Today, All Classical Radio is exploring lesser-known works by legendary composers. We are highlighting pieces that are not particularly popular in the concert hall, were written earlier on in the composer’s career, or were written outside of the composer’s typical instrumentation or genre. If you enjoy these composers, we think you will enjoy some of their more overlooked music as well.

Ludwig van Beethoven – 6 Bagatelles, Op. 126

Beethoven is often regarded as the greatest composer to have ever lived. Most famous for his nine symphonies, including the Eroica Symphony or the Pastoral Symphony, as well as his concerti and piano sonatas, it is inevitable that some of his compositional output has gone unnoticed to some extent. While it can be difficult to categorize any of Beethoven’s works as a “hidden gem,” his Bagatelles, Op. 126 were composed as a complete set of six light and short works for piano and were some of his last works for piano. Upon getting this work published, Beethoven stated that these bagatelles were “the best pieces of this kind I have written.”

W. A. Mozart – Divertimento for 3 Basset Horns No. 5 in B-flat Major

Mozart composed over 600 works in his 35 years of life. Given his immense popularity, it can be difficult to see any of his works go unnoticed; however, one notable hidden gem for Mozart is his Divertimento for 3 Basset Horns No. 5. A basset horn is an instrument within the clarinet family. While most clarinet players are familiar with Mozart’s quintet and concerto, not many know of his five divertimenti for basset horn (a divertimento is an 18th-century genre of music that is usually light-hearted and written for small ensembles). This work sets itself apart from the already unique instrumentation by beginning with a slow Adagio movement and ending with a Polonaise, a Polish dance.

Johannes Brahms – Geistliches Lied

Considered one of the “Three B’s” of classical music, along with Bach and Beethoven, Brahms was a leading figure in the Romantic period. A few exemplary pieces include his First and Third Symphonies, Piano Concerto No. 1, Hungarian Dances, Wiegenlied (also known as “Lullaby”), and many chamber music works that capture the composer’s tender and warm sound. Perhaps a lesser-known work that encapsulates the gentle and romantic Brahmsian voice is his choral work, Geistliches Lied. This piece was originally part of a series of contrapuntal exercises (counterpoint in music is the relationship between two or more simultaneous musical lines) that were traded back and forth between Brahms and violinist Joseph Joachim. Regardless of its origins, the work’s mournful character is full of complexity.

Ralph Vaughan Williams – Piano Quintet in c minor

British composer Ralph Vaughan Williams was a key figure in influencing the style of 20th-century British classical music. An avid collector of English folk songs, Vaughan Williams used these traditional melodies to craft his unique folk sound, which can be heard in works like Fantasia on a Theme by Thomas Tallis, The Lark Ascending, and English Folk Song Suite. However, many of his earlier works, such as the Piano Quintet in c minor, were hidden from the public once he had developed his “mature” style. While this quintet contains hints of who the composer was soon to become, it was shelved for over 80 years after its premiere. You will find that this hidden gem with violin, viola, cello, double bass, and piano has the romantic elements of Brahms and Dvorák.

Pyotr Tchaikovsky – String Quartet No. 3 in e-flat minor

Many listeners are familiar with Tchaikovsky’s ballets, such as The Nutcracker, Sleeping Beauty, and Swan Lake, or perhaps his symphonic works such as Symphony No. 5 and the 1812 Overture (the one with the cannons). While his large-scale works are frequently performed all over the world, Tchaikovsky’s handful of chamber or small ensemble compositions don’t receive the same level of attention. Only eight pieces in his catalog of 169 works are chamber music, and only three of those chamber pieces are string quartets, with his first string quartet being the most popular. To shed light on the composer’s small and often overshadowed chamber music output, we’re highlighting String Quartet No. 3. This work may not be as lively or grand as some of Tchaikovsky’s symphonic works, but it is just as expressive, dramatic, and powerful. Dedicated to violinist and teacher, Ferdinand Laub, a friend of Tchaikovsky, the opening movement is full of melancholic expression, and the third movement, Andante funebre e doloroso, is an emotional funeral march filled with grief as it commemorates Laub’s death.

Giacomo Puccini – Crisantemi

Known as one of the greatest Italian composers, Giacomo Puccini’s operas are among the most recorded and performed works in the genre. Arias such as “O mio babbino caro” (“Oh my dear Papa”) from Gianni Schicchi and “Nessun dorma” (“Let no one sleep”) from Turandot are recognizable even in popular culture, from movies, TV, commercials, and more. Puccini himself recognized his operatic talent when he said, “Almighty God touched me with his little finger and said: ‘Write for the theatre – mind, only for the theater!’ And I have obeyed the supreme command.” While his operas are immensely popular, many may not know Puccini’s instrumental and chamber music. Let’s listen to his prelude for string quartet, Crisantemi. Produced in a single night, Crisantemi is an elegy written for Puccini’s friend, Prince Amadeo, Duke of Aosta. Although this piece stands on its own, Puccini ended up using themes from this string quartet in his opera, Manon Lescaut.

Do you recognize any of these hidden gems we explored today? Perhaps you have a favorite lesser-known work that we didn’t mention? Get in touch to let us know your favorite composer’s hidden gem!

Since 2019, we’ve explored holiday classics on the Arts Blog, such as “Hark, the Herald Angels Sing,” “O Tannenbaum,” and “Silent Night.” Each year, we’ve expanded our exploration of carols to cover several centuries, origins, languages, and even holidays beyond Christmas. This year, we’re thrilled to continue in this tradition and cover a mix of dear favorites and lesser-known jewels.

Be sure to tune in to our Festival of Carols on All Classical Radio from December 22-25, and check out the rest of our holiday programming!

Hodie Christus Natus Est

The words of the carol Hodie Christus Natus Est (Today Christ is born) originate from a 6th-century Gregorian chant that was traditionally sung at Christmas. One of the text sources comes from the Gospel of Luke: “For unto you is born this day in the City of David a Savior, which is Christ the Lord…” Another comes from Psalm 32, which begins, “Be glad in the Lord, and rejoice…” In the time since its Medieval origins, the chant has emerged as a popular Christmas carol and has been interpreted by many composers throughout the subsequent centuries, including Jan Pieterszoon Sweelinck, William Byrd, and Giovanni Palestrina.

Let’s listen to Dutch composer Jan Pieterszoon Sweelinck’s interpretation of the chant published in 1619. Sweelinck’s music straddles the Renaissance and Baroque eras and is a shining example of the power of polyphony (the combination of several melodies sung together to create a rich vocal tapestry). You can follow along with the English translation of the Latin text here.

What Sweeter Music

Renowned English composer and choral director John Rutter is no stranger to holiday music and has written many beloved Christmas carols. One such work, What Sweeter Music, was composed in 1988 for the choir of King’s College for their Festival of Nine Lessons and Carols. (And in case you didn’t know, All Classical broadcasts this Christmas Eve tradition every year. Be sure to tune in at 7:00 AM PT on Tuesday, December 24, 2024). For What Sweeter Music, Rutter chose to set words by 17th-century English poet Robert Herrick which celebrate the birth of Jesus through joyful song.

Jesu, bleibet meine Freude (Jesu, Joy of Man’s Desiring) from Cantata 147

J. S. Bach originally composed Cantata 147, Herz und Mund und Tat und Leben (Heart and mouth and deed and life) for the Advent season in 1716, rewriting it a few years later while serving in his new position as music director at St. Thomas School in Leipzig. Bach wrote this well-known cantata for the Feast of the Visitation to the Virgin Mary, which is closely associated with the anticipation of the birth of Jesus. For text, Bach looked to the Gospel of Luke for inspiration. The most famous movement from the work, “Jesu, Joy of Man’s Desiring,” appears twice in Cantata 147: once in the middle, and once as a reprise at the end with new text. As you listen to this holiday anthem, read along with an English translation of the German text here.

Gabriel’s Message

Gabriel’s Message (“The angel Gabriel from heaven came…”) originated as an anonymous Medieval Basque hymn that has since been arranged by several choral composers, including Edgar Pettman, John Rutter, and Stephen Paulus. The text tells the story of the Annunciation as it relates to the celebration of Christmas and relays an intimate interaction between Gabriel and Mary. Not long after it was written, the carol became popular across regional boundaries and even crossed the English Channel.

Fun fact: Chaucer quoted the carol as part of The Miller’s Tale in his Canterbury Tales.

El Noi de la Mare

The gentle Catalan Christmas carol, El Noi de la Mare (The Son of the Virgin), could easily double as a lullaby. Written in three variations, the carol’s three verses ask, “What shall we give the son of the Mary?” The narrative refers to figs in all three verses, and in the final stanza, the figs that are “still green” are a reference to Jesus as an innocent child, and the fig’s “ripening” is his coming work of redemption. Read an English translation of the text here. Given its Spanish origins, this carol is frequently arranged for guitar, as seen below. In fact, guitarist Andrés Segovia is largely responsible for the work’s popularity outside of Spain.

A Cornish Christmas Carol

English composer Peter Warlock (born Philip Arnold Heseltine) contributed several beloved carols and choral works to the seasonal repertory, including his striking Cornish Christmas Carol. If you feel like this carol gives you a bit of aural whiplash, Warlock wrote the following note in his score: “To be sung fairly fast, with sudden alternations of hardness and sweetness, of rude heartiness and tenderness touched with awe.” Be sure to listen for the fleeting musical reference to another carol we’ve discussed already featured on the Arts Blog.

Gesu Bambino

Composed in 1917 by Pietro Yon, this Italian Christmas carol quickly became a seasonal staple across many nations. Born in Italy, Yon emigrated to the US at age 21 and wrote his famous carol while serving as organist of St. Francis Xavier Church in Manhattan. You might notice that the melody and text for the chorus are extracted from Adeste Fideles (Oh Come All Ye Faithful). Since its publication, Gesu Bambino has been performed both in Italian and English and recorded by such notable singers as Luciano Pavarotti and Kathleen Battle. You will find the English translation of the original Italian lyrics here.

A Boy Was Born

Using text of German origin from the 16^th century, English composer Benjamin Britten created his Christmas cantata, A Boy Was Born, while still a student at the Royal College of Music. This soaring a cappella piece marked Britten’s first major composition for voice and his first significant religious contribution. It’s important to note that the title, A Boy Was Born, is both the title of the cantata and the name of the work’s first movement. This first movement serves as the main theme upon which the subsequent six variations are built. When performed by itself, the first movement is hymn-like and sincere, evoking musical traditions of both centuries past and present.

Patapan

Originating from the Burgundy region of France, the traditional Christmas carol Patapan was written around 1700 by Bernard de la Monnoye. In addition to his work as a lawyer, La Monnoye wrote a well-known collection of thirteen Burgundian Christmas carols under the pseudonym “Gui Barozai,” with Patapan being the most popular today. Telling a story of two boys and their musical lessons in celebration, the original title of the carol was “Willie, Take Your Little Drum” and can be interpreted as a predecessor to The Little Drummer Boy. The carol’s title is meant to mimic the drummer’s sound while celebrating the baby Jesus’s birth. As you listen, follow along with an English translation of the text here.

A Christmas Carol

American composer Charles Ives’s A Christmas Carol was written with a calm, sweet, and lilting melody that offers a soft air of devotion. Composed in 1894, Ives wrote both the text and music for this carol himself and published it in a collection of 114 Songs in 1922. While the title might call to mind a certain Dickensian novella, Ives titled his carol in literal reference to the holiday celebrating the birth of Jesus.

Ave Maria

German composer and arranger Franz Biebl’s interpretation of the Marian antiphon is a sublime choral masterpiece. Written for double-male chorus (and later arranged for mixed voices), Biebl wove elements of Medieval chant into a resolutely 20th-century piece. Originally composed in the 1950s, Biebl’s Ave Maria became widely popular in the U.S. after being recorded by the famed vocal ensemble Chanticleer. Interestingly, Biebl actually wrote the piece for a firemen’s choir in Bavaria. As for the text, while not directly connected to Christmas, the ancient prayer to Mary has become a consistent literary counterpart to other nativity texts.

Gloucestershire Wassail

Gloucestershire Wassail (“Wassail, Wassail, All Over the Town”) is a joyful traditional English carol dating from the 18^th century and commemorates the Christmastime wassailing tradition known throughout parts of England. Wassailing involves going from house to house and singing of good health while carrying a large, decorated bowl filled with mulled wine to offer townsfolk. The verses of text refer to many food items the carolers wish for in the new year, such as a good crop of corn and a good Christmas pie, as well as acknowledge many of the local livestock.

Keep the Celebration Going

Read about more favorites from the Festival of Carols in previous years’ editions of “The Stories of Twelve Carols”:

• 2023 Stories of Twelve Carols (including Still, still, still and While Shepherds Watched Their Flocks)
• 2022 Stories of Twelve Carols (including O Holy Night and In the Bleak Mid-Winter)
• 2021 Stories of Twelve Carols (including The Carol of the Bells and O Come, O Come, Emmanuel)
• 2020 Stories of Twelve Carols (including The Holly and the Ivy and The Coventry Carol)
• 2019 Stories of Twelve Carols (including Joy to the World and Silent Night)

Be sure to tune in starting December 22^nd, 2024 to hear your favorites played on air. Learn more about All Classical Radio’s 2024 Holiday Programming.

Hereditary (Colin Stetson, 2018)

Released in 2018, Ari Aster’s first feature film Hereditary is recognized as one of the most haunting films in recent memory. Avant-garde composer and multi-instrumentalist Colin Stetson aimed to make the film sound “evil.” From the use of clarinet choirs to the human-sized bass saxophone, Stetson’s score takes on a disturbing and sinister character of its own in the film.

Candyman (Philip Glass, 1992)

Minimalist composer Philip Glass is regarded as one of the most influential composers of the late 20th century. His film scores can be heard in movies such as Kundun (1997),The Truman Show (1998), and The Hours (2002). Known for his repetitive structures and shifting layers, Glass’ score for Candyman delivers a hypnotic and intense atmosphere.

The Thing (Ennio Morricone, 1982)

The 1982 version of The Thing, directed by John Carpenter, is the quintessential sci-fi horror film for those looking for an extraterrestrial thrill. Italian composer Ennio Morricone is one of the most prolific film composers of all time with hundreds of compositions in a wide variety of genres. Morricone creates a cold and unsettling sound that fits perfectly in this science fiction classic.

Suspiria (Thom Yorke, 2018)

Luca Guadagnino’s Suspiria (2018) is a remake of the original 1977 horror classic by Dario Argento. The film follows a young American dancer who travels to Berlin to study at a world-renowned dance school and soon uncovers the academy’s dark secrets of witchcraft and murders. Radiohead’s Thom Yorke provides melancholic and solemn, yet beautiful songwriting to the film with tracks like “Suspirium” and “Unmade.”

Vertigo (Bernard Herrmann, 1958)

Widely regarded as one of the most impactful film composers, Bernard Herrmann’s compositions have been featured in classics such as Psycho (1960) and Taxi Driver (1976). In the track “Prelude and Rooftop” from Alfred Hitchcock’s Vertigo, the use of repetitive dissonant motifs in the strings mixed with the heavy low brass underscores the intensity and suspense of the film. The story follows an ex-detective who is hired to guard a possessed woman obsessed with death.

The Shining (Wendy Carlos, Rachel Elkind, Krzysztof Penderecki, et al., 1980)

The Shining is one of the most recognizable horror films of all time. Many people can identify the use of the traditional liturgical chant “Dies Irae,” which is a key sound element to the film’s identity. Based on Stephen King’s 1977 novel, The Shining is a psychological thriller that heavily utilizes pre-existing music from classical composers such as Bartók, Ligeti, and Berlioz.

The Nightmare Before Christmas (Danny Elfman, 1993)

Tim Burton’s The Nightmare Before Christmas is the perfect family-friendly spooky movie to watch as the seasons change. Whether you watch it on Halloween or Christmas is completely up to you. Danny Elfman’s soundtrack for this iconic stop-motion film has given The Nightmare Before Christmas its place in pop culture along with a massive cult following.

It Follows (Disasterpeace, 2014)

In the film It Follows directed by David Robert Mitchell, a teenage girl’s new boyfriend passes a curse onto her of a shape-shifting entity that is out to get her. Richard Vreeland, also known as Disasterpeace, is a masterful electronic composer of video game, chiptune, and film music. He uses sinister-sounding synths and distortions to give It Follows a throwback horror film score sound.

Psycho (Bernard Herrmann, 1960)

Released in 1960, Alfred Hitchcock once again collaborated with Bernard Herrmann in the cult classic movie, Psycho. The intense string ostinati in the “Prelude” track are still widely recognized today. In music, an ostinato describes a repeating musical phrase derived from the Italian word for “stubborn” or “obstinate.” In this track, the ostinati elevate the panic in Marion’s drive to the Bates Motel, letting the audience know that something terrible is to come. Not to mention, the iconic shower scene with the track “The Murder,” where the piercing violins elevate both the musical and cultural identity of this influential slasher film.

Halloween (John Carpenter, 1978)

Horror genre legend John Carpenter wrote, directed, and composed the score for the timeless classic, Halloween. The main theme of the soundtrack is an essential leitmotif linked with one of the most famous horror film villains, Michael Myers. A leitmotif is a recurring musical theme that often represents a character or person (think Darth Vader and the Imperial March, or the famous Jaws theme). Inspired by learning about 5/4 time signatures on the bongos as a child, John Carpenter’s use of minimalist, repetitive, and rhythmic patterns helped produce one of the greatest horror film franchises of all time.

To keep learning about spooky musical works, check out this post from the Arts Blog: Ghouls, Ghosts, and Edvard Grieg: The Spookiest Classical Pieces.

In 2019, we explored holiday classics like Hark! The Herald Angels Sing and O Tannenbaum, while 2020’s post delved into international favorites such as Riu, riu, chiu and Noël nouvelet. In 2021’s list of carols, we traversed centuries with Medieval pieces such as In dulci jubilo and Veni, veni Emmanuel, and in 2022, we featured some Hanukkah classics as well as the operatic favorite, O Holy Night.

This year, we’re expanding our celebration of the season to include a wide range of languages, origins, time periods, and more, from the 12th-century Wexford Carol to Pink Martini’s contemporary rendition of Vamos, pastores, vamos.

Be sure to tune in to our Festival of Carols on All Classical Radio from December 22-25, and check out the rest of our holiday programming!

Il est né le divin enfant

The buoyant traditional French carol, Il est né le divin enfant (He is born, the Divine Child), is thought to be from the 18^th century. Adding to the carol’s mysterious origins, both the composer and poet are unknown. The mood of the piece is joyful and celebratory in appreciation of the birth of the baby Jesus. The text and music of the carol were first published separately in the 19^th century, about a decade apart—At some point thereafter, the two were joined into what is now a staple of French Christmas music tradition. Follow along with an English translation of Il est né le divin enfant here.

Wexford Carol

The Wexford Carol, a traditional piece from Ireland, dates from as early as the 12^th century and is among the oldest surviving European seasonal carols. Commonly sung as part of a traditional Irish Christmas celebration, the Wexford Carol tells the story of the Nativity in rhyming verse. The title of the carol refers to County Wexford on the east coast of Ireland. After centuries of aural passage, it was first written down by William Grattan Flood (1857-1928), music director of St. Aidan’s Cathedral in Enniscorthy. Versions of the lyrics exist in both English and Gaelic, though historians have yet to confirm which version came first. This carol is written in Mixolydian mode, so be sure to listen for its distinctive minor seventh.

Personent Hodie

Personent Hodie (On this day Earth shall ring) is a triumphant Medieval Christmas carol with anonymous origins that, along with other seasonal carols such as In dulci jubilo, Good King Wenceslas, and Gaudete!, was discovered in a 16^th-century Finnish songbook called Piae Cantiones. Over the past century or so, the carol has been arranged several times—the version arranged by Gustav Holst has remained particularly popular. Interestingly, the text is based on a Medieval song referring to St. Nicholas, the patron saint of children and the historical prototype for Santa Claus. You can find an English translation of the text celebrating the Nativity here.

Candlelight Carol

English composer and conductor John Rutter (b. 1945) is one of the most influential musical voices in 20^th and 21^st-century choral repertoire. Both his arrangements of known pieces and original works are familiar and beloved by choirs all over the world. Rutter’s original Christmas carol, Candlelight Carol, was written in 1984 and inspired by Geertgen tot Sint Jans’s 15th-century painting, “Nativity at Night.” Geertgen’s imagery shows Mary and a gathering of angels gazing down at the infant Jesus lying in a manger. Rutter’s carol beautifully captures the intimacy and serenity represented by the subjects of the painting.

A Spotless Rose

Similar to John Rutter’s Candlelight Carol, A Spotless Rose by English composer and organist Herbert Howells (1892-1983) has become a staple of the season, particularly in the U.K. The carol was included in a set of three early works composed by Howells called Three Carol Anthems and uses poetry by an anonymous 15^th or 16^th-century poet. A Spotless Rose comes across as both simple in its a cappella setting and highly expressive in its text setting. The poetry contains metaphors for Jesus’s birth and the purity of Mary, the “spotless rose” being Jesus and the “tender root” being Mary. The original poem was written in German, “Es ist ein Rose entsprungen” (Lo, how a rose e’er blooming), which may conjure up another popular Christmastime carol.

Cherry Tree Carol

Like many centuries-old songs, the traditional English carol referred to as the Cherry Tree Carol has anonymous origins and likely dates from the 15^th century. Over the years, the piece has evolved into an extensive assembly of variations in text and music. One possible origin story for the carol is that it was first used in one of the Coventry Plays, a cycle of mystery plays performed in Coventry, England, in the late Middle Ages (and perhaps also the source of the famous Coventry Carol). To add to the fogginess around this piece, the versions sung today may be a composite of three separate but thematically related carols.

The lyrics for the Cherry Tree Carol relate to an apocryphal story in which a pregnant Mary and Joseph are traveling to Bethlehem and pass by a cherry orchard. Mary asks Joseph to pick cherries from one of the trees, but Joseph refuses, citing skepticism over their child’s paternity. Jesus then commands the tree to lower its branches from the womb, causing Joseph to repent.

Still, still, still

Still, still, still, a peaceful Austrian Wiegenlied (lullaby) originating from Salzburg in the early 1800s, is commonly performed today in both German and English. The melody comes from a traditional Austrian folk song, and the text comprises two to five verses (depending on what version you are singing) portraying Mary soothing the infant Jesus to sleep. The gentle, straightforward tune allows for numerous creative arrangements and makes it an accessible piece for larger groups of singers. Read an English translation of this seasonal Wiegenlied here.

The Seven Joys of Mary

While not exclusively a Christmastime carol, The Seven Joys of Mary has become closely associated with the season in recent years. The devotion to the seven joys of Mary has been a tradition since the Medieval era and has produced no shortage of musical material ever since. Historically, the subjects of the seven Joys have varied; in versions sung today, those Joys typically constitute the following: 1. Mary sees her infant son; 2. Jesus heals the infirm; 3. Jesus restores sight to the blind; 4. Jesus “reads the bible o’er;” 5. Jesus raises the dead; 6. Jesus bears the crucifix; and 7. Jesus ascends to Heaven.

Below is the most frequently performed version of the carol, composed by Sir Richard Terry (1864-1938):

Quem pastores laudavere

Like many of the carols featured in this article, the gentle Nativity carol, Quem pastores laudavere (He whom the shepherds praised), has Medieval origins. The anonymous source of the text is from 15th-century Germany, and variations of Michael Praetorius’s (1571-1621) arrangement from the early 1600s remains popular even today. The carol’s Latin text portrays an outside perspective of the Nativity—the worship of the shepherds and the wise men at Jesus’s birth. Sing along with an English translation of the Latin verses here.

Verbum caro factum est

Verbum caro factum est (The Word was made flesh), an oft-quoted passage from the Gospel of John referring to the Nativity, has been a facet of Christmas Day mass for centuries. Many composers have taken the liturgical text and set it to music, making it a harmonious fixture of the season. Among the most frequently performed versions of the hymn is Hans Leo Hassler’s (1564-1612) polyphonic motet from the late 16^th century. In this style of musical writing, the singers are split into two groups and pass the melody back and forth, culminating in a satisfying tutti finish. Read an English translation of the Latin text here.

While Shepherds Watched Their Flocks

While Shepherds Watched Their Flocks is an English carol written by Irish-born poet Nahum Tate (1652-1715). Tate’s lyrics summarize the Nativity story in the Gospel of Luke 2:8-14. Fun fact: Tate’s hymn was possibly the first Christmas hymn authorized for worship by the Anglican Church. As for the accompanying music, two versions have remained popular. If you’re in the U.K., the standard version sung is “Winchester Old,” an anonymous tune from the 16^th century. In the U.S., carolers typically use a melody from an aria from G. F. Handel’s opera, Cyrus, King of Persia.

The video below is a performance of the “Winchester Old” version of the carol. Click here to listen to the G. F. Handel melody.

Vamos, pastores, vamos

Vamos, pastores, vamos (Let’s go, Shepherds, Let’s go) is a popular Christmas villancico (Spanish carol) that evokes the excitement and celebratory mood of the shepherds hastening to Bethlehem to welcome the Baby Jesus. The Flor y Canto, a massive Spanish-language hymnal for Catholic worship, credits Spanish priest and musician Evaristo Ciria Sanz (1802-1875) with the authorship of the carol, while other sources assign credit to prolific Colombian songwriter Jeremías Quintero Gutiérrez (1884-1964).

Keep the Celebration Going

Read about more favorites from the Festival of Carols in previous years’ editions of The Stories of Twelve Carols: 2022 Stories, 2021 Stories, 2020 Stories, and 2019 Stories. And be sure to tune in starting December 22, 2023 to hear your favorites played on air.

Keep reading to learn about five phenomenal artists we’re featuring on air, and be sure to tune in to All Classical Portland on Saturday, May 27, 2023, at 7:00 PM PT for a special edition of The Concert Hall with John Pitman featuring music by composers of Asian ancestry, from India to the Philippines, to China, Korea, Japan, and Taiwan.

Tan Dun (b. 1957)

Composer and conductor Tan Dun spent his early life working as a rice planter and performer of Peking opera during China’s Cultural Revolution. He encountered Western classical music for the first time while studying at Beijing’s Central Conservatory and soon became a leading composer of contemporary music in China. Since moving to the U.S. in 1986, Tan Dun has significantly impacted the musical scene nationally and abroad. His oeuvre of opera, chamber works, and orchestral compositions have broken down barriers between classical music and multimedia performance while beautifully incorporating Eastern and Western traditions. His score for Ang Lee’s film Crouching Tiger, Hidden Dragon won the composer both a Grammy and an Oscar. In 2018, Tan Dun was appointed dean of the Bard College Conservatory of Music.

Marika Takeuchi (b. 1987)

A native of Japan, Marika Takeuchi has been actively working on projects in the States as a composer, pianist, orchestrator, arranger, and educator for the past decade. Since moving to the U.S. in 2009 to study at Berklee College of Music, Takeuchi has produced an impressive number of albums and commissions. Much of her music has been scooped up for use in commercials, short films, and advertisements around the world. Fun fact – Takeuchi has a special connection to broadcasting. One of her earliest career experiences was composing for NHK Radio.

Zhou Long (b. 1953)

Zhou Long is a Chinese American composer whose music combines Chinese folk songs and modernist classical influences. His unique blend of East and West has made him a pioneer in translating traditional Chinese idiomatic sounds and techniques to Western ears. In addition to numerous prestigious accolades, Dr. Zhou was awarded the 2011 Pulitzer Price in Music for his first opera, Madame White Snake. He also received the 2012-2013 Elise Stoeger Prize from the Chamber Music Society of Lincoln Center. The composer currently serves as Bonfils Distinguished Professor of Composition at UMKC Conservatory of Music and Dance. Dr. Zhou’s wife, Chen Yi, is a composer and violinist whose music also graces our airwaves.   

Reena Esmail (b. 1983)

Indian American composer Reena Esmail blends the worlds of Indian and Western classical soundscapes in her music. She has written diverse orchestra, chamber, and choral works for several acclaimed ensembles, including the Los Angeles Master Chorale, Seattle Symphony, Baltimore Symphony Orchestra, and Kronos Quartet. Her works address humanity in art and create a sense of belonging and inclusivity among its listeners. In addition to writing emotionally rich compositions, Esmail is the Los Angeles Master Chorale’s 2020-2025 Swan Family Artist in Residence. She also serves as Artistic Director of Shastra, a non-profit organization that promotes cross-cultural music connecting the music traditions of India and the West.

Wei-Chieh Lin (b. 1982)

Born in Taiwan, Wei-Chieh Lin is an American composer who received formal musical training at The Julliard School under Milton Babbitt. His music has been performed around the world in such establishments as Lincoln Center, Carnegie Hall, Centre Pompidou, and the National Concert Halls in Taiwan. Wei-Chieh frequently draws on his Taiwanese heritage through folksongs, traditional melodies, and other media, in addition to popular genres and jazz. The composer’s award-winning catalog ranges from works for solo instruments to works for orchestra and chamber ensembles.

To continue learning, check out Emma Riggle’s past post for the Arts Blog, “The Songs of Lili’uokalani, Queen of Hawaii.” This post explores the musical life of the last monarch of the Hawaiian Kingdom.

This year, we’re expanding our celebration of the season to include a couple of Hanukkah favorites paired with a hearty assortment of liturgical hymns, 20th century standards, and an operatic favorite.

Be sure to tune in to our Festival of Carols on All Classical Portland from December 22-25, and check out the rest of our holiday programming! Plus, read about more favorites from the Festival of Carols in previous years’ editions of The Stories of Twelve Carols: 2021 Stories, 2020 Stories, 2019 Stories.

Gaudete!

Originating from an anonymous 14^th-century source, Gaudete! (Rejoice!) was discovered in a 16^th-century Finnish songbook called Piae Cantiones. Comprising Medieval songs from both Scandinavia and around Europe, Piae Cantiones is home to several beloved Christmas carols today, including In dulci jubilo and Good King Wenceslas. Gaudete! is among the most frequently performed songs from Piae Cantiones, whose joyful text celebrates the birth of Jesus and the symbolic arrival of God in human form on Earth.

Fun fact – the carol had a substantial surge in popularity following a recording in the 1970s performed by the folk-rock band, Steeleye Span.

Hannerot Hallalu

The text of Hannerot Hallalu (“We Light these Lights”) emphasizes the purpose of the lights in recalling God’s miracles during the eight days of Hanukkah. In the ceremony for the occasion, these words would be sung immediately after the lights are ignited on the Menorah. The composer of this arrangement, Belgian-born composer Hugo Adler (1894-1955), emigrated to the United States amid the rise of Nazism in the late 1930s, where he continued his work as a cantor and composer of Jewish liturgical music. His choral setting of Hannerot Hallalu is a blend of beautiful counterpoint set against homophonic moments, making the text of the piece pleasantly transparent for the listener.

O Holy Night (Cantique de Noël)

Despite the immense popularity of O Holy Night today, the tune’s French composer, Adolphe Adam (1803-1856), is perhaps most famous for his tragic ballet, Giselle. In 1847, Adam wrote O Holy Night using a Christmas poem by Placide Cappeau (1808-1877), which had been penned to commemorate the renovation of the organ at the local church. The carol premiered that same year performed by opera singer Emily Laurey. About a decade later, American minister and transcendentalist John Sullivan Dwight (1813-1893) translated the text into English. O Holy Night has since become a staple of seasonal repertoire and one of the most performed and recorded pieces of music. In France, the song is commonly referred to by the first line of the poem, “Minuit, Chrétiens” (“Mightnight, Christians”).

You can find the original French lyrics here, along with an English translation.

Jesus Christ the Apple Tree

Several musicians have been inspired to set the anonymous 18th-century text from New England, Jesus Christ the Apple Tree, to music, including English composer Elizabeth Poston (1905-1987). Written in 1967, Poston’s sensitive choral setting of the poem resembles a folksong and harkens back to choral traditions of the past. The hymn begins with a simple melody sung by solo voice, which is then developed into richer harmonies in subsequent verses. In the poem, the “apple tree” may allude to Song of Solomon 2:3, which is considered to be a metaphor representing Christ.

Caroling, Caroling

American musician Alfred Burt (1920-1954) contributed several Christmas carols to the holiday soundscape in the mid-20^th Century, the best-known being Caroling, Caroling. With words by Wihla Hutson (1901-2002), Burt’s 1954 classic became famous after making its way onto Nat King Cole’s holiday album, The Magic of Christmas.

The story of Burt’s collection of carols is a particularly creative one. The composer’s father had a tradition of sending out Christmas cards each year to family and friends containing an original carol. Burt took over the tradition in 1942 and wrote annual carols until his untimely death in 1954. His collection of 15 “card carols” wouldn’t be published until after the composer’s death but subsequently became popular holiday tunes.

You can view the artwork for Burt’s holiday cards here.

Three Kings of Orient

Three Kings of Orient was written by John Henry Hopkins (1820-1891), an American clergyman and hymnodist known for clarity and simplicity in his music. The classic carol was part of a collection by Hopkins called Carols, Hymns, and Songs published in 1865. Unfortunately, Three Kings of Orient was the only piece from the group to have retained its popularity in the following decades. The composer’s text depicts the three kings from the east described in the Nativity story, bringing gifts of gold, frankincense, and myrrh to the newborn King.

I Have a Little Dreidel

The beloved Hanukkah song about crafting and playing with a dreidel is certain to make an appearance around the winter holiday. The game is a staple of the Festival of Lights, particularly among children. I Have a Little Dreidel was written by American composer Samuel Goldfarb (1891-1978) in the 1920s with text by Samuel Grossman. Goldfarb, along with his brother, Rabbi Israel Goldfarb, collaborated to promote Jewish music and published several books and pamphlets compiling songs used for various holidays. The popularity of I Have a Little Dreidel really took off in the 1950s with the increased commercialization of Hanukkah as a parallel holiday to Christmas.  

In the Bleak Mid-Winter

You might be surprised to learn that English writer Christina Rossetti (1830-1894) did not intend her poem, “In the bleak mid-winter,” to be set to music. However, given the inherent musicality of her words, composers have long been drawn to set her writing to song. Gustav Holst (1874-1934) composed a choral setting of the poem for the first edition of The English Hymnal in 1906. The combination of Rossetti’s poetic text and Holst’s ethereal music is highly evocative of the season in the Northern Hemisphere. Though Bethlehem likely would not have been covered in snow at the time of Jesus’s birth, snow has long been associated with the event as a symbol of purity.

Shepherd’s Pipe Carol

Shepherd’s Pipe Carol is a contemporary Christmas carol written by English composer and choral director John Rutter (b. 1945). As a composer, Rutter has established himself as a prominent figure in choral music and is best known for his sacred vocal pieces, particularly his Christmas carols. The composer’s oeuvre of carols consists of a mix of arrangements and original works, the latter of which is exemplified in Shepherd’s Pipe Carol. Written in the 1960s, the carol depicts the piping of a shepherd boy on his way to visit Baby Jesus. Rutter suggests that his inspiration for the piece may have come from his experience singing in Menotti’s Amahl and the Night Visitors as a boy, noting: “I think the piping heard as Amahl heads for Bethlehem with the Wise Men may have stuck in my mind.”

A La Nanita Nana

The traditional Spanish Christmas carol (or villancico), A La Nanita Nana, is a gentle lullaby with a striking melody sung for Baby Jesus. While “villancio” is most often associated with Christmas carols today, the term historically had a much broader meaning dating from the Renaissance. Early villancicos were sung with or without accompaniment and varied in vocal texture with both solo and choral settings. A La Nanita Nana offers a tender example of the genre’s evolution towards Christmas subject matter. You can follow along with an English translation of the Spanish lullaby here.

It Came Upon the Midnight Clear

If you asked a group of people to sing this popular Christmas carol, you might unknowingly conjure quite the cacophony. This is because there are two commonly sung versions of this Christmas hymn – one tune with American origins and the other with British ones. In this post, we’re going to discuss the American version written by Richard Storrs Willis (1819-1900). Willis’s original tune was conceived as an organ study, which was then arranged into the choral setting we know today by Uzziah Christopher Burnap (1834-1900).

The text for the carol was written by American Unitarian minister and author Edmund Sears (1810-1876). Interestingly, the poem doesn’t mention the Nativity but instead focuses on the message from the angels, “Peace on the earth, goodwill to men.” It has been suggested that the poem was inspired by the contemporary social tensions leading up to the American Civil War.

Once, in Royal David’s City

The poem, Once, in Royal David’s City, was one of many from an 1848 collection called Hymns for Little Children written by Anglo-Irish poet Cecil Francis Alexander (1823-1895). Alexander is remembered today for her hymnal contributions, such as All things bright and beautiful and There is a green hill far away. English composer and organist Henry John Gauntlett (1806-1876) was also a prolific hymn writer who, after discovering Alexander’s collection of poems, took an existing tune of his called “Irby” and set Alexander’s Christmas poem to music. Once, in royal David’s city tells the story of the Nativity and traditionally opens the Christmas Eve festival of Nine Lessons and Carols in the chapel of King’s College, Cambridge.

Keep the Celebration Going

You can find all of the carols discussed in this post on our Spotify playlist, The Stories of Twelve Carols: 2022.

If you’d like to continue learning about many of these festive tunes, we recommend checking out The New Oxford Book of Carols edited by Hugh Keyte and Andrew Parrott or The Christmas Encyclopedia by William D. Crump.

There’s no better way to enjoy autumn than by listening to a playlist of spooky classical music. Below, we’ll share some of our favorite festive pieces for the fall season. What’s your favorite ghoulish classical piece?

Tune in to All Classical Portland at 89.9 FM in Portland or worldwide on our web stream to hear sounds of summer like these—and check out All Classical Portland’s Summer Playlist on Spotify for some of the works featured below.

Cover image: Landscape in Summer by Pierre Emmanuel Damoye, courtesy of Wikimedia Commons

Check out our Spotify Playlist, which features these composers in a slightly different lineup of compositions.