A Ceremony of Carols facts for kids

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Quick facts for kids A Ceremony of Carols
by Benjamin Britten
Benjamin Britten, 1968
Opus	28
Genre	cantata
Occasion	Christmas
Text	excerpts from The English Galaxy of Shorter Poems, ed. Gerald Bullett
Language	Middle English, Early Modern English, Latin
Composed	1942 (1942)
Movements	11
Scoring	Originally for three-part treble chorus, solo voices, and harp. Later arranged for soprano, alto, tenor, bass

A Ceremony of Carols, Op. 28, is a special collection of songs for Christmas. It was written by the famous composer Benjamin Britten. The music is mainly for a choir of young singers (like boys or girls) and a harp. Sometimes, solo singers also perform.

The words for the songs come from an old book called The English Galaxy of Shorter Poems. Most of the words are in Middle English, which is an old form of English. Some parts are in Latin and Early Modern English too. Britten wrote this music in 1942 while he was on a ship sailing from the United States back to England.

Britten created this music around the same time he wrote Hymn to St. Cecilia. He first thought of these as separate songs. But then, he decided to connect them all into one big piece. He did this by adding a special chant at the beginning and end. This chant is based on an old church song called "Hodie Christus natus est." A harp solo, and other musical ideas from the song "Wolcum Yole," also help tie the whole piece together.

The first version of A Ceremony of Carols was for a children's choir with three parts (two soprano parts and one alto part). Later, in 1943, a version for mixed choirs was made. This version included soprano, alto, tenor, and bass voices. Many of the songs are written like rounds or call-and-response pieces. This makes them easier for young singers to learn and perform.

The Songs
Discography
See also

The Songs

A Ceremony of Carols has 11 different parts, or "movements." Each movement tells a part of the Christmas story or celebrates the season.

1. Procession "Hodie Christus natus est"

This first song is like a musical parade. It's based on an old Gregorian chant called "Hodie Christus natus est." This Latin phrase means "Today Christ is born." Only the sopranos (the highest voices) sing this part. It sounds like a traditional church procession, where people walk in slowly. The music has no set beat, so it can be sung slowly and freely. This allows the singers to get into their places.

Text:
Hodie Christus natus est:
hodie Salvator apparuit:
hodie in terra canunt angeli:
laetantur archangeli:
hodie exsultant justi, dicentes:
Gloria in excelsis Deo.
Alleluia!

2. Wolcum Yole!

The second song is happy and lively! It's all about welcoming the important days of the Christmas season. These include Christmas Day, Saint Stephen's Day, St John's Day, and Candlemas. The words are in Middle English, which is a fun way to hear how English used to sound.

Wolcum, Wolcum,
Wolcum be thou hevenè king,
Wolcum Yole!
Wolcum, born in one morning,
Wolcum for whom we sall sing!

Wolcum be ye, Stevene and Jon,
Wolcum, Innocentes every one,
Wolcum, Thomas marter one,
Wolcum be ye, good Newe Yere,
Wolcum, Twelfthe Day both in fere,
Wolcum, seintes lefe and dare,
Wolcum Yole, Wolcum Yole, Wolcum!

Candelmesse, Quene of Bliss,
Wolcum bothe to more and lesse.
Wolcum, Wolcum,
Wolcum be ye that are here, Wolcum Yole,
Wolcum alle and make good cheer.
Wolcum alle another yere,
Wolcum Yole. Wolcum!

3. There is no rose

This song has a more serious and respectful feeling. The words are from the 15th century and are kept at Trinity College, Cambridge. The choir sings about the beauty of Jesus' birth. The sopranos and altos sing a soft, prayer-like tune. Sometimes, everyone sings together. This song uses both English and Latin words.

There is no rose of such vertu
As is the rose that bare Jesu.
Alleluia, Alleluia,
For in this rose conteinèd was
Heaven and earth in litel space,
Res miranda, Res miranda.

By that rose we may well see
There be one God in persons three,
Pares forma, pares forma.
The aungels sungen the shepherds to:
Gloria in excelsis, gloria in excelsis Deo!
Gaudeamus, gaudeamus.

Leave we all this werldly mirth,
and follow we this joyful birth.
Transeamus, Transeamus, Transeamus.
Alleluia, Res miranda, Pares forma, Gaudeamus,
Transeamus.

4. That yongë child

This part features a solo soprano singer with the harp playing along. It continues the respectful mood from the last song. The solo voice tells a story, almost like speaking through song.

That yongë child when it gan weep
With song she lulled him asleep:
That was so sweet a melody
It passèd alle minstrelsy.

The nightingalë sang also:
Her song is hoarse and nought thereto:
Whose attendeth to her song
And leaveth the first then doth he wrong.

5. Balulalow

"Balulalow" was written by the Wedderburn brothers around 1548. This song brings back the rest of the choir. It feels different from "That yongë child" because it's more joyful and has a different musical feel. It's meant to be a lullaby for baby Jesus. The soprano solo at the start makes you imagine the Virgin Mary singing to her newborn.

O my deare hert, young Jesu sweit,
Prepare thy creddil in my spreit,
And I sall rock thee to my hert,
And never mair from thee depart.

But I sall praise thee evermoir
with sangës sweit unto thy gloir;
The knees of my hert sall I bow,
And sing that richt Balulalow!

6. "As Dew in Aprille"

This song, written in the early 15th century, focuses on the Virgin Mary. The music is gentle and calming, slowly getting softer towards the end. The different voices in the choir overlap, creating a lovely echoing sound. At the very end, the music suddenly changes from very, very soft to loud!

I sing of a maiden
That is makèles:
King of all kings
To her son she ches.

He came al so stille
There his moder was,
As dew in Aprille
That falleth on the grass.

He came al so stille.
To his moder’s bour,
As dew in Aprille
That falleth on the flour.

He came al so stille
There his moder lay,
As dew in Aprille
That falleth on the spray.

Moder and mayden
was never none but she;
Well may such a lady
Goddes mother be.

7. This Little Babe

This song is very different from the others! It's from Robert Southwell's Newe Heaven, Newe Warre (1595). It has a darker, more intense feeling. The song describes a battle between the baby Jesus and Satan (good versus evil). The music is fast, with many different rhythms happening at once. It gets louder and louder, building to a big, exciting moment with a sudden key change.

This little Babe so few days old,
Is come to rifle Satan’s fold;
All hell doth at his presence quake,
Though he himself for cold do shake;
For in this weak unarmèd wise
The gates of hell he will surprise.

With tears he fights and wins the field,
His naked breast stands for a shield;
His battering shot are babish cries,
His arrows looks of weeping eyes,
His martial ensigns Cold and Need,
And feeble Flesh his warrior’s steed.

His camp is pitchèd in a stall,
His bulwark but a broken wall;
The crib his trench, haystalks his stakes;
Of shepherds he his muster makes;
And thus, as sure his foe to wound,
The angels’ trumps alarum sound.

My soul, with Christ join thou in fight;
Stick to the tents that he hath pight.
Within his crib is surest ward;
This little Babe will be thy guard.
If thou wilt foil thy foes with joy;
Then flit not from this heavenly Boy!

8. Interlude

This is a special part just for the harp! It's a solo performance that sounds peaceful and heavenly. The music is slow and gentle, creating a calm and beautiful feeling.

9. In Freezing Winter Night

This song also uses words by Southwell. It talks about the cold and humble conditions of Jesus' birth. The choir sings in a round, making an echoing sound. The choir and harp start at different speeds, but slowly come together. By the end, they are moving at the same pace, and the music softly fades away. This represents how Jesus brings peace and harmony to the world.

Behold, a silly tender babe,
in freezing winter night,
In homely manger trembling lies
Alas, a piteous sight!

The inns are full; no man will yield
This little pilgrim bed.
But forced he is with silly beasts
In crib to shroud his head.

This stable is a Prince’s court,
This crib his chair of State;
The beasts are parcel of his pomp,
The wooden dish his plate.

The persons in that poor attire
His royal liveries wear;
The Prince himself is come from heav’n;
This pomp is prizèd there.

With joy approach, O Christian wight,
Do homage to thy King,
And highly praise his humble pomp,
wich he from Heav’n doth bring.

10. Spring Carol

"Spring Carol" is a duet for two sopranos. It describes the beautiful signs of spring, like birds singing and flowers growing. The words for this song were also used by William Cornysh in the 16th century. The song ends with a call to thank God, which leads perfectly into the next movement.

Pleasure it is to hear iwis the Birdès sing,
The deer in the dale, the sheep in the vale,
the corn springing.

God’s purvayance For sustenance.
It is for man.

Then we always to him give praise,
And thank him than.

11. Deo gracias – Adam lay i-bounden

"Deo gracias" means "Thanks be to God." This song is based on a 15th-century poem. It tells the story of Adam and Eve and how Eve ate the forbidden fruit. It also talks about how this "mistake" eventually led to good things, like the birth of Jesus. The choir sings with strong, energetic thanks to God. The music uses short, sharp notes and rhythms that are a bit off-beat, making it sound very lively. The harp and choir get louder and louder until the very last note.

Deo gracias! Deo gracias!
Adam lay i-bounden, bounden in a bond;
Four thousand winter thought he not too long.

Deo gracias! Deo gracias!
And all was for an appil, an appil that he tok,
As clerkès finden written in their book.

Deo gracias! Deo gracias!
Ne had the appil takè ben, the appil takè ben
Ne haddè never our lady a ben hevenè quene.

Blessèd be the time that appil takè was.
Therefore we moun singen.
Deo gracias!

12. "Recession" ("Hodie Christus natus est")

This final song is almost exactly like the first "Procession" song. It's usually performed as the singers leave the stage. The music slowly fades away as the choir moves out of the performance area.

Hodie Christus natus est,
hodie Salvator apparuit,
hodie in terra canunt angeli,
laetantur archangeli:
hodie exsultant justi, dicentes:
Gloria in excelsis Deo.
Alleluia!

Discography

Here are some of the recordings of A Ceremony of Carols:

RCA Victor Chorale of women's voices, Robert Shaw conductor, Laura Newell harpist (1952)
Choir of St John's College, Cambridge, George Guest, Marisa Robles (1965)
Choir of King's College, Cambridge, David Willcocks, Osian Ellis (1972)
Wandsworth School Boys' Choir (1972), Susan Drake harpist
Christ Church Cathedral Choir, Oxford (1982)
Westminster Cathedral Choir (1986)
New London Children's Choir (1995), Ronald Corp, Skaila Kanga (harp)
Cincinnati Boychoir (1996)
Robert Shaw Chamber Singers (1997)
Australian Boys Choir (2013)
Choir of New College, Oxford, Edward Higginbottom (2013)
Czech Philharmonic Children's Choir (2017)