Programme
Welcome to Madrigirls’ annual concert of music and readings for Advent.
Thank you for choosing to access our programme via your device. You can download a PDF by clicking here, or simply scroll down to find all programme details optimised for easy reading on your mobile or tablet.
Our programme tonight is inspired by a little-known poem from the early 14th century - Cursor Mundi. Written in Northumbrian Middle English it presents a retelling of the history of Christianity from creation to the doomsday. Largely forgotten outside certain circles it is in fact the first written record for over 1000 words in the Oxford English Dictionary. Our readings are mainly taken from it, and we’re very grateful to Prof Graham Caie for helping us to translate them into modern English for tonight! Our music likewise reflects the medieval theme, with 14th and 15th century pieces alongside others inspired by the period, or that use medieval lyrics in modern settings. One of these is a new setting of the 15th century poem There is a Flower by Madrigirl Daisy Abbott, premiering tonight!
We hope you enjoy being part of our concert this year, and that it gives you a chance to reflect on what the season and time of year means to you, whatever your beliefs.
Katy & Catriona
Thank you for choosing to access our programme via your device. You can download a PDF by clicking here, or simply scroll down to find all programme details optimised for easy reading on your mobile or tablet.
Our programme tonight is inspired by a little-known poem from the early 14th century - Cursor Mundi. Written in Northumbrian Middle English it presents a retelling of the history of Christianity from creation to the doomsday. Largely forgotten outside certain circles it is in fact the first written record for over 1000 words in the Oxford English Dictionary. Our readings are mainly taken from it, and we’re very grateful to Prof Graham Caie for helping us to translate them into modern English for tonight! Our music likewise reflects the medieval theme, with 14th and 15th century pieces alongside others inspired by the period, or that use medieval lyrics in modern settings. One of these is a new setting of the 15th century poem There is a Flower by Madrigirl Daisy Abbott, premiering tonight!
We hope you enjoy being part of our concert this year, and that it gives you a chance to reflect on what the season and time of year means to you, whatever your beliefs.
Katy & Catriona
Welcome
Reverend Dr Carolyn Kelly, Chaplain, University of Glasgow
Reverend Dr Carolyn Kelly, Chaplain, University of Glasgow
Derknessis departide
Music: Alison Eales
Words: Catriona Downie, from Genesis 1:11-24, trans. John Wycliffe
This piece is a setting of a 'blackout' poem. This literary technique usually uses a sheet of newsprint, the poet literally blacking out the majority of the text and leaving only a few words visible - finding a new work hidden within the existing. The text here is created from John Wycliffe's English bible of 1395. Using the story of Adam and Eve (Genesis 1:1-24) it offers a new take on a very familiar tale. The music is by longtime Madrigirls member Alison Eales.
Derknessis departide,
And appil tre brouyte forth liytis
Sterris in the firmament schyne
Brynge forth a lyvynge soul
Music: Alison Eales
Words: Catriona Downie, from Genesis 1:11-24, trans. John Wycliffe
This piece is a setting of a 'blackout' poem. This literary technique usually uses a sheet of newsprint, the poet literally blacking out the majority of the text and leaving only a few words visible - finding a new work hidden within the existing. The text here is created from John Wycliffe's English bible of 1395. Using the story of Adam and Eve (Genesis 1:1-24) it offers a new take on a very familiar tale. The music is by longtime Madrigirls member Alison Eales.
Derknessis departide,
And appil tre brouyte forth liytis
Sterris in the firmament schyne
Brynge forth a lyvynge soul
Reading 1 from Cursor Mundi, lines 375-410
When Adam Walked in Eden Young
Music: Tune transcr. Cecil Sharp from Jaspar Robertson, Burnsville, N. Carolina
(29 September 1918) arr. and adapted by Katy Lavinia Cooper, harp arr. Graham Hair
Words: A.E.Housman (1859-1936) Harp: Esther Norie
This setting is taken from the larger work Where the stars are led, which Katy wrote for the ensemble Scottish Voices in 2018. Houseman’s carol-like text uses Adam as a metaphor for wisdom. The tune is from the Appalachian carol When Adam was created, was collected from Jasper Robertson who according to Cecil Sharp was ‘a preacher who makes his living by riding through the mountains on horseback and peddling a patent nerve-medicine compounded of 17 herbs’.
When Adam walked in Eden young, oh, happy, 'tis writ, was he,
While high the fruit of knowledge hung unbitten on the tree.
Oh happy was he the livelong day; I doubt 'tis written wrong:
The heart of man, for all they say was never happy long.
And now my feet are tired of rest, and here they will not stay,
And the soul fevers in my breast and aches to be away.
Music: Tune transcr. Cecil Sharp from Jaspar Robertson, Burnsville, N. Carolina
(29 September 1918) arr. and adapted by Katy Lavinia Cooper, harp arr. Graham Hair
Words: A.E.Housman (1859-1936) Harp: Esther Norie
This setting is taken from the larger work Where the stars are led, which Katy wrote for the ensemble Scottish Voices in 2018. Houseman’s carol-like text uses Adam as a metaphor for wisdom. The tune is from the Appalachian carol When Adam was created, was collected from Jasper Robertson who according to Cecil Sharp was ‘a preacher who makes his living by riding through the mountains on horseback and peddling a patent nerve-medicine compounded of 17 herbs’.
When Adam walked in Eden young, oh, happy, 'tis writ, was he,
While high the fruit of knowledge hung unbitten on the tree.
Oh happy was he the livelong day; I doubt 'tis written wrong:
The heart of man, for all they say was never happy long.
And now my feet are tired of rest, and here they will not stay,
And the soul fevers in my breast and aches to be away.
The Truth from Above
Music: Trad. English, arr. Katy Lavinia Cooper Words: A Good Christmas Box (1847)
The text of this carol is selected from the sixteen verses given in A Good Christmas Box, an influential chapbook that contained 58 carols published by Walters of Dudley. This tune was collected by Cecil Sharp at Donnington Wood, Shropshire and published in his English Folk-Carols (1911).
1. This is the truth sent from above,
The truth of God, the God of love;
Therefore don’t turn me from your door,
But hearken all, both rich and poor.
2. The first thing, which I do relate,
Is that God at first did man create.
The next thing, which to you I tell,
Woman was made with him to dwell.
3. Then after this, ‘twas God’s own choice
To place them both in Paradise,
There to remain from evil free
Except they ate of such a tree.
4. Thus we were heirs to endless woes,
Till God the Lord did interpose,
For so a promise soon did run
That He’d redeem us with His Son.
5. And at this season of the year,
Our blest Redeemer did appear,
He here did live, and here did preach,
And many thousands He did teach.
6. Go preach the Gospel new,
He said, To all the nations that are made,
And he that does believe in me,
From all his sins I’ll set him free.
Music: Trad. English, arr. Katy Lavinia Cooper Words: A Good Christmas Box (1847)
The text of this carol is selected from the sixteen verses given in A Good Christmas Box, an influential chapbook that contained 58 carols published by Walters of Dudley. This tune was collected by Cecil Sharp at Donnington Wood, Shropshire and published in his English Folk-Carols (1911).
1. This is the truth sent from above,
The truth of God, the God of love;
Therefore don’t turn me from your door,
But hearken all, both rich and poor.
2. The first thing, which I do relate,
Is that God at first did man create.
The next thing, which to you I tell,
Woman was made with him to dwell.
3. Then after this, ‘twas God’s own choice
To place them both in Paradise,
There to remain from evil free
Except they ate of such a tree.
4. Thus we were heirs to endless woes,
Till God the Lord did interpose,
For so a promise soon did run
That He’d redeem us with His Son.
5. And at this season of the year,
Our blest Redeemer did appear,
He here did live, and here did preach,
And many thousands He did teach.
6. Go preach the Gospel new,
He said, To all the nations that are made,
And he that does believe in me,
From all his sins I’ll set him free.
Reading 2 from Cursor Mundi, lines 755-822
There is a flower sprung from a tree
Music: Daisy Abbott
Words: John Audelay (d. c.1436), Bodleian MS Douce 302, trans. Eleanor Parker
Solos: Lindis Kipp, Alison Eales, Jo Tucker
This beautiful poem is the work of John Audelay, a priest and poet from Haughmond Abbey in Shropshire. One of the few English poets of the period whose name is known to us, his manuscript includes some of the first Christmas carols recorded in English. You can view some pages here: https://tinyurl.com/2rvkre65.
There is a flower sprung from a tree,
The root thereof is called Jesse,
A flower of great worth;
There is no other such in paradise.
This flower is fair and fresh of hue;
It fades never, but ever is new;
The blessed branch where this flower grew
Was Mary mild who bore Jesu --
A flower of grace,
Against all sorrow it is solace.
When Gabriel this maiden met,
With ‘Ave, Maria,’ he greeted
Between them two this flower was set,
And was kept, noone should know it,
Until one day
In Bethlehem, it began to spread and spray.
Angels there came out of their tower
To look upon this fresh flower --
How fair he was in his colour,
And how sweet in his savour --
And to behold
How such a flower might spring amid the cold.
Music: Daisy Abbott
Words: John Audelay (d. c.1436), Bodleian MS Douce 302, trans. Eleanor Parker
Solos: Lindis Kipp, Alison Eales, Jo Tucker
This beautiful poem is the work of John Audelay, a priest and poet from Haughmond Abbey in Shropshire. One of the few English poets of the period whose name is known to us, his manuscript includes some of the first Christmas carols recorded in English. You can view some pages here: https://tinyurl.com/2rvkre65.
There is a flower sprung from a tree,
The root thereof is called Jesse,
A flower of great worth;
There is no other such in paradise.
This flower is fair and fresh of hue;
It fades never, but ever is new;
The blessed branch where this flower grew
Was Mary mild who bore Jesu --
A flower of grace,
Against all sorrow it is solace.
When Gabriel this maiden met,
With ‘Ave, Maria,’ he greeted
Between them two this flower was set,
And was kept, noone should know it,
Until one day
In Bethlehem, it began to spread and spray.
Angels there came out of their tower
To look upon this fresh flower --
How fair he was in his colour,
And how sweet in his savour --
And to behold
How such a flower might spring amid the cold.
Reading 3 Ave Maris Stella (read in Middle English)
Transcribed from Latin by William Herebert, early fourteenth-century
Transcribed from Latin by William Herebert, early fourteenth-century
Hail, lady, sea-star bright,
God's mother, edy wight
Maiden ever, first and late,
Of heaven's realm the sely gate.
The 'Ave' thou received in spell
From the angel's mouth called Gabriel
In grith us set and shielded from shame,
And turneth backward Eva's name.
Guilty men's bonds unbind,
Bring light to them who are blind.
Put from us our sin
And earn for us all wynne.
Show that thou art mother alone
And before him take thou our bone
Who for us thy child became
And of thee our kind name.
Maid alone, thou wert with child,
Among all so mild;
Of sin release us in haste,
And make us meek and chaste.
Life give thou us clean,
A safe way prepare, and lene
That we Jesus see
And ever blithe be.
To Father, Christ and Holy Ghost be thanks and praising,
To three persons and one God, one honour and worshipping.
(trans. Eleanor Parker)
God's mother, edy wight
Maiden ever, first and late,
Of heaven's realm the sely gate.
The 'Ave' thou received in spell
From the angel's mouth called Gabriel
In grith us set and shielded from shame,
And turneth backward Eva's name.
Guilty men's bonds unbind,
Bring light to them who are blind.
Put from us our sin
And earn for us all wynne.
Show that thou art mother alone
And before him take thou our bone
Who for us thy child became
And of thee our kind name.
Maid alone, thou wert with child,
Among all so mild;
Of sin release us in haste,
And make us meek and chaste.
Life give thou us clean,
A safe way prepare, and lene
That we Jesus see
And ever blithe be.
To Father, Christ and Holy Ghost be thanks and praising,
To three persons and one God, one honour and worshipping.
(trans. Eleanor Parker)
Gabriel’s Message
Music: Angelus Emittitur from Piae Cantiones, 1582
Words: trans. Rev. John Mason Neale (1818-1866)
The harmony of this spirited carol is largely based on the singing of four-man act ‘Nowell Sing We Clear’ (led by John Roberts and Tony Barrand), from a recording made in 1979. Both the tune and the original text are taken from Piae Cantiones, a collection of Latin songs compiled by Jakko Finne and published in Greifswald in 1582.
1. Gabriel's message does away
Satan's curse and Satan's sway,
out of darkness brings our Day:
So, behold, all the gates of heaven unfold.
2. He that comes despised shall reign;
he that cannot die, be slain;
death by death its death shall gain:
3. Weakness shall the strong confound;
by the hands, in grave clothes wound,
Adam's chains shall be unbound.
4. By the sword that was his own,
by that sword, and that alone,
shall Goliath be o’erthrown:
5. Art by art shall be assailed;
to the cross shall Life be nailed;
from the grave shall hope be hailed:
Music: Angelus Emittitur from Piae Cantiones, 1582
Words: trans. Rev. John Mason Neale (1818-1866)
The harmony of this spirited carol is largely based on the singing of four-man act ‘Nowell Sing We Clear’ (led by John Roberts and Tony Barrand), from a recording made in 1979. Both the tune and the original text are taken from Piae Cantiones, a collection of Latin songs compiled by Jakko Finne and published in Greifswald in 1582.
1. Gabriel's message does away
Satan's curse and Satan's sway,
out of darkness brings our Day:
So, behold, all the gates of heaven unfold.
2. He that comes despised shall reign;
he that cannot die, be slain;
death by death its death shall gain:
3. Weakness shall the strong confound;
by the hands, in grave clothes wound,
Adam's chains shall be unbound.
4. By the sword that was his own,
by that sword, and that alone,
shall Goliath be o’erthrown:
5. Art by art shall be assailed;
to the cross shall Life be nailed;
from the grave shall hope be hailed:
Reading 4 from Cursor Mundi, lines 10835–10886
Gabriel fram heven-king
Music & words: Anon, fourteenth-century, Dublin Troper,
Cambridge University Library, MS Add. 710
Solos: Catriona Downie & Sophie Boyd Harp: Esther Norie
The Latin religious song Angelus ad Virginem was extremely popular in England during the later Middle Ages. This English translation probably dates from the late thirteenth-century and occurs in several manuscripts. We are using two settings of the tune from the same manuscript. The tune itself is thought to date from the late thirteenth-century and the versions we are using from the fourteenth-century.
1. Gabriel, fram-heven king, sent to the maide sweete Broute hir blisful tiding and fair he gan hir greete"
"Hail be thu, ful of grace aright! For Godes son, this heven-light,
For mannes love wil man bicome and take
Fles of thee, maide bright,
Manken free for to make of sen and devles might."
2. Mildelich him gan andswere the milde maide thanne:
"Whichewise sold ich bere child withute manne?"
Th'angel seid "Ne dred tee nout; Thurw t'holigast sal been iwrout
This ilche thing warof tiding ich bringe
All manken wurth ibout
Thurw thine sweet childinge and ut of pine ibrought.
3. Wan the maiden understood and th'angels wordes herde,
Mildelich with milde mood to th'angel hie answerde:
"Ure lords thewe maid iwis ich am, that here aboven is.
Anentis me fulfuthed be thi sawe
That ich, sith his wil is,
Maid withuten lawe of moder has the blis"
4. Maiden-moder makeless, of milce ful ibunde,
Bid for us thim that tee ches, at wam thu grace funde,
That he forgive us sen and wrake and clene of evri gelt us make
And heven-blis wan ur time is to sterve
Us give, for thine sake,
Him so heer for to serve that he us to him take.
Music & words: Anon, fourteenth-century, Dublin Troper,
Cambridge University Library, MS Add. 710
Solos: Catriona Downie & Sophie Boyd Harp: Esther Norie
The Latin religious song Angelus ad Virginem was extremely popular in England during the later Middle Ages. This English translation probably dates from the late thirteenth-century and occurs in several manuscripts. We are using two settings of the tune from the same manuscript. The tune itself is thought to date from the late thirteenth-century and the versions we are using from the fourteenth-century.
1. Gabriel, fram-heven king, sent to the maide sweete Broute hir blisful tiding and fair he gan hir greete"
"Hail be thu, ful of grace aright! For Godes son, this heven-light,
For mannes love wil man bicome and take
Fles of thee, maide bright,
Manken free for to make of sen and devles might."
2. Mildelich him gan andswere the milde maide thanne:
"Whichewise sold ich bere child withute manne?"
Th'angel seid "Ne dred tee nout; Thurw t'holigast sal been iwrout
This ilche thing warof tiding ich bringe
All manken wurth ibout
Thurw thine sweet childinge and ut of pine ibrought.
3. Wan the maiden understood and th'angels wordes herde,
Mildelich with milde mood to th'angel hie answerde:
"Ure lords thewe maid iwis ich am, that here aboven is.
Anentis me fulfuthed be thi sawe
That ich, sith his wil is,
Maid withuten lawe of moder has the blis"
4. Maiden-moder makeless, of milce ful ibunde,
Bid for us thim that tee ches, at wam thu grace funde,
That he forgive us sen and wrake and clene of evri gelt us make
And heven-blis wan ur time is to sterve
Us give, for thine sake,
Him so heer for to serve that he us to him take.
Reading 5 from Cursor Mundi, lines 10905–10924
Awake Joseph, Awake
Words: Cambridge University Library MS Ee 1.12
Music: Based on plainsong hymn Quem terra ponus sidera from Hymnarium Cisterciense, (Westmalle, 1909)
The text for this carol is recorded in an extensive manuscript of similar material compiled by the Canterbury Franciscan James Ryman in the last decade of the fifteenth-century. Giving a very human perspective on the story of the Incarnation, Joseph is presented as a very ordinary man caught up in an extraordinary situation. The plainsong hymn sung here is often used for a Marian hymn.
'Awake, Joseph, awake, awake,
And to Mary thy way thou take.'
1. Joseph would have fled from that maid,
Not for sin nor for offence,
But to abide he was afraid
In her so good and pure presence;
Extans virgo concipiens,
Because the mystery he knew
In her of such great virtue.
2. 'With her,' he said, 'why should I dwell?
Than I of degree she is more,
And in virtue she doth excel:
I will depart from her therefore.'
But God, that hath all grace in store,
Sent an angel, who was full bright,
Unto Joseph upon a night.
3. And unto him that angel said:
'Dread not, Joseph, son of David,
To take Mary thy wife, that maid,
For the child that she got with,
Is God's Son: be not afraid.
Long time before Scripture hath said,
That a pure maid should bear a child
To save mankind, that was exiled.'
4. Joseph arose and went full right
Unto Mary, that maiden mild,
And through virtue of God Almight
He found that maiden great with child;
And yet she had him not beguiled,
For Jesus, the Son of Right,
From bliss into her womb did light.
5. Behold, how Eve, that woman wild,
Hath borne her fruit in care and woe,
But virgin Mary, mother mild,
Hath borne her fruit, and nothing so;
For she hath borne Christ and no mo
For to defend us from the fiend
And give us bliss without an end.
6. The fruit of death Eve gave to us,
But that pure maid and mother dear
Gave us the fruit of life, Jesus,
Wherefore next God she hath no peer
Above in bliss nor in earth here,
For her seat is next the throne
Of God, that is both three and one.
Words: Cambridge University Library MS Ee 1.12
Music: Based on plainsong hymn Quem terra ponus sidera from Hymnarium Cisterciense, (Westmalle, 1909)
The text for this carol is recorded in an extensive manuscript of similar material compiled by the Canterbury Franciscan James Ryman in the last decade of the fifteenth-century. Giving a very human perspective on the story of the Incarnation, Joseph is presented as a very ordinary man caught up in an extraordinary situation. The plainsong hymn sung here is often used for a Marian hymn.
'Awake, Joseph, awake, awake,
And to Mary thy way thou take.'
1. Joseph would have fled from that maid,
Not for sin nor for offence,
But to abide he was afraid
In her so good and pure presence;
Extans virgo concipiens,
Because the mystery he knew
In her of such great virtue.
2. 'With her,' he said, 'why should I dwell?
Than I of degree she is more,
And in virtue she doth excel:
I will depart from her therefore.'
But God, that hath all grace in store,
Sent an angel, who was full bright,
Unto Joseph upon a night.
3. And unto him that angel said:
'Dread not, Joseph, son of David,
To take Mary thy wife, that maid,
For the child that she got with,
Is God's Son: be not afraid.
Long time before Scripture hath said,
That a pure maid should bear a child
To save mankind, that was exiled.'
4. Joseph arose and went full right
Unto Mary, that maiden mild,
And through virtue of God Almight
He found that maiden great with child;
And yet she had him not beguiled,
For Jesus, the Son of Right,
From bliss into her womb did light.
5. Behold, how Eve, that woman wild,
Hath borne her fruit in care and woe,
But virgin Mary, mother mild,
Hath borne her fruit, and nothing so;
For she hath borne Christ and no mo
For to defend us from the fiend
And give us bliss without an end.
6. The fruit of death Eve gave to us,
But that pure maid and mother dear
Gave us the fruit of life, Jesus,
Wherefore next God she hath no peer
Above in bliss nor in earth here,
For her seat is next the throne
Of God, that is both three and one.
Reading 6 from Cursor Mundi, lines 11134–11172
Four Songs for Voice and Violin
Gustav Holst, arr. Katy Lavinia Cooper
i. Jesu Sweet & iii. I Sing of a Maiden
Solos: Moira McKenzie, Katy Lavinia Cooper and Catriona Downie
These settings, originally written for voice and violin, but here performed by voice only, were premiered in Thaxted in 1917. The fifteenth-century lyrics are taken from A Medieval Anthology, edited by Miss Mary Segar.
1. Jesu Sweet, now will I sing
To Thee a song of love longing;
Do in my heart a quick well spring
Thee to love above all thing.
2. Jesu Sweet, my dim heart's gleam
Brighter than the sunnèbeam!
As thou wert born in Bethlehem
Make in me thy lovèdream.
3. Jesu Sweet, my dark heart's light
Thou art day withouten night;
Give me strength and eke1 might
For to loven Thee aright.
4. Jesu Sweet, well may he be
That in Thy bliss Thyself shall see:
With love cords then draw Thou me
That I may come and dwell with Thee.
1. I sing of a maiden
That matchless is.
King of all Kings
Was her Son iwis.
2. He came all so still,
Where His mother was
As dew in April
That falleth on grass:
3. He came all so still,
To His mother's bower
As dew in April
That falleth on flower.
4. He came all so still,
Where His mother lay
As dew in April
That formeth on spray.
5. Mother and maiden
Was ne'er none but she:
Well may such a lady
God's mother be.
Gustav Holst, arr. Katy Lavinia Cooper
i. Jesu Sweet & iii. I Sing of a Maiden
Solos: Moira McKenzie, Katy Lavinia Cooper and Catriona Downie
These settings, originally written for voice and violin, but here performed by voice only, were premiered in Thaxted in 1917. The fifteenth-century lyrics are taken from A Medieval Anthology, edited by Miss Mary Segar.
1. Jesu Sweet, now will I sing
To Thee a song of love longing;
Do in my heart a quick well spring
Thee to love above all thing.
2. Jesu Sweet, my dim heart's gleam
Brighter than the sunnèbeam!
As thou wert born in Bethlehem
Make in me thy lovèdream.
3. Jesu Sweet, my dark heart's light
Thou art day withouten night;
Give me strength and eke1 might
For to loven Thee aright.
4. Jesu Sweet, well may he be
That in Thy bliss Thyself shall see:
With love cords then draw Thou me
That I may come and dwell with Thee.
1. I sing of a maiden
That matchless is.
King of all Kings
Was her Son iwis.
2. He came all so still,
Where His mother was
As dew in April
That falleth on grass:
3. He came all so still,
To His mother's bower
As dew in April
That falleth on flower.
4. He came all so still,
Where His mother lay
As dew in April
That formeth on spray.
5. Mother and maiden
Was ne'er none but she:
Well may such a lady
God's mother be.
Reading 7 Lullay my Liking, anon., fifteenth century
Stella Nuova & Gloria in Coelo
Music & words: Trad. thirteenth-century laude from the Laudario di Cortona (Biblioteca del Comune e dell'Accademia Etrusca, Ms. 91)
Solos: Phoebe Warren, Pat Nehls, Daisy Abbott, Kirsty Oates, Helen Beaumont
Drums: Alan Wright
Laude were the principal genre of non-liturgical religious song in Italy in the late Middle ages and Renaissance. These tow Marian pieces are taken from a collection of Laude associated with Confraternita di S Maria delle Laude attached to the church of San Francesco in Cortona.
Stella nuova 'n fra la gente
k'aparuisti novarnente!
Stella k'aparuisti al mundo
quando nacque 'I re iocondo,
stett'en mezzo a tutto 'I mondo
per aluminar la gente.
Le tre Magi l'abber veduto,
tosto l'ebber cognosciuto;
diser: "Nat'è lo saluto,
Dio padre omnipotente."
Gloria in cielo e pace in terra:
nat’è il nostro Salvatore!
Nat’è Cristo glorioso, l’alto Dio maravelioso,
Fact’è hom desideroso, lo benigno Creatore.
Pace ‘n terra sia cantata,
gloria ‘n ciel desiderata:
la douçella consecrata, parturì tal Salvatore!
Parturito l'à cum canto
pieno de lo Spiritu Santo
de li bracia li fe' manto
cum grandissimo fervore
New star which newly appeared
amongst humankind
The star which appeared to the earth
when the joy-bringing King was born,
stood in the centre of the whole world
to give light to the people.
The three wise men saw it
and immediately recognised it;
they said: “Our salvation is born,
God the Father almighty.”
Glory in heaven and peace on earth!
Born is our Saviour!
Born is Christ glorious, God most high, wonderful the long-desired made man, the loving Creator.
Sing peace on earth, glory in heaven long-desired, the consecrated virgin has brought forth a Saviour.
Music & words: Trad. thirteenth-century laude from the Laudario di Cortona (Biblioteca del Comune e dell'Accademia Etrusca, Ms. 91)
Solos: Phoebe Warren, Pat Nehls, Daisy Abbott, Kirsty Oates, Helen Beaumont
Drums: Alan Wright
Laude were the principal genre of non-liturgical religious song in Italy in the late Middle ages and Renaissance. These tow Marian pieces are taken from a collection of Laude associated with Confraternita di S Maria delle Laude attached to the church of San Francesco in Cortona.
Stella nuova 'n fra la gente
k'aparuisti novarnente!
Stella k'aparuisti al mundo
quando nacque 'I re iocondo,
stett'en mezzo a tutto 'I mondo
per aluminar la gente.
Le tre Magi l'abber veduto,
tosto l'ebber cognosciuto;
diser: "Nat'è lo saluto,
Dio padre omnipotente."
Gloria in cielo e pace in terra:
nat’è il nostro Salvatore!
Nat’è Cristo glorioso, l’alto Dio maravelioso,
Fact’è hom desideroso, lo benigno Creatore.
Pace ‘n terra sia cantata,
gloria ‘n ciel desiderata:
la douçella consecrata, parturì tal Salvatore!
Parturito l'à cum canto
pieno de lo Spiritu Santo
de li bracia li fe' manto
cum grandissimo fervore
New star which newly appeared
amongst humankind
The star which appeared to the earth
when the joy-bringing King was born,
stood in the centre of the whole world
to give light to the people.
The three wise men saw it
and immediately recognised it;
they said: “Our salvation is born,
God the Father almighty.”
Glory in heaven and peace on earth!
Born is our Saviour!
Born is Christ glorious, God most high, wonderful the long-desired made man, the loving Creator.
Sing peace on earth, glory in heaven long-desired, the consecrated virgin has brought forth a Saviour.
Reading 8 from Cursor Mundi, lines 11211–11250
A Wild Midwinter Carol
Liz Dilnott Johnson
Solo: Roslyn Potter Harp: Esther Norie
This secular carol features familiar weather, wild animals, birds and trees from the British countryside in winter. The melody is in the mixolydian mode, giving the music an ancient, folk-like feel, and the accompaniment of bells and chimes was written so that singers can accompany themselves and sing this piece outside in the natural environment. Though tonight we are choosing to stay inside…! Liz Dilnott Johnson is currently composer-in-residence for Birmingham-based vocal ensemble Ex Cathedra.
All on a frosty dawning the hare is on the hill,
the robin sings from the old oak tree, all on Midwinter’s morn.
Now we too raise our voices, all in a circle sing
for love, for love, for tender love across the hill and vale.
All on a snowy evening the fox is in the wood,
the tawny owl calls from the alder tree, all on Midwinter’s eve.
Now we too raise our voices, all in a circle sing
for calm, for calm, for soothing calm across the woody heath.
All on a rainy noon-tide the seal is in the bay,
the little wren sings from the hawthorn tree, all on Midwinter’s day.
Now we too raise our voices, all in a circle sing
for peace, for peace, for gentle peace across the deep sea.
All on a clear-skied midnight the child is watching on,
the quiet dove sits in the holly tree all on Midwinter’s night.
Now we too join in silence, all in a circle stand
for hope, for hope, for brightest hope across the sea and land
Now we too raise our voices, all in a circle sing
for joy, for, joy, for nature’s joy across the land and sea.
Liz Dilnott Johnson
Solo: Roslyn Potter Harp: Esther Norie
This secular carol features familiar weather, wild animals, birds and trees from the British countryside in winter. The melody is in the mixolydian mode, giving the music an ancient, folk-like feel, and the accompaniment of bells and chimes was written so that singers can accompany themselves and sing this piece outside in the natural environment. Though tonight we are choosing to stay inside…! Liz Dilnott Johnson is currently composer-in-residence for Birmingham-based vocal ensemble Ex Cathedra.
All on a frosty dawning the hare is on the hill,
the robin sings from the old oak tree, all on Midwinter’s morn.
Now we too raise our voices, all in a circle sing
for love, for love, for tender love across the hill and vale.
All on a snowy evening the fox is in the wood,
the tawny owl calls from the alder tree, all on Midwinter’s eve.
Now we too raise our voices, all in a circle sing
for calm, for calm, for soothing calm across the woody heath.
All on a rainy noon-tide the seal is in the bay,
the little wren sings from the hawthorn tree, all on Midwinter’s day.
Now we too raise our voices, all in a circle sing
for peace, for peace, for gentle peace across the deep sea.
All on a clear-skied midnight the child is watching on,
the quiet dove sits in the holly tree all on Midwinter’s night.
Now we too join in silence, all in a circle stand
for hope, for hope, for brightest hope across the sea and land
Now we too raise our voices, all in a circle sing
for joy, for, joy, for nature’s joy across the land and sea.
Reading 9 A God and yet a man, anon., fifteenth century
Like Noah’s Weary Dove
Music: attrib. Jeremiah Ingalls (1764–1838), arr. Aaron Chapin (1768–?), Marsha Genensky & Katy Lavinia Cooper. Words: William A. Muhlenberg (1827)
Solos: Anna Crawford, Anna Novak
We first encountered the two-part arrangement of this American folk-hymn on the Anonymous 4 album Gloryland. The tune first appears in a shape-note arrangement in 1812.
1. Like Noah’s weary dove, that soar’d the earth around,
But not a resting place above the cheerless waters found.
2. O cease my wand’ring soul, on restless wing to roam,
All the wide world, to either pole, has not for thee a home.
3. Behold the Ark of God, behold the open door;
Hasten to gain that dear abode, and rove my soul no more.
4. There safe thou shalt abide, there sweet shall be thy rest,
And every longing satisfied with full salvation bless’d.
5. And when the waves of ire again the earth shall fill,
Then the Ark shall ride the sea of fire, then rest on Zion’s hill.
Music: attrib. Jeremiah Ingalls (1764–1838), arr. Aaron Chapin (1768–?), Marsha Genensky & Katy Lavinia Cooper. Words: William A. Muhlenberg (1827)
Solos: Anna Crawford, Anna Novak
We first encountered the two-part arrangement of this American folk-hymn on the Anonymous 4 album Gloryland. The tune first appears in a shape-note arrangement in 1812.
1. Like Noah’s weary dove, that soar’d the earth around,
But not a resting place above the cheerless waters found.
2. O cease my wand’ring soul, on restless wing to roam,
All the wide world, to either pole, has not for thee a home.
3. Behold the Ark of God, behold the open door;
Hasten to gain that dear abode, and rove my soul no more.
4. There safe thou shalt abide, there sweet shall be thy rest,
And every longing satisfied with full salvation bless’d.
5. And when the waves of ire again the earth shall fill,
Then the Ark shall ride the sea of fire, then rest on Zion’s hill.
Gaudete!
Music & words: Piae Cantiones, compiled by Jaakko Finne (c.1540–1588)
Additional arr. Katy Lavinia Cooper (verse), Michael Neaum (descant)
Solos: Moira McKenzie, Phoebe Warren, Anna Crawford, Kirsty Oates, Pat Nehls
Drum: Allan Wright
This Latin song is found in Piae Cantiones, a collection of Finnish and Swedish sacred songs first published in the 1580s. Jaakko Finne was a member of the clergy at the cathedral school at Åbo (now Turku) and is seems likely that the collection he complied for his Piae Cantiones contains the medieval repertory of that school.
Gaudete, gaudete! Christus est natus
Ex Maria Virgine, Gaudete!
Rejoice, Rejoice! Christ is born,
Of the Virgin Mary. Rejoice!
Tempus adest gratiae, hoc quod optabamus; carmina laetitiae, devote reddamus
Deus homo factus est, natura mirante; mundus renovatus est, a Christo regnante.
Ezechielis porta, clausa pertransitur; unde Lux est orta, salus invenitur
Ergo nostra contio, psallat iam in lustro; benedicat Domino, salus Regi nostro
It is now the time of grace, that we have desired; let us sing songs of joy, let us give devotion.
God was made man, and nature marvels; the world was renewed by the reigning Christ.
The closed gate of Ezechiel has been passed through; from where the light rises, Salvation is found.
Therefore let our preaching now sing in brightness; Let it bless the Lord, greetings to our King.
Music & words: Piae Cantiones, compiled by Jaakko Finne (c.1540–1588)
Additional arr. Katy Lavinia Cooper (verse), Michael Neaum (descant)
Solos: Moira McKenzie, Phoebe Warren, Anna Crawford, Kirsty Oates, Pat Nehls
Drum: Allan Wright
This Latin song is found in Piae Cantiones, a collection of Finnish and Swedish sacred songs first published in the 1580s. Jaakko Finne was a member of the clergy at the cathedral school at Åbo (now Turku) and is seems likely that the collection he complied for his Piae Cantiones contains the medieval repertory of that school.
Gaudete, gaudete! Christus est natus
Ex Maria Virgine, Gaudete!
Rejoice, Rejoice! Christ is born,
Of the Virgin Mary. Rejoice!
Tempus adest gratiae, hoc quod optabamus; carmina laetitiae, devote reddamus
Deus homo factus est, natura mirante; mundus renovatus est, a Christo regnante.
Ezechielis porta, clausa pertransitur; unde Lux est orta, salus invenitur
Ergo nostra contio, psallat iam in lustro; benedicat Domino, salus Regi nostro
It is now the time of grace, that we have desired; let us sing songs of joy, let us give devotion.
God was made man, and nature marvels; the world was renewed by the reigning Christ.
The closed gate of Ezechiel has been passed through; from where the light rises, Salvation is found.
Therefore let our preaching now sing in brightness; Let it bless the Lord, greetings to our King.
Readings 1, 2, 4, 5, 6 & 8 from Cursor Mundi (The Cursor o the World). A Northumbrian Poem of the XIVth Century, ed. Rev Richard Morris, Early English Text Society (London, 1874-1892).
Trans. Prof. Graham Caie, ed. Catriona Downie
Trans. Prof. Graham Caie, ed. Catriona Downie
Back matter:
As well as fundraising for Madrigirls’ own activities, we are proud to support the homelessness charity Shelter tonight. Their work is always vital but particularly at this time of year, so thank you for supporting them by buying a ticket. If you would like to give more you can give online at scotland.shelter.org.uk
Madrigirls 2023
Conductor: Katy Lavinia Cooper
Co-directors: Catriona Downie & Katy Lavinia Cooper
Daisy Abbott, Cailene Barone, Helen Beaumont, Sophie Boyd, Anna Crawford, Catriona Downie, Alison Eales, Claudia Galdi, Charlotte Gouck, Ruby Hirsch, Frances Hume, Hannah Jackson, Claire Johnston, Emma Kerr, Lindis Kipp, Luca Kozma, Olivia Llewellyn, Moira McKenzie, Lindsay McIntyre, Sarah Mills, Naomi Mitchell, Rhian Nicholas, Pat Nehls, Anna Novak, Kirsty Oates, Roslyn Potter, Lauren Relaford, Alexandra Renfrew, Karen Rowney, Rachel Rutherford, Jennie Scammell, Liv Thomas, Louise Thomas, Jo Tucker, Megan Walker, Cameron Ward, Phoebe Warren & Fiona Webber
Madriguys: Harry Campbell, Edward Marshall, Alasdair Robertson, Philip Scott, Kenneth Tay, and Allan Wright (percussion)
Harp: Esther Norie
With many thanks to: our readers – Graham Caie, Harry Campbell, Carolyn Hutchinson & Lindsay McIntyre; Warwick Edwards for the loan of the instruments; Carolyn Kelly, Joan Keenan and the University of Glasgow Chaplaincy; our front of house team and all our candle lighters, stewards and firewatchers.
We would also like to give huge thanks to Rev. Stuart MacQuarrie, former Chaplain to the University of Glasgow, who very sadly passed away recently. Stuart was a great friend to Madrigirls, and was instrumental in encouraging and enabling us to organise our very first Advent concert in the chapel 22 years ago. Without his support over the years we wouldn’t still be doing it. He will be much missed.
Tack Together
Madrigirls celebrated 20 years in 2021 and as part of our anniversary year we commissioned three new pieces from composer Emily Hall. This project has become a real celebration of the very varied talents of Madrigirls! Each piece has lyrics written by members of the group, recorded in three beautiful films by Jennie Scammell. You can watch them all now, and find out more about the project on our website.
As part of the filming, Catriona Downie created an original linocut to reflect elements of each lyric – then printed by Rhian Nicholas of thepassengerpress.com. You can buy limited edition prints tonight, as well as sets of cards. Look out for them as you leave!
As well as fundraising for Madrigirls’ own activities, we are proud to support the homelessness charity Shelter tonight. Their work is always vital but particularly at this time of year, so thank you for supporting them by buying a ticket. If you would like to give more you can give online at scotland.shelter.org.uk
Madrigirls 2023
Conductor: Katy Lavinia Cooper
Co-directors: Catriona Downie & Katy Lavinia Cooper
Daisy Abbott, Cailene Barone, Helen Beaumont, Sophie Boyd, Anna Crawford, Catriona Downie, Alison Eales, Claudia Galdi, Charlotte Gouck, Ruby Hirsch, Frances Hume, Hannah Jackson, Claire Johnston, Emma Kerr, Lindis Kipp, Luca Kozma, Olivia Llewellyn, Moira McKenzie, Lindsay McIntyre, Sarah Mills, Naomi Mitchell, Rhian Nicholas, Pat Nehls, Anna Novak, Kirsty Oates, Roslyn Potter, Lauren Relaford, Alexandra Renfrew, Karen Rowney, Rachel Rutherford, Jennie Scammell, Liv Thomas, Louise Thomas, Jo Tucker, Megan Walker, Cameron Ward, Phoebe Warren & Fiona Webber
Madriguys: Harry Campbell, Edward Marshall, Alasdair Robertson, Philip Scott, Kenneth Tay, and Allan Wright (percussion)
Harp: Esther Norie
With many thanks to: our readers – Graham Caie, Harry Campbell, Carolyn Hutchinson & Lindsay McIntyre; Warwick Edwards for the loan of the instruments; Carolyn Kelly, Joan Keenan and the University of Glasgow Chaplaincy; our front of house team and all our candle lighters, stewards and firewatchers.
We would also like to give huge thanks to Rev. Stuart MacQuarrie, former Chaplain to the University of Glasgow, who very sadly passed away recently. Stuart was a great friend to Madrigirls, and was instrumental in encouraging and enabling us to organise our very first Advent concert in the chapel 22 years ago. Without his support over the years we wouldn’t still be doing it. He will be much missed.
Tack Together
Madrigirls celebrated 20 years in 2021 and as part of our anniversary year we commissioned three new pieces from composer Emily Hall. This project has become a real celebration of the very varied talents of Madrigirls! Each piece has lyrics written by members of the group, recorded in three beautiful films by Jennie Scammell. You can watch them all now, and find out more about the project on our website.
As part of the filming, Catriona Downie created an original linocut to reflect elements of each lyric – then printed by Rhian Nicholas of thepassengerpress.com. You can buy limited edition prints tonight, as well as sets of cards. Look out for them as you leave!