O Holy Night "Grave or naïve, spiritual or emotional, languorous or merry, all the Christmas carols of our former mother country are charming, exalting the...
O Holy Night
"Grave or naïve,
spiritual or emotional, languorous or merry, all the Christmas carols of our
former mother country are charming, exalting the true poetical expression which
reveals this people's very soul."
Ernest Myrand,
Quebec, 25th December 1899
There is some evidence
that many of the Christmas traditions which we now practise stem from the
Sumerian civilisation which arose in Lower Mesopotamia more than 4,000 years
ago. This festival was closely linked to the rhythm of the seasons and with
pagan songs and folk celebrations. Over time these became part of later village
celebrations and were adopted by the early Christian church. Until a century
ago, Christmas Eve Mass and late night supper simply marked the beginning of a
twelve-day festival culminating in the Celebration of the Magi (the Epiphany).
It was not until the beginning of this century that Santa Claus, the Christmas
tree and the exchanging of gifts were introduced. The now traditional scene of
the Christ-Child in a manger has been attributed to Saint Francis of Assisi
who, with the Pope's approval, embellished his re-creation of the Nativity with
popular Christmas carols. Although Christmas is primarily a religious festival,
it is also a joyful celebration and a time for warm-hearted gatherings; when
food, gifts and music mix with prayer. The musical repertoire that Christmas
has brought about bears witness to the many different faces of this festival.
In Christmas music,
the popular and solemn often mix, making it difficult to trace the real origin
of many pieces. For example, Minuit, chretiens ('Midnight, Christians')
by Adolphe Adam, the author of the famous ballet Giselle, has become
part of the French folk tradition, although written by a professional composer.
La nuit ('The Night') was also written by a professional composer,
Jean-Philippe Rameau. Allons, gay, gay, bergères ('Let us go, merry
shepherdesses') was composed by Guillaume Costelley. The tune for Sainte
nuit ('Silent Night') is famous in many languages. On the other hand, many
composers have also been inspired by folk celebrations and music. Around 1890,
Charles Gounod published a Christmas carol in English using Henry Farnie's text
Bethlehem and the tune of Dans cette etable.
French religious folk
songs or noëls were often inspired by pastoral songs. This genre
originated in the twelfth century as songs for the Nativity. Nevertheless, the
true Christmas carol came from Provence and was written in this region's
dialect, often using secular tunes. These noëls or carols became fully
developed in the fifteenth century and soon after were compiled into books and
published. This helped them spread in popularity thus becoming a deeply rooted
tradition.
The Christmas carols
in this recording are among those most frequently heard among the
French-speaking people of Canada. Many of them came from across the Atlantic to
become part of Quebec's regional tradition. According to the historian Ernest
Myrand, 'the tune of the future Ça bergers ussemblons-nous ('Shepherds
let us get together') was first sung by Jacques Cartier's sailors on the deck
of their ship, the Grande Hermine in Stadacone [now Quebec City] on
Christmas Day of 1535. Over the centuries, Quebec composers have tried to adapt
or arrange the most famous carol while still maintaining the original character
of this music'.
Composer and organist
Raymond Daveluy, born in 1926 in Victoriaville, has arranged many of the most
popular French Canadian carols. It is Daveluy's sense of harmony that makes him
so suited to this task. His arrangements on this recording include Ah! Quel
grand mystère! ('Oh what a great mystery!'); Ça, bergers! ('So,
shepherds!') and Dans cette etable ('In this stable'). The carol Il
est ne le divin enfant ('The Divine Child is born') was originally from
Lorraine; its melody is probably borrowed from La tête bizarde, a hunter's tune from the
eighteenth century. Les anges dans nos campagnes ('Angels in our fields') also dates back to the eighteenth century and
comes from Languedoc while Le sommeil de l'enfant Jesus ('The sleep of
the infant Jesus') comes from Anjou.
Another important
musician represented on this recording is Donald Patriquin. Born in Sherbrooke,
Quebec, in 1938, his works often show the influence of the stories and folklore
of his native region. It is this cultural understanding which makes him such an
ideal arranger and composer of this music for the Christmas tradition. His
arrangements include Venez mes enfants ('Come my children'); Quelle
est cette odeur agreable? ('What is this lovely perfume?') and Tous les
bourgeois de Châtres ('All the people of Châtres'), a carol from the town
of Arpajon.
This recording also
includes a variety of non-French music sung in Quebec at Christmas time. These
works come from England, continental Europe and the United States but have been
adopted over time by French-speaking people. Adeste Fideles was composed
by J.F. Wade. English by birth, Wade lived in Douai, France, and would have
written this song between 1740 and 1745. It was originally published in Latin
but became popular through the English version O come, all ye faithful. The
origin of Carol of the bells is unclear, though it is usually regarded
as Ukrainian. There is a Flower arranged by John Rutter, and Yuletide
Fires, are English in origin, although both are frequent visitors to Quebec
Christmas celebrations. Finally the Huron carol, Jesous Ahatonhia, as
arranged by the Canadian composer Healy Willan, is one of the first Christmas
carols ever composed in North America.
All of the music on this
CD was written to celebrate one event - the birth of Christ. If there is any
other common thread in all of these carols, it is the importance of a music
that is close to people's hearts. Over two continents and three centuries this
need still exists - for simple, meaningful songs that speak to our faith and
our hope.
Dominique Olivier