Tag Archives: Carol

Thoughts on “Of the Father’s Love Begotten”

The thoughts below were prepared for the “Devotions on the Hymn of the Day” project of the Center for Church Music at Concordia University, Chicago. For additional devotions, click here. For a downloadable PDF version of this devotion, click here. Although many of our most popular Christmas carols are only a few hundred years old, the Christmas carol “Of the Father’s Love Begotten” takes us back a few thousand years, almost… Read More »

The Paradoxes of “This Little Babe”

Many of you may be familiar with the great choral work “This Little Babe” from Benjamin Britten’s Ceremony of Carols. The driving rhythm, the compelling tune with its unique canonic treatment, and the dramatic shift at the very end from a minor key to its parallel major all make for a memorable and powerful setting of the text (click here for a video). The text explores the paradoxes that came with the birth of Christ, with God becoming… Read More »

Thoughts on “O Come, All Ye Faithful”

While the text of the Latin Christmas carol “Of the Father’s Love Begotten” is almost 2,000 years old having been penned only a few hundred years after the birth of Christ , “O Come, All Ye Faithful” is not even 275 years old. The text was written by John Francis Wade (c. 1711-86) during a time when Latin was the language of academia. Wade was a Catholic layman who fled… Read More »

O Come, All Ye Faithful (SATB) – English or Latin

This setting of “O Come, All Ye Faithful” is an attempt to musically portray a great victory parade  to see the Christ Child (see www.jubalslyre.com/thoughts-on-o-come-all-ye-faithful). The choral arrangement begins with a soloist inviting the faithful to join in a great, joyful, and triumphal procession to Bethlehem. The full choir joins by repeating the last part of the stanza, a lost tradition that is evident in early hymnals and choral arrangements of… Read More »

Sussex Carol (SATB w/ Piano or Harp and Opt. Handbells)

The Sussex Carol was one of the many English folk songs collected for posterity by Ralph Vaughn Williams (1872-1958). This arrangement is a relatively easy, but boisterous arrangement for SATB choir with piano or harp and optional handbells. It is published by Walton Music (WW 1243) and available from GIA or your favorite music retailer. For a complimentary review copy, please send us a note via our Contact Us page.… Read More »

Thank You to Trinity’s Musicians and Worship Leaders

I would like to offer a sincere thank you to all those who were involved in last evening’s Service of Nine Lessons and Carols at Trinity. From those who prepared the Sanctuary to the Lectors and to all the musicians and thanks to the power of the Holy Spirit, the proclamation that occurred was incredibly strong, wonderfully heartfelt, and truly beautiful. For me there were many, many favorite moments. Besides… Read More »

Fantasia on VENI EMMANUEL (String Quartet or Orchestra)

I was fiddling around with playback feature in Finale and the Garritan ARIA Player and discovered that my motet on “O Come, O Come Emmanuel” sounds really good with just strings alone, so here it is arranged for strings. This arrangement would work with either a string orchestra or a string quartet. If you are looking for a joint work for your next Christmas (or holiday concert), it could also… Read More »

Of the Father’s Love Begotten (SATBdiv) – English or Latin

This setting of “Of the Father’s Love Begotten” is the second motet in a set entitled Three Latin Christmas Motets and is dedicated to the American Kantorei of St. Louis, Missouri. It musically intertwines two manifestations of the God incarnate: that which occurred with the birth of Christ and that which happens when believers observe the Sacrament of Holy Communion. The primary textual and musical element is the ancient, but… Read More »

O Come, O Come Emmanuel (SATBdiv) – English or Latin

This setting of “O Come, O Come Emmanuel” sets all seven verses of the hymn modulating into four keys while passing the melody from voice to voice before finally concluding with several sudden and surprising key changes that lead to what I call a “Picardy third on steroids” (i.e. a major chord built on the altered note of the E minor Picardy third). This motet is available with the standard… Read More »