Schola Candlelight Concert

Locus Iste Sanctus Est

Hildegard von Bingen (Germany, 1098 - 1179)

“Saint” Hildegard’s 11
th century birth brought into the world a remarkable woman who not only served as an abbess at her 12th century monastery, but also became the author of theological, botanical and medicinal texts, and is today considered Europes's first medical doctor. Locus Iste Sanctus Est is one of Hildgard’s many compositions that was composed by a woman with the intention of being sung in, and by, a women’s monastic community.

Locus iste sanctus est in quo orat sacerdos,
Alleluia, Alleluia.
Pro delicious, et peccati populi, Alleluia.
Gloria Patri, et Filio, et Spiritai Sancto.
Locus iste sanctus est in quo orat sacerdos,
Alleluia, Alleluia.

This place where the priest prays is holy,
Praise God, Praise God.
For the offenses and sins of the people, Praise God.
Glory to the Father, and to the Son, and to the Holy Spirit.
This place where the priest prays is holy,
Praise God, Praise God.

Ubi Caritas
Ola Gjeilo (Norway, b. 1978)

Since the 10
th century, "Ubi Caritas" has been chanted (as a Gregorian chant that likely originated in France) during Holy Week's Holy Thursday Mass. Schola sings this contemporary setting by Norway's Ola Gjeilo.

Ubi caritas et amor, Deus ibi est.
Congregavit nos in unum Christi amor.
Exsultemus, et in ipso jucundemur.
Timeamus, et amemus Deum vivum.
Et ex corde diligamus nos sincero.

Where charity and love are, there God is.
The love of Christ has gathered us into one.
Let us exult, and in Him be joyful.
Let us fear and let us love the living God.
And from a sincere heart let us love each other (and Him).

If Ye Love Me
Thomas Tallis (England, 1505 - 1585)

Politics and dogma leave their temporary mark on the shifting sands of history, but music remains eternal.

The life of the great English composer Thomas Tallis (c. 1505-1585) is a testament to this idea. While Tallis remained an “unreformed Roman Catholic” throughout his life; he adapted professionally to serve the monarch of the time, and he wrote for the Latin Catholic Mass until Henry VIII’s break with Rome. After writing Anglican music, he returned to the Catholic Mass to accommodate Queen Mary. Under Elizabeth I, he returned to the Anglican tradition.

This brief four-part motet was published in 1565 during Queen Elizabeth’s reign. It is a setting of a passage from the Gospel of John (4:15-17). Tallis’ writing conforms to the pure style of the time, employing “to each syllable a plain and distinct note” as he explained it.
If Ye Love Me is still standard sacred music of the Anglican tradition, with performances at the royal wedding of Prince Harry and Meghan Markle and during Pope Benedict XVI’s 2010 visit to Westminster Abbey. Surviving the winds of change over the course of 400 years, it comes to us as pure music.

If ye love me,
keep my commandments,
and I will pray the Father,
and he shall give you another comforter,
that he may bide with you forever,
e'en the spirit of truth.

Aufer a Nobis
Francisco López Capillas (Mexico City, 1615 - 1674)

Capillas was one of the first composers of sacred polyphony born in the "New World." He was the pupil of composers that had made the enduring commitment of leaving their homeland of Spain to come to "New Spain" and provide and teach music in this new land. Capillas' music is considered "Colonial" music. He composed
Aufer a Nobis for the February 2, 1656, consecration of Mexico City's Cathedral, the Catedral Metropolitana de la Asunción de la Bienaventurada Virgen María a los cielos (Metropolitan Cathedral of the Assumption of the Most Blessed Virgin Mary into Heaven).

Aufer a nobis iniquitates nostras.
Ut digni canamus tibi gloriae melos.
Quibus indigni omni laude
dignissimam collaudamus.

Take away from us (our) iniquities.
As worthy (dignified), we (then) sing to you our glorious melodies (songs).
We, who are undignified (unworthy), give all praise
to the most dignified (worthy) of praise.

Ave Maris Stella
Esteban Salas y Castro (Cuba, 1725 - 1803)

Salas' music in considered baroque. Although Europe had moved on to the classical period by this time, the slower travel of musicians and their music from the Iberian peninsula (Spain) to New Spain delayed the arrival of classical style music to the

Salas mixed the 6
th century Ave Maris Stella Gregorian chant with "new" baroque sounds. This chant has been a part of Vespers dedicated to St. Mary for more than 15 centuries.

1. Ave maris stella,
Dei Mater alma,
atque semper Virgo,
felix caeli porta.

Hail, Star of the Sea (Mary etymology),
loving Mother of God,
and Virgin immortal,
heaven's blissful portal.

2. Sumens illud Ave
Gabrielis ore,
funda nos in pace,
mutans Hevae nomen.

Receiving that "ave"
from the mouth of Gabriel,
establish us in peace,
reversing the name of Eva.

3. Solve vincla reis,
profer lumen caecis:
mala nostra pelle,
bona cuncta posce.

Break the chains of sinners,
bring light to the blind:
drive away our evils,
and ask for all good things.

4. Monstra t(e) esse matrem:
sumat per te preces,
qui pro nobis natus,
tulit esse tuus.

Show yourself to be a mother,
that, through you, he may accept our prayers.
He who, born for us,
chose to be your son.

5. Virgo singularis,
inter omnes mitis,
nos culpis solutos,
mites fac et castos.

Virgin incomparable,
meek above all other,
mac us, freed from our faults,
meek and chaste.

6. Vitam praesta puram,
iter para tutum:
ut videntes Iesum,
semper collaetemur.

Keep our life pure,
make our journey safe,
so that seeing Jesus,
we may rejoice together forever.

7. Sit laus Deo Patri,
summo Christo decus,
spiritui Sancto,
tribus honor unus.

Let there be praise to God the Father,
and glory to Christ the most high,
and to the Holy Spirit,
and to the Three be on e honor.
So be it.

ós Irish song
Arr. Michael McGlynn (Ireland, b.1964)

Cúnnla is a sean-nós Irish song composed ~ 14
th century. Sean-nós means “in the old way,” or without accompaniment, in Englsih.

It is a traditional Irish old night-visiting song of house spirits, both mischievous and helpful.

"Cé hé siúd thíos atá ‘leagan na gclaíocha?"
"Mise mé féin" a deir Cúnnla.

"Who is that down there knocking the (stone) walls?"
"Me, myself" says Cúnnla.

""Cé hé siúd thíos atá ‘tarraingt na pluide dhíom?"
"Mise mé féin" a deir Cúnnla.

"Who is that down there pulling the blanket off me?"
"Me, myself" says Cúnnla.

"Cé hé siúd thíos atá ‘tochas mo bhonnachaí?"
"Mise mé féin" a deir Cúnnla.

"Who is that down there tickling the soles of my feet?"
"Me, myself" says Cúnnla.


”’Chúnnla ‘chroí ná tar níos goire dhom!"
"M’anam go tiocfaidh!" deir Cúnnla.

"Cúnnla dear don't come any nearer to me!"
"My soul I will!" says Cúnnla.

Siúil a Rúin
Traditional Irish song
Arr. Michael McGlynn (Ireland, b.1964)

Go, my love.

Siúil a Rúin is a young woman’s lament for her lover who has left for fighting in a faraway land.

Sung by Denise Moore and Schola.

I wish I were on yonder hill
'Tis there I'd sit and cry my fill
And every tear would turn a mill

I wish I sat on my true love's knee
Many a fond story he told to me
He told me things that ne'er shall be
Siúil, siúil, siúil a rúin
Siúil go sochair agus siúil go ciúin
Siúil go doras agus éalaigh liom

Go, go, go my love
Go quietly and go peacefully
Go to the door and fly (escape) with me

His hair was black, his eye was blue
His arm was strong, his word was true
I wish in my heart I was with you


I'll dye my petticoat, I'll dye it red
And 'round the world I'll beg my bread
'Til I find my love alive or dead


Earth Song
Frank Ticheli (USA, b. 1958)

A cry for peace in a world torn by war, this poignant a cappella setting of an original text is filled with striking dynamic contrasts. "Sing, Be, Live, See... This dark stormy hour, the wind, it stirs. The scorched earth cries out in vain... But music and singing have been my refuge, and music and singing shall be my light…"

Sing. Be. Live. See.

This dark stormy hour the wind, it stirs,
the scorched Earth cries out in vain.

Oh war and power, you blind and blur.
The torn heart cries out in pain

But music and singing have been my refuge.
And music and singing shall be my light.

A light of song, shining strong.
Allelujah, Allelujah

Through darkness and pain and strife,
I'll sing, I'll be, I'll live, I'll see.


Traditional Irish melody
Arr. Michael McGlynn (Ireland, b. 1964)

The original 1616 manuscript of “Jerusalem,” with its traditional Irish melody, is based on the writings of St. Augustine. The manuscript is inscribed “A song made by F.B.P. to the tune of DIANA.” F.B.P. is thought to be Francis Baker Pater, a Catholic priest who was confined in the tower of London about the time of James I.

It is sung in the style of heterophony.

Sung by the ladies of Schola

Jerusalem, our happy home
When shall we come to thee?
When shall our sorrows have an end?
Thy joys when shall we see?

1. They see no one that sent her there
Their palms spring from the ground
No tongue can tell, no heart can think
What joys do there abound

2. Forever more the trees perfumed
And ever more they spring
And ever more the saints are glad
And ever more they sing

3. Fair Magdalene, she hath less moan
Likewise there she doth sing
The happy saints in harmony
Through every street doth ring

4. Fair Magdalene hath dried her tears
She'll weep no more to thee
Nor wet the ringlets of her hair
To wash her savior's feet

Guillaume Machaut (France, 1300 - 1377)

Machaut set the great Gloria hymn of the Roman Catholic Mass during the time of the Black Death. The sounds of this medieval setting mirrors the dark times of the Middle Ages.

The ancient Gloria began by the priest or bishop echoing the proclamation of the angels at the birth of Christ: "Glory to God in the highest!" In this ancient hymn, the gathered assembly joins the heavenly choirs in offering praise and adoration to the Father and Jesus through the Holy Spirit.

Glória in excélsis Deo
et in terra pax homínibus bonae voluntátis.

Glory to God in the highest,
and on earth peace to people of good will.

Laudámus te,
benedícimus te,
adorámus te,
glorificámus te,
grátias ágimus tibi propter magnam glóriam tuam.

We praise you,
we bless you,
we adore you,
we glorify you,
we give you thanks for your great glory.

Dómine Deus, Rex caeléstis,
Deus Pater omnípotens.
Dómine Fili unigénite, Jesu Christe,
Dómine Deus, Agnus Dei, Fílius Patris.

Lord God, heavenly King, O God,
Almighty Father.
Lord Jesus Christ, Only Begotten Son,
Lord God, Lamb of God, Son of the Father.

Qui tollis peccáta mundi, miserére nobis;
qui tollis peccáta mundi, súscipe deprecatiónem nostram.
Qui sedes ad déxteram Patris, miserére nobis.

you who takes away the sins of the world, have mercy on us;
you who takes away the sins of the world, receive our prayer;
you who are seated at the right hand of the Father, have mercy on us.

Quóniam tu solus Sanctus,
tu solus Dóminus,
tu solus Altíssimus,
Jesu Christe,
cum Sancto Spíritu in glória Dei Patris.

For you alone are the Holy One,
you alone are the Lord,
you alone are the Most High,
Jesus Christ,
with the Holy Spirit in the glory of God the Father.


And so it shall be.

Ave Maria…Virgo Serena
Josquin des Prez (Flemish, Condé-sur-l'Escaut, France, c.1450 – 1521)

des Prez published this wonderful piece that speaks to the five important milestones of St. Mary's life. The text starts with the well known Ave Maria (Hail Mary…), then employs a medieval poem telling of St. Mary's life, and ends with a personal petition of des Prez, praying to St. Mary asking her to remember him.

Ave Maria, gratia plena,
Dominus tecum,
Virgo serena.

Hail Mary, full of grace,
the Lord be with you,
serene (gentle) Virgin.

1. Conceptio
Ave cujus conceptio,
solemni plena gaudio
cœlestia, terrestria,
Nova replet lætitia.

Conception – December 8 (Mary’s freedom from original sin)
Hail whose conception,
solemnly filled with joy,
Heaven and earth
are filled with happiness of this news.

2. Nativitas
Ave cujus nativitas
nostra fuit solemnitas,
Ut lucifer lux oriens,
verum solem præveniens.

Nativity – September 8 (birth of Mary – 9 months after Conception)
Hail whose birth
was our solemn celebration,
as the light-bringer (Morning Star) from the east,
foretelling the coming of the true sun.

3. Annunciatio
Ave pia humilitas,
sine viro fœcunditas,
cujus annunciatio
nostra fui salvatio.

Annunciation – March 25 (9 months before Christmas)
Hail pious humility,
created without a man
whose announcement
was our salvation.

4. Purificatio
Ave vera virginitas,
immaculata castitas,
cujus purificatio
nostra fuit purgatio.

Purification – February 2 (40 days after Christmas…)
Hail true virginity,
immaculate chastity
whose purification
was our purification (cleansing).

5. Assumptio
Ave præclara omnibus
Angelicis virtutibus,
cujus fuit assumptio
nostra glorificatio.

Assumption – August 15 (body & soul of Mary assumed to heaven)
Hail to you most glorious
Angelic virtues
whose assumption was
our glorification (unjustifiably admirable).

O Mater Dei,
Memento mei.

O Mother of God,
remember me.
And so it shall be.

E'en So, Lord Jesus, Quickly Come
Paul Manz (USA 1919 - 2009) & Ruth Manz (Canada, 1919 - 2008)

Paul and Ruth Manz composed this prayer in 1953 fearing the death of their three-year-old son as he lay critically ill. Ruth provided the text from scripture, including from the Book of Revelation, while Paul laid out the melodies that would make up this song. The Manz's son recovered, which they attributed to the power of prayer.

Peace be to you and grace from him
who freed us from our sins,
who loved us all and shed his blood
that we might saved be.

Sing holy, holy to our Lord,
the Lord, Almighty God,
who was, and is, and is to come;
Sing holy, holy, Lord!

Rejoice in heaven, all ye that dwell therein,
rejoice on earth, ye saints below,
for Christ is coming, is coming soon,
for Christ is coming soon!

E'en so, Lord Jesus, quickly come,
and night shall be no more;
they need no light nor lamp nor sun,
for Christ will be their All!

Sing Me to Heaven
John Gawthrop (USA, b. 1949)

Northern Virginia’s Voce Chamber Singers’s first commission was Daniel Gawthorp’s “Sing Me to Heaven.” It was first performed by the Voce Chamber Singers on February 4, 1991. Gawthorp is normally quiet about this original composition, but the reader can read the "whole story" in Gawthorps own words

In my heart's sequestered chambers
lie truths stripped of poet's gloss.
Words alone are vain and vacant
and my heart is mute.

In response to aching silence
memory summons half-heard voices.
And my soul finds primal eloquence,
and wraps me in song.
wraps me, in song

If you would comfort me, sing me a lullaby.
If you would win my heart, sing me a love song.
If you would mourn me and bring me to God.
Sing me a requiem, sing me to Heaven.

Touch in me all love and passion,
pain and pleasure, touch in me grief and comfort.
Love and passion, pain and pleasure.

Sing me a lullaby,
a love song,
a requiem.

Love me, comfort me.
Sing me to God.
Sing me a love song.
Sing me to Heaven.

é Clausen (USA, b. 1953)

Mother Teresa's daily prayer is encapsulated in this song. Schola's director has a special connection to this song from when he had the experience of praying it with Mother Theresa in 1986.

é Clausen published this wonderful setting of Mother Teresa's daily prayer 2009.

Help me spread Your fragrance wherever I go.
Flood my soul with Your Spirit and Life.
Penetrate and possess my whole being so utterly,
that my life may be only a radiance of Yours.

Shine through me and be so in me that every soul I know will feel Your presence in my soul.
Let them look up and see no longer me, but only You.

Mañanitas a la Virgen de Guadalupe
Trad. of the Nuestra Señora de Guadalupe

Las Mañanitas a la Virgen de Guadalupe is the traditional song of the ‘Patroness of the Americas, Our Lady of Guadalupe.’ Las Mañanitas is our song of greeting to 'her,' where we celebrate Juan Diego’s encounter with the Virgin Mary in 1531, greeting her as 'Guadalupana'. The Feast of Our Lady of Guadalupe is on December 12.

Oh Virgen, la más Hermosa del Valle del Anáhuac,
tus hijos muy de mañana te vienen a saludar.

O Virgin, the most beautiful of the Valley of Anahuac,
your children come to greet you very early in the morning.

Despierta, Madre, despierta, mira que ya amaneció,
mira este ramo de flores que para ti traigo yo.

Wake up, Mother, wake up, look at the dawn,
look at this bouquet that I bring to you.

Recibe, Madre querida, nuestra felicitación,
hoy por ser el día tan grande de tu tierna aparición.

Receive, dear Mother, our congratulations,
For today being the great day of your tender appearance.

Recibe, Madre querida, nuestra felicitación;
míranos aquí postrados y danos tu bendición.

Receive, dear Mother, our congratulations;
see at us here prostrate and give us your blessing.

Tú brillaste, Virgen Santa, como estrella matinal,
anunciando la alborada que iba pronto a comenzar.

You shone, Holy Virgin, as the morning star,
announcing the dawn that was soon to begin.

Ya viene alborando el día, qué linda está la mañana,
saludemos a María: buenos días, Guadalupana.

El cerro del Tepeyac escogiste por morada,
por eso te saludamos, buenos días, Guadalupana.

Ya viene amaneciendo, ya la luz del día nos dio,
levántate, Virgencita, mira que ya amaneció.

The day is already dawning, how beautiful the morning is,
Let’s say hello to Mary. ‘God morning Guadalupana!’

You chose the Tepeyac hill as your home,
so we greet you; Good morning, Guadalupana!

Dawn is coming, and the light of day is upon us.
Get up, little Virgin, look and see that it is already dawn!

Autumn 2023 Schola singers

Anna George - alto/percussion
Denise Moore - soprano
Jackie Mattos - alto/soprano
Lucinda Sydow - alto/soprano/trumpet
Susan Roller Whittington - alto/guitar

Maestro Billy Turney - baritone/accordion