Please turn to number 38 and join with the clarinets in “Lo How a Rose E’Er Blooming”.
Name: ES IST EIN’ ROS’ ENTSPRUNGEN.
Meter: 7 6, 7 6, 6 7 6.
Music: Geistliche Kirchengesang, Cologne, 1599
Text: XVI cent.
Tr. St. 1,2 Theodore Baker, 1851-1934
St. 3, Harriet R. Krauth, 1845-1925
St. 4, John Caspar Mattes, 1876-1948
Another of my personal favorite hymn melodies!
The text is thought to be penned by an anonymous author expressing fulfillment of the prophecy ofIsaiah 11:1 The piece first appeared in print in the late 16th century. The hymn has been used by both Catholics and Protestants, with the focus of the song being Mary or Jesus, respectively. In addition, there have been numerous versions of the hymn, with varying texts and lengths. In 1844, the German hymnologistFriedrich Layriz (de) added three more stanzas, the first of which, Das Blümelein so kleine, remained popular and has been included in Catholic hymnals.
The tune most familiar today appears in the Speyer Hymnal (printed in Cologne in 1599), and the familiar harmonization was written by German composer Michael Praetorius in 1609.
The poem has been set to music as a Christmas carol by many composers including Harold Darke, Leo Sowerby, John Kelsall and John Rutter and is also sung to the traditional Irish melody “Garton”. More recently, the poem was given a modern treatment by Christian band Jars of Clay on their 2007 album,Christmas Songs. American composer Jennifer Higdon set the text for solo soprano, harp and four-part chorus. A new setting by the British composer David J Loxley-Blount was performed in Southwark Cathedral on 8 December 2014 by the Financial Times Choir conducted by Paul Ayres. It was repeated by the Trafalgar Square Christmas Tree on 11 December 2014.
Studwell describes the poem as “simple, direct and sincere” and notes that it is a rare example of a carol which has overcome the disadvantage of “not having a tune (or two or three) which has caught the imagination of holiday audiences.”
Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed a large number of other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style.
The poem it is based on was first published in Scribner’s magazine. From the wikipedia article:
“In the Bleak Midwinter” is a Christmas carol based on a poem by the English poet Christina Rossettiwritten before 1872 in response to a request from the magazine Scribner’s Monthly for a Christmas poem.It was published posthumously in Rossetti’s Poetic Works in 1904.
Please turn to number 33 and join with the clarinets in “All Hail to Thee, O Blessed Morn”.
Name: WIE SCHöN LEUCHTET.
Tempo: With movemement
Music: Phillipp Nicolai, 1556-1608
Text: Johann Olof Wallin, 1779-1839
Based on the German Hymn of 1621
Tr. Ernst William Olson, 1870-1958
You’ll probably notice, aside from them both having the word “morn” in the title, the music to this hymn is exactly the same as number 32, “Rejoice, Rejoice This Happy Morn“. So when I was approaching it, I wanted to think of something else interesting to do with the music, so I didn’t play the exact same thing all over again. This time, I decided to slow it waaaaay down, and play quietly.
I skipped the bass clarinet and played the “bass part” on soprano clarinet, up an octave.
Please turn to number 32 and join with the clarinets in, “Rejoice, Rejoice This Happy Morn.”
Name: WIE SCHöN LEUCHTET.
Tempo: With movement
Music: Phillipp Nicolai, 1556-1608
Text: Birgitte Cathrine Boye, 1742-1824
Tr. Carl Doving, 1867-1937
Like our previous Phillipp Nicolai Hymn, “Wake, Awake“, I find the harmonies in “Rejoice, Rejoice This Happy Morn” very powerful. This is one of several hymns which use this melody, the most famous of which is the original, number 404, “How Brightly Beams the Morning Star”.
“Angels from the Realms of Glory” is a Christmas carol written by Scottish poet James Montgomery. It was first printed in the Sheffield Iris on Christmas Eve 1816, though it only began to be sung in churches after its 1825 reprinting in the Montgomery collection The Christian Psalmist and in the Religious Tract Society’s The Christmas Box or New Year’s Gift.
Before 1928, the hymn was sung to a variety of tunes, including “Regent Square”, “Lewes” by John Randall, and “Wildersmouth” or “Feniton Court” by Edward Hopkins. In the United States, the hymn is today most commonly sung to the tune of “Regent Square” by Henry Smart. In the United Kingdom, however, the hymn came to be sung to the French carol tune “Iris” (Les anges dans nos campagnes, the tune used for “Angels We Have Heard on High”) after this setting was published in the Oxford Book of Carols. Sometimes the “Gloria in excelsis Deo” refrain is sung in place of Montgomery’s original lyric: “Come and worship Christ the new-born King”. On A Christmas Cornucopia, Annie Lennox sings this song but substitutes “Gloria in excelsis Deo” for the “Come and worship Christ the new-born King” refrain. Paul Poulton recorded a rock version of this song on his Grooves 4 Scrooge album.
The words of the song are based on a traditional French carol known as Les Anges dans nos campagnes (literally, “Angels in our countryside”) composed by an unknown author in Languedoc, France. That song has received many adjustments or alignments including its most common English version that was translated in 1862 by James Chadwick, the Roman Catholic Bishop of Hexham and Newcastle, northeast England. The carol quickly became popular in the West Country, where it was described as ‘Cornish’ by R.R. Chope, and featured in Pickard-Cambridge‘s Collection of Dorset Carols.
Took me a while to work up the courage to even try this one. And then another little while to get over the way that I had sung it as a child.