16
Britten - Ceremony of Carols & Christmas Motets Saturday 19 December 2015 Holy Trinity Church Guildford www.cantorumnicolai.co.uk PROGRAMME: £1 All Profits to
Britten - Ceremony of Carols
& Christmas Motets
Saturday 19 December 2015
Holy Trinity Church
Guildford
www.cantorumnicolai.co.uk
PROGRAMME: £1
All
Profits
to
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
presents
Britten’s Ceremony of Carols
Roy Rashbrook, Conductor
Hugh Webb, Harp
Selden Manuscript (15th Century) - Ave Maria
Giovanni Pierluigi da Palestrina (1525-94) - Hodie Christus natus est
Max Reger (1873-1916) - Danksaget dem Vater
Marcel Tournier (1879-1951) - Six Noels
Michael Praetorius (1571-1621) - Singt dem Herren
Wolfgang Amadeus Mozart (1756-1791) - Alleluia
Felix Mendelssohn (1809-47) - Lift Thine Eyes (from Elijah)
Marcel Grandjany (1891-1975) - Silent Night
Maurice Duruflé (1902-1986) - Tota Pulchra es
Piae Cantiones (pub. 1582) - Gaudete Christus est natus
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
Interval: 20 minutes
Please join us for mince pies & refreshments
Benjamin Britten’s Ceremony of Carols
1. Procession (Hodie Christus natus est)
2. Wolcum Yole!
3. There is no Rose
4a. That yonge child
4b. Balulalow
5. As dew in Aprille
6. This little Babe
7. Interlude (harp solo)
8. In Freezing Winter Night
9. Spring Carol
10. Deo Gracias
11. Recession (Hodie Christus natus est)
Camille Saint Saëns (1835-1921) - Ave Maria
THERE WILL BE A RETIRING COLLECTION FOR SAVE THE CHILDREN
- WE APPRECIATE YOUR GENEROUS DONATIONS!
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
PROGRAMME NOTES Benjamin Britten (1913 - 1976)
Ceremony of Carols Op. 28
Perhaps the most enchanting and haunting feature of Benjamin Britten's A
Ceremony of Carols is its simplicity. What could be more sublimely austere than
medieval carols in Middle English, sung by robed choirboys, accompanied by the
plucked strains of a lone harp? The picture and the sound evoke the hopeful,
watchful sense of the days leading up to Christmas.
All of this goes a long way to understanding A Ceremony of Carols' enduring
popularity, and the piece is indeed all of these things that it appears to be. But as is
often the case with much-loved music - particularly when much is known about the
composer's life and times - there is more to the story. Britten wrote Ceremony in 1942
while crossing the Atlantic aboard a Swedish cargo ship - a dangerous proposition
at any time, but much more so during wartime while German submarines prowled
the ocean. (Britten actually intended to use the month long voyage to complete
what would become his well-known Hymn to St. Cecilia, but these early sketches
were confiscated by customs authorities who feared that the music was in fact a
secret code.)
Britten had departed his native England at the outset of the war in 1939 and headed
for the United States, where his fame was growing quickly, and where, it must be
noted, he was unlikely to be conscripted into the British army. After several years
abroad, he and his partner, the acclaimed tenor Peter Pears, found it time to return
home, and they embarked on this voyage not knowing if Britten's return home would
be greeted by admiration for his boldness, anger at his flight, mere indifference, or
(as it turned out) a mixture of the three.
Shortly before departing the U.S., Britten had received a commission to compose a
harp concerto, and in the meantime he had begun to familiarize himself with the
instrument. This provided the basis and probably the inspiration for his choice of harp
to accompany the vocal parts in Ceremony. Although the first published edition of
the work recommended that boy sopranos - not an uncommon lot in Britain - sing
the three treble lines that comprise the chorus, Britten's early manuscripts show that
he originally conceived of them as women's parts.
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
Some years later, Britten authorised an arrangement of the piece for four-part mixed voices
(possibly at the suggestion of his publisher). To be sure, Britten's notion of exactly who should
sing the piece was not as concrete as contemporary practice has borne out.
A Ceremony of Carols consists of eight polyphonic settings of mostly anonymous 15th and 16th
century poems, which Britten had discovered in a handbook called The English Galaxy of
Shorter Poems that he found in Nova Scotia while the ship was in port.
These eight carols are bookended by statements of the Gregorian chant Hodie Christus Natus
Est (Christ is born today), and midway through the set is an astounding interlude for harp solo
that features this same plainchant tune. The carols themselves show a remarkable diversity of
styles, from the jubilant exultations of Wolcume Yule and Deo Gracias, to the pastoral solos of
That Yongë Child and Balulalow to the martial urgency of This Little Babe's expanding canon -
- and whose vivid "holy war" between the infant and Satan must surely have been inspired by
the real-life world war.
1. Procession
Hodie Christus natus est:
hodie Salvator apparuit:
hodie in terra canunt angeli:
laetantur archangeli:
hodie exsultant justi dicentes:
Gloria in excelsis Deo.
Alleluia! Alleluia! Alleluia!
2. Wolcum Yole!
Wolcum, Wolcum,
Wolcum be thou hevenè king,
Wolcum Yole! Wolcum, born in one morning,
Wolcum for whom we sall sing!
Wolcum be ye, Stevene and Jon,
Wolcum, Innocentes every one,
Wolcum, Thomas marter one,
Wolcum be ye, good Newe Yere,
Wolcum, Twelfthe Day both in fere,
Wolcum, seintes lefe and dere,
Wolcum Yole, Wolcum Yole, Wolcum!
Candelmesse, Quene of bliss,
Wolcum bothe to more and lesse.
Wolcum, Wolcum, Wolcum
be ye that are here,
Wolcum Yole, Wolcum alle
and make good cheer,
Wolcum alle another yere,
Wolcum Yole, Wolcum!
3. There is no Rose
There is no rose of such vertu
as is the rose that bare Jesu. Alleluia, alleluia.
For in this rose conteinèd was heaven and earth
in litel space, Res miranda, res miranda.
By that rose we may well see there be one God
in persons three, Pares forma, pares forma,
The aungels sungen the shepherds to:
Gloria in excelsis, gloria in excelsis Deo.
Gaudeamus, gaudeamus.
Leave we all this werldly mirth, and follow we
this joyful birth. Transeamus, transeamus,
transeamus.
Alleluia, res miranda, pares forma, gaudeamus,
Transeamus, transeamus, transeamus.
4. That yongë childe and Bulalow
That yongë child when it gan weep
with song she lulled him asleep:
That was so sweet a melody
it passèd alle minstrelsy.
The nightingalë sang also:
Her song is hoarse and nought thereto:
Whoso attendeth to her song
and leaveth the first then doth he wrong.
O my deare hert, young Jesu sweit,
Prepare thy creddil in my spreit,
And I sall rock thee to my hert,
And never mair from thee depart.
But I sall praise thee evermoir
With sanges sweit unto thy gloir;
The knees of my hert sall I bow,
And sing that richt Balulalow.
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
5. As dew in Aprille
I sing of a maiden that is makèles:
King of all kings to her son she ches
He came also stille there his moder was,
As dew in Aprille that falleth on the grass.
He came also stille to his moder's bour,
As dew in Aprille that falleth on the flour.
He came also stille there his moder lay,
As dew in Aprille that falleth on the spray.
Moder and mayden was never none but she:
Well may such a lady Goddes moder be.
6. This little Babe
This little Babe so few days old,
is come to rifle Satan's fold;
All hell doth at his presence quake,
though he himself for cold do shake;
For in this weak unarmed wise
the gates of hell he will surprise.
With tears he fights and wins the field,
His naked breast stands for a shield;
His battering shot are babish cries,
His arrows looks of weeping eyes,
His martial ensigns Cold and Need,
and feeble Flesh his warrior's steed.
His camp is pitched in a stall,
His bulwark but a broken wall;
The crib his trench, haystalks his stakes;
of shepherds he his muster makes;
And thus, as sure his foe to wound,
the angels' trumps alarum sound.
My soul, with Christ join thou in fight;
stick to the tents that he hath pight.
Within his crib is surest ward;
this little Babe will be thy guard.
If thou wilt foil thy foes with joy,
then flit not from this heavenly Boy.
7. Interlude
Harp Solo
8. In Freezing Winter Night
Behold, a silly tender babe, in freezing winter night,
In homely manger trembling lies.
Alas, a piteous sight!
The inns are full; no man will yield
This little pilgrim bed.
But forced he is with silly beasts
in crib to shroud his head.
This stable is a Prince's court,
this crib his chair of State;
The beasts are parcel of his pomp,
the wooden dish his plate.
The persons in that poor attire His royal liveries wear;
The Prince himself is come from heaven;
This pomp is prized there.
With joy approach, O Christian wight,
Do homage to thy King,
And highly praise his humble pomp,
which he from Heaven doth bring.
9. Spring Carol
Pleasure it is to hear iwis, the Birdes sing,
The deer in the dale, the sheep in the vale,
the corn springing.
God's purveyance for sustenance,
It is for man, it is for man.
Then we always to give him praise,
And thank him than.
10. Deo Gracias
Deo gracias! Deo gracias!
Adam lay ibounden, bounden in a bond;
Four thousand winter thought he not to long.
Deo gracias! Deo gracias!
And all was for an appil, an appil that he tok,
As clerkes finden written in their book.
Deo gracias! Deo gracias!
Ne had the appil take ben, the appil take ben,
Ne hadde never our lady a ben hevene quene.
Blessed be the time that appil take was.
Therefore we moun singen.
Deo gracias! Deo gracias!
Deo gracias! Deo gracias!
11. Recessional
Hodie Christus natus est:
hodie Salvator apparuit:
hodie in terra canunt angeli:
laetantur archangeli:
hodie exsultant justi dicentes:
Gloria in excelsis Deo.
Alleluia! Alleluia! Alleluia!
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
In addition to the broadcasts, concerts, special events and daily services there, Roy also sings
regularly with such groups as The King’s Consort and The Clerks, combining their various
performing, touring and recording schedules with his work as a soloist, singing teacher and
conductor.
He has conducted several choirs and ensembles, including the Goldsmiths’ Chorus, The
University of London Union Chorus, The Hanover Singers and Candlelight Opera. He is currently
musical director of two choirs: Hart Voices (Fleet, Hampshire) and The Chantry Singers
(Guildford, Surrey).
Roy has performed as a soloist with many of Britain’s leading orchestras including the City of
London Sinfonia, the Orchestra of the Age of Enlightenment and the London Mozart Players.
In addition to performances in all London’s best-known concert venues, his work has taken him
all over the country and throughout Europe as well as to Israel and the States. He has
appeared on many CD recordings, film soundtracks and radio and television broadcasts, both
at home and abroad.
Recent conducting work includes performances of Stainer’s Crucifixion, Byrd’s Mass for Four
Voices, Mozart’s Dominican Vespers, Vivaldi’s Gloria and Haydn’s Nelson Mass.
Recent singing engagements include broadcasts of music from Agincourt on BBC Radio 3 with
The Clerks and of the London 7/7 memorial service from St Paul’s Cathedral on BBC TV,
Handel’s Messiah in Worcester Cathedral and St Paul’s Cathedral, as well as tours to France,
the Netherlands and the United States.
This month he will be singing many, many Christmas Carols at St Paul’s Cathedral. He also
appears as a soloist on a new Christmas CD with the choir of St Paul’s on Decca Records.
ROY RASHBROOK Musical Director
Ima
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esy
of
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Roy Rashbrook was educated at Dauntsey’s School,
going on to study Music at Goldsmith’s College and
Singing under Alexander Oliver, William McAlpine
and Rudolf Piernay at the Guildhall School of Music
and Drama, London.
After a brief flirtation with a career in teaching, Roy
became a professional singer in 1998, joining the
world famous choir of Saint Paul’s Cathedral the
following year; a position which offers some precious
stability in the life of a freelance musician!
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
Hugh Webb studied with Renata Scheffel-Stein, Sioned Williams and Susan Drake. He has
worked extensively in the contemporary music field and Javier Alvarez, Robert Keeley, Paul
Archbold and Ian Dearden have all written solo works for him, with funding from The Arts
Council of England.
Classical CD recordings include Bax’s Concerto for Flute, Oboe and Harp with the Academy
of St. Martin’s Chamber Ensemble (Chandos), a collection of Bach Flute Sonatas (Guild),
Villalobos’ Quartet (Clarinet Classics), Bax’s Fantasy Sonata (Koch International) and the
complete Spohr Violin and Harp Sonatas (Naxos).
His most recent recordings are a CD of French Renaissance songs with the medieval group,
Joglaresa and a recording of solo and chamber music by Nino Rota for Zitto Records.
From 2001 to 2012, Hugh Webb was principal harp of the Philharmonia Orchestra and now
freelances as guest principal of the major London orchestras and is active in the film and
television music worlds.
Hugh has composed a show for children based on Hans Christian Anderson’s The Snow Queen.
He has given many masterclasses and has lectured at London’s Royal Academy of Music, the
Paris Conservatoire, The Sweelinck Conservatoire in Amsterdam and with Telynor Morgannwg
in Wales.
“…filigree or glitter, arpeggios or runs, virtuosity or sheer feeling,
Webb is master of them all.”
Gramophone
HUGH
WEBB Harp
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
SAVE THE CHILDREN At the beginning of the 20th century, two sisters had a
vision to achieve and protect the rights of children. That
vision continues to guide the work of Save the Children
almost a 100 years later.
"A Starving Baby and Our Blockade has Caused This". That was the headline on a leaflet drawing attention
to the plight of children on the losing side of the First World War. Save the Children's founder, Eglantyne Jebb
was arrested and fined for distributing it in Trafalgar Square.
After the war ended, Britain kept up a blockade that left children in cities like Berlin and Vienna starving.
Tuberculosis and rickets were rife. "The children's bones were like rubber. Clothing was utterly lacking. In the
hospitals there was nothing but paper bandages." Dr Hector Munro, Save the Children, 1919. Eglantyne
Jebb and her sister Dorothy Buxton decided that direct action was needed as well as campaigning.
The Save the Children Fund was set up at a public meeting in London's Royal Albert Hall in May 1919. From
that day to this STC has been raising funds to provide relief to children suffering the effects of war.
What does Save the Children do?
EMERGENCIES - Whenever and wherever disaster strikes, we’re there – saving lives. Our teams do
whatever it takes to reach children in desperate need. In 2014, Save the Children responded to 97
emergencies, delivering life-saving food, water, healthcare, protection and education to 5.5 million
people.
EDUCATION - Education has the power to transform children’s futures. We're helping millions of children
go to school and improve their skills for a brighter tomorrow.
CHILD POVERTY - Children across the world still die because their parents cannot afford enough food to
keep them healthy, or get the treatment they need. Poverty affects every area of a child's development
- mental, physical, and emotional. Around the world, more than 8 million children died last year, most
from preventable conditions and diseases. Almost all of these child deaths take place in developing
countries, and within these countries children from the poorest backgrounds are least likely to survive.
In the UK, 1.6 million children are living in severe poverty. Being born into a poor family dramatically
reduces a child’s chances of a bright future.
HEALTH - Life-saving healthcare is key to our goal: a world where no child dies from preventable causes.
Through our brave health teams on the ground and our inspirational No Child Born to Die campaign,
we’re helping millions of children get essential healthcare.
HUNGER - Every child needs a healthy diet to survive and grow up to fulfil their potential. But millions miss
out on the nutrition they need. The consequences can be catastrophic.
CHILD PROTECTION - We identify children at risk of abuse, exploitation and neglect, and take action to
protect them. Wherever children are vulnerable - living on the streets, in refugee camps, or shut away
in institutions, we do what it takes to protect them.
Find out more about Save the Children at: www.savethechildren.org.uk
THERE WILL BE A RETIRING COLLECTION FOR SAVE THE CHILDREN
- WE APPRECIATE YOUR GENEROUS DONATIONS!
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
Cantorum Nicolai is Surrey and Hampshire’s newest chamber choir for upper voices. The name
means “Songs of Nicolas” and references our first ever appearance as a group, in Britten’s
famous oratorio, since we were originally formed to provide a semi-chorus for a performance
by The Waverley Singers of Britten’s St Nicolas.
As an enthusiastic and talented group of singers, we were then asked to provide a semi-chorus
for Holst’s Planets Suite for the Farnborough Symphony Orchestra in June 2014.
Emboldened by the success of these two ventures, and after much discussion about how we
could continue to sing together, conductor, Roy Rashbrook decided to launch the choir
properly.
And this is how we came to be.
In this, our inaugural concert, we are delighted to be joined by legendary harpist Hugh Webb,
for our performance of Britten’s utterly charming setting of medieval texts in the Ceremony of
Carols.
And of course, none of this would be possible without the inimitable Roy Rashbrook, member
of the world famous choir of St. Paul’s Cathedral and Director of Hart Voices & The Chantry
Singers, from whom our members are drawn.
FIND OUT MORE ABOUT CANTORUM NICOLAI:
www.twitter.com/cantorumnicolai www.facebook.com/cantorumnicolai
Cantorum Nicolai - Britten’s Ceremony of Carols - 19 December 2015
Find out more about us at www.cantorumnicolai.co.uk
Eve Borsey
Soprano 1
Ann Bradford
Soprano 2
Angela Edwards
Alto 1
Eszter Faulkner
Soprano 1
Kirstie Hennessey
Soprano 1
Hannah Inglis
Soprano 2
Judith Layzell
Alto 2
Polla Rashbrook
Alto 1
Claire Rennison
Soprano 1
Sophie Richards
Soprano 2
Catherine
Schlieben
Soprano 2
Louise
Shapley
Alto 1
Julia Slater
Alto 2
Carolyn Smith
Alto 2
Jenny Spencer
Alto 2
Clare M Thomas
Soprano 1
Jackie White
Soprano 2
Music for Choir
Organ and Cello including
Bach: Jesu Meine Freude
Conductor - Roy Rashbrook
Saturday 19 March 2016
Christ Church, Church Crookham
Tickets - £14 (U16’s - £3) Get tickets via the website or in person at:
Organically Speaking (Hartley Wintney),
Fleet Bargain Bookshop & LivingStones (Fleet)
www.hartvoices.org.uk
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