Imagine a world where music transcends time, weaving tales of faith and wonder. This is the magic of Benjamin Britten's A Ceremony of Carols, a piece that continues to resonate with audiences, even after decades. But how did this iconic work come to be?
In a stroke of serendipity, in March 1942, while returning home from America, Britten stumbled upon a collection of poems in a Halifax bookshop. These poems, with their mystical and evocative qualities, immediately sparked his imagination. He decided to set them to harp accompaniment, undeterred by the dangers of the perilous Atlantic crossing. This chance encounter would lead to the creation of a masterpiece that evokes medieval sensibilities and faith, a testament to the enduring power of art.
The Cardiff Polyphonic Choir, under the direction of Thomas Blunt, recently celebrated Christmas with a performance of Britten's A Ceremony of Carols, arranged for mixed choir by composer/conductor Julius Harrison. While the performance might have lacked the bright sheen of boys' voices, the atmosphere and dramatic flow of the 11 movements were undeniably present. From the opening plainchant of the sopranos to the fading Alleluia in the final Recession, the choir transported the audience.
One of the highlights was the central carol, This Little Babe. The lyrics, penned by the 16th-century Catholic martyr Robert Southwell, portray the Christ child as an angel come to avenge Satan. Blunt's direction allowed the fast, furious rhythms to build a wonderful momentum, with the voices' tight imitations creating tension towards the emphatic climax. This energy contrasted beautifully with the radiant, lilting beauty of pieces like There Is No Rose and Balulalow, enhanced by Elen Hydref's expressive harp playing.
The first part of the program showcased various composing traditions, connected by recurring texts and Alleluia refrains. Mendelssohn's eight-part Advent and Christmas motets were paired with Gottfried Wolters's setting of the pilgrimage song Maria durch ein Dornwald ging, where the Virgin Mary's journey through a forest is marked by blossoming thorn-trees. The contemporary Hodie Christus natus est by the Slovenian Gašper Jereb echoed the contemplative feel of carols by John Rutter and Judith Weir.
Also featured were works by Welsh composers Alun Hoddinott and William Mathias, commissioned by the Polyphonic Choir early in its six-decade history. Mathias's Sir Christèmas, with Philip Aspden's lively organ accompaniment, brought the performance to a joyous close, culminating in shouts of Nowell, Nowell, Nowell!.
But here's where it gets controversial... Some might argue that the mixed choir arrangement alters the original intent of Britten's work. What do you think? Did the Cardiff Polyphonic Choir's performance capture the essence of A Ceremony of Carols? Share your thoughts in the comments!
