Here Is the Little Door, Again

So yesterday I was on the Son Rise Morning Show talking with Matt Swaim about the Chestertons and Christmas. In my preview to the interview I mentioned that one of Frances Chesterton's poems, "Here is the Little Door" had been set to music by Herbert Howells.

Now he's not the only one. BBC Music commissions a new carol every year. This year, composer Owain Park chose to set Frances Chesterton's poem:

Here is the little door, lift up the latch, oh lift! 
We need not wander more but enter with our gift; 
Our gift of finest gold, 
Gold that was never bought nor sold; 
Myrrh to be strewn about his bed; 
Incense in clouds about his head; 
All for the child that stirs not in his sleep, 
But holy slumber holds with ass and sheep. 

Bend low about his bed, for each he has a gift; 
See how his eyes awake, lift up your hand, O lift! 
For gold, he gives a keen-edged sword 
(Defend with it thy little Lord!) 
For incense, smoke of battle red, 
Myrrh for the honoured happy dead; 
Gifts for his children, terrible and sweet, 
Touched by such tiny hands, and Oh such tiny feet.

Park comments:

One of my favourite carols [as a chorister at St Mary Redcliffe Church in Bristol] was Howells’s 1918 setting of Frances Chesterton’s poem Here is the little door. Howells’s music allows the words to resonate with both choir and congregation – at St Mary’s there was always an extra few seconds of quiet after we’d finished singing it. The poem consists of two stanzas: the first is reflective and subdued while the second is more colourful and lively.

Most lines seem to end strongly after a more questioning start, and so I’ve tried to express this using tension and release in the harmony. A lot of my choral music has been in many parts and is quite difficult to sing, so I wanted to sustain a simple idea over two verses without any divided parts. My hope is that I have captured something of the wonder I felt as a young singer.

The words are key to my setting of Here is the little door. I would encourage singers to be as expressive as possible with the text, even when everyone moves together. I’ve kept one set of words throughout to keep the score as uncluttered as possible, which sometimes means that the words aren’t vertically aligned with your part. Always move with your note, and with confidence. It would be a good idea for everyone to read through the poem together, to develop a collective interpretation.

The score is available here. A preview the Christmas 2019 issue is here.

As David Faberberg said in his 2013 book's title: Chesterton is everywhere!! Both of them!

By the way: David Faberberg may not be everywhere, but he is scheduled to be here in Wichita for the 10th annual Eighth Day Institute Symposium!

Christina Rossetti, RIP

The Anglo-Catholic, Tractarian, Pre-Raphaelite poet Christina Rossetti died on December 29, 1894. The Poetry Foundation describes her religious and poetic inspirations:

Caught up in the Tractarian or Oxford Movement when it reached London in the 1840s, the Rossettis shifted from an Evangelical to an Anglo-Catholic orientation, and this outlook influenced virtually all of Christina Rossetti’s poetry. She was also influenced by the poetics of the Oxford Movement, as is documented in the annotations and illustrations she added to her copy of John Keble’s The Christian Year (1827) and in her reading of poetry by Isaac Williams and John Henry Newman. For more than twenty years, beginning in 1843, she worshiped at Christ Church, Albany Street, where services were influenced by the innovations emanating from Oxford. The Reverend William Dodsworth, the priest there until his conversion to Catholicism in 1850, assumed a leading role as the Oxford Movement spread to London. In addition to coming under the religious influence of prominent Tractarians such as Dodsworth, W. J. E. Bennett, Henry W. Burrows, and E. B. Pusey, Rossetti had close personal ties with Burrows and Richard Frederick Littledale, a High Church theologian who became her spiritual adviser. The importance of Rossetti’s faith for her life and art can hardly be overstated. More than half of her poetic output is devotional, and the works of her later years in both poetry and prose are almost exclusively so. The inconstancy of human love, the vanity of earthly pleasures, renunciation, individual unworthiness, and the perfection of divine love are recurring themes in her poetry.

As this site shows, she wrote several poems for Advent and Christmastide, through to Candlemas, the traditional end of the 40 days of Christmas. One of the most familiar is called "A Christmas Carol" but we know it as "In the Bleak Midwinter":

In the bleak mid-winter
  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 mid-winter
  Long ago.

Our God, Heaven cannot hold Him
  Nor earth sustain;
Heaven and earth shall flee away
  When He comes to reign:
In the bleak mid-winter
  A stable-place sufficed
The Lord God Almighty
  Jesus Christ.

Enough for Him whom cherubim
  Worship night and day,
A breastful of milk
  And a mangerful of hay;
Enough for Him whom angels
  Fall down before,
The ox and ass and camel
  Which adore.


  May have gathered there,
Cherubim and seraphim
  Throng'd the air,
But only His mother
  In her maiden bliss
Worshipped her Beloved
  With a kiss.

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.

Remember that today is also the feast of St. Thomas a Becket, and of Blessed William Howard, martyrs.

And the Christmas Season Ends

From A Clerk of Oxford:

The idea of celebrating Christmas for a month afterwards (rather than a month beforehand, as people generally do today) appeals to me, and seems somehow healthier than the modern desire to celebrate early and then purge as soon as January brings the return of workday routine. I don't know about you, but for me January is a much harder month to get through than December - colder and greyer, without anything in particular to look forward to - and if the thought of Christmas offers hope and comfort in the darkness, those are more welcome in January than at any other time. So I won't apologise for posting another medieval Christmas carol today; these carols are so full of wit, creativity and imagination that I can't resist sharing just one more out of the ample supply. (If you read a medieval Christmas carol a day for the forty days of the Christmas season, you wouldn't run out for years!). There are three of the forty days remaining, so here's a fifteenth-century carol which doesn't feel too out of place for the end of January; it looks both backward and forward.

There's only one day left of Christmastide today since tomorrow is Candlemas (and today is Septuagesima Sunday!), but here's the carol:

Tidings, tidings that be true,
Sorrow is past and joy doth renew.

Whereas Adam caused by sin
Our nature thus to be mortal,
A maiden's son doth now begin
For to repair us from that fall.
And that is true;
The name of him is Christ Jesu.

Some of our kind hath had such grace
That since his birth they did him see,
Both son and mother face to face
In the chief city called Jewry. [perhaps an error for 'of Jewry', i.e. Judea]
And that is true;
Both kings and shepherds they it knew.

The prophets thereof were nothing dismayed
Of the tidings before that they had told;
For now it is full right as they said,
A clean maid hath born a king in folde. ['on earth']
And that is true;
For he is born to wear the purple hue.

December 31, 2014: In the Ending of the Year

Tonight is the Vigil of the Solemnity of Mary, the Mother of God as well as New Year's Eve. 

John Mason Neale included this translation of the medieval hymn (Anonymous; Germany; 12th century), In hoc anni circulo in his 1853 Carols for Christmas-tide:

In the ending of the year
Life and light to man appear;
And the Holy Babe is here,
De Virgine;
And the Holy Babe is here,
De Virgine Mariâ.

What in ancient days was slain
This day calls to life again;
God is coming, God shall reign,
De Virgine;
God is coming, God shall reign,
De Virgine Mariâ.

From the desert grew the corn,
Sprang the lily from the thorn,
When the Infant King was born
De Virgine;
When the Infant King was born
De Virgine Mariâ.

On the straw He lays His head,
Hath a manger for His bed,
Thirsts and hungers and is fed
De Virgine;
Thirsts and hungers and is fed
De Virgine Mariâ.

Angel hosts His praises sing,
Three Wise men their off'rings bring,
Ox and ass adore the King,
Cum Virgine;
Ox and ass adore the King,
Cum Virgine Mariâ.

Wherefore let us all to-day
Banish sorrow far away,
Singing and exulting aye,
Cum Virgine;
Singing and exulting aye,
Cum Virgine Mariâ.

I have been reading John Saward's book, Cradle of Redeeming Love: The Theology of the Christmas Mystery. It is a beautiful book expounding on the Catholic doctrine of the Incarnation, including the Blessed Virgin Mary's role. Several years ago I read its prequel, Redeemer in the Womb. According to the publisher, Ignatius Press:

Following up on his acclaimed Redeemer in the Womb, John Saward returns to the mystery of Christ's Incarnation. He draws upon the rich traditions of the Church, as well as the writings of the great Christian mystics, to create a work that is both new and old, revolutionary and orthodox. This profoundly moving meditation will aid any contemplation on the life of Christ.

The subject of this book is the objective and divinely revealed truth of the Nativity of Christ, as proclaimed by His infallible and immaculate Bride. It is the splendor of this truth, of “Love’s noon in Nature’s night”, which for two millennia has captivated the Fathers and Schoolmen, and activated the genius of poets, painters, and musicians. Illustrated with eight color paintings.

Happy New Year!

An American Christmas Carol

Henry Wadsworth Longfellow wrote this poem on Christmas day in 1863--he had lost his wife in a horrible accident (her dress caught fire and she died of her injuries) and his son had been severely wounded in the Battle of New Hope Church in Virginia, having joined the U.S. Army against his father's wishes.

1. I heard the bells on Christmas day
Their old familiar carols play,
And wild and sweet the words repeat
Of peace on earth, good will to men.

2. I thought how, as the day had come,
The belfries of all Christendom
Had rolled along the unbroken song
Of peace on earth, good will to men.

3. And in despair I bowed my head
'There is no peace on earth,' I said,
'For hate is strong and mocks the song
Of peace on earth, good will to men.'

4. Then pealed the bells more loud and deep:
'God is not dead, nor doth He sleep;
The wrong shall fail, the right prevail
With peace on earth, good will to men.'

5. Till ringing, singing on its way
The world revolved from night to day,
A voice, a chime, a chant sublime
Of peace on earth, good will to men.

It was first set to music in 1872 by John Baptiste Calkin but probably the more familiar setting is by Johnny Marks, he of "Rudolph the Red-Nosed Reindeer" fame. (Marks also wrote "Rockin' Around the Christmas Tree", "A Holly, Jolly Christmas", and "Silver and Gold"!)

The hymn or carol depicts Longfellow's sorrow and hopelessness: he hears the bells sounding from the church steeples but thinks that the world has rejected the Christmas message of "peace on earth, good will to men" as sung by the choirs of angels to the shepherds outside Bethlehem and repeated by the church bells. The birth of Jesus is only indirectly alluded to with this quotation and Longfellow finds hope only in the repetition of the ringing of the bells. They answer his doubts or rather, he answers his own doubts and despair. The hymn, as first set by Calkin, rearranges the original poem to remove the Civil War allusions and make it more universal:

I HEARD the bells on Christmas Day
Their old, familiar carols play,
And wild and sweet
The words repeat
Of peace on earth, good-will to men!

And thought how, as the day had come,
The belfries of all Christendom
Had rolled along
The unbroken song
Of peace on earth, good-will to men!

Till ringing, singing on its way,
The world revolved from night to day,
A voice, a chime,
A chant sublime
Of peace on earth, good-will to men!

Then from each black, accursed mouth
The cannon thundered in the South,
And with the sound
The carols drowned
Of peace on earth, good-will to men!

It was as if an earthquake rent
The hearth-stones of a continent,
And made forlorn
The households born
Of peace on earth, good-will to men!

And in despair I bowed my head;
"There is no peace on earth," I said;
"For hate is strong,
And mocks the song
Of peace on earth, good-will to men!"

Then pealed the bells more loud and deep:
"God is not dead, nor doth He sleep;
The Wrong shall fail,
The Right prevail,
With peace on earth, good-will to men."

Divinum Mysterium/Corde natus ex parentis

Today is, of course, the second day of the Christmas Season (second day of the Octave of Christmas), which lasts until Epiphany, which season lasts until Candlemas on February 2, so that we celebrate the Nativity of Our Lord for 40 days! John Mason Neale translated Prudentius's Corde Natus, and Henry W. Baker added to his translation in 1851 and 1861 respectively:

Of the Father’s love begotten, ere the worlds began to be,
He is Alpha and Omega, He the source, the ending He,
Of the things that are, that have been,
And that future years shall see, evermore and evermore!

At His Word the worlds were framèd; He commanded; it was done:
Heaven and earth and depths of ocean in their threefold order one;
All that grows beneath the shining
Of the moon and burning sun, evermore and evermore!

He is found in human fashion, death and sorrow here to know,
That the race of Adam’s children doomed by law to endless woe,
May not henceforth die and perish
In the dreadful gulf below, evermore and evermore!

O that birth forever blessèd, when the virgin, full of grace,
By the Holy Ghost conceiving, bare the Savior of our race;
And the Babe, the world’s Redeemer,
First revealed His sacred face, evermore and evermore!

This is He whom seers in old time chanted of with one accord;
Whom the voices of the prophets promised in their faithful word;
Now He shines, the long expected,
Let creation praise its Lord, evermore and evermore!

O ye heights of heaven adore Him; angel hosts, His praises sing;
Powers, dominions, bow before Him, and extol our God and King!
Let no tongue on earth be silent,
Every voice in concert sing, evermore and evermore!

Righteous judge of souls departed, righteous King of them that live,
On the Father’s throne exalted none in might with Thee may strive;
Who at last in vengeance coming
Sinners from Thy face shalt drive, evermore and evermore!

Thee let old men, thee let young men, thee let boys in chorus sing;
Matrons, virgins, little maidens, with glad voices answering:
Let their guileless songs re-echo,
And the heart its music bring, evermore and evermore!

Christ, to Thee with God the Father, and, O Holy Ghost, to Thee,
Hymn and chant with high thanksgiving, and unwearied praises be:
Honor, glory, and dominion,
And eternal victory, evermore and evermore!

Forty Days of Christmas? Oh, Yeah!

I agree with A Clerk of Oxford:

As a lover of carols, I'm much in favour of the medieval practice of keeping Christmas celebrations going all through the dark days of January, so today I thought I would post a carol which encourages us to keep singing throughout this season. It runs through not just the twelve days of Christmas but also the forty days of the Christmas season, all the way up to Candlemas, the Feast of the Purification, on February 2. It's a fifteenth-century carol (from Bodleian MS Eng. poet. e. I), and the unmodernised text can be found on this site, which also lists the various feasts mentioned: St Stephen on the 26th, St John on the 27th, the Holy Innocents on the 28th, St Thomas Becket on the 29th (check back soon for more carols about him!), the Circumcision of Christ on January 1st, Epiphany and Candlemas.

Make we mirth
For Christ's birth,
And sing we Yule til Candlemas.

1. The first day of Yule have we in mind,
How God was man born of our kind;
For he the bonds would unbind
Of all our sins and wickedness.

2. The second day we sing of Stephen,
Who stoned was and rose up even
To God whom he saw stand in heaven,
And crowned was for his prowess. [bravery]

3. The third day belongeth to Saint John,
Who was Christ's darling, dearer none,
To whom he entrusted, when he should gone, [when he had to die]
His mother dear for her cleanness. [purity]

4. The fourth day of the children young,
Whom Herod put to death with wrong;
Of Christ they could not tell with tongue,
But with their blood bore him witness.

5. The fifth day belongeth to Saint Thomas,
Who, like a strong pillar of brass,
Held up the church, and slain he was,
Because he stood with righteousness.

6. The eighth day Jesu took his name,
Who saved mankind from sin and shame,
And circumcised was, for no blame,
But as example of meekness.

7. The twelfth day offered to him kings three,
Gold, myrrh, and incense, these gifts free,
For God, and man, and king was he,
Thus worshipped they his worthiness.

8. On the fortieth day came Mary mild,
Unto the temple with her child,
To show herself clean, who never was defiled,
And therewith endeth Christmas.

Read the rest of the commentary here.

And this year, Candlemas is on Sunday!

Feast of the Holy Innocents and the Coventry Carol

The Coventry Carol was part of a 16th century mystery play depicting the slaughter of the young boys in Bethlehem as described in St. Matthew's Gospel, chapter 2, verses 16-18:

Then Herod perceiving that he was deluded by the wise men, was exceeding angry; and sending killed all the men children that were in Bethlehem, and in all the borders thereof, from two years old and under, according to the time which he had diligently inquired of the wise men. Then was fulfilled that which was spoken by Jeremias the prophet, saying: A voice in Rama was heard, lamentation and great mourning; Rachel bewailing her children, and would not be comforted, because they are not. (Douai-Rheims translation).

Lully, lullay, Thou little tiny Child,

By, by, lully, lullay.

O sisters too, how may we do,

For to preserve this day

This poor Youngling for

Whom we sing

By, by, lully, lullay?

Herod the king, in his raging,

Charged he hath this day

His men of might, in his own sight,

All young children to slay.

That woe is me, poor Child for Thee!
And ever morn and day

For Thy parting neither say nor sing,

By, by, lully, lullay.

Lully, lullay, Thou little tiny Child,

By, by, lully, lullay.

Because Henry VIII proscribed these mystery plays, and the last authentic manuscript was burned in the 19th century, the words we have now are based on transcriptions. Here is a performance from Westminster Cathedral.

There is another famous hymn for this Feast, very ancient, by Prudentius, Salvete flores Martyrum.
John Mason Neale collaborated on a translation:

1. All hail! ye infant Martyr-flowers,
Cut off in life’s first dawning hours:
As rosebuds, snapt in tempest strife,
When Herod sought your Saviour’s life.

2. You, tender flock of lambs, we sing,
First victims slain for Christ your King:
Beneath the Altar’s heav’nly ray
With Martyr-palms and crowns ye play.

3. For their redemption glory be,
O Jesu, Virgin-born, to thee,
With Father, and with Holy Ghost,
For ever from the Martyr-host. Amen.

Christmas Carols on the BBC

The BBC (Radio 4) is broadcasting a series on Christmas Carols:

The Christmas carol is as popular now as it was when carolers celebrated the birth of Edward III in 1312. Back then the carol was a generic term for a song with its roots in dance form, nowadays only the strictest scholar would quibble with the fact that a carol is a Christmas song.

But the journey the carol has taken is unique in music history because each shift in the story has been preserved in the carols that we sing today. Go to a carol concert now and you're likely to hear folk, medieval, mid-victorian and modern music all happily combined. It's hard to imagine that happening in any other situation.

In these programmes Jeremy Summerly follows the carol journey through the Golden age of the Medieval carol into the troubled period of Reformation and puritanism, along the byways of the 17th and 18th century waits and gallery musicians and in to the sudden explosion of interest in the carol in the 19th century. It's a story that sees the carol veer between the sacred and secular even before there was any understanding of those terms. For long periods the church, both catholic and protestant, was uneasy about the virility and homespun nature of carol tunes and carol texts. Nowadays many people think that church music is defined by the carols they hear from Kings College Cambridge.

He traces the folk carol in and out of church grounds, the carol hymn, the fuguing carol and the many other off-shoots, some of which survive to this day and many others which languish unloved but ready for re-discovery.

You may listen to the first episode for the next six days.

Twelfth Night and the Feast of Epiphany

From another British writer of Christmas Carols, William Chatterton Dix (1836-1898):

As with gladness, men of old
Did the guiding star behold
As with joy they hailed its light
Leading onward, beaming bright
So, most glorious Lord, may we
Evermore be led to Thee.

As with joyful steps they sped
To that lowly manger bed
There to bend the knee before
Him Whom Heaven and earth adore;
So may we with willing feet
Ever seek Thy mercy seat.

As they offered gifts most rare
At that manger rude and bare;
So may we with holy joy,
Pure and free from sin’s alloy,
All our costliest treasures bring,
Christ, to Thee, our heavenly King.

Holy Jesus, every day
Keep us in the narrow way;
And, when earthly things are past,
Bring our ransomed souls at last
Where they need no star to guide,
Where no clouds Thy glory hide.

In the heavenly country bright,
Need they no created light;
Thou its Light, its Joy, its Crown,
Thou its Sun which goes not down;
There forever may we sing
Alleluias to our King!

B.E.R. (Before the English Reformation), Twelfth Night/Epiphany (January 5/6) was the last great day of processions, feasts, festivity, and fun--the yule log burned until the end of the Feast and spicy foods (representing the eastern magi) were part of the feast. Twelfth Night/Epiphany marked the end of Christmastide. Some of the customs of the King of the Bean and the wassail remained and Shakespeare's 1602 play Twelfth Night or What you Will expresses the confusion and folly of the day (with the disguise of Viola and the elaborate trick on Malvolio). January 7 was called St. Distaff Day, meaning it was time to get back to work, clean up the mess, and settle down to normal life.

Also B.E.R., the Monday following Epiphany was Plough Monday, when farmers and their families would pray the blessing of God through their favorite saints for good crops. They would beg alms to purchase the votive candles to light before the statues of the saints and offer their prayers for intercession. A.E.R. (After the English Reformation) when the statues were gone, the farmers continued to beg for the alms, except now they just bought ale and got drunk! (According to Christine Chaundler's A Year Book of Customs).

Another Christmas Present: On Its Way

Back from Wichita's remaining Barnes & Noble where I bought two half-price calendars (the annual White West Highland Terrier calendar and one of London--no Norwich Terrier calendars for 2013!)--and the Christmas issue of the BBC Music Magazine. All purchases made with gift cards. My husband bought me a one year subscription to the BBC Music Magazine and I look forward to receiving it next year.

The Christmas issue is filled with articles about Christmas music, with highlights like the cover story on Charles Dickens and carols, a consideration of the agnostic Ralph Vaughn Williams, and Heinrich Schutz's "The Christmas Story" and includes a CD of Christmas music performed by Laudibus!

"The Night Before that Happy Tide"!

In the words of the Wexford Carol--

Good people all, this Christmas time,

Consider well and bear in mind

What our good God for us has done,

In sending His belovèd Son.

With Mary holy we should pray

To God with love this Christmas Day;

In Bethlehem upon the morn

There was a blest Messiah born.

The night before that happy tide

The noble virgin and her guide

Were long time seeking up and down

To find a lodging in the town.

But mark how all things came to pass:

From every door repelled, alas!

As long foretold, their refuge all

Was but a humble oxen stall.

Near Bethlehem did shepherds keep

Their flocks of lambs and feeding sheep;

To whom God’s angels did appear

Which put the shepherds in great fear.

“Prepare and go”, the angels said,

“To Bethlehem, be not afraid;

For there you’ll find, this happy morn,

A princely Babe, sweet Jesus born.”

With thankful heart and joyful mind,

The shepherds went the babe to find,

And as God’s angel has foretold,

They did our Savior Christ behold.

Within a manger He was laid,

And by His side the virgin maid

Attending to the Lord of Life,

Who came on earth to end all strife.

 

Merry Christmas and Peace to All!

Tennyson at King's, Cambridge

This year's new, commissioned hymn for the Lessons and Carols at King's College Chapel, Cambridge is set to words of Alfred, Lord Tennyson:

Ring out, wild bells, to the wild sky,
The flying cloud, the frosty light;
The year is dying in the night;
Ring out, wild bells, and let him die.

Ring out the old, ring in the new,
Ring, happy bells, across the snow:
The year is going, let him go;
Ring out the false, ring in the true.

Ring out the grief that saps the mind,
For those that here we see no more,
Ring out the feud of rich and poor,
Ring in redress to all mankind.

Ring out a slowly dying cause,
And ancient forms of party strife;
Ring in the nobler modes of life,
With sweeter manners, purer laws.

Ring out the want, the care, the sin,
The faithless coldness of the times;
Ring out, ring out thy mournful rhymes,
But ring the fuller minstrel in.

Ring out false pride in place and blood,
The civic slander and the spite;
Ring in the love of truth and right,
Ring in the common love of good.

Ring out old shapes of foul disease,
Ring out the narrowing lust of gold;
Ring out the thousand wars of old,
Ring in the thousand years of peace.

Ring in the valiant man and free,
The larger heart the kindlier hand;
Ring out the darkness of the land,
Ring in the Christ that is to be.

Carl Vine is the composer:

This year's commissioned carol in A Festival of Nine Lessons and Carols is a new setting of 'Ring Out, Wild Bells' by Alfred, Lord Tennyson (1809-92).

The poem appeared in what some would argue was Tennyson's finest collection, In Memoriam (1850), and has been set to music by Australian composer Carl Vine.

Carl studied physics and composition at the University of Western Australia and began his career writing music for theatre and dance in Sydney. Since then he has emerged as a major orchestral composer. He has written seven symphonies and nine concertos, as well as music for piano and string quartet.

He has also taken on more high profile projects, such as arranging the Australian national anthem and writing the 'Sydney 2000' presentation for the closing ceremony of the Atlanta Olympic Games (1996).

More about this year's Festival of Nine Lessons and Carols here, including this year's service booklet, with all of the notes about the BBC broadcast requirements along with the liturgical rubrics. The site also has information about when to hear the broadcast on the BBC and on various U.S. networks.

Advent Hymns and Christmas Carols

The liturgical background of our traditional hymns during Advent and carols during the Christmas season, according to Christopher O. Blum in Crisis Magazine:

It is from the medieval Church and from her very life, the liturgy, that the custom of singing songs to the Christ child descends. The earliest noëls sprang directly from such chants as the Carolingian anthem Puer natus est and the O antiphons sung before the Magnificat at vespers during the octave leading up to Christmas. The word noël itself derives from the Latin natalis and appears in the form of the salute Noé! in Christmas Masses in the 12th century, meaning approximately “Hail, newborn one.” In the 13th century, the O antiphons emerged from the monastic choirs and took to the streets in the form we still know and love as Veni, veni Emmanuel. Many of the earliest Christmas songs that survive today are similarly bound to the liturgy and its language, often taking the form of what is called macaronic verse, in which Latin lines alternate with vernacular, with Bl. Heinrich Suso’s In Dulci Jubilo and the anonymous Célébrons la Naissance Nostri Salvatoris being particularly fine examples of the type.

It was the holy audacity of Saint Francis of Assisi that made the occasional pious work of creative clerics into one of the most popular manifestations of Christian piety, the carol and caroling. In 1223, Francis transformed the tiny village church at Greccio into the first living manger scene, complete with ox and ass and straw. Francis was granted a vision of the Christ child that night while the Little Brothers stood around singing their songs of praise. The grace of that midnight Mass multiplied like the loaves and fishes as the friars traveled throughout Europe carrying with them their new songs and their custom of reenacting the shepherds’ joyous march to the crèche. From these processions comes the word carol, which appears in the 13th century and comes from the old French name of a type of dance.

Towards the end of the medieval period, the invention of the printing press led to the preservation of many early carols and noëls. Back when England was still Merry, the publisher Winken de Woorde produced an edition of English carols (1520), and French, Spanish, and German publishers were not slow to follow suit. Thanks to Martin Luther’s own love of singing, the custom of celebrating Christmas with song survived in Lutheran Germany and Scandinavia, and even enjoyed a new flourishing with such hymns as Es ist ein Ros’ entsprungen by Michael Praetorius (flourished ca. 1600) and the immortal Cantatas of Johann Sebastian Bach.

Read the rest here.

Advent Resources: Magnificat and Laudamus Te

Every year, the Magnificat monthly prayer book publisher produces an Advent Companion book (it also presents a Lenten booklet) with daily meditations and other devotions for the season leading up to Christmas, including the great O Antiphons. This year's edition includes an essay on "Christmas in England" by James Monti, author of The King's Good Servant But God's First: The Life and Writings of St. Thomas More and of a book set for release next March, A Sense of the Sacred: Roman Catholic Worship In The Middle Ages.

Of course, Mr. Monti mentions English Carols, festivites during the Christmas Season, the Puritan attack on Christmas, and other highlights. Perhaps because his essay is focused on Christmas, he does not include consideration of the Ember Days during the Advent season.

For that, you would need the new publication, Laudamus Te--except that the Advent issue may be sold out! Still available as an ebook perhaps and here's a sample which shows an article on the Ember Days in the Table of Contents. Note that the Christmas issue is at the printer and will ship December 16:

What is Laudamus Te? It is The Magazine of the Extraordinary Form of the Latin Liturgy of the Roman Rite:

It is the mission of Laudamus Te to bear witness to the sublime beauty of the ancient Latin liturgy, to foster renewed devotion to its merits, and to aid the faithful in entering more deeply into its sacramental mysteries.

Since the sacred liturgy is at the center of Catholic life, it seems fitting to have a devotional magazine focused on deepening our mystical participation in this sacramental experience. Laudamus Te follows the liturgical seasons of the 1962 calendar, providing daily Mass readings for the Extraordinary Form of the Roman Catholic Mass as well as explanatory essays, commentaries by various saints and the Church Fathers, and devotional writings by priests, religious, and laity. Our aim is to draw Catholics into a better understanding of the Mass as a whole and to bring about fruitful meditation and deeper devotion, as well as to educate and inform those who are new to the Extraordinary Form.

My husband and I attend Sunday Mass in the Extraordinary Form regularly and we both have 1962 missals, but I'm thinking of subscribing to Laudamus Te (I have purchased single copies of the Advent and Christmas issues already).

Bethlehem of Noblest Cities

We just sang this hymn at Mass this morning, translated by Father Edward Caswall of the Birmingham Oratory from the poem by Prudentius:

Bethlehem, of noblest cities
None can once with thee compare;
Thou alone the Lord from heaven
Didst for us Incarnate bear.

Fairer than the sun at morning
Was the star that told his birth;
To the lands their God announcing,
Hid beneath a form of earth.

By its lambent beauty guided,
See, the Eastern Kings appear;
See them bend, their gifts to offer,—
Gifts of incense, gold, and myrrh.

Offerings of mystick meaning!— 1
Incense doth the God disclose;
Gold a Royal child proclaimeth;
Myrrh a future tomb foreshows.

Holy Jesu! in thy brightness
To the Gentile world display’d!
With the Father, and the Spirit,
Endless praise to Thee be paid.

Happy Feast of the Epiphany, transferred! (At the Extraordinary Form of the Latin Rite Mass today, we celebrated the Feast of the Holy Family!)

Christmas at Cambridge

With Christmas largesse, I purchased the BBC Music Christmas 2011 issue at one of our local Barnes & Noble stores (which is closing on 12/31 this year because the store's lease is up and not being renewed), and we've enjoyed listening to the CD of music from Caius College. One selection that interested me in particular is the Sussex Carol, which dates from the seventeenth century at least--but may be older, since it's not clear if the Irish bishop and Franciscan, Luke Wadding who included it in his 1694 publication composed it or copied it. Both Ralph Vaughn Williams and Cecil Sharp heard it and Williams transcribed the tune and there are two main arrangements, by David Willcocks (on this CD) and Philip Ledger:

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!"

The magazine also includes stories about the Choirs at several of the other Colleges at the University of Oxford.

Of the Father's Love Begotten

Within the Octave of Christmas, we continue to celebrate the feast of Christmas, of Jesus's Nativity each day. John Mason Neale translated the great incarnational hymn, Corde Natus, of Aurelius Prudentius. Sung to the plainchant Divinum Mysterium, it is one of my favorite hymns, especially with the plaintive repetition of "evermore and evermore":



Of the Father’s love begotten, ere the worlds began to be,
He is Alpha and Omega, He the source, the ending He,
Of the things that are, that have been,
And that future years shall see, evermore and evermore!

At His Word the worlds were framèd; He commanded; it was done:
Heaven and earth and depths of ocean in their threefold order one;
All that grows beneath the shining
Of the moon and burning sun, evermore and evermore!

He is found in human fashion, death and sorrow here to know,
That the race of Adam’s children doomed by law to endless woe,
May not henceforth die and perish
In the dreadful gulf below, evermore and evermore!

O that birth forever blessèd, when the virgin, full of grace,
By the Holy Ghost conceiving, bare the Savior of our race;
And the Babe, the world’s Redeemer,
First revealed His sacred face, evermore and evermore!

This is He whom seers in old time chanted of with one accord;
Whom the voices of the prophets promised in their faithful word;
Now He shines, the long expected,
Let creation praise its Lord, evermore and evermore!

O ye heights of heaven adore Him; angel hosts, His praises sing;
Powers, dominions, bow before Him, and extol our God and King!
Let no tongue on earth be silent,
Every voice in concert sing, evermore and evermore!

Righteous judge of souls departed, righteous King of them that live,
On the Father’s throne exalted none in might with Thee may strive;
Who at last in vengeance coming
Sinners from Thy face shalt drive, evermore and evermore!

Thee let old men, thee let young men, thee let boys in chorus sing;
Matrons, virgins, little maidens, with glad voices answering:
Let their guileless songs re-echo,
And the heart its music bring, evermore and evermore!

Christ, to Thee with God the Father, and, O Holy Ghost, to Thee,
Hymn and chant with high thanksgiving, and unwearied praises be:
Honor, glory, and dominion,
And eternal victory, evermore and evermore!

This wikipedia article compares the original and another translation with JMN's.

Christmas Carols in English Cathedrals

I mentioned this yesterday on the Son Rise Morning Show during my discussion of the changing celebrations or non-celebrations of Christmas after the English Reformation: Fortunately for all of us who love Christmas Carols, England rebounded very well from the Interregnum's interruption of Christmas celebrations. Many Church of England cathedrals are celebrating the great English tradition of carols with concerts and services this week, including those at Canterbury, Ely, Chicester, Gloucester and Christ Church in Oxford, for example.

This 15th century English carol is quoted briefly in the first Stave of Charles Dicken's A Christmas Carol, before Ebeneezer Scrooge chases the singer away:

God rest ye merry, gentlemen

Let nothing you dismay

Remember, Christ, our Saviour

Was born on Christmas day

To save us all from Satan's power

When we were gone astray

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

In Bethlehem, in Israel,

This blessed Babe was born

And laid within a manger

Upon this blessed morn

The which His Mother Mary

Did nothing take in scorn

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

From God our Heavenly Father

A blessed Angel came;

And unto certain Shepherds

Brought tidings of the same:

How that in Bethlehem was born

The Son of God by Name.

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

"Fear not then," said the Angel,

"Let nothing you affright,

This day is born a Saviour

Of a pure Virgin bright,

To free all those who trust in Him

From Satan's power and might."

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

The shepherds at those tidings

Rejoiced much in mind,

And left their flocks a-feeding

In tempest, storm and wind:

And went to Bethlehem straightway

The Son of God to find.

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

And when they came to Bethlehem

Where our dear Saviour lay,

They found Him in a manger,

Where oxen feed on hay;

His Mother Mary kneeling down,

Unto the Lord did pray.

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

Now to the Lord sing praises,

All you within this place,

And with true love and brotherhood

Each other now embrace;

This holy tide of Christmas

All other doth deface.

O tidings of comfort and joy,

Comfort and joy

O tidings of comfort and joy!

King's College Chapel, Cambridge

The choirs at King's College Chapel are preparing for the Festival of Nine Lessons and Carols this Saturday, Christmas Eve:

A Festival of Nine Lessons and Carols is the Christmas Eve service held in King's College Chapel. The Festival was introduced in 1918 to bring a more imaginative approach to worship. It was first broadcast in 1928 and is now broadcast to millions of people around the world.

The service includes carols and readings from the Bible. The opening carol is always 'Once in Royal David's City', and there is always a new, specially commissioned carol.

This year's commissioned carol is a setting of Christina Rossetti's 'Christmas Eve' by Tansy Davies - see the news story about it.

King's College and the Chapel were founded by King Henry VI. Work on the chapel continued during the Yorkist reigns of Edward IV and Richard III, but much of the work, especially the stained glass, was completed by Henry VIII.

Here is the text of the Rossetti Poem:

Christmas Eve
Christmas hath a darkness
Brighter than the blazing noon,
Christmas hath a chillness
Warmer than the heat of June,
Christmas hath a beauty
Lovelier than the world can show:
For Christmas bringeth Jesus,
Brought for us so low.

Earth, strike up your music,
Birds that sing and bells that ring;
Heaven hath answering music
For all Angels soon to sing:
Earth, put on your whitest
Bridal robe of spotless snow:
For Christmas bringeth Jesus,
Brought for us so low.

Remember that the BBC broadcasts the Festival.