A Ceremony of Carols

2

blank

Forte – The Toronto Men’s Chorus

A Ceremony of Carols

Edward Connell Music Director and Arranger

Tony Hamill Production Coordinator

Steven Shinbin Production Manager

Vince J. Ciarlo Publicity

Stewart Montgomery Volunteer Coordinator

The Chorus

Tenors

Wayne Ball Matthew Bowman Pablo Calderon

Kevin Chen Vince Ciarlo Jamie Ebbs

Alex Elliott Peter Krochak Art Martin

Baritones

Christopher Brown Jeager Galicha Farrell Hall

Tony Hamill (on leave) Eric Lahey Randy Mulrooney

Kevin Nelson Will Wallin

Basses

Fabio Fernandes Lawrence Friesen Chi Chi Hoffner

Mark Le Messurier Stewart Montgomery Drew Post

Stuart Watson

Guest Artists

Aurélie Cormier, mezzo-soprano Bruno Cormier, baritone

Andrew Chan, harpist

Board of Directors Kevin Chen, President & Treasurer Vince Ciarlo, Past President

Peter Krochak. VP Artistic Stuart Watson, VP Fundraising Fabio Fernandes, Executive Secretary Eric Lahey, Membership Director

Mychol Scully, Public Relations Director

Volunteers Michael Corbett Yan Montgomery Micheline Montgomery

Tanya Schreck Sarah Drury Rae Shams

Olivia Rotolo Tessa Delos Santos Alex Bottner

Edna Bovas Ariana Douglas Stephanie Welton

Lizz Kellermann Tatiana Stewart-Haas Livv Sabourin

Ana Rodriguez

Forte – The Toronto Men’s Chorus appreciates

the generous financial support provided by

Edward Connell Edye Rome Charles Webster

Vince Ciarlo Peter Krochak Terry Thompson

Tony Hamill & friends Bernard Quilty & friends Stuart Watson

Forte also acknowledges the enthusiastic support of Anna Fox of Metropolitan United Church,

as well as the staff of St. Andrew’s United Church where the chorus rehearses.

2

3

About fORTE—The Toronto Men’s Chorus

fORTE - The Toronto Men's Chorus is a group of individuals committed to

highlighting the talents of our community and building bridges to other

communities through the performance of a diverse repertoire of music.

fORTE - the Toronto Men's Chorus is an amateur, not-for-profit performing

arts group, and a Registered Charity. We are an auditioned 24-voice men's

chorus under the leadership of Edward Connell, one of Canada's finest choral

directors. Membership is drawn primarily from Toronto's talented and diverse

gay community. Although not exclusively gay in its membership, its repertoire

or its outlook, fORTE always has something to say about the gay world.

fORTE in twelve successful seasons has established an impressive reputation

in Toronto and across Canada through it's many concerts, recordings, and

innumerable community events. fORTE is proud to have capped its eleventh

season by being named a National Semi-Finalist in the CBC Choral

Competition for Amateur Choirs.

fORTE has a unique sound, which is due in no small part to the sophisticated

custom arrangements we create ourselves for all our performances, but also

because of the very special effort we put into achieving the highest levels of

vocal and choral technique and artistry.

fORTE has a broad repertoire and performing style. Traditional choral events

have included Forte in Formal, the first all-classical choral concert by a gay

men's chorus in Canada, and Midnight Clear, a World AIDS Day Concert.

Musical theatre shows that involve singing, dancing, acting and storytelling

have included Steam Heat, which tells the story of the 1981 bathhouse raids

that became the origins of Toronto's Pride Week, and Queerly Beloved, which

takes a light-hearted look at the issues surrounding gay marriage. Both of

these works have recently been performed on tour in Canada and the U.S.

Forte at Forte, a very special fund-raiser, will take place at Forte Bistro &

Lounge on April 18, 2010. Later in Spring 2010, we will present a new

theatrical show called Oh, Brother! which will then travel to the Unison

Festival in Winnipeg. We will also be devoting special attention to the many

individual talents in fORTE through a series of cabaret and recital

performances. Please visit our Web site at www.forte-chorus.com for the

latest information.

For the enjoyment of all... We are delighted that you have joined us tonight for our music making. Forte is a natural voice choir, frequently singing a cappella (“in the chapel”) in the natural acoustic setting of one of Canada’s most beautiful churches. As a result, the sound may be smaller than what you have become accustomed to in the world of electronically enhanced media. If you have difficulty hearing the delicate subtleties of our performance, we encourage you, between selections, to move forward, where you can enjoy the intimacy of a live natural performance.

Please note that the use of cameras or recording devices is strictly prohibited. Please also remember to silence any cell phones or other similar devices during the performance.

4

5

President‘s Welcome

Dear Forte Supporters, Friends and Families,

Welcome to A Ceremony of Carols, our first concert of our thirteenth

season. While we have always had a concert at this time of year it has been

some time since we have presented a Christmas Concert featuring Christmas

music for your enjoyment. We are delighted to welcome Bruno and Aurélie

Cormier as guest vocalists and Andrew Chan harpist.

Some of you have attended this concert now for 13 years and others may be

with us for the first time. I hope it will be a continuing part of the season for

all in years to come. We are more than a group of singers, we are, with you,

a family of friends and it s great that we are all together.

There is a great deal happening this year and I invite you to check our Web

site regularly and sign up there for updates. Of particular note will be our

first formal Dinner concert at FORTE Bistro on April 18th, a cabaret style

performance in June and once again we will join our friends at Singing

OUT! for their PRIDE cruise.

I would also like to offer a note of special appreciation to our director Ed

Connell who has put his great talent, energy and immeasurable time into

making this evening the great event we are sure you will find it to be!

Best wishes to you and yours for the season.

Kevin Chen, President Forte The Toronto Men’s Chorus

6

7

Silent Auction Holiday Treasures Our Sponsors

fORTE appreciates the support we receive from so many individuals, small

businesses and corporations. Their contributions make it possible for us to be

here tonight, and for that we are truly grateful. Whenever possible, please let

these generous supporters know that you also appreciate their support of

Forte—The Toronto Men‘s Chorus.

CORE Design Services

8

Pearangel Art Studio

Silent Auction Holiday Treasures Our Sponsors

fORTE appreciates the support we receive from so many individuals, small

businesses and corporations. Their contributions make it possible for us to be

here tonight, and for that we are truly grateful. Whenever possible, please let

these generous supporters know that you also appreciate their support of

Forte—The Toronto Men‘s Chorus.

9

Silent Auction Holiday Treasures Featured Contribution

Steve Driscoll is a 29 year old Toronto based artist. His work has been

widely collected both nationally and internationally, with recent shows in

Toronto, Vancouver, St. Johns, New York, New Jersey, and Copenhagen.

Last fall Steve launched his new book, ―Conversations‖ showcasing the

changes and developments of his paintings from 2000 - 2008. Presented in

full colour, the paintings are accompanied by a collection of quotes and

anecdotes from 16 of Driscoll's peers.

For more images and information visit the artist's site:

www.SteveDriscoll.com

Silent Auction Holiday Treasures

We are extremely grateful to our sponsors and supporters for providing such

an exciting collection of gifts, packages and holiday offerings for our Silent

Auction during the intermission of "A Ceremony of Carols".

Please note that bidding will close 20 minutes

after the beginning of the Intermission.

fORTE Holiday Bundle #1

Toronto Marriott Hotel Bloor Yorkville - Weekend Accommodations for (2)

+ Forte Bistro - Dinner for (2)

+ Spirits Bar & Grill - $30.00 Gift Certificates

+ 1 signed copy of 'Conversations' by Artist Steve Driscoll

Value $622.00

fORTE Holiday Bundle #2 Sutton Place Hotel - 1 Night Accommodation for (2) King DLX Suite

+ Hair of the Dog Restaurant - Dinner for (2)

+ Signed copy of 'Conversations' by Artist Steve Driscoll

Value $470.00

10

11

fORTE Holiday Bundle #3 Fairmont Royal York Hotel - 1 Night Accommodation for (2) DLX Suite

+ Alice Fazooli's Italian Grill - $50.00 Gift Certificate


Value $440.00

fORTE Holiday Bundle #4 Ramada Plaza Toronto - 1 Night Accommodation for (2) DLX Suite

+ ‗hot‘ breakfast for (2) at The Shade Restaurant


Value $390.00

fORTE Holiday Bundle #5 Sheraton Centre Toronto - 1 Night Accommodation for (2) DLX Suite

+ The KEG Steakhouse & Bar – Mansion location - $50 Gift Certificate


Value $390.00

fORTE Holiday Bundle #6 Gladstone Hotel - 1 Night Accommodation for 2

+ The Old Spaghetti Factory - $30.00 Gift Certificate


Value $195.00

Single auction items to bid on:

Four single opera tickets to four different operas valued at $130.00 each

Original Painting by Artist Steve Driscoll 14" X 23" - $1300.00

Signed Limited Edition copies of 'Conversations' with print insert by Artist

Steve Driscoll - $100.00 each

Additional signed copies of 'Conversations' by Artist Steve Driscoll -

$40.00 each

Erotix - Toronto's Finest in Body Piercings - Gift Certificate $50

Priape – assorted items

ZipCar Canada - gift certificate – $85.00 Membership + $100.00 Driving

Credit

Jeanet Spa & Salon - 1 hour hot stone massage - $105.00

Holts Salon & Spa – Revitalize Spa Package - Custom Facial, Custom

Pedicure and Custom Manicure- $183.75

Pearangel Art Studio – T-shirt (large), handpainted in acrylic Value $75

Journal, handmade with natural fibers and handpainted in acrylic Value $60

Buddha painting 9x12, framed, painted in blue and gold on handmade paper

Value $300

12

13

14

A Ceremony of Carols

Carols for Gentlemen

God Rest You Merry, Gentlemen Arranged R. Vaughan Williams

& Edward Connell

Good King Wenceslas Arranged Edward Connell

Rise Up, Shepherd, and Follow Arranged Kirby Shaw

Masters in This Hall Arranged Edward Connell

Carols pour les Anges

Les Anges dans nos campagnes Arranged Bruno Cormier

Il est né, le divin enfant Arranged Bruno Cormier

Dans le silence de la nuit Arranged Bruno Cormier

Aurélie et Bruno Cormier

Carols for a Boy

A Ceremony of Carols, Opus 28 Benjamin Britten


Procession ―Hodie Christus natus est‖

Wolcum Yole! (Anon. 14th c.)

There is no Rose (Anon. 14th c.)

That yongë child (Anon. 14th c.)

Drew Post, soloist

Balulalow (James, John and Robert Wedderburn, 1561)

Kevin Chen, soloist

As dew in Aprille (Anon. c. 1400)

This little Babe (Robert Southwell, 1561?-1595)

Interlude (harp solo)

In Freezing Winter Night (Robert Southwell),

Christopher Brown and Drew Post, soloists

Spring Carol (William Cornish, 14?-1523),

Matthew Bowman & Chi-Chi Hoffner, soloists

Deo Gracias (Anon. 15th c.)

Recession

Intermission

15

Carols for the World

Shchedryk Ukrainian Carol,

Arranged Peter Krochak

Carol from an Irish Cabin Dale Wood


Birth Canadian Carol, Music Peter Krochak,

Words Lori Vos

Bruno Cormier, soloist

Est ist ein Ros‘ entsprungen German Carol,

Arranged Michael Praetorius

De tierra lejana venimos a verte Puerto Rican Carol,

Arranged Edward Connell

Carols in Blue

Boogie Woogie Hannukah Eric Lane Barnes

Stille Nacht German Carol, Arranged Ward

Swingle

Aurélie Cormier, soloist

Rudolph, the Red Nosed Reindeer Johnny Marks

Arranged Blenders

Kevin Nelson, soloist

Carols for All

The First Nowell Arranged David Willcocks

Adapted Edward Connell

I Saw Three Ships Arranged Ralph Vaughan Williams

Bruno Cormier, soloist

In the Bleak Midwinter Gustav Holst

Arranged Edward Connell


Adeste Fidelis Arranged David Willcocks, Edward

Connell et al

Aurélie Cormier, soloist

16

Edward Connell has been fORTE‘s Music Director since 2002. His diverse musical

career includes many years creating music for professional theatre, as well as head of

music theory and piano at the Alberta College Conservatory, and Music Director of

Timothy Eaton Memorial Church, one of the largest church music programs in Canada.

His choral career includes being a singer, pianist and conductor with ProCoro Canada,

the Artistic Directorship of Cantilena Consort, and founder and first conductor of

Edmonton Vocal Minority. Mr. Connell‘s many academic honours include being named

a Fellow of the Royal Canadian College of Organists with the Healy Willan Prize. He is

currently organist of St. Timothy‘s Anglican Church in Toronto, where he works with

Brainerd Blyden-Taylor. Since 2005, he has also been concert pianist with the National

Ballet of Canada, where he has performed 24 Preludes by Chopin, Brahms Waltzes in

the Manner of Isadora Duncan, Rubies (Stravinsky‘s Capriccio for Piano and

Orchestra), Polyphonia (solo piano pieces by Gyorgy Ligetti) and The Lady of the

Camellias (Chopin‘s Piano Concerto No. 1). This coming season, he and the National

Ballet will repeat the very successful 24 Preludes by Chopin as part of the 2010

Olympics in Vancouver.

Andrew Chan, harp

Hailed by the National Post as having ―a rare charisma‖, harpist Andrew Chan has

performed across Canada and the US. As a soloist, he has performed concertos by

Debussy, Handel, Michael Conway Baker, and Mizi Tan. His audience has included

the Canadian Senate and Princess Thi-Nga of Vietnam. Mr. Chan serves as Principal

Harp for the Ontario Philharmonic and continues to perform with numerous regional

orchestras throughout Ontario. A musician of diverse talents, Mr. Chan plays Electric

Harp with international artist Dr Draw and his fusion band. Together they have toured

across Canada and the US. Their 2007 recording ―Adagio‖ has been ranked as the third

best-selling on the Nielson SoundScan Charts in Toronto. As a dedicated teacher, Mr.

Chan leads studios in Toronto and in Kingston. He directs the Andrew Chan Harp

Orchestra featuring ten of his prize winning protégés. The ensemble recently performed

at the Royal Ontario Museum and Glen Gould Studio with much success.

www.andrewchanharpist.com

Aurélie Cormier, mezzo-soprano

Aurélie, a native Nova Scotian from Chéticamp and Bruno‘s youngest sister, has sung

since childhood. From her first solos with the children‘s choir L‘écho des montagnes

under the direction of Michel Aucoin, to her numerous collaborations with great

musicians, students and professors, current and alumni from l‘Université de Moncton

and elsewhere, music has remained an integral part of Aurélie‘s life. Aurélie holds a

Bachelor of Music degree and recently received a Master in Business Administration

degree from l‘Université de Moncton. Her operatic credits include Mère Marie in

Poulenc‘s Les dialogues des Carmélites, the Contralto in Johnson‘s The Four-Note

Opera, the role of the dragonfly in Ravel‘s L‘enfant et les sortilèges, and the role of

Hexe in Humperdinck‘s Handel und Gretel. In oratorio, she has been a soloist in

Handel‘s Messiah, Charpentier‘s Messe de minuit, and Scott MacMillan‘s Celtic Mass

for the Sea. She now lives in Moncton, where she works in the public sector and where

she teaches voice and music theory to the community‘s young people.

17

Bruno Cormier, baritone

After graduating from l‘Université de Moncton with a Bachelor of Music in

performance and pedagogy, Bruno Cormier pursued graduate studies at the University

of Toronto Opera Division where he graduated with honours. Already having over 20

operatic roles to his credit, he also performs regularly in oratorio. concert and recital

work in Toronto and elsewhere. His operatic credits include Marcello in Puccini‘s La

Bohème, Don Alfonso in Mozart‘s Così fan tutte, the Marquis de la Force in Poulenc‘s

Les dialogues des Carmélites, Bottom in Britten‘s A Midsummer Night‘s Dream, and

Marullo in Verdi‘s Rigoletto. In oratorio, he has been a soloist in Honegger‘s Nicholas

de Flue, Franck Martin‘s Et la vie l‘emporta, Nono‘s España en el corazon, Handel‘s

Messiah, J.S. Bach‘s St. John Passion as well as many of his cantatas, Fauré‘s Requiem,

Mozart‘s Requiem, Stainer‘s Crucifixion, and Stravinsky‘s Mass. Bruno has worked

with many great conductors including Julius Rudel, Mark Flint, Nicholas McGegan,

Graham Jenkins and Seiji Ozawa in Canada, the United States and Asia. He has

worked with Symphony Nova Scotia, Opera New Brunswick, Symphony New

Brunswick, the Canadian Children‘s Opera Chorus, the CONTACT contemporary

music ensemble, Forte, the Toronto Men's Chorus, the Entr‘acte ensemble, Edmonton

Opera and the Veroza Opera Company in Japan. He has performed at many renowned

music festivals, including Tanglewood, Aspen, and Orford.

Program Notes Carols for Gentlemen

Gentlemen, Good Kings, Shepherds, Masters, and most especially Mother and Child; all

are celebrated in the ancient form known as the ‗carol‘. But what is a ‗carol‘, really?

According to The New Oxford Book of Carols, ―the content must be narrative,

contemplative, or celebratory, the spirit must be simple, the form normally strophic.‖

Carols are linked, inextricably, with Christmas, of course, but a host of carols, old and

new, are attached to diverse sacred festivals, including Advent, Candlemas,

Annunciation, Epiphany, Passion, Easter and Spring. Carols might also be considered

the earliest form of ‗pop‘ music; ever since the hymn was introduced to the Western

Church in the fourth century by St. Ambrose, the Carol has found its way into the

voices and hearts of the people, probably because it is overtly tuneful hymnody, mostly

derived from dancing tunes, and attached to the most endearing of the Christian feast

days.

The oldest tune we sing tonight is ‗Tempus adest floridum‘, a 14th century spring song

from the Piae Cantiones, an important 1592 Swedish collection of late medieval Latin

songs from widely diverse sources. The words which are set to this fine tune are

Victorian, and the unlikely story of how tune and text came together is something of a

microcosm of the history of the modern Christmas Carol.

The Victorians re-invented Christmas by compressing the traditional twelve-day festival

into just two or three days, and by turning the the festival inward towards a celebration

of home and family. Christmas trees, the invention of Martin Luther three and a half

centuries earlier, came into vogue, and the churches began to desire old and melodious

18

tunes as part of the nostalgia for the supposed Christmases of yore. In 1853, John

Mason Neale published his Carols for Christmastide, wherein his preface observes that

―it is impossible at one stretch to produce a quantity of new carols, of which words and

music shall alike be original. They must be the gradual accumulation of centuries; the

offerings of different epochs, of different countries, of different minds, to the same

treasury.‖ It was in this collection that Neale presented his well-known words to the

14th century tune, and ‗Good King Wenceslas‘ has remained immensely popular ever

since. Its charming tale of good will and cheer isn‘t based on a real incident, although

Wenceslas is the Germanized form of Václav the Good, who reigned in Bohemia from

922 to 929, and is the modern Czech republic‘s patron saint.

All the other carols we sing tonight have similar multi-layered and multi-faceted

origins. ‗God Rest You Merry, Gentlemen‘ exists in multiple versions of text and

tunes. Our version uses the now ubiquitous words first published by William Sandys in

1833 in England, but these words are set to two different tunes. The very familiar

minor mode tune, called ‗London‘ or ‗Chestnut‘ is given a handsome setting for male

chorus by Ralph Vaughan Williams, and this is contrasted with a very attractive major

key tune from Cornwall that was the text‘s first musical setting.

‗Rise Up, Shepherd, and Follow‘ comes from the 1867 American publication Slave

Songs of the United States, and was collected during the American Civil War in South

Carolina. It bears considerable resemblance to several Welsh tunes. Our setting is

adapted from a most effective jazz a cappella setting by Kirby Shaw.

‗Masters in This Hall‘ is a very old French dancing tune, first found in a 1703 French

dancing manual. Only a few years later, an English version appeared entitled ‗The

Female Saylor‘. The words we now sing were penned in 1860 by Englishman William

Morris. Our version began life as the ‗title track‘ of Forte‘s 2002 Christmas concert.

Carols pour les Anges

Frequent Forte guest Bruno Cormier brings along his sister Aurélie to present a

sampling of their new CD, Dans le silence de la nuit, and to preview their CD release

concert tomorrow evening. The scintillating arrangements are all by Bruno.

‗Les anges dans nos campagnes‘ is one of the earliest traditional French carols. It is

thought to have emerged in the 16th or 17th century in the Languedoc region of France,

but was published for the first time in 1842 in Paris by Abbé Lambillotte, whose Choix

de cantiques sur des aires noveaux was introduced in Canada shortly thereafter.

‗Il est né, le divin enfant‘ was first published in 1862, under the title ‗Ancien air de

chasse‘; the tune is very similar to an old Normandy hunting song. The text dates from

1875 in Dom Legeay‘s Noêls ancien.

‗Dans le silence de la nuit‘ is thought to be originally a old French drinking song. By

contrast, the carol text portrays the Nativity with stillness and reverence.

19

Carols for a Boy

A Ceremony of Carols, Benjamin Britten‘s justly celebrated Opus 28, began life quite

by chance in a bookshop in Halifax, Nova Scotia, Canada. Britten and his life partner

the great tenor Peter Pears had spent three successful years in America, when they

planned a return home to England in the early days of 1942. They booked passage on

the MS Axel Johnson, a Swedish cargo vessel, which called into Halifax harbour just

prior to the very dangerous voyage through seas filled with German U-boats. In the

Halifax bookshop, Britten and Pears purchased a copy of The English Galaxy of Shorter

Poems, and the volume contained several of the mediaeval lyrics which would appear in

the finished piece.

The use of harp as accompaniment was probably stimulated by an unfulfilled

commission from Edna Phillips for a harp concerto . The perilous Atlantic crossing was

to take five weeks; Britten later observed that ―one had to alleviate the boredom!‖

During the voyage, Britten studied two harp manuals which Ms. Phillips had given him,

working in a cabin that Peter Pears described as ―miserable...very near the huge

provisions ice box, and the smell & heat were intolerable, & it was difficult for [Britten]

as people seemed to whistle up & down the corridor all day!‖

Once back home, changes and additions to the score were made, and in 1943, the

completed version was first sung by the Morriston Boys‘ Choir, conducted by the

composer, with harpist Maria Korchinska.

In the subsequent decades, A Ceremony of Carols has become one of the great choral

standards of the 20th century, performed and loved throughout the world.

Performances in its original guise for unchanged boys‘ voices and harp have perhaps

been superseded by performances by women‘s choir, although there can be no doubt

that the work is intended for young gentlemen. The work proved so popular that the

publisher persuaded Britten to allow a version for mixed adult choir (SATB), copies of

which can be found in many a church choir library. The musical validity of this version

raises at least one question, in that so much of the writing involves three-voice canonic

passages that seem contrived when given over to four voice parts.

Performances for adult male voices in three parts, while rare, are not unknown. It could

be readily argued that such a version is even more creditable than the SATB version, as

the only change required to Britten‘s writing is to sound the treble parts one octave

lower. Of course, this does in a few instances cause a slight inverting of the bass line,

(just as in the SATB version), as the harp remains at original pitch. But the

extraordinary skill of Britten‘s writing is such that, even with this change, the work

remains harmonically sound, and certainly no less sublime.

Framed by the plainsong antiphon ‗Hodie Christus natus est‘ (‗Today Christ is born‘),

and making use of mediaeval and 16th century poetry, the Ceremony is, in a sense, a

forerunner of the church parables, those richly dramatic, biblically derived works of

Britten‘s later maturity that are themselves parodies of mediaeval morality plays. The

plainsong asserts its key role by providing motivic material used throughout the cycle,

and especially in the haunting solo harp ‗Interlude‘ (No. 7) at the Ceremony‘s mid-

20

point. This sublime movement lays out the tune in the uppermost voice, swathed in an

impressionistic, pointillist atmosphere that is worlds away from its ancient roots, but

apt, urgent and poignant in context.

In ‗Wolcom Yole‘ (No. 2) a joyous New Year‘s dance is dressed with canonic peals

that establish the work‘s homage to and suitability for reverberant church acoustics.

‗There is no Rose‘ (No. 3) serenely celebrates the Blessed Virgin, the rich melody

interrupted by clashing dissonances with the harp in counterpoint, all against a gentle

ostinato. This clash continues in ‗That Yongë Child‘ (No. 4a), but the gentle rocking of

‗Bululalow‘ (No. 4b) is achieved through both cross rhythm and an ingenious harmonic

interplay of major and minor. Counterpoint is essential to recreate the raindrop effect of

‗Dew in Aprille‘ (No. 5), and later the sun-lit duetting of the ‗Spring Carol‘ (No. 9). Of

special significance is the metaphoric Holy War between the new-born Babe and the

powers of Satan in No. 6, ‗This Little Babe.‘ The angular melody is set over a

rhythmically relentless accompaniment. As the war between good and evil expands, the

chorus separates first into a canon in two parts, then in three, expanding Southwell‘s

poetic imagery to create a vivid picture of apocalyptic conflict--a picture replete with

pressing contemporary references for Britten. A chilling intensity of contrasts fills No.

8 ‗In freezing winter night‘ where the ―silly tender babe‖ lies in a stable which itself

becomes, by His very presence, ―a Prince‘s court‖. Praise and thanksgiving, along with

a brief but telling history of man‘s sinfulness, are given a powerful and jazzy reading in

‗Deo Gracias‘ (No. 10), which rises to a triumphant finish, before the recessing ‗Hodie‘

anitphon sings in the holy birth with a reverberant round of ―Alleluias‖.

Carols for the World

Our caroling world tour begins in the Ukraine, at New Year‘s. Written in 1916 by

Ukrainian composer Mykola Leontovich, ‗Shchedryk‘ (‗bountiful‘) tells the tale of a

swallow flying into a household to proclaim the plentiful year that the family will have.

‗Shchedryk‘ was composed and performed during a time when there was intense

political struggle and social upheaval in Ukraine. The same choir director who

commissioned the song formed the Ukrainian National Chorus, mandated by a fledgling

Ukrainian government, to promote Ukrainian music in major cultural centers in the

West. When American choir director and arranger Peter Wilhousky heard Leontovich's

choral work in 1936, it reminded him of bells; so he wrote new lyrics to convey that

imagery for his American audiences, where the song is more popular than in its

homeland. We are proud to present our own new arrangement by Forte member Peter

Krochak.

‗Carol from an Irish Cabin‘ is a charming composed carol by prominent American

hymn writer, organist and choral director Dale Wood. The use of harp accompaniment

adds to its Celtic atmosphere, while the words create a haunting picture of winter on the

Irish sea.

‗Birth‘ is a new Canadian carol receiving its world premiere performance tonight. The

original lyrics are by Lori Vos, a Kingston resident, who teaches at Queen‘s University.

The lyrics appeared on a Christmas card Lori made and sent a couple years ago to Forte

member Peter Krochak, who provides the magnificent musical setting in his first

21

original composition for men‘s choir.

‗Es ist ein Ros‘ entsprungen‘, known in English from Theodore Baker‘s 1894

translation ‗Lo, How a Rose E‘er Blooming‘, is believed to have originated in Trier,

Germany, in the 15th century. The setting dates from 1609 by Michael Praetorius. In

medieval iconography, the tree of Jesse is often depicted as a rose plant. The prophet

Isaiah declares that ―There shall come forth a rod out of the stem of Jesse, and a branch

shall grow out of his roots.‖ Thus, the imagery is that a rod/branch (Mary) will grow

from the stem/root of Jesse (patriarch of Christ‘s genealogy in popular medieval forms)

and will bear a flower/rose (the Christ child).

‗De tierra lejana venimos a verte‘ is a Puerto Rican carol that developed its English

language form thanks to Walter Ehret and George K. Evans, who presented it in their

1963 collection The International Book of Christmas Carols. Our version is very

flashy, befitting royalty, but the sentiment of the text is much deeper, as it allows the

kingly Magi to explain the significance of their gifts of gold, frankincense and myrrh.

Carols in Blue

Eric Lane Barnes is associated with the Seattle Gay Men‘s Chorus, leader of the vocal

comedy ensemble Captain Smarty Pants, and is a prolific creator of choral works,

arrangements, theatre shows and other diversities. His ‗Boogie Woogie Hanukkah‘

displays some of the campy humour that is his trademark. The clever song shares dance

origins with carols in general, but the refrain is decidedly different: ―with a boogie, a

woogie, a muh-muh-meschuggie, a boogie-woogie Hanukkah! Oy vey!‖

Ward Swingle certainly was blessed with a great name! When he first founded the

Swingle Singers in France in 1962, he applied jazz and scat singing to the music of

Bach, and the group went on to win an international reputation, not to mention five

Grammies. Swingle‘s setting of the most popular Christmas carol of all manages to

overlay his trademark style on the gentle and simple qualities that endeared this carol to

the world when it was first performed one silent Christmas night, 1818, in the Nikolaus-

Kirche (Church of St. Nicholas) in Oberndorf, Austria. Most are now familiar with the

charming story of the song‘s hasty creation for guitar, owing to the failure of the

church‘s organ.

You might accuse Forte of being a bit flippant by including a bee-bop ‗Rudolph‘ in our

concert. But there is more to the ―most famous reindeer of all‖ than fun. Rudolph, after

all, was an outsider, derided and laughed at by his colleagues. But then, when the time

was right ―one foggy Christmas Eve‖, Rudolph‘s special talents saved the day, and then

―all the reindeer loved him.‖ One of the best-loved modern Christmas songs, Rudolph

certainly has gone down in history!

22

Carols for All

Forte invites the audience to join in singing selected verses of four great carols. You

will find the lyrics on page 25.

‗The First Nowell‘, which has its roots in the 15th century, began to appear on

broadsides in Cornwall in the 18th century. But the tune and words appear together for

the first time in Sandys‘s Christmas Carols, Ancient and Modern, from 1833. The tune

has been subject to much speculation, as it has two features quite uncharacteristic of

folk melodies: the three virtually identical statements of the same phrase, suggesting a

lapse in memory at some stage in the process of transmission, and the fact that all three

strains cadence on the third degree of the scale, suggesting possible derivation from the

upper harmony or descant lines of a choral harmonization. The Folk Song Society of

Britain investigated the matter at length in 1924, and there have been other attempts to

identify the tune to which the modern ‗First Nowell‘ is the ‗descant‘. No satisfactory

conclusion has ever been reached, but it does help to explain why the tune seems so

well suited to freely improvised harmonies and descants when sung by any group of

enthusiastic choristers, as we sincerely hope you, our audience, will be this evening.

Accompanied by the 8500 pipes of Canada‘s largest organ, you have license to sing

heartily.

‗I Saw Three Ships‘ dates from 1666. It is derived from the Mediterranean journeyings

of the supposed relics of the Magi, the ‗Three Kings of Cologne‘, the splendour of

whose final voyage has remained vivid in European folk memory. It achieved its

popular modern form in Sandys‘s 1833 collection, (the same collection that gave us

‗God Rest You Merry, Gentlemen‘ and ‗The First Nowell‘). Appropriately then, we

sing another arrangement from the pen of a young Ralph Vaughan Williams, who

included all three carols in a collection of nine arrangements for male chorus created

during World War 1 for the ‗choir‘ he developed among the men in his Field

Ambulance unit. In 1917 they were stationed in Greece, on a hillside with Mount

Olympus towering above. Ursula Vaughan Williams writes about ―carol singing on

Christmas Eve: snow-capped Olympus, the clear night, the stars, and Ralph‘s choir

singing carols of Hereford and Sussex with passionate nostaglia. The choir made that

Christmas so far from home one that had a special quality, a special beauty, long

remembered.‖

‗In the Bleak Midwinter‘ has been slow to join the front rank of best-loved carols, but

today, it is mentioned almost invariably as a ‗personal favourite‘ by many. Christina

Rossetti, its author, was a celebrated 19th century poet and author of devotional

literature, but did not intend this poem as a carol. Nevertheless, two very wonderful

settings were composed in the early years of the 20th century. Harold Darke‘s through

composed setting better suits the free rhythm of the words, while Gustav Holst‘s

stunning metrical setting is found in virtually every modern hymn book. Our setting,

with harp accompaniment, uses the Holst tune, called ‗Cranham‘, dressed up in

decidedly jazz-inspired harmonies.

‗Adeste Fidelis‘ or ‗O Come, All Ye Faithful‘ is perhaps the grandest of the old carols.

Both text and tune have been attributed to various creators, but they are likely the work

23

of John Francis Wade, an English plainchant scribe, who published it in 1751. The

English translation is by Frederick Oakley, who created it for his home church Margaret

Chapel, London, sometime before 1850. In 1968, Sir David Willcocks published his

now very famous descant for the third verse. While many other descants have been

written for this and many other carols, none are quite as well known as this one. We

especially invite those familiar with Willcocks‘s descant to follow the instructions given

in the words of this immortal carol:

Sing, choirs of angels, sing in exultation,

Sing, all ye citizens of heaven above,

Glory to God in the highest!

O come let us adore Him, Christ, the Lord.

24

Dedications This year Forte has introduced the opportunity to have a concert selection dedicated

through our program notes. If this something that interests you, please contact us at

[email protected] and we will tell you more about the initiative.

Birth For my big sister Tina, who used to put me to sleep playing Andy Williams records,

who taught me to sing "This Little Light of Mine", and who spreads the true spirit of

Christmas every single day of the year like no one else that I know.

Much love and wishes for a Merry Christmas! Peter Krochak

Est ist ein Ros’ entsprungen This carol is dedicated in memory of Joseph Pascht 1921 – 2009.

A loving and accepting husband, father, and father-in-law.

With love from Ralph and Mark.

Rudolf the Red Nosed Reindeer This song is dedicated to Kawal Dasrat - a fine fine grandson and a great young man

with love from a proud Grandpa, Stuart Watson.

Endowment Fund

This evening you will be hearing the wonderful sounds of Forte - The Toronto Men's

Chorus. It is a sound that has taken years to develop and continues to develop guided

by the fine skills of Edward Connell. All along the way there are increasing operational

costs and dreams may be delayed for financial reasons. The Forte Board of Directors is

currently looking at the development of an Endowment Fund to insure that money will

not be an obstacle. As it is comes to be, information will be posted on the web site. If

you would like more information please send us your email address via our website at

www.forte-chorus.com.

25

Carols for All - Lyrics

The First Nowell All The first Nowell the angel did say was to certain poor shepherds in fields as

they lay;

In fields where they lay a-keeping their sheep on a cold winter's night that was

so deep.

Nowell, Nowell, Nowell, Nowell, Born is the King of Israel.

Ladies alone They looked up and saw a star, shining in the east, beyond them far;

And to the earth it gave great light, and so it continued both day and night.

All


Gentlemen alone And by the light of that same star three wise men came from country far;

To seek for a king was their intent, and to follow the star wherever it went.

All


This star drew nigh to the northwest; O'er Bethlehem it took its rest,

And there it did both stop and stay right over the place where Jesus lay:


Forte Chorus alone Then entered in those wise men three, full reverently upon their knee,

And offered there in his presence their gold and myrrh and frankincense.


Organ interlude All Then let us all with one accord sing praises to our heavenly Lord,

That hath made heaven and earth of nought, and with his blood mankind hath

bought.


26

I Saw Three Ships Solo I saw three ships come sailing in on Christmas Day, on Christmas Day;

I saw three ships come sailing in on Christmas Day in the morning.

All

And what was in those ships all three on Christmas Day, on Christmas Day;

And what was in those ships all three, on Christmas Day in the morning?

Solo Our Saviour Christ and his lady on Christmas Day, on Christmas Day;

Our Saviour Christ and his lady on Christmas Day in the morning.

All Pray, whither sailed those ships all three on Christmas Day, on Christmas Day;

Pray, whither sailed those ships all three, on Christmas Day in the morning?

Solo O they sailed into Bethlehem on Christmas Day, on Christmas Day;

O they sailed into Bethlehem on Christmas Day in the morning.

All And all the bells on earth shall ring on Christmas Day, on Christmas Day;

And all the bells on earth shall ring on Christmas Day in the morning.

And all the Angels in Heaven shall sing on Christmas Day, on Christmas Day;

And all the Angels in Heaven shall sing on Christmas Day in the morning.

And all the souls on earth shall sing on Christmas Day, on Christmas Day;

And all the souls on earth shall sing on Christmas Day in the morning.

Then let us all rejoice amain on Christmas Day, on Christmas Day;

Then let us all rejoice a-main on Christmas Day in the morning.

In the Bleak Midwinter All 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.

Forte Chorus alone Our God, heaven cannot hold him, nor earth sustain;

Heaven and earth shall flee away when he comes to reign.

27

In the bleak midwinter a stable place sufficed

The Lord God Almighty, Jesus Christ.

All 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.

Adeste Fidelis (O Come, All Ye Faithful) All Adeste fideles, laeti triumphantes;

Venite, venite in Bethlehem;

Natum videte regem angelorum.

Venite adoremus, venite adoremus, venite adoremus Dominum.

God of God, Light of Light eternal,

Lo! He abhors not the Virgin's womb:

Very God, begotten, not created;

O come, let us adore him, O come, let us adore him, O Come, let us adore him,

Christ the Lord.

Sing, choirs of angels, sing in exultation,

Sing, all ye citizens of heaven above;

Glory to God in the highest;


Christ the Lord.

Solo and Forte Chorus alone Child, for us sinners, poor and in the manger,

We would embrace thee with love and awe;

Who would not love thee, loving us so dearly?


Christ the Lord.

All Yea, Lord, we greet thee, born this happy morning;

Jesus, to thee be glory given;

Word of the Father now in flesh appearing;


Christ the Lord.

28

29

30

31

Want to sing with fORTE?

Auditions will be held in

January 2010

To arrange a time

e-mail us at

[email protected] or complete the form at

www.forte-chorus.com/contact

We will send you

all you need to know!

Come sing with us!

32

33

The Staff of The Churchmouse

wish you a Happy Holiday

We invite you to join us at the fORTE Afterparty

tonight, right after the concert, upstairs at

The Churchmouse 475 Church Street, Toronto Ontario M4Y 2C5

(1 block south of Wellesley)

tel: 416-927-1735 [email protected]

Documents

A Ceremony of Carols