I. 

The beloved carol In Dulci Jubilo has a rich history dating back to the Middle Ages. Originally written in a blend of medieval German and Latin by the German mystic Heinrich Seuse, the German text was later translated into English by the composer Robert Lucas de Pearsall, who retained the carol’s original macaronic structure. This adaptation made the joyful hymn accessible to English-speaking audiences while preserving its medieval charm. John Rutter’s arrangement breathes new life into the traditional carol through his signature harmonizations and dynamic choral textures, enhancing its jubilant character and inviting listeners to partake in the timeless celebration of Christmas joy.

II.

In the Bleak Midwinter is a beloved Christmas carol with lyrics by Christina Rossetti, notable for having two distinct melodies—one by Gustav Holst and another by Harold Darke. Rossetti’s 1872 poem, “A Christmas Carol,” vividly portrays the humble setting of Christ’s birth, highlighting the quiet, solemn beauty of the Nativity amid the cold of winter. In the arrangement you’ll hear today by Musae’s Artistic Director, Elizabeth Kimble, the familiar melody by Gustav Holst is accompanied by increasingly intricate polychordal harmonies, evoking the icy beauty of the season and the soaring “angels and archangels” surrounding the manger.

Benjamin Britten’s cantata “A Boy Was Born” is a striking choral work that integrates several traditional Christmas carols, seamlessly woven with Britten’s distinctive harmonies and textures. One of the highlights is the fifth movement, In the Bleak Midwinter, where Britten’s arrangement offers a fresh perspective on the beloved carol. Using Christina Rossetti’s text, Britten employs tone painting to evoke a mysterious scene of swirling snow, creating an atmospheric texture that supports a solo line singing the Corpus Christi Carol. This medieval poem allegorizes the death of Jesus through the image of a wounded knight, interweaving Arthurian symbolism with Christian themes.

III. 

Frank Ticheli’s choral setting of Sara Teasdale’s poem There Will Be Rest is a poignant meditation on peace and solace, rich with lyricism and harmonic warmth. Teasdale’s text, written in 1937, reflects her lifelong search for serenity amid the struggles of her mental health and a turbulent personal life. Despite critical acclaim and a Pulitzer Prize, Teasdale’s journey was often shadowed by solitude and inner turmoil. She wrote this poem near the end of her life, expressing a profound longing for rest and transcendence, themes that resonate deeply with Ticheli’s musical interpretation.

The structure of Ticheli’s composition mirrors the poem’s introspective nature, unfolding in lush, extended phrases that emphasize the text’s reflective mood. Ticheli opens with gentle, shifting harmonies that convey the poem’s sense of quiet resignation. As the piece progresses, the harmonies grow richer, exploring subtle dissonances and suspensions that underscore the text’s somber beauty and its yearning for release. Ticheli’s use of dynamic contrast and text painting further draws out the imagery of stars, silence, and rest, offering the choir moments of both intensity and calm. The work culminates in a soft, reverent conclusion, offering a sense of closure and stillness.

IV.

Gerda Blok-Wilson’s Lullay, My Liking beautifully brings to life the intimate warmth and tender reverence of a 15th-century English carol. The text, drawn from an anonymous Middle English lyric, expresses a mother’s gentle lullaby to the Christ child, blending personal devotion with mystical awe. The refrain, "Lullay, my liking, my dear son, my sweeting," reflects a tender, almost lullaby-like quality, while the verses celebrate the child’s divine nature with reverent simplicity.

Blok-Wilson’s setting honors the traditional text by crafting a lush, reflective atmosphere. Her use of gentle, lilting rhythms and open, modal harmonies evokes the simplicity and purity of early English carols, while her contemporary harmonic language adds warmth and depth. The piece begins softly, like a mother’s quiet lullaby, building subtly through layered voices to moments of richer harmonic texture, inviting the listener into an atmosphere of peace and quiet wonder. Throughout, Blok-Wilson’s attention to textural nuance and phrasing, highlight the intimacy of the text, drawing out both its sweetness and its devotional spirit.

Eric Whitacre’s The Seal Lullaby is a tender, hauntingly beautiful choral work based on a poem by Rudyard Kipling. Originally composed for an animated film adaptation of Kipling’s “The Jungle Book” that never came to fruition, Whitacre’s piece found life instead as a beloved concert work. The text, from Kipling’s “The White Seal,” is a lullaby sung by a mother seal to her pup, a gentle, protective song that conjures images of the ocean’s ebb and flow, conveying both comfort and mystery. The piece beautifully expresses the universal theme of love and protection, offering listeners a moment of quiet reflection and comfort, as timeless as Kipling’s words and as tender as a lullaby itself.

Whitacre’s music enhances the lullaby’s soothing, oceanic quality through his characteristic lush harmonies and fluid, undulating rhythms. The piece opens with soft, undulating piano chords that suggest the gentle motion of waves, creating a soundscape of warmth and peace. As the choir enters, the voices weave together in seamless flowing lines, that mirror the mother seal’s embrace and her wish to shelter her young one from the dangers of the sea. Whitacre uses rich dynamic contrasts and subtle shifts in harmony to convey both the love and underlying vulnerability in Kipling’s text. The piece builds to a climactic moment, only to return to a soft, delicate close, like a gentle tide receding. 

V. 

Musae is honored to present the world premiere of Where Memories Grow by the Canadian composer Marie-Claire Saindon, commissioned to celebrate Musae’s 20th anniversary season. In writing this piece, Saindon sought to capture the subtle power of an intimate childhood memory—a seemingly simple but profoundly resonant experience shared with her brother on a winter’s night. 

She writes, “Some seemingly mundane moments stay with us forever. A touch, a smile, a silent pause with a loved one. One winter night, my brother and I made our way to our wooded backyard and lay on our backs in the snow to listen to the wind whistle through the frosty trees for a solid five minutes. No words were exchanged before, during, or after. This small moment in time has deeply marked me. Over time, it highlighted to me the intimacy and nostalgia that can be only found within memories shared between two young humans discovering the existence of the world’s mysteries surrounding them.”

Saindon’s music reflects the wonder and serenity of that memory, evoking the gentle sway of wind in the trees and the quiet presence shared by two people absorbed in the natural world. Through layers of harmony and melodic interplay, she captures the stillness and mystery of this formative moment. Her work invites listeners into a similar state of reflection, where the profound can emerge from the simple and the beauty of memory can linger like a winter’s whisper.

In Heaven Full of Stars, composer Eric William Barnum draws on Sara Teasdale’s evocative poetry to create a shimmering choral work that captures the beauty and mystery of the night sky. Teasdale’s text explores themes of awe, wonder, and humility—qualities that resonate with Barnum’s music, which interweaves lush harmonies and subtle dissonances to mirror the celestial scene she describes.

Teasdale, known for her lyrical and emotionally direct poetry, often wrote about nature and spirituality. The text for this piece is excerpted from her poem "Stars," included in the collection Flame and Shadow, where she contemplates the vastness of the universe and her place within it—a theme that speaks to the fragility and beauty of human existence. Barnum’s setting deepens this meditative quality, employing varied textures and musical layers that open into an endless sky filled with stars, oscillating between serenity and power.

VI. 

My Spirit Sang All Day, composed by Gerald Finzi in 1937, is a radiant choral piece that reflects the British composer’s deep affinity for setting English poetry to music. Known for his sensitive, lyrical style, Finzi selected a poem by Robert Bridges to create a vivid musical landscape that captures the poet’s exaltation and joy. The work was written during Finzi's early courtship of Joyce Black, whom he lovingly called "Joy" and who would eventually become his wife—a fitting inspiration for this celebration of happiness and devotion. 

Bridges' text is simple yet expressive, using direct language to convey the speaker's elation and emotional freedom. Finzi underscores this joyful theme through lively rhythms, buoyant melodies, and dynamic contrasts, capturing the delight and sense of liberation that permeate the poem. Although brief, the piece resonates with a powerful, almost transcendental joy, lifting both singers and listeners into a moment of pure musical bliss. Originally composed for mixed choir, tonight’s performance will feature a unique arrangement for treble voices, offering a fresh interpretation of this beloved classic.

The beloved English carol God Rest Ye Merry, Gentlemen has been a staple of the Christmas season for centuries, with origins tracing back to the 17th century. Its comforting message and cheerful, memorable tune have cemented it as one of the most iconic carols in the English-speaking world. 

This arrangement by the distinguished British composer, conductor, and arranger David Willcocks brings new life to the traditional melody through his signature harmonies and varied choral textures. Willcocks, known for his work with the Choir of King’s College, Cambridge, elevated many classic carols with his arrangements, adding sophistication and depth that have made them both timeless and uniquely moving. In this version of God Rest Ye Merry, Gentlemen, Willcocks maintains the carol’s inherent joy while enhancing it with nuanced harmonies and lively dynamics that bring warmth and richness to the familiar tune. His use of contrasting choral textures and harmonies, and his careful attention to phrasing and articulation, create a vibrant and celebratory sound. Willcocks’ arrangement transforms the carol from a simple, familiar tune into a piece of choral artistry, beloved by choirs and audiences alike for its sense of festive cheer and timeless beauty.