Yuletide Musings
Music that captures the spirit of the season: angels, carols, and lullabies.
Program Notes
This year’s seasonal concert will feature two major works and solo performances by our guest instrumentalists. As well as our regular collaborative pianist Connor Elias, we will be joined by Edmonton harpist Keri Zwicker and local musicians Walter Hofmeister (guitar) and Darrell Bueckert (marimba).
For the love of choral singing and the sharing of fellowship at this time of year, please join us either at 2:00 or 7:30 on Sunday, December 15 at Knox United Church for this concert of carols – carols that are not a part of the regular religious or secular repertoire.
James Hawn, Artistic Director
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Described by some as “the greatest English composer since Purcell”, Benjamin Britten (1913-1976) has provided the choral world with many wonderful things. Britten felt that music “should serve things greater than itself: the glory of God, the greatest of all. Or the glory of the state. Or the composer’s social environment.” Britten composed A Ceremony of Carols, Op.28 in March to April 1942, while crossing the Atlantic on the Axel Johnson, a Swedish cargo ship, in the thick of the Second World War. At the time, the composer and his partner, Peter Pears, were heading back to Britain after a three-year stay in the US. It was winter and the war was nothing but a grim reality. According to Pears, their cabins were hot and stuffy, and the company on board “callow, foul-mouthed and witless”. Plus, of course, there was always the danger of being attacked by a German U-Boat. During the voyage the ship stopped in Halifax, Nova Scotia, where Britten purchased a book of medieval poetry. Poems from this book, along with Gregorian Chant and other poetry spanning 14th- to 16th-century England, were the inspiration for A Ceremony of Carols, which includes both a Christmas narrative as well as references to the re-birth of spring. The carols, set to poems by Southwell, Cornish, the Wedderburns, and authors unknown, are “gloriously medieval in spirit—joyous, mysterious and deceptively simple.” Originally written for treble voices and harp, the carols were subsequently arranged for SATB choir and harp (or piano) by Julius Harrison. First conceived as a series of unrelated songs, it was later unified into one piece with the framing processional and recessional chant in unison based on the Gregorian antiphon Hodie Christus Natus Est. The carols are both delightful to sing and to listen to. The carols are:
Wolcum Yole!
There Is No Rose
That Yongë Child (alto solo)
Balulalow (with soprano solo)
As Dew in Aprille
This Little Babe
Interlude (solo harp)
In Freezing Winter Night
Spring Carol (duet for two sopranos)
Deo Gracias
The carols will be accompanied by the harp.
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Conrad Susa (1935-2013) was resident composer for the Old Globe Theatre in San Diego and served as dramaturge for the O’Neill Centre in Connecticut. He has written numerous scores for documentary films and PBS television productions, five operas, as well as many other choral works. One of those is Carols and Lullabies: Christmas in the Southwest.
Susa said this of Carols and Lullabies:
“Four or five years ago, Philip Brunelle suggested I write him a companion to Britten’s A Ceremony of Carols. To a composer, this tempting offer was another way of asking, ‘How’s about writing us a hit?’ After several years of me writing in doubt, a friend, Gary Holt, showed me a collection of traditional Spanish carols he had sung as a boy in Arizona. Excited, I juggled them around to form a narrative. I noted their many connections with Renaissance music along with their homey, artful simplicity. Finally, the overriding image of a Southwestern piñata party for the new baby led me to add guitar and marimba to Britten’s harp and to compose connective music and totally re-conceive the carols.
In an often overlooked detail in the Christmas story, the New Baby bawls loudly as the shepherds leave in the final bars of Chiquirriquitin. (You may hear him in your mind.) His parents now must dandle and soothe him to sleep. Tired themselves. They drift off as the angels hover about them in protective adoration.”This outstanding collection brings together ten of the most beautiful carols of the Spanish-speaking world, artfully arranged and performable either individually or as a suite. Titles included are:
¡Oh, mi Belén! (Biscayan)
El Desembre Congelat (Catalonian)
Alegría (Puerto Rican)
A la Nanita Nana (Spanish)
Las Posadas (Spanish)
Campana sobre Compana (Andalucian)
En Belén Tocan a Fuego (Castilian)
El Noi de la Mare (Catalonian)
Chiquirriquitín (Andalucian)
El Rorro (Mexican)
We will be performing the entire suite accompanied by harp, guitar, and marimba.
Text and Translations
Benjamin Britten (1913-1976): A Ceremony of Carols, Op. 28
1. Procession
Latin Text:
Hodie Christus natus est:
hodie Salvator apparuit:
hodie in terra canunt angeli:
laetantur archangeli:
hodie exsultant justi, dicentes:
Gloria in excelsis Deo.
Alleluia!
English Translation:
Today Christ is born:
Today the Savior appeared:
Today on Earth the Angels sing,
Archangels rejoice:
Today the righteous rejoice, saying:
Glory to God in the highest.
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 dare,
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.
4. That yongë child
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.
5. Balulalow
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 sangës sweit unto thy gloir;
The knees of my hert sall I bow,
And sing that richt Balulalow!
6. “As Dew in Aprille”
I sing of a maiden
That is makèles:
King of all kings
To her son she ches.
He came al so stille
There his moder was,
As dew in Aprille
That falleth on the grass.
He came al so stille.
To his moder’s bour,
As dew in Aprille
That falleth on the flour.
He came al so 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 mother be.
7. 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 unarmèd 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 pitchèd 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!
9. 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 heav’n;
This pomp is prizèd there.
With joy approach, O Christian wight,
Do homage to thy King,
And highly praise his humble pomp,
wich he from Heav’n doth bring.
10. Spring Carol
Pleasure it is to hear iwis the Birdès sing,
The deer in the dale, the sheep in the vale,
the corn springing.
God’s purvayance For sustenance.
It is for man.
Then we always to him give praise,
And thank him then.
11. Deo gracias – Adam lay i-bounden
Deo gracias! Deo gracias!
Adam lay i-bounden, bounden in a bond;
Four thousand winter thought he not too long.
Deo gracias! Deo gracias!
And all was for an appil, an appil that he tok,
As clerkès finden written in their book.
Deo gracias! Deo gracias!
Ne had the appil takè ben, the appil takè ben
Ne haddè never our lady a ben hevenè quene.
Blessèd be the time that appil takè was.
Therefore we moun singen.
Deo gracias!
12. "Recession" ("Hodie Christus natus est")
Latin Text:
Hodie Christus natus est,
hodie Salvator apparuit,
hodie in terra canunt angeli,
laetantur archangeli:
hodie exsultant justi, dicentes:
Gloria in excelsis Deo.
Alleluia!
English Translation:
Today Christ is born:
Today the Savior appeared:
Today on Earth the Angels sing,
Archangels rejoice:
Today the righteous rejoice, saying:
Glory to God in the highest.
Alleluia.
Conrad Susa (1935-2013): Carols and Lullabies — Christmas in the Southwest
¡Oh, mi Belén!
Biscayan Text:
¡Oh, mi Belén!
Llegó tu hora bien amada,
¡oh, mi Belén!
La luz que irradias sin cesar,
es como un faro que nos guía
en nuestra ruta, noche y día.
English Translation:
Oh, my Bethlehem!
Your hour has come, beloved,
oh, my Bethlehem!
The light that shines without ceasing,
is like a beacon that guides us
on our way, night and day.
2. El Desembre Congelat
Catalonian Text:
El desembre congelat, confús es retira.
Abril, de flors coronat,
tot el món admira.
Quan en un jardí d'amor,
neix una divina flor
D'una rosa bella
fecunda y poncella.
El primer Pare causà la nit tenebrosa
Que a tot el mon ofusca la vista penosa.
Mes en una mitja nit,
brilla el sol que n'és eixit
D'una bella aurora
que el cel enamora.
El mes de maig ha florit,
sense ser encara,
Un lliri blanc I polit
de fragancia rara,
Que per tot el món se sent,
de Llevant fins a Ponent,
Tota sa dulcura i olor amb ventura.
English Translation:
The frozen December retreats.
The whole world admires April,
crowned by flowers.
When in a garden of love,
a divine flower is born
from a beautiful rose,
fruitful and fragrant.
Our first Father brought on the night
which shrouded the world in darkness.
But at midnight,
the risen sun shines
announcing a beautiful dawn,
delighting the sky.
The month of May has blossomed,
not yet in full flower,
a white and polished lily,
of such rare fragrance,
that from East to West,
all the world can breathe in
its sweetness and scent with blessedness.
III. Alegría
Puerto Rican Text:
Hacia Belén se encaminan
María con su amante esposo,
llevando en su compañía
un todo un Dios poderoso.
Refrain:
¡Alegría y placer!
Que la virgen va de paso
con su esposo hacia Belén.
En cuanto Belén llegaron,
posada el punto pidieron,
nadie les quiso hospedar,
porque tan pobres les Vieron.
Refrain
Los pajarillos del bosque,
al ver pasar los esposos,
les cantaban melodías
con sus trinos harmoniosos.
Refrain
English Translation:
Towards Bethlehem they walk,
Mary with her lovely husband,
traveling in the company of
an almighty God.
Refrain:
Joy and pleasure!
For the virgin passes by,
with her husband, towards Bethlehem.
When they arrived in Bethlehem,
they searched for an inn,
but no one would accommodate them,
because they were so poor.
Refrain
The birds of the forest,
seeing Mary and Joseph,
sang songs
with their harmonious trills.
Refrain
IV. A la Nanita Nana
A la nanita nana, nanita ea... - a cooing sound from mother to baby, with no translatable meaning
Spanish Text:
Mi Jesús tiene sueño
bendito sea nanita sea.
Fuentecilla que corres clara y sonora,
Ruiseñor q’en la selva,
cantando lloras,
Callad mientras la cuna se balancea.
English Translation:
My Jesus is sleepy,
blessed be he.
Fountain that runs clear and sonorous,
Nightingale in the forest,
singing sadly -
Hush, while the cradle rocks.
V. Las Posadas
Spanish Text:
¿Quieres que te quite, mi bien, de las pajas?
¿Quieres que te adoren todos los pastores?
Refrain:
A la rurru, niño chiquito,
ya está arrulladito el niño.
Mi querido Padre, mi Díos y señor,
Que sufriste alegre del frio su rigor.
Refrain
English Translation:
Shall I lift you, my darling, out of the manger?
Shall I bring the shepherds to adore you?
Refrain:
A la rurru, little child;
the child is already almost lulled to sleep.
My dear Father, my God and Lord,
you gladly suffered our sorrow.
Refrain
VI. Campana sobre Campana
Andalucian Text:
¡Campana sobre compana,
y sobre compana una!
Asómate a la ventana,
y verás al Niño en la cuna.
Belén, campanas de Belén,
que los ángeles tocan
¿Que nuevas me traéis?
Recogido tu rebaño,
¿Adónde vas pastorcito?
Voy a llevar al portal requesón,
manteca y vino.
Si aún las estrellas alumbran,
¿Pastor dónde quieres ir?
Voy al portal por si el Niño
con Él me deja dormir.
English Translation:
Bell after bell,
one bell after another!
Come to the window,
and see the child in the cradle.
Bethlehem, bells of Bethlehem,
that the angels play,
what news do you bring to me?
You rounded up your flock:
Little shepherd, where are you going?
I’m going to bring to the stable cheese,
butter and wine.
If the stars still shine,
Shepherd, where do you want to go?
I’m going to the stable to see if the child
will let me sleep beside him.
VII. En Belén Tocan A Fuego
Castilian Text:
En Belén tocan a fuego,
del portal salen las llamas.
Porque dicen que ha nacido
El Redentor de las almas.
Refrain:
Brincan y bailan los peces en el río,
Brincan y bailan de ver a Dios nacido.
Brincan y bailan los peces en el agua,
Brincan y bailan de ver nacida el alba.
En el Portal de Belén
nació un clavel encarnado,
que por redimir el mundo
se ha vuelto lirio morado.
Refrain
La Virgen lava pañales,
y los tiende en el romero.
Los pajarillos cantaban
y el agua se iba riendo.
Refrain
English Translation:
In Bethlehem a fire begins,
from the manger come the flames;
for they say he was born,
the Redeemer of souls.
Refrain:
Fish in the river jump and dance,
they jump and dance to see God’s birth.
Fish in the water jump and dance,
they jump and dance to see the dawn’s birth.
In Bethlehem’s stable,
a carnation was born, the incarnate,
that by redeeming the world,
has turned into a purple lily.
Refrain
The Virgin washes clothes,
and hangs them on the rosemary bush.
The birds sang,
and the water flowed rejoicing.
Refrain
VIII. El Noi de la Mare
Catalonian Text:
¿Qué li darem a n'el Noi de la Mare?
¿Qué li darem que li sápiga bo?
Li darem panses en unes balances,
li darem figues en un paneró.
¿Qué li darem a n'el Noi de la Mare?
¿Qué li darem a l’hermos Infantó?
Panses i figues anous i olives,
panses i figues i mel i mató.
¿Tam-pa-tan-tam, que les figues son verdes?
¿Tam-pa-tan-tam, que ja madurarán?
Si no si maduren el día de Pasqua,
madurarán en el día del Ram.
English Translation:
What shall we give to the Child of the Mother?
What shall we give that the babe will enjoy?
We shall give him a tray full of raisins,
then we shall give him figs in a basket.
What shall we give to the Child of the Mother?
What shall we give to her beautiful Child?
Raisins and dried figs and olives,
raisins and figs and honey and cheese.
What shall we do if the figs are green?
What shall we do if the figs will not ripen?
If they are not ripe for Easter,
they will ripen on Palm Sunday.
IX. Chiquirriquitín
Andalucian Text:
Refrain:
Ay, del chiquirritín, chiquirriquitín,
metidito entre pajas,
Ay, del chiquirritín, chiquirriquitín,
Queridi, Queridito del alma.
Por debajo del arco del portaliño
se descubre a María, José y el Niño.
Refrain
Entre el buey y la mula
Dios ha nacido,
y en un pobre pesebre
lo han recogido.
Refrain
English Translation:
Refrain:
Oh, in the manger,
lying in the straw,
Oh, in the manger,
darling boy, little darling of our soul.
Below the arch of the stable,
we find Mary, Joseph, and the Child.
Refrain
Between an ox and a donkey,
God was born,
and in a poor manger
they received him.
Refrain
X. El Rorro
Mexican Text:
Refrain:
A la rururru, niño chiquito,
duérmase ya mi Jesucito.
Del elefante hasta el mosquito
guarden silencio, no le hagan ruido.
Refrain
Noche venturosa, noche de alegría,
bendita la dulce divina María.
Refrain
Coros celestiales con su dulce acento,
canten la ventura de este nacimiento.
English Translation:
Refrain:
A la rurru, little child,
go to sleep now, my tiny Jesus.
From the elephant to the mosquito,
keep quiet, do not make noise.
Refrain
Divine night, night of joy,
Blessed be sweet, divine Mary.
Refrain
Celestial choirs with your sweet voices,
sing the blessing of this birth.
Photo Credit: Amy Violet Photography
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James Hawn, Director of Music since 2003, has been active with the Saskatoon Chamber Singers for most of its history, and has been involved with singing and choirs for as long he can remember. Prior to his current appointment as Director, he was a long-time member of the bass section, and served as the choir’s president for ten years. James has also been actively involved in national and provincial choral organizations for over twenty-five years. He is a member of the Saskatchewan Choral Federation (SCF) and Choral Canada and has served for a number of years on both organizations’ boards. In 2006 he was presented with the SCF’s Pro Musica Award, which recognizes “exemplary service to choral music in Saskatchewan.” James was an English language arts teacher for thirty- two years with the Saskatoon Public Board of Education. During that time he also taught music, was involved in choral and church music, musicals, and drama both in the school system and in the community.
Connor Elias, Collaborative Pianist
Photo Credit: Rebecca Fisher
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Connor Elias is a pianist from Martensville, Saskatchewan. He holds a Bachelor of Music Honours from the University of Saskatchewan, as well as an ARCT in Piano Performance from the Royal Conservatory of Music. Connor has many influences and include his teacher Bonnie Nicholson. Throughout his undergrad, Connor has received various accolades at provincial and national music festivals, including second in the 2023 Saskatchewan Concerto Competition and third in the 2022 Canada West for piano solo. Apart from piano, Connor is involved as a chorister in the Greystone Singers, conducted by Dr. Jennifer Lang. He enjoys teaching his wonderful piano students, laughing with friends, and spending time with his family.
Keri Lynn Zwicker, Harp
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Edmonton-based Keri Lynn Zwicker is a versatile musician who is sought after as a soloist, teacher and side musician in both Celtic and Classical realms. She holds an ARCT in piano performance from the Royal Conservatory and a Bachelor of Music and Master of Arts with a focus in Ethnomusicology from the University of Alberta.
Keri Lynn has acted as principal harpist with Saskatoon, Regina and Red Deer Symphonies and is second harp with the Edmonton Symphony Orchestra. She has performed with almost every choir and musical ensemble in Edmonton including ProCoro, The Edmonton Winds, Cantilon Choir, Orchestra Borealis and Vocal Alchemy. Her full length symphony show, featuring Claude Lapalme’s orchestrations of her original music and traditional arrangements, has been performed in Alberta and B.C.
As one of Canada’s leading lever harpists, Keri Lynn has earned a solid reputation for her musicianship and stage presence while fronting her own trio, HarpRouge as well as performing as an integral member of David Wilkie’s Cowboy Celtic, a band that has toured extensively throughout North America, Ecuador, and Scotland.
Keri Lynn is also a singer, composer and arranger of traditional music and her work features her Gaelic-styled vocals and imaginative, energetic interpretations of traditional Celtic material. She also performs Latin American harp music and with funding from an Alberta Foundation of the Arts grant, she studied Latin American repertoire and techniques with harp master Alfredo Rolando Ortiz in California.
Since 1997 she has maintained a busy teaching studio with the MacEwan Conservatory of Music in Edmonton and is one of only three harp teachers in Canada to train in the Suzuki method. Last year she received a scholarship from the American Suzuki Institute to further her training in Stephen’s Point, Wisconsin.
She has also independently released three CD’s; The Devil’s Mill (1997), Rich & Rare (2006) and Winter Ramble (2007).
Walter Hofmeister, Guitar
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Since graduating from the University of Saskatchewan with a Bachelor of Music degree in 1987, Mr. Hofmeister has received instruction from notable teachers such as John Sutherland (U.S.), and John Duarte (U.K.), and his playing has received high acclaim from such distinguished artists as Christopher Parkening (U.S.), Alexander Lagoya (France), and Hubert Kappel (Germany).
Walter Hofmeister has also been the guitar instructor for the University of Saskatchewan Department of Music since 2001.
In addition to his activities as a soloist, Mr. Hofmeister also performs with harpist Chris Lindgren (Artissimo Duo), and also his family folk group Willoughby Widdershins, and the Strata New Music Ensemble. Walter has also appeared as guest soloist with the Prairie Virtuosi Orchestra, and has worked with many of Saskatoon’s finest musicians.
Darrell Bueckert, Marimba
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Darrell first played with the Saskatoon Symphony Orchestra as a section percussionist in the spring of 1980 while he was still in high school. That fall he joined the orchestra as Timpanist, and played here for four seasons before moving to Winnipeg for studies. He returned to the Timpanist position in Saskatoon in 1989, and has been anchoring that spot ever since. While Darrell was in Winnipeg he performed regularly with the Winnipeg Symphony, the Royal Winnipeg Ballet Orchestra and the Manitoba Chamber Orchestra as a section percussionist. Following his studies in Winnipeg Darrell returned to Saskatoon for two more years of university (1986-1988), during which time he served as Principal Percussionist for the SSO.
As an orchestral percussionist Darrell has played for numerous internationally known conductors and performers, Broadway musicals and touring ballets, as well as local choirs and theatre groups. Darrell also performs with other ensembles using a variety of instruments he has collected over the years. On any given weekend he might be found around the city busking, performing as a soloist on marimba, playing drum set for a local band, or performing the music of Central and South America on hand percussion.
When Darrell is not performing he is busy teaching percussion, both at home in his private teaching studio, and as Applied Percussion Instructor and Sessional Lecturer in Music Education at the University of Saskatchewan. His home studio is also where he runs a small recording business (Seashell Sound Productions). Over the years Darrell has helped many local artists record and produce their work.
Darrell has also released two of his own CDs: Out of the Blue (2002), a collection of his own hymn arrangements, and Seashells & Turtles (1999), a collection of Mexican and Guatemalan folk songs for marimba which he recorded with this friend Scott Tunison under the name Rosewood Marimba Duo. Both recordings were nominated for outstanding instrumental recording at the Western Canadian Music Awards. Darrell’s performances, compositions and arrangements have also been recorded by CBC radio and featured on CBC radio Saskatchewan.
Darrell is a graduate of the University of Manitoba (B.A.) and the University of Saskatchewan (B. Mus. Mus. Ed. and M. Ed. in instrumental music).