Program Notes for Ciaramella in A Piper’s Noel

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Program, Notes, and Artist Biographies for A Piper’s Noël

December 13th, 2010


Adam Gilbert, Rotem Gilbert, Doug Milliken; recorder, shawm, bagpipes

Greg Ingles, Erik Schmalz; slide trumpet, sackbut, recorder


Dylan Hostetter, counter tenor; N. Lincoln Hanks; tenor

Joel Nesvadba, baritone; Jinyoung Jang, bass

A Piper’s Noël

Houston Early Music Society

December 13th, 2010


Adam Gilbert, Rotem Gilbert, Doug Milliken; recorder, shawm, bagpipes

Greg Ingles, Erik Schmalz; slide trumpet, sackbut, recorder


Dylan Hostetter, counter tenor; N. Lincoln Hanks; tenor

Joel Nesvadba, baritone; Jinyoung Jang, bass


Nova stella apparita                                                                            Anonymous (14th century Italian)

Canzone d’i Zampognari                                                                     Traditional Sicilian (16th century)

La Stangetta                                                                           Gaspar van Weerbeke (c. 1445-c.1516)

Chant: “Quem vidistis, pastores?”                                                                                        Anonymous

Vidimus enim stellam eius in Oriente                                                              Anonymous (15th century)

Non desina                                                                                                   Anonymous (15th century)

Chant: “Angelus ad pastores ait”                                                                                         Anonymous

Verbum caro factum est                                                                                Anonymous (15th century)


Cum natus esset Jesus                                                                  Cristóbal de Morales (c. 1500-1533)

Vamos al portal                                                                                  Francisco Guerrero (1528-1599)

Angeles del zielo                                                                                  Anonymous (early 16th century)


Crions noel                                                                                      Alexander Agricola (c.1446-1506)

Comme femme desconfortée                                                                                                    Agricola

Noel, noel, noel                                                                                    Antoine Busnois (c.1430-1492)

Mit desen nywen iare/ Rostiboli gioioso                                                         Anonymous (15th century)



La Spagna                                                                                                                          Anonymous

La Spagna                                                                                          Josquin Desprez (c. 1450-1521)

Nativitas unde gaudia/Nativitas tua, Dei Genitrix Virgo                      Antoine Brumel (c.1460-1512-13)

Noe, noe                                                                                                                                   Brumel


Der Tag, der ist so freudenreich/ Dies est laetitiae                                                                Anonymous

Dies est laetitiae                                                                                   Adam von Fulda (c.1445-1505)

England and America

Now make we joy                                                                                                  Anonymous English

Greensleeves on a Ground                                                                                       Anonymous English

The Babe of Bethlehem (The Southern Harmony)                                   William Walker (1809-1875)


Praised for performing intricate fifteenth-century counterpoint “with the ease of jazz musicians improvising on a theme,” Ciaramella brings to life medieval and early Renaissance music from historical events and manuscripts. Its members are united by the conviction that every composition conceals a rich story waiting to be unlocked through historical research and speculative performance. Founded on a core of winds—shawm, sackbut, recorder, organ, and voice—Ciaramella takes its name from the Italian shawm and from a fifteenth-century song about a beautiful girl whose clothes are full of holes. When she opens her mouth, she knocks men flat.

Directed by Adam and Rotem Gilbert, from the Early Music Program at USC Thornton School of Music in Los Angeles, the ensemble performs at major festivals throughout the United States, Italy, and Germany. Performances have included the Cleveland Museum of Art, Bloomington Early Music Festival, Oberlin’s Baroque Performance Institute, the Lute Society of America, the American Musicological Society in Seattle, and on early music series in Cleveland, San Francisco, San Diego, Early Music in Columbus, Seattle’s Early Music Guild, the Connecticut Early Music Festival, Amherst Early Music Festival, and the Early Music Society of the Islands in Victoria, BC. They gave their New York debut at Music Before 1800 and debuted at the Tage Alter Musik Festival in Regensburg, Germany in 2007. Ciaramella has designed programs for the Da Camera Society music series “Chamber Music in Historic Sites” in Los Angeles, and for The Getty Museum in Los Angeles in coordination with specific exhibits.

Ciaramella released its debut CD Sacred and Secular Music from Renaissance Germany for Naxos (2006) and Treasures of Burgundy for Yarlung Records (2009). Ciaramella is now proudly based in Los Angeles.

For more information on the group visit

Adam Knight Gilbert, recorder and double reeds, one of the premiere international players of the Renaissance shawm and a founding member of Ciaramella, is currently assistant professor of musicology and director of the Early Music Program at the USC Thornton School of Music in Los Angeles. The first graduate of the Early Music program at the Mannes College of Music in New York City, he performed as a member of New York’s Ensemble for Early Music, the Waverly Consort and Piffaro. He has appeared with ensembles such as Calliope, ARTEK, New York Cornet and Sackbut Ensemble, The Whole Noyse, The Court Dance Company of New York, the Folger Consort, Concert Royal, The Bach Ensemble, Chatham Baroque, Newberry Consort, Canto (Colombia), La Caccia Alta (Belgium) and the Los Angeles Philharmonic, among others. Adam studied recorder at Rotterdams Conservatorium and was a recipient of the Fulbright and Belgian American Education Foundation Grants in Leuven, Belgium while researching his dissertation “Elaboration in Heinrich Isaac’s Three-Voice Mass Sections and Untexted Compositions.” He completed his Ph.D. at Case Western Reserve University in 2003, where he studied under Ross Duffin. Adam taught for two years as at Stanford University. He researches fifteenth-century songs and Masses, improvisation in music from 1400–1700, and musical symbolism. He received the 2008 Noah Greenberg Award for his work on 15th-century improvisation. Adam can be heard on Dorian, Naxos, Deutsche Grammophon’s Archiv, Passacaille, Musica Americana, Lyrichord and Yarlung labels.

Rotem Gilbert, recorder and double reeds is a native of Haifa, Israel and a founding member of Ciaramella. She is an assistant professor at the USC Thornton School of Music where she teaches Baroque and Renaissance performance practice courses and is an instructor of early music winds. As a member of Piffaro (1996-2007), she toured the United States, Europe and South America. Rotem has appeared with many American and European early music ensembles including Chatham Baroque, King’s Noyse, Newberry Consort and Capilla Flamenca, and has been featured as a soloist for the Pittsburgh Opera (Corronatione di Poppea), the LA Opera (Britten’s Noye’s Fludde, Handel’s Tamerlano, and the Play of Daniel), and Musica Angelica (Brandenburg #4). She recently made her debut at Disney hall with the LA Phil (Living Toys by Thomas Adès and The Flowering Tree with John Adams). After studies on recorder at Mannes College of Music in New York, she earned her solo diploma from the Scuola Civica di Musica of Milan where she studied with Pedro Memelsdorff. She earned her doctorate in Early Music performance practice at Case Western Reserve University. She has been a regular faculty member of early music workshops in San Diego, Seattle, Madison, Amherst, and Israel’s Ayala and is currently the co-director of SFEMS Recorder Workshop. Rotem can be heard on the Deutsche Grammophon’s Archiv, Passacaille, Musica Americana, Dorian, Naxos and Yarlung labels.

A professional singer and composer, N. Lincoln Hanks thrives in the outer regions of the music spectrum.  His composition studies at Indiana University were with Don Freund, Frederick Fox, and Claude Baker, and he studied with John Harbison at the Aspen Music Festival. Lincoln has won the Contemporary Choral Composition Competition from The Roger Wagner Center for Choral Studies and an ASCAP award, and he was recently honored as a finalist in the Lilly Fellows Program’s Arlin G. Meyer Prize for his oratorio, Tegel Passion. Many distinguished performing artists and groups, including the pianist Paul Barnes, the Pittsburgh Symphony Orchestra and the Dale Warland Singers, have performed his music. Studying early music performance practice with Thomas Binkley and Paul Hillier at Indiana University’s Early Music Institute, Lincoln was a cofounder of The Concord Ensemble, an a cappella group that won the Grand Prize in the Early Music America/Dorian Records Competition.  He now directs Alchymey, a vocal ensemble based in Los Angeles. Lincoln is an Associate Professor of Music at Pepperdine University where he teaches composition and directs the Collegium Musicum.

Dylan Hostetter, born in Indianapolis and now a resident of San Francisco, started singing in the Anglican tradition of boys choirs at Christ Church Cathedral Indianapolis under the tutelage of Dr. Fredrick Burgomaster.  He went on to study voice at the Early Music Institute at Indiana University, was a founding member of the Concorde ensemble, toured with Theatre of Voices, and later joined the Grammy award-winning ensemble Chanticleer, with whom he recorded and toured internationally for six years.  A lover of all music, Dylan retired from Chanticleer recently to pursue a career as a composer/producer/arranger.  He would like to thank his wonderful friends and family for their continued love and support.

Greg Ingles, slide trumpet and sackbut, is in demand as a free-lance sackbut player performing with such period instrument ensembles as Tafelmusik, the New York Collegium, Concerto Palatino, New York’s Ensemble for Early Music, Ensemble Rebel, Trinity Consort, the Orchestra of the Renaissance and American Bach Soloists. He is Music Director of Spiritus Collective, an ensemble devoted to rarely performed brass music of the 17th-Century. As a member of Piffaro, which performs throughout the U.S. and Europe, Greg has recorded for Dorian Recordings, and can also be heard on the Naxos label. Greg received his Bachelor of Music degree in trombone performance from Oberlin Conservatory and has recently completed his doctorate (DMA) at the State University of New York at Stony Brook.

Doug Milliken, recorder and double reeds, received his B.A. and Master of Music History degrees from Youngstown State University. In addition to performing on recorders, shawms, bagpipes, and dulcians, Doug researches early double-reed design. He has performed with Piffaro and is a founding member of Ensemble Tètonbeau. He recently concluded ten years with the Youngstown Symphony Orchestra playing bassoon and contrabassoon. In addition to teaching bassoon at Mercyhurst College in Pennsylvania during 2001 and 2002, he taught recorder at the Madison Early Music Festival in 2003 and 2004. He was a Doctoral student in Historical Musicology at Florida State University in Tallahassee where he directed several Early Music ensembles. Doug can be heard on the Naxos and Yarlung labels.

Joel Nesvadba is a versatile singer who finds his musical passions in both the medieval and the modern. Fully immersed in music since childhood- from his early days as a soloist in the world-renowned Texas Boys Choir to his recent performances with highly praised Early Music ensembles such as Ciaramella- he is now pursuing his Doctorate in Music Arts degree in Early Music at USC’s Thornton School of Music. His flexibility as a singer and musician has led him to many opportunities in the studio as well as the stage. On the modern side of music, Joel has recorded numerous albums as a back-up singer and vocal arranger with prominent and up-and-coming rock/pop artists such as …And You Will Know Us By The Trail of Dead, and Paul Banks & the Carousels. Currently, he is actively singing in the Los Angeles area.

Erik Schmalz, slide trumpet & sackbut, received degrees in trombone performance from Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music.  Two years after graduation, he was introduced to period instruments and early music.  Since then, Erik has had the opportunity to perform on early trombone and slide trumpet with a wide range of the top ensembles in North America including Spiritus Collective, Ciaramella, The New York Collegium, Tafelmusik, Clarion Music Society, Piffaro, Early Music New York, Toronto Consort, Aston Magna, San Francisco Bach Choir, Blue Heron, Boston Shawm and Sackbut Ensemble and Mercury Baroque.  In addition, he has recorded with The New York Collegium, Early Music New York, Aston Magna, Trinity Baroque Orchestra and Ciaramella.  Erik is currently a freelance performer and private teacher residing in Collinsville, Connecticut.

Bass-baritone Jinyoung Jang was a Resident Artist with Los Angeles Opera Company where he has covered and performed numerous leading roles. He made his solo debut with the Los Angeles Philharmonic under Esa Pekka Salonen, and gave a solo recital sponsored by Bakersfield Symphony. He has appeared as a soloist with the Los Angeles Master Chorale, and as bass soloist in Concordia University’s anniversary concert. He has sung with Santa Barbara Chamber Orchestra, Santa Monica Symphony, Pasadena Symphony, and the Antelope Valley Symphony. He was a member of Knoxville Opera Young Artist Program, and has appeared with the Nashville Opera and the Repertory Opera Company. Jinyoung earned a Bachelor’s degree at Seoul National University, Artist Certificate at Southern Methodist University, Master’s Degree at University of Tennessee and Advanced Studies Certificate at University of Southern California. He is currently music director at All Nations Church and adjunct faculty at Antelope Valley College in Lancaster. He has also sung as a member of the Concord Ensemble.

Program Notes

“And there were in the same country shepherds abiding in the field, keeping watch over their flock by night….”

With these words from Luke begin one of the richest scenes from the Christmas story: the Annunciation to the Shepherds, with rustic imagery evoking pastoral symbolism in music throughout the ages. The shepherds—the people of the world longing for the divine—announce the coming of the great shepherd of mankind. In paintings, they hold their ubiquitous bagpipes away from their mouth, a sign that they renounce carnal things for the coming of the divine. These lowly musical symbols of our frail human nature echo in music history, from simple Renaissance folk carols to great works of the baroque era.

The blend of humble symbolism and the regal status of the shawm and trumpets in Renaissance music wind ensembles kept an intimate place in the Christmas story. In this program, Ciaramella traces the ties between music of intense joy and the high sounds of shawms and brass, along with a classic fifteenth-century vocal ensemble. Our repertory spans from the birth of the Virgin and the annunciation to Epiphany and feasts bidding winter farewell.

To this day, Italian bagpipers (zampognari) descend from the hills in the weeks before Christmas, accompanied by the ciaramella, an Italian folk shawm. Corelli captured the sound of these pipes in the Piva of his Christmas Concerto. In his Messiah, Handel immortalized one of their hymns, the Canzone d’i Zampognari, in the aria “And he shall feed his flock” in a clear allusion to the trope of Christ as shepherd. More striking is his exaltation of the same humble melody in the unison climax of the Halleluiah Chorus with the words “The kingdom of the world, is become the kingdom of our Lord.” The same bagpipe hymn is best known today in its nineteenth-century version, Tu scende dalle stelle (known in English as From Starry Skies Descending), and inspired Hector Berlioz’s Harolde en Italie. The same folk duo of pipe and shawm survives in France and Brittany today. Ciaramella’s version of these hymns adopts the duo of bagpipe and shawm playing in parallel thirds and simple harmonies.

Beyond the symbolism of the pipers, the annunciation scene played a profound role in musical performance and composition. The words sung by the Angels, “Glory to God on the Highest, Peace on earth and good will to all men,” resound in the most sublime music of the Mass. Indeed, this moment marks the conceptual origins of antiphonal singing in the Catholic Church, and is heard daily in the Gloria of the Mass. In Nova stella apparita, from the 14th-century Florence laudario, the light of the star symbolizes the return of light and the promise of salvation. Such songs served an important role in making the Christmas story present through re-enactment. The singer adopts the role of those who follow the start toward Bethlehem. Although the manuscript preserves no rhythmic notation, the text and ornamental motives provide tantalizing hints about how the song sounded more than six hundred years ago.

Renaissance composers would have scratched their heads at our modern idea of intellectual property and would have had serious problems with our copyright laws. The art of composition (“putting together”) implied using existing material. Altering an existing song was not only a sign of homage, it served as means for symbolism, and composers constantly relied on similitude between love songs and a religious subject. Gilles Binchois’ Comme femme desconfortée, about the most sorrowful woman in the world became a favorite basis for motets in honor of the Virgin Mary. Adopting as cantus firmus such a song might seem incongruous at first. However, theologians and artists embraced the concept that sharing the inevitable sorrows of Mary would help the faithful find salvation.

Alexander Agricola composed several settings based on the Tenor from Binchois’ song, including a duo that is probably close to contemporary improvisational practice, and a four-voice version with three voices made of short, intensely florid motives. Agricola ended his long career working for the Hapsburg Emperor Philip the Fair in Spain. Sadly, both he and his patron died of Typhoid fever in 1506.

The antiphonal sound of the angels still resounds in a favorite carol “Angels we have heard on high,” in which the mountains echo their joyous refrain, “Gloria…” The English version of this carol follows the original traditional French words and music closely, with some minor variations. In the Spanish carol Angeles de zielo, the angels not only sing and dance, they “romp in the sky,” in lively rhythms wedding Spanish text setting and a fascination with New World music. Its syncopated style contrasts markedly from Cristóbal de Morales’ motet Cum natus esset Jesus. This five-part motet typifies the highest polyphonic style, and conceals a canon between Soprano and Tenor voices. As a particularly popular ensemble in Spanish churches, shawms may well have played just such music.

Another common theme of the Renaissance carol is the lulling of the baby Jesus in the manger as an allegory for the humble bringer of peace to humanity. The tradition of the praesepio, or crèche remains familiar today at Christmas time, but nowhere more than in Southern Italy, where it has inspired comic and tragic stories and plays. Perhaps the most international and sublime of all the manger carols is Verbum caro factum est, singing of the child in the manger as the word made flesh. Our arrangement blends four different settings. Three, from the Italian manuscript Panciatichi 27, seem to represent a fairly rough-hewn local contrapuntal that would not have passed muster with the great composers from the North. The most florid Italian setting survives in a manuscript in Cape Town, South Africa.

Perhaps the most famous textual association with Christmas lies in the words “Nova” and “Noe.” The theme of rejuvenation appears in the earliest surviving laudi spirituali (“songs of spiritual praise”). Alexander Agricola’s Crions noel must be a Christmas work, though only the opening words survive. Antoine Brumel’s Noe, noe, noe contains a passage whose notes musicologists long believed should be altered to spiral down a half step, in what was referred to as “the secret chromatic art of the Netherlands.” Although a tempting notion, it can no longer be supported as the main performance practice in this work, a fact noted with relief by performers on shawms, which don’t sound their best in keys with more than a few flats or sharps. Brumel’s motet Nativitas unde gaudia/Nativitas tua, Dei Genitrix Virgo sets a chant for the birth of the Blessed Virgin. Its archaic isorhythmic structure conceals the Tenor in augmented rhythms, gradually building excitement as its melody becomes increasingly faster and more recognizable.

For the Germans and Flemish, Christmas signaled the beginning of the end of the cold dark winter nights. The occasion was marked by extended celebration with such hymns as Dies est letitiae, often sung in the vernacular Der tag, der ist so freudenreich. The Flemish carol Mit desen nywen iare celebrates the circumcision of Christ, which falls on January 1st, as a sign of the covenant between God and man. The Flemish also feasted on Rostibolli (“Roast and boiled meat”) and sang drinking songs with the typical refrain “for unto us a child is born.” No Burgundian welcome would be complete without a healthy excess of food and drink to bid winter farewell.

The carol enjoyed great popularity in the British Isles throughout the Middle Ages and Renaissance. Like many fifteenth-century carols, Now make we joy blends lilting rhythms with the parallel thirds and sixths of faburden, a typically English technique of improvised singing. Often Christmas words were added as contrafacta of popular melodies. The secular English song Greensleeves is based on the Romanesca, an Italian chord progression popular for dance and variations. Today this same song is sung at Christmas with the words What Child is This? Finally, in our own American tradition shape-note hymns, folk ballads like Captain Kidd became haunting hymns like Wondrous Love. Although I know of no other version of The Babe of Bethlehem, it is easy to imagine that someone played it sometime, somewhere, as a rousing jig.

Adam Knight Gilbert

Texts and Translations

Nova stella apparita

Refrain: Nova stella apparita Refrain: A new star has appeared
ne le parti d’Oriente in the Orient
per mostrar tutta gente to show all people
lo Salvator ch’è nato. the newborn Savior.
Nova stella in parte d’Oriente A new star in the Orient
èt apparita con grande splendore, has appeared with great brightness
e lume per mostrare alla gente and shines to show people
K’era nato Iesù lo Salvatore. that Jesus, the Savior, is born.
Discese per nostro amore, He descended for our love,
Vollesi humiliare, he wanted to humble himself,
La nostra carne pigliare taking on human flesh
Di quell ventre beato. from that blessed womb.
Refrain: Nova stella apparita… Refrain: A new star has appeared…
Li Magi si levaro per ubidire The Magi bestirred themselves to obey
a la stella c’avean veduta; the star they had seen;
in fra loro cominciaro a dire and each to the other began to speak
la meraviglia ch’era diventuta: of the wonder that had occurred,
“la prophetia è compiuta “Fulfilled is the prophecy
la qual aspectavamo: we were expecting,
che l’alto Dio sovrano that the sovereign high God
homo fosse ‘ventato.” would become man.”
Refrain: Nova stella apparita… Refrain: A new star has appeared…

Canzone di zampognari Song of the Bagpipers
Quanno nascette Ninno a Betlemme,

era notte e pareva miezojuorno.

maje le stele, lustre e belle,

se vedèttero accussí, e ‘a cchiù lucente,

jette a chiammá li Magge a ll’Uriente.

De pressa se scetajeno ll’aucielle.

cantanno de na forma tutta nova:

pe’ nsi’ ‘argille, co’ li strille,

e zompanno ‘a ccá e ‘a llá:

“E’ nato! E’ nato!”

“Decévano lo Dio che nce ha criato!”

Non c’erano nemice non pe’ la terra:

la pecora pasceva

co’ ‘o lione, Co”o capretto,

se vedette ‘o liupardo pazzeá

ll’urzo e ‘o vetiello

eco’ lo lupo, ‘mpace ‘o pecoriello.

Guardavano le pecore lu pasture;

e l’angelo, sbrennente chiu de lu sule,

comparette, E le dicette:

‘No ve spaventate, no!

contento e riso;

la terra e arrenventata paradise!’

Text by: St. Alfonso Maria de Liguori (16th c.)

When the Baby was born in Bethlehem,

It was night and bright as day.

The stars in the heavens shone bright and beautiful,

And the brightest of them all went to call,

The wise men from the East.

Soon the birds began awake

Singing in an entirely new way

Even the crickets with their cricks

Jumping from here to there

“He is born! He is born!

The Lord that created us!”

There were no enemies but peace on Earth

Sin gave way to mercy

The lion lay with the lamb,

The wild leopard was seen

Lying with the calf,

And the wolf guarded the flock in peace.

Watching over the sinners in the pastures,

The angels, shining brighter than the sun

Surrounded them and said:

“Don’t be afraid, no!

Be content and rejoice,

Paradise has arrived on Earth.”

Quem vidistis, pastores
Quem vidistis, pastores, dicite,

annunciate nobis, in terris quis apparuit?

Natum vidimus et choros angelorum collaudan tes Dominum alleluia alleluia.

Whom did you see, shepherds, tell us,

proclaim to us: who has appeared on the earth?

We saw the newborn Child and choirs of angels praising the Lord.

Angelus ad pastores ait
Angelus ad pastores ait: The angel said to the shepherds:
Annuntio vobis gaudium magnum: “I announce to you a great joy,
quia natus est vobis hodie That today is born for you
Salvator mundi, A savior of the world.”
Alleluia. Alleluia.”

Verbum caro factum est

Verbum caro factum est de virgine Maria. The word is made flesh from the virgin Mary.
In hoc anni circulo In this circle of years
Vita datur seculo. Life is given to the world.
Nato nobis parvulo Born to us is a little child
De virgine Maria. From the virgin Mary.
Verbum caro factum est de virgine Maria. The word is made flesh from the virgin Mary.
De semine Abrahe From the seed of Abraham
Ex regali genere, Of royal family
Oritur de sidere, He arises from the star
De virgine Maria. Of the virgin Mary.
Verbum caro factum est de virgine Maria The word is made flesh from the virgin Mary.
In presepe ponitur He is laid in a manger
Et a brutis noscitur And welcomed by the animals,
Matris velo regitur Guided under his mother’s care
A virgine Maria. By the virgin Mary.
Verbum caro factum est de virgine Maria. The word is made flesh from the virgin Mary.
Ab angelis psalllitur, He is sung by angels,
Gloria, pax dicitur Glory and peace are proclaimed,
Pastoribus queritur, And he is sought by the shepherds
Cum virgine Maria With the virgin Mary.
Verbum caro factum est de virgine Maria. The word is made flesh from the virgin Mary.
Joseph nato fruitur, Joseph enjoys the newborn,
Natus lacte pascitur Who is fed with milk,
Plaudit, plorat, regitur He is applauded, wept for, guided
A virgine maria. By the virgin Mary.

Angeles del zielo

Angeles del zielo Angeles of heaven
Mill fiestas hazen Make a thousand celebrations
Buelan, saltan y baylan They tumble, they leap, and they dance
Rompiendo el ayre Rending the air
Tremolan las banderas, They wave banners
Tocan instrumentos, They play instruments
Cantan seraphines The seraphs sing
Rompen el silencio; Rending the silence
Celebran las pazes Celebrating the peace
Que el amor ha hecho That love has made
Entre Dios y el hombre Between God and man
Por alto misterio. By high mystery
Deste regozijo In rejoicing
Mill fiestas hazen, They make a thousand celebrations
Buelan, saltan y baylan They tumble, they leap, and they dance
Rompiendo el ayre Rending the air
Mit desen nywen iare
Mit desen nywen iare

Soe wordt ons openbare

Hoe dat een maget vruchtbare

Die werrelt heft verbliit


Geloeft moet syn dat kyndekyn

Geert moet syn dat meechdekyn

Nu end ewelic in alretiit

With this New Year

It is revealed to us

How a fertile virgin

Has made the world joyous


Praised should be that little child

Honored should be that little virgin

Now and forever and ever

Hoe wel was hoer te moede

Doe sy in vleysch ende bloede

Haer hertsen sach behoeder

Heer god der werrelt wyt


Geloeft moet syn dat kyndekyn…

How well was her mood

That she in flesh and blood

Her heart saw protector

Lord of the wide world


Praised should be that little child…

Doe acht dage waren geleden

Doe wart dat kynt besneden

Al nae der ioedscher zeden

Des hadden si groet leyt


Geloeft moet syn dat kyndekyn…

Eight days ago

That child was circumcised

According to Jewish traditions

They were very right (to do so)


Praised should be that little child…

Nu laet ons gode loven

ende ihesum synen soen

Dat hi ons wil verlienen

Syn hemelriick scoen


Geloeft moet syn dat kyndekyn…

Now let us praise the Lord

and Jesus his son

He will give us

His beautiful kingdom of heaven.


Praised should be that little child…

Nativitas unde gaudia – Nativitas tua, Dei Genitrix Virgo (Brumel):

Nativitas unde gaudia

nobis hodie confert annua.

Haec resonet camoenis aula

in laude tua Virgo Maria. Amen

Your birth, from whence our joys spring,

today brings round our annual celebration.

Let this hall of the muses

resound to your praise, O Virgin Mary. Amen.

Nativitas tua, Dei Genitrix Virgo,

gaudium annuntiavit universo mundo:

ex te enim ortus est Sol iustitiae,

Christus Deus noster:

qui solvens maledictionem,

debit benedictionem:

Et confundens mortem,

donavit nobis vitam sempiternam,

Cernere divinum lumen

gaudete fideles.

Sicut spina rosam,

genuit Iudaea Mariam.

Virgo Dei Genitrix virga est,

flos filius ejus.

Your birth, Virgin Mother of God,

announced joy to the whole world:

from you was born the Sun of righteousness,

Christ our God:

who broke the curse

and gave us blessing:

and confounding death,

he gave us life everlasting.

Rejoice, O faithful people,

to behold the divine light.

As the thorn bears the rose,

so Judea bore Mary.

The Virgin Mother of God is the branch,

the flower is her Son.

Der Tag, der ist so freudenreich
Der Tag, der ist so freudenreich

Aller Kreature,

Denn Gottes Sohn vom Himmelreich

Über die Nature

Von einer Jungrau ist gebor’n,

Maria du bist ausserkor’n,

Dass du Mutter wärest.

Was geschah so wunderlich?

Gottes Sohn vom Himmelreich,

Der ist Mensch geboren.

This day, that is so joyful,

For all creation,

Because God the son of Heaven

Over nature,

Is born from a maiden,

Maria, that you would be chosen

To be the mother.

What wonders have occurred?

God’s Son from heaven,

That is born as man.

Dies est laetitiae
Dies est laetitiae in ortu regali

Nam processit hodie de ventre virginali

Puer admirabilis, totus delectabilis

In humanitate,

Qui inaestimabilis est et ineffabilis

In divinitate.

This is the joyful day of the King’s arising:

today he has come forth from the Virgin’s womb, the miraculous child

in his humanity,

who is unfathomable and ineffable

in his divinity.

Now makë we joy

Now makë we joy in this fest.

In quo Christus natus est.

A Patre unigenitus.

Through a maiden is come to us;

Sing we to him and say: Welcome!

Veni, Redemptor gencium.

Now makë we joy…

Agnoscat omne seculum.

A bright star three kings made come; so mighty a Lord is none as he.

A solis ortus cardine.

Now makë we joy…

Now make we joy in this fest

in which Christ was born.

The only Son of the Father

Through a maiden is come to us.

Sing we to him and say: Welcome!

Come, Redeemer of the Gentiles.

Now make we joy…

Let every age and nation know

A bright star three kings made come. So mighty a Lord is none as he.

From the far point of the rising sun.

Now make we joy…

The Babe of Bethlehem

Ye nations all, on you I call, come hear this declaration,
And don’t refuse this glorious news of Jesus and salvation.
To royal Jews came first the news of Christ the great Messiah,
As was foretold by prophets old, Isaiah, Jeremiah.
Hi parents poor in earthly store, to entertain the stranger
They found no bed to lay his head, but in the ox’s manger:
No royal things, as used by kings, were seen by those that found him,
But in the hay the stranger lay, with swaddling bands around him.
On the same night a glorious light to shepherds there appeared,
Bright angels came in shining flame, they saw and greatly feared
The angels said, “Be not afraid, although we much alarm you,
We do appear good news to bear, as now we will inform you.
“The city’s name is Bethlehem, in which God hath appointed,
This glorious morn a Saviour’s born, for him God hath anointed;
By this you’ll know, if you will go, to see this little stranger,
His lovely charms in Mary’s arms, both lying in a manger.”
When this was said, straightway was made a glorious sound from heaven
Each flaming tongue an anthem sang, “To men a Saviour’s given,
In Jesus’ name, the glorious theme, we elevate our voices,
At Jesus’ birth be peace on earth, meanwhile all heaven rejoices.”