Hodie (This Day) is a cantata by Ralph Vaughan Williams. Composed between 1953 and 1954, it is the composer's last major choral-orchestral composition, and was premiered under his baton at Worcester Cathedral, as part of the Three Choirs Festival, on 8 September 1954. The piece is dedicated to Herbert Howells. The cantata, in 16 movements, is scored for chorus, boys' choir, organ and orchestra, and features tenor, baritone, and soprano soloists.
Contents
Style
Stylistically, Hodie represents a synthesis of Vaughan Williams' entire artistic career, with elements drawn from most periods of his creativity. He had already experimented with the form, of Biblical texts interwoven with poetry, in his cantata Dona nobis pacem. Musically, various movements may suggest different earlier works: for example, the accompaniment to the "Hymn" is very similar to the Sinfonia antartica, while the "Pastoral" shares some elements from the Five Mystical Songs of 1911.
Thematically, the work is bound together by two or three motives which recur throughout its length. One of these is first heard on the word "Gloria" in the first movement, and recurs whenever the word is introduced again. Another, introduced in the first narration, reappears at the beginning of the epilogue. In addition, the final setting of Milton's text uses the same melody as the first song for soprano, although orchestrated differently.
Instrumentation
Hodie calls for a large orchestra of three flutes (the third doubling piccolo), two oboes, cor anglais, two clarinets in B-flat, two bassoons, contrabassoon; four French horns in F, three trumpets in B-Flat, two trombones, bass trombone, tuba; a percussion section that includes timpani, bass drum, snare drum, tenor drum, tubular bells, cymbals, glockenspiel and triangle; celesta, piano, organ; strings; SATB choir and boys' choir; and soprano, tenor and baritone soloists.
Performance history
Hodie has not remained among Vaughan Williams' more popular compositions, and is done less frequently than many of his other works. Nevertheless, it is still performed on occasion, recently being telecast on PBS in a performance by the Mormon Tabernacle Choir. In addition, the following recordings have been made:
I: Prologue
The cantata opens with jubilant fanfares for brass, soon followed by cries of "Nowell!" from the full chorus. These introduce a setting of part of the vespers service for Christmas Day, the only portion of the work that is not in English:
Latin text:
English translation:
The setting of the text is direct and uncomplicated, apart from the varied settings of the final "Alleluia", yet it includes many rhythmic irregularities.
II: Narration
The following narration is one of several linking the various solo and choral movements of the piece. Each narration is scored for organ and boys' choir, and takes its text from various portions of the Gospels. The first such narration takes as its text Matthew 1:18-21 and 23 and Luke 1:32.
Then Joseph her husband, being a just man, was minded to put her away privily. But while he thought on these things, behold, the angel of the Lord appeared unto him in a dream.The tenor soloist, introduced by a quiet woodwind melody, serves as the voice of the angel:
The full chorus joins the soloist in the final part of the passage:
III: Song
The third movement is a gentle song for soprano, and sets a fragment of John Milton's poem "On the Morning of Christ's Nativity":
The women of the chorus join the soloist for portions of the last verse.
IV: Narration
The following narration is taken from Luke 2:1–7:
And so it was, that, while they were there, the days were accomplished that she should be delivered. And she brought forth her firstborn son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn.V: Choral
The "choral" which follows is one of two in the cantata set for unaccompanied chorus, and uses a translation by Miles Coverdale of a hymn by Martin Luther:
The Lord Christ Jesu, God's son dear, Was a guest and a stranger here; Us for to bring from misery, That we might live eternally. Kyrie eleison. All this did he for us freely, For to declare his great mercy; All Christendom be merry therefore, And give him thanks for evermore. Kyrie eleison.VI: Narration
The following narration was adapted by the composer from Luke 2:8–17 and the Book of Common Prayer, and introduces the shepherds:
"Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger." And suddenly there was with the angel a multitude of the heavenly host praising God, and saying: "Glory to God in the highest and on earth peace, good will toward men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thee thanks for thy great glory, O Lord God, heavenly King, God the Father Almighty." And it came to pass, as the angels were gone away from them into heaven, the shepherds said one to another, "Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known unto us." And they came with haste, and found Mary, and Joseph, and the babe lying in a manger. And when they had seen it, they made known abroad the saying which was told them concerning this child. And all they that heard it wondered at those things which were told them by the shepherds.Once again, the tenor sings the words of the angel; the chorus, introduced by the soprano, sings the words of the heavenly host. The men of the chorus sing the part of the shepherds.
VII: Song
This movement features the baritone soloist, and is introduced by quiet and atmospheric woodwinds. Its text is "The Oxen" by Thomas Hardy:
We pictured the meek mild creatures where They dwelt in their strawy pen, Nor did it occur to one of us there To doubt they were kneeling then. So fair a fancy few would weave In these years! Yet I feel, If someone said on Christmas Eve, "Come; see the oxen kneel, In the lonely barton by yonder coomb Our childhood used to know," I should go with him in the gloom, Hoping it might be so.VIII: Narration
The following narration is taken from Luke, 2:20:
"Glory to God in the highest."IX: Pastoral
This song is again scored for the baritone soloist, and is a setting of a poem by George Herbert:
Shepherd and flock shall sing, and all my powers Outsing the daylight hours. Then will we chide the sun for letting night Take up his place and right: We sing one common Lord; wherefore he should Himself the candle hold. I will go searching, till I find a sun Shall stay, till we have done; A willing shiner, that shall shine as gladly, As frost-nipped suns look sadly. Then will we sing, and shine all our own day, And one another pay: His beams shall cheer my breast, and both so twine, Till ev'n His beams sing, and my music shine.X: Narration
The following narration takes its text from Luke 2:19:
XI: Lullaby
Scored for soprano and women's chorus, the lullaby is based upon an anonymous text which is also known in a setting by Benjamin Britten:
"Sweet Babe," sang she, "my son, Who hath vouchsafèd from on high And rocked him sweetly on her knee.XII: Hymn
The hymn which follows represents the only solo movement for the tenor in the entire cantata, and was reportedly a late addition made when the original tenor soloist complained about the size of his part. Its text is the poem "Christmas Day" by William Drummond:
O well-spring of this All! Word, that from nought did call The soul's eternal food, All truth, love, beauty, good: O glory of the heaven! To thee all power be given, Of mankind lover true, Who doth the world renew,The movement is brilliantly scored for full orchestra, and opens with a bright brass fanfare.
XIII: Narration
The following narration is adapted from Matthew 2:1-11:
The voice of the kings is provided by the men of the chorus.
XIV: The March of the Three Kings
The march of the kings represents the first time since the beginning of the cantata that soloists, choir, and orchestra join together to sing a movement. The chorus introduces the march, whose text was written expressly for the composer by his wife, Ursula. Each of the soloists sings a separate verse, each describing one king and his gift, before joining together to finish the march.
From kingdoms of wisdom secret and far come Caspar, Melchior, Balthasar; they ride through time, they ride through night led by the star's foretelling light. Crowning the skies the star of morning, star of dayspring calls, lighting the stable and the broken walls where the prince lies. Gold from the veins of earth he brings, red gold to crown the King of Kings. Power and glory here behold shut in a talisman of gold. Frankincense from those dark hands was gathered in eastern, sunrise lands, incense to burn both night and day to bear the prayers a priest will say. Myrrh is a bitter gift for the dead. Birth but begins the path you tread; your way is short, your days foretold by myrrh, and frankincense and gold. Return to kingdoms secret and far, Caspar, Melchior, Balthasar, ride through the desert, retrace the night leaving the star's imperial light. Crowning the skies the star of morning, star of dayspring, calls: clear on the hilltop its sharp radiance falls lighting the stable and the broken walls where the prince lies.XV: Choral
The text of the second choral, again for unaccompanied chorus, is taken from an anonymous poem; the second verse was again furnished by the composer's wife:
No sad thought his soul affright, Sleep it is that maketh night; Let no murmur nor rude wind To his slumbers prove unkind: But a quire of angels make His dreams of heaven, and let him wake To as many joys as can In this world befall a man. Promise fills the sky with light, Stars and angels dance in flight; Joy of heaven shall now unbind Chains of evil from mankind, Love and joy their power shall break, And for a new born prince’s sake; Never since the world began Such a light such dark did span.XVI: Epilogue
The epilogue opens with a setting, for the three soloists, of a text adapted from John 1:1, 4, and 14, and Matthew 1:23:
The chorus joins in on the final words, and the remainder of the work is scored for full chorus and orchestra, with soloists. It again sets Milton's words, slightly adapted, from "On the Morning of Christ's Nativity":
But when of old the sons of the morning sung, And the well-balanced world on hinges hung, And cast the dark foundations deep, And bid the weltering waves their oozy channel keep. Orbed in a rainbow; and, like glories wearing, With radiant feet the tissued clouds down steering; And heaven, as at some festival, Will open wide the gates of her high palace hall.