Bethlehem und die

to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

Aria (Tenor)Joyful shepherds, haste, oh, haste, lest you tarry too long, haste to see the lovely babe. Go, the joy is all too fair, seek to gain grace, go, and refresh heart and mind.

Recitative (Evangelist) And this shall be a sign unto you; ye shall find the babe wrapped in swaddling clothes, and lying in a manger.

Aria (Alto) Sleep, my Dearest, enjoy Thy rest, from henceforth watch over the well-being of all. Refresh Thy breast, experience the joy, there where we gladden our hearts.

Part Three

Recitative (Evangelist)And when the angel had departed from theminto heaven, the shepherds said one to another:

Chorus Let us now go even unto Bethlehem, and see this

- 13 -

Geschichte sehen, die da geschehen ist, die uns der Herr kundgetan hat.

e Rezitativ (Evangelist)Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen. Da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kind gesaget war. Und alle, für die es kam, wunderten sich der Rede, die ihnen die Hirten gesaget hatten. Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen.

r Arie (Alt) Schließe, mein Herze, dies selige Wunder Fest in deinem Glauben ein!Lasse dies Wunder, die göttlichen Werke, Immer zur Stärke Deines schwachen Glaubens sein!

t Rezitativ (Evangelist)Und die Hirten kehrten wieder um, preiseten und lobten Gott um alles, das sie gesehen und gehöret hatten, wie denn zu ihnen gesaget war.

y ChoralSeid froh dieweil, Daß euer Heil Ist hie ein Gott und auch ein Mensch geboren, Der, welcher ist Der Herr und Christ In Davids Stadt, von vielen auserkoren.

thing which is come to pass, which the Lord hath made known unto us.

Recitative (Evangelist)And they came with haste, and found both Mary and Joseph, and the babe lying in a manger. And when they had seen it, they published abroad the word which was spoken to them concerning the child. And all that heard it wondered at the tidings which the shepherds had told unto them. But Mary kept all these things and pondered them in her heart.

Aria (Alto) Lock, my heart, this blessed wonder fast within thy belief.Let the miracle of the divine works ever be the strength of thy weak faith!

Recitative (Evangelist)And the shepherds returned again, praising and giving thanks to God for everything that they had seen and heard, as it was told unto them.

ChoraleBe joyful, meanwhile, that our Saviour is here born both God and man, He, Who Is the Lord and Christ in the city of David chosen of many.

- 12 -

allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David.

8 Arie (Tenor)Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen!

9 Rezitativ (Evangelist)Und das habt zum Zeichen: Ihr werdet finden das Kind in Windeln gewickelt und in einer Krippe liegen.

0 Arie (Alt) Schlafe, mein Liebster, genieße der Ruh, Wache nach diesem vor aller Gedeihen!Labe die Brust, Empfinde die Lust, Wo wir unser Herz erfreuen!

Dritter Teil

q Rezitativ (Evangelist)Und da der Engel gen Himmel fuhr,sprachen die Hirten untereinander:

w ChorLasset uns nun gehen gen Bethlehem und die

to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

Aria (Tenor)Joyful shepherds, haste, oh, haste, lest you tarry too long, haste to see the lovely babe. Go, the joy is all too fair, seek to gain grace, go, and refresh heart and mind.

Recitative (Evangelist) And this shall be a sign unto you; ye shall find the babe wrapped in swaddling clothes, and lying in a manger.

Aria (Alto) Sleep, my Dearest, enjoy Thy rest, from henceforth watch over the well-being of all. Refresh Thy breast, experience the joy, there where we gladden our hearts.

Part Three

Recitative (Evangelist)And when the angel had departed from theminto heaven, the shepherds said one to another:

Chorus Let us now go even unto Bethlehem, and see this

- 15 -

Choral (Sopran)Jesu, meine Freud und Wonne, Meine Hoffnung, Schatz und Teil, Mein Erlösung, Schmuck und Heil, Hirt und König, Licht und Sonne, Ach! wie soll ich würdiglich, Mein Herr Jesu, preisen dich?

4 Arie (Tenor)Ich will nur dir zu Ehren leben, Mein Heiland, gib mir Kraft und Mut, Daß es mein Herz recht eifrig tut!Stärke mich, Deine Gnade würdiglich Und mit Danken zu erheben!

Funfter Teil

5 Rezitativ (Evangelist)Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen.

6 Chor mit Rezitativ (Alt)Wo ist der neugeborne König der Jüden? Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust! Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten. Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen! Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie,

Chorale (Soprano)Jesu, my joy and bliss, my hope, treasure and lot, my Redeemer, defence and Salvation, Shepherd and King, light and sun! Oh, how shall I worthily, praise Thee, My Lord Jesu?

Aria (Tenor)I will live only to glorify Thee; my Saviour, give me strength and courage, that my heart may so do right zealously. Strengthen me, that I may worthily and with gratitude, extol Thy goodness.

Part Five

Recitative (Evangelist)When Jesus was born in Bethlehem of Judaea in the days of Herod the King, lo, there came wise men from the East to Jerusalem saying:

Chorus with Recitative (Alto)Where is he that is born King of the Jews? Seek him in my bosom, here He dwells for my delight, and His. For we have seen his star in the east, and are come to worship him. Blessed be ye, that ye have seen the light, it came to pass for your salvation. My Saviour Thou, Thou art the light that should have shone upon the heathen too, and they still do

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u Chor Herrscher des Himmels, erhöre das Lallen, Laß dir die matten Gesänge gefallen, Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

DISC TWOVierter Teil

1 ChorFallt mit Danken, fallt mit Loben Vor des Höchsten Gnadenthron!Gottes Sohn Will der Erden Heiland und Erlöser werden. Gottes Sohn Dämpft der Feinde Wut und Toben.

2 Rezitativ (Evangelist) Und da acht Tage um waren, daß das Kind be-schnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward.

3 Rezitativ (Baß) mit Choral Rezitativ (Baß, Sopran)Wohlan, dein Name soll allein In meinem Herzen sein! So will ich dich entzücket nennen, Wenn Brust und Herz zu dir vor Liebe brennen. Doch, Liebster, sage mir: Wie rühm ich dich, wie dank ich dir?

Chorus Ruler of Heaven, hear our stammering tones, let our feeble singing please Thee, when Thy Zion exalts Thee with psalms! Hear our hearts’ triumphant praise, when we now display our awe before Thee because our welfare is assured.

Part Four

Chorus Fall down with thanks, fall down with praise before the mercy-seat of the Most High. The Son of God will be the Saviourand Redeemer of the earth. The Son of God quenches the rage and fury of the fiend.

Recitative (Evangelist) And when eight days were accomplished, that the child should be circumcised, he was given the name Jesus, as he was named by the angel before he was conceived in his mother’s womb.

Recitative (Bass) with Chorale Recitative (Bass, Soprano) Come then, Thy Name alone shall be in my heart! So will I call Thee, filled with delight, when heart and bosom do burn for love of Thee. But, Best Beloved, tell me: how shall I extol Thee? How shall I thank Thee?

- 15 -

Choral (Sopran)Jesu, meine Freud und Wonne, Meine Hoffnung, Schatz und Teil, Mein Erlösung, Schmuck und Heil, Hirt und König, Licht und Sonne, Ach! wie soll ich würdiglich, Mein Herr Jesu, preisen dich?

4 Arie (Tenor)Ich will nur dir zu Ehren leben, Mein Heiland, gib mir Kraft und Mut, Daß es mein Herz recht eifrig tut!Stärke mich, Deine Gnade würdiglich Und mit Danken zu erheben!

Funfter Teil

5 Rezitativ (Evangelist)Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen.

6 Chor mit Rezitativ (Alt)Wo ist der neugeborne König der Jüden? Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust! Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten. Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen! Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie,

Chorale (Soprano)Jesu, my joy and bliss, my hope, treasure and lot, my Redeemer, defence and Salvation, Shepherd and King, light and sun! Oh, how shall I worthily, praise Thee, My Lord Jesu?

Aria (Tenor)I will live only to glorify Thee; my Saviour, give me strength and courage, that my heart may so do right zealously. Strengthen me, that I may worthily and with gratitude, extol Thy goodness.

Part Five

Recitative (Evangelist)When Jesus was born in Bethlehem of Judaea in the days of Herod the King, lo, there came wise men from the East to Jerusalem saying:

Chorus with Recitative (Alto)Where is he that is born King of the Jews? Seek him in my bosom, here He dwells for my delight, and His. For we have seen his star in the east, and are come to worship him. Blessed be ye, that ye have seen the light, it came to pass for your salvation. My Saviour Thou, Thou art the light that should have shone upon the heathen too, and they still do

- 14 -

u Chor Herrscher des Himmels, erhöre das Lallen, Laß dir die matten Gesänge gefallen, Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

DISC TWOVierter Teil

1 ChorFallt mit Danken, fallt mit Loben Vor des Höchsten Gnadenthron!Gottes Sohn Will der Erden Heiland und Erlöser werden. Gottes Sohn Dämpft der Feinde Wut und Toben.

2 Rezitativ (Evangelist) Und da acht Tage um waren, daß das Kind be-schnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward.

3 Rezitativ (Baß) mit Choral Rezitativ (Baß, Sopran)Wohlan, dein Name soll allein In meinem Herzen sein! So will ich dich entzücket nennen, Wenn Brust und Herz zu dir vor Liebe brennen. Doch, Liebster, sage mir: Wie rühm ich dich, wie dank ich dir?

Chorus Ruler of Heaven, hear our stammering tones, let our feeble singing please Thee, when Thy Zion exalts Thee with psalms! Hear our hearts’ triumphant praise, when we now display our awe before Thee because our welfare is assured.

Part Four

Chorus Fall down with thanks, fall down with praise before the mercy-seat of the Most High. The Son of God will be the Saviourand Redeemer of the earth. The Son of God quenches the rage and fury of the fiend.

Recitative (Evangelist) And when eight days were accomplished, that the child should be circumcised, he was given the name Jesus, as he was named by the angel before he was conceived in his mother’s womb.

Recitative (Bass) with Chorale Recitative (Bass, Soprano) Come then, Thy Name alone shall be in my heart! So will I call Thee, filled with delight, when heart and bosom do burn for love of Thee. But, Best Beloved, tell me: how shall I extol Thee? How shall I thank Thee?

- 17 -

q Rezitativ (Evangelist) Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten: Und du Bethlehem im jüdischen Lande bist mitnichten die kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei.

Sechster Teil

w Rezitativ (Evangelist und Herodes)Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre? Und weiset sie gen Bethlehem und sprach: Ziehet hin und forschet fleißig nach dem Kindlein, und wenn ihrs findet, sagt mirs wieder, daß ich auch komme und es anbete.

e Rezitativ (Sopran)Du Falscher, suche nur den Herrn zu fällen, Nimm alle falsche List, Dem Heiland nachzustellen; Der, dessen Kraft kein Mensch ermißt, Bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, Nebst aller seiner List, des Höchsten Sohn, Den du zu stürzen suchst, sehr wohl bekannt.

Recitative (Evangelist)And he gathered together all the chief priests and men of learning, and enquired of them where Christ should be born. And they told him: In Bethlehem of Judaea! For thus it is written by the prophets: And thou Bethlehem of Judaea art not the least among the princes of Juda, for out of thee shall come a prince to rule over all my people Israel.

Part Six

Recitative (Evangelist and Herod) Then Herod called the wise men unto him in secret, and enquired of them diligently when the star appeared. And he sent them to Bethlehem and said: Go now and enquire diligently for the young child, and when you shall find him, bring me word that I too may come and worship him.

Recitative (Soprano)False man, you seek only to bring the Lord low, and use every false artifice to waylay the Saviour; He whose strength no man can measure, yet remains in safe hands. Your heart, your false heart, along with all its craft, is known very well already to the most High’s Son, whose downfall you seek to encompass.

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sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, Geliebter Jesu, sein!

7 ChoralDein Glanz all Finsternis verzehrt, Die trübe Nacht in Licht verkehrt. Leit uns auf deinen Wegen, Daß dein Gesicht Und herrlichs Licht Wir ewig schauen mögen!

8 Arie (Baß) Erleucht auch meine finstre Sinnen, Erleuchte mein Herze Durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze In allen meinen Werken sein; Dies lässet die Seele nichts Böses beginnen. Erleucht auch meine finstre Sinnen, usw.

9 Rezitativ (Evangelist)Da das der König Herodes hörte, erschrak erund mit ihm das ganze Jerusalem.

0 Rezitativ (Alt)Warum wollt ihr erschrecken? Kann meines Jesu Gegenwart euch solche Furcht erwecken? O! solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen.

not know Thee, when they already want to worship Thee. How bright, how clear, beloved Jesu, must Thy radiance be!

ChoraleThy brightness consumes all darkness and transforms the gloomy night to light. Lead us in Thy ways, that we may ever behold Thy countenance and glorious light!

Aria (Bass)Enlighten, too, my dark thoughts, illuminate my heart through the clear radiance of Thy beams. Thy word shall be the brightest candle to me in all my doings! It shall prevent my soul embarking upon aught evil. Enlighten, too, my dark thoughts, etc.

Recitative (Evangelist) When King Herod heard this, he was troubledand all Jerusalem with him.

Recitative (Alto) Why are ye so sore afeared? Can the presence of Jesu mine awake such fear in you? O, should you not far rather rejoice at it, for He through it does promise to restore the well being of mankind!

- 17 -

q Rezitativ (Evangelist) Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten: Und du Bethlehem im jüdischen Lande bist mitnichten die kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei.

Sechster Teil

w Rezitativ (Evangelist und Herodes)Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre? Und weiset sie gen Bethlehem und sprach: Ziehet hin und forschet fleißig nach dem Kindlein, und wenn ihrs findet, sagt mirs wieder, daß ich auch komme und es anbete.

e Rezitativ (Sopran)Du Falscher, suche nur den Herrn zu fällen, Nimm alle falsche List, Dem Heiland nachzustellen; Der, dessen Kraft kein Mensch ermißt, Bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, Nebst aller seiner List, des Höchsten Sohn, Den du zu stürzen suchst, sehr wohl bekannt.

Recitative (Evangelist)And he gathered together all the chief priests and men of learning, and enquired of them where Christ should be born. And they told him: In Bethlehem of Judaea! For thus it is written by the prophets: And thou Bethlehem of Judaea art not the least among the princes of Juda, for out of thee shall come a prince to rule over all my people Israel.

Part Six

Recitative (Evangelist and Herod) Then Herod called the wise men unto him in secret, and enquired of them diligently when the star appeared. And he sent them to Bethlehem and said: Go now and enquire diligently for the young child, and when you shall find him, bring me word that I too may come and worship him.

Recitative (Soprano)False man, you seek only to bring the Lord low, and use every false artifice to waylay the Saviour; He whose strength no man can measure, yet remains in safe hands. Your heart, your false heart, along with all its craft, is known very well already to the most High’s Son, whose downfall you seek to encompass.

- 16 -

sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, Geliebter Jesu, sein!

7 ChoralDein Glanz all Finsternis verzehrt, Die trübe Nacht in Licht verkehrt. Leit uns auf deinen Wegen, Daß dein Gesicht Und herrlichs Licht Wir ewig schauen mögen!

8 Arie (Baß) Erleucht auch meine finstre Sinnen, Erleuchte mein Herze Durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze In allen meinen Werken sein; Dies lässet die Seele nichts Böses beginnen. Erleucht auch meine finstre Sinnen, usw.

9 Rezitativ (Evangelist)Da das der König Herodes hörte, erschrak erund mit ihm das ganze Jerusalem.

0 Rezitativ (Alt)Warum wollt ihr erschrecken? Kann meines Jesu Gegenwart euch solche Furcht erwecken? O! solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen.

not know Thee, when they already want to worship Thee. How bright, how clear, beloved Jesu, must Thy radiance be!

ChoraleThy brightness consumes all darkness and transforms the gloomy night to light. Lead us in Thy ways, that we may ever behold Thy countenance and glorious light!

Aria (Bass)Enlighten, too, my dark thoughts, illuminate my heart through the clear radiance of Thy beams. Thy word shall be the brightest candle to me in all my doings! It shall prevent my soul embarking upon aught evil. Enlighten, too, my dark thoughts, etc.

Recitative (Evangelist) When King Herod heard this, he was troubledand all Jerusalem with him.

Recitative (Alto) Why are ye so sore afeared? Can the presence of Jesu mine awake such fear in you? O, should you not far rather rejoice at it, for He through it does promise to restore the well being of mankind!

- 19 -

will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich, Mein Herz liebt ihn auch inniglich Und wird ihn ewig ehren. Was könnte mich nun für ein Feind Bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund; Und werd ich ängstlich zu dir flehn: Herr, hilf! so laß mich Hülfe sehn!

i Rezitativ (Sopran, Alt, Tenor, Baß) Was will der Höllen Schrecken nun, Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn?

o Choral Nun seid ihr wohl gerochen An eurer Feinde Schar, Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd und Hölle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.

I will bequeath Him heart and bosom. I know for sure He loves me, my heart loves Him too, fondly, and will ever honour him. What enemy could do me harm with such good comfort? Thou, Jesu, art and shalt remain my friend, and were I to Implore Thee in anguish: ‘Lord, help me!’ then let me behold Thy Help!

Recitative (Soprano, Alto, Tenor, Bass) What now of the terrors of hell? What can the world and sin do to us, when we rest in Jesu’s hands?

ChoraleNow are you well avenged for, upon the host of your enemies, Christ has broken that which was against you. Death, devil, sin and hell are quite diminished, the human race has its place at God’s side.

- 18 -

rArie (Sopran) Nur ein Wink von seinen Händen Stürzt ohnmächtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, Seiner Feinde Stolz zu enden, O, so müssen sich sofort Sterblicher Gedanken wenden.

tRezitativ (Evangelist)Als sie nun den König gehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und täten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrrhen.

y Rezitativ (Evangelist)Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.

u Rezitativ (Tenor)So geht! Genug, mein Schatz geht nicht von hier, Er bleibet da bei mir, Ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb Mit sanftmutsvollem Trieb Und größter Zärtlichkeit umfassen; Er soll mein Bräutigam verbleiben, Ich

Aria (Soprano)A mere wave of his hand casts down the might of impotent man. Here all power shall be derided! The Almighty has but to speak a word to make an end of His enemies’ pride; oh, thus the thoughts of mortal men must change at once.

Recitative (Evangelist)And when they had heard the King, they departed thence. And lo, the star, which they had seen in the East, went before them until it came and stood over where the young child was. And when they saw the star they rejoiced greatly; and went into the house and found the young child and Mary his mother, and fell down and worshipped him; and they opened their treasures, and presented unto him gifts: gold, and frankincense, and myrrh.

Recitative (Evangelist)And God spoke to them in a dream, that they should not return again to Herod. And they departed and went again into their own country by another way.

Recitative (Tenor)Go then! Enough, my treasure will not go from hence; He will remain here with me; neither will I suffer Him to leave me. His arm will enfold me out of love with gentle courageous desire and greatest tenderness. He ever shall remain my bridegroom,

- 19 -

will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich, Mein Herz liebt ihn auch inniglich Und wird ihn ewig ehren. Was könnte mich nun für ein Feind Bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund; Und werd ich ängstlich zu dir flehn: Herr, hilf! so laß mich Hülfe sehn!

i Rezitativ (Sopran, Alt, Tenor, Baß) Was will der Höllen Schrecken nun, Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn?

o Choral Nun seid ihr wohl gerochen An eurer Feinde Schar, Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd und Hölle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.

I will bequeath Him heart and bosom. I know for sure He loves me, my heart loves Him too, fondly, and will ever honour him. What enemy could do me harm with such good comfort? Thou, Jesu, art and shalt remain my friend, and were I to Implore Thee in anguish: ‘Lord, help me!’ then let me behold Thy Help!

Recitative (Soprano, Alto, Tenor, Bass) What now of the terrors of hell? What can the world and sin do to us, when we rest in Jesu’s hands?

ChoraleNow are you well avenged for, upon the host of your enemies, Christ has broken that which was against you. Death, devil, sin and hell are quite diminished, the human race has its place at God’s side.

- 18 -

rArie (Sopran) Nur ein Wink von seinen Händen Stürzt ohnmächtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, Seiner Feinde Stolz zu enden, O, so müssen sich sofort Sterblicher Gedanken wenden.

tRezitativ (Evangelist)Als sie nun den König gehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und täten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrrhen.

y Rezitativ (Evangelist)Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.

u Rezitativ (Tenor)So geht! Genug, mein Schatz geht nicht von hier, Er bleibet da bei mir, Ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb Mit sanftmutsvollem Trieb Und größter Zärtlichkeit umfassen; Er soll mein Bräutigam verbleiben, Ich

Aria (Soprano)A mere wave of his hand casts down the might of impotent man. Here all power shall be derided! The Almighty has but to speak a word to make an end of His enemies’ pride; oh, thus the thoughts of mortal men must change at once.

Recitative (Evangelist)And when they had heard the King, they departed thence. And lo, the star, which they had seen in the East, went before them until it came and stood over where the young child was. And when they saw the star they rejoiced greatly; and went into the house and found the young child and Mary his mother, and fell down and worshipped him; and they opened their treasures, and presented unto him gifts: gold, and frankincense, and myrrh.

Recitative (Evangelist)And God spoke to them in a dream, that they should not return again to Herod. And they departed and went again into their own country by another way.

Recitative (Tenor)Go then! Enough, my treasure will not go from hence; He will remain here with me; neither will I suffer Him to leave me. His arm will enfold me out of love with gentle courageous desire and greatest tenderness. He ever shall remain my bridegroom,

- 21 -- 20 -

the king’s singers

David Hurley countertenorTimothy Wayne-Wright countertenorPaul Phoenix tenorPhilip Lawson baritoneChristopher Gabbitas baritoneStephen Connolly bass

One of the world’s most celebrated vocal groups, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Championing the work of young and established composers, they remain consummate entertainers; a class-act with a delightfully British wit. From Gesualdo and György Ligeti to Michael Bublé, The King’s Singers are instantly recognisable for their spot-on intonation, their impeccable vocal blend, the flawless articulation of the text and incisive timing.

With a discography of well over 150 recordings The King’s Singers have garnered both awards and significant critical acclaim. Their recent studio album Simple Gifts on Signum was awarded a Grammy® in 2009. An EP titled From

BIOGRAPHIES

the Heart was released internationally in February 2010, and was linked to a collaborative concert and webcast with ClassicsOnline for Valentine’s Day. On the same date the group appeared on BBC television’s Songs of Praise singing tracks from the disc. June 2010 saw the release Swimming over London, a disc that aligns KS ‘favourites’ with new songs and new arrangements. March 2010 saw the release of a world premiere recording of music for Vespers by Pachelbel with Charivari Agréable. While touring the USA in February 2010, The King’s Singers recorded an album with renowned Concordia College Choir including KS commissions by Eric Whitacre and Bob Chilcott.

In addition to their sold-out concerts worldwide, The King’s Singers share their artistry through numerous workshops and master classes. They have clocked up phenomenal sales of sheet music with over two million pieces of print in circulation with current publisher Hal Leonard. The King’s Singers’ arrangements are sung by schools, college choirs and amateur and professional ensembles the world over.

Visit www.kingssingers.com for the latest news, blog entries, video blogs, podcasts, Tweets and YouTube updates.

- 21 -- 20 -

the king’s singers

David Hurley countertenorTimothy Wayne-Wright countertenorPaul Phoenix tenorPhilip Lawson baritoneChristopher Gabbitas baritoneStephen Connolly bass

One of the world’s most celebrated vocal groups, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Championing the work of young and established composers, they remain consummate entertainers; a class-act with a delightfully British wit. From Gesualdo and György Ligeti to Michael Bublé, The King’s Singers are instantly recognisable for their spot-on intonation, their impeccable vocal blend, the flawless articulation of the text and incisive timing.

With a discography of well over 150 recordings The King’s Singers have garnered both awards and significant critical acclaim. Their recent studio album Simple Gifts on Signum was awarded a Grammy® in 2009. An EP titled From

BIOGRAPHIES

the Heart was released internationally in February 2010, and was linked to a collaborative concert and webcast with ClassicsOnline for Valentine’s Day. On the same date the group appeared on BBC television’s Songs of Praise singing tracks from the disc. June 2010 saw the release Swimming over London, a disc that aligns KS ‘favourites’ with new songs and new arrangements. March 2010 saw the release of a world premiere recording of music for Vespers by Pachelbel with Charivari Agréable. While touring the USA in February 2010, The King’s Singers recorded an album with renowned Concordia College Choir including KS commissions by Eric Whitacre and Bob Chilcott.

In addition to their sold-out concerts worldwide, The King’s Singers share their artistry through numerous workshops and master classes. They have clocked up phenomenal sales of sheet music with over two million pieces of print in circulation with current publisher Hal Leonard. The King’s Singers’ arrangements are sung by schools, college choirs and amateur and professional ensembles the world over.

Visit www.kingssingers.com for the latest news, blog entries, video blogs, podcasts, Tweets and YouTube updates.

- 22 - - 23 -

WDR BIG BAND

Joris Roelofs flute, alto flute, clarinetKarolina Strassmayer flute, alto flute, clarinetOlivier Peters piccolo, alto flute, clarinetPaul Heller clarinet, bass clarinetJens Neufang clarinet, bass clarinet

Andy Haderer trumpet, flügelhornRob Bruynen trumpet, flügelhornKlaus Osterloh trumpet, flügelhornWim Both trumpet, flügelhornJohn Marshall trumpet, flügelhorn

Ludwig Nuß tromboneGünter Bollmann tromboneBernt Laukamp tromboneMattis Cederberg bass trombone

Frank Chastenier pianoPaul Shigihara guitarJohn Goldsby bassHans Dekker drums

Like all orchestras of WDR Broadcasting, the WDR Big Band Cologne is a promoter of culture and a musical ambassador. Its mission is to bring the world of Jazz and Jazz-related music to all au-diences. The Grammy success shows that the

international renown of the WDR orchestra is growing with every production. As well as four German Jazz Awards and numerous Grammy nominations they were honoured with several Grammy Awards in 2006 and 2007.

The WDR Big Band Cologne has the ability to develop and perform new programmes in various styles. Because of the internationality of the members of the band, it bears special relation to the European Tradition, especially to Jazz made in Europe. This integrative factor is always part of the versatile concept of their productions.

Every member of the WDR Big Band Cologne is a soloist with a distinctive timbre, which unites the Big Band with a unique sound. Whether it is working with their principal conductor, other guest conductors, composers, arrangers or guest soloists, the WDR Big Band Cologne always shows a diverse musical profile. It embraces the entire world of Jazz and Jazz-related music, including Latin Jazz, World Music, Fusion and Cross-Over – true to the motto: “musical borders are musical challenges.”

- 22 - - 23 -

WDR BIG BAND

Joris Roelofs flute, alto flute, clarinetKarolina Strassmayer flute, alto flute, clarinetOlivier Peters piccolo, alto flute, clarinetPaul Heller clarinet, bass clarinetJens Neufang clarinet, bass clarinet

Andy Haderer trumpet, flügelhornRob Bruynen trumpet, flügelhornKlaus Osterloh trumpet, flügelhornWim Both trumpet, flügelhornJohn Marshall trumpet, flügelhorn

Ludwig Nuß tromboneGünter Bollmann tromboneBernt Laukamp tromboneMattis Cederberg bass trombone

Frank Chastenier pianoPaul Shigihara guitarJohn Goldsby bassHans Dekker drums

Like all orchestras of WDR Broadcasting, the WDR Big Band Cologne is a promoter of culture and a musical ambassador. Its mission is to bring the world of Jazz and Jazz-related music to all au-diences. The Grammy success shows that the

international renown of the WDR orchestra is growing with every production. As well as four German Jazz Awards and numerous Grammy nominations they were honoured with several Grammy Awards in 2006 and 2007.

The WDR Big Band Cologne has the ability to develop and perform new programmes in various styles. Because of the internationality of the members of the band, it bears special relation to the European Tradition, especially to Jazz made in Europe. This integrative factor is always part of the versatile concept of their productions.

Every member of the WDR Big Band Cologne is a soloist with a distinctive timbre, which unites the Big Band with a unique sound. Whether it is working with their principal conductor, other guest conductors, composers, arrangers or guest soloists, the WDR Big Band Cologne always shows a diverse musical profile. It embraces the entire world of Jazz and Jazz-related music, including Latin Jazz, World Music, Fusion and Cross-Over – true to the motto: “musical borders are musical challenges.”

- 24 - - 25 -

he headed the jazz studies department at the Hochschule für Musik in Cologne from 1998 to 2002.

As author and educator, Mr. Dobbins has numerous publications with Advance Music, including Jazz Arranging and Composing: a Linear Approach, A Creative Approach to Jazz Piano Harmony and, most recently, How to Play Piano in a Big Band. Books of jazz piano transcriptions include Chick Corea: Now He Sings, Now He Sobs, Herbie Hancock: Classic Jazz Compositions and Piano Solos, and Clare Fischer: Alone Together/Just Me. Recent CDs include Cologne, with Peter Erskine and John Goldsby (Fuzzy Music), Erik Satie: Ich bin sehr jung auf eine sehr alte Welt gekommen, with the WDR Big Band (CMO Music), and The Visit, with John Goldsby (Bass Lion).

BILL DOBBINS

Bill Dobbins is professor of jazz studies at the Eastman School of Music in Rochester, New York, where he teaches courses in jazz arranging and composing, jazz pedagogy and history, and directs the award winning Eastman Jazz Ensemble and Eastman Studio Orchestra. From 1994 through 2002 he was principal conductor of the WDR Big Band in Cologne, Germany. He continues working there as guest conductor, as well as with the Metropole Orchestra in Hilversum, Holland.

Mr. Dobbins also has a background as a classical pianist, having performed with orchestras and ensembles under the direction of Louis Lane, Pierre Boulez, Lukas Foss and Frederick Fennell. He was a prizewinner in the 1972 Gaudeamus International Competition for Interpreters of Contemporary Music in Rotterdam. As a jazz pianist, composer, arranger and conductor, he has collaborated with such well known artists as Clark Terry, James Moody, Chuck Israels, Red Mitchell, Phil Woods, Al Cohn, Eddie Daniels, Dave Liebman, Kevin Mahogany, Peter Erskine, Gary Foster and the Kings Singers. He is also active in jazz workshops in music schools and conservatories throughout the world. In addition to his long association with the Eastman School,

- 24 - - 25 -

he headed the jazz studies department at the Hochschule für Musik in Cologne from 1998 to 2002.

As author and educator, Mr. Dobbins has numerous publications with Advance Music, including Jazz Arranging and Composing: a Linear Approach, A Creative Approach to Jazz Piano Harmony and, most recently, How to Play Piano in a Big Band. Books of jazz piano transcriptions include Chick Corea: Now He Sings, Now He Sobs, Herbie Hancock: Classic Jazz Compositions and Piano Solos, and Clare Fischer: Alone Together/Just Me. Recent CDs include Cologne, with Peter Erskine and John Goldsby (Fuzzy Music), Erik Satie: Ich bin sehr jung auf eine sehr alte Welt gekommen, with the WDR Big Band (CMO Music), and The Visit, with John Goldsby (Bass Lion).

BILL DOBBINS

Bill Dobbins is professor of jazz studies at the Eastman School of Music in Rochester, New York, where he teaches courses in jazz arranging and composing, jazz pedagogy and history, and directs the award winning Eastman Jazz Ensemble and Eastman Studio Orchestra. From 1994 through 2002 he was principal conductor of the WDR Big Band in Cologne, Germany. He continues working there as guest conductor, as well as with the Metropole Orchestra in Hilversum, Holland.

Mr. Dobbins also has a background as a classical pianist, having performed with orchestras and ensembles under the direction of Louis Lane, Pierre Boulez, Lukas Foss and Frederick Fennell. He was a prizewinner in the 1972 Gaudeamus International Competition for Interpreters of Contemporary Music in Rotterdam. As a jazz pianist, composer, arranger and conductor, he has collaborated with such well known artists as Clark Terry, James Moody, Chuck Israels, Red Mitchell, Phil Woods, Al Cohn, Eddie Daniels, Dave Liebman, Kevin Mahogany, Peter Erskine, Gary Foster and the Kings Singers. He is also active in jazz workshops in music schools and conservatories throughout the world. In addition to his long association with the Eastman School,

- 27 -

Licensed by WDR mediagroup licensing GmbH. Recorded at the Kölner Philharmonie, on 30 November 2009.

Producer - Lucas Schmid, WDR Big BandRecording Producer - Christian SchmittRecording Engineer - Rolf Lingenberg

Recording Assistant and Editor - Thomas KupilasProduction Coordination - Annette Hauber

Cover Image - ShutterstockBooklet and Back Inlay Photos © Ines Kaiser

Design and Artwork - Woven Design www.wovendesign.co.uk

P Westdeutscher Rundfunk Köln, 2009.

© 2010 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law.

Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system,

or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: info@signumrecords.com

www.signumrecords.com

- 26 -

- 27 -

Licensed by WDR mediagroup licensing GmbH. Recorded at the Kölner Philharmonie, on 30 November 2009.

Producer - Lucas Schmid, WDR Big BandRecording Producer - Christian SchmittRecording Engineer - Rolf Lingenberg

Recording Assistant and Editor - Thomas KupilasProduction Coordination - Annette Hauber

Cover Image - ShutterstockBooklet and Back Inlay Photos © Ines Kaiser

Design and Artwork - Woven Design www.wovendesign.co.uk

P Westdeutscher Rundfunk Köln, 2009.

© 2010 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law.

Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system,

or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: info@signumrecords.com

www.signumrecords.com

- 26 -

ALSO AVAILABLE on signumclassics

Dance of the Three Legged ElephantsMatthew Barley & Julian JosephSIGCD171

“This set of originals, improvisations and takes on pieces by every-one from Jobim to Ravel are informed, inventive and defy all predic-tions as to what’s coming next.”Performance ★★★★★BBC Music Magazine

Pachelbel VespersThe King’s Singers / Charivari AgréableSIGCD198

“For those who know Pachelbel only through the Canon, this disc will be revelatory … Each piece is beautifully served by the ensemble.”The Sunday Times

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000