Carols! Carols! Carols!

A Holiday Tradition

 
 
 
 
 

Program Notes

Holiday seasons are the times when choirs often choose to sing carols – notably at Christmas time and at Easter time.  Christmas carols are religious in nature (usually with multiple stanzas), while Christmas songs are secular (with or without multiple stanzas).  We (as has custom) will stretch the definition slightly and include both religious and secular pieces and refer to them as carols.  It is not uncommon for groups of friends (carolers) to get together at this time of year and go door to door (caroling) in order to spread the joy of the season (often with the expectation of a tot and/or treat) after the singing is done.  The term “noel” has sometimes been used, especially for carols of French origin.

The first known Christmas hymns may be traced to 4th century Rome. The Latin hymn Corde natus ex Parentis (Of the Father’s Heart/Love Begotten) is an example, and is still sung today.  In the 9th and 10th centuries, the Christmas sequence was introduced in Northern European monasteries.  In the 12th century the Parisian monk, Adam of Saint Victor, began to derive music from popular songs, introducing something closer to the traditional Christmas carol.  In the 13th century, in France, Germany, and Italy a strong tradition of popular Christmas songs in regional native languages developed.  Christmas carols in English first appear in a 1426 work of John Awdlay, who lists twenty-five “caroles of Cristemas”, probably sung by groups of “wassailers” who went from house to house.  The songs now known specifically as carols were originally communal songs sung during celebrations like harvest as well as Christmas.

Many carols which have gained popularity were printed in Piae Cantiones, a collection of late medieval Latin songs which was published in 1582.  Good King Wenceslas first appeared in this collection.  Carols gained popularity after the Reformation in the countries where Protestant churches gained prominence.  Martin Luther encouraged their use in worship.

Today, carols are regularly sung at religious services.  Some compositions have words that are clearly not of a religious theme but are often referred to as “carols” all the same.  Little research has been done on carol singing, but one of the few sociological studies of caroling in the 21st century in Finland determined that the sources of songs are often misunderstood, and that it is simplistic to suggest caroling is mostly related to Christian beliefs.  It is not clear whether the word “carol” derives from the French “carole” or the Latin “carula” meaning a circular dance.

That little preamble hopefully provides some insight into a concert such as this one.  As well as carols, this concert will also include “songs” relevant to the season, solos – both piano and vocal, and a chance to sing with us.  Think of it more as an old-fashioned concert where friends come together (of all faiths) to join in the celebration of love, peace, goodwill, and happiness.

Deck the Hall(s) is a traditional Welsh tune (Nos Galan) dating back to the 16th century.  The English lyrics were written in 1892 by a Scottish musician named Thomas Oliphant.  The pluralizing of “hall” to “halls” occurred around 1892.  The carol as we know it was most often sung on New Year’s Eve and was published in 1794.

Good King Wenceslas tells the story of a Bohemian king who goes on a journey, braving harsh weather, to give alms to poor peasants on the Feast of St. Stephen (December 26).  The legend is based on the life of St. Wenceslaus I, Duke of Bohemia (907-935), who was not a king but a duke.  The Holy Roman Emperor Otto I posthumously “conferred on Wenceslaus the regal dignity and title.”  In 1853 the English hymn writer Jason Mason Neale translated the lyrics from Czech into English.  Neale’s lyrics were set to the 13th century spring carol “Tempus adest floridum – Easter Has Come”.

The melody of Sans Day Carol was first collected and transcribed by Gilbert Hunter Doble in the early 1900s. This is a traditional Cornish Christmas carol named after the Cornish village of St. Day. It is listed as #35 in the Oxford Book of Carols and is closely related to another carol, The Holly and the Ivy.

The Twelve Days of Christmas is a classic example of a cumulative song.  The number of gifts given to the speaker by their “true love” increases by one on each of the twelve days of Christmas, starting with Christmas Day.  There are many variations from country to country and sometimes it is sung almost like a contest.  If you forget the number of gifts or the gift itself you may have to take a drink or steal a kiss.  Because of the nature of the lyrics, each verse is one line longer than the previous one.

The origin of I/We Wish You a Merry Christmas lies in the English tradition wherein wealthy people of the community gave Christmas treats to the carolers on Christmas Eve, especially “figgy pudding” which was very much like the modern Christmas pudding. In the west country of England figgy pudding referred to a raisin or plum pudding not necessarily containing figs.  Originally the first word was “I” but that has since been replaced with the more common “we.”  Conductor/organist Arthur Warrell is responsible for the popularity of the carol as he arranged it for his own group of singers in 1935.  The greeting “a Merry Christmas and a Happy New Year” is recorded from the early 18th century.  The carol also contains a threat as the lyrics say that “we won’t go until we’ve got some” – some being figgy pudding.

Nöel Nouvelet is a traditional French carol often sung for New Year and dates from the 15th to early 16th centuries.  “Nouvelet” comes from the root “noel” which means “new/newness.”  The carol celebrates all the figures of the creche and would be sung by families at home and at community gatherings rather than as part of the church liturgy.  It is in the Dorian mode and shares its first five notes with the hymn Ave Maria, Stella Lucens Miseris.

Quelle Est Cette Odeur Agréable? (What Is that Lovely Fragrance?) is a 17th century traditional French Christmas carol about the nativity.  The words are by John Gay, best known for The Beggar’s Opera (1728), and set to the tune from that work Fill Ev’ry Glass.

Past Three A Clock is an English Christmas carol, loosely based on the call of the traditional London waits, musicians and watchmen who patrolled during the night, using a musical instrument to show they were on duty and to mark the hours.  The refrain dates from at least the early modern period, appearing in print in 1665.  The words were written by George Ratcliffe Woodward to the traditional tune London Waits.

Shepherd’s Pipe Carol is a modern carol with lyrics and music by John Rutter.  Rutter composed the carol while he was an undergraduate at university in 1966 with it being published a year later at the request of David Willcocks.  Rutter stated that “he believed his inspiration for writing it came from when he sang as a boy soprano during the opera Amahl and the Night Visitors and heard pipe music as the title character headed for Bethlehem with the magi.”  Interestingly, prior to the breakup of the Soviet Union, choirs in the Baltic states reportedly circulated photocopies and faxes of the carol to be sung as a sign of resistance to Soviet control.  There is a charming, almost rollicking, light-heartedness to this carol.  Four of the verses are in third-person with the middle verse in the words of the shepherd himself.

Tomorrow Shall Be My Dancing Day is an English carol usually attributed as “traditional.”  Its first written appearance is in William B. Sandys’ Christmas Carols Ancient and Modern of 1833 although it is most certainly from an earlier date.  The phrase “to see the legend of my play” speculates that the text may be based on an earlier version associated with mystery plays of the late medieval period.  There is almost a breathlessness to the underling voices which accompany the melody.

A New Year Carol also known as Levy-Dew or Residue is a British folk song of Welsh origin traditionally sung at New Year celebrations.  It is associated with a New Year’s Day custom which involves sprinkling people with water newly drawn from a well.  Children would collect fresh water from a well and go around with a sprig from an evergreen tree, which they used to sprinkle the faces of passersby with the water while singing the carol and begging for gifts of food or money.  Elsewhere in Wales, the custom is called dwr newy, “new water,” and the water was also used to ceremonially purify rooms and doors of houses.  The song was set to music by Benjamin Britten in 1934.

O Come, All Ye Faithful, also known as Adeste Fideles, is a Christmas carol that has been attributed to various authors, including John Francis Wade, John Reading, King John IV or Portugal and anonymous Cistercian monks.  The earliest printed version is in a book by Wade.  The original four verses of the hymn were extended to a total of eight, and these have been translated into many languages.

Hark! The Herald Angels Sing is an English Christmas carol that first appeared in 1739 in the collection Hymns and Sacred Poems.  The carol, based on Luke 2:14 tells of an angelic chorus singing praises to God.  The lyrics by Charles Wesley were initially entitled Hymn For Christmas-Day with the opening couplet “Hark! How all the Welkin (heaven) rings/Glory to the King of Kings”. In 1840, a hundred years after the publication of Hymns and Sacred Poems, Felix Mendelssohn composed a cantata to commemorate Gutenberg’s invention of movable type, and it is music from this cantata that has been adapted to the tune that is sung today.

O Little Town of Bethlehem is a Christmas carol based on an 1868 text by Phillips Brooks.  The carol is popular on both sides of the Atlantic, but to different tunes:  in the United States, to “St. Louis” by Lewis Redner; and in the United Kingdom to “Forest Green”, a tune collected by Ralph Vaughan Williams and first published in the 1906 English Hymnal. Phillips Brooks was an Episocal priest in Philadelphia and was inspired by visiting the village of Bethlehem in the Sanjak of Jerusalem in 1865.

The Lamb is a choral piece written in 1982 by John Tavener set to a poem by William Blake.  Written for a cappella choir, the music is minimalistic and combines chromaticism with more conventional harmony.  The choral writing is homophonic throughout, with largely syllabic word-setting.  The performance direction instructs the singers to be “flexible” and “always guided by the words.”  The piece makes use of simple harmony with dissonance and is based on variations of a single motif that appears in the first two bars.

Welcome, Yule was written by C. Hubert H. Parry in 1915.  Yule means Christmas or the Christmas season, but its older meaning comes from the Germanic pagan holiday centering around the winter solstice.  Parry has taken an ancient 15th century carol and composed a spirited piece that asks us to welcome “the heavenly king; innocents, every one; a good New Year; saints, loved and dear, and all that are here.”   The piece ends joyously, asking us to “welcome, Yule!”

Every year for the past several years, the BBC Music magazine has included a new carol written especially for subscribers to the magazine and offered to them to be performed free of charge.  One of these carols is Love Came Down at Christmas (Christina Rossetti, poet) by Alexander L’Estrange and was published in 2016.  The music reflects the direct, sincere and expressive text in a simple strophic form, the melody passing to the basses for the second verse while the sopranos provide an angelic descant.  A unison coda draws the piece to a serene close.

Make a Wish for Me on Christmas was written by Canadian composer Stephen Chatman and published in 2001.  The lyrics were written by Saskatchewan-born poet Tara Wohlberg.  The music is warm and heartfelt and suggests family and loved ones sitting around the fire and enjoying each other’s company.  The piece ends with the words “Family gatherings, give us pleasure twinkling candles cast a spell/those you love, a cherished treasure, love and peace—it is noel.”

James Hawn, Artistic Director

Sing-along Text

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. Choir a cappella

  3. O holy Child of Bethlehem, descend on us, we pay.
    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.

Hark!  The Heard 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. Choir a cappella

  3. Hail the heav’n 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.
    Hark! The herald angels sing, Glory to the newborn King.

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, O come let us adore him,
    O come, let us adore him, Christ the Lord!

  2. Choir a cappella

  3. Sing, choirs of angels, sing in exultation,
    Sing, all ye citizens of heav’n above;
    Glory to God in the highest:
    O come, let us adore him, O come let us adore him.
    O come, let us adore him, Christ the Lord!

  4. Yea, Lord, we greet thee, Born this happy morning,
    Jesu, to thee be glory giv’n;
    Word of the Father, now in flesh appearing:
    O come, let us adore him, O come, let us adore him,
    O come, let us adore him, Christ the Lord!

Artist Information

James Hawn, Director

Photo Credit: Amy Violet Photography

Connor Elias, Collaborative Pianist