Central City Chorus - David Friddle · 2008. 8. 31. · Rutter closes the movement with anoth-er interpolated text: the Sanctus from the Ordinary of the Mass, with plainsong from

CentralCity

Chorus

Sunday– 4 pmDecember 5,1999

Central Presbyterian Church593 Park Avenue

New York City · 10021

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Central City ChorusDavid Friddle, music director

Christmas Cantata Daniel Pinkham1. Maestoso b. 19232. Adagio3. Allegro

Cantilena pro Adventu Franz Joseph Haydn1732–1809

Gale Limansky, soprano

Magnificat John Rutter1. Magnificat anima mea b. 19452. Of a Rose, a lovely Rose3. Quia fecit mihi magna4. Et misericordia5. Fecit potentiam6. Esurientes7. Gloria Patri

Outdoor Caroling & Holiday Brass MusicLighting of the Park Avenue Christmas Trees

this program is made possible by a grant from the cornell fund

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Festival Brass Quintet

James Lake, trumpet

Angela Gosse, trumpet

Tim McCarthy, horn

Haim Avitsur, trombone

Julie Kalu, trombone

Organ

Jonathan Oblander

Flute

Karla Moe

Oboe

Sarah Davol

Clarinet

Steve Williamson

Bassoon

Charles McCracken

Horn

Alex Cook

Tim McCarthy

Violin I

Fred Fehleisen,

concertmaster

Bonnie Aher

Claire Jolivet

Violin II

Judson Griffin,

principal

Nancy Reed

Viola

Roslyn Young

Cello

Joel Cohen

Bass

Louise Koby

Harp

Sara Cutler

Tympani

Glen Wilkofsky

Percussion

Steve Machamer

Central City Chorus

Sopranos

Charlotte SheaneDenisTrish EckertClara FaganMargaret HsiehNancy PoorSharon ProctorMarjorie ScottRamirezNancy RogersLaura SmidAdele Zane

Tenors

Ryan CloudKai FujigakiJonathan OblanderLawrence RushJeffrey SilvermanDavid Vanderwal

Basses

Michael BoonstraJim DittmerDoug HoltMatt HoptmanTristan MarcianoJoseph PalladinoAlex QuinnNoel WerrettAndrei Yermakov

Altos

Sally AndersonTerrance Barber Jamelyn BoxwillKatherine CohnJill HamiltonSally Porter JenksPhyllis Jo KubeyEmily MinesLois MorganSusan LeVantRoskinNicole PossinWendy ShermanWendy Zuckerman

Orchestra

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Uncle and nephew Andrea andGiovanni Gabrielli—compos-er/musicians of the lateRenaissance (1510–1612) who both pro-vided music for San Marco in Venice,and ushered in the Baroque with theirforward-looking harmonies—made theirown names (plus that of San Marco)synonymous with a style that incorpo-rated brass choirs and antiphony.

Twentieth-century composer DanielPinkham successfully borrowed part ofthe Gabrielli idiom—mixing independ-ent brass choirs with a choral ensemble(the organ is used in lieu of the secondbrass choir)—and crafted a work thathas one foot in the early Baroque andthe other in modern times. Indeed, thecomposer subtitled this work “Sinfonia

Sacra” (Sacred Symphony) in homage tothe works of Giovanni Gabrielli.

Pinkham himself describes this com-position as his “…most performedwork.” The three texts are taken fromthe Proper of the Roman Mass for theNativity of Our Lord.

The first movement opens with themajestic questioning of the shepherds,asking for a recounting of their experi-ence on the night of Jesus’ birth. A morerhythmic section follows, joyouslytelling of the prophesied birth. Thetriple figures, bouncy rhythmic motifsand rocking shifting meters create adance between the chorus and brass andeffectively convey the unbridled happi-ness of the shepherds as depicted in theGospels.

Notes on the Program

Pleased to HelpThe Central City Chorus

Make a Joyful Noise!

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The second movement sets thefamous and strikingly beautiful text “Omagnum mysterium.” Pinkham’s treat-ment of the opening lines O great mys-tery, scored for women’s voices aloneand accompanied by a minimal repeat-ed melody alternating between the brassand organ creates an appropriate moodfor this contemplative text. When themen’s voice enter the harmonies evokeboth past and present with the ingen-ious use of crossed relations (an F n andan F # appear almost simultaneously)building to a controlled climax that atonce expresses the prescient nature ofthe text while maintaining its innatedignity. Pinkham closes the work withthe ultimate crossed relation: brass choirplaying a d minor chord while the organsimultaneously plays a D major chord.

The final movement is again based onthe musical forms of the Baroque. The

Gloria in excelsis Deo is repeated as aritornello (returning) between the versesof this most well-known Nativity hymn.Starting softly and building to an impres-sive and stirring conclusion, Pinkhamcreates the aural impression of the angel-ic choir singing from afar and graduallymoving closer. The steady pulse and syn-copated rhythmic figures conjure imagesof angels dancing. Whether their pre-ferred medium is the head of a pin is bet-ter left to others to reconcile!

Born in 1732, Franz Joseph Haydnlived to the then astonishingly oldage of 78, dying in Vienna in 1809.This remarkable feat of longevity allowedHaydn to leave behind an extraordinarylegacy of musical compositions, worksthat speak as freshly to modern ears asthey did to 18th century ones.

Haydn lived an interesting life indeed.

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As the Grove Dictionary of Music &Musicians so succinctly puts it: “Anyattempt to give an account of Haydn’slife is bound to fall short of complete-ness. There are periods about which vir-tually nothing is known.” What we doknow, however, paints a portrait of aman who knew the hardships of penuri-ous life as well as the splendor of wealth.

Like most other composers of his day,Haydn began as a choirboy in St.Stephen’s Cathedral in Vienna, wherehe also studied organ, composition andviolin. He is reputed to have been “…alively boy with a natural bent forhumour and practical joking.” This joc-ularity would appear time and again inHaydn’s later compositions.

After leaving choir school, Haydnlived as a freelance musician, acceptinggigs as they came, supplementing hisincome by teaching young pupils. It isclear that Haydn lived the classicBohemian life: there were times whenhe had no money for food, fuel andeven lodging—living for various inter-vals with friends or on the street.

Good fortune came to him soonenough when the Prince Esterhazy, of theruling family of Hungary offered Haydnthe position of Kappellmeister. Later,Haydn came to be the most celebratedcomposer in Europe: concerts of hismusic in London sold out weeks aheadand earned him great wealth and fame.

The Cantilena pro Adventu is a simple,charming work for soprano solo, stringsand two horns whose text reflects thehumility attributed to the virgin Mary. Itsform is an A-B-A song form; an extendedexposition is followed by a shorter mid-dle section (in this case a mere 22 meas-ures). The A section is then repeated inthe manner of the 18th century withornamentation by the singer.

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One of the oldest of Christianhymns, the Magnificat (Song ofMary) has been exceedinglypopular with composers throughout thecenturies. Partly because of the sheerbeauty of the text itself, partly because itwas included as a canticle in EveningPrayer in both Roman and Episcopalliturgy, this pæan of Mary has well stoodthe test of time in Western music.

Upon learning of her immaculate con-ception of Jesus, the gospels record Mary’sspontaneous outburst of joy and praise,which has come to be called by its Latintitle Magnificat (short for “My soul magni-fies the Lord”). John Rutter, following thelead of countless composers has brokenthe text into sections, each defined by aparticular mood or feeling (or as theGermans described, an “affekt”).

The opening movement, whichdescribes Mary’s initial happiness andself-description of humility, is paintedby Rutter with bouncy rhythmic figuresthat create a sense of dancing and jubi-lation. The section of text describingMary’s “lowliness” is set with slowermoving melodic figures, returning tothe first dance motifs for the conclusion.

Rutter has inserted a 15th centuryEnglish poem for the second move-ment. The poet describes the branchingof the tree of Jesse, eventually leadingto the birth of Jesus. The refrain “Of aRose, a lovely Rose…” punctuates the

various stanzas of the poem, in differingcombinations, some of which are set forwomen’s voices alone.

The third movement, Quia fecit, startsout with full organ proclaiming themightiness of God. An imitative sectionfollows, which is based on the openingmelody and is some of the finest writingin the work. After an extended build-upRutter closes the movement with anoth-er interpolated text: the Sanctus from theOrdinary of the Mass, with plainsongfrom the Gregorian Missa cum Jubilio.

Et misericordia (And his mercy is onthem) is set to more pastoral tones, in afluid walking tempo and the first use ofthe soprano solo. Rutter also interspersesthe soprano solo with the originalMagnificat melody above the chorus as itsings the Et misericordia theme. This gentledialogue between the soloist and the cho-rus provides an effective respite betweenthe stronger and more assertive text andmusic of the neighboring movements.

Fecit potentiam (He has showedstrength with his arm) is marked “Livelyand energetic” and depicts the power ofthe Lord. Its crisp, marked rhythmic fig-ures are in contrast to the flowingmelodies of the previous movement. Anenergetic fugal section comprises themiddle section, followed by multiplemeter changes, creating a chaotic sense ofmeter that keeps our ears somewhat off-center, in keeping with the text Dispersit

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superbos (He has scattered the proud). More text painting occurs in Deposuit

(God casts down), where the descendingmelodic figure is ironically presentedfrom the bottom up—bass to soprano—even as the tonal center shifts downward.The text et exaltavit humiles (and raises upthe humble poor) follows immediately,relying on ascending melodic figures anda more quiet musical affekt, which sets upthe following movement.

In another pastoral movement, thesoprano solo conveys the goodness of theLord towards the poor and needy. Thechorus acts as part of the accompani-ment, alternating with and providingmusical support for the soloist. The over-all affekt of this movement is one of safe-ty, satisfaction and warm sentimentality,as expressed originally in this portion ofthe Magnificat text.

The final movement is a double reca-

pitulation in that it reprises features ofboth the opening Magnificat and theQuia fecit. The Gloria Patri is not originalto the Song of Mary found in theGospels; it has, however, through thecenturies become a standard doxologyfor much Christian hymnody and hasbeen attached to the Magnificat seem-ingly forever.

Again Rutter has inserted a later text:Sancta Maria (Holy Mary), the antiphonfrom the Feast of the Blessed VirginMary, which is wholly in keeping withthe spirit of the composition. Sung bythe soloist, the plainsong separates thefirst recapitulation (Quia fecit) from thesecond (Magnificat). The work closes asit opened, with the bouncy, dance-likerhythmic and melodic figures that accu-rately and successfully convey theinherent joy, praise and love of Godthat characterizes this ancient hymn.

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CHRISTMAS CANTATAWhom do you see, shepherds? Tell us.Tell us who appears on earth. We sawhim who was born and the angel choirpraising the Lord. Alleluia.

O great mystery and wondrous sacramentthat animals might see the Lord born in astable. Blessed is the Virgin whose wombwas worthy to bear the Lord Christ.

Glory to God in the highest and on earthpeace to men of good will. Rejoice in theLord, all ye lands. Serve the Lord with joy.Come into his presence with exultation.Know that the Lord is God. It is he whohas made us and not we ourselves.Alleluia.

CHRISTMAS CANTATAQuem vidistis, pastores? Dicite:Annunciate nobis in terris quis apparuit.Natum vidimus et chorus angelorumcollaudantes Dominum. Alleluia.

O magnum mysterium et admirabilesacramentum ut animalia viderentDominum natum jacentem in præsepio.Beata virgo cuius viscera merueruntportare Dominum Christum.

Gloria in excelsis Deo et in terra paxhominibus bonæ voluntatis. JubilateDeo omnis terra, servite Dominum inlætitia. Introite in conspectu ejus, inexultatione. Scitote quoniam Dominusipse est Deus: Ipse fecit nos et non ipsinos. Alleluia.

Texts & Translations

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to all the members ofCentral City Chorus

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CANTILENA PRO ADVENTUEin’ Magd, ein’ Dienerin,Maria sich bekennet,Gott sie ein’ Mutter nennet,Und eine Herrscherin.

Die Armut hat’s gemacht,Daß sie so hoch geacht,Durch die hat sie vom HimmelGott auf fie Erd’ gebracht.

Von Dir, o Jungfrau rein,Wollt’ Gott, das hoechste Wesen,Denn Du bist auserlesen,Als Mensch geboren sein.

MAGNIFICATMagnificat anima mea Dominum: et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillæ suæ:ecce enim ex hoc beatam me dicentomnes generationes.

HYMN FOR ADVENTA maid, a servantMary confesses herself to be,God calls her a motherand a queen.

Her simple bearingLent her such dignityThat she could bring GodFrom heaven to earth.

From you, sweet virgin,Our holy Lord,Because you were chosen,Was born a human being.

MAGNIFICATMy soul magnifies the Lord: and my spirit has rejoiced in God my Saviour. For he has regarded the lowliness of hishandmaiden: for behold, henceforth allgenerations shall call me blessed.

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Of a Rose, a lovely Rose,Of a Rose is all my song.

Hearken to me, both old and young,How this Rose began to spring;A fairer rose to mine likingIn all this world ne know I none.

Five branches of that rose there been,The which be both fair and sheen;The rose is called Mary, heaven’squeen,Out of her bosom a blossom sprang.

The first branch was of great honour:That blest Marie should bear theflower;There came an angel from heaven’stowerTo break the devil’s bond.

The second branch was great of might,That sprang upon Christmas night;The star shone over Bethlem bright,That man should see it both day andnight.

The third branch did spring andspread;Three kinges then the branch gan ledUnto Our Lady in her child-bed;Into Bethlem that branch sprang right.

The fourth branch it sprang to hell,The devil’s power for to fell:That no soul therein should dwell,The branch so blessedfully sprang.

The fifth branch it was so sweet,It sprang to heaven, both crop androot,Therein to dwell and be our bote:So blessedly it sprang.

Pray we to her with great honour,She that bare the blessed flower,To be our help and our succour,And shield us from the fiendes bond.

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Quia fecit mihi magna qui potens est: et sanctum nomen eius.

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Et misericordia eius a progenie in prog-enies timentibus eum.

Fecit potentiam in brachio suo: dispersit superbos mente cordis sui.Deposuit potentes de sede, et exaltavit humiles.

Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiæ suæ. Sicut locutus est ad patres nostros, Abraham et semini eius in sæcula.

Gloria Patri, et Filio, et Spiritui Sancto.Sancta Maria, succurre miseris, iuva pusillanimes, refove flebiles: ora pro populo, interveni pro clero, intercede pro devoto femineo sexu: sentiant omnes tuum iuvamen,quicumque tuum sanctum implorantauxilium. Alleluia.

Sicut erat in principio, et nunc, et sem-per, et in sæcula sæculorum. Amen.

For he that is mighty hath magnified me:and holy is his Name.

Holy, Holy, Holy Lord God of hosts. Heaven and earth are filled with yourglory. Hosanna in the highest.

And his mercy is on them that fear himthroughout all generations.

He has showed strength with his arm: hehas scattered the proud, arrogant of heart.He has put down the mighty from theirseat, and has exalted the humble and meek.

The hungry he has filled with goodthings; and the rich he has sent emptyaway. He has helped his servant Israel, inremembrance of his mercy. As it was spo-ken to our fathers, to Abraham and hisseed forever.

Glory to the Father, the Son, and the Holy Spirit.Holy Mary, succour those in need, help the faint-hearted, support the weak: pray for the laity, assist the clergy, intercede for all devout women: may all feel the power of your help, whoever prays for your holy aid. Alleluia.

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Declared a “trulyprodigious vocaland dramatic tal-ent” by Ovation,soprano GaleLimansky hasearned an interna-tional reputationfor her opera andconcert perform-ances. She first

came to the attention of New York audi-ences in February of 1984, for her criticallyacclaimed portrayal of Katerina inShostakovitch’s opera Lady Macbeth ofMtsensk at the American Opera Center atJuilliard, when she was chosen by thecomposer's son for the New York premiereof the rarely performed original version.During that season she also performedGiorgetta in Puccini’s Il Tabarro.

Considered one of the most diverseartists of her generation, she has per-formed a variety of works includingBeethoven’s Ninth Symphony with theSpringfield Symphony in Missouri andthe Vermont Symphony, Dvorak’s StabatMater and Vaughan Williams’ SeaSymphony with the Harvard ChamberOrchestra, Brahms’ Requiem andHonnegger’s King David with the TulsaPhilharmonic, Pergolesi’s Stabat Materwith a string quartet from the New YorkPhilharmonic. She made her New YorkPhilharmonic debut in 1992 as theArabian soloist in Grieg’s Peer Gynt,under the direction of Kurt Masur.

Ms. Limansky is especially known forher performances of the Verdi Requiem,which she has performed with Opera deNice in France, the Vermont Sym phony,the Sioux City Symphony, GreenwichChoral Society, St. Bart’s Concert Seriesin New York City, Harvard ChamberOrch estra, the Springfield Missouri Sym -phony and the Berkshire Festival.

Ms. Limansky has been sopranosoloist with the Alvin Ailey DanceTheater Revelations, and with the GrazFestival in Austria, Lake George OperaCompany, the Chatauqua InstituteSummer Festival and the BerkshireFestival.

Ms. Limansky is featured in an off-screen solo in the AcademyAward-winning movie written anddirected by Tim Robbins, Dead ManWalking, which was released in Januaryof 1996. She can be heard on the orig-inal soundtrack CD entitled The Score—Dead Man Walking.

Most recently she can be heard on anew Vox CD, A Tribute to Diana,released this past October in memori-um for the Pricess of Wales. The CD isa recreation of the music from thefuneral in London. Ms. Limansky'sselection is the one for which she is bestknown: Libera me from the VerdiRequiem.

She has also recorded for DeutscheGramophone, Mark Records, Green haysRecordings, and CBS/Sony. A winner offour regional and district MetropolitanOpera awards and the Carnegie MellonAward Competition in Pittsburgh, shewas also given a study grant from theA.I.M.S. Institute in Graz, Austria andwas awarded a grant from the WagnerSociety of New York.

In July, 1997 she returned to theBerkshire Festival to perform Poulenc’sGloria, John Rutter’s Magnificat andselections from Cantaloube’s Songs ofthe Auvergne under the baton of JohnRutter. In 1998, Ms. Limansky sang herfirst performances of Bach’s Magnificat,Stanford’s Magnificat and Brahms’Liebeslieder Waltzer; and returned to theSt. Bart’s Concert Series in April to per-form Herbert Howells’ Hymnus Paradisiwith the orchestra and chorus in NYC.

The Artists

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By the age of four,David Friddleknew that musicwas his destiny.Armed with aportable electricchord organ,David prowledthe Sans Soucicommunity inGreenville, SC,giving concertsfor passersby.

This same self-starting determinationenabled David to pursue his career goal,following a meandering path that beganin his hometown of Greenville and ledultimately to New York City and TheJuilliard School.

Along the way, David studied inCharleston, South Carolina, earned a B.Mus. cum laude from Baylor Universityand worked for two years as a churchmusician, boy choir director, pool man-ager and graduate teaching assistant inFort Worth, Texas.

He earned his Master of Music from

The Juilliard School in 1985, supportedby the generosity of several business-men in North and South Carolina. Hewent on to win the prestigiousValentine Memorial Scholarship—thefirst organist to do so—in order to com-plete his Doctor of Musical Arts fromJuilliard in 1988.

During the past seven years, Dr. Dave(as he is known by some) founded twogay men’s choirs, one of them inGreenville, South Carolina, to help cele-brate the city’s first gay pride march in1997. Most recently, David foundedCantaría in Asheville, North Carolina—once again to take part in the state’s gaypride festivities.

He also lived in Florence for severalmonths, concentrating on learningItalian, absorbing the vast collections ofRenaissance art and mastering Tuscancuisine. (By the way, he has the world’sfinest recipe for tiramisù.)

David’s choral and organ composi-tions are published by MorningStarMusic of St. Louis and Yelton RhodesMusic of Los Angeles.

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The Central City Chorus is a non-sectarian amateur choral societydistinguished by its small sizeand its dedication to performing a widerange of choral repertoire. Founded in1981 with the support of Central Pres -byterian Church, the chorus has ahistory of varied and adventurous pro-gramming, often performing worksthat are rarely sung by New York’s larg-er choruses. The 1997–98 season beganwith a sold-out performance inDecember of Vaughan Williams’Fantasia on Christmas Carols and Hodieand Poulenc’s Quatre motets pour letemps de Noël. The season continuedwith Haydn’s Missa brevis Sancti Joannisde Deo (“Kleine Orgelmesse”) and StabatMater in March; it concluded in Junewith Stravinsky’s Mass, Arvo Pärt’sMiserere and the world premiere ofDavid Clark Isele’s Come, Holy Spirit.

The 1998–99 season began December6 with a concert featuring three sacredpieces of Heinrich Schütz: Jubilate Deo,Das Vaterunser and Ave Maria; Lauda perla Natività del Signore by OttorinoRespighi; and A Consort of ChoralChristmas Carols by P.D.Q. Bach. Theafternoon concert concluded with out-door caroling with brass and thelighting of the Park Avenue Christmastrees. The season continued with an all-Liszt concert on March 30, 1999. CCCperformed both the obscure Via crucis(Way of the Cross), with contemporarymeditations by poet/theologian HenriNouwen, and the “Stabat Mater” fromLiszt’s magnum opus Christus.

The final concert of our eighteenthseason featured an all-unaccompaniedconcert of modern composers.Included were Patricia Van Ness, whoseCor mei cordis was given its New Yorkpremiere; Kennth Fuchs joined in theNew York premiere of his cycle ofRobert Frost poems, In the clearing. Andtoday’s soprano soloist, Gale Limanskymade her debut performance withCentral City Chorus in David Friddle’sRequiem in d: Faces of aids, which

received its world premiere.Highlights of other seasons include

performances of Bach’s completeChristmas Oratorio; Ein deutschesRequiem of Brahms in the composer’sarrangement for piano duet; andHindemith’s Frau Musica; Fauré’sRequiem; Handel’s psalm Laudate pueri;Haydn’s Seven Last Words of Our Savioron the Cross; Alessandro Scarlatti’s St.Cecilia Mass; Messiaen’s Trois petitesliturgies; Britten’s St. Nicolas, Hymn toSaint Cecilia and the New York premiereof The Company of Heaven; ChrisDeBlasio’s The Best Beloved, andCopland’s In the Beginning. The choruspresented a series of Purcell operas inconcert versions, beginning with Didoand Aeneas in 1987 and continuingwith The Færy Queen, King Arthur andDioclesian; and also performed the com-poser’s Te Deum and Jubilate Deo in Dand Ode for St. Cecilia’s Day 1692, “Hail!bright Cecilia.”

Central Presbyterian Church isan active and committed congre-gation of the PresbyterianChurch (USA). It is a Christian commu-nity of people busy with their ministries,both here at 64th and Park and through-out the city. In addition to itshistorically recognized ministry ofmusic, Central Presbyterian Church isactive in ministry to underprivilegedchildren, older adults and people withhiv/aids. Our diverse congregation alsoengages in mission outreach to manysocial and church agencies in the city,and it sponsors numerous communityactivities within its walls. Founded in1821, Central Church celebrated its175th anniversary in 1996. The beauti-ful Gothic sanctuary, along with theadjoining church house, was completedin 1922; the 84-rank Möller organ wasinstalled in 1950. The congregation ofCentral Presbyterian Church extends toyou a cordial invitation to worship withus on Sundays at 11:00 am.

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The Central City Chorus

AngelsCentral Presbyterian

ChurchSally Porter JenksChloe & PaulLangston

Benefactors Nancy PoorRayfield & LicataShowstoppers, Inc.

Patrons Elizabeth AlstonAlex QuinnJamie & PriceSnedakerMim WardenWendy Zuckerman

Michael BoonstraCharlotte Sheane DenisJim DittmerTrish EckertKatherine LarsonNancy Poor

The Rev. Mary Barrett SpeersSusan LeVant RoskinAlex QuinnWendy Zuckerman

Board of Directors

Sponsors In memory of Elizabeth AllenSally AndersonJoe C. Benson, Jr.Anna E. CrouseJim DittmerJohn C. KosterDr. & Mrs. John MaierRobin PinkhamGinger PotterBarbara & Ira SahlmanJimmie Lynn Saylor

The members and friends of the Central City Chorus thank our contributors for their generous support.(Jan. 1, 1999–Nov. 25, 1999)

Friends Helene BlueWilliam ConnellyAnita FletcherLois K. GiblinBenita & Bob GillespieGordon & Constance HamiltonIn honor of Sally Porter JenksElaine JurumboKatherine M. LarsonNathanael MullenerAlan & Jane PillingJ. Sheppard PoorAustra RootTeresa Mahazi RoundtreeAnn Ruth SolowayWilliam J. StokesSusan UlsethDavid Wagner

Contributors

David Friddle, music director Jonathan Oblander, accompanist

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HERE WE COME A-CAROLINGHere we come a-caroling,Among the leaves so green;Here we come a-wand’ring,So fair to be seen.Love and joy come to you,And to you glad Christmas, too;And God bless you and send youa happy New Year,And God send you a happy NewYear.

We are not daily strangersThat go from door to door;But we are neighbors’ childrenWhom you have seen before.Love and joy come to you,And to you glad Christmas, too;And God bless you and send youa happy New Year,And God send you a happy NewYear.

HARK! THE HERALD ANGELSSINGHark! the herald angels sing,“Glory to the newborn King;Peace on earth and mercy mild,God and sinners reconciled!”Joyful, all ye nations rise,Join the triumph of the skies;With angelic host proclaim:“Christ is born in Bethlehem!”Hark! the herald angels sing,“Glory to the newborn king!”

Hail, the heavenly Prince of Peace!Hail, the Son of Righteousness!Light and life to all He brings,Ris’n with healing in His wings.Mild he lays his glory by,Born that we no more may die,Born to raise the folk of earth,Born to give them second birth.Hark! the herald angels sing,“Glory to the newborn king!”

DECK THE HALLSDeck the hall with boughs of holly,Fa la la la la, la la la la.‘Tis the sea-son to be jollyFa la la la la, la la la la.Don we now our gay apparel,Fa la la la la, la la la la.Troll the ancient Yuletide carol,Fa la la la la, la la la la.

See the blazing Yule before us,Fa la la la la, la la la la.Strike the harp and join the chorus,Fa la la la la, la la la la.Follow me in merry measure,Fa la la la la, la la la la.While I tell of Yuletide treasure,Fa la la la la, la la la la.

Fast away the old year passes,Fa la la la la, la la la la.Hail the new, ye lads and lasses,Fa la la la la, la la la la.Sing we joyous all together,Fa la la la la, la la la la.Heedless of the wind and weather,Fa la la la la, la la la la.

Christmas Carols JINGLE BELLSDashing through the snowIn a one-horse open sleigh,O’er the fields we go,Laughing all the way! Bells on bobtail ring,Making spirits bright;What fun it is to ride and singA sleighing song tonight! Oh—

Jingle Bells! Jingle Bells!Jingle all the way!Oh, what fun is to rideIn a one-horse open sleigh!

A day or two agoI thought I’d take a ride,And soon Miss Fanny BrightWas seated by my side.The horse was lean and lank,misfortune seemed his lot,He got into a drifted bank,And we, we got up-sot. Oh—

Jingle Bells! Jingle Bells!Jingle all the way!Oh, what fun is to rideIn a one-horse open sleigh!

SILENT NIGHTSilent night! Holy night!All is calm, all is bright,Round yon Virgin

Mother and Child.Holy Infant, so tender and mild.Sleep in heavenly peace.

Silent night! Holy night!Shepherds quake at the sight;Glories stream from heaven afar,Heavenly hosts sing Alleluia,Christ the Savior, is born!

Silent night! Holy night!Son of God, love’s pure lightRadiant beams from thy holy face,With the dawn of redeeming grace,Jesus, Lord, at thy birth.

JOY TO THE WORLDJoy to the world! the Lord has come:Let earth receive her King;Let every heart prepare him room,And heaven and nature sing.

Joy to the world! the Savior reigns:Let us our songs employ,While fields and floods, rocks,hills and plains,Repeat the sounding joy.

He rules the world with truth and grace,And makes the nations proveThe glories of his righteousnessAnd wonders of his love.

HappyHolidays!21

O CHRISTMAS TREEO Christmas tree, O Christmas tree!How lovely are thy branches!

O Christmas tree, O Christmas tree!How lovely are thy branches!The sight of thee at ChristmastideSpreads hope and gladnessfar and wide.

O Christmas tree, O Christmas tree!How lovely are thy branches!

O Christmas tree, O Christmas tree!Thou tree most fair and lovely!

O Christmas tree, O Christmas tree!Thou tree most fair and lovely!Thou dost proclaim the Savior’s birth,Good will to all and peace on earth.

O Christmas tree, O Christmas tree!Thou tree most fair and lovely!

WE WISH YOU A MERRYCHRISTMASWe wish you a merry Christmas,We wish you a merry Christmas,We wish you a merry ChristmasAnd a happy New Year!

Good tidings we bringTo you and your kin:Good tidings of ChristmasAnd a Happy New Year!

So bring us some figgy pudding,And bring it out here!

Good tidings we bringTo you and your kin:Good tidings of ChristmasAnd a Happy New Year!

We wish you a merry Christmas,We wish you a merry Christmas,We wish you a merry ChristmasAnd a happy New Year!

DukeEllingto n

Sacred ChoralMusic

ColePorter

A Medleyof Melodies

Order your tickets today!

Central City Chorus Sunday, April 9, 2000

22

FRANK E. CAMPBELL

The Funeral Chapel has achieved its reputation

as one of the world’s leading funeral

establishments through fine service and painstaking

attention to detail. “Call Campbell’s and

have them take charge,” is sound advice

when death occurs in any family.

FRANK E. CAMPBELL“The Funeral Chapel,” Inc.

1076 Madison Avenue (cr. 81st St.)New York, New York

BU 8-3500

Dec 1999 Program NEW_23.pdfDec 1999 Program NEW_01.pdf1999-Dec_CCC_Friddle_Concert.pdfDec 1999 Program NEW_20.pdfDec 1999 Program NEW_22.pdf

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Documents

Central City Chorus - David Friddle · 2008. 8. 31. · Rutter closes the movement with anoth-er interpolated text: the Sanctus from the Ordinary of the Mass, with plainsong from