Loyal Lutheran Listeners Love Christmas Carols

On Friday, @IssuesEtc repeated their annual listener poll of favorite Christmas hymns and carols. Here I analyze in detail how the 20 songs selected map onto #Lutheran (and #Anglican) hymnody, as well as how this relates to the availability of recordings (a topic I discussed this month for Advent hymns).

The December 23 show demonstrated the skill of the show’s host, Pastor Todd Wilken, who soon begins his 25th year behind the microphone. He expertly merged 41 votes (from phone calls, email, Tweets and Facebook comments) for these pieces. But more generally, this episode is a masterful use of the radio (or MP3-delayed podcast) format, with brief (and mostly interesting) listener suggestions interspersed with playing recordings of the crowd favorites.

The Nominees

Formally entitled “What Is Your Favorite Christmas Hymn, and Why?” Friday’s two-hour show played 20 musical pieces. I looked each one up on Hymnary: Hymnary’s total of hymnals using the hymn (listed below) includes alternate translations. 

In alphabetical order (with the start times indicated), these 20 pieces were:

1. “All my heart this night rejoices” [01:26:40]: translated from “Fröhlich soll mein Herze springen” by Paul Gerhardt (1607-1676); 267 hymnals. https://hymnary.org/text/all_my_heart_this_night_rejoices. 

2. “Angels we have heard on high” [00:39:10]: translated from “Les Anges dans nos Campagnes”, an 18th century French carol; 213 hymnals. https://hymnary.org/text/angels_we_have_heard_on_high. Performed by Solo Deo Cantorum.

3. “Break forth, O beauteous heavenly light” [00:52:40]: by Johann Rist (1607-1667); 55 hymnals. https://hymnary.org/text/break_forth_o_beauteous_heavenly_light. Performed by Robert Shaw Chamber Singers.

4. “For unto us a child is born” [01:13:55]: by G.F. Händel (1685-1759).  Performed by Bach Collegium Japan.

5. “From heaven above to earth I come” [00:58:30]: translated from “Vom himmel hoch” by Martin Luther (1483-1546); 147 hymnals. https://hymnary.org/text/from_heaven_above_to_earth_i_come_to_bea. 

6. “God rest ye merry gentlemen” [01:29:50]:, an 18th century English carol; 116 hymnals. https://hymnary.org/text/god_rest_ye_merry_gentlemen. Performed by King's College Choir.

7. “Hark the herald angels sing” [00:17:20]: by Charles Wesley (1707-1788); 1350 hymnals. https://hymnary.org/text/hark_the_herald_angels_sing_glory_to. Performed by King's College Choir.

8. “Joy to the world” [00:02:35]: by Isaac Watts (1674-1748); 1814 hymnals. https://hymnary.org/text/joy_to_the_world_the_lord_is_come. Performed by John Rutter & Cambridge Singers.

9. “Let our gladness have no end” [00:24:50]: translated from “Narodil se Kristus Pán”, 15th century Bohemian carol; 10 hymnals. https://hymnary.org/text/let_our_gladness_have_no_end. Performed by Children's Choirs of St. Paul Lutheran Church (Fort Wayne).

10. “Lo, How a Rose E'er Blooming” [01:36:20]: translated from “Es ist ein Ros entsprungen”, 16th century German carol; 106 hymnals. https://hymnary.org/text/lo_how_a_rose_eer_blooming. Performed by LPR Choir.

11. “O come, all ye faithful” [01:05:25]: translated from “Adeste Fidelis” by James Frances Wade (1711-1786); 924 hymnals. https://hymnary.org/text/o_come_all_ye_faithful_joyful_and_triump. Performed by King's College Choir.

12. “O Holy Night” [00:21:50]: translated from “Cantique de Noël” by Placide Cappeau (1808-1877); 45 hymnals. https://hymnary.org/text/o_holy_night_the_stars_are_brightly_shin. Performed by Mormon Tabernacle Choir.

13. “O how Joyfully” [01:33:40]: translated from “O du Fröhliche” by Johann Daniel Falk (1728-1826); 129 hymnals. https://hymnary.org/text/o_du_frohliche_o_du_selige. Performed by Kapelle of Concordia University Chicago.

14. “O Jesus Christ, thy manager is” [00:47:55]: translated from “O Jesu Christ, Dein Kripplein Ist” by Paul Gerhardt; 7 hymnals. https://hymnary.org/text/o_jesus_christ_thy_manger_is. 

15. “Of the father's love begotten” [00:31:50]: translated from “Corde natus ex Parentis” by Prudentius (348-405+); 218 hymnals. https://hymnary.org/text/of_the_fathers_love_begotten. Performed by Cantorei of Concordia Theological Seminary, Fort Wayne.

16. “Praise God the Lord ye sons of men” [00:06:15]: translated from “Lobt Gott Ihr Christen” by Nikolaus Herman (c.1500-1561); 115 hymnals. https://hymnary.org/text/praise_god_the_lord_ye_sons_of_men. Performed by LPR Choir.

17. “Silent Night” [01:18:25]: translated from “Stille Nacht” by Joseph Mohr (1792-1848); 749 hymnals. https://hymnary.org/text/silent_night_holy_night_all_is_calm_all. Performed by Musica Sacra.

18. “What child is this” [00:44:45]: by W. Chatterton Dix (1837-1898); 197 hymnals. https://hymnary.org/text/what_child_is_this_who_laid_to_rest. Performed by Richard Proulx & The Cathedral Singers.

19. “What sweeter music” [01:44:15]: by Robert Herrick (1591-1674).  Performed by John Rutter & Cambridge Singers.

20. “Where shepherds lately knelt” [00:10:30]: by Jaroslav Vajda (1919-2008); 9 hymnals. https://hymnary.org/text/where_shepherds_lately_knelt_and_kept_th. 

Note that two are not actually hymns (and don’t appear in hymnals). One is “For until us a child is born,” the 12th movement from Part I (the Advent section) of Händel’s. The other is “What sweeter music,” a carol written by John Rutter (based on a 16th century poem) for the 1987 King’s College Cambridge Lessons & Carols service.

Of the 18 hymns, 7 were originally in German — perhaps not surprising for a radio show serving the main Lutheran denomination established by German immigrants to the U.S. Meanwhile, 2 were from French and 2 from Latin — all four of these are popular American carols, as are two of the German ones.

Performers

Some performers were announced, while in other cases Shazam identified the recording for me.

Not surprisingly, six familiar pieces were performed by professional caliber English choirs: King’s College Cambridge (3), John Rutter and his Cambridge Singers (2) and Richard Proulx and The Cathedral Singers (1). Four came from similar caliber American choirs, with one each by the Mormon Tabernacle Choir, Musica Sacra, Robert Shaw Chamber Singers and Solo Deo Gloria Cantroum, and one Japanese group (Bach Collegium Japan).

Five of the German Lutheran hymns were credited to US Lutheran performers, including elite choirs from Concordia Chicago and the Fort Wayne seminary. Three German hymns and one 20th century LCMS hymn were uncredited, but some sounded like the LPR Choir (credited with two performances).

Singing these Hymns at Christmas

To see how much these hymns could be sung by congregations — and to judge how “Lutheran” these hymns are — I looked at the latest hymnal of the largest U.S. Lutheran jurisdictions:

• Evangelical Lutheran Church in America: Evangelical Lutheran Worship (2006)
• Lutheran Church, Missouri Synod: Lutheran Service Book (2006)
• Wisconsin Evangelical Lutheran Synod: Christian Worship (1993)
• Evangelical Lutheran Synod: Evangelical Lutheran Hymnary (1996)

For Anglican comparison, also searched the latest Church of England hymnal used in most English choral recordings (New English Hymnal), The Episcopal Church hymnal also used by ACNA parishes (Hymnal 1982), and the main hymnal of Continuing Anglicans (Hymnal 1940). (Note I am ignoring variations in tunes and text, which were a big deal for Advent hymns I examined earlier).

	Denomination	TEC	TEC	CoE	ELCA	LCMS	WELS	ELS
Seq	Text	H40	H82	NEH	ELW	LSB	CW	ELH
1	All my heart this night rejoices	32	545		273	360	37	115
2	Angels we have heard on high	42	96		289	368	63	116
3	Break forth, O beauteous heavenly light	25	91			378	44
5	From heaven above to earth I come				268	358	38	123 & 124
6	God rest ye merry gentlemen	40	105					126
7	Hark the herald angels sing	27	87	26	270	380	61	125
8	Joy to the world	775	100		267	387	62	138
9	Let our gladness have no end				291	381
10	Lo, How a Rose E'er Blooming	17	81		272	359
11	O come, all ye faithful	12	93	30	283	379	55	133
14	O Jesus Christ, thy manager is					372	40	161
15	Of the Father's love begotten	20	82	33	295	384	35	181
16	Praise God the Lord ye sons of men							148
17	Silent Night	33	111	34		363		140
18	What child is this	36	115	40	296	370	67	145
20	Where shepherds lately knelt					369	54

No surprise that the Händel (#4) and Rutter (#19) choral pieces were not in hymnals, and only a small surprise that “O Holy Night” (#12) is not.

The big surprise was the absence of two German Lutheran hymns in the German hymnal: “O du Fröhliche” (#13) was not in any current hymnal, while “Lobt Gott Ihr Christen” (#16) was only in the hymnal of the (historically Norwegian) ELS (although both tunes were used elsewhere in recent Lutheran hymnals). Also, the hymn by 17th century Lutheran Pastor Jacob Rist (#3) with its Bach harmonization seems more popular among Episcopalians than Lutherans.

The Winner: a Favorite for 16 Centuries

Thirteen of the hymns were nominated by only one caller (or correspondent), including such perennial favorites such as “Angels we have heard on high” and “Silent night.” Three received two votes; those with more were

• 3 votes: ”Joy to the world” and “O come, all the faithful”
• 5 votes: “Hark the herald angels sing”

Most of the reasons for the votes were either because of what the text teaches, or strong personal memories or sentiments associated with the hymn.

With 11 votes, the landslide winner was “Of the Father’s love begotten,” a 4th century hymn by Prudentius that I blogged about in 2008 (based on an Issues Etc. discussion of the hymn by a LCMS seminary Professor Arthur Just) and 2010. Of course, I’m particularly excited because the hymn was introduced into the English-language repertoire by John Mason Neale, the great hymn translator of the 19th century.

What was particularly interesting were many of the comments by those who wrote to nominate the hymn. I tried to transcribe all 11 comments, but here are some excerpts:

• Elaine: “because of the transcendent beauty of the music and the lyrics”
• Joshua: “text and tune are beautiful, and a long part of the church’s history”
• Janet: “because I have always loved ancient melodies and texts”
• David: “it’s been sung by Christians since the fourth century”
• Jennifer: “the simplicity of the plainchant makes you focus on the fabulous lyrics which take you from the beginning of time to the end, full of the gospel message combined that with the age of the hymn and I love thinking about all the saints before who have sung the same words”
• Brandon: “I love the beautiful simplicity of that ancient hymn. It’s a joy to hear or sing — with or without accompaniment — yet the majesty of the lyrics can still awe.  And given its age I like how by singing it, the church unites across time and space in language to honor the birth of our savior.”

To me, this is the epitome of the argument for what I call “timeless hymns” and this hymn’s place at the front of the panoply of such hymns.

I realize that those who call and nominate a hymn are not a cross-section of a parish or denomination. Still, I think it suggests that the arguments that we have to dumb down worship to reach Christian worshippers are giving up much too easily.

References

• Joint Commission on the Revision of the Hymnal, The Hymnal 1940 Companion, 3rd ed. (New York: Church Pension Fund, 1951).
• Hugh Keyte and Andrew Parrot, The New Oxford Book of Carols (Oxford: Oxford University Press, 1992)
• Joel W. West, “Singing Together for the Advent of our Lord,” North American Anglican, December 22, 2022, URL: https://northamanglican.com/singing-together-for-the-advent-of-our-lord/

Victorian Christmas Anachronisms

The 19th century brought not on the rise of distinctively English hymns and carols, but also anachronistic characterization of Bethlehem winters. @LutheranSatire has been particularly caustic in its evaluation, with Pastor Hans Fiene (in his alter ego M. Luther) ridiculing two Victorian gentlemen as they compose “Inferior Anglican Christmas Hymns”.

On the one hand, the enthusiasm of Victorian England was admirable, as a single hymnal — Hymns Ancient & Modern — became the first in Britain (AFAIK in the world) so sell over 8 million copies in less than 50 years (Long 1971; Orford 2017). Nowhere was this enthusiasm greater than at Christmas. As the “Victorian Era” website says

What better way to get into the festive spirit then singing a Victorian Christmas carol. During this era, they were very into joyful choruses of Christmas songs and had revived old medieval songs whilst adding their own spin and writing new ones!

These were meant for both the relaxed occasions such as when singing amongst friends and family and the other songs were meant for more religious, respectful occasions.

And some of the 19th century carols, including many of those by J.M. Neale, were translations or reharmonizations of ancient or medieval hymns that were centuries old. If there was snow involved — as in Neale’s “Good King Wenceslas” — it was in Britain and not 31° N of Bethlehem.

Other winter excesses cannot be traced to the Victorians. This includes the “in kaltem winter” (“cold of winter”) in the 16th century carol “Es ist ein Ros” (“Lo, how a rose e'er blooming” to Anglicans) or the 20th century American secular ditties like “Let it Snow!” (1945) or “Frosty the Snowman” (1950).

Nonetheless, by searching through Hymnary and my Anglican hymnals, I found exactly four Anglican hymns that, to a greater or lesser degree, might attract the scorn of Pastor Luther Fiene. (Although one might be hypocritical for a 21st century LCMS pastor to attack).

1. In the Bleak Midwinter

This poem by English poet Christina Rossetti was commissioned by and published by an American magazine in 1872. It is by far her most popular work (Beall 2015). As a hymn, it has been published in at least 70 hymnals. None of these are by the Missouri or Wisconsin synod Lutherans, but it does appear in the latest (2006) and most ecumenical ELCA hymnal, Evangelical Lutheran Worship.

The first stanza is the one that would cool any appreciation by Pr. Fiene:

In the bleak midwinter, 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 midwinter, long ago.

As a hymn, it first appeared in The English Hymnal (1906), with a new tune written for this text: Cranham by Gustav Holst. (Yes, that Gustav Holst.) According to Hymnary.org, it accounts for 63/70 of the hymnals printing of the text; six are Castle by Don Cason and one Adventist hymnal that used Uinta by the hymnal’s editor.

However, not found in any hymnal is the 1909 setting of the hymn by Harold Darke — instead in choral anthem books. However, it is a regular favorite of the King’s College Cambridge annual Lessons & Carols service — according to David Sinden, of the last 23 broadcasts, 11 had Darke and two Holst. It was also once voted the best Christmas carol of all time.

2. The Snow Lay on the Ground

For the first Sunday after Christmas, we sang “The Snow Lay on the Ground” (Hymnal 1940: 41; Hymnal 1982: 110; Book of Common Praise 2017: 81; New English Hymnal: 28). Hymnary.org says it appears in 39 hymnals, and quotes Julian (1907) in summarizing its origins as

This appears to be a West of England traditional carol, and is given as such in R. R. Chope's Carols, 1875, No. 44, where it begins "The snow lay deep upon the ground." In the Crown of Jesus, 1862, No. 146, it begins “The snow lay on the ground" and is marked, with regard to the tune, as "Christmas Carol, sung in Rome by the Pifferari from the Abruzzi Mountains." The text of 1862 is in the Arundel Hymnal, 1902, and many others. 

The 39 hymnals include Episcopalian and Catholic Hymnals, but neither Hymns A&M (1861-1904) or The English Hymnal (1906) nor any Lutheran hymnal. Again, it’s the first verse that would boil Fiene’s blood:

The snow lay on the ground,
The stars shone bright,
When Christ our Lord was born
On Christmas night.
Venite adoremus Dominum;
Venite adoremus Dominum.

3. See Amid the Winter's Snow

Surpisingly popular is “See Amid the Winter’s Snow,” penned in 1858 by Anglo-Catholic (turned Roman Catholic) hymnist Edward Caswall. Among the 140 hymnals listed by Hymnary, it’s found in the Anglican hymnals of Canada and Ireland, the 1990 Presbyterian Hymnal, and (natch) numerous Catholic hymnals. (But no Episcopalian or American Anglican hymnals).

Again, the first stanza fits the problematic pattern:

See, amid the winter's snow,
born for us on earth below,
see the tender Lamb appears,
promised from eternal years.
Hail! Thou ever-blessed morn!Hail, redemption's happy dawn!Sing through all Jerusalem,"Christ is born in Bethlehem."

However, it appears that Luther’s influence is limited among the German-American Lutherans, as it is hymn #373 Pastor Fiene’s favorite hymnal — the current (2006) LCMS Lutheran Service Book.

4. ’Twas in the Winter

Here my ignorance is more excusable, as this 1871 text by Irish clergyman Rev. Charles Ingham Black appears in only five hymnals. The most prominent is nearly 150 years ago, from John Stainer’s Christmas Carols New and Old.

I doubt our fussy German-American pastor has heard of this hymn, but if he did, again he’d turn straight to the first verse

’Twas in the winter cold, when earth
Was desolate and wild,
That angels welcomed at His birth
The everlasting Child.
From realms of ever bright’ning day,
And from His throne above
He came with humankind to stay,
All lowliness and love.

Summary

I don’t think four hymns support Pastor Fiene’s claim for a trend for Anglican anachronistic Christmas carols, particularly given there lack of popularity:

• None was published in the dominant Victorian hymnal, Hymns Ancient & Modern, during Victoria’s life — either the 1861 or 1889 editions.
• Only one (#1) was found in The English Hymnal, the Edwardian collection of Victorian hymns published in 1906.
• Only two (#1,#2) were published the American Anglican/Episcopal hymnals of the 20th and 21st centuries. 
• A third hymn (#3)— as bad as the others — was selected by his LCMS colleagues to be published in his preferred hymnal

So to paraphrase an English playwright back: methinks the pastor doth protest too much.

The most influential 19th century Anglican hymnwriter, John Mason Neale, did not write any Christmas carols (other than Wenceslas) that survive to this day; his best-remembered hymns are for Easter and Palm Sunday. However, his most reprinted Advent hymn — a translation of a medieval Latin text written centuries before Herr Doktor Luther was born — contains exactly the sort of timeless truths Pastor Fiene would espouse.

In its current form (from the 1861 edition of Hymns A&M) , “O come, O come, Emmanuel” is the second hymn in my favorite hymnal (#357 in Pastor Fiene’s hymnal)

Oh, come, Oh, come, Emmanuel,
And ransom captive Israel
That mourns in lonely exile here
Until the Son of God appear.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.

References

• Beall, Mary Kay, “In the Bleak Midwinter,” The Hymn, 56, 4 (Autumn 2015), 47-49.
• Julian, John, Dictionary of Hymnology,  London: Murray, 1907. URL: https://www.ccel.org/ccel/julian_j/
• Long, Kenneth R., The Music of the English Church (New York: St. Martin’s, 1971), p. 334
• Orford, Barry A., “Music and Hymnody” in Stewart J. Brown, James Pereiro, and Peter Nockles, eds., The Oxford Handbook of the Oxford Movement (Oxford: Oxford University Press, 2017), 376-386.
• Christmas Carols New and Old, by Henry R. Bramley & John Stainer (London: Novello, Ewer & Co., 1871). URL: https://archive.org/details/christmascarolsn00staiiala

Update: See further discussion of these four hymn on Dec. 30

Biblical prophesies in Handel's Messiah

Soprano soloist Carolyne DalMonte and conductor Ruben Valenzuela
at La Jolla Symphony performance of Handel’s Messiah, Dec 15, 2019.

Last weekend, I joined a community sing-along for the Christmas portion of Handel’s Messiah, sponsored and accompanied by the La Jolla Symphony in Carlsbad.

Since my youth, much of what I know the prophesies of the coming Messiah came from singing and listening to the Messiah over these decades. After Sunday’s performance, I thought I would look up the Scriptural references to the KJV (Authorized Version) that was in use at the date of the 1742 premier.

The score we used is the 1912 edition edited by T. Tertius Noble (1867-1953), available in the public domain at Archive.org. In looking through the score — and the words posted in 1999 on the Stanford libretto archive, one thing grabbed me. In many cases, the text by Charles Jennens takes a Scripture passage and spans several movements; this may be a trivial insight, but it is not one that I realized either by listening, or by singing the choruses.

Below is my cross-reference of the arias, recitatives and choruses, the latter indicated by †.

Part I

1. Overture

Isaiah 40:1-5:
2. Comfort ye, comfort ye my people
3. Every valley shall be exalted
4. And the glory of the Lord†

5. Haggai 2:6-7: For thus saith the Lord of hosts

Malachi 3:1-3:
The Lord, whom ye seek
6. But who may abide the day of his coming?
7. And he shall purify†

8. Isaiah 7:14;Matthew 1:23: Behold, a virgin shall conceive
9. Isaiah 40:9,60:1: O thou that tellest good tidings to Zion†
10. Isaiah 60:2-3: For, behold, the darkness shall cover the earth,
11. Isaiah 9:2: The people that walked in darkness have seen a great light:
12. Isaiah 9:6: For unto us a child is born†
13. Pastoral Symphony

Luke 2:8-11:
14. There were shepherds abiding in the field
15. And the angel said unto them

Luke 2:13-14:
16. And suddenly there was with the angel
17. Glory to God†

18. Zechariah 9:9-10: Rejoice greatly, O daughter of Zion
19. Isaiah 35:5-6: Then the eyes of the blind shall be opened
20. Isaiah 40:11;Matthew 11:28-29: He shall feed his flock like a shepherd
21. Matthew 11:30: His yoke is easy, and his burden is light†

Part II

22. John 1:29: Behold the lamb of God†

Isaiah 53:3-6:
23. He was despised
24. Surely he hath borne our griefs†
25. And with his stripes we are healed†
26. All we like sheep have gone astray†

Psalm 22:7-8:
27. All they that see Him, laugh Him to scorn
28. He trusted in God that he would deliver him:

29. Psalm 69:20: Thy rebuke hath broken His heart:
30. Lamentations 1:12: Behold, and see if there be any sorrow
31. Isaiah 53:8: He was cut off out of the land of the living
32. Psalm 16:10: But Thou didst not leave His soul in hell
33. Psalm 24:7-10: Life up your heads, O ye gates†

Hebrews 1:5-6:
34. Unto which of the angels said He at any time
35. Let all the angels of God worship Him†

36. Psalm 68:18: Thou art gone up on high
37. Psalm 68:11: The Lord gave the word†
38. Isaiah 52:7; Romans 10:15: How beautiful are the feet
39. Romans 10:18; Psalm 19:4: Their sound is gone out into all lands†

Psalm 2:1-4:
40. Why do the nations so furiously rage
41. Let us break their bonds asunder†
42. He that dwelleth in Heav'n

43. Psalm 2:9: Thou shalt break them with a rod of iron
44. Revelation 19:6,11:15,19:16: Hallelujah

Unparalleled Lessons & Carols resource

In doing background research for the Lessons & Carols service at my daughter’s church, I found a unique resource: a website with a database of various Lessons & Carols services:

spreadsheets - carol service, FAQ

Frequently asked questions about Sinden.org's Carol Service Spreadsheets

• A Service for Advent with Carols from St. John's College, Cambridge, England
• A Festival of Nine Lessons and Carols from King's College, Cambridge, England

Compiled by by Episcopal Church organist David Sinden, the website includes links to Google spreadsheets with

• Advent services from 2004-2018 (including last Sunday’s broadcast) from St. John’s College
• Christmas Eve BBC radio services from 1997-2018 (and various services from 1918-1991) from King’s College (not to be confused with the TV broadcast)

The Scripture lessons for SJC are more specific than for KCC. However, the hymns, anthems and the voluntary (postludes) appear to be complete for both. For example, the SJC Advent service always includes these four congregational carols:

1. O come, O come, Emmanuel
2. Come, thou long-expected Jesus
3. On Jordan’s bank the Baptist’s cry
4. Lo! he comes clouds descending

Similarly, in the past 20 years, KCC has always performed

• Once in Royal David’s City
• (nine lessons and various musical pieces)
• O Come All ye Faithful
• Hark! the herald-angels sing

The databases don’t seem to list the tune. Perhaps some of that is redundant: globally, “Lo! he comes” has at least three commonly used tunes,  but I’m guessing the English choirs always use Helmsley (as does their bible, the New English Hymnal). We also know that unlike this side of the Atlantic, the English never use St. Louis when they sing “O Little town of Bethlehem.”

For KCC, it does distinguish how the choir has alternated between the Ord, Ledger, Warlock and (recently) Howard versions of “Adam lay ybounden.” Overall, it provides an extremely valuable resource for anyone planning an Anglican Lessons & Carols service.

Kings College Cambridge: 100th Annual Lessons & Carols

On Christmas Eve, King’s College Cambridge will conduct its Festival of Nine Lessons & Carols service. First started in 1918, this will mark the 100th service.

The service starts at 3pm GMT, 10am EST, 7am PST, and will be broadcast live by BBC 4, over FM in the U.K. and over the Internet. By my calculation, it will be the 90th broadcast on the BBC.

The program includes a detailed history of the service. It helpfully notes that since 1919, each service has begun with “Once in royal David’s city.”

The readings from the Authorized Version will overlap with those used over the past 20 years, but with slight variations. For example, as in 1997-2007, the first reading is Genesis 3:8-19 with the omission of Genesis 3:16, which was included last year:

And unto the woman he said, I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.

Consistent with the best practice that KCC itself established, the congregation will have its own chance to join in the singing. This year, the congregation hymns are:

1. Once in royal David’s city (verses 3-6)
2. O little town of Bethlehem (Vaughan Williams’ Forest Green, not the American St. Louis)
3. God rest you merry, gentlemen
4. O come, all ye faithful
5. Hark! the herald angels sing

Except for “God rest” replacing “While watched their flocks”, the hymns are the same as last year.

The descants are slightly different; I am beginning to realize that while big church music directors keep familiar tunes to satisfy their (paying) congregation members, they feel no constraint to keep familiar descants (which only impact 25% of their choir). KCC music director Stephen Cleobury made the following choices

1. Same as last user: used his own descant
2. Substituted his own descant, to replace Thomas Armstrong’s from the printed New English Hymnal
3. No descant
4. Kept the arrangement and descant by David Willcocks (choir director 1957-1973), as published in Willcocks & Rutter (1987: 226-227)
5. Substituted his own descant (also used in 2013 and 2014) instead of the descant by Philip Ledger (choir director 1974-1982) used in 2016 and 2012 — or the Willcocks descant (also from Willcocks & Rutter) used in 2015, 2011, 2010 and 2009

Our family is looking forward to beginning our Sunday with King’s College and their beautiful service, before we drive to our own Advent 4 service (and later on, I drive back to sing Midnight Mass).

References

David Willcocks & John RUtter, eds., 100 Carols for Choirs, Oxford University Press, 1987.

A Cause for Caroling: BBC Reprises Xmas Radio Series

Back in December 2013, the BBC 4 radio ran a 10-part series entitled “A Cause for Caroling.” Hosted by Oxford choir director (and former choirboy) Jeremy Summerly, it traces the history of Christmas carols. It was really interesting, and — allowing for the strong point of view – I learned a lot.

Under the BBC business model, it was only available for a 30 days on BBC.co.uk and then blocked in favor of selling a two hour CD on Amazon’s UK or US website. However, it came back in December 2015 — and starting on Dec 11, the BBC began making the episodes available for 30 days each.

Below I provide the official abstracts of the series and the ten 15-minute episodes. The BBC also originally released two one-hour “omnibus” episodes — which separately summarize week 1 and week 2 — but these have not been available since 2013.

Below are the abstracts for the 10 episodes

1. A Carol’s a Carol, to Begin With

The first programme in a ten part series in which choral conductor and scholar Jeremy Summerly tells the story of the Christmas Carol in Britain. He begins by trying to capture something of the caroling traditions of today and then heads back into the misty caroling past discovering what he believes is the first carol in the English language.

2. Spreading the Medieval Word Made Flesh

The second programme in Jeremy Summerly's ten part series tracing the history of the Christmas Carol in Britain. Today he discovers the impact of the Franciscans in using the carol to make the birth of Jesus a focus for the church and harnessing the energy of popular music to that end.

3. From Coventry to Agincourt

In the third programme in the series Jeremy finds a developing professionalism in carol singing and writing in the details of a manuscript held by Cambridge University, and he reveals the background of the Coventry carol's mystery play setting. The combination of energetic drama and more refined singing men makes this period a caroling golden age but with clouds on the horizon.

4. Carol Crisis? What Crisis?

In the fourth programme in the series Jeremy describes the impact of the Reformation and later Puritan attitudes to music in general and carols in particular. The development of the Medieval carol may have been arrested but there was never a serious threat to folk caroling and it wasn't long after the Commonwealth that carols, or rather one particular carol, was back in church.

5. The Ghosts of the West Gallery

In the fifth programme of his series telling the story of the Christmas Carol Jeremy Summerly visits Dorchester where Thomas Hardy captured the caroling tradition that had matured through the 17th and 18th century but which faced extinction in the 19th. The West Gallery tradition of musicians and singers in parish churches was an integral part of community life in Hardy's Wessex as elsewhere. Jeremy explains the origins of that tradition and the fuguing carols so beloved at the time and why it was that their days were numbered.

Along with folk musician Tim Laycock he gets to see the carol manuscripts from which Hardy's great grandfather played and sang on Christmas night in 1800.

6. A Second Golden Age

In the sixth part of his story of the Christmas Carol Jeremy Summerly reaches the 19th century and publications of old folk carols from what was thought to be a dying tradition. However, by mid-century, with the Tracterean movement in the Church of England at its height the carol and the singing of carols was once again hugely popular. It was the publication of a 'Christmas Carols New and Old by Henry Ramsden Bramley and John Stainer in 1867, that marked the height of another caroling golden age. However, it was now big business and there were reputations at stake when folk carol collectors saw their work hoovered up by the might of Bramley and Stainer. Jeremy also tells the story of the little 16th century Finnish manual 'Piae Cantiones' that provided a series of memorable re-workings of fifteenth century words and melodies, including In Dulce Jubilo and Good King Wenceslas.

7. Folk Carol Survival and Revival

In the seventh programme in his series describing the gathering history of the Christmas Carol in Great Britain Jeremy Summerly returns to the Gallery tradition that was squeezed out of 19th century Church worship but steadfastly refused to die. It's now in rude health in several parts of the country but nowhere is it more energetically sustained than in South Yorkshire and Derbyshire. With the guidance of Dr Ian Russell who holds folk carol festivals and the enthusiasm of pub carolers who sustain the tradition Jeremy shares a pint and a clutch of fuguing carols which flower happily in the 21st century while having roots in the 18th and 19th.


He also finds out about an American offshoot of the gallery style that's been preserved in the icy blasts of Pennsylvannia USA since it was first seeded there in the middle of the 19th century.

8. The Birth of Nine Lessons with Carols

In the eighth programme of his series charting the development of the Christmas Carol in Britain Jeremy Summerly reaches the critical moment at which the 19th century enthusiasm for carols sung in church resulted in a vehicle in which they could take a leading role. It was developed by Bishop Benson of Truro who, in 1880 found himself holding services in a huge wooden shed while a new cathedral was being built next door. To celebrate the new diocese and capture the enthusiasm he recognise in the nonconformist tradition of carol singing in Cornwall, Benson developed a narrative service running from Adam's original sin to the birth of Christ and the impact of the word made flesh.

Jeremy visits Truro and then follows Benson's service to the moment in 1918 when a war-wearied Dean of King's College Chapel, Cambridge, Erich Milner-White decided to use the service as part of his college's Christmas celebrations. The changes he made survive to this day.

9. Import and Export

The penultimate programme in Jeremy Summerly's series tracing the history of the Christmas Carol in Britain. Jeremy picks up the story in the first half of the 20th century with carols from all over the world becoming more popular in this country much to the irritation of Ralph Vaughan Williams who continued to champion the folk tradition, albeit in a refined choral form. This was a time when the grandeur of Victorian caroling gave way to a leaner aesthetic with the Oxford Book of Carols being published in 1928, the same year in which the BBC broadcast the King's College, Cambridge Nine Lessons and Carols for the very first time. As it became an established favourite the carols used, gathered in many cases over centuries, become known both nationally and indeed internationally.

10. Ring in the New

Jeremy Summerly concludes his history of the carol in Britain pondering the success of new carols over the last century. While King's College, Cambridge organist Stephen Cleobury insures a supply of newly commissioned carols for his massive international audience Jeremy wonders whether the popular songs from Berlin's 'White Christmas' to Slade's 'Merry Christmas' don't help sustain a more genuine caroling tradition.

He also recalls his own first experience of carols at Lichfield cathedral where John Rutter's 'Shepherd's Pipe Carol' was an astonishing discovery for the eager young chorister.

And Jeremy also ponders the continued appeal of the carol and why, while it's been in decline throughout its history, it continues to thrive.

Celebrating the Circumcision

Today is the feast that has been known since the 6th century as the Feast of the Circumcision. In the Book of Common Prayer, from Cranmer's original 1549 to the 1928 American edition, it’s called the Circumcision of Christ.

Feast Day

What we know of the circumcision comes from one verse in Luke’s gospel: “And at the end of eight days, when he was circumcised, he was called Jesus, the name given by the angel before he was conceived in the womb.” (Luke 2:21, ESV). This makes reference to his parents learning of his name in the Annunciation (Luke 1:31) and the dream of Joseph (Matthew 1:21). The Bible doesn’t say much about the ceremony, nor about that of his cousin John (Luke 1:59-79), but the nature of the ceremony of circumcising and naming Jesus was as expected for the male child of line of Abraham (Matthew 1:1-16).

The theological issues of the Circumcision are discussed in a December 2014 episode of Issues Etc. featuring Dr. Arthur Just, which was rebroadcast a week ago. As they note, the Circumcision of Jesus is obedience to the Old Covenant, while it is meaningless for the New Covenant (Colossians 3:11).

The 1549 BCP acknowledged this history with its collect (in modernized spelling) that persisted through 1928:

Almighty God, which madest thy blessed son to be circumcised, and obedient to the law for man; Grant us the true circumcision of thy spirit, that our hearts, and all our membres, being mortified from all worldly and carnal lusts, may in all things obey thy blessed will; through the same thy son Jesus Christ our Lord. 

In the 1979 prayer book, the feast has been renamed The Holy Name and the collect drops all reference to the Circumcision. Marion Hatchett, in one of his more partisan apologies for the ’79 revisionism, quotes someone else as saying Cranmer et al “turned the day into a commemoration of circumcision, rather than of the Circumcision of our Lord” (Commentary on the American Prayer Book, 169) — without explaining why the book drops all reference to circumcision rather than trying to shift the emphasis to The Circumcision.

In the ACNA trial liturgy, it’s called The Holy Name of Our Lord Jesus Christ, but the collect puts more effort into explaining the theological significance of the feast:

Almighty God, whose blessed Son was circumcised for our sake in obedience to the Covenant of Moses, and given the Name that is above every name: give us the grace to faithfully bear his Name, to worship him in the Spirit given in the New Covenant, and to proclaim him as the Savior of the world; who lives and reigns with you, in the unity of the Holy Spirit, one God, now and forever. Amen.

Festal Hymns

In Hymnal 1940, there is one hymn (#113) for “The Circumcision” and 10 alternate hymns that focus on the holy name. In Hymnal 1982, there are five hymns (#248-252) listed for “Holy Name”, and the one circumcision hymn is gone. One hymn in common between the two is “Jesus, Name of wondrous love!” (H40: 323; H82: 252). However, as you might expect, the list of alternate hymns in H40 includes a variety of hymns about the name of Jesus that are sung at other times (e.g. what’s now called Christ the King Sunday) such as “At the Name of Jesus” (H40: 356; H82: 435).

The English Hymnal (1906) has two hymns (#36-37) for “The Circumcision of Christ” and my copy of Hymns Ancient & Modern (1868 edition) lists three hymns (#55-57). The common thread is “The ancient law departs” (A&M: 55, H40: 113), with the familiar tune St. Michael from the Genevan Psalter by 16th century composer Louis Bougeois. The hymn was dropped from The English Hymnal (1906) and Hymnal 1982.

The Hymnal 1940 Companion credits the original French text to Sebastian Besnault, as published in 1736. The 1860 translation of five verses is credited to the first edition of Hymns Ancient & Modern:

The ancient law departs,
And all its terrors cease;
For Jesus makes with faithful hearts
A covenant of peace.

The light of light divine,
True brightness undefiled,
He bears for us the shame of sin,
A holy, spotless child.

His infant body now
Begins our pains to feel;
Those precious drops of blood that flow
For death the victim seal.

Today the name is Thine,
At which we bend the knee;
They call Thee Jesus, child divine!
Our Jesus deign to be.

All praise, Eternal Son,
For Thy redeeming love,
With Father, Spirit, ever One,
In glorious might above.

It immediately entered the American hymnody with Hymnal 1874, but by 1940 retained only three of the five verses (1,2,4). The missing third verse is an important one in explaining the Circumcision as the first time that Christ shed his blood for mankind, when he (with the help of his earthly parents) fulfilled the Mosaic covenant so that it might be abolished.

Still, this very familiar tune (what’s not to like about a Genevan Psalter tune?) and the text that matches the festal day seem like one that should be embraced (not ignored) whenever the appropriate collect and/or readings are scheduled for church.

Update: Former Anglo-Catholic (now Ordinariate Priest) Fr. John Hunwicke defends the recent decision of the RCC to de-emphasize the Circumcision in this feast, and instead emphasize the BVM and the Incarnation.

Luke 2 in popular culture, 1700-2015

The Gospel according to St. Luke bears powerful witness to the coming of Our Savior into this world more than 2,000 years ago. Certain passages — such as the Annunciation — provide a unique perspective on how and why the Christ child came into the world.

In the very first (1549) Book of Common Prayer, the gospel reading for Christmas Day was Luke 2:1-14. In the 1928 (US) Book of Common Prayer, this passage is assigned for the earlier of the two services — typically Christmas Eve — with John 1:1-14 for the later service.

Although the 2016 ACNA lectionary has a three year cycle — with separate readings for Years A,B,C — at Christmas it uses the same readings every year. It allows for three possible Christmas services — with different psalms and Isaiah readings at teach — but assigns Luke for Christmas I and II (nowadays afternoon and evening of Christmas Eve) and John for Christmas III (Christmas Day). In the RCL, there are three services and Luke 2:1-14 is assigned for the first.

Authorized Version (1611)

The 1549 BCP used the Tyndale translations of the Gospels, but the version most often used is from the King James Version (“Authorized Version” in England).

The initial verses of Luke 2 explain how it is that Mary and Joseph end up in Bethlehem, and end with Jesus being laid in the manger. The passage beginning with verse 8 — which explains the appearance of the angel to the shepherds — appears to have been the often quoted over the next 400 years.

In the KJV, Luke 2:8-14 reads:

And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger. And suddenly there was with the angel a multitude of the heavenly host praising God, and saying, Glory to God in the highest, and on earth peace, good will toward men.

While Shepherds Watched Their Flocks (1700)

In 1700, Irish poet Nahum Tate (1652-1715) published a collection of sacred poems that included one derived from Luke 2: 8-14. Here is the version of the poem that appeared in Hymnal 1916:

While shepherds watched their flocks by night,
All seated on the ground,
The angel of the Lord came down,
And glory shone around.

"Fear not," said he, for mighty dread
Had seized their troubled mind;
"Glad tidings of great joy I bring
To you and all mankind.

"To you, in David's town, this day
Is born of David's line,
The Savior, who is Christ the Lord;
And this shall be the sign:

"The heavenly Babe you there shall find
To human view displayed,
All meanly wrapped in swathing bands,
And in a manger laid."

Thus spake the seraph, and forthwith
Appeared a shining throng
Of angels praising God, who thus
Addressed their joyful song:

"All glory be to God on high
And on the earth be peace;
Good will henceforth from heaven to men
Begin and never cease."

Today, this hymn is most often sung to to Winchester Old, taken from a 1592 psalm book. Hymnal 1940 (13.1) includes all six verses, although 4 and 5 seem less often sung.

Handel’s Messiah (1741)

In 1712, the Lutheran Kapellmeister Georg Friedrich Händel to London. Thirty years later, in Dublin he premiered his most famous work, a sacred oratorio with a text taken straight from the Authorized Version.

Thanks to many years of singing and listening to the Messiah, I have memorized most of Luke 2:8-14 — skipping only verse 12 which Handle omits from his libretto:

14a. Recitative (Soprano): There were shepherds abiding in the field, keeping watch over their flocks by night.

14b. Accompagnato (Soprano): And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

15. Recitative (Soprano): And the angel said unto them: "Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord."

16. Accompagnato (Soprano): And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying:

17. Chorus: "Glory to God in the highest, and peace on earth, good will towards men."

A Charlie Brown Christmas (1965)

This Emmy-winning animated special — based on the characters of the Peanuts comic strip — was a favorite of my childhood, and even more of for younger sister as it played in reruns every December. (I also am reminded of it every year when I listen to the Vince Guraldi Trio jazz score as part of my Christmas music playlist.)

Charlie Brown is struggling with the meaning of Christmas, while his younger friend — philosopher Linus van Pelt — tries to help him understand. In climatic scene at the school Christmas concert, a frustrated Charlie Brown asks “Isn’t there anyone who knows what Christmas is all about?”

In response, Linus takes the stage and reads Luke 2:8-14 from the Authorized Version.


A Charlie Brown Christmas (2015)

Fast forward 50 years. The special is for many an iconic symbol of the Christmas season, both to watch on TV and to re-enact in children’s Christmas pageants. At the same time, America has become far less Christian than it was in the 1950s and early 1960s.

In 2015, the superintendent of a rural Kentucky school district forbade the local elementary school from re-enacting Linus' most famous monologue. Franklin Graham (son of Billy Graham) protested this censorship, and the Alliance Defending freedom (a nonprofit law firm focusing on religious liberty) tried to convince the district to change their position — but to no avail. Instead, the audience on their own chose to read the deleted passage.

The right way to do Lessons & Carols

Today is the last day of Advent — and the last day to hear Lessons & Carols. Today is the 99th annual Festival of Nine Lessons and Carols, hosted by King’s College Cambridge every Christmas Eve since 1918 — and broadcast this year (and 88 previous years) on the BBC radio.

My wife reminds me that I sang Lessons & Carols as a choirboy at the proto-cathedral. (She remembers it better because she went in years before and after when I was chorister). I’ve sung or read at several churches since. In 2016, I attended two services, as well as listening to the 90 minute Cambridge broadcast this morning (US time).

King’s College Cambridge 2016

The modern L&C service was inaugurated by KCC, and some of their traditions — always starting with a boy soprano solo for Once in Royal David’s City) have been widely emulated.

Until I compared the programs from the late 1990s to today, I had not realized that KCC had kept the same nine lessons for at least 20 years:

1. Genesis 3:8-19*
2. Genesis 22:15-18
3. Isaiah 9:2-7 (dropping verses 3-5)
4. Isaiah 11:1-9 (dropping verse 5 and parts of 3,4) 
5. Luke 1:26-38 (dropping verses 36-37 about Mary’s cousin Elizabeth)
6. Luke 2:1-7 (dropping verse 2, the reference to Quirinius)
7. Luke 2:8-16
8. Matthew 2:1-12
9. John 1:1-14

* From 1997-2007, they skipped over Genesis 3:16 (“Your desire shall be for your husband”)

This year, the service had 15 choir carols and anthems, and five hymns (including the last 3 verses of Once in Royal David’s City) where the congregation can sing along. The other four hymns were:

• O Little Town of Bethlehem, with Vaughan Williams’ tune Forest Green from The English Hymnal (21.1 in Hymnal 1940) and the Armstrong descant from New English Hymnal
• While Shepherds Watched Their Flock, with everyone’s familiar 16th century tune Winchester Old
• O Come, All Ye Faithful, the harmony familiar to Americans (from H40 and H82) that was taken from TEH, but with the David Willcocks arrangement and descant
• Hark! the Herald Angels Sing, the familiar Mendelssohn tune, descant by Philip Ledger

For both Once in Royal David’s City and While Shepherds, the descants are by Stephen Cleobury, the music director of KCC for the past 34 years. (In 1988, he also published a retrospective on the 70th anniversary of the annual service).

Lessons for Other Parishes

Earlier this month, I attended L&C services with my family at a small CoE-affiliated parish in Spain and at a Catholic college closer to home. The structure of the former was closer to KCC, with nine lessons (including Genesis 3, Isaiah 9, Isaiah 11 and John 1). The Catholics only had six lessons (skipping Genesis and John’s gospel) but production values more similar to KCC.

Below are some notes on how I would organize an Advent L&C service if I were music director at an American Anglican parish:

1. Neither concert nor worship service. You should recognize that the form is not like anything else the church does during the year. It’s not a concert, with more scripture than the congregation will hear at any other service. At the same time, it does not follow set Anglican liturgy — the lessons, the hymns/anthems/carols, and perhaps an opening or closing prayer.
2. Major outreach/evangelism opportunity. This is one of the biggest opportunities of the year to bring visitors to church. (At the CoE service we attended, it was the largest turnout the new rector had ever seen). If the goal of the Church is to spread the Gospel, then there’s no better time during the year to do so. This means not just addressing it not only to active members, but irregular members, other C&E Christians, lapsed Christians and non-Christians.
3. Be friendly to visitors. If there are visitors, they won’t know your secret code or rituals — if you want them to feel welcome, things should be logical and understandable. The #1 rule is you need a program (which was not true at the CoE service) — to tell people where they are, what’s coming up, and also who’s singing what. (If money or the environment is the issue, a half sheet of paper is enough).
4. Your choir is not King’s College Cambridge. I’m singing in the best choir that I’ve been in since I’m 12, perhaps one of the best (organ-based) adult choirs of a Continuing Anglican church in California. (Let’s face it, in the ECUSA divorce they got custody of the cathedrals, organs and best music programs). But our choir is not King Choir Cambridge, and that’s true of 99.5% of the Anglican choirs in north America. Choir members, directors, organists etc. should remember is pride is a cardinal sin and humility a cardinal virtue: in this era of iTunes, Spotify and BBC, almost everyone has heard better performances. So be realistic in what you can do and then do your best, and don’t forget the most important rule…
5. People have come to sing carols. There is no time of the year when your congregation more wants to sing – unlike Easter, even non-Christians are going to know many of the carols. You need to give them a chance to sing — which for most churches means letting them sing at least a part of more than half the carols. The college did it well, but the CoE parish wouldn’t let us sing “O Little Town” while asking us to learn an unfamiliar carol.
6. Fill them with the joy of Christmas. We are preparing for one of the two universal feasts of the Christian year, and the one where the countervailing cultural pressures are the strongest. The lessons appeal to their heads — Jesus is the reason for the season — but singing carols should put joy in their hearts.
7. The goal is to bring them back. This is a major (and relatively straightforward) service to present and a chance to put your best foot forward. Regular members should look forward to it every year, while new (or prospective) members should want to come back again.

Merry Christmas everyone.

References

Cleobury, Stephen. (1988). “Nine Lessons and Carols at King's: 70 Years on.” The Musical Times 129 (1750): 687-689. URL: http://www.jstor.org/stable/966672

Do beloved carols teach the wrong lessons of Christmas?

Just before Christmas, First Things reposted a 2012 article (orginally written in 2009) about the importance of hymn doctrine in Christmas carols. It was the perfect topic for this blog -- the intersection of hymn theology and the most popular church hymns of the year -- but it was also at the busiest time of the year, the last few days before Christmas.

Now, on the 4th day of Christmas, I thought I'd use the article to interpret the Anglo-Catholic (Hymnal 1940) services we attended this year.

Our Christmas 2015

This year our family went to church twice to observe American Christianity's second greatest feast day, marking the Nativity of Our Lord.

The first was on Christmas Eve at our home parish, where our youngest was singing in the youth choir. As seems to be the norm for Protestant and Catholic churches nowadays, Christmas Eve is the main event: at our parish (like many others), there are two packed services, first around dinner time (for families) and the second around midnight (for adults). As elsewhere, the former was marked by lot of cute kids reenacting the Nativity scene, while the latter included the widest variety of Christmas tunes.

The second service said Mass with hymns)was a much smaller service (in terms of liturgy and attendance) held at 9am in the morning. As we have done every year since 2003, we visited Holy Trinity in San Diego with my wife's parents — first as an ECUSA parish in their long-standing sancutary, since 2011 an ACNA parish hot-bunking with Missouri Lutherans and led by the recently-named president of Forward in Faith, Rev. Lawrence Bausch.

The Wright Thesis

Provocatively entitled “How NT Wright Stole Christmas,” the article was by Peter Leithart, Reformed theologian and president of the Theopolis Institute of Birmingham, Alabama.

The premise of the article is that the theological writings of Scottish professor (and former CoE Bishop of Durham) N.T. Wright have ruined popular Christian interpretations of the significance of Jesus Christ.

Leithart argued that Wright first ruined movies about the Crucifixion, including The Passion of Christ:

I realized that N. T. Wright has spoiled every Jesus film.  Once you’ve read Wright, you realize that none of the movies get Jesus right.  … No film ever gives us what Wright says we should be looking for: a “crucifiable” Jesus, a Jesus who does something so provocative to make the Jews murderously hostile.  In the movies, Jesus is a hippy peace-child, a delicate flower of a man, a dew-eyed first-century Jewish Gandhi.  Why would anyone want to hurt Him?

He continued (in 2009):

Just this year, I had another realization.  N. T. Wright has spoiled Christmas too.

He made me see the fairly radical difference in tone and content between Advent and Christmas hymns.  Advent hymns, as you’d expect, are full of longing, and the language of the prophets.  Advent hymns are about Israel’s desperations and hope, and specifically  hope that the Christ would come in order to keep Yahweh’s promise to restore His people, and through them to restore the nations.
…
Advent hymns are about Israel.  They are deeply and thoroughly political.  Advent hymns look forward not to heaven but the redemption of Israel and of the nations, the coming of God’s kingdom on earth.

When we turn to Christmas hymns, these themes almost completely drop out.  How many Christmas hymns mention Israel?  Many refer to Bethlehem as the birthplace of Jesus, but Jerusalem?

Christmas hymns focus a great deal of attention on the details of the Christmas story, as is fitting.  There are shepherds and angels, Mary and Joseph and the baby in a manger, magi from the east. Sometimes the details are inaccurate (we don’t know there were three kings), Jesus did cry when He was a baby.  And Christmas seems to elicit some of the worst and most sentimental poetry ever written.

With this gauntlet thrown down, how did this year's services fare?

Christmas Eve

While the choirs performed various introits and anthems (including a version of “In the Bleak Midwinter”, #44 in H40), the congregation sang four hymns:

• 236 Once in royal David's city. This focuses on the details of the Christmas story, but does emphasize Jesus is fully Man and fully God.
• 42 Angels we have heard on high. Pretty much only about the Christmas story.
• 33 Silent night! Other than "Son of God," again a Christmas story.
• 27 Hark, the herald angels sing. While there are obviously angels and shepherds, the second verse seems to very clearly emphasize Christ the savior (even if it only partially links to the OT prophecies):

Christ, by highest heaven adored,
Christ, the everlasting Lord,
late in time behold him come,
offspring of a Virgin's womb.
Veiled in flesh the Godhead see:
hail, the incarnate Deity,
pleased as man with man to dwell,
Jesus, our Emmanuel.
Hark, the herald-angels sing
glory to the new-born King.

Christmas Day

• 12 O come, all ye faithful. Other than the allusion to John 1 in verse 6 ("Word of the Father, now in flesh appearing"), clearly a version of the Christmas story.
• 775 Joy to the world! [Only published in the final revision of H40, this includes the familiar US tune, unlike #319]. Of all this year’s hymns, the clearest exception to the Leithart thesis.
• 36 What child is this? Very clearly the manager, shepherd & Magi story.
• 30 The first Nowell.  Ditto.
• 21 O little town of Bethlehem. As the title suggests, it is much like the two previous hymns. The exception is the final verse: contrary to the Leithart stereotype, Fr. Bausch asked the congregation to mediate on this verse, which is entirely about the meaning of the coming of our savior:

O holy Child of Bethlehem,
descend to us, we pray;
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!

Joy to the World!

The real exception for our observance this year was Joy to the World! For many years, I remembered it as the exit hymn for a Christmas eve service: at the parishes I was at, on Christmas (as at Easter) the rectors wanted to select something that captures the exultation of the great feast and (perhaps being cynical) leaves people all pumped up.

I don't really care for the melody, because of the great range, the voice leading and that it's at the high end of my range. It's a little more interesting when I have a hymnal with Lowell Mason's harmony (which I've learned) and the organist is playing that harmony. Still, between the tune and the lyrics, it seems like a simple hymn — less nuanced than some of the others.

However, in retrospect I was selling short the 1719 text by the great Isaac Watts

Joy to the world! the Lord is come:
let earth receive her King;
let every heart prepare him room,
and heaven and nature sing,
and heaven and nature sing,
and heaven, and heaven and nature sing.

Joy to the world! the Savior reigns;
let us our songs employ,
while fields and floods, rocks, hills and plains
repeat the sounding joy,
repeat the sounding joy,
repeat, repeat the sounding joy.

No more let sins and sorrows grow,
nor thorns infest the ground;
he comes to make his blessings flow
far as the curse is found,
far as the curse is found,
far as, far as the curse is found.

He rules the world with truth and grace,
and makes the nations prove
the glories of his righteousness,
and wonders of his love,
and wonders of his love,
and wonders, wonders of his love.

Nothing of this year's services better fits Leithart's standard for an ideal Christmas carol: no baby Jesus, shepherds, angels or Magi. Instead, a song focused entire on the redemption of the world by coming of our King and Savior.

As the preface in morning prayer (at least in the 28 BCP) says from Advent 1 to January 13: “O come let us adore him.”

What H40 can learn from H82

Today was lessons & carols, an excuse to sing Christmas carols a few days early during the season of Advent.

I'm currently attending (for better or worse) a Hymnal 1982 parish — which presumably describes 99+% of ECUSA/TEC and the ACNA. I’ve previously complained about the political correctness of the H82 hymns, which is why it’s not my favorite hymnal. However, the Hymnal does correct one deficiency of Hymnal 1940: missing Christmas carols.

1. Joy to the World

The original Hymnal 1940 had an unfamiliar tune for “Joy to the World,” but was missing the familiar Handel tune that we all sing. In 1981, this was finally corrected in Supplement II (i.e. the 3rd edition of H40) when the familiar carol was added as #775. Supplement II also adds replaces the older Sanctus with a Sanctus+Benedictus for all eight variants of the service music.

2. Gabriel’s Message

All editions of Hymnal 1940 are missing “The angel Gabriel” aka “Gabriel’s Message” (H82: 265). A 13th or 14th century Basque text was published in 1895, translated into Victorian English by Sabine Baring-Gould (author of “Onward Christian Soldiers”). Sting (the 80s pop star) made a jazzy CD recording and music video of this carol.

It's not in H40, in Songs of Praise (1925) or the SOP Enlarged Edition (1931). Two carols (#37, #102) with similar names are published by the authors of the latter (i.e. Vaughan Williams and Dearmer) in The Oxford Book of Carols (1928), but the Basque version is nowhere to be found. The New Oxford Book of Carols (1992) has it (#196) with the original Basque text and a more literal translation.

3. Of the Father’s Love Begotten

There was another hymn from this week’s H82 service that I couldn’t find in my copy of Hymnal 1940: “Of the father’s love begotten.” However, in researching this blog post, this omission seemed implausible given the familiar associations with my childhood (which is why I blogged about it back in 2008. )

The carol uses a 4th century text translated into English by John Mason Neale, and paired by Neale with an 11th (13th?) century tune in Hymns Ancient and Modern in the 1860s. As it turns out, this hymn (H82: 82; H40: 20) is in Hymnal 1940, just not in the index where I thought it would be. And the older hymnal has an extra verse (albeit one marked as optional in 1940).

Golden Age of Christmas Carols

Every reader of this blog knows about the importance of the Tractarian (Oxford) movement of 19th century England in revival traditional hymnody, notably with the efforts of John Mason Neale that culminated with the publication of Hymns Ancient & Modern in 1861.

However, thanks to the excellent BBC 4 series hosted by Jeremy Summerly, I realized that the 19th century brought a comparable advance (and preservation) of Christmas carols.

The sixth episode, “A Second Golden Age”, outlines the role of Neale and Sir John Stainer in the 19th century carol revival. The episode was broadcast Dec 16 (and the BBC inexplicably cancels their back episodes after 7 days). In the episode, the cause of Stainer is advocated by Prof. Ian Bradley, author of the familiar hymn reference.

The episode identifies the key books of carols of the 19th century, all of which are out of copyright and thus (most) are available free online.

In 1822, Davies Gilbert published a collection of medieval Christmas carols that included “A Virgin Most Pure” and “The First Nowel.” A second, enlarged edition was published in 1823.

Many years later, Neale acquired a copy of Piae Cantiones, a 16th century compilation of Latin carols from Swedish-speaking Finland. From this, in 1853 he and Thomas Helmore published their own collection that includes “Good Christian Men Rejoice” and his own carol, “Good King Wenceslas.”

From the same source, Neale translated the text “Of the Father’s love begotten”, which was later published in Hymns Ancient & Modern with modification by H.W. Baker.

Finally, with H.R. Bramley, Stainer published his own collection of 20 carols in 1867, expanded to 42 in 1871 and 70 in 1878. This included “God Rest Ye Merry, Gentlemen,” “Once in Royal David’s City” and “What Child is This.” As Prof. Bradley notes, this put a large supply of singable carols in the hands of local vicars. Percy Deamer (the textual author of The English Hymnal and Songs of Praise) says “mainly to Bramley and Stainer that we owe the restoration of the carol”.

When looking for these books, I found background information at the website Hymns and Carols of Christmas (HCC) and so link that below. Some information can also be found at the IMSLP (International Music Score Library Project).

References

Theodoric Petri, Piae Cantiones, Greifswald, Sweden, 1582 (Reprinted in London 1910 and available from the U. Rochester Sibley Library). Summarized at HCC

Davies Gilbert, Some Ancient Christmas Carols, London, 1822 (available at Google Books) Summarized at HCC

Thomas Helmore and John Mason Neale, Carols for Christmas-tide, London, 1853. Summarized at HCC.

Henry Ramsden Bramley and John Stainer, Christmas Carols, New and Old, London, 1871 (Available at the CCEL) Summarized at the HCC.

Henry Ramsden Bramley and John Stainer, Christmas Carols, New and Old, London, 1878 (Available at the Internet Archive)

Edith Rickert, Ancient English Christmas Carols, 1400-1700, London, 1910 (Available at Google Books) Summarized at the gcc.

Let us be merry, our saviour is borne

Writing on the Catholic blog First Things, Matthew Schmitz remarks on why in English we say Merry (and not Happy) Christmas:

Christmas is conspicuously the only time of year when the word “merry” receives heavy use. The greeting “Merry Christmas” dates back to at least 1565, in which year the author of the Hereford Municipal Manuscript wrote “And thus I comytt you to god, who send you a merry Christmas & many.” Charles Dickens’ A Christmas Carol, published in 1843, pushed it forward, as did industrialization: The first commercially sold Christmas card (also printed in 1843) contained the salutation “A Merry Christmas and a Happy New Year to You.”
…

Queen Elizabeth, a woman of serious low-church piety, is said to prefer “happy” to “merry” because she dislikes “merry’s” connotation of boisterousness, even slight intoxication. …

This moral suspicion of “Merry Christmas” dates back to the Methodist churchmen of the Victorian era who sought to promote sobriety among the English working class. Merrymaking of the ancient, alcoholic sort was frowned on year-round, perhaps never more so than during the celebration of the Savior’s birth. …

We may no longer associate “merry” with spirits alcoholic as well as high, but the meaning was once familiar. “Merry” appeared in both the Wyclife and King James bibles in reference to intoxication, where it describes an evening in the life of the rich man Nabal: “He held a feast in his house, like the feast of a king; and Nabal’s heart was merry within him, for he was very drunken.” (To wish someone a holiday feast like Nabal’s was to wish him a very good Christmas indeed.)

This of course brings us back to the central tension ever since the creation of the Church of England — between the Reformed (low church, Puritan, Methodist) and Anglo-Catholic (high church, Oxford Movement, Catholic without the Pope) branches of the CoE and Anglicanism.

Meanwhile, the meaning of “Merry” brought to mind the refrain of an English folk carol

A Virgin unspotted the Prophet foretold,
Should bring forth a Saviour which now we behold,
To be our Redeemer from Death, Hell and Sin,
Which Adam's transgression involved us in.

Then let us be merry,
Cast sorrow away.
Our Saviour Christ Jesus
Is born on this day.

The words officially date to a 1750 text, and although there are many tunes, the one I know is Judea by William Billings (1746-1800).

Wikisource calls it “an English Marian folk carol of medieval origin.” Although not the most reliable of sources, the text is undeniably Mary-centric and with Billing’s tune has an Elizabethan (i.e. 16th century) feel to it.

So if savouring the news of our Saviour is catholic, high church or Marian, I’m all for it.

Merry Christmas!