Musical Advent Calendar – 12.La Peregrinación

La Peregrinación, the Pilgrimage, is a carol by the Argentinian Composer Ariel Ramirez, best known for his Misa Criolla, one of the first masses written in the vernacular, after that was permitted by the Second Vatican Council.

I first got to know it through the wonderful arrangement from the King’s Singers featured below, and only recently discovered that it’s part of a larger six movement work called Navidad Nuestra (Our Nativity) composed in 1964. The texts are by Félix Luna and each movement uses traditional Argentine dances and songs. For La Peregrinación Ramirez uses the popular folk dance huella pampeana and the lyricist locates the story in the north of his native Argentina, adding words from the indigenous guaraní language. La Huella is a narrow path across the pampas formed by the tracks of a horse or mule, but alluding to the folk dance ‘a la huella’ can also means ‘keep dancing’ and this creates the rather appealing image of Joseph and Mary dancing their way across the plains.

THE PILGRIMAGE

A la huella, a la huella
José y María,
por las pampas heladas
cardos y ortigas.

Follow the trail, follow the trail
Joseph and Mary
Across the frozen Pampas (South American plains)
Thistles and nettles.

Follow the trail, follow the trail
Cutting through the fields
There is no shelter, no inn
Keep on walking.

Little flower in the field,
Carnation of the air
If no one puts you up
Where will you be born?

Where will you be born, little flower?
Now that you are growing
Frightened dove
Sleepless cricket

Follow the trail, follow the trail
Joseph and Mary
With a hidden God
Nobody knew

Follow the trail, follow the trail
The pilgrims
Lend me a ruined house
For my child

Follow the trail, follow the trail
Through suns and moons
The little almond eyes
Olive skin.

Oh, little donkey in the field
Oh, reddish-grey ox
My child is coming
Make some space for him

A thatched hut
Is the only shelter I have
Two friendly breaths (the ox and the donkey)
The bright moon

Follow the trail, follow the trail
Joseph and Mary
With a hidden God
Nobody knew

 

LA PEREGRINACIÓN

A la huella, a la huella
José y María,
por las pampas heladas
cardos y ortigas.

A la huella, a la huella
cortando campo,
no hay cobijo ni fondo
sigan andando.

Florecita del campo,
clavel del aire,
si ninguno te aloja
¿dónde naces?

¿Dónde naces, florecita,
que estás creciendo,
palomita asustada,
grillo sin sueño?

A la huella, a la huella
José y María
con un Dios escondido,
nadie sabía.

A la huella, a la huella
los peregrinos,
préstenme una tapera
para mi Niño.

A la huella, a la huella
soles y lunas,
los ojitos de almendra,
piel de aceituna.

¡Ay burrito del campo!
¡Ay buey barcino!
¡Que mi Niño ya viene,
háganle sitio!

Un ranchito de quincha,
sólo me ampara,
dos alientos amigos
la luna clara.

A la huella, a la huella
José y María
con un Dios escondido,
nadie sabía.

 

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Musical Advent Calendar – 11.Riu, Riu Chiu

Today’s carol is a Spanish villancico (effectively the Spanish equivalent of a carol) attributed to Mateo Flecha the Elder, who died in 1553, and which has been performed by musical groups as diverse as the choir of King’s College, Cambridge and the Monkees.

The chorus and translation is as follows:

Ríu, ríu, chíu, la guarda ribera,
Dios guardó el lobo de nuestra cordera.

Riu, riu, chiu, the guard [shepherd] by the river: God protected our Ewe from the wolf.

‘Riu, riu chiu’ was a traditional call of Spanish shepherds when guarding their flocks by a riverside fold – in fact the catchy chorus may derive from a shepherd-song.  The chorus refers to God protecting Mary (the ewe) from the bite of the wolf, the lobo rabioso [Satan] , infecting her with original sin – a theme elaborated in verse 1.

As a good Baptist I am not a fan of the doctrine of the immaculate conception (although it’s clear Mary was a young girl of great faith!), but apart from that the carol is a pretty good summary of the Christmas story, as in verse 2:

Aunque era infinito Finito se hiziera – he was who was infinite became finite.

This performance is from the American group Chanticleer.

A Musical Advent Calendar – 9.This is the Record of John

In style, this piece for Advent is not a carol at all. It’s a verse anthem by the great Elizabethan and early Jacobean composer Orlando Gibbons, alternating tenor or alto soloists and choir. It was written sometime before 1620 for Archbishop Laud and his college, St John’s, Oxford – the college being dedicated to John the Baptist.

Gibbons sets verses from the gospel of John (John 1:19-23) from the Geneva Bible – a translation widely used at the time while the Authorised Version was still in its infancy.

This is the record of John, when the Jews sent priests and Levites from Jerusalem to ask him, Who art thou? And he confessed and denied not, and said plainly, I am not the Christ.

And they asked him, What art thou then? Art thou Elias? And he said, I am not. Art thou the prophet?  And he answered, No.

Then said they unto him, What art thou? that we may give an answer unto them that sent us. What sayest thou of thyself? And he said, I am the voice of him that crieth in the wilderness, Make straight the way of the Lord.

The text is a simple, almost prosaic narrative as the Jewish priests seek to find out and challenge who John the Baptist really is and why he is out in the desert doing what he is doing.  The setting is straightforward although beautiful and very effective, not without the odd moment of near comedy (“and he answered, ‘no’!!”), and it’s not until the climax of John’s declaration that he is “the voice of him that crieth in the wilderness” (taking his cue from the prophet Isaiah) that the the piece really takes flight and Gibbons shows his true genius. That moment really makes the piece for me – making it probably my favourite Advent anthem.

In this version it’s performed with tenor soloist and a consort of Viols rather than just organ.

 

 

 

A Musical Advent Calendar – 8.Ding! Dong! Merrily on High

Time for a jolly carol – an arrangement of the traditional carol Ding! Dong! Merrily on High. 

In fact it’s not that traditional, because although the tune is an old French dance tune, Branle de l’Official, the words are from the  English composer George Ratcliffe Woodward (1848–1934), and the carol was first published in 1924 in his The Cambridge Carol-Book.  It’s a good example of a macaronic carol (and that’s nothing to do with mac’n’cheese).

This version is an arrangement by Mack Wilberg, the current music director of the Mormon Tabernacle Choir. Check out the talented organist, Ben-San Lau, organ scholar at King’s back in 2010, particularly when he plays the Gloria on the pedals!

A Musical Advent Calendar – 7.Tomorrow Shall be my Dancing Day

You might not immediately think of this carol as one that belongs in your Church’s carol service,  whether with the traditional tune, or in my favourite arrangement by John Gardner, which dances along with the words. The refrain seems to reflect feasting and merry-making, rather that the real Christmas story. But as I have rehearsed it and sung it with choirs over the years it’s changed for me from being the sort of carol which you might want to sing at a carol concert, to one which encapsulates the heart of the gospel.

You might be familiar with the words…

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.

What on earth does that mean? What is the dance?

 

The dance is, I think, a picture of what the Revelation calls the marriage supper of the lamb – you can read about it in Revelation chapter 19:

 Then I heard what seemed to be the voice of a great multitude, like the roar of many waters and like the sound of mighty peals of thunder, crying out “Hallelujah! 
For the Lord our God 
the Almighty reigns.
 Let us rejoice and exult
 and give him the glory, 
for the marriage of the Lamb has come,
 and his Bride has made herself ready;
 it was granted her to clothe herself
 with fine linen, bright and pure”—for the fine linen is the righteous deeds of the saints. And the angel said to me, “Write this: Blessed are those who are invited to the marriage supper of the Lamb.”

And again in Rev 21:

Then I saw a new heaven and a new earth, for the first heaven and the first earth had passed away, and the sea was no more. And I saw the holy city, new Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband. And I heard a loud voice from the throne saying, “Behold, the dwelling place of God is with man. He will dwell with them, and they will be his people, and God himself will be with them as their God. He will wipe away every tear from their eyes, and death shall be no more, neither shall there be mourning, nor crying, nor pain anymore, for the former things have passed away.”

You’ll remember perhaps another parable in Matthew where we are called to be ready for Jesus to return, as a Bridegroom for her husband. I’ve already written about that when we listened together to Bach’s cantata Wachet Auf on Day 2. It’s a recurring Advent theme.

 

So it’s clear that each of us, as part of the Church as a whole, is called to be the bride of Christ, and one day we will be united with Jesus at his second coming. That’s the dance that we are being called to – the dance of Jesus’ second advent when we will be with him for ever and those wonderful promises of Revelation 21 will be fulfilled.

But back to our song. The original song Tomorrow Shall be my Dancing Day has eleven verses, which tell the story of Jesus’ birth, life, death and resurrection.  We’ll only hear the first four in this arrangement, but each concludes with the refrain.

Sing Oh! My love, oh! My love, my love, my love. This have I done for my true love.

Who is singing?  Well what immediately springs to mind for me is that beautiful passage in the Song of Songs chapter 2 which over the centuries has been interpreted as being the song of Jesus calling his bride the Church.

 My beloved speaks and says to me:
 “Arise, my love, my beautiful one,
and come away,
11 for behold, the winter is past;
the rain is over and gone.
 The flowers appear on the earth,
the time of singing has come,
and the voice of the turtledove
is heard in our land.
 The fig tree ripens its figs,
and the vines are in blossom;
they give forth fragrance.
Arise, my love, my beautiful one, 
and come away.

What moves me so much each time I sing this, is the wonderful news contained in this simple (and seemingly rather unspiritual) refrain, that everything in Jesus’ birth, death and resurrection and ascension was done for the glory of God and for his true love – and that’s us.   This is truly the heart of the gospel – God so loved the world that he gave his only begotten son. Now we can know that truth in part (and how we need to keep reminding ourselves of it) and one day when He comes again we will see him face to face.

A Music Advent Calendar – 4. Of the Father’s Heart Begotten

Of the Father’s Heart Begotten has always been a favourite carol of ours.  I remember hiring the music from OUP for the first Christmas orchestra I ever organised for St Andrew’s Street Baptist Church, Cambridge, while a student.  We later had the hymn at our wedding.

The hymn is based on the Latin poem Corde natus by the Roman poet Aurelius Prudentius, and there are various translations available, the most popular from J M Neale and Henry Baker and is most common sung to a metrical version of the plainchant Divinum mysterium.

The hymn talks of the Lord Jesus, born of the love of the Father’s heart, Alpha and Omega, the Word by whom all things were created, the promised Saviour foretold by the prophets, born in frailty to die to save us. The final verse, particularly in this arrangement below with a soaring descant by Sir David Willcocks, lifts our hearts to praise with “angels and archangels and all the company of heaven.”

At the Cantus Firmus Trust Advent Service, Coming Soon to a World Near You, as this post is published (Sunday 4th December 2016) we will be singing these words from Jubilate Hymns. If you are reading this on Sunday morning it’s not too late to join is and sing this wonderful hymn with us.

1 God of God, the uncreated,
love before the world began;
he the source and he the ending,
Son of God and son of Man,
Lord of all the things that have been,
master of the eternal plan,
evermore and evermore!

2 He is here, whom generations
sought throughout the ages long;
promised by the ancient prophets
justice for a world of wrong,
God’s salvation for the faithful;
him we praise in endless song
evermore and evermore!

3 Happy is that day for ever
when, by God the Spirit’s grace,
lowly Mary, virgin mother,
bore the saviour of our race.
Man and child, the world’s redeemer
now displays his sacred face
evermore and evermore!

4 Praise him, heaven of the heavens,
praise him, angels in the height;
priests and prophets, bow before him,
saints who longed to see this sight.
Let no human voice be silent,
in his glory hearts unite
evermore and evermore!

Corde natus ex parentis Jubilate Hymns version after Prudentius (348 – c.410), J M Neale (1818 – 1866), and H W Baker (1821-1877)
© Jubilate Hymns Ltd

A Musical Advent Calendar – 1. Lo He Comes

While there is more and more Christmas music available on CD and the radio and online, in some evangelical churches the traditional carols seem to be increasingly absent, which is a shame, perhaps because they don’t lend themselves to being played by a worship band.

There is so much wonderful truth – and some rather good backstories – in Advent and Christmas music, so for the next 24 days I thought I would draw attention to some of my favourites.

Where better to start than with Charles Wesley’s great Advent hymn, Lo He Comes with Clouds Descending.

According to the admirable notes from the New Oxford Book of Carols (NOBC), this hymn was written in the early days of Methodism, and based on a hymn by the Moravian John Cennick, whose original starts with the unlikely lines “Lo! he cometh; countless trumpets / Blow before his bloody sign.”

The tune first appeared in a publication by the Revd Martin Madan whose own story is about as colourful as John Cennick’s verse.[1]

But to return to the hymn, surely this is one of the greatest celebrations and anticipations of Jesus’ return, praying with Paul: “O come quickly!” – while not pulling any punches over how Jesus will be received by those who have rejected him.

Words and tune are a perfect match and always sum up Advent for me.

[1] According to the NOBC, Martin Madan was a dissipated man who underwent a sudden conversion after hearing Wesley preach (he had gone to mock his mannerisms), and eventually became a warden of a hospital for women suffering from fatal venereal infections. As a result of seeing these women driven onto the streets by poverty and the shortage of marriageable men, he wrote a treatise “…which advocated Polygamy as the lesser evil.  Forced to resign from the hospital in the resulting furore, Madan spent the rest of his life quietly in Kew, translating literary and theological works from the Latin.” As you would.