There are problems when one is trying to sing a carol written sometime in the 1600s, in a different language than the original. Tunes are preserved far more easily, I have discovered, and, with today's carol, I finally gave up trying to find something on youtube that sang either the original Catalan words, or a semi-accurate translation. The one I'm sharing with you today is the closest I could find and it's still a bit of a mish-mash. Anyhow, the words are still good, and I love the tune so much that I'm also sharing another version in which the author wrote his own lyrics; very good lyrics at that.

      El Can dels Ocells, known in English as "Carol of The Birds," was, as I mentioned earlier, a traditional Catalan carol probably written sometime in the 1600s, though the author's identity has, once again, been lost. The melody is the same, but the words, my friends, I have never seen such a universally widespread disagreement regarding how the Catalan words ought to be translated in English, or which verses should stay, or what birds should be included, and which should be scrapped. Allow me to demonstrate what I mean. Below are the original words with the literal translation in italics underneath.

                    

       And then, because I could, I am also sharing a lovely version with the same tune but with words written by Chris de Silva. It really captures the ethereal nature of the song, I think, and the words, of themselves, are quite beautiful.

                          

       This is one of those carols I might have shared five or more years ago. It is one that, in my zealous thunder-puppy years, I would have added to my roster that contained no songs written after the 1800s. I remember those. It took age to discover that good things had actually been created after that point. Then again, I may not have known about this song then, anyways.

       Be that as it may, far be it from me to put together a Christmas set without including at least one thing from the renaissance period or before. Just because I learned that some modern music can be good, means that I discard my primary mission for these posts, which was and is to unearth and share beautiful music that has become buried in history not simply obscurity. So, if you are already extremely familiar with this piece and it bores you, alas, but my guess is that for most of you this will be the first time you've heard it.

       Thomas Tallis took the text for this beautiful motet from a tenth century hymn book, either of French, English, or Italian origin. I cannot determine which. The author, once again, is anonymous. I don't recall who I've told this to, but now you'll know too, that I consider Latin to be the best language to sing in. I prefer singing in it even over English. Why? Because it lends itself so well to the tall, open vowels that characterize good singing. While other language's must be adapted slightly, pronunciation wise, to be understood while being sung, Latin need only be sung as it was meant to be pronounced. It is melodious and smooth. It rolls across the tongue like skater on ice, and once you have learnt the basics of Latin pronunciation, which are very, very simple, reading it becomes almost easier than that of English since a syllable or word pronunciation doesn't change based on the syllable or word that follows it, as it can in English. You know, like, "the song," and "the angel?" Say it out loud, and you'll know what I'm talking about. 

       I am a huge proponent of writing music in the language of one's intended audience, but every now and again I have a powerful urge to write something in Latin simply because I love it and it's beautiful to sing in. You may consider this odd, if you wish. I prefer to label it as polished and sophisticated taste, but to each his own. ;) 

       Leaving the language behind, the words are powerful too. I'm going to share the English translation with you here so you can see what's being said.

                  

    Today's carol has, at best, hazy origins. The first known publishing date was in 1926, but the author is unknown, and no one is certain when, exactly, it was written, though most believe it was sometime in the early 1800s. Beyond that, next to nothing is known. This is why, my friends, when you scribble a brilliant poem or piece of music down somewhere, either on a stray piece of paper or a notebook, just sign and date it. You never know whether one hundred years from now, someone might discover it, love it, and be scratching his head regarding the bloke who wrote it.

     I suppose, if you don't sign it, it might just become folk music later on down the road. That's a perk, maybe...? Still, just sign it.

    Anyhow, there are two version of this. One, the edition published in 1926 was put together by Reverend Pickard-Cambridge in Dorset, a region in southwest England. The music is fugal, meaning that the voices follow each other in round. The second version was arranged by the Copper family, a family of folk singers in the mid-1900s. The difference is mainly in the words rather than in the melody. I'll share both versions of the lyrics, but will share the Copper's arrangement for the video.

 I love the way it sounds when all voices are in motion. It's not as smooth as a simple round, but very harmonic in its own way. 

First off, Pickard-Cambridge's version:

Shepherds, arise, be not afraid
With hasty steps repair
To Bethlehem city see the maid,
With her blest Infant there.

Laid in a manger view the Child,
Humility divine:
Sweet innocence (how meek! how mild!),
Grace in His features shine!

For us the Saviour came on earth,
For us His life He gave,
To save us from eternal death
And raise us from the grave.

To Jesus Christ, our glorious King,
Be endless praises given!
Let all the earth His mercies sing,
Who made our peace with Heaven.

And the Copper Family version:

The line, "sin on earth" in this version is thought to be a corruption of "see the maid," since that makes more sense. However, in my mind, "seen on earth," is also a possibility. I'm no expert on this subject, and no one knows for certain, so we can but speculate on why the Copper family decided to sing, "sin on earth," which makes little sense in context. However, such is life. The biggest difference between these versions is the repeated chorus in the Copper version as well as the fact that there are only three verses. 

What think you? Which is your favourite?

        Let me know what you think of the carol. I think we really ought to get a group together to sing it sometime.

            Until Tomorrow,

                    ~ Christianna

 

 

      Today's post will be very short. I have too many things to do today, and not enough hours in the day to do them. This is a carol I wanted to share last year, but couldn't find it on Youtube. So, this year, I elected to put it on Youtube myself. For better or for worse, I spent time that I would normally have used to write, ripping the CD and creating a semi-decent video...really just an easily listenable audio file...and now have no time to write. 

     Here we are. I love this carol. Very simple, very sweet. (If you say "demure," I shall glare at you.)

     There are not enough good Christmas carols written for children, and, by good, I mean carols that adults can enjoy too. This is one of them. Last year I shared another carol by this same composer, Emmanuel, by Vince Ambrosetti. Today it's his gentle narrative, "Listen Children."

    I think the carol speaks for itself. Happy Christmas seven days away.

                 

         What does Jesus have to with apples? Well, everything if we're talking about "Jesus Christ the Apple Tree," a carol published in 1761 generally attributed to a Rev. Richard Hutchins who I'd never heard of before now. It is set to a beautiful tune by Elizabeth Poston and is one of those ubiquitous carols which is associated with Christmas, and yet never mentions the birth of Christ or the incarnation. At the same time, what is the centre of Christmas but Christ, Himself, and this carol is so perfectly and beautifully centred around Christ that I consider it to be a fitting meditation for Christmastime, even if it is not explicitly a Christmas carol.

         Also, since it is pretty universally considered a Christmas carol, you are likely to hear it only around Christmas, and therefore, I feel justified including it in this series. 

      As far as I can tell, there have been put forth two possible origins for the idea of this carol, one is that it was taken from Song of Solomon 2:3, "Like an apple tree among the trees of the forest, So is my beloved among the young men. In his shade I took great delight and sat down, And his fruit was sweet to my taste."

      I think that's a very plausible origin. The other posited option is that it came from the old English custom of wassailing in which health was often wished to apple trees. If you want to learn more about wassailing and what it was, stay tuned for future posts in this series where the topic will come up, I promise. I have plans. However, back to the point, I believe this is also a plausible solution. Quite possibly both thoughts were in the author's mind when he penned this lovely song. 

       However it was, I'm so glad it was written. Take these verses, each one is beautifully and cleverly crafted. Take the first verse, for example: 

                         

      I love how I never seem to run out of traditional carols to share. Today's is already a favourite of mine because it is a traditional Scottish carol. This lilting song takes a unique approach in the form of questions and answers, first asking why or who each aspect or person of the Christmas story is present, and then answering it. 

     Take the first verse, for example:

What strangers are these that wander through the town?
Hush, 'tis Joseph and weary Mary.
And what does he seek so hopeless and in vain?
He is seeking shelter for Mary.
For she is the blest and chosen of the Lord,
Who will bear to us a goodly King.
And who is this king of whom ye proudly sing?
Know ye not the Christ, Jesus the Saviour?

     This form persists throughout all three verses. I find it absolutely brilliant and marvel that the author has been lost to history. The verses don't stop at simply telling the Christmas story, however. The third verse ends with an exhortation placed in a different direction:

Who are these that march from death unto life?
These are they who love Jesus the Christ Child.
And how do they triumph o'er the gates of hell?
Through the grace of him, Jesus the Saviour.
He is born to redeem mankind from sin and strife,
To bring peace, joy, love and brotherhood.
O where shall I find him? Where shall I seek?
He is here and now, Jesus your Saviour.

       Who are these, indeed? I love that this carol doesn't stop simply at telling the nativity story but goes on to tell the entire story of Christendom, finishing with the final appeal: "O where shall I find him? Where shall I seek?" The cry of all those who yearn for redemption. The answer at the manger holds true now, and will do so until Christ returns: "He is here and now, Jesus your Saviour." What a blessed promise that is, friends. Seek him while he is here, call upon him while he is now. This is the only way to march from death to life. I hope you'll join me on that march.

                      

What strangers are these that wander through the town?
Hush, 'tis Joseph and weary Mary.
And what does he seek so hopeless and in vain?
He is seeking shelter for Mary.
For she is the blest and chosen of the Lord,
Who will bear to us a goodly King.
And who is this king of whom ye proudly sing?
Know ye not the Christ, Jesus the Saviour?

What wee bairn is this that in a manger lies?
Hush, 'tis Jesus Christ, Son of Mary.
Say what fair maid is this whose joy is mixed with awe?
O 'tis Mary, Holy Mother of Jesus.
O these are the shepherds and these the magi kings
Who have brought him their gifts of gold and myrrh.
But why kneel in homage here before a babe?
They adore their King, Jesus the Saviour.

Who are these that march from death unto life?
These are they who love Jesus the Christ Child.
And how do they triumph o'er the gates of hell?
Through the grace of him, Jesus the Saviour.
He is born to redeem mankind from sin and strife,
To bring peace, joy, love and brotherhood.
O where shall I find him? Where shall I seek?
He is here and now, Jesus your Saviour. 

     And I think that's all I need to say on that. Enjoy this lovely old carol today, and may you be able to call Jesus your Saviour from now and through eternity.

      Until tomorrow,

                ~ Christianna

     In the 1300's Julian of Norwich claimed to have had a series of heavenly visions in one of which Jesus appeared to her and gave her assurance regarding the presence of evil in the world. He is said to have ended with these now iconic words: "All shall be well, and all shall be well, and all manner of things shall be well."

     Though none can know for certain whether these were the actual words of Christ, they do proclaim a truth that has comforted Christians throughout the centuries, stretching back to a time before Christ. "All shall be well!" Was proclaimed by Adam to His son Seth, by Noah when he built the Ark, by Abraham when he packed up his household and set out from Ur, by Moses when he stood before Pharaoh, by Ruth when she left her homeland to go with Naomi, by David when he chose five stones from the brook Kidron, by Nehemiah when he left the Babylonian court for a shattered Jerusalem, Mary when conceived her firstborn by the Spirit of God, and by the Angels, the night of the Christ child's birth.

"All shall be well!" They cried, if not with their lips, their faith in God, "All manner of things shall be well."

That is what God is about, you see. He is in the business of making all manner of things to be well, and for our little planet spinning amidst the twinkling spirals of the milky way, that culminated in the birth of God's son, born of a woman, born under the law, that He might redeem those under the law. We can now say, not only that all shall be well, but that all is well. Emmanuel has come. God is with us. All is indeed well, and all manner of things shall be well, by and by.

This brings us to today's carol: All is Well by Michael Smith. I'm not a great lover of Michael Smith on the whole, and I tend to shy away from pop Christian music on the whole. However, every year I do include one or two that I find beautiful, and this is one of them. This moving Christmas carol manages to encapsulate both the stillness and the joy of Christmas in the same space. I'm not entirely sure how it manages, but it does. 

I'll leave it there because I've had a full day and I'm exhausted. You can have more tomorrow, but be it known, this was posted before midnight on the proper day, so, even if you see this tomorrow, I have proof that I did not post two in one day. Alright, that's it for tonight. I hope you enjoy this lovely song either as a lullaby before bed or call to rejoicing in the morning.

                            

     I have loved today's carol for a long time, but gone back and forth about the rightness of it. After all, if we are to preach the gospel in it's original form and not make substitutions to cater to different cultures, how is this an exception. You might guess from the photo by now that I'm talking about the Huron carol. 

     It refers to braves rather than shepherds, and God as Gitche Manitou. What am I to do with this?

     What I didn't do was actually look into the origins of the song. The Huron Carol was written in 1642 by Jean de Brébeuf, a Jesuit Missionary with the Canadian Huron Indians, and he wrote it in their native language. When the song became popular in later centuries and was translated into English, the Huron word for God, "Gitche Manitou," or, simply, "Manitou" was retained. That was a valid translation, I'll concede, and it was a valid term to use. The other term I have more of a problem with is the hunter braves rather than Shepherds. 

      I understand that the Hurons probably had no idea what a shepherd was, and, most likely, didn't even have a word or phrase for such a thing in their language, but then, I've always believed, in such a case, you ought to teach them what Shepherds are, rather than making a substitution for something in their own language. After all, we Europeans had to learn what Magi were rather than call them "Kings" as the songs like to do. 

     However, with this realization, I leaned that I had an awful lot of grace for the "King" substitution in European mythos simply because I'm used to it. Surely I can show a bit of grace for a Jesuit missionary who was trying to teach the Huron's the truth of Christ's incarnation through song, and, I might add, a very lovely song at that. 

      So, without further ado, I present to you the beautiful Huron Carol, in English, of course. This version is arranged by none other than Dan Forrest who did a simply magnificent job with this. Below are the lyrics since it's a little hard to understand. I do think that Brébeuf was brilliant with weaving in the Latin at the end. That was the other thing that didn't change across translations, and I love it.

                             

  

 

 

        Good afternoon, friends! It is that time of year again, already. What concerns me, however, is not the passage of time, but the fact that the last post on this blog was my last Christmas series post from last year. I have not posted at all in 2024 until now. What that means for blog posts in the future, I'm not really certain, but I do know that my current aspiration is to post more in 2025. Lord-willing this year's Christmas series will not be the last you hear from me until next Christmas. 

       Now that we've got that sorted, we'll move on to the subject of today's post. Thinking through possibilities for the first day of the year, I knew I wanted to share a song that was a little more eclectic than the common fair we are pelted with, around this time, but I thought it wouldn't be a bad thing if I shared something many of you had heard before; even something I've shared on this blog before.

       Considering the news this year; meeting the man who overturned all of my well-meaning fantasies about a future husband, and then accepting his proposal, it seemed fitting to me to remind myself, as well as the rest of you, who the ultimate wooer and lover of our souls is. I need something to anchor myself even when I am getting swept off my feet by a wonderful man with a lot of charm and, what the young people like to call, "rizz." 

     On this first day of my advent series, I'd like us all to consider Christ, not merely as the babe in the manger, but as the dazzling prince, the darling of heaven, performing the ultimate coup in the history of human existence. His bride, His chosen one had run off with His enemy, was feasting and dancing in His courts, and Christ gave up His own princedom and, ultimately, His life, to pursue her. 

      There has been no greater lover in history, no more self-sacrificial or gallant man time began, nor will there ever be. No, not even John Matthews himself, can find himself a foothold in my heart as deeply as Christ has, and neither should I in His, because Christ, the great lover, has come to call His true love to the dance. Let us dance with Him, friends, this glorious Christmastime. Remember who loves you most of all, and render all your love to Him so that you may love your brother fully. Join the dance with me!       

                                      

Tomorrow shall be my dancing day;
I would my true love did so chance
To see the legend of my play,
To call my true love to my dance;

Then was I born of a virgin pure,
Of her I took fleshly substance
Thus was I knit to man's nature
To call my true love to my dance. 

In a manger laid, and wrapped I was
So very poor, this was my chance
Betwixt an ox and a silly poor ass
To call my true love to my dance. 

Then afterwards baptized I was;
The Holy Ghost on me did glance,
My Father’s voice heard from above,
To call my true love to my dance. 

Into the desert I was led,
Where I fasted without substance;
The Devil bade me make stones my bread,
To have me break my true love's dance. 

The Jews on me they made great suit,
And with me made great variance,
Because they loved darkness rather than light,
To call my true love to my dance. 

For thirty pence Judas me sold,
His covetousness for to advance:
Mark whom I kiss, the same do hold!
The same is he shall lead the dance. 

Before Pilate the Jews me brought,
Where Barabbas had deliverance;
They scourged me and set me at nought,
Judged me to die to lead the dance.

Then on the cross hanged I was,
Where a spear my heart did glance;
There issued forth both water and blood,
To call my true love to my dance.

Then down to hell I took my way
For my true love's deliverance,
And rose again on the third day,
Up to my true love and the dance.

Then up to heaven I did ascend,
Where now I dwell in sure substance
On the right hand of God, that man
May come unto the general dance. 

    Generally only the first three verses are sung, as in the video, but I thought you all would enjoy reading all eleven of them.  Let me know if you've heard of this song before. If so, sing it with me today, if not, now is your time to learn it! You're welcome. ;)

      Until tomorrow,

                ~ Christianna