About this Recording
8.555886 - Christmas at Trinity

The inspiration for recording this Christmas CD came from a desire to make a distinctly American recording of some Christmas favorites, usually only recorded by British choirs. Now this posed us a great challenge: it isn’t as if every single one of the finest British choirs, past and present, hasn’t already recorded these gems. We’d be presenting mostly British arrangements of British carols — what arrogance! How dare we even think we’d have a right to engage in such hubris. They’d have to be perfect. In order to justify such a project we’d have to make an individual statement; cover new ground. So, we set ourselves some guidelines before we began: we would use American English pronunciation, we would not try to "sound British." We would not try to sound like a choir of men and boys. We would perform the works just as we present them at Trinity Church every Christmas. I’m very proud of this CD and of the Trinity Choir, our Organ Scholar, Sean Jackson, and our Engineer, Lenny Manchess. They worked many long hours to get it right.

One of the major obstacles confronting anyone writing about the history of Christmas carols is that many of these works are so ancient that the origins of their tunes and texts are unknown. Descriptions such as "Anonymous" and "English 15th century" abruptly put an end to further investigation. What produces additional headaches for any would-be detective is that often the tunes and texts arose out of popular culture—there was no single composer or author—and were subsequently modified by later generations. Even a text as popular as Hark! the Herald Angels Sing has been so extensively altered by so many authors that the words we presently sing can hardly still be attributed to Charles Wesley.

One interesting historical postscript: some years ago a German historian whose name, unfortunately, I never learned, came to visit our Archive Department here at Trinity Church. He had been doing research back in his homeland on the origins of the carol Silent Night or Stille Nacht. His investigations had led him to us because he believed that the carol received its New World premiere here. Our carefully archived church bulletins confirmed his hunch; the Renner family, a group of Tyrolean singers touring the United States, premiered the carol at Trinity Church on Christmas Eve 1827—just nine years after it was written!

The scholar also surprised us all further by debunking a now famous myth—namely, that the reason Silent Night is usually sung a cappella is because a mouse ate through the bellows of the organ in the parish of St. Nicholas-in-Oberndorf on Christmas Eve in 1818. The scholar’s investigations showed that the church’s records revealed no evidence of either any concurrent damage or repair to the organ, and that Stille Nacht was actually performed that first time accompanied by a guitar.

One thing is certain: these texts and tunes are among the most beloved of all Western artworks—their timelessness and elegant simplicity continue year after year to draw us into the Divinum mysterium. They tug at our heartstrings and keep alive in us visions of that "cold winter’s night" in Bethlehem so many years ago.

All of us here at Trinity Church hope you enjoy our musical offering—Merry Christmas!

—Owen Burdick

Once in Royal David’s City

1 – Once in royal David’s city

Stood a lowly cattle shed,

Where a mother laid her baby

In a manger for his bed:

Mary was that mother mild,

Jesus Christ her little child.

2 – He came down to earth from heaven,

Who is God and Lord of all,

And his shelter was a stable,

And his cradle was a stall;

With the poor, and mean, and lowly,

Lived on earth our Savior holy.

3 – And thro’ all his wondrous childhood,

He would honor and obey,

Love, and watch the lowly maiden

In whose gentle arms he lay;

Christian children all must be

Mild, obedient, good as he.

4 – For he is our childhood’s pattern;

Day by day like us he grew;

He was little, weak and helpless,

Tears and smiles like us he knew;

And he feeleth for our sadness,

And he shareth in our gladness.

5 – And our eyes at last shall see him,

Through his own redeeming love;

For that child so dear and gentle

Is our Lord in heav’n above;

And he leads his children on

To the place where he is gone.

6 – Not in that poor lowly stable,

With the oxen standing by,

We shall see him; but in heaven,

Set at God’s right hand on high;

When like stars his children crowned,

All in white shall wait around.

Soloist: Amy Bartram

Words: Cecil Frances Alexander (1818–1895)

Music: Irby, melody by Henry John Gauntlett (1805–1876)

vv. 1-3 harmonized by Gauntlett

vv. 4-5 harmonized by Arthur Henry Mann (1850–1929)

© 1957 Novello and Co. Ltd.

v. 6 descant and organ part by Philip Ledger (b. 1937)

© 1975 Oxford University Press

Sans Day Carol

1 – Now the holly bears a berry as white as the milk,

And Mary bore Jesus, who was wrapped up in silk.

And Mary bore Jesus Christ our Saviour for to be,

And the first tree in the greenwood, it was the holly.

2 – Now the holly bears a berry as green as the grass,

And Mary bore Jesus, who died on the cross.


3 – Now the holly bears a berry as black as the coal,

And Mary bore Jesus, who died for us all.


4 – Now the holly bears a berry, as blood is it red,

Then trust we our Saviour, who rose from the dead.


Words: collated by Percy Dearmer (1867-1936)

Music: Cornish traditional carol arranged by John Rutter

(b. 1945) © 1969 Oxford Univ. Press

The Three Kings (Die Könige)

Soloist’s text:

1 – Three kings from Persian lands afar

To Jordan follow the pointing star.

And this the quest of the travellers three:

Where the newborn King of the Jews may be

Full royal gifts they bear for the King;

Gold, incense, myrrh are their offering.

2 – The star shines out with a steadfast ray;

The kings to Bethlehem make their way,

And there in worship they bend the knee,

As Mary’s child in her lap they see;

Their royal gifts they show to the King;

Gold, incense, myrrh are their offering.

3 – Thou child of man, lo, to Bethlehem

The kings are travelling, travel with them!

The star of mercy, the star of grace,

Shall lead thy heart to its restingplace.

Gold, incense, myrrh thou canst not bring;

Offer thy heart to the infant King—offer thy heart!


Chorus’ text:

1 – How brightly shines the morning star!

With grace and truth from heaven afar

Our Jesse tree now bloweth.

2 – Of Jacob’s stem and David’s line,

For thee, my bridegroom, King divine,

My soul with love o’erfloweth.

3 – Thy word, Jesu, inly feeds us,

Rightly leads us, life bestowing.

Praise, O praise such love o’erflowing.

Soloist: Richard Lippold

Words: Peter Cornelius (1824-1874), translated by H. N. Bate

Music: Peter Cornelius; chorale melody Wie schön leuchtet der Morgenstern, attributed to Philipp Nicolai (1556-1608); arranged by Ivor Atkins (1869-1953) © 1930 Oxford Univ. Press


I Sing of a Maiden

1 – I sing of a maiden that is makeless:

King of all kings to her son she ches.

2 – He came also still where his mother was,

As dew in April that falleth on the grass.

3 – He came also still to his mother’s bower,

As dew in April that falleth on the flower.

4 – He came also still where his mother lay,

As dew in April that falleth on the spray.

5 – Mother and maiden was never none but she:

Well may such a lady God’s mother be.

Words: Traditional English

Music: Patrick Hadley (1899-1973)

© 1930 Year Book Press, Ltd.

(Ascherberg, Hopwood & Crew, Ltd.)


O Come, All Ye Faithful

1 – O come, all ye faithful,

Joyful and triumphant,

O come ye, O come ye to Bethlehem;

Come, and behold him

Born the King of angels;

O come, let us adore him,

Christ the Lord.

2 – God of God,

Light of Light,

Lo! he abhors not the Virgin’s womb;

Very God,

Begotten, not created:


3 – Sing, choirs of angels,

Sing in exultation,

Sing, all ye citizens of heaven above;

Glory to God,

In the highest;


4 – Yea, Lord, we greet thee,

Born this happy morning,

Jesu, to thee be glory given;

Word of the Father,

Now in flesh appearing;


Words: John Francis Wade (1711–1786); translated by Frederick Oakeley (1802–1880) et al.

Music: Adeste fideles,

present form of melody attributed to John Francis Wade;

vv. 1&2 harmonization from The English Hymnal, 1906

vv. 3&4 descant and organ part by David Willcocks (b. 1919) © 1961 Oxford Univ. Press


The Holly and The Ivy

1 – The holly and the ivy,

When they are both full grown,

Of all the trees that are in the wood

The holly bears the crown.

The rising of the sun,

And the running of the deer,

The playing of the merry organ,

Sweet singing in the choir.

2 – The holly bears a blossom

As white as the lily flower;

And Mary bore sweet Jesus Christ

To be our sweet Saviour.


3 – The holy bears a berry

As red as any blood;

And Mary bore sweet Jesus Christ

For to do us sinners good.


4 – The holly bears a prickle

As sharp as any thorn;

And Mary bore sweet Jesus Christ

On Christmas Day in the morn.


5 – The holly bears a bark

As bitter as any gall;

And Mary bore sweet Jesus Christ

For to redeem us all.


Words: English traditional; collected by Cecil Sharp (1859-1924)

Music: English traditional carol arranged by H. Walford Davies (1869-1941) © 1913 H. Walford Davies


In the Bleak Midwinter

1 – In the bleak midwinter,

Frosty wind made moan,

Earth stood hard as iron,

Water like a stone;

Snow had fallen, snow on snow,

Snow on snow.

In the bleak midwinter

Long ago.

2 – Our God, heaven cannot hold him,

Nor earth sustain,

Heaven and earth shall flee away

When he comes to reign.

In the bleak midwinter,

A stable-place sufficed

The Lord God Almighty

Jesus Christ.

3 – Enough for him, whom cherubim,

Worship night and day,

A breast full of milk,

And a manger full of hay,

Enough for him, whom angels

Fall down before,

The ox and ass and camel,

Which adore.

4 – What can I give him,

Poor as I am?

If I were a shepherd,

I would bring a lamb;

If I were a wise man,

I would do my part,

Yet what I can I give him,

Give my heart.

Soloists: Barbara Lynne Jamison, Stephen Sands

Words: Christina Rossetti (1830–1894)

Music: Harold Darke (1888-1976) )

© 1993 Galaxy Music Corporation (ECS Publishing)


I Wonder as I Wander

1 – I wonder as I wander out under the sky,

How Jesus the saviour did come for to die.

For poor orn’ry people like you and like I,

I wonder as I wander out under the sky.

2 – When Mary birthed Jesus ’twas in a cow’s stall,

With wisemen and farmers and shepherds and all.

But high from God’s heaven a star’s light did fall

And the promise of ages it then did recall.

3 – If Jesus had wanted for any wee thing:

A star in the sky, or a bird on the wing.

Or all of God’s angels in heaven for to sing,

He surely could have it ’cause he was the King.

4 – I wonder as I wander out under the sky,

How Jesus the saviour did come for to die.

For poor orn’ry people like you and like I,

I wonder as I wander out under the sky.

Soloists: Ann Hoyt, Stephen Sands

Words: Traditional Appalachian

Music: Traditional Appalachian melody, arranged by Richard Shephard (b. 1949) © 1998 St. James Music Press (The Sewanee Composer’s Project)


Adam Lay Ybounden

1 – Adam lay ybounden,

Bounden in a bond;

Four thousand winter

Thought he not too long.

2 – And all was for an apple,

An apple that he took,

As clerkes finden

Written in their book.

3 – Ne had the apple taken been,

The apple taken been,

Ne had never our Lady

Abeen heavene queen.

4 – Blessed be the time

That apple taken was,

Therefore we moun singen,

Deo gracias!

Words: English 15th century

Music: Boris Ord (1897-1961) © 1957 Novello & Co. Ltd.


O Little Town of Bethlehem

1 – O little town of Bethlehem,

How still we see thee lie!

Above thy deep and dreamless sleep

The silent stars go by;

Yet in thy dark streets shineth

The everlasting Light;

The hopes and fears of all the years

Are met in thee tonight.

2 – O morning stars, together

Proclaim the holy birth,

And praises sing to God the King,

And peace to men on earth;

For Christ was born of Mary;

And, gathered all above,

While mortals sleep, the angels keep

Their watch of wondering love.

3 – How silently, how silently,

The wondrous gift is given!

So God imparts to human hearts

The blessings of his heaven.

No ear may hear his coming;

But in this world of sin,

Where meek souls will receive him, still

The dear Christ enters in.

4– O holy Child of Bethlehem,

Descend to us, we pray;

Cast out our sin and enter in,

Be born in us today.

We hear the Christmas angels

The great glad tidings tell:

O come to us, abide with us,

Our Lord Emmanuel!

Words: Phillips Brooks (1835–1893)

Music: Forest Green, English melody

vv. 1&2 harmonized by Ralph Vaughan Williams (1872–1958) © 1906 Oxford Univ. Press

v. 3 harmonized by Philip Ledger (b. 1937)

© 1975 Oxford Univ. Press

v. 4 descant and organ part by Thomas Armstrong (1898-1994) Royal School of Church Music


I Saw Three Ships

1 – I saw three ships come sailing in,

On Christmas Day in the morning.

2 – And what was in those ships all three?


3 – Our Saviour Christ and his Lady,


4 – Pray whither sailed those ships all three?


5 – O they sailed into Bethlehem,


6 – And all the bells on earth shall ring,


7 – And all the angels in Heav’n shall sing,


8 – And all the souls on earth shall sing,


9 – Then let us all rejoice amain!


Words: Traditional English

Music: Traditional English, arranged by David Willcocks

(b. 1919) © 1960 Oxford Univ. Press

In Dulci Jubilo

1 – In dulci jubilo

Let us our homage shew;

Our heart’s joy reclineth

In præsepio

And like a bright star shineth,

Matris in gremio.

Alpha es et O.

2 – O Jesu parvule!

I yearn for thee alway!

Hear me, I beseech thee,

O Puer optime!

My prayer let it reach thee,

O Princeps gloriæ!

Trahe me post te!

3 – O Patris caritas,

O Nati lenitas!

Deep were we stained

Per nostra crimina;

But thou hast for us gained

Cœlorum gaudia.

O that we were there!

4 – Ubi sunt gaudia, where,

If that they be not there?

There are angels singing

Nova cantica,

There the bells are ringing

In Regis curia:

O that we were there.

Words: John Mason Neale (1818–1866) alt.

Music: In dulci jubilo, German carol, 14th century; arranged by Robert Lucas Pearsall (1795-1856); edited and adapted by Reginald Jacques (1894-1969) © 1961 Oxford Univ. Press


Away In a Manger

1 – Away in a manger, no crib for his bed,

The little Lord Jesus laid down his sweet head.

The stars in the bright sky looked down where he lay,

The little Lord Jesus asleep on the hay.

2 – The cattle are lowing, the Baby awakes,

But little Lord Jesus no crying he makes.

I love thee, Lord Jesus! Look down from the sky,

And stay by my side until morning is nigh.

3 – Be near me, Lord Jesus; I ask thee to stay

Close by me for ever, and love me I pray.

Bless all the dear children in thy tender care,

And fit us for heaven to live with thee there.

Soloist: Ann Hoyt

Words: Traditional English Music: Cradle Song, melody William James Kirkpatrick (1838–1921); harmonized by

David Willcocks (b. 1919) © 1960 Oxford Univ. Press


Of the Father’s Heart Begotten

(Corde natus ex parentis)

1 – Of the Father’s heart begotten,

Ere the world from chaos rose,

He is Alpha; from that fountain,

All that is and hath been flows;

He is Omega, of all things

Yet to come the mystic close,

Evermore and evermore.

2 – By his word was all created;

He commanded and ’twas done;

Earth and sky and boundless ocean,

Universe of three in one,

All that sees the moon’s soft radiance,

All that breathes beneath the sun,

Evermore and evermore.

3 – He assumed this moral body,

Frail and feeble, doomed to die,

That the race from dust created

Might not perish utterly,

Which the dreadful law had sentenced

In the depths of hell to lie,

Evermore and evermore.

4 – O how blest that wondrous birthday,

When the maid the curse retrieved,

Brought to birth mankind’s salvation,

By the Holy Ghost conceived;

And the babe, the world’s Redeemer,

In her loving arms received,

Evermore and evermore.

5 – This is he, whom seer and sybil

Sang in ages long gone by;

This is he of old revealed

In the page of prophecy;

Lo! he comes, the promised Saviour;

Let the world his praises cry!

Evermore and evermore.

6 – Sing, sing his praises;

Angels and archangels, sing!

Wheresoe’er ye be ye faithful,

Let your joyous anthems ring,

Every tongue his name confessing,

Countless voices answering,

Evermore and evermore.

Words: Marcus Aurelius Clemens Prudentius (348–410?); translated by R. F. Davis

Music: Divinum mysterium, Sanctus trope, 11th century; adapted in Piae Cantiones Theoderici Petri Nylandensis, 1582; arranged by David Willcocks (b. 1919) © 1963 Oxford Univ. Press


Infant Holy, Infant Lowly

1 – Infant holy, infant lowly,

For his bed a cattle stall;

Oxen lowing, little knowing

Christ the babe is Lord of all.

Swift are winging angels singing,

Nowells ringing, tidings bringing,

Christ the Babe is Lord of all.

2 – Flocks were sleeping, shepherds keeping

Vigil till the morning new;

Saw the glory, heard the story,

Tidings of a gospel true.

Thus rejoicing, free from sorrow,

Praises voicing, greet the morrow,

Christ the babe was born for you!

Words: Traditional Polish; translated by Edith M. Reed (Evans Bros. Ltd.)

Music: Traditional Polish; harmonized by David Willcocks

(b. 1919) © 1961 Oxford Univ. Press


Gabriel’s Message

1 – The angel Gabriel from heaven came,

His wings as drifted snow, his eyes as flame;

"All hail," said he, "thou lowly maiden Mary,

Most highly favored lady," Gloria!

2 – "For known a blessed Mother thou shalt be,

All generations laud and honor thee,

Thy Son shall be Emmanuel, by seers foretold,

Most highly favored lady," Gloria!

3 – Then gentle Mary meekly bowed her head,

"To me be as it pleaseth God," she said,

"My soul shall laud and magnify his holy Name."

Most highly favored lady, Gloria!

4 – Of her Emmanuel, the Christ, was born

In Bethlehem, all on a Christmas morn,

And Christian folk throughout the world will ever say—

"Most highly favored lady," Gloria!

Soloists: Joshua Copeland, Ann Hoyt

Words: Basque traditional;

paraphrased by Sabine Baring-Gould (1834–1924)

Music: Gabriel’s Message, Basque carol; harmonized by Edgar Pettman (1865–1943) © 1961 B. Feldman & Co. Ltd. (EMI Music Publishing Ltd.)


Lullay, My Liking

Lullay my liking,

My dear Son, my sweeting;

Lullay my dear heart,

Mine own dear darling.

1 – I saw a fair maiden sitten and sing;

She lulled a little child, a sweete Lording.


2 – That eternal Lord is he that made alle thing;

Of alle lordes he is Lord, of every king he’s King.


3 – There was mickel melody at that childes birth;

Though the songsters were heavenly they made mickel mirth.


4 – Angels bright they sang that night and

saiden to that child;

"Blessed be Thou and so be she that is both

meek and mild."


5 – Pray we now to that child as to his mother dear;

God grant them all his blessing that now maken cheer.


Words: English 15th century from "A Mediæval Anthology" edited by Mary Segar (Longmans Green & Co. Ltd.) Music: Gustav Holst (1874-1934) © 1919 J. Curwen & Sons Ltd.


Resonet In Laudibus

1 – Resonet in laudibus

Cum jocundis plausibus

Sion cum fidelibus:

Apparuit quem genuit Maria.

All is now fulfilled

As prophets did foretell.

Eia, eia! Lo, a virgin has conceived,

By the will of God decreed to set us free.

Hodie apparuit in Israel.

Ex Maria Virgine est natus Rex.

2 – Joyful hears to God we raise,

Earth resounds with hymns of praise,

Here in adoration gaze for Christ is born,

The only son of Mary.

Sunt impleta quae prædixit Gabriel.

Eia, eia! Virgo Deum genuit,

Quod divina voluit clementia.

Hodie apparuit in Israel.

Ex Maria Virgine est natus Rex.

Words: Adapted from Jacob Handl (1550-1591) by Philip Ledger (b. 1937)

Music: German 15th centrury harmonized by Jacob Handl; adapted by Philip Ledger, © 1980 Oxford Univ. Press


Angels, from the Realms of Glory

1 – Angels, from the realms of glory,

Wing your flight o’er all the earth;

Ye, who sang creation’s story,

Now proclaim Messiah’s birth:

Gloria in excelsis Deo.

2 – Shepherds in the field abiding,

Watching o’er your flocks by night,

God with man is now residing;

Yonder shines the infant light:


3 – Sages, leave your contemplations;

Brighter visions beam afar:

Seek the Great Desire of Nations;

Ye have seen his natal star:


4 – Saints before the altar bending,

Watching long in hope and fear,

Suddenly the Lord, descending,

In his temple shall appear:


Words: James Montgomery (1771–1854) Music: Traditional French melody; arranged by Philip Ledger (b. 1937) © 1980 Oxford Univ. Press

Sussex Carol (On Christmas Night)

1 – 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.

2 – 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?

3 – 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 newborn King.

Words: Traditional English Music: Traditional English melody; arranged by Philip Ledger (b. 1937) © 1978 Oxford Univ. Press


A Babe Is Born

1 – A babe is born all of a may,

To bring salvation unto us.

To him we sing both night and day.

Veni Creator Spiritus.

2 – At Bethlehem, that blessed place,

The child of bliss now born he was;

And him to serve God give us grace,

O lux beata Trinitas.

3 – There came three kings out of the East,

To worship the king that is so free,

With gold and myrrh and frankincense,

A solis ortus cardine.

4 – The angels came down with one cry,

A fair song that night sung they

In worship of that child:

Gloria tibi Domine.

5 – A babe is born all of a may,

To bring salvation unto us.

To him we sing both night and day.

Veni Creator Spiritus. Noel!

Words: English 15th century

Music: William Mathias (1934-1992) © 1971 Oxford Univ. Press


Silent Night (Stille Nacht)

1 – Silent night, holy night,

All is dark, save the light

Shining where the mother mild

Watches over the holy child.

Sleep in heavenly peace.

2 – Silent night, holy night,

Shepherds first saw the sight,

Heard the angel-song alleluia,

Loud proclaiming near and far:

"Christ, our Saviour is here!"

3 – Silent night, holy night,

God’s own son, oh how bright

Shines the love in thy holy face,

Shines the light of redemption and grace,

Christ the incarnate God.

Words: Joseph Mohr (1792–1848);

translated by David Willcocks (b. 1919)

Music: melody by Franz Xaver Gruber (1787–1863); arranged by Philip Ledger (b. 1937) © 1978 Oxford Univ. Press

Hark! the Herald Angels Sing

1 – Hark! the herald angels sing

Glory to the newborn King!

Peace on earth and mercy mild,

God and sinners reconciled!

Joyful, all ye nations, rise,

Join the triumph of the skies;

With the angelic host proclaim

Christ is born in Bethlehem!

Hark! the herald angels sing

Glory to the newborn King!

2 – Christ, by highest heaven adored;

Christ, the everlasting Lord;

Late in time behold him come,

Offspring of the Virgin’s womb.

Veiled in flesh the Godhead see;

Hail the incarnate Deity!

Pleased as man with man to dwell;

Jesus, our Emmanuel!


3 – Hail, the heaven-born Prince of Peace!

Hail, the Sun of Righteousness!

Light and life to all he brings,

Risen with healing in his wings,

Mild he lays his glory by,

Born that man no more may die,

Born to raise the sons of earth,

Born to give them second birth.


Words: Charles Wesley (1707–1788) et al.

Music: Mendelssohn, Felix Mendelssohn (1809–1847)

vv. 1 & 2 melody and harmonization

adapted by W. H. Cummings (1831-1915)

v. 3 descant and organ part by David Willcocks (b. 1919)

© 1961 Oxford Univ. Press


Owen Burdick is the 17th Organist and Director of Music at historic Trinity Church, which recently celebrated the 300th anniversary of its 1697 founding by royal charter of King William III of England. Dr. Burdick is recognized as an expert in the use of electronic music in the Church and for his compositions, including the cantatas And Death Shall Have No Dominion, and Paschal Triptych: A King Portrait. Under Burdick’s direction, the Trinity Choir and Orchestra have been featured on BBC radio and Trinity Television, and can be heard in numerous recordings. He has recorded for the Nonesuch, Gothic, Summit and Centaur labels.

Burdick received a Ph.D. in music composition from UCLA, and holds Associate and Choirmaster Diplomas from the American Guild of Organists. He has studied at the IRCAM Summer Institute in Paris with Pierre Boulez, as a Conducting Fellow with Helmuth Rilling, has appeared as harpsichord soloist in the Oregon Bach Festival, and as accompanist to the late Arleen Auger at the Casals Festival.

Organ Scholar Sean Jackson is currently a candidate for the Doctor of Musical Arts program at The Juilliard School, having received his Master of Music degree there in 1999 under the tutelage of Gerre Hancock and John Weaver. A native of Barbados, Mr. Jackson received the Bachelor of Music degree from the Royal College of Music in London. He has since performed internationally throughout the West Indies, Britain, Germany, Ireland, Canada, and the United States. Mr. Jackson began his musical studies at the age of five and by the age of eleven had won his first gold medal in his country’s National Independence Festival of Creative Arts. Recipient of the National Youth Award from the Barbados government, Mr. Jackson has gone on to receive numerous prizes internationally. Since entering Juilliard in 1996, he has been the recipient of the 1999 William Schuman Prize, the C.V. Starr Doctoral Fellowship, and was the Juilliard Organ Concerto competition winner in October 2000.

The Trinity Choir, comprising some of New York’s finest professional singers, has established itself as one of New York’s preeminent vocal ensembles. In the spring of 1997 the choir made a tour of France where they combined forces with the Conservatory of Reims Orchestra in presenting Burdick’s cantata And Death Shall Have No Dominion in performances at both the Conservatory and the American Cathedral in Paris. While in Paris, the Trinity Choir also presented an a cappella program of Sacred Music as part of the prestigious Les Grands Concerts Sacrés series at the Eglise Saint-Roche.

In addition to leading the liturgies of Trinity Church, the choir—renowned for its English-style "straight tone" — has been featured in choral programs throughout New York. In 1998 the choir completed a recording for the Gothic label of sacred choral works by Alec Wyton, and is featured in the Emmy-nominated ODYSSEY network production of Paschal Triptych: A King Portrait.

Under the direction of Owen Burdick, the Trinity Choir recorded Handel’s Messiah—released to critical acclaim in the fall of 1999 on the Naxos label. The Naxos Messiah recording recently passed the 12,000 sales mark, making it one of the most popular classical albums in New York City for the past two years. In 1995 Burdick and the Trinity Choir presented the New York première of Dominck Argento’s The Masque of Angels and, in November 1996, William Albright’s oratorio A Song to David in what the late composer called the work’s "finest, most accurate, and moving performance."

The choir has performed J.S. Bach’s St. John Passion, St. Matthew Passion, Magnificat, and Mass in B-Minor, all for the _rst time in the three-hundred-year history of Trinity Church. Future releases include Herbert Howells’ Requiem and Take Him, Earth, for Cherishing; a live recording of Robert Levin’s completion of Mozart’s Requiem (K. 626); and the complete sacred music of Charles E. Ives—all for the Naxos label.


Suzanne E. Anderson

Amy Bartram

Frances Geller

Ann Hoyt

Julie Liston

Barbara Lynne Jamison

Kristin Sands

Cara Tasher


Luthien Brackett

Jennifer Brody

Corey Crawford

Linda Eckard

Georgette Hutchins

Hana Shen

Kirsten Sollek-Avella


Daniel Blake

Ethan Fran

Matthew Hughes

Stephen Sands

Charles Schinkel

David Schnell



Joshua Copeland

Bert Johnson

Richard Lippold

Robert McLoud

John Rolle

George Wright

Produced by Owen Burdick and Leonard Manchess • Recording Engineer: Leonard Manchess

Executive Producer: The Rector, Wardens, and Vestry of the Parish of Trinity Church in the City of New York

Recorded, edited and mastered at Trinity Church, Wall Street

Recorded using two Neuman TLM 170 microphones with Telefunken pre-amps, three Earthworks omni-directional microphones with John Hardey pre-amps, direct to disk via Digidesign's Pro Tools 5.1, with Mackie console, and Genelec monitors.

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