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Angelica Women's Chamber Choir | Cantando Gloria

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Cantando Gloria

by Angelica Women's Chamber Choir

This collection of medieval, renaissance, and contemporary Yuletide selections features 13th century chant in honor of St. Nicholas; Tomás Luis de Victoria’s O Magnum Mysterium; Javier Busto’s Oi Bethleem!; and works by Irish composer Michael McGlynn. Angelica is known for its “gorgeous sound, rich sonorities, and transparent harmonies.”
Genre: Classical: Choral Music
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  Song Share Time Download
1. Nowell, Nowell
3:10 $0.99
2. Riu, Riu, Chiu
3:04 $0.99
3. Mariam Matrem
3:43 $0.99
4. E La Don Don, Verges Maria
1:52 $0.99
5. O Magnum Mysterium
3:01 $0.99
6. Sainte Nicholas, Godes Druth
1:03 $0.99
7. Nicolai Presulis
1:50 $0.99
8. Exultemus Et Letemur/ Guadens in Domino
2:23 $0.99
9. St. Nicholas
1:40 $0.99
10. Gaudete
2:07 $0.99
11. Pie Jesu
2:16 $0.99
12. O Jesulein Süss
2:51 $0.99
13. Noel Nouvelet
2:38 $0.99
14. Ding Dong Merrily On High
2:12 $0.99
15. Salva Nos
2:27 $0.99
16. Oi Bethleem!
3:21 $0.99
17. God Rest Ye Merry, Gentlemen
2:35 $0.99
18. Peperit Virgo
5:08 $0.99
19. Sussex Carol
2:03 $0.99
Downloads are available as MP3-320 files.


Album Notes
Performing Artists: : Marie Caruso, Artistic Director; Claire Collins, Heather Gilles, Colleen Kiel, Anita Massengill, Wilma Messenger, Kathleen McClafferty , Susan Saslow, Carolyn Summers, Mary Varchaver. Rex Benincasa On Percussion.

Cantando Gloria

Nowell, Nowell
English Carols were meant to be predictable: the verses were sung by soloists while the “burden,” or chorus, is sung by the group. Sometimes the burdens were quite rousing, which allowed the whole congregation to participate.
Nowell, nowell, nowell, this is the salutation of th’angel, Gabriel.

Tidings true there be come new sent from the Trinity,
By Gabriel to Nazareth, city of Galilee: a clean maiden and pure virgin
Thro’ her humility hath conceived the person second in deity. Nowell...

When he first presented was before her fair visage,
In the most demure and goodly wise he did to her homage
And said: Lady, from heaven so high, that Lordës heritage
From which of thee born would be, I am sent on message. Nowell...

Suddenly she, abashed truly, but not all thing dismayed,
With mind discreet and meek spirit to the angel she said:
With what manner should I child bear, the which ever a maid
Have lived chaste all my life past and never man assayed? Nowell...

Then again to her certain answerëd the angel:
O lady dear, be of good cheer, and dread thee never a del;
Thou shalt conceive in thy body, maiden, very God himself,
In whose birth heaven and earth shall joy, called Emmanuel. Nowell...

Then again to the angel she answered womanly:
Whatever my Lord command me do I will obey meekly.
Ecce, sum hummilima ancilla Domini;
Secundum verbum tuum, she said, fiat mihi. Nowell...

Riu, riu, chiu
The medieval carol rarely strayed far from secular dance music. “Riu, riu, chiu” is typical of this. Listening to this villancico (a form of medieval Spanish poetry in which the last line of each verse rhymes with the last line of the refrain), one hears a mixture of Renaissance elegance and peasant-like festivity. The phrase 'Riu, riu, chiu' imitates the nightingale’s call and was a traditional call of Spanish shepherds guarding their flocks.

The carol was first published in Cancionero de Upsala, a 1556 collection of mostly anonymous Spanish medieval and Renaissance madrigals. The song’s author is generally considered unknown, but some attribute its text to Mateo Flecha (1481–1553). It speaks of the roles of the Blessed Mother and the Redeemer. The tune is probably from the 15th century or earlier.

Riu riu chiu,/Riu, riu, chiu,
la guarda ribera;/The river bank protects it,
Dios guardo el lobo/As God kept the wolf
de nuestra cordera./from our lamb.

El lobo rabioso la quiso morder,/The rabid wolf tried to bite her
mas Dios poderoso /but God Almighty knew
la supo defender./how to defend her.
Quisola hazer /He wished to create her
que no pudiese pecar,/impervious to sin,
ni aun original/nor was this Virgen
esta Virgen no tuviera. Riu riu…/to embody original sin. Riu riu…

Este qu'es nacido/The newborn child
es el gran monarca,/is the mightiest monarch,
Christo patriarca,/Christ patriarchal,
de carne vestido. /invested with flesh.
Hanos redimido/He made himself small
con se hacer chiquito./and so redeemed us.
A un qu'era infinito /He who was infinite
finito se hiziera. Riu riu…/became finite. Riu riu…

Muchas profecias /Many prophecies
lo han profetizado, /told of his coming,
y a un nuestros dias /and now in our days
lo hemos al consado./ have we seen them fulfilled.
Adios humanado /God became man,
vemos en el suelo, /on earth we behold him,
y al hombre nelcielo /and see man in heaven
porquel le quistera. Riu riu… / because he so willed. Riu riu…

Yo vi mil garzones /A thousand singing herons
que andaban cantando, /I saw passing,
por aquí volando, /flying overhead,
haciendo mil sones, /sounding a thousand voices,
diciendo a gascones: /exulting,
"Gloria sea en el cielo, /"Glory be in the heavens, cont’d...
y paz en el suelo,/and peace on Earth,
pues de sus nasciera.” Riu riu…/for Jesus has been born." Riu riu…

Este viene a dar /He comes to give life
a los muertos vida,/to the dead,
y viene a reparar /He comes to redeem
de todos la caída; /the fall of man;
es la luz del día aqueste mozuelo;/this child is the light of day;
este es el cordero que /He is the very lamb
San Juan dixera. Riu riu…/Saint John prophesied. Riu riu…

Mariam Matrem
This medieval-style contemporary composition is a Marian devotional song based on a 14th century text.

Mariam Matrem virginem
natura mirante.
Tu quae genuisti.
Ave peccatorum Miserere
Maria, Virgin Mary
whom all nature adores.
You who gave birth to him.
Look with pity upon us sinners.
E la don don, Verges Maria
Another villancico from the Cancionero de Upsala, this 16th-century Catalan carol is also generally thought to be from anonymous sources. But some attribute the text to Alfonso El Sabio (Alphonse the Wise), King of Castille and León from 1252—1284. The melody is the work of one or more anonymous persons, probably from late-medieval Spain. This carol plays with the bell-like word “don,” which also means “lady.”

E la don don, Verges Maria,/Ding dong,Virgin Mary,
Peu cap desanque Que nos dansaron. /How we will dance!
O garçons, aquesta nit/ Oh, people, this night
una verges na parit/a virgin gave birth
un fillo qu’es tro polit/to a child so fine,
que non aut au en lo mon. / there’s no equal on earth.
Digas nos qui t’ho la dit /Tell us who told you
que verges n’haja parit/ that a virgin gave birth,
que nos mai havem ausit /for we never heard
lo que tu diu, giranthom./ such a thing, good sir.
A eo dian los argues/ The angels sang glory
que cantaven altas veus/to God in the highest,
la grolla n’ecelsis Deus/ for in Bethlehem town
qu’en Belem lo trobaron./The child was found.

O Magnum Mysterium
Tomás Luis de Victoria, a 16th century Spanish composer and priest was sent to Rome when he was 17, as a protégé of the church. His musical career brought him in contact with Palestrina and other composers who were actively involved in reforming the music of the liturgical service. O Magnum Mysterium was published in 1572 in Venice as part of Victoria's first book of motets. The work features several characteristics of Victoria's style, such as an unusual amount of chromatic harmonies and abrupt contrasts. It opens serenely, musically depicting the animals of the manger gazing at the unfolding mystery. This is contrasted with the hush of “O beata Virgo,” followed by a dance-like “Alleluia” ending with a cascade of running notes.

O magnum mysterium/O great mystery
et admirabile sacramentum, /and wonderful sacrament
ut animalia viderent Dominum natum, / that animals see the Lord born
jacentem in praesepio!/Lying in a manger.
O beata Virgo, cujus viscera/O blessed virgin, whose womb
meruerunt portare/ was worthy to bear
Dominum Jesum Christum./Lord Jesus Christ
Alleluia./ Alleluia.

Sainte Nicholas
St. Godric, an English saint and hermit, was known for his miraculous visions, both visual and auditory. Several monks recorded Godric's biography, preserving three songs that were included in the narrative. According to the account of the third vision, which preserved the musical setting we sing today, St. Nicholas invited Godric to join with the choirs of angels singing around him (Deeming, 2005).

Sainte Nicholas, Godes druth,/ Saint Nicholas, God’s beloved
tymbre us faiere /graciously make beautiful
scone hus./dwelling places for us.
At thi burth,/Through your birth,
at thi bare,/ through your bier,
Sainte Nicholas,/Sainte Nicholas,
bring us wel thare./bring us safely there
Translation: M Genensky

Nicholai presulis
The following three-voice conductus from the Notre-Dame school of Paris, celebrates the life of St. Nicholas with music. The conductus was not composed around a pre-existing cantus firmus; it was an original composition. Each voice moves with the same lively rhythm and words. Although instruments are mentioned in the text, the conductus was usually unaccompanied.

Nicholai presulis/Of the presul Nicholas
festum celebremus/ let us celebrate the feast,
concrepando modulis / in resounding songs
letitie sonemus. / of joy let us sing.
Versibus almisonis / With sweet-toned verses
diem decoremus, / let us adorn the day,
vocibus altisonis /with high-pitched voices
intenti festinemus. / eagerly let us hasten.

In tanto natalitio / On such a birthday
patrum docet traditio ./ our fathers’ tradition teaches
ut consonet in gaudio /that in joy the devotion of the
fidelium devotio, / faithful should sound in chorus;
est ergo superstitio /therefore it is but superstition
vacare a tripudio. / to be away from the ceremonies.

Nunc igitur iustorum /Now, therefore, let the just
suavitas cantorum /singers’ sweetness
per tymphanum et chorum /through drums and chorus
et omne musicorum /and all manner and kinds
genus instrumentorum / of musical instruments
psallat deo deorum. / Resound to the God of gods.

Exultemus et letemur/Gaudens in Domino
Inspired by New York’s Early Music Ensemble’s recording, and using Anonymous 4’s musical notation, we have combined two 13th-century conducti in tandem, alternating praises of joy honoring St. Nicholas with contrasting rhythms and text that complement each other. The additional vocal lines to “Gaudens in Domino” were composed by Johanna Maria Rose.

Exultemus et letemur,
nicholaum veneremur,
eius laudes decantemus,
et suef aleiz.
decantando predicemus,
et si m'entendeiz.

Gaudens in Domino,
in hoc sollempnio
letetur omnium
turba fidelium,

Hymnis et organis
ad laudem presulis,
cuius miracula
canit ecclesia.
Quid quid adest homo gaude
presul adest dignus laude
Omnis ordo, gratulare,
et suef aleiz,
novum dignum exultare
et si m'entendeiz.

Qui ab infantia
divina gratia
servavit Domino
devoto animo.

Et tu, progredere,
o lector, incipe,
in primo carmine
dic: "Iube, Domine!"

Vates tuus sit hic clamor
nicolae noster amor,
hec et noster quid sit rector
et suef aleiz,
jube domne dicat lector
et si m'entendeiz.

Let us be glad and rejoice,
let us honor Nicholas,
let us sing his praises.
and go softly,
let us praise him with singing.
and so hear me.

Praising the Lord,
on this holy day
let the throng of all the
faithful rejoice,.

With hymns and organs,
in praise of the bishop
whose miracles
the Church sings.
Everything here, rejoice:
here is the praiseworthy patron.
Every rank renders thanks
and go softly,
to exalt the new worthy one
and so hear me.

Who from his infancy,
by divine grace,
served the Lord
with a devoted heart.

And thus, o reader,
Step forward and begin,
with your first notes,
say: "Command, o Lord!"
Master, may this your paean
be our love of Nicholas;
may he be our guide
and go softly,
let the reader say, "Command, o Lord."
and so hear me.

St. Nicholas
Michael McGlynn (b. 1964) is a composer, producer, director, and founder of Anúna, Ireland's National Choir. As a choral composer and arranger, McGlynn often uses previously known melodies or text and arranges them into new compositions that retain the modal characteristic of the time while sounding distinctly contemporary. This piece is based on the same chant that we sang in the opening of this set, Godric’s Sainte Nicholas.

This medieval carol was most likely composed for Gaudete Sunday, the third Sunday in Advent. The text is from Piæ Cantiones, a Finnish/Swedish treasure of sacred medieval songs compiled in 1582. No music is given for the verses of “Gaudete,” but the tune is derived from an old Bohemian song. In 1972 the song enjoyed renewed popularity when it was recorded by the British folk-rock group Steeleye Span.

Gaudete, gaudete! Christus est natus/ Rejoice! Rejoice! Christ is born
Ex Maria virgine: Gaudete! / of the Virgin Mary: Rejoice!

Tempus adest gratiae, / The time of grace has come
hoc quod optabamus./for which we have prayed.
Carmina laetitiae/Let us devoutly sing
devote reddamus. Gaudete.../songs of joy. Rejoice…
Deus homo factus est/ God is made man,
natura mirante./while nature wonders.
Mundus renovatus est / The world is renewed
a Christo regnante. Gaudete... / by Christ the King. Rejoice…

Ezechielis porta/The closed gate of Ezekiel
Clausa pertransitur,/ is passed through,
Unde lux est orta/Whence the light is born,
Salus invenitur./Salvation is found.

Ergo nostra concio/ Therefore let our assembly now sing,
psallat iam in lustro;/Sing the Psalms to purify us;
benedicat Domino: /Let it praise the Lord:
salus Regi nostro. Gaudete.../ greetings to our King. Rejoice…

Pie Jesu
“Pie Jesu” is often included in musical settings of the Requiem Mass. McGlynn composed this piece in memory of those who died in “The Troubles,” a period of political unrest and violence in Northern Ireland. We include it in our program as a poignant reminder that life is balanced by joys and sorrows, as is reflected in all spiritual teachings. This sublime setting has a soaring and dramatic soprano line in the middle of the piece.

Pie Jesu, Domine:/Merciful Jesus, Lord:
Dona eis requiem./Grant them rest.
Dona eis requiem sempiternam/Grant them everlasting rest.

O Jesulein süss! O Jesulein mild!
This chorale is typical of the many rocking tunes that were popular in Germany in the 16th and 17th centuries. Its first appearance was in Samuel Scheidt’s collection of chorale settings for organ in 1650. Additional arrangements by other composers followed before Bach’s full harmonization of the melody appeared in Schemelli’s publication, Musicalisches Gesangbuch. Angelica sings Scheidt’s arrangement in the first verse and Bach’s harmonization in verses 2 and 3.

O Jesulein süss!
O Jesulein mild!
Deines Vaters Willen,
hast du erfüllt,
Bist kommen aus dem
uns armen Menschen
worden gleich,
O Jesulein süss!
O Jesulein mild!

O Jesulein süss!
O Jesulein mild!
Deines Vaters Zorn
hast du gestillt,
du zählst für uns all unser Schuld,
und bringst uns hin deins
Vaters Huld,
O Jesulein süss!
O Jesulein mild!

O Jesulein süss!
O Jesulein mild!
Mit Freuden hast du die
Welt erfüllt,
du kommst herab v
om Himmelssaal
und trostst und
in dem Jammerthal,
O Jesulein süss!
O Jesulein mild!

O Jesus so sweet!
O Jesus so mild!
The Father's will done
by a child;
From heaven you
came down to the earth,
and gave yourself
a human birth
O Jesus so sweet!
O Jesus so mild!

O Jesus so sweet!
O Jesus so mild!
You turned your Father's
anger wild;
You paid the debt of all our race,
bestowed on us your
Father's grace,
O Jesus so sweet!
O Jesus so mild!
O Jesus so sweet!
O Jesus so mild!
With joy thy birth the
world has filled;
from heaven thou comest
to men below,
To comfort us
in all our woe,
O Jesus so sweet!
O Jesus so mild!
Translation: vs. 1&2, David W. Solomons; vs.3 Oxford Book of Carols

Noël nouvelet
This French carol is one of the most popular noëls of the 16th century, by which time the word Noël (news) had taken on the modern meaning of Christmas. Nouvelet, also denoting ‘news,’ suggests that this was sung at the New Year and that it was a newly made noël.
Noël nouvelet, Noël chantons icy.
A new Christmas, we sing of Christmas here.
Noël nouvelet,
Noël chantons icy.
Dévotes gens,
crions a Dieu merci!
Chantons Noël
pour le roi nouvelet. Noël…

Quand je m'ésveilly
et j'eus assez dormy,
Ouvris mes les yeux,
vis un arbre fleuri.
Dont il issait n bouton merveilleux. Noël…

D'un oiselet bientȏt le chant ouïs,
Qui aux pasteurs disait :
“ Partez d'icy
En Bethléem trouverez l'agnelet .” Noël…

A new Christmas,
we sing of Christmas here.
Faithful people,
let us shout out our thanks to God!
Sing Noel
for the new-born king.

When I awoke from sleep
having slept long enough
I opened my eyes a
nd saw a flowering tree.
There I saw a marvelous flower bud.

Soon we heard a song from a little bird,
who said to the shepherds: “
Go from here
In Bethlehem you will find the little Lamb.”

Ding dong! merrily on high
This tune is often thought of as a traditional English Christmas carol but the melody first appeared as a French dance tune in the Orchésographie (1586, 1596) by Thoinot Arbeau.It was the Englishman George Ratcliffe Woodward (1848–1934) who turned it into one of the most popular of all carols Bells have been used as instruments of praise and celebration for centuries. Saint Paulinus of Nola (c. 400 CE) is credited with introducing bells into Christian worship, as a means of calling the faithful to church. According to legend, Saint Patrick and Saint Nicholas always carried a tiny bell with them to ward off demons and evil spirits.

Gloria, Hosanna in excelsis!
Ding dong! merrily on high
In heav'n the bells are ringing:
Ding dong! verily the sky
Is riv'n with angel singing. Gloria…
E'en so here below, below,
Let steeple bells be swungen,
And "Io, io, io!"
By priest and people sungen. Gloria…

Pray you, dutifully prime
Your matin chime, ye ringers!
May you beautifully rime
Your evetime song, ye singers! Gloria…

Salva nos, stella maris
This Anglican Norman song in Latin is from the 13 century.
Salva nos, stella maris
Et regina caelorum

Que pura deum paris
Et per rubum signaris
Nesciens viri thorum Salva…

O virgo specialis
Sis nobis salutaris
Imperatrix caelorum. Salva…

Tu mater expers paris
Manna celeste paris
Et panem angelorum. Salva…

O parens expers maris
Partu non violaris
Paris sanctum sanctorum. Salva…

Celeste manna paris
Lux cecis, dux ignaris
Solamen angelorum. Salva…
Save us, star of the sea
and queen of heaven

who is pure and bore God
And art signalled in the burning bush
not knowing man as a consort. Save us…
O special virgin
Be our salvation
Empress of heaven. Save us…

You mother without equal
Heavenly manna coequal
and bread of angels. Save us…
O parent without mate
by birth not maculate
you bore the holiest of holy.
Save us…

Heavenly manna (you) bore
Light of the blind, leader of the ignorant
Solace of the angels. Save us…

Oi Bethleem!
Javier Busto Sagrado was born in 1949 in the Basque Country of Spain. In addition to having a doctorate in medicine, he is well-known as a composer and choirmaster. He founded and conducted the Eskifaia Choir from 1978–1994. He is founder and conductor of the award-winning Cantemus Koroa in San Sebastián, a choir composed of women in their middle to late teens. His compositions have won numerous European prizes.

Oi Bethleem!
Ala egun zure loriak oi Bethleem!
Ongi baitu distiratzen
zuganikheldu den
argiak bethetzen tu bazter guziak
Oi Bethleem!

heldunaiz zugana lehiaz,
Hek bezala nahiz egin adoratzen
zaitut, Mesias,
eta maite bihotz guziaz.

O Bethlehem!
See the light of the star, O Bethlehem!
Shining as bright as any gem,
brightly it sends its message,
fulfilling the word of God gladly,
O Bethlehem!

Shepherds so poor,
with thee I hasten to the stable,
Shepherds so poor.
With the the Savior I adore,
joyful to know, as now I’m able,
the angel’s message was no fable.
Shepherds so poor.

God Rest You Merry, Gentlemen
One of the most popular of the early carols, “God Rest You Merry, Gentlemen” was sung for centuries before being published in Britain in 1833, when it appeared in Christmas Carols Ancient and Modern. The authors of both the text and the music remain unknown. Angelica’s arrangement of this Aeolian melody is not a typical harmonic setting. Instead, we keep the modal relationship between the voices intact and add an exotic percussion.

God rest you merry, gentlemen, let nothing you dismay,
Remember Christ our Savior was born on Christmas day
to save poor souls from Satan’s power which had long time gone astray.

O tidings of comfort and joy! Comfort and joy,
O tidings of comfort and joy.

From God our heavenly Father the blessed angels came;
unto some certain shepherds with tidings of the same,
that there was born in Bethlehem the Son of God by name.
O tidings…

Now when they came to Bethlehem where our sweet Savior lay,
The found him in a manger, where oxen feel on hay;
The blessed Virgin, kneeling down, Unto the Lord did pray.
O tidings…

Now to the Lord sing praises, all you within this place,
Like we true loving brethren each other to embrace,
For the merry time of Christmas is drawing on apace.
O tidings…

Peperit virgo
It was not uncommon in the 14th century to substitute sacred text to the melodies of secular songs. Such is the case with Peperit virgo, a poem found in the Red Book of Ossory, written by Richard de Ledrede, the Bishop of Ossory from 1317-1360. Wanting to prevent his vicars and priests from being corrupted by lewd, secular songs, he substituted his own devout Latin poems in place of the secular text. Peperit virgo, a song of praise for Mary, was sung to the melody of “Mayde in the moore lay.”

Peperit virgo, virgo regia,
mater orphanorum, mater orphanorum.
Peperit virgo, virgo regia,
mater orphanorum, plena gracia.

Praebuit honorem vox angelica
regi angelorum, regi angelorum
Praebuit honorem vox angelica
regi angelorum cantando Gloria.

Puero feruntur tria munera
obsequio mangorum, obsequio mangorum.
Puero feruntur tria munera
obsequio mangorum cum stella praevia.

Tribuat salutem virgo caelica,
sola spes lapsorum, sola spes lapsorum.
Tribuat salute virgo caelica,
sola spes lapsorum, in hac miseria.

Angelo docente nati magnalia,
vigilia pastorum, vigilia pastorum –
angelo docente nati magnolia,
vigilia pastorum, latus at laeticia.

Virgo, prece pia per tua munera,
regina supernorum –
virgo, prece pia per tua munera,
regina supernorum, duc nos ad supera.

A maiden gave birth, a royal maiden,
the mother of orphans.
A maiden gave birth, a royal maiden,
the mother of orphan, full of grace.

The angelic voice paid honour
to the king of the angels.
The angelic voice paid honour
to the king of the angels by singing “Glory.”

Three gifts are borne to the child as the
homage of the Magi. Three gifts are borne
to the child as the homage of the Magi,
with the star leading the way.

She grants salvation, the heavenly maiden,
the only hope of the fallen.
She grants salvation, the heavenly maiden,
the only hope for the fallen in this misery.

To the angel who tells of the mighty works
of her son, of the vigils of the shepherds –
to the angel who tells of the mighty works of
her son, [let there be] glory and joy.

Maiden, by devout prayer relying on
thy offices, O queen of heaven –
Maiden, by devout prayer relying on thy
offices, o queen of heaven, bring us to the realms above.

Translation: Anonymous 4 – On Yoolis Night

Sussex Carol
The Sussex Carol is a popular English Christmas carol that is also known as On Christmas night all Christians sing. The text was first published in Luke Wadding’s Smale Garland of Pious and Godly Songs (1684). The song was discovered by Cecil Sharp and later collected by Ralph Vaughan Williams, who heard it sung by one of his most valued singers, Mrs.Verrall of Sussex. This explains the origin of its title.

On Christmas night all Christians sing
To hear the news the angels bring.
News of great joy, news of great mirth,
News of our merciful King's birth.
Then why should men on earth be so sad,
Since our Redeemer made us glad,
When from our sin he set us free,
All for to gain our liberty?
When sin departs before His grace,
Then life and health come in its place.
Angels and men with joy may sing
All for to see the new-born King.
All out of darkness we have light,
Which made the angels sing this night:
"Glory to God and peace to men,
Now and for evermore, Amen!"



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