Baroque Christmas 2023

A C C 8 

directed by Douglas Lawrence AM 

BAROQUE CHRISTMAS 

Saturday 2 December at 3PM 

Sterling Place Community Centre, Dunkeld 

Sunday 3 December at 3PM 

Basilica of St Mary of the Angels, Geelong 

Saturday 9 December at 3PM 

Thomson Memorial Church, Terang 

Sunday 10 December at 3PM 

Our Lady of Mount Carmel, Middle Park

BROWSE CDs 

THE PROGRAM 

TWO HARMONISATIONS OF THE TUNE IN DULCI JUBILO 

by Johann Sebastian Bach and Johannes Walther 

TWO CAROLS BY MICHAEL PRAETORIUS 

Ein kind geborn;* Singt und klingt 

*with alternate verses set by Bartholomäus Gesius 

TWO MOTETS BY HEINRICH SCHÜTZ 

Das Wort ward Fleisch; O süsser Jesu Christ 

THREE FRENCH NOËLS 

Ding dong merrily on high Anonymous 16 th century French 

tune, harmonised by Charles Wood 

Quand Dieu naquit à Noël Noël No.10 for organ by Louis 

Claude Daquin, arranged for choir by E Anderson 

Angels we have heard on high, Traditional French melody 

arranged by Elizabeth Anderson 

MAGNIFICAT FROM THE SECOND SERVICE BY THOMAS 

TOMKINS 

TWO HARMONISATIONS OF THE TUNE JOSEF LIEBER 

Johannes Eccard Resonet in Laudibus 

Leonhard Schroeter Josef lieber Josef mein 

3

TWO ANONYMOUS ENGLISH CAROLS 

Coventry Carol (1591); There is no rose (c.1420) 

TWO CAROLS OF AUSTRALIAN BIRDS 

Texts by Mark Tredinnick, Music by Alan Holley 

The Carol of the Two Crows 

The Carol of the Butcherbird 

TWO SETTINGS OF A SPOTLESS ROSE 

Herbert Howells A spotless rose 

Michael Praetorius Es ist ein Ros entsprungen 

THE MOTET LOBET DEN HERRN, BY JS BACH 

BROWSE CDs 

The Australian Chamber Choir was 

established by Douglas Lawrence 

and Elizabeth Anderson in 2007. 

Between 2007 and 2019, the choir 

undertook seven concert tours of 

Europe, recorded five CDs and 

presented over 200 concert 

performances, many of which were 

recorded for broadcast on ABC Classic FM or 3MBS FM. 

During and around the lockdowns of 2020 and ‘21, the 

ACC built a live-streaming platform, increased the 

number of programs presented per year, toured Victoria 

and released the CD, A Baroque Christmas. Click to 

browse the choir’s CDs. 

4

International tours – travel with us! 

In 2015, returning by invitation to Denmark’s oldest 

classical music festival, the Sorø International, the ACC 

was made an Honorary Life Member and took its place 

alongside such luminaries as Wilhelm Kempff, Anton 

Heiller, Gaston Litaize and Julian Bream. 

You are invited to travel with us for 16 days from Bruges to 

Venice during our eighth concert tour of Europe. We are 

excited, as we haven’t ventured overseas since 2019. 

We have return invitations to sing in the Cathedrals of 

Bonn and Berlin and to appear as special guests in the 

International Organ Festivals of Flanders and Darmstadt. 

Our Friends can enjoy three different concert programs, 

as well as meals and post-concert receptions with the 

choir. Our optional ‘Friends Choir’ sessions are a bonus 

for anyone who likes to sing, or even to listen up close. In 

Venice, the ACC teams up with the Conservatorium’s 

period instrument orchestra to present a long-lost 

cantata, written by Agatha, an orphan from Vivaldi’s 

Ospedale della Pietà. This cantata, composed in Venice, 

was reconstructed and premiered in Melbourne in 2022. 

Be in the audience in the Venetian Baroque splendour of 

the Pisani Palace when it is heard here for the first time in 

three centuries, and celebrate with the choir and 

orchestra at the reception afterwards. 

5

MORE ABOUT THE 2024 TOUR 

The ACC at St Martin-in-the-Fields, July 2019. Image: Jessica Pigg 

The 2024 tour has all the usual ingredients: a good balance 

of organised sight-seeing and free time, a luxury coach, 

four-star accommodation and qualified tour guides to 

give us insights into the music, the art and the history. 

As always, the tour is managed and escorted by Eastern 

Hill Travel, who will be with us throughout the tour to look 

after every detail of the journey. Our tour operator 

partners of nine years at Pega DMC have thoroughly 

completed all the preparations on the ground in Belgium 

and Germany. 

A special ingredient in this itinerary is a four-night stay in 

the island city of Venice. For the Austrian and Italian part 

of our journey, we have teamed up with tour operators, 

Limelight Arts Travel, renowned for providing travellers 

with a rich and rewarding experience, especially in Venice. 

6

Thank you to 

our donors! 

DONATE NOW 

We are immensely grateful 

to our donors (listed on 

pages 39 to 42) for the 

important part that they 

continue to play in the 

success story that is the 

Australian Chamber Choir. 

Anish Nair and Isobel Todd. Image: Emma Phillips 

The ACC provides a rigorous training ground for young 

professional singers. Payment to all singers for their work 

as performing and recording artists working in Australia is 

an important affirmation of their standing as 

professionals. 

Income from the Support Fund is used to subsidise 

concerts for which income from ticket sales does not 

cover costs, such as for some regional concerts and for 

those which demand specialised resources for authentic 

performance. Income from the Support Fund is also used 

to commission new works, produce commercial 

recordings and videos, and to provide a financial base to 

support our singers for the long term. 

We would love to welcome you into our lively group of 

supporters, the lifeblood of our organisation. 

Make a tax-deductible donation now 

7

PROGRAM NOTES 

TWO HARMONISATIONS OF THE TUNE 

IN DULCI JUBILO 

Johann Sebastian Bach (Verses 1 and 4) 

Born in Eisenach, 31 March 1685; 

died in Leipzig, 28 July, 1750. 

Johann Walter (Verses 2 and 3) 

Born in Kahla, Germany, 1496; 

died in Torgau, Germany, 25 March, 1570 

The anonymous melody known as In dulci jubilo comes 

down to us via an early-fifteenth-century manuscript. It 

must have possessed an unusual charm for Bach, 

because he based at least two organ works on it (a third, 

listed in the standard catalogue as BWV 751, might or 

might not be by him) as well as furnishing the SATB choral 

harmonisation given in today’s concert for Verses one 

and four. Verses two and three, on the other hand, are 

here sung in a much earlier harmonisation by Luther’s 

friend Johann Walter, responsible for composing several 

of Lutheranism’s most beloved hymn-tunes, including Ein 

feste Burg and Wir glauben all an einer Gott. Authorship 

of In dulci jubilo’s bilingual text is traditionally ascribed to 

German Dominican mystic Heinrich Suso (1295?-1366). But 

Suso denied actually having conceived it. Rather, he 

maintained that angels had dictated it to him, and that


BROWSE 2024 CONCERTS 

during their visitation they also persuaded him to join 

them ‘in a dance of worship.’ As you do! 

1. In dulci jubilo 

Nun singet und seid froh! 

Unsers Herzens Wonne 

Leit in praesepio. 

Und leuchtet als die Sonne 

Matris in gremio. 

Alpha es et O. 

2. O Jesu parvule 

I long for Thee alway! 

Hear me I beseech thee, 

O puer optime, 

My prayer let it reach thee, 

O princeps gloriae 

Trahe me post te! 

3. O Patris caritas! 

O Nati lenitas! 

Deeply were we stained 

Per nostra criminal, 

But Thou for us hast gained 

Coelorum gaudia 

O, that we were there! 

In sweet rejoicing 

Let us our homage show! 

Our hearts’ joy 

Reclineth in the manger. 

And like a bright star shineth 

In His mother’s lap. 

He is Alpha and Omega. 

O little Jesus, 

I long for Thee always! 

Hear me I beseech thee, 

O best of Children, 

My prayer let it reach thee, 

O Prince of glory 

Draw me after Thee! 

O love of the Father! 

O lenity of the Son! 

Deeply were we stained 

Through our sins, 

But Thou for us hast gained 

The joys of heaven. 


9


4. Ubi sunt gaudia Ach, 

nirgends mehr den da, 

da die Engeln singen 

Nova cantica. 

And wo die Psalmen 

klingen 

In regis curia. 

Eia warn wir da! 


Where are joys 

In any place but there? 

There are angels singing 

New songs, 

And where the psalms are 

sounding 

In the King’s court. 


TWO CAROLS BY MICHAEL PRAETORIUS 

Born in Creuzburg an der Werra, near Eisenach, Germany, 

1571; died in Wolfenbüttel, Germany, 15 February 1621 

Ein Kind geborn zu Bethlehem 

Verses 2, 4 and 6 harmonised by Michael Praetorius. 

Verses 1, 3, and 5 harmonised by Bartholomaüs Gesius. 

Born in Müncheberg, Germany, 1562; died in Frankfurt an 

der Oder, Germany, 1613 

Praetorius is a Latinisation of an unglamorous Teutonic 

surname, Schultz. Several huge collections of music 

came from Praetorius’s active pen: Musae Sioniae, nine 

volumes of sacred compositions (around 1,200 in all) 

which appeared between 1605 and 1610; Terpsichore 

(1612), the source for more than 300 dance tunes; and the 

splendiferously titled Polyhymnia Caduceatrix et 

Panegyrica (1619). A fourth important publication by 

10

PRAETORIUS 

BROWSE 2024 INTERNATIONAL SEASON 

Praetorius, Syntagma Musicum (three volumes, 1614-20), 

is more theoretical in nature and contains numerous 

valuable engravings of instruments now seldom used but 

very popular in his day. 

Gesius – the Latin form of the surname Gese, or Göss – 

was among the first musicians to compose a Passion 

setting. He owes most of what fame he currently enjoys 

to his Easter hymn Heut triumphieret Gottes Sohn. This 

forms the basis for one of the most dramatic, inspiriting 

chorale preludes in Bach’s Orgelbüchlein; and it 

continues to adorn Lutheran hymn-books. Both Heut 

triumphieret and this work appeared in Gesius’s 1601 

collection Geistliche deutsche Lieder. Ein Kind geborn 

has a melody of 15th-century origin, one which initially 

was associated with Latin words beginning Puer natus in 

Bethlehem. Thoughtfully, and to increase the market for 

his work, Gesius supplied the Latin as well as the German 

text. 

Praetorius’s harmonisation of Ein Kind geborn (heard in 

verses 2, 4 and 6) comes from his 1619 anthology, 

Polyhymnia Caduceatrix et Panegyrica. In this setting, the 

original tune is placed in the second-lowest part. 

1. Ein Kind geborn zu 

Bethlehem, 

des freuet sich Jerusalem. 

Alleluia! 

A child is born at 

Bethlehem, 

For whom Jerusalem 

rejoices. Alleluia! 

11

PRAETORIUS 

2. Hier liegt es in dem 

Krippelein, 

ohn’ Ende ist die 

Herrschaft sein. 

Alleluia! 

3. Das Öchslein und das 

Eselein 

erkannten Gott, den 

Herren sein. 

Alleluia! 

4. Die König’ aus Saba 

kamen dar, 

Gold, Weihrauch, Myrrhen 

brachten sie dar. 

Alleluia! 

5. Sie gingen in das Haus 

hinein, 

Und grüssen ihren Herren 

fein. 

Alleluia! 


He lies here in the little 

crib, 

He who reigns without 

end. 

Alleluia! 

The little ox and the little 

ass 

know that He is the Lord 

God. 

Alleluia! 

The kings come from 

Sheba, 

They bring gold, incense, 

and myrrh. 

Alleluia! 

They go into 

the house 

And greet those fine 

people. 

Alleluia! 

Singt und klingt 

This carol comes from Praetorius’s 1609 volume of Musae 

Sioniae. The repeated downward and upward leaps of a 

fourth remind us of the bell-ringing mentioned in the first 

line. 

12

PRAETORIUS 

Singt und klingt, 

Jesu, Gottes Kind, 

und Marien Söhnelein, 

Unsern lieben Jesulein, 

im Krippenlein, beim 

Öchslein und beim Eselein. 


Sing and ring, 

Jesus, Son of God, 

and little Son of Mary, 

Our beloved little Jesus 

in the little manger, by the 

little ox and little ass. 

Ein kleines Kindelein liegt 

in dem Krippelein; 

Alle liebe Engelein 

dienen dem Kindelein, 

und singen ihm fein. 

A small Child lies 

in the little manger; 

All the blessed little angels 

serve the little Child 

and sing to Him keenly. 

TWO MOTETS BY HEINRICH SCHÜTZ 

Born in Köstritz, Germany, 18 January 1585; died in 

Dresden, 6 November 1672 

Das Wort ward Fleisch (SWV 385); O süsser Jesu Christ 

Though Schütz had studied in Venice with Giovanni 

Gabrieli during his youth, and had exhibited Gabrieli’s 

influence in his often spectacular polychoral Psalms of 

David (1619), the motet Das Wort ward Fleisch – to words 

from St John’s Gospel in the Lutheran Bible translation – 

comes from much later. It forms part of Schütz’s 1648 

collection (29 pieces) Geistliche Chor-Musik. We have 

here the product of an older and more austere 

composer, forced back upon stylistic essentials by the 

privations which the Thirty Years’ War imposed, and by 

13

SCHÜTZ 


the wider sense of cultural despair which the war 

guaranteed. Accordingly, instrumental participation in 

this music is much more limited than in the opulent days 

of 1619 (‘Basso continuo ad libitum’ is Schütz’s direction 

for performing the work). At the same time, Schütz rarely 

if ever lost that dramatic sense which had been so 

apparent in his early output, and which can be discerned 

here in the very first bars’ majestic homophony. 

O süsser Jesu Christ is taken from a different, albeit 

contemporaneous, collection of Schütz’s: namely, the 

third of his Sacrae Symphoniae collections, which also 

appeared in the 1640s though some of its contents might 

have originated a good deal earlier. This piece, 

regardless of precisely when Schütz wrote it, is more 

exuberant than its companion. It harks back (with both its 

vocal and its instrumental lines) to the imitative brio so 

often perceptible in the composer’s youthful, Italianate, 

Gabrieli-influenced creations. 

Das Wort ward Fleisch 

und wohnet unter uns, und 

wir sahen seine 

Herrlichkeit, 

eine Herrlichkeit als des 

eingebornen Sohns vom 

Vater, voller Gnade und 

Wahrheit. 

The Word was made flesh 

and dwelt among us,and 

we beheld 

His glory, 

a glory like that of the only 

begotten Son of the 

Father, full of grace and 

truth. 

© San Francisco Bach Choir 

14

SCHÜTZ 

O süsser Jesu Christ, 

wer an dich recht 

gedenket. 

Dem wird sein Herze bald 

mit Freud und Lust 

getränket. 

Wer dich schon hat bei 

sich, 

von dem weicht alles Leid. 

Da übertrifft dein Trost 

auch alle Süssigkeit. 


O sweet Jesus Christ, 

Whoever rightly considers 

Thee, 

Will his heart with joy and 

delight 

replenish. 

He who already has Thee 

within him 

Will shun all suffering. 

As Your comfort surpasses 

all sweetness. 

Nichts kann des Menschen 

Zung und Mund so lieblich 

singen, 

Nichts kann so angenehm 

in unsern Ohren klingen, 

Nichts ist, das unser Sinn 

kann denken, 

ob es schon Sehr köstlich 

ist, als dich, 

O Jesu, Gottes Sohn. 

Du bist die Hoffnung dess, 

der sich zu dir bekehret, 

Du bist freigebig dem, 

der von dir was 

begehret. 

Nothing can be sung by 

human tongue and mouth 

so sweetly. 

Nothing can resound so 

pleasantly in our ears, 

Nothing can be conceived 

by our minds, 

No matter how precious, 

That is higher than Thee, 

O Jesus, Son of God. 

Thou art the hope of those 

who turn to Thee, 

Thou art generous to those 

who desire something of 

Thee. 

15

SCHÜTZ 

Du bist barmherzig dem, 

der dich sucht mit Begier, 

Und wer dich findt, 

der findt das höchste Gut 

in dir. 

O Jesu, süsser Held, 

du süsse Freud und Wonne 

des Herzens, O du Brunn 

des Lebens, 

O du Sonne Dess, der im 

Finstern sitzt, 

nichts ist, den du 

allein, 

Was ich mir wünsch und 

was mir mag erfreulich 

sein. 


Thou art merciful to those 

who eagerly seek Thee, 

And whoever finds Thee, 

Finds, in Thee, the highest 

good. 

O Jesus, sweet hero, 

Thou, sweet joy and bliss 

of the heart, O Thou fount 

of life, 

O Thou, sun to those who 

sit in darkness, 

there is nothing, save Thee 

alone, 

That I desire for myself 

and that pleases me. 

Was Jesum lieben sei, 

Kann keine Hand 

beschreiben, 

Nur der kanns 

sprechen aus, 

Nur der, nur der kanns 

glauben, 

Der es erfahren hat, 

Der Jesum hat geliebt, 

Der ihn noch libt und sich 

in seine Lieb ergiebt. 

What it is to love Jesus, 

No hand can write, no 

words describe. 

Only he can 

explain, 

Only he can 

believe, 

Who has experienced 

The love of Jesus, 

Who still loves Him and 

gives himself in love. 

16

SCHÜTZ 

Nu sei dem Vater Dank, 

der uns den Sohn 

gegeben, 

Dem sei zugleich die Ehr 

und seinem Geist 

daneben, 

Wir wollen, Vater, dich und 

Jesum und den 

Geist 

Hier loben immerdar und 

ewig allermeist. Amen 

THREE FRENCH NOËLS 


Thanks be to the Father, 

who gave us His 

Son, 

To Him be the glory, 

and also to the 

Holy Spirit. 

To Thee, Father, and 

Jesus and the 

Holy Spirit, 

Be praise for ever and 

ever. Amen. 

Ding dong, merrily on high Anonymous melody, 

harmonized by Charles Wood 

Born in Armagh, Northern Ireland, 15 June 1866: died in 

Cambridge, England, 12 July 1926 

Charles Wood’s reputation possesses, so to speak, a 

half-life. He is known to all experts in twentieth-century 

British music because of his having succeeded Sir Charles 

Villiers Stanford (who, unlike Wood, came from Dublin) as 

the Royal College of Music’s professor of composition. 

Members of Anglican cathedrals’ choirs also associate 

Wood’s name with various liturgical works, notably his 

Communion Service in the Phrygian Mode, 

disrespectfully referred to by generations of boy 

17

NOËLS 


choristers as ’Wood in the Fridge.’ Outside these groups, 

though, Wood is seldom if ever regularly recalled. A pity, 

not least given the resourcefulness of his carol 

arrangements, including the one heard here. Ding dong 

warrants notice on elocutionary as well as musical 

grounds, since it is probably the sole piece in the entire 

choral literature which (to the gratification of many a 

school choir director down the ages) forces even the 

most intractable antipodean mumblers to pronounce the 

word ’beautifully’ with the requisite four syllables. 

Ding dong! Merrily on high 

In heav’n the bells are ringing: 

Ding dong! verily the sky 

Is riv’n with angel-singing. 

Gloria, Hosanna in excelsis! 

E’en so here below, below, 

Let steeple bells be swungen, 

And io, io, io, 

By priest and people sungen: 


Pray you, dutifully prime 

Your matin chime, ye ringers; 

May you beautifully rhyme 

Your e’entime song, ye singers. 


18

NOËLS 


Quand Dieu naquit à Noël, Noel No.10 for organ, by Louis 

Claude Daquin, arranged for choir by E Anderson 

Born in Paris, 4 July 1694; died in Paris, 15 June 1772 

Outstanding musicians often launch their careers at ages 

when most children are still grappling with the 

multiplication tables. Jascha Heifetz made his debut as a 

professional violinist when a mere seven years old (Harpo 

Marx responded to this news by telling Heifetz ‘I 

suppose before that you were just a bum’) and Louis- 

Claude Daquin achieved something similar: he had the 

honour of playing the organ in Louis XIV’s presence when 

still aged only six. A full-time organist before his 

thirteenth birthday, Daquin eventually obtained posts at 

nearly all the leading Parisian churches. At the auditions 

for one such post, Saint-Paul in 1727, the applicants who 

lost out to Daquin included no less a figure than Jean- 

Philippe Rameau. Chief court organist from 1739, Daquin 

also served for the second half of his life at Notre-Dame, 

where so many crowded to hear his playing that on 

occasion the police needed to be summoned to restore 

order. His organ Noëls – all incorporating extant Yuletide 

folk-tunes, predominantly though not always French – 

are a godsend to many players today, for four reasons. 

First, they exude an unmistakable aroma of the festive 

season. Second, they are consistently fresh and 

inventive. Third, they never require too many reserves of 

technique or great quantities of practice time. Fourth, 

19

NOËLS 


their sheer bounciness makes them appeal even to 

audiences otherwise misguided enough to find organ 

music boring. Here Elizabeth Anderson has arranged 

Daquin’s tenth Noël for unaccompanied choir. 

Angels we have heard on high Traditional 

arranged by Elizabeth Anderson and François-Auguste 

Gevaert. Born in Huysse, Belgium, 31 July 1828; 

died in Brussels, 24 December 1908 

The present anonymous melody, known as Les anges 

dans nos compagnes, is usually associated with words 

from 1862 by Englishman, James Chadwick. This is familiar 

to most people in the English-speaking world who know 

any Christmas carols at all. But the arrangement in 

today’s concert has not been widely heard. Elizabeth 

Anderson describes the result thus: 

I have always found this strophic carol to be a bit 

too repetitive. One of the problems is the lack of 

momentum caused by the cadence and long held 

chord at the end of each of the choruses – too 

much stopping and starting. I really like the 

arrangement by Belgian composer, F.A. Gevaert, 

which, until now, has never been set to English 

words. I like the way Gevaert introduces the bass 

voice in the second line of each text with an offbeat 

accent and continues the momentum 

between each verse and its chorus by 

20

NOËLS 


introducing passing notes. Among other things, 

in my arrangement, I removed the cadence from 

the end of all but the final chorus and introduced 

similar passing note figures to continue the 

momentum through to the following verse. 

François-Auguste Gevaert deserves more general 

recognition than the musical public has ever accorded 

him outside his native land. He came from humble social 

origins; an early-twentieth-century American magazine 

rather sniffily asserted that ‘his father was a baker, and 

he was intended for the same profession, but better 

counsels prevailed.’ In youth, Gevaert composed no 

fewer than seven operas, which failed to win more than 

fleeting success. He achieved his greatest significance 

as administrator and pedagogue. From 1871 until his 

death, he served as the Brussels Conservatoire’s muchesteemed 

director. In this role, he raised his country’s 

overall standards of musical teaching; wrote a treatise on 

orchestration, one which in 2023 retains its usefulness 

for students of that daunting art; and gave active, 

unselfish encouragement to his better-known 

compatriot César Franck. 

Angels we have heard on high 

Sweetly singing o’er the plains 

And the mountains in reply 

Echoing their joyous strains 

Gloria in excelsis Deo! 

21

NOËLS 


Shepherds, why this jubilee? 

Why your joyous strains prolong? 

What the gladsome tidings be? 

Which inspire your heavenly songs? 


Come to Bethlehem and see 

Him whose birth the angels sing; 

Come, adore on bended knee, 

Christ the Lord, the newborn King. 


MAGNIFICAT FROM THE SECOND SERVICE 

by Thomas Tomkins 

Born at St David’s, Wales, 1572; died at Martin 

Hussingtree, Worcestershire, 9 June 1656 

Thomas Tomkins’s output exemplifies the final flowering 

of that Anglican liturgical heritage which had been 

established by such figures as Byrd, Orlando Gibbons, 

and Thomas Weelkes. Byrd had indeed given the young 

Tomkins lessons; and Morley included a Tomkins 

madrigal in that highly influential 1601 collection, The 

Triumphs of Oriana. Having become Worcester 

Cathedral’s organist as early as 1596, Tomkins lived long 

enough to suffer from the English Civil War’s ravages. In 

1642 the Parliamentary Army wrecked the cathedral’s 

organ; four years later it celebrated its control of the city 

by locking the cathedral up, and disbanding its choir. 

22

TOMKINS 


Despite what the unwary would presume, the Tomkins 

movements entitled Magnificat and Nunc Dimittis are 

actually set – as had already become standard Anglican 

procedure – to English, not to Latin, words. They derive 

from the second of five services that Tomkins provided 

for the Anglican rite. We do not know exactly when 

Tomkins produced them, but they probably date from 

the 1620s. (Strange and regrettable that Tomkins, often 

punctilious about affixing dates to the manuscripts of his 

keyboard works, left the chronology of his choral 

manuscripts so vague.) Byrd-type cross-relations adorn 

the harmonic vocabulary; the writing borders on the 

madrigalian in its word-painting, as when Tomkins alludes 

to the mighty being deposed. 

Magnificat 

My soul doth magnify the Lord: 

and my spirit hath rejoiced in God my Saviour. 

For He hath regarded the lowliness of His 

handmaiden. 

For behold, from henceforth, 

all generations shall call me blessed. 

For He that is mighty hath magnified me: 

and holy is His Name. 

And His mercy is on them that fear Him, 

throughout all generations. 

He hath showed strength with His arm: 

He hath scattered the proud in the imagination of 

23

TOMKINS 


their hearts. 

He hath put down the mighty from their seat: 

and hath exalted the humble and meek. 

He hath filled the hungry with good things: 

and the rich He hath sent empty away. 

He remembering His mercy hath holpen [helped] 

His servant Israel: as He promised to our 

forefathers, Abraham and his seed, forever. 

Glory be to the Father, and to the Son, 

and to the Holy Ghost; 

As it was in the beginning, is now, and ever shall 

be, world without end. Amen 

TWO HARMONISATIONS OF THE TUNE JOSEF LIEBER 

Resonet in laudibus, by Johannes Eccard 

Born in Mühlhausen, Germany, 1553; died in Berlin, 1611 

Eccard was among the earliest Lutheran composers too 

young to have known Luther himself. Moreover, the early 

1570s found Eccard at the Catholic court of Munich, 

where the great Lassus taught him. Later in the decade, 

Eccard directed in Augsburg another Catholic 

establishment: the private orchestra of the awesomely 

rich Fugger family, bankers to monarchs and nobles alike. 

The clan had obtained its original fortune by dominating 

Europe’s textile business. (When Emperor Charles V 

visited Paris’s royal treasury – so the anecdote goes – he 

found it disappointing after Fugger wealth, and 

24

JOSEF LIEBER 


commented: ‘There is a linen-weaver in Augsburg who 

could pay all that from his own purse.’) Later still, Eccard 

worked as court musician to the Lutheran Duke Albrecht 

Friedrich of Prussia, first at Königsberg – Kaliningrad, to 

give the city its twenty-first-century name –and then at 

Berlin. 

Resonet in laudibus (SATTB) employs the same lilting, 

dance-like, triple-time melody which is known in German 

as Josef, lieber Josef mein, and which can often be 

identified in sacred works of the sixteenth and early 

seventeenth centuries. Eccard’s arrangement of it first 

appeared in 1597 as part of his collection Geistliche 

Lieder (Sacred Songs). 

Resonet in laudibus, 

Cum iucundis plausibus, 

Sion cum fidelibus, 

Apparuit, 

quem genuit Maria. 

Pueri concinite, 

Nato Regi 

psallite, 

Voce pia dicite: 

Apparuit, 


Let praises resound, 

With joyous acclaim, 

Sion and their faithful. 

He appeared, 

who was born of Mary. 

Sing together to the Child, 

The new-born King let us 

praise, 

With pious voices, say: 

He appeared, 


25

JOSEF LIEBER 

Sion lauda Dominum, 

Saluatorem hominu, 

Purgatorem criminu: 

Apparuit, 



Sion praise the Lord, 

The Saviour of mankind, 

He who purges us of sin: 

He appeared, 


Josef, Lieber Josef mein, by Leonhard Schröter 

Born in Torgau, Germany, c.1532; died in Magdeburg, 

Germany, c.1601 

Schroeter studied in his home town of Torgau with 

Johann Walter, the first composer on today’s program. 

He held various posts, the last and most prestigious of 

them as Kantor at the Alstadt Lateinschule in Magdeburg. 

This setting by Schroeter dates from about twenty years 

earlier than the Eccard setting and provides a contrast to 

it. Schroeter’s opening is simple and homophonic in 

character compared to Eccard’s more Italianate 

polyphonic treatment. At the words Eia, Virgo Deum 

genuit (Hey, the Virgin has given birth) Schroeter 

introduces a disarming syncopated rhythm. 

Josef, 

lieber Josef mein, 

hilf mir wiegen mein 

Kindelein, 

Gott will dein Löhner sein 

im Himmelreich, 

der Jungfrau Kind Maria. 

Joseph, 

my dear Joseph, 

help me rock my 

little child. 

God will recompense you 

in heaven, 

the Virgin Mary’s child. 

26

JOSEF LIEBER 

Eia, eia. 

Virgo Deum genuit, 

quem divina voluit 

clementia. 


Hey, hey! 

The Virgin has given birth 

to God whom the divine 

mercy willed. 

Omnes nunc concinite, 

nato regi psallite, 

voce pia dicite: 

sit gloria Christo nostro 

infantulo. 

Hodie apparuit in Israel, 

quem prædixit Gabriel, 

est natus Rex 

Now let all sing together, 

sing to the newborn king, 

saying with devout voice, 

‘Glory be to Christ our 

babe!’ 

Today in Israel, the one 

whom Gabriel predicted 

has been born king. 

TWO ANONYMOUS ENGLISH CAROLS 

Coventry Carol From the Pageant of the Shearmen and 

Tailors, Coventry 1591 

Who wrote the words and the music of this perennially 

haunting miniature masterpiece, which is already more 

than four centuries old, and which will surely continue to 

move hearts long after the last echoes of Rudolf the Red- 

Nosed Reindeer and I Saw Mommy Kissing Santa Claus 

have been consigned to the unlamented oblivion from 

which they should never have emerged? No-one knows. 

We know only that in the fourteenth century Coventry 

itself gave birth to a series of mystery plays, one of them 

27

ANON ENGLISH CAROLS 


having been originally presented by the city’s Shearmen 

and Tailors’ guild. Somehow this play, which includes the 

present carol, continued to be performed as late as 1591; 

it has been conjectured that the young Shakespeare 

witnessed it. By 1591 religious revolution had killed off 

most such theatrical presentations, but Coventry was far 

enough distant from the capital to ensure that ancestral 

memories of mediaeval drama persisted, despite what 

London officialdom would have preferred. The play’s cue 

for the carol itself is King Herod’s massacre of the 

innocents, a crime of which recent Middle Eastern events 

have perhaps made us newly conscious. 

1. Lully lulla, 

thou little tiny child 

By by, lully, lullay, 

thou little tiny child, 

By by, lully, lullay 

3. Herod the king, 

In his raging, 

Charged he hath this day 

His men of might, 

In his own sight, 

All young children to slay. 

2. Oh sisters too, 

How may we do 

For to preserve this day 

This poor youngling, 

For whom we do sing, 

By by, lully, lullay? 

4. That woe is me, 

Poor child, for thee! 

And ever morn and day, 

For thy parting, 

Neither say nor sing 

By by, lully, lullay 

28

ANON ENGLISH CAROLS 

29 


There is no rose from the Trinity Carol Roll (c.1420) 

Likewise of unknown authorship are the words of There is 

no rose, words which have attracted over a dozen 

settings, from celebrated figures (including Benjamin 

Britten, Herbert Howells, and Sting) to less celebrated 

ones (including Charles Wood, represented elsewhere in 

this program) to largely unknown figures (including 

Melinda Bargreen and Robert Young). The carol 

resembles In dulci jubilo in its macaronic text: Latin and 

English phrases achieve peaceful coexistence. 

Refrain 

There is no Rose of such vertu 

As is the rose that bare Jesu. 

For in this rose containèd was 

Heaven and earth in little space, 

Res miranda [A thing of wonder]. 

By that rose we may well see 

That he is God in persons three, 

Pariforma [In the image of the father]. 

The angels sungen the shepherds to: 

Gloria in excelsis Deo! [Glory to God in the 

highest] 

Gaudeamus [Let us rejoice]. 

Leave we all this worldly mirth, 

and follow we this joyful birth. 

Transeamus [Let us cross over]

Texts by Mark Tredinnick, music by Alan Holley 

Born in Sydney, 1 October 1954 

Carol of the Two Crows 

Carol of the Butcherbird (first performance) 

Alan Holley’s works have been heard at numerous music 

festivals (sometimes in concerts wholly devoted to his 

music) in Croatia, Serbia, and Albania, as well as Australia. 

Among Holley’s most ambitious pieces is a trumpet 

concerto called Doppler’s Web, which the Sydney 

Symphony Orchestra commissioned in 2005. Holley’s 

output is published by Kookaburra Music and available on 

disc via the Hammerings Records label. The present 

program’s carols employ texts by Holley’s fellow 

Sydneysider Mark Tredinnick and were produced 

specifically for the Australian Chamber Choir (as was an 

earlier composition, Time Passages of 2019). As regards 

the carols’ origins, Holley has supplied the following 

commentary: “For more than forty years I have been 

notating the songs of a small number of birds who live 

near my house on the northern beaches of Sydney. The 

tawny frogmouth has been prominent, but foremost has 

been the grey butcherbird, with its near clarinet-toned 

purity of song. I write down the melodies as if I am 

composing diary entries, and I can see small variations 

over the years and, indeed, decades. When I include 

these calls in my compositions, it’s not to create some 

sort of ornithological songfest – although that has

HOLLEY 


happened a few times; I write the phrases of the birds 

into my music because these small musical components 

have become the folksongs of my life. 

Although most people may not initially think that the 

Australian raven has a beautiful call, it is one I find 

totally intriguing, and when there is a congregation of 

crows all screaming at full volume there are so many 

dissonances created and great rhythmic complexity. 

In the Carol of the Two Crows, I hint at some crow-like 

song without resorting to an exact call. 

Mark Tredinnick’s poems are each made of nine lines, 

each line of nine syllables. The rhythm of these lines, 

in tension with the rhythm of the syntax that runs 

through the lines, led me to create moments of 

alternating time signatures. These help me bounce 

the musical and lexical ideas off each other – the way 

the music and the sense dance in Mark’s lines. I 

wanted to treat the text the way I know that Mark 

composed it, as folksongs for these times – given to 

us by birds.” 

Mark Tredinnick, for his part, writes as follows: 

“I can’t think why it took me so long to work out how 

to write contemporary carols – carols that nod 

toward the ideas in the Bible stories of the Nativity 

(rebirth, hope against hope, joy in the despair, and the 

triumph of life) without being narrowly Christian; 

carols that are spiritual but not pious, reverent 

31

HOLLEY 


without slipping into dogma or the sentiment of 

Yuletide. Birds carolled long before humans did; the 

verb was theirs long before it was ours, and long 

before it was overwhelmed by Christmas. Some 

people claim it was the birds who taught us to talk and 

at length to sing. So, when Alan asked me for some 

carols to set for this great choir, at length I landed on 

the birds. 

These are two of nine carols I’ve composed, the nine 

comprising a poem of a type known inelegantly only 

as a ‘9 x 9 x 9.’ And I’ve drawn, in the writing, on a life 

of listening to the birds, witnessing them as well as I 

could, wherever I have travelled. My observation of 

the birds is an amateur’s. Whatever love is, poetry 

does that, I once wrote. I think love’s what the birds 

sing, and most of what they teach”. 

Mark Tredinnick’s Nine Carols are 

recently published in a beautiful 18-page 

hardback edition (by 5 Islands Press), with 

illustrations by Gerhard Bachfischer and 

Damian Gascoigne. The volume makes an 

excellent Christmas gift, and can be 

ordered online or purchased at the ticket desk. 

32

HOLLEY 


Carol of the Two Crows 

When I walked out, knee-deep in Advent, 

To check who kept rolling what down my 

Tin roof, they stopped it, but I knew: two 

Crows stood side by side on the ridge cap, 

Mischief aforethought bright in their eyes. 

And when I walked in, it started straight 

Up: a bone they’d burgled from the dogs 

Came clattering down again. So, play 

Your days; give praise for the wit of birds. 

Carol of the Butcherbird 

Music forgives us the violence 

Of our small lives, our cruel idiom. 

Or so the butcherbird hopes—earth’s first 

Prodigal, who sings up the dawn each day 

In luminous cadences too pure 

For heaven to keep. Your trade’s to flay 

Your prey—and whose is not, these days? Your 

Fluted phrases have mercy on us 

All, little one. And don’t we need it? 

33

TWO SETTINGS OF A SPOTLESS ROSE 

A Spotless Rose Herbert Howells 

Born in Lydney, Gloucestershire, 17 October 1892; died in 

London, 23 February 1983 

This is probably the most celebrated, and is certainly 

among the earliest, of the composer’s creations. Howells 

wrote it (along with two other Christmas carols which 

have never attained comparable popularity) in 1919. By 

that time, he had completed his Royal College of Music 

studies with the generous and brilliant but irascible Sir 

Charles Villiers Stanford. What Sir Charles would have 

made of A Spotless Rose’s harmonic voluptuousness – 

not to mention its serene changes of time signature from 

7/8 via 5/4 to 5/8 – is, perhaps fortunately, unknowable. 

Nevertheless, for a hundred years now, the work has 

remained a favourite with those choirs capable of 

negotiating its rhythmic and intonational hazards. 

Its words are an 1869 English translation of the first two 

verses of Es ist ein Ros entsprungen, by Catherine 

Winkworth, who retains the original metre of the muchloved 

German carol. 

Deeply moved by the singularly inspired ending, 

Howells’s colleague Patrick Hadley told the composer: 

‘I should like, when my time comes, to pass away with 

that magical cadence.’ 

34

A SPOTLESS ROSE 


Es ist ein Ros entsprungen Anonymous melody (16th 

century, Cologne), harmonised by Michael Praetorius 

The anonymous text and tune of this carol is associated 

with Advent at least as much as with Christmas. It 

achieved fame in the late 16 th century: specifically, via a 

1599 hymnal that both Catholics and Lutherans adopted. 

The harmonisation by Praetorius (issued in 1609), heard 

today, is the best known; aside from the Herbert Howells 

(as heard on today’s program), later composers attracted 

by the theme have included Brahms (one of his Eleven 

Chorale Preludes for organ is a free-wheeling fantasy 

upon it) and Schoenberg, then a practising Christian, who 

in 1921 used the melody as a basis for a Yuletide chamber 

work. 

Set by Praetorius 

Es ist ein Ros’ 

entsprungen, 

aus einer Wurzel zart, 

wie uns die Alten sungen, 

von Jesse kam 

die Art 

und hat ein Blümlein bracht 

mitten im kalten 

Winter, 

wohl zu der halben Nacht. 

Set by Howells 

A Spotless Rose 

is blowing, sprung 

from a tender root, 

Of ancient seers’ 

foreshowing, of Jesse 

promised fruit; 

Its fairest bud unfolds to 

light Amid the cold, cold 

winter, 

35

A SPOTLESS ROSE 

Das Röslein, das ich 

meine, 

davon Isaias sagt, 

ist Maria, die reine 

die uns das Blümlein 

bracht. 

Aus Gottes ew’gem 

Rat hat sie ein Kind 

geboren 

und blieb ein reine Magd. 

Das Blümelein, so kleine, 

das duftet uns so süß, 

mit seinem hellen Scheine 

vertreibt’s die Finsternis. 

Wahr Mensch und wahrer 

Gott, 

hilft uns aus allem Leide, 

rettet von Sünd und 

Tod. 


And in the dark midnight. 

The Rose which I am 

singing, 

whereof Isaiah said, 

Is from its sweet root 

springing in Mary, purest 

maid; 

Through God’s great love 

and might The Blessed 

Babe she bare us 

In a cold, cold winter’s 

night. 

Translation by Catherine Winkworth, 

1869 

The floweret, so small, 

That smells so sweet to us, 

With its bright gleam 

it dispels the darkness. 

True man and true 

God, 

It helps us from all trouble, 

Saves us from sin and 

death. 

36

THE MOTET LOBET DEN HERRN ALLE HEIDEN (BWV 230) 

by Johann Sebastian Bach 

Born in Eisenach, 21 March 1685; died in Leipzig 28 July 

1750 

Bach, a devout Lutheran, happily fulfilled Luther’s dream 

for the church, that worship should be essentially 

musical. He composed more music for the Lutheran 

service than any other composer before or since. 

Bach wrote at least six motets – the authenticity of a 

seventh is disputed – between 1723 and 1727. All were 

intended for the Thomaskirche (St Thomas’s Church), 

Leipzig, where he had been Cantor since 1723. This motet 

differs from its companions in that it contains a separate 

part for continuo instruments, a part that does not simply 

duplicate what the singers are doing. Some critics – 

conscious of this singularity – reckon that it dates from 

well before the other five. A few have questioned 

whether Bach even wrote it. Sir John Eliot Gardiner poohpoohs 

such notions: ‘Most of these doubts,’ he writes, 

‘may be dismissed.’ Even by Bachian criteria the 

counterpoint is elaborate, double-fugue writing being 

almost commonplace. 

37

BACH 


Lobet den Herrn, 

alle Heiden, 

und preiset ihn, alle Völker! 

Denn seine Gnade 

und Wahrheit 

waltet über uns in 

Ewigkeit. 

Halleluja. 

Praise the Lord, 

all ye nations, 

and praise Him, all 

peoples! 

For His grace 

and truth 

rule over us for eternity. 

Alleluia. 

Program notes © RJ Stove, 2016–2023 

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