When does Christmas start? The shops stock Christmas in September; The Christmas adverts start in October; The radio plays songs from November; The decorations are up in December.
In the Church, Christmas truly begins with the Mass on Christmas Day. The preceding weeks make up the season of Advent—a time not of celebration, but of anticipation, as Christians prepare for the coming of Jesus. Advent is marked by an expectant waiting, a period of reflection and hope rather than immediate joy. While much of the music heard commercially in December is bright and jubilant, the music in Church during Advent carries a quieter, more contemplative tone, capturing the spirit of longing and preparation.
Christmas itself marks the arrival of the world’s saviour, yet the manner of Jesus’s arrival is deeply humble; he comes as a “little, weak, and helpless” child, as the carol Once in Royal David’s City so poignantly describes. This contrast between anticipation and fulfilment, and between grandeur and humility, defines the Church’s approach to the season, inviting believers to prepare their hearts for the profound mystery of the Incarnation.
It is little surprise, then, that the sacred music of Advent is among the most cherished in the choral repertoire. Composers have poured their hearts into creating pieces that capture both the reflective and, at times, jubilant spirit of this season. The 20th century saw a renewed interest in sacred music, and many composers were inspired to contribute works that have since become lasting treasures of the choral canon. These compositions resonate with the themes of hope and anticipation that define Advent, offering congregations and audiences a deep sense of spiritual preparation and beauty as Christmas approaches.
Ralph Vaughan Williams (1872–1958) was deeply captivated by the folk music tradition. Recognising that the oral tradition—and with it, many local folk songs—was gradually disappearing, he worked to preserve these melodies for future generations. In 1909, Vaughan Williams encountered the tune The Truth Sent from Above in Hereford and published it in the Folk-Song Society Journal that same year. He later harmonised the melody and incorporated it into his Fantasia on Christmas Carols in 1912. This carol narrates the wondrous story of Jesus’s birth, proclaiming him as the truth and the way, inviting listeners to reflect and prepare for his arrival during the Advent season.
Benjamin Britten (1913-1976) composed the earliest version of A Hymn to the Virgin in 1930, when he was still a schoolboy while recuperating in the school sanatorium. The text, dating back to around 1300, was taken from Quiller-Couch’s The Oxford Book of English Verse 1250–1900, which Britten had received as a school prize. In this work, Britten divides the choir into two groups: the main choir sings predominantly in English, while a smaller group responds with shorter phrases in Latin. The text explores the role of the Virgin Mary, mother of Jesus, in the nativity. Britten cherished this early composition throughout his life; and it was chosen to be performed at his funeral on December 7, 1976.
John Joubert (1927–2019), born in South Africa, moved to England in 1946, where he established a distinguished career in academia and composition. Over his lifetime, he composed more than 170 works for many of Britain’s leading orchestras, ensembles, and choirs. Torches, written in 1951, is perhaps his most renowned piece, becoming a staple of the British choral tradition after its inclusion in the first volume of Carols for Choirs. This vibrant carol, with its modal melody, bare fifths, and lively dotted rhythms, evokes a folk-like quality, offering a spirited, accessible portrayal of the news of Jesus’s birth.
Philip Heseltine (1894–1930), better known by his pseudonym Peter Warlock, was a music critic and composer with a famously bohemian lifestyle marked by merriment and debauchery. Warlock’s interests extended to the occult (as reflected in his chosen pseudonym) as well as folk music, which influenced much of his work. His collaboration with poet and journalist Bruce Blunt led to the creation of the beloved Christmas anthem Bethlehem Down, written in 1927 to fund their Christmas drinking. It is perhaps surprising that such a tender and earnest piece of music was written to fund such a nefarious lifestyle.
Herbert Howells (1892–1983), another distinguished pupil of C. V. Stanford, is celebrated for his choral compositions. Here is the Little Door, written in 1918, sets to music a poem by Frances Chesterton. The poem vividly portrays the Magi’s visit through a description of their symbolic gifts—gold, myrrh, and incense. Howells’s setting underscores the poignancy of the text, contrasting the innocence of Jesus’s tiny hands and feet with the foreshadowed sacrifice he would make for humanity. The result is a deeply moving work that captures both reverence and tenderness.
John Tavener (1944–2013) is renowned for his sacred choral music, much of it inspired by the liturgical traditions of the Orthodox Church. The Lamb, one of his most beloved compositions, was written in 1982 during a car journey to London. Tavener found inspiration in his young nephew, Simon, and in William Blake’s poem from Songs of Innocence. The text draws a parallel between the innocence of a newborn lamb and the humility of Jesus, who is often symbolised as the sacrificial lamb. Tavener highlights the duality of Jesus as both innocent and sacrificial through techniques like retrograde and inversion; melodies are frequently harmonised with reversed or inverted versions of themselves. Dissonant harmonies that challenge the listener are balanced against moments of tender, consonant harmony.
Elizabeth Poston (1905–1987) was encouraged to pursue composition by both Peter Warlock and Ralph Vaughan Williams. During World War II, she worked for the BBC European Service, where she is said to have played a role in sending coded messages to Allied forces. Later, she contributed to the establishment of the BBC Third Programme. Jesus Christ the Apple Tree is one of her most enduringly popular compositions. The origin of the text remains uncertain, though it appeared in several UK and American publications in the 18th century. In this work, Poston sets the text with a profound assurance of faith, capturing the spirit of reverence and hope that resonates deeply during the Advent season.
John Gardner (1917–2011) is best known for Tomorrow Shall Be My Dancing Day, his most enduringly popular carol. Composed for the Choir of St Paul’s Girls’ School, where he succeeded Herbert Howells and Gustav Holst as Director of Music in the 1960s, Gardner’s career also included teaching roles at Morley College and the Royal Academy of Music. The text of Tomorrow Shall Be My Dancing Day is linked to the tradition of mystery plays, medieval performances that dramatized biblical stories. The poem narrates the life of Jesus, from his birth to his resurrection, but Gardner focuses on the first four stanzas, which recount the birth of Christ, creating a vibrant and festive carol that captures the joy and wonder of the season.
William Matthias (1934-1992) was a Welsh composer noted for his choral works. While depictions of Father Christmas in sacred music are rare for perhaps obvious reasons, William Mathias’s Sir Christèmas (1969) is a delightful exception. The piece celebrates Jesus’ birth with exuberance and calls on everyone to join in the revelry with boisterous music. The organ part is rich with bold dissonances, while the melody is harmonized with medieval-sounding intervals of fifths and fourths. This energetic carol brings a joyful, slightly mischievous spirit to the Christmas celebration.
Sir John Rutter (b. 1945) is one of the most celebrated contemporary composers of choral music. As both a composer and conductor, Rutter has made a profound impact on choral music across the globe, with his music widely performed and cherished. Rutter composed the Shepherd’s Pipe Carol in 1966 while studying as an undergraduate at Clare College, University of Cambridge. Rutter has shared that his inspiration for the piece likely stemmed from his experience as a boy soprano in the opera Amahl and the Night Visitors, where he first encountered the sound of pipe music as Amahl journeyed to Bethlehem with the Biblical Magi. It was his first published work when he was just 18. Star Carol was composed in 1972 at the request of Sir David Willcocks and the Bach Choir. They sought a carol with a simple, memorable refrain that children could easily sing, continuing the Bach Choir’s long-standing tradition of engaging young voices in their Christmas concert.
Texts
Truth from Above
This is the truth sent from above,
the truth of God, the God of love;
therefore don’t turn me from the door
but hearken all, both rich and poor.
The first thing that I will relate,
that God at first did man create;
the next thing which to you I tell –
woman was made with him to dwell.
Then after that ’twas God’s own choice
to place them both in paradise,
there to remain from evil free
except they ate of such a tree.
But they did eat, which was a sin,
and thus their ruin did begin –
ruined themselves, both you and me,
and all of our posterity.
Thus we were heirs to endless woes
till God the Lord did interpose;
and so a promise soon did run:
that he’d redeem us by his Son.
At at this season of the year
our blest Redeemer did appear,
and here did live, and here did preach,
and many thousands he did teach.
Thus he in love to us behaved,
to show us how we must be saved;
and if you want to know the way,
be pleased to hear what he did say:
Hymn to the Virgin
Of one that is so fair and bright
Velut maris stella,
Brighter than the day is light,
Parens et puella:
I cry to thee, thou see to me,
Lady pray thy Son for me,
Tam pia,
That I may come to thee.
Maria!
All this world was forlorn
Eva peccatrice,
Till our Lord was yborn
De te genetrice.
With ave it went away
Darkest night, and comes the day
Salutis;
The well springeth out of thee.
Virtutis.
Lady, flower of everything,
Rosa sine spina,
Thou bear Jesu, Heaven’s King,
Gratia divina:
Of all thou bear’st the prize,
Lady, queen of paradise
Electa:
Maid mild, mother es
Effecta.
Torches
Torches, torches, run with torches
All the way to Bethlehem!
Christ is born and now lies sleeping;
Come and sing your song to Him!
Torches, torches, run with torches
All the way to Bethlehem!
Christ is born and now lies sleeping;
Come and sing your song to Him!
Ah, Roro, Roro, my baby,
Ah, Roro, my love, Roro;
Sleep you well, my heart’s own darling,
While we sing you our Rorro.
Sing, my friends, and make you merry,
Joy and mirth and joy again;
Lo, He lives, the King of heaven,
Now and evermore. Amen.
Bethlehem Down
When He is King we will give him the King’s gifts,
Myrrh for its sweetness, and gold for a crown,
“Beautiful robes”, said the young girl to Joseph
Fair with her first-born on Bethlehem Down.
Bethlehem Down is full of the starlight
Winds for the spices, and stars for the gold,
Mary for sleep, and for lullaby music
Songs of a shepherd by Bethlehem fold.
When He is King they will clothe Him in grave-sheets,
Myrrh for embalming, and wood for a crown,
He that lies now in the white arms of Mary
Sleeping so lightly on Bethlehem Down.
Here He has peace and a short while for dreaming,
Close-huddled oxen to keep Him from cold,
Mary for love, and for lullaby music
Songs of a shepherd by Bethlehem fold.
Here is the Little Door
Here is the little door,
lift up the latch, oh lift!
We need not wander more,
but enter with our gift;
Our gift of finest gold.
Gold that was never bought or sold;
Myrrh to be strewn about his bed;
Incense in clouds about His head;
All for the child that stirs not in His sleep,
But holy slumber hold with ass and sheep.
Bend low about His bed,
For each He has a gift;
See how His eyes awake,
Lift up your hands, O lift!
For gold, He gives a keen-edged sword.
(Defend with it thy little Lord!)
For incense, smoke of battle red,
Myrrh for the honored happy dead;
Gifts for His children, terrible and sweet;
Touched by such tiny hands,
and Oh such tiny feet.
The Lamb
Little Lamb who made thee?
Dost thou know who made thee?
Gave thee life and bid thee feed
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing wooly bright;
Gave thee such a tender voice,
Making all the vales rejoice:
Little Lamb who made thee?
Dost thou know who made thee?
Little Lamb I’ll tell thee,
Little Lamb I’ll tell thee:
He is called by thy name,
For he calls himself a Lamb:
He is meek and he is mild,
He became a little child:
I a child and thou a lamb,
We are called by his name:
Little Lamb God bless thee.
Little Lamb God bless thee.
Jesus Christ the Apple Tree
The tree of life my soul hath seen,
Laden with fruit and always green;
The trees of nature fruitless be,
Compared with Christ the Apple Tree.
His beauty doth all things excel,
By faith I know but ne’er can tell
The glory which I now can see,
In Jesus Christ the Appletree.
For happiness I long have sought,
And pleasure dearly I have bought;
I missed of all but now I see
‘Tis found in Christ the Appletree.
I’m weary with my former toil –
Here I will sit and rest awhile,
Under the shadow I will be,
Of Jesus Christ the Appletree.
With great delight I’ll make my stay,
There’s none shall fright my soul away;
Among the sons of men I see
There’s none like Christ the Appletree.
I’ll sit and eat this fruit divine,
It cheers my heart like spirit’al wine;
And now this fruit is sweet to me,
That grows on Christ the Appletree.
This fruit doth make my soul to thrive,
It keeps my dying faith alive;
Which makes my soul in haste to be
With Jesus Christ the Appletree.
Tomorrow Shall Be My Dancing Day
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;
Sing, oh! my love, oh! my love, my love, my love,
This have I done for my true love.
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.
Sing, oh! my love, oh! my love, my love, my love,
This have I done for my true love.
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.
Sing, oh! my love, oh! my love, my love, my love,
This have I done for my true love.
Then afterwards baptized I was;
The Holy Ghost on me did glance,
My Father’s voice heard I from above,
To call my true love to my dance.
Sir Christèmas
Nowell, nowell.
Who is there that singeth so,
I am here, Sir Christèmas.
Welcome, my lord Sir Christèmas!
Welcome to all, both more and less!
Come near, come near, come near,
Nowell, nowell.
Dieu vous garde, beaux sieurs,
Tidings I you bring:
A maid hath borne a child full young,
Witch causeth you to sing:
Nowell, nowell.
Christ is now born of a pure maid,
Born of a pure maid;
In an ox-stall he is laid,
Wherefore sing we at a brayde:
Nowell, nowell.
Buvez bien, buvez bien
Par toute la compagnie.
Make good cheer and be right merry,
And sing with us now joyfully
Nowell, nowell
Shepherd’s Pipe Carol
Going through the hills on a night all starry
On the way to Bethlehem
Far away I heard a shepherd boy piping
On the way to Bethlehem
Angels in the sky brought this message nigh:
“Dance and sing for joy that Christ the newborn King
Is come to bring us peace on earth
And He’s lying cradled there at Bethlehem.”
“Tell me, shepherd boy piping tunes so merrily
On the way to Bethlehem
Who will hear your tunes on these hills so lonely
On the way to Bethlehem?
Angels in the sky brought this message nigh:
“Dance and sing for the joy that Christ the newborn King
Is come to bring peace on earth
And He’s lying cradled there at Bethlehem.”
“None may hear my pipes on these hills so lonely
On the way to Bethlehem;
But a King will hear me play sweet lullabies
When I get to Bethlehem.”
Angels in the sky came down from on high
Hovered over the manger where the babe was lying
Cradled in the arms of his mother Mary
Sleeping now at Bethlehem
Star Carol
Sing this night (for a boy is born in Bethlehem)
Christ our Lord (in a lowly manger lies)
Bring your gifts (come and worship at his cradle)
Hurry to Bethlehem and see the son of Mary
See his star shining bright
In the sky this Christmas night
Follow me joyfully
Hurry to Bethlehem and see the son of Mary
Angels bright (come from heaven’s highest glory)
Bear the news (with its message of good cheer)
Sing, rejoice (for a King is come to save us)
Hurry to Bethlehem and see the son of Mary
See his star shining bright
In the sky this Christmas night
Follow me joyfully
Hurry to Bethlehem and see the son of Mary
See, he lies in his mother’s tender keeping
Jesus Christ in her loving arms asleep
Shepherds poor, come to worship and adore him
Offer their humble gifts before the son of Mary
See his star shining bright
In the sky this Christmas night
Follow me joyfully
Hurry to Bethlehem and see the son of Mary
Let us pay our homage at the manger
Sing his praise on this joyful Christmas Night
Christ is come, bringing promises of salvation
Hurry to Bethlehem and see the son of Mary
See his star shining bright
In the sky this Christmas night
Follow me joyfully
Hurry to Bethlehem and see the son of Mary
Hurry to Bethlehem and see the son of Mary
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