Gaude!
WELCOME!
It’s that time of year again and we thank you for joining us at our annual Christmas carol concert in St. John’s Parish Church, Adel.
We are delighted to be back in this wonderful Norman church and to be able to bring you a programme filled with a variety of music for the season on this second weekend of Advent. We hope the music fills you with joy and excitement for the rest of Christmastide.
If you enjoy today’s concert and would like to hear some more of the Scandinavian magic that you got a taster of, please consider joining us for a special concert for Sankta Lucia in St. Michael and All Angels in Headingley next week (13th December) and if you could tell your friends and family about us, that would be greatly appreciated!
Please take a minute to complete the feedback form and put it in the box at the exit. We value your comments, and we’d like to stay in touch to tell you about our future concerts.
Laura Barker-Bey (new Chair of Leeds Guild of Singers)
PROGRAMME NOTES & TEXTS
Ring The Bells Paul Fincham (*1959)
Award-winning Paul Fincham was formerly music director of the Cambridge “Footlights” and has also composed for TV, film and opera. This carol was premiered by the London Philharmonic Choir in December 2017 and has since been performed widely in the UK and beyond.
Text:
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas is near!
Hear the bells, the bells for Yuletide,
Hear the bells, for Yuletide is near!
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas is near!
In Bethlehem is born a child,
Brightly shining star.
His name shall be Emmanuel, Alleluia,
His name shall be Emmanuel, the Son of God on earth.
Let angels praise him evermore, Alleluia
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas,
Ring the bells, the bells for High days and Holy days,
For Holly and the Ivy days,
Ring the bells for Christmas.
In Bethlehem is born a child,
Brightly shining star.
His name shall be Emmanuel, Alleluia,
His name shall be Emmanuel, the Son of God on earth.
Let angels praise him evermore, Alleluia
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas,
Ring the bells, the bells for Christmas is near!
Hear the bells, the bells for Yuletide,
Hear the bells, for Yuletide is, Christmas is,
Christmas is near.
Ring the bells for Christmas,
Bells for Christmas,
Ring the bells for Christmas, for Christmas is…
Ding! Dong! Ding! Dong!
Ring the bells for Christmas,
For Christmas is here!
_______________________________________________________
Seeking You Kerensa Briggs (*1991)
British-born Kerensa Briggs is an award-winning composer specialising in choral music, whose pieces have been performed by major choirs and broadcast internationally. This work was commissioned in 2024 by the Saint Louis Chamber Chorus, where she is composer in residence, and features lyrics by US poet Charles Anthony Silvestri. It tells of a weary traveller at the deathbed of their long-beloved.
Briggs has been described as writing in a generally tonal, audience-friendly and performer-friendly idiom. This is certainly in evidence in the richness of the close harmony in this piece, but it’s also coupled with some surprising shifts in tonality, whilst the final cadence seems to leave us hanging on an unanswered question.
Text:
My weary feet know only toil,
My sandals gilt with dust and soil;
A threadbare cloak against the chill,
My brittle bones do ache, and still
I journey on into the night,
Following the slender light.
Seeking you. Seeking you.
Before the manger now I stand,
And offer up my outstretched hand.
I touch your brow, I feel you sigh,
And humbly I’m reminded why
I journey on into the night,
Following the slender light.
Seeking you. Seeking you.
My heart is full, my little rose,
That I could be the first you chose;
That such as I could come adore,
And see your gentle face before
I journey on into the night,
Following the slender light.
Seeking you. Ever seeking you.
Seeking you. Seeking you.
_______________________________________________________
När det lider mot jul (Now it draws near to Christmas) Ruben Liljefors (1871-1936)
Ruben Liljefors is a Swedish composer and conductor. He wrote this music to Jeanna Oterdahl’s lyrics in 1909 as a version for vocals & piano. This version for mixed a cappella choir was added in 1933.
The song has a warm, almost hymn-like melody and reflects typical Scandinavian Christmas imagery: winter nights, shining stars, church bells and the anticipation of Christmas. It is written in a late-Romantic choral style and the melody is one of the most recognisable Swedish Christmas tunes.
Text:
Det strålar en stjärna förunderligt blid,
i öster på himlen hon står.
Hon lyst över världenes oro och strid
i nära två tusende år.
När dagen blir mörk och när snön faller vit,
då skrider hon närmre, då kommer hon hit,
och då vet man, att snart är det jul.
Ty julen är härlig för stora och små,
är glädje och ljuvaste frid,
är klappar och julgran och ringdans också,
är lycka, oändligen blid,
är ljus- allas ögon då stråla som bäst
och stjärnorna tindra som mest
och där ljuset är- där är det jul.
A star is glowing wondrously gentle,
In the eastern sky it sits.
It has been shining over the unrest and battles of the world
for almost two thousand years.
When the days grow darker and the white snow falls,
it draws nearer, it`s comes to us,
and then one knows that soon Christmas is here.
For Christmas is enchanting to grown-ups and children alike,
is joy and delightful peace,
is presents and Christmas tree and round dance too
is happiness infinitely sweet,
is light - everyone`s eyes are then sparkling most
and the stars are twinkling most
and where the light is - there it is Christmas.
_______________________________________________________
O Sacrum Convivium! Olivier Messiaen (1908-1992)
Messaien composed this short piece for unaccompanied mixed choir in 1937 for the Feast of Corpus Christi. The tempo and long phrases evoke a liturgical chant. Messiaen uses modal harmony and movement in parallel chords, which creates an organ-like sonority. Any dissonances are carefully voiced, so they create a shimmering texture rather than tension.
Although this motet is a relatively early work, it contains hallmarks of Messiaen’s style and colour.
Text:
O sacrum convivium
In quo Christus sumitur
Recolitur memoria passionis eius
Mens impletur gratia
Et futurae gloriae, Nobis pignus datur,
Alleluia.
O sacred banquet,
in which Christ is received,
the memory of his Passion is renewed,
the mind is filled with grace,
and a pledge of future glory is given us.
Alleluia.
_______________________________________________________
Carol of the Bells Peter Wilhousky (1902-1978) / Mykola Leontovich (1877-1921)
This carol has its roots in the melody of an old Ukrainian folk song. The melody was arranged in 1916 by Ukrainian composer and prominent supporter of Ukrainian independence, Mykola Leontovych, who was assassinated by a Soviet agent in 1921. It was later discovered and reworked with new words into this popular carol by American composer Wilhousky. Its popularity lies in its simplicity with the constant repetition of the four-note opening motif.
Text:
Hark how the bells,
sweet silver bells,
all seem to say,
throw cares away
Christmas is here,
bringing good cheer,
to young and old,
meek and the bold.
Ding dong ding dong
that is their song
with joyful ring
all caroling.
One seems to hear
words of good cheer
from everywhere
filling the air.
Oh how they pound,
raising the sound,
o’er hill and dale,
telling their tale.
Gaily they ring
while people sing
songs of good cheer,
Christmas is here.
Merry, Merry, Merry, Merry Christmas,
Merry, Merry, Merry, Merry Christmas.
On on they send,
on without end,
their joyful tone
to every home.
Ding ding… dong!
_______________________________________________________
Jul, jul, strålande jul (Christmas, Shining Christmas) Gustaf Nordqvist (1886-1949)
Nordqvist wrote this song in 1921 to lyrics by Edvard Evers. Just like Liljefors’ ‘När det lider mot jul’, it covers the themes of light in the darkness, warmth, comfort and longing for peace. It’s a favourite amongst choirs due to its lush harmonies created through close-voiced textures.
Text:
Jul, jul, strålande jul
Glans över vita skogar
Himmelens kronor med gnistrande ljus
Glimmande bågar i alla Guds hus
Psalm som är sjungen från tid till tid
Eviga längtan till ljus och frid
Jul, jul, strålande jul
Glans över vita skogar
Kom, kom, signande jul
Sänk dina vita vingar
Över stridernas blod och larm
Över alla suckan ur människobarm
Över de släkten som gå till ro
Över de ungas dagande bo!
Kom, kom, signande jul
Sänk dina vita vingar
Christmas, Christmas, radiant Christmas
Glow over white forests
Heaven's crowns with sparkling lights
Shimmering bows in all of God's houses
Hymn that is sung from time to time
Eternal longing for light and peace
Christmas, Christmas, radiant Christmas
Glow over white forests
Come, come blessed Christmas
Lower your white wings
Over the bloodshed and turmoil of battles
Over all the sighs from human hearts
Over the families that rest
Over the young ones' dawning abode
Come, come blessed Christmas
Lower your white wings
_______________________________________________________
Lully, Lulla Kenneth Leighton (1929-1988)
West Yorkshire-born composer Leighton, whilst known chiefly for his choral works, also wrote over 100 pieces for a range of instrument combinations. Dating from 1956, this setting of the mediaeval Coventry Carol is for four-part choir with solo soprano and deploys a rich harmonic palette, steeped in the British choral tradition.
Text:
Lully, lulla, thou little tiny child
By, by, lully, lullay
O, sisters too
How may we do
For to preserve this day
This poor youngling
For whom we do sing
By, by, lully lullay?
Herod the king
In his raging
Charged he hath this day
His men of might
In his own sight
All young children to slay
That woe is me
Poor child for thee!
And every morn and day
For thy parting
Neither say nor sing
By by, lully lullay!
_______________________________________________________
In Dulci Jubilo Robert Luis de Pearsall (1795-1856)
Pearsall, born in Bristol, wrote his setting of this old German/Lutheran melody in 1834 and it has remained very popular ever since. Scored for double choir, it combines his own translations into English with original Latin text.
Text:
1. In dulci jubilo [in sweet rejoicing] let us our homage shew; Our heart’s joy reclineth in praesepio [in the manger] And like a bright star shineth, matris in gremio [in his mother’s lap] Alpha es et O [you are Alpha and Omega]
2. O Jesu parvule [O tiny Jesus] I yearn for thee alway! Hear me, I beseech thee, O puer optime! [O best of boys] My prayer let it reach thee, O Princeps gloriae! [O Prince of glory] Trahe me post te! [Draw me unto thee]
3. O Patris caritas [O love of the Father] O Nati lenitas [O gentleness of the Son] Deeply were we stained per nostra crimina [by our sins] But thou hast for us gained Coelorum gaudia [the joy of Heaven] O that we were there!
4. Ubi sunt gaudia [where are the joys], if that they be not there? There are angels singing nova cantica [new songs]
There the bells are ringing in Regis curia [in the King’s court]: O that we were there!
_______________________________________________________
Canticum Mariae Virginis Einojuhani Rautavaara (1928-2016)
Einojuhani Rautavaara is one of Finland’s most important composers post Sibelius, who is internationally recognised for his orchestral, choral, and operatic works. Stylistically he is known for lush Romantic harmonies with a modern texture, influenced by Finnish folk music and Gregorian chant.
In this Magnificat ‘Canticum Mariae Virginis’ one can hear the influences of Gregorian chant, with the use of modal harmonies and open intervals (perfect fifths and fourths). The harmonies move slowly and the voices all overlap, creating atmospheric textures.
Canticum Mariae Virginis reflects his interest in spirituality, mysticism, and the use of sound to evoke a transcendental experience. It shows his interest in timeless, liturgical forms without being constrained by traditional rules.
Text:
Ave maris stella,
Dei Mater alma,
Atque semper virgo,
Felix caeli porta.
Sumens illud Ave,
Gabrielis ore,
Funda nos in pace,
Mutans Haevae nomen.
Solve vincla reis,
Profer lumen caecis:
Mala nostra pelle,
Bona cuncta posce,
Monstra te esse Matrem,
Sumat per te preces,
Qui pro nobis natus,
Tulit esse tuus.
Virgo singularis,
Inter omnes mitis,
Nos, culpis solutos,
Mites fac et castos.
Vitam praesta puram,
Iter para tutum,
Ut, videntes Jesum,
Semper collaetemur.
Sit laus Deo Patri,
Summon Christo decus,
Spiritui Sancto,
Tribus honor unus. Amen
Gaude Maria virgo!
Cunctas haereses sola interemisti,
Quae Gabrielis archangeli dictis
Credidisti.
Gaude Maria virgo!
Dum virgo Deum
Et hominem genuisti,
Et post partum
Vigo inviolate permansisti.
Dei genitrix,
Intercede pro nobis.
Beatam me dicent
Omnes generationes,
Quia ancillam
Deus humilem respexit.
Brightest star of ocean,
Portal of the sky,
Ever virgin mother
Of the Lord most high.
Who by Gabriel’s Ave,
Uttered long ago,
Eva’s name reversing,
Bring us peace below.
Break the captive’s fetters,
Light on darkness pour,
All our ills expelling,
Every joy implore.
Show yourself a mother,
Show to him our grief,
Who for us incarnate,
Came to our relief.
Virgin of all virgins,
All your love impart,
Gentlest of the gentle,
Make us pure in heart.
Onwards as we journey,
Ever guide our choice
Till with you and Jesus
We shall all rejoice.
Praised be God, our Father,
Praised be Christ,
The holy Spirit,
Glory to the Holy Trinity. Amen
Rejoice, Virgin Mary!
You who shunned all temptation,
Believing in the message of the
Archangel Gabriel.
Rejoice, Virgin Mary!
Because You gave birth to
God and Man
And yet
Remained a virgin.
Mary, Mother of God,
Intercede for us.
All the generations
Shall call You blessed,
Because He has looked on
The humble servant of God.
_______________________________________________________
In the Bleak Midwinter Arr. Ola GJEILO (*1978)
Norwegian-born composer and pianist Gjeilo now lives in the USA. This eight-part arrangement for double choir combines the original melody by Gustav Holst (and words by Christina Rossetti) with sustained chords in one choir and repeated crotchet or quaver patterns in the other parts.
Text:
In the bleak midwinter
Frosty wind made moan,
Earth stood hard as iron,
Water like a stone:
Snow had fallen,
Snow on snow, snow on snow,
In the bleak midwinter,
Long ago.
Our God, heaven cannot hold him,
Nor earth sustain,
Heaven and earth shall flee away
When he comes to reign:
In the bleak midwinter
A stable place sufficed
The Lord God Almighty,
Jesus Christ.
Angels and archangels
May have gathered there,
Cherubim and seraphim
Thronged the air,
But only his mother,
In her maiden bliss,
Worshipped the Beloved
With a kiss.
What can I give him,
Poor as I am?
If I were a shepherd,
I would bring a lamb,
If I were a wise man
I would do my part,
Yet what I can I give him,
Give my heart.
_______________________________________________________
Drop Down Ye Heavens, from Above Dame Judith Weir (*1954)
British composer Judith Weir is the first woman to have been appointed Master of the Queen’s Music, in 2014 by Elizabeth II. Much of her output is inspired by medieval music, and this setting of Rorate Caeli, which expands the original monody to as many as seven parts is a good example.
Text:
Drop down ye heavens from above,
And let the skies pour down righteousness.
Comfort ye, comfort ye, my people;
My salvation shall not tarry.
I have blotted out as a thick cloud thy transgressions:
Fear not, for I will save thee;
For I am the Lord thy God,
The holy one of Israel, thy redeemer.
Drop down ye heavens from above,
And let the skies pour down righteousness.
_______________________________________________________
Legend (The Crown of Roses) Peter I. Tchaikovsky (1840-1893)
The song’s title refers to the “crown of roses” as a symbol of suffering, devotion, and spiritual beauty, paralleling Christ’s crown of thorns but in a poetic, redemptive sense. While not as widely known as Tchaikovsky’s ballets or symphonies, The Crown of Roses demonstrates his sensitivity to text setting and lyrical writing for voice, showing his ability to combine emotional depth with melodic beauty.
Although the melody is lyrical with long flowing lines, which are both suitable for solo voice or choir, Tchaikovsky’s use of dynamics, harmonic suspensions and chromaticism heighten the emotional intensity.
Text:
When Jesus Christ was yet a child
He had a garden small and wild,
Wherein He cherished roses fair,
And wove them into garlands there.
Now once, as summer time drew nigh,
There came a troop of children by,
And seeing roses on the tree,
With shouts they plucked them merrily.
Do you bind roses in your hair?
They cried, in scorn, to Jesus there,
The Boy said humbly: “Take, I pray,
All but the naked thorns away.”
Then of the thorns they made a crown,
And with rough fingers pressed it down,
Till on His forehead fair and young,
Red drops of blood like roses sprung.
_______________________________________________________
Jesus Christ the Apple Tree Elizabeth Poston (1905-1987)
Elizabeth Poston is an English composer known especially for her focus on folk-influenced vocal and choral works. She also collected and arranged traditional English folksongs.
Poston’s setting of this poem is one of the most well-known musical adaptations. The texture is simple and homophonic, paying careful attention to the clarity of the text. The melody is lyrical and serene, bringing a contemplative mood. There is a repeating, memorable melodic motif for the phrase ‘Jesus Christ the Apple Tree’.
Text:
The tree of life my soul hath seen,
Laden with fruit and always green;
The trees of nature fruitless be,
Compared with Christ the Apple Tree.
His beauty doth all things excel,
By faith I know but ne'er can tell
The glory which I now can see,
In Jesus Christ the Apple Tree.
For happiness I long have sought,
And pleasure dearly I have bought;
I missed of all but now I see
'Tis found in Christ the Apple Tree.
I'm weary with my former toil -
Here I will sit and rest awhile,
Under the shadow I will be,
Of Jesus Christ the Apple Tree.
This fruit doth make my soul to thrive,
It keeps my dying faith alive;
Which makes my soul in haste to be
With Jesus Christ the Apple Tree.
Programme notes by Lindsay Robertshaw and Laura Barker-Bey
LEEDS GUILD OF SINGERS
Founded in 1948, Leeds Guild of Singers has established a reputation as one of Yorkshire’s finest chamber choirs and is a group of around 40 singers which prides itself on a light, flexible and pure sound. We perform a wide and adventurous repertoire of sacred and secular music, mostly unaccompanied and spanning seven centuries. We also support new music and our most recent commission Songs of Sleep and Prophecy, written by Martin Suckling, was made in memory of David Eaves, who was a member of the Guild for many years.
Email: secretary@leedsguildofsingers.org.uk
web: www.leedsguildofsingers.org.uk
Facebook: facebook.com/leedsguildofsingers
Instagram: @leedsguildofsingers
Bluesky: @leedsguildofsingers.org.uk
Mastadon: mastodon.social/@LeedsSingers
YouTube: @leedsguildofsingers
BENJAMIN KIRK – MUSICAL DIRECTOR
Benjamin (b. 1992) was born in Beverley, East Yorkshire to missionary parents. He spent his early years in Portugal, Brail, and the United States, before falling in love with choral music while a chorister at Ripon Cathedral. After leaving Chris’s Hospital Shool in 2011, Benjamin moved to Tallinn, Estonia to begin studying Choral Conducting under Tõnu Kaljuste, at the Estonian Academy of Music and Theatre.
Benjamin won 3rd Prize in the 2019 Word Choral Conducting Competition in Hong Kong, and is now Musical Director of The Purcell Singers, The Lea Singers in Harpenden, and Sine Nomine International Touring Choir. In December 2025 he will be conducting the Christmas concerts with the Opera North Youth Chorus.
Since 2021 Benjamin has been Guest Conductor with the National Forum of Music (NFM) Choir in Wroclaw, Poland, in a budding international career: He has also worked with the Estonian National Male Choir (2014/2016), the Estonian Philharmonic Chamber Choir (2016/2018), the Swedish Radio Choir (2018) and the French Radio Choir (2019).
Outside of conducting, Benjamin enjoys playing chess, watching stand-up comedy and reading.
benjamintheophilus.com
OUR SINGERS IN THE 2024-25 SEASON: (not all performing today)
Soprano:
Sara Caine
Emily Clarke
Alexis Cooling
Orlen Crawford
Melanie Dodds
Kristýna Farag
Claire Osborne
Eve Ridgeway
Elodie Smith
Sophie Swinson
Tamsin Symons
Laura Turner
Catherine Whatmough
Anna Williams
Kay Yates
Alto:
Laura Barker-Bey
Milena Büchs
Vicky Hands
Enson Lee
Ally Martin
Myriam Mitchell
Mary Seeds
Ruby Thomas
Cassie White
Claire White-McKay
Katie Woollam
Tenor:
Peter Coltman
Chris Cunliffe
Andrew Downs
Angus McAllister
Matthew Oglesby
Nick Salmon
John Scholey
Ellis Soothill
David Williams
Bass:
David Bowman
Andrew Chaplain
Martin Coombes
David Hargreaves
David Jackson
Matt Knowles
Lindsay Robertshaw
Aidan Sadgrove
Ali Wood
