According to the famous German Christmas carol “Es ist ein Ros’ entsprungen”, Jesus was born “in the cold midwinter, in the middle of the night”. The light that disperses the cold and darkness is a central topic of Christmastide art and music, and an element of many winter-time traditions the world over. At Christmas, Christians celebrate the redemption of mankind at a time of darkness, expressed through the imagery of light. With their new album entitled “O nata lux”, the Zurich Chamber Singers highlight this symbolism as it has been represented for many centuries in the western art music tradition. They illustrate how light forms a thread through Advent into the Christmas story, as portrayed in strophic songs and motets over five centuries, from the 16th to the 21st century. This narrative begins with two works whose lyrics admittedly are not part of the Advent or Christmas liturgy, but which are dedicated in musical form to the symbol of light: “O nata lux de lumine” (O light, born of light) is the Latin text of a hymn that is sung in many churches to celebrate the transfiguration of Christ. It describes an account taken from the Gospel according to Luke, telling of how Jesus went with the disciples Peter, James and John up a mountain to pray, where he was suddenly surrounded by heavenly light. The powerful narrative is featured here twice: first in a five-part motet by the English composer Thomas Tallis (c.1505–1585), in which the ever-increasing light is portrayed by the whole choir in the language of powerful homophony, shining out in prominently placed interventions.
