The most beautiful Christmas carol
in human history
This is saying quite a lot; the competition for "most beautiful Christmas
carol"
includes possibly fifty other songs that could reasonably claim this
distinction.
On a given day, or as the result of performance excellence, or personal
passions
or still other factors, it would be entirely understandable to choose
some other carol for this high honor.
But here it is, five days after discovering the incredible performance
of the medieval song, "Personent Hodie," by the Honors Chamber Singers,
Chorale, and Contemporary Vocal Ensemble of Loyola University,
of Chicago. I still cannot get enough; for now, at least, I don't even
want to listen to anything else.
If there is such a thing that combines perfect choral singing, perfect
instrumental performance, in a setting that maximizes the sound of
the musical composition in a perfect way, this is it. Everything
about this is mind-blowing; when I first heard it my reaction
was one of incredulity and the greatest thankfulness for finally
finding not only a song I had been looking for, for many years,
but a flawless and inspired performance like none other.
Exactly when I first heard Personent Hodie is uncertain. For sure
this took place no later than about 2005, but it may have been
long before that. The song is relatively well known for a medieval
Christmas carol and has been recorded maybe 25 times that can be
found on YouTube, not counting other versions elsewhere. Still.
it is not nearly as well known as other medieval or Renaissance
Christmas classics like the Wexford Carol or "Three Ships" in some
early version, or "Tomorrow will be my dancing day," or the "Cherry Tree
Carol," a classic long before the 19th century. There is a lovely recording
of this later carol, sung by Judy Collins in 1996, available on YouTube.
Also very old is the carol featuring King Wenceslaus, which seems to be
based on "Tempus adest floridum" of ca. 1250 AD; there is some
uncertainty inasmuch as the supposed Latin original is somewhat different.
But the 13th century apparently is as far back as we can reasonably go
in determining the age of almost any such music. There are a few
exceptions,
one song dates to as far back as 1000 AD, but that is the known limit.
Otherwise the first known carols in European history, as far as anyone
can be certain, date to 1223 when St. Francis of Assisi is generally
credited
with introducing the custom of singing lively songs at Christmastide
rather than
the more traditional chant-like hymns that were just about universal
until then.
Wassail songs, which eventually morphed into the kinds of carols which
have come to characterize British Christmas songs, also date to this era,
although no-one can be certain which came first and we may never know.
In any case, Personent Hodie is an absolute treasure and it can confidently
be traced to about 1360; a manuscript of that time was discovered in the
German town of Moosburg in Bavaria although later versions change the
words and slightly modify the melody here or there.
Before going further it would be a good idea to get some details right.
Personent Hodie should not be confused with another ancient song for
the season, "Hodie Christus Natus Est," Today Christ Is Born, which
has been set by a number of famous historical composers including
Palestrina, Gabrielli, and Sweelinck. Nor should it be confused with
Gaudeamus Hodie, which is also very old. Those are different musical
compositions. Which was why I had such difficulty finding the music;
I had mistakenly remembered the title as "Hodie Christus Natus Est
The word Hodie is pronounced as Hoe-dee- ay (as in "say"or "play,"
not "Hoodie"). A Google search, unless you are aware of the problem,
may turn up Hoodie.
The earliest known text of the composition was part of a collection
of medieval carols entitled "Piae Cantiones" originally published in 1582.
The carol is sometimes referred to under this nomenclature. The
pronunciation
is "pee-ay (as in "day" or "pray") not as in "apple pie"; nor as in "Lower
Paiae"
on Maui.
Similarly for Pie Jesu from the Faure Requiem, viz, "pee-ay Yay-soo."
Various carols from the Piae Cantiones remained current in Finland until
approximately 1850 AD or somewhat later. A copy of the songbook
was given to the British ambassador to Sweden in 1852; the collection
had been assembled by a Swedish Lutheran clergyman. The 1852 book
was subsequently passed on to British musicologists who, in 1853 or 1854,
published a version that then entered the modern era musical performance
repertoire.
The process of adoption of this "new" Christmas carol was expedited by
an orchestral arrangement made by Gustav Theodore Holst in 1916.
There was an organ-only version as well that became commonplace
in Anglican churches as a processional anthem; the original Holst version
took on a life of its own and was broadcast with some regularity on the BBC
until 2011, its last known on-air performance. This arrangement sometimes
is called the "Theodoric" version, a reference to the Holst's middle name.
What also contributed to the growing popularity of Personent Hodie
was an English language translation written by Jane Joseph (1894–1929),
a version which has given rise to an English language tradition in which
the music is sung under the title "On this day earth shall ring,"
after the opening words:
On this day earth shall ring
with the song children sing
to the Lord, Christ our King,
born on earth to save us;
him the Father gave us.
Refrain
Id-e-o-o-o, id-e-o-o-o,
Id-e-o gloria in excelsis Deo!
The 1582 Latin lyrics are:
Personent hodie
voces puerulae,
laudantes iucunde
qui nobis est natus,
summo Deo datus,
et de vir, vir, vir
et de vir, vir, vir
et de virgineo ventre procreatus.
In some editions the repeats are not spelled out and we get:
Personent hodie
Voces puerulae,
Laudantes iucunde
Qui nobis est natus,
Summo Deo datus,
Et de virgineo
Ventre procreatus.
Etc.
Here are the complete Latin lyrics along with an English language
version as prepared by Walter Bitner in 2011:
Latin Lyrics:
Personent hodie,
Voces puerulae,
Laudantes iucunde,
Qui nobis est natus,
Summo Deo datus,
Et de vir vir vir,
Et de vir vir,
Et de virgineo,
Ventre procreatus.
In mundo nascitur,
Pannis involvitur,
Praesepi ponitur,
Stabulo brutorum,
Rector supernorum,
Perdidit dit dit,
Perdidit dit,
Perdidit spolia,
Princeps Infernorum.
Magi tres venerunt;
Munera offerunt;
Parvulum inquirunt,
Stellulam sequendo,
Ipsum adorando,
Aurum, thus thus thus,
Aurum, thus thus,
Aurum, thus et myrrham,
Ei offerendo.
Omnes clericuli,
Pariter pueri,
Cantent ut Angeli:
"Advenisti mundo,
Laudes tibi fundo,
Ideo o o,
Ideo o,
Ideo: Gloria,
In excelsis Deo."
English Translation:
Today must resound,
Children's voices,
Praising delightfully,
He who is born to us,
Given by most high God,
And of a vir vir vir,
And of a vir vir,
And of a virgin,
Womb begotten.
Born into the world,
Wrapped in swaddling clothes,
Placed in a manger,
In a stable for animals,
The Master of the heavens,
Rescued cued cued,
Rescued cued,
Rescued the spoils,
Of the Prince of Hell.
The three Magi came,
To offer gifts,
Inquiring for the Little One,
Following after a star,
They adored Him,
Gold, frankincense cense cense,
Gold, frankincense cense,
Gold, frankincense and myrrh,
They offered to Him.
All the small shepherds,
As if they were children,
Sang with the Angels:
"You have come to the world,
Praise to Thee be given,
Therefore fore fore,
Therefore fore,
Therefore: Glory
To God in the highest"
A stunningly beautiful modern version of the medieval carol, sung in
English,
can be found on YouTube under the title: "Ideo -An ancient Christmas
Carol."
Two arrangements of Personent Hodie were made by _John Rutter_
(https://en.wikipedia.org/wiki/John_Rutter) ; one for
choir and orchestra that suggests medieval instrumentation, with another
in his anthology Dancing Day which can be sung either by girls or women,
or by boys. This version features a choice of harp or piano
accompaniment.
But by now there have been maybe a dozen renditions, the most famous
of which seems to be that of Lara Hoggard, the version made use of
by Loyola University. And made use of in other settings of many
descriptions.
Not that the Rutter version is shabby in any way. Indeed, in some ways
you can say it is better, especially if you prefer an up-tempo
interpretation.
Still, there is something special about the Lara Hoggard rendering -which
makes the most of whole notes to create an almost organ-like sound
to the human voice which, in some venues, resonates vibrantly.
A performance of the Rutter version by the University of Louvain
choral ensemble in 2014 can be said to resemble Lara Hoggard's version
for its sonoric qualities.
Interesting about the Louvain performance is that the choir also sang
Gaudete in a very similar style, a composition that, when you hear it,
seems to belong with Personent Hodie as if it is a companion piece.
Hearing Gaudete along with Hodie and you should have no difficulty
in making a connection to the musical world of Carmina Burana.
There are several first class performances of Gaudete available on YouTube.
Mention should be made of the Mediaeval Baebes rendering, of the
version performed by the Choir of Clare College at Cambridge,
and by The King's Singers. Gaudete, for your information,
is pronounced something like "geow" (or "Gow") day tay..
---
Another version of Personent Hodie that deserves note is that of Alice
Parker.
A performance is available on YouTube, presented by the Colorado Springs
Chorale in 2015. It features piano obbligato with a number of new
harmonies.
There also are hand bell versions, a brass band version, a version for
children's voices only, several for women's voices only, two or three
for men's voices only, and a few boys' or girls' versions. There is a
Jazz version as well, the work of Richard A. Williamson and the
Lorenz Corporation.
The Lara (think "Larry") Hoggard version deserves some commentary.
He has become undeservedly an unknown figure in the history of choral
music in America, someone whose accomplishments were impressive
by any standards, who had a professional career in this field that dated
to the early 1930s, not ending until near his death at age 92 in 2007.
Along the way he was a hero in World War II during the Battle of Leyte
Gulf
where he was a communications officer on board the light aircraft carrier,
USS Sangamon, commanded by Admiral Thomas Sprague.
Hoggard received special commendation for his efforts and was then
ordered back to Washington, DC, to act as symphony conductor for
the popular radio show, The Navy Hour.
Before the war Hoggard had already created a reputation for himself that
had earned the respect of noted music critic Deems Taylor to the effect
that there simply wasn't a better choral director in the United States.
Taylor's judgement reflected the work that Hoggard had done at
Oklahoma University in making its choral ensemble unmistakably
world class.
After WWII, Hoggard returned to school to obtain his doctorate in music
from Columbia, which he accomplished in 1947. It was in 1948 that he
became director of Fred Waring's Pennsylvanians, the nationally known
choral group, heard on radio from coast to coast. Hoggard also was featured
on the new medium of television later in the 1950s, employed by
NBC and CBS.
Keep in mind that Hoggard replaced none other then Robert Shaw and, in the
process, establishing himself as a choral festival and workshop conductor,
for one example, and no small accomplishment, directing the orchestra
for the Centennial Celebration of the Church of Latter Day Saints
in Salt Lake City.
In 1953, when working for the Pennsylvanians in New York City, Hoggard
was contacted by music promoters in North Carolina who asked him to
serve as director for a new high school choral institute. Hoggard thought
this was an excellent opportunity and he set out to organize the North
Caroline
Summer Institute for Choral Art, a post he was to hold for the next 31
years.
Hoggard was never all that happy in large cities and in 1955 he left New
York
for good to take on still another assignment, that as director of the glee
club
of the Indian Springs School (near Birmingham, Alabama). Within a few years
that ensemble had a reputation as one of the best choral groups in the
entire Southeast. There was much more, but to give you some idea...
In 1960 Hoggard relocated to Hemet, California, to work in setting up a
choral group there under auspices of the University of Southern California.
But an offer he could not refuse came from Midland, Texas, to serve as
director of the Midland-Odessa Symphony Orchestra and Chorale,
which was his home from 1962 until 1967.
That was the year that the University of North Carolina at Chapel Hill
recruited Hoggard. At that school Hoggard could show what he was capable
of doing in the world of choral music. Among other things, during his
first year Hoggard acted as
conductor for the premier of Dave Brubeck’s
oratorio "Light in the Wilderness." In a few years, Hoggard also founded
the
world class Carolina Choir, which soon gained international recognition
resulting in Hoggard traveling to Austria and other parts of Europe in
subsequent years, both to direct various European orchestras and choral
groups as well as the ensemble from the University of North Carolina
he had created -a group that, by 1972, consisted of five specialized
singing groups.
Hoggard finally retired in 1980, spending the last 27 years of his life
in Chapel Hill. Some time in early retirement was when Hoggard
composed his version of Personent Hodie; a date of 1983 or 1984
might be used as a reasonable approximation. Materials I have
consulted do not provide a specific date of composition.
All of which, at any rate, helps explain why many performances of the
Personent Hodie were featured where they were.
The first version of the composition was the result of a request from the
Dallas Symphony and Chorus. The music was set for full chorus of sopranos,
altos, tenors, and basses, with 4 b-flat trumpets, an organ, and percussion
instruments, primarily chimes (tubular bells) and cymbals. Sometimes
there are medieval drums as well.
In any case, one of the first performances (if not the first per se) was
carried out
in Dallas. Several other performances shown on YouTube are also Texas
ventures including one by the University of Texas at Austin. The most
recent
Texas production seems to be the Dallas Christmas Gala which was held
on April 1, 2014, featuring the Dallas Symphony and Chorus. Naxos made
use of the concert in preparing a commercial CD.
Performances of Personent Hodie have taken place all over the United
States
but most seem to have been someplace in the South or Southwest. An example
was a 2011 concert at Wichita State University for a Christmas Candlelight
Concert on December 5 that year. This was a top rate production although,
oddly, the music was used as a recessional rather than a processional
and this loses something of the value of the composition.
A good number of performances have been at high schools, such as
a Candlelight Processional at Athens Drive H.S. on December 17, 2014,
featuring combined choirs of the school as part of a large scale event.
The school is located in Raleigh, North Carolina.
A good number have also been performed in churches -of all denominations.
This is fitting inasmuch as the original song was created in a Catholic
environment, it was first published by a Catholic, but Swedish and Finnish
Lutherans were closely involved at different times in history, and various
Protestant groups have presented the composition, including Methodists
and Anglicans. Mormons have also performed the music.
Hoggard himself was a believing Presbyterian.
The quality of the work is undeniable. Hoggard was a conscientious musician
and his version of Personent Hodie shows his attention to detail and
performance art possibilities. Which follows from Hoggard's other
choral music interests. All of his life he was a student of Brahms,
for instance, a composer whom many people may not realize wrote
most of his music for choral ensembles. Hoggard was especially
devoted to “Ein Deutsches Requiem,” which he was researching
until the very last days of his life.
It has not been possible to find very much information about the December
7,
2013 Christmas concert at Loyola. But the evening must have been
very special for everyone in attendance. It took place in Techny Towers,
a facility on the Loyola campus which includes several "chapels" such as
the Holy Spirit Chapel which seats 500 people.
Of course, how do you know that something is going to be very special
before you attend? But that was exactly what it was, not only special
but a once-in-a-lifetime event. At this time I may have listened to the
composition via YouTube maybe 40 or 50 times. It doesn't "get old."
The magic is there each time. And when it ends I always get choked up.
Nothing can be as beautiful yet there it is, wondrous in its loveliness.
How I wish I could have attended that performance at Loyola in 2013.
But a skilled cameraman was there, and a quality sound engineer,
and we can see and hear for ourselves and be thankful for
the video recording.
The Loyola Honors Chamber singers, Chorale, and Contemporary
Vocal Ensemble did the rest; which was perfect.
---------------
Perhaps some day something of the spirit of that special concert can be
captured on a CD recording.
To comprehend the concept does not require anything besides bringing up
the entries for Personent Hodie on YouTube
The album as conceived here should include a variety of the best
available versions of Personent Hodie; these are the obvious choices
for the best combination of existing music:
1. Loyola Academy Festival Processional, 2013
2. Ideo -An Ancient Christmas Carol, 2011
3. Loyola Academy Festival Processional, 2013
4. Gaudete -The King's Singers, 2012
5. Rutter -Personent Hodie, Magnificat Choir Budapest
new harmonies, rhythms, syncopation, sung in Magyar; 2016
6. Gaudete -Mediaeval Baebes, Houston Public Media, a capella; 2014.
7. Celtic Song -A Celtic Christmas, On this day earth shall ring,
woman solo performer, New Age harmonies; 2013
8. Gaudete -Medieval Carol Gaudete, Choir of Clare College, 2013.
9. Personent Hodie -3 part mixed, Richard Williamson arrangement,
jazz interpretation, flute, drums, piano; 2016
10. Gaudete -anomim, Piae Cantiones, 1582; Zaprasza, eu, 2013
11. Dallas Symphony Chorus -Christmas Gala, 2014.
12. Gaudete! -Glasgow Madrigals; spirited, inspirational, 2012.
13. Rutter -Cambridge Singers, 2014
14. Ideo -An Ancient Christmas Carol, 2011
15. Loyola Academy Festival Processional, 2013
All of which takes us into history, into the Christian past, making the
story
fresh and new in the process inasmuch as the music can be interpreted
in contemporary ways. The idea is also to recapture pride in Christian
faith,
whatever else we may wish to say in our very different ecumenical world
of the 21st century. This is to speak of our heritage -in which we
should
make our own as much as possible. In our world we need to respect
other faiths which give good to the world, I certainly do. At the same time
people of other faiths need to respect Christians as Christians.
Personent hodie is an unmistakable -and exquisitely beautiful- statement
of Christian faith like nothing else in the world.
Billy Rojas
2017
(https://www.youtube.com/user/actincorp)
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