PROGRAMME
Tomas Luis De Victoria 1548-1611
Ne timeas Maria

Hans Leo Hassler 1564-1612
Dixit Maria

Benjamin Britten 1913-1976
A hymn to the Virgin

Arvo Pärt 1936
Magnificat (1989)

Johannes Brahms 1833-1897
O Heiland, reiss die Himmel auf op. 74 n. 2

Hans Leo Hassler
Verbum caro factum est

Giovanni P. da Palestrina 1525-1594
Dies sanctificatus

Felix Mendelssohn 1810-1849
Jauchzet dem Herrn op. 69 n. 2

Francis Poulenc 1899-1963
Quatre motets pour le temps de Noël
O magnum mysterium
Quem vidistis pastores
Videntes stellam
Hodie Christus natus est

NOTES

The Christmas concert presented by the Coro da Camera di Varese under the conduction of Gabriele Conti offers a musical journey structured as a chronological sequence of the main scenes related to the mystery of the Incarnation.
The selection of pieces follows the narrative order: from the Annunciation to Mary’s response, the Magnificat, the expectation of Advent, through to the celebration of the Nativity.
The program juxtaposes repertoires from different eras, from the Renaissance to the present day, maintaining a thematic coherence that allows each work to be heard as part of a single meditation.

The journey opens with Tomás Luis de Victoria’s Ne timeas Maria, setting to music the angel’s words to Mary. This is followed by Hans Leo Hassler’s Dixit Maria, focusing on the Virgin’s response: “Be it done unto me according to thy word.”
Benjamin Britten’s A Hymn to the Virgin introduces a dialogue between choir and semi-choir alternating English and Latin, creating two distinct expressive planes and referencing the tradition of medieval Marian texts.
Arvo Pärt’s Magnificat (1989) offers a contemporary setting of the Canticle of the Blessed Virgin Mary, based on an essential, meditative writing style that highlights the structure of the biblical text.

The section dedicated to the expectation of Advent is represented by Johannes Brahms’s chorale O Heiland, reiss die Himmel auf (O Savior, tear open the heavens), Op. 74 No. 2.
The text, drawn from Isaiah 64:1, voices the plea of the faithful awaiting the coming of the Messiah—a central theme of the Advent liturgy, translated by Brahms into an intense, concentrated musical setting.
Hassler returns with Verbum caro factum est (The Word was made flesh), marking the transition from promise to fulfillment with the verse from the Prologue of John’s Gospel (Jn 1:14).
Palestrina, with Dies sanctificatus (Sanctified Day), celebrates the feast of the Nativity with his signature balanced writing, where the clarity of the liturgical text remains paramount.

The closing section of the program presents Felix Mendelssohn’s Jauchzet dem Herrn (Shout for joy to the Lord), Op. 69 No. 2, a brilliant anthem of praise based on Psalm 100.
Francis Poulenc’s cycle, Quatre motets pour le temps de Noël, offers four perspectives on the birth of Christ:

O magnum mysterium (O great mystery), a meditation on the silence of the manger;

Quem vidistis pastores (Whom did you see, shepherds?), recalling the story of the shepherds and their testimony;

Videntes stellam (Seeing the star), dedicated to the episode of the Magi;

Hodie Christus natus est (Today Christ is born), a festive conclusion to the cycle set to the text of the Christmas Day antiphon.

Spanning five centuries of music history, the program maintains a thematic continuity that allows the entire concert to unfold as a single liturgical narrative, in which each piece illuminates a precise moment in salvation history.