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This haunting yet tuneful carol opens with a simple folk-like melody sung by a solo voice, which is followed by a response from the full choir. Despite its gentle opening, this work builds to a robust and climactic moment in the third and final stanza, and it culminates in a gentle and ethereal “alleluia.” The musical idiom of this work is largely inspired by carols written by early twentieth century English composers such as Gustav Holst, Ralph Vaughan Williams, and Herbert Howells.
To the extent of the composer’s knowledge, this 17th Century Anonymous English text has not previously been set to music. This symbolically rich text expounds upon the reconciliatory meaning of an olive branch whilst drawing a correlation to the wood of the Cross. By the composer’s decision, the insertion of the “Et Incarnatus Est," from the Nicene Creed has been included. ("Et Incarnatus Est" can be translated to "and became incarnate in human flesh.") This represents a tradition in English Carols known as macaronic text, wherein, a local vernacular language is mixed with brief Latin phrases.
Text
Born is the Babe, the only Branch of Peace,
The sweet Messiah, God’s most holy Son,
Whose death our life, whose wounds our joys increase,
Who wrought our weal when all our hope was gone,
Whose grief our joy, whose lack relieved our loss,
Who cured our care by suffering on the Cross.
Born is the Lamb, the Sacrifice of Joy,
The Spotless Person, Ransom of our sin,
The sweet Samaritan that cured all annoy,
Begotten Son, the Sire delighted in,
Haven of Peace, when worldly troubles toss,
Who cured our care by suffering on the Cross. Et incarnatus est.
Born is the Shepherd careful of his sheep,
The Light of Glory bright of majesty,
The Father’s Pow’r who hath our sins in keep,
The very Beam of true Divinity,
Who praise we still when worldly troubles toss,
- cared our care by suffering on the Cross. Alleluia.
~Anonymous, 17th Century English