Program Notes
Stories and Carols
Our program, Stories and Carols, weaves together music that tells the story of Christmas in two distinct but connected ways. The first part of the concert follows the Nativity narrative in order—from the ancient prophecies and the angel’s announcement to Mary, through the birth in Bethlehem, and finally to the arrival of the shepherds and the Magi. These pieces invite us into the biblical story as generations have imagined and sung it. In the latter part of the program, we pivot toward music that has become part of our story of celebrating Christmas: the sounds of Santa Claus, familiar poems and songs, and the warm traditions that shape the season for many today. Together, these works offer a tapestry of how Christmas has been told, retold, and cherished across centuries and cultures.
Personent hodie — Traditional, arr. Lara Hoggard
Personent hodie comes from the 1582 Piae Cantiones, a collection that preserved many medieval Latin songs used in schools and community celebrations. This carol invites “the voices of children” to narrate the Nativity story, moving from Christ’s birth in the manger to the arrival of the Magi. Lara Hoggard’s setting for organ and choir retains the tune’s simple, processional quality, while shifting harmonies and changing vocal groupings help shape the narrative. The high voices gently describe the child wrapped in swaddling clothes, and the low voices represent the Magi presenting their gifts. For the final refrain—“Glory to God in the Highest!”—the organ “pulls out all the stops” to heighten the celebration. Our performance includes a special moment when the choir symbolically offers their gifts with a ceremonial and reverent bow.
O Oriens — Cecilia McDowall
Cecilia McDowall (b. 1951) is an award-winning British composer whose choral works are widely performed for their clear craftsmanship, expressive harmonic language, and sensitivity to text. O Oriens sets one of the ancient “O Antiphons,” sung in the final days of Advent and addressing Christ as the “Morning Star”—the light that breaks into a world waiting in darkness. McDowall reflects this imagery with music that is both mysterious and spacious; the opening and closing measures suggest the vastness of outer space or the shadowed world before dawn. Throughout, dissonant sonorities contribute to the sense of anticipation, beginning with the striking clash of E major against G major as the light first appears. The piece rises to a fortissimo moment of illumination before gently receding, returning the listener to the quiet expectancy of Advent.
The Angel Gabriel from Heaven Came — Basque carol, arr. Susan LaBarr
This well-known Basque carol, often called Gabriel’s Message, recounts the Annunciation—the moment in the Gospel of Luke when the angel Gabriel appears to Mary to tell her she will bear Jesus. The carol’s vivid imagery, describing the angel with “wings as drifted snow” and “eyes as flame,” sets a tone of awe and mystery that has contributed to its enduring appeal. Susan LaBarr’s arrangement highlights the tune’s simplicity while enriching it with warm contemporary harmonies. The melodic line remains prominent throughout, allowing Mary’s response to the angel’s greeting to come through clearly. LaBarr’s special treatment of the “Gloria,” especially the extended refrain after the third verse, creates a soaring, radiant moment that lifts the piece beyond its folk origins. Her setting balances clarity, beauty, and respect for the carol’s long history while giving it fresh expressive life.
O Little Town of Bethlehem — arr. Dan Forrest
Dan Forrest’s arrangement of O Little Town of Bethlehem offers a thoughtful reimagining of this familiar 1868 text by Phillips Brooks and its well-loved tune by Lewis Redner. Forrest includes a scripture reference at the top of the score that hints at the focus of this setting: “But thou, Bethlehem… though thou be little among the thousands of Judah, yet out of thee shall come forth for me one who is to be ruler in Israel; whose coming forth is from old, from ancient days” (Micah 5:2). That sense of quiet promise shapes the musical language. The piano writing is especially beautiful—expressive, sometimes improvisatory, and gently colored by a contemporary flavor. An oboe solo weaves throughout, adding a lyrical thread that underscores the carol’s themes of wonder and expectation. Forrest’s subtle shifts in texture and color allow the familiar melody to feel newly expressive, inviting listeners to hear this beloved carol with refreshed attention.
Go, Tell It On the Mountain — Traditional Spiritual, arr. Roland Carter
Go, Tell It on the Mountain, a spiritual rooted in the African American oral tradition, proclaims the Nativity story with directness and joy. Roland Carter (1942–2022), a distinguished choral conductor, arranger, and longtime professor at the University of Tennessee at Chattanooga, devoted much of his career to preserving and elevating the spiritual tradition. His arrangement of this piece is among the most widely performed. Carter opens with a bold statement of the carol’s refrain, then builds momentum as the soprano soloist delivers the verses while the tenors and basses provide a jazzy, syncopated accompaniment. This creates a vivid call-and-response texture that mirrors the communal origins of the spiritual. In the final section, rapid exchanges between high and low voices—“Go!” “Tell it!”—propel the music toward a powerful closing chord. The result is a setting that honors the spiritual’s roots while giving choirs a vibrant vehicle for storytelling and celebration.
The Virgin Mary Had a Baby Boy — Traditional Caribbean spiritual, arr. Stacey V. Gibbs
The Virgin Mary Had a Baby Boy is a traditional Caribbean spiritual that originated in Trinidad and Tobago and spread throughout the West Indies through oral tradition. Its refrain—“He come from the glory, He come from the glorious kingdom”—reflects the call-and-response style characteristic of Caribbean folk song and blends the Christmas story with the rhythmic vitality of island music. Stacey V. Gibbs, a leading arranger of spirituals whose works are widely performed by choirs across the United States, brings his signature energy and clarity to this setting. Syncopated rhythms, bright choral textures, and well-shaped dynamic contrasts preserve the spirit of the original while highlighting the carol’s jubilant character. Gibbs’s arrangement captures the joy and uplift of this beloved spiritual, offering a vibrant moment within the program’s telling of the Nativity story.
We Three Kings of Orient Are — arr. Matthew Culloton
Matthew Culloton’s arrangement of the 1857 carol We Three Kings highlights its distinctive structure of solo verses for each King and a recurring choral refrain. Each soloist takes on the role of one of the Magi, describing his particular gift—gold, frankincense, or myrrh—and its symbolic meaning. The setting is unaccompanied except for a solo oboe, which adds color throughout. During the verses, the choir sings on neutral syllables, with the basses suggesting the pulse of a string bass and the upper voices echoing woodwind lines, creating a light, waltz-like accompaniment for the soloist. Culloton uses clear textures, modest dynamic shaping, and careful declamation to keep the focus on the unfolding story. Founder and Artistic Director of The Singers–Minnesota Choral Artists, he brings the same clarity and musical sensitivity to this arrangement, offering a fresh but respectful interpretation of a well-loved carol.
The Wise Men and the Star — Oliver Tarney
Oliver Tarney (b. 1984) is a British composer and educator known for his accessible, text-centered choral writing. In The Wise Men and the Star, he sets a contemporary poem by British writer Lucia Quinault (b. 1969), who traces the Magi’s journey from scholarly anticipation to their arrival at the manger. The poem contrasts “palaces, greedy and golden” with the simplicity of the stable, and Tarney mirrors these shifts through changes in texture and pacing. Energetic writing underscores phrases such as “eagerly enter,” while the final verse settles into a gentler tone as the travelers behold the “source of all starlight… laid in a manger and haloed with hay.” Tarney’s steady, forward-moving musical lines evoke the persistence of the journey, and his restrained harmonic language keeps the focus on the narrative. The result is a clear and expressive retelling of the Magi’s story.
Ding! Dong! Merrily on High — French carol, arr. Mack Wilberg
We feature the organ in Mack Wilberg’s sprightly setting of the 16th-century French carol Ding! Dong! Merrily on High, whose joyful text describes the bells of heaven ringing to celebrate the birth of Christ. The tune first appeared in the Orchésographie of 1589 and has long been associated with festive Christmas singing. Wilberg, Music Director of the Tabernacle Choir at Temple Square and former professor at Brigham Young University, is widely known for his polished, orchestral approach to choral arranging. Bright harmonies, rhythmic vitality, and a buoyant organ accompaniment highlight the carol’s celebratory character. In our performance, the piano joins the organ in a playful back-and-forth exchange that adds sparkle to the texture. The well-known “Gloria” section showcases choral agility and clarity, resulting in an energetic and accessible setting that captures the joy of traditional Christmas music-making.
’Twas the Night Before Christmas — Ken Darby, arr. Harry Simeone
Clement Clarke Moore’s 1823 poem—originally titled A Visit from St. Nicholas—has become one of the most widely recognized Christmas texts in American culture and was highly influential in shaping the modern American image of Santa Claus. Harry Simeone’s 1942 choral arrangement, based on an earlier adaptation by Ken Darby, casts the chorus itself as the narrator, delivering the poem through rhythmic speech, melodic fragments, and lively musical effects that mirror the poem’s changing scenes. This setting was popularized by The Harry Simeone Chorale, Fred Waring and the Pennsylvanians, Perry Como, and Bing Crosby, all of whom helped bring the piece into American holiday tradition. Simeone emphasizes the poem’s pacing and playful detail rather than sentimentality, creating a bright, engaging retelling that allows listeners to experience this classic Christmas story in an entertaining musical format.
Have Yourself a Merry Little Christmas — Ralph Blane, arr. Molly Ijames
Written for the 1944 film Meet Me in St. Louis, Have Yourself a Merry Little Christmas was introduced by Judy Garland in a scene set at Christmastime during the 1904 World’s Fair. Its original lyrics were considerably more somber; Garland requested revisions so the song would offer comfort rather than despair. After the film’s release, it quickly became a holiday standard, with recordings by Frank Sinatra, Ella Fitzgerald, The Carpenters, and many others securing its place in American tradition. Molly Ijames’s unaccompanied arrangement features close, jazz-influenced harmonies and moments of lush eight-part writing that give the familiar tune a warm, enveloping sound. The setting provides a reflective close to the program, allowing the choir to make their wish to the audience for a peaceful and joyful holiday season.