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Schola Christmas 2025 Program
The Holly and the Ivy
Traditional English Carol
Arr. Sir Henry Walford Davies (1869-1941, England)
It was in the small market town of Chipping Campden, in Gloucestershire, that Cecil Sharp (1859–1924) collected the tune and most of the words of The Holly and the Ivy, both of which are traditional and anonymous. Sir Walford Davies (1869–1941) was in turn organist of the Temple Church in London, professor of music at the University of Wales and organist of St George’s Chapel, Windsor, where he had served his apprenticeship as chorister and, later, pupil teacher. In 1934 Davies became Master of the King’s Musick in succession to Sir Edward Elgar. From notes by Hyperion Records attributed to Wadham Sutton 1993
1. The holly and the ivy
When they are both full grown
Of all trees that are in the wood
The holly bears the crown
Chorus
O, the rising of the sun,
and the running of the deer.
The playing of the merry organ.
Sweet singing in the choir.
2. The holly bears a berry
as red as any blood
And Mary bore sweet Jesus Christ
to do poor sinners good
3. The holly bears a bark
as bitter as any gall
And Mary bore sweet Jesus Christ
for to redeem us all
In the Stillness
English Carol
Sally Beamish (England, b.1956)
Text: Katrina Shepherd (Scotland)
A setting of original words by Scotland’s Katrina Shepherd, this short carol beautifully captures the hushed rapture of a small parish church in a snowbound landscape, just before Christmas.
In the stillness of a church where candles glow,
In the softness of a fall of fresh white snow,
In the brightness of the stars that shine this night,
In the calmness of a pool of healing light,
In the clearness of a choir that softly sings,
In the oneness of a hush of angels’ wings,
In the mildness of a night by stable bare,
In the quietness of a lull near cradle fair,
There’s a patience as we wait for a new morn,
And the presence of a child soon to be born.
Sally Beamish
In the Bleak Midwinter
English Carol
Text: Christina Rossetti (England, 1830-1894)
Music: Gustav Theodore Holst (England, 1874-1934)
English poet Christina Rossetti published "In the Bleak Midwinter," under the title "A Christmas Carol," in January 1872. In verse one, Rossetti describes the physical circumstances of the Nativity of Jesus in Bethlehem. In verse two, Rossetti contrasts Christ's first and second coming. The third verse dwells on Christ's birth and describes the simple surroundings, in a humble stable and watched by beasts of burden. Rossetti achieves another contrast in the fourth verse, this time between the incorporeal angels attendant at Christ's birth with Mary's ability to render Jesus physical affection. The final verse shifts the description to a more introspective thought process.
Gustav Holst’s folk-style setting, which tailors Rossetti’s words to the verses, was first published in 1906 in 'The English Hymnal', and soon established its place among the great hymns of Christmas.
In the bleak midwinter, frosty wind made moan,
Earth stood hard as iron, water like a stone;
Snow had fallen, snow on snow, snow on snow,
In the bleak midwinter, long ago.
Our God, Heaven cannot hold Him, nor earth sustain;
Heaven and earth shall flee away when He comes to reign.
In the bleak midwinter a stable place sufficed
The Lord God Almighty, Jesus Christ.
Enough for Him, whom cherubim, worship night and day,
A Breastful of milk, and a mangerful of hay;
Enough for Him, whom angels fall down before,
The ox and ass and camel which adore.
Angels and archangels may have gathered there,
Cherubim and seraphim thronged the air;
But His mother only, in her maiden bliss,
Worshipped the beloved with a kiss.
What can I give Him, poor as I am?
If I were a shepherd, I would bring a lamb;
If I were a Wise Man, I would do my part;
Yet what I can I give Him: give my heart.
Portrait of Christina Rossetti in 1866 by her brother Dante Gabriel Rossetti.
Gustav Holst
Gaudete
Gaudete was published in 1582 in the Piæ Cantiones ecclesiasticæ et scholasticæ veterum episcoporum (Devout ecclesiastical and school songs of the old bishops). The Piae Cantiones is a collection of late medieval Latin hymns compiled by the Finnish priest Jakkoo Finno (c.1540-1588).
Gaudete, gaudete! Christus est natus
ex Maria virgine, gaudete!
Rejoice, rejoice! Christ is born
of the Virgin Mary, rejoice!
Tempus adest gratiæ
hoc quod optabamus,
Carmina lætitiæ
devote reddamus.
The time of grace has come
that we have desired;
Let us devoutly return
with songs of joy.
Deus homo factus est
natura mirante,
Mundus renovatus est
A Christo regnante.
God has become man,
with nature marveling;
the world has been renewed
by Christ reigning.
Ezechelis porta
clausa pertransitur,
Unde lux est orta
salus invenitur.
The gate of Ezechiel
is passed through;
Whence the light is born,
salvation is found.
Ergo nostra cantio
psalatiam in lustro;
Benedicat Domino:
salus Regi nostro.
Therefore let our assembly
now sing in brightness;
Let us bless the Lord:
greetings to our King.
Title page of the Piæ Cantiones, 1582.
Gaudete as found in the Piæ Cantiones, 1582.
A contemporary rendering of the Finnish priest Jaakko Finno who compiled the Piæ Cantiones in 1582.
Flos ut rosa floruit
14th century monastic chant
The manuscript containing the Marian Flos ut rosa floruit comes either from the Bavarian 12th century Augustinian monastery in Indersdorf, or from the 9th century St. Blaise Benedictine Abbey, both in southern Germany. Early literature suggests it was written in the early 15th century, but probably already existed in the second half of the 14th Century. The manuscript was located in the St. Blaise Abbey. It was purchased by the British Museum in 1867.
Flos ut rosa floruit quando virgo genuit Maria!
Salvatorem omnium, summi patris filium, nova genitura.
Qui divina gratia descendit ad infera humana
et salvavit omnia summa cum potentia, nova genitura.
Cantemus hymnum gloriae, cantico laetitiae laudando
sollemnizantes hodie regi regum justitiae gratias agendo
Qui natus est de Virgine mistico spiramine, nova genitura
Ergo nostra concio psallat cum tripudio benedicat Domino
A flower like a rose bloomed when the Virgin Mary gave birth!
The Savior of all, the Son of the Most High Father, a new generation.
Who by divine grace descended to the human underworld
and saved all things with supreme power, a new generation.
Let us sing a hymn of glory, a song of joy,
praising, celebrating today the King of kings, giving thanks.
Who was born of the Virgin by a mystical breath, a new generation
Therefore let our assembly sing with joy and praise the Lord.
12th century Augustinian monastery in Indersdorf
9th century St. Blaise Benedictine Abbey
Lo, how a rose e’er blooming (Es ist Ein Ros’ Entsprungen)
15th Century German carol
Composer: Unknown
Arranged by: Michael Praetorius, 1609
This German carol is an advent carol as the words allude to the words of the prophet Isiah foretelling the coming of the Messiah and his holy lineage from King David.
The earliest written words of the carol appear in a prayer book of a Carthusian Monk, Brother Conrad, who wrote his book between the years 1582 and 1588. A dozen years later, Brother Conrad’s words with a melody first appeared together and were published in Cologne in 1599. Praetorius setting of the carol was published 10 years after that.
The 16th century prayer book of Bother Conrad (a Carthusian Monk from present-day Trier, Germany) that contains the earliest known words of Lo, How a Rose.
Gloria
From Willam Byrd's Mass for 3 Voices
Willam Byrd (England, c.1540 – 1623)
England’s finest Renaissance composer was a covert Catholic facing brutal prosecution in the English Reformation. He refused to attend Anglican services (which was illegal and punishable). He then further wrote sacred music for secret Catholic masses where Catholic priests and worshipers risked everything for their faith. In 1593 Byrd published the Mass for 3 Voices for clandestine Catholic masses held in private homes.
Byrd’s brilliance shines in this mass - when only three voices are in play, not a single note can go to waste.
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.
Amen.
And so it shall be.
The manuscript of Byrd's Mass for 3 Voices (1583)
Carol of the Bells
Mykola Leontovych (Ukraine, 1877 –1921)
Peter Wilhousky (b. Ukraine 1902, d. 1978 USA)
This carol is based on four notes found in a Ukrainian folk song that tells of the coming of the New Year. (In pre-Christian Ukraine the New Year was celebrated in Spring.) The song’s lyrics moved closer to today’s New Year date with the new (46 BC!) Julian calendar. Ukraine’s Mykola Leontovych composed the carol as we know it today about 1916. In 1936 English-language lyrics were written by American composer of Ukrainian origin, Peter Wilhousky.
Hark! How the bells, sweet silver bells
All seem to say, "Throw cares away"
Christmas is here, bringing good cheer
To young and old, meek and the bold
Ding, dong, ding, dong, that is their song
With joyful ring, all caroling
One seems to hear, words of good cheer
From everywhere, filling the air
Oh, how they pound, raising the sound
O'er hill and dale, telling their tale
Gaily they ring, while people sing
Songs of good cheer, Christmas is here
Merry, merry, merry, merry Christmas
Merry, merry, merry, merry Christmas
On-on they send, on without end
Their joyful tone to every home
The Ukrainian carol "Shchedryk" which Carol of the Bells is based upon.
Wexford Carol (Enniscorthy Carol)
Traditional Irish carol
Composer: Anonymous
Words and tune from County Wexford, Ireland
Arranged by: Michael McGlynn, (Ireland, b. 1964)
This carol recounts the nativity of the infant Jesus, describing the angel visiting the shepherds and their journey to Bethlehem to see the Messiah in the manager with Mary.
This Irish carol has its origins or ‘discovery’ in Enniscorthy, County Wexford, in the southeast corner of Ireland where it had been sung and passed down orally by tradition for centuries. A local priest, Father Commons, who had an amateur interest in preserving cultural music and had heard the carol sung by his relatives, asked the local organist and choir master W. H. Grattan Flood at Enniscorthy St. Aiden Catholic Cathedral to transcribe it. Flood transcribed the carol onto paper in around 1920, and the carol has been sung every Christmas Eve in Enniscorthy since. Flood submitted the song to the editors of The Oxford Book of Carols, the gold-standard repository of Christmas carols, where it was published in 1928.
Good people all this Christmas time
Consider well and bear in mind
What our good God for us has done
In sending His beloved Son
With Mary holy we should pray
To God with love this Christmas day
In Bethlehem upon that morn
There was a blessed Messiah born
Near Bethlehem did shepherds keep
Their flocks of lambs and feeding sheep
To whom God's angel did appear
And put the shepherds in great fear
"Prepare and go," the angel said
"To Bethlehem, be not afraid
For there you'll find this happy morn
A princely babe, sweet Jesus born"
With thankful heart and joyful mind
The shepherds went the babe to find
And as God's angel had foretold
They did our savior Christ behold
Within a manger He was laid
And by His side the virgin maid
Attending on the Lord of Life
Who came to earth to end all strife
A 1916 rendering of St. Aiden's Catholic Cathedral in County Wexford where the centuries old Wexford Carol was first sung by an SATB choir in 1920.
The Lamb
Sir John Kenneth Tavener (England, 1944 – 2013)
Text: William Blake (England, 1757 –1827)
The Lamb was composed in 1982, and was performed that year at the Festival of Nine Lessons and Carols at King’s College, Cambridge. Taverner said The Lamb “was composed from seven notes in an afternoon.”
Little lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little lamb, who made thee?
Dost thou know who made thee?
Little lamb, I’ll tell thee,
Little lamb, I’ll tell thee;
He is called by thy name,
For he calls himself a Lamb,
He is meek, and he is mild,
He became a little child.
I, a child, and thou a lamb,
We are called by his name.
Little lamb, God bless thee!
Little lamb, God bless thee!
"The Lamb" in William Blake's Songs of Innocence and of Experience (1794), illustrated by Blake
William Blake, author of the poem "The Lamb."
Taverner in 2005.
Suantraí (Lullaby)
Michael McGlynn (Ireland, b.1964)
The tender "Suantraí" lullaby intertwines profound affection with a sense of humility. Gentle recurring Irish Gaelic syllables provide a soothing ambiance, while the verses express intense love and reverence for a child. The repeated "Alleluia" elevate the song to a sacred level, making for a link between earthly affection and divine grace. The blending of lullaby, love song, and hymn crafts a gentle, rocking lullaby to the Christ child that is both tender and sublime.
A ghrá na súl atá 'mo thrá
A ghrá mo chroí 'tá ghrámhar lán
Cé gur leanbh thú gan cháil
Is iomaí bua duit i ndán
Cuirfead mo rúin chun suain
Cuirfeadh mo rúin in a luí
Alleluia
A ghrian gheal thuas sa spéir ghlan thú
Is solas tú san oíche dhubh
Saorfaidh tú ó chách an brón
'Gus béarfaidh eolas naofacht dúinn.
The love of my eyes, that is my way
The love of my heart, that is lovingly full
Though You are a child without reputation
Many achievements are in store for You
I will put/send my love to slumber
I will lay my love down (to rest)
Praise God
You are the bright sun in the clear sky
You are a light in the dark/black of night
You shall free all from sorrow
And bring us knowledge of holiness
Translation: Dáithí Ó Nuanáin
Michael McGlynn (center) with Schola singers Billy Turney and Lucinda Sydow.
O Holy Night
Adolphe Adam (France, 1803-1856)
Arr. Michael McGlynn (Ireland, b.1964)
This French carol was set by France’s Adolphe Adam in 1847 to "Minuit, chrétiens," a poem by Placide Cappeau (1808–1877). This poem, and now carol, reflects both on the birth of Jesus and on humanity's redemption.
El Noi de la Mare
The Child of the Mother
c.16th century Catalan lullaby
This lullaby’s melody can be traced to an 1820 organ notebook that is preserved in the Catedral de Santa Maria de la Seu Vella in Lleida, Catalonia, Spain. (This cathedral and its musical treasures was consecrated to the Virgin Mary on October 31, 1278.) The Hyperion label describes El Noi de la Mare’s style as “reflecting the musical culture of Catalonia.”
In typical medieval fashion, this tender Christmas song of Jesus' infancy points to his eventual condemnation and resurrection.
Què li darem an el Noi de la Mare?
Què li darem que li sàpiga bo?
Li darem panses amb unes balances,
li darem figues amb un paneró.
What will we give the Mother's Boy?
What will we give him that will taste good?
We will give him a tray full of raisins,
we will give him a basket of figs.
Què li darem al Fillet de Maria?
Què li darem al formós Infantó?
Panses i figues i nous i olives,
panses i figues i mel i mató.
What will we give the Son of Mary?
What will we give the beautiful Infant?
Raisins and figs and walnuts and olives,
raisins and figs and honey and curd.
Tam-pa-tam-tam que les figues són verdes,
Tam-pa-tam-tam que ja maduraran.
Si no maduren el dia de Pasqua,
maduraran en el dia del Ram.
Tam-pa-tam-tam, the figs are green,
Tam-pa-tam-tam, that they will ripen.
If they do not ripen on Easter Day,
they will ripen on Palm Sunday.
The Seu Vella Cathedral, that contains the earliest musical transcription of El No de la Mare, is the symbol of Lleida, Catalonia, being visible from its hilltop site anywhere in the city.
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.
1.
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.
Estribillo
Despierta, Madre, despierta, mira que ya amaneció,
mira este ramo de flores que para ti traigo yo.
Refrain
Wake up, Mother, wake up, look at the dawn,
look at this bouquet that I bring to you.
2.
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.
3.
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.
4.
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.
5.
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!
Our Lady Guadalupe amongst the morning roses.
Santuario de Nuestra Señora de Guadalupe, Santa Fe, New Mexico
Los Peces en El Río
Traditional 16th century Villancico of Spain
This popular Spanish villancico seems to draw a contrast between the fishes in the river, who are excited about the birth of Jesus, and the Virgin Mary and her chores of daily life.
But this villancico is filled with complexity – hidden meanings, Moorish (Arabic) musical structure and tonalites, transformation of a secular song into a religious song (as was popular in 16th century Spain where secular texts were adapted "to the divine," transforming them into compositions with religious content), and hidden imagery (the Virgin is combing her golden hair with a comb made of silver – a nod to Spain’s Golden Age of 1492 to 1681).
La Virgen se está peinando
entre cortina y cortina,
sus cabellos son de oro
y el peine de plata fina.
The Virgin is combing her hair
between the curtains,
her hairs are of gold
and the comb is of fine silver.
Estribillo:
Pero mira como beben los peces en el río,
pero mira como beben por ver a Dios nacido.
Beben y beben y vuelven a beber,
los peces en el río por ver a Dios nacer.
Refrain:
But look how the fishes in the river drink,
but look how they drink to see God born.
They drink, and drink, and drink again,
the fishes in the river to see God born.
La Virgen lava pañales
y los tiende en el romero,
los pajarillos cantando
y el romero floreciendo.
The Virgin washes diapers
and hangs them in the rosemary,
the birds are singing
and the rosemary is flowering.
La Virgen se está lavando
con un poco de jabón,
se le han picado las manos
manos de mi corazón.
The Virgin washes herself
with a little bit of soap,
her hands have become itchy,
the hands of my heart.
Hallelujah Chorus from Messiah
George Frideric Handel (b. 1685 Germany, died 1759 England)
Handel composed Messiah in an astounding interlude, somewhere between three and four weeks in August and September 1741. The Hallelujah chorus is the last song in part two of this magnificent oratorio.
Hallelujah!
For the Lord God omnipotent reigneth.
The kingdom of this world is become the kingdom of our Lord,
and of His Christ;
And He shall reign for ever and ever.
King of kings, and Lord of lords.
Hallelujah!
The last page of the Hallelujah chorus.
A statue of George Frederic Handel, posing with his Hallelujah in London's Westminster Abbey. Handel's one posthumous present to himself was £600 for his own monument at Westminster Abbey, final resting place for British monarchs and their most accomplished subjects. Three years after Handel's death, the monument by French sculptor Louis François Roubillac, was installed.
El Burrito Sabanero
Aguinaldo (Venezuelan Christmas music)
Hugo Blanco (Venezuela, 1940-2015)
Con mi burrito sabanero, voy camino de Belén
Si me ven, si me ven
Voy camino de Belén
Si me ven, si me ven
Voy camino de Belén
El lucerito mañanero ilumina mi sendero
Si me ven…
Con mi cuatrico voy cantando, mi burrito va trotando
Si me ven…
Tuki tuki tuki tuki
Tuki tuki tuki ta
Apúrate, mi burrito
Que ya vamos a llegar
Tuki tuki tuki tuki
Tuki tuki tuki tu
Apúrate mi burrito
Vamos a ver a Jesús
1. With my burrito from the Savannah*, I'm on my way to Bethlehem
Chorus
If you see me I'm on my way to Bethlehem
2. The morning light illuminates my path
3. With my four-stringed (guitar) I'm singing, my little donkey is trotting
Tuki tuki tuki tuki
Tuki tuki tuki ta
Hurry up, my donkey, we're going to get there
Tuki tuki tuki tuki
Tuki tuki tuki tu
Hurry up my little donkey, let's go see Jesus
*Savannah is a large, flat area of land covered with grass, usually with few trees, that is found in hot countries, especially in Africa.
Winter 2025 Schola singers
Anna George - alto/percussion
Denise Moore - soprano
Jackie Mattos - alto/soprano
Lucinda Sydow - alto/soprano/trumpet
Susan Roller Whittington - alto/soprano
Maestro Billy Turney - baritone/accordion