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.
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.
Reception Hodie was not well-received by critics, though it generally pleased audiences. Critics thought Vaughan Williams' compositional style too simple and direct, with one accusing Vaughan Williams of "primitivity" [sic]. In general in this period the octogenarian composer's nationalism had gone out of fashion and his older style suffered comparison with the new sounds coming from composers such as Benjamin Britten. Later critics, uninfluenced by this context, have been more generous.
Instrumentation Hodie calls for a large orchestra of three flutes (the third doubling piccolo), two oboes, cor anglais, two clarinets in B, two bassoons, contrabassoon; four French horns in F, three trumpets in B, 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: London Symphony Orchestra cond. David Willcocks with John Shirley-Quirk, Richard Lewis, Janet Baker (soloists) – recorded 1965 London Symphony Orchestra cond. Richard Hickox with Stephen Roberts, Robert Tear, Elizabeth Gale (soloists) – recorded 1990 Royal Philharmonic Orchestra cond. Hilary Davan Wetton with Peter Hoare, Stephen Gadd, Janice Watson (soloists) – recorded 2007.
Movements 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: Nowell! Nowell! Nowell! Hodie Christus natus est: hodie salvator apparuit: Hodie in terra canunt angeli, laetantur archangeli: Hodie exultant justi, dicentes: gloria in excelsis Deo: Alleluia.
English translation: Christmas! Christmas! Christmas! Today Christ is born: Today the Saviour appeared: Today on Earth the Angels sing, Archangels rejoice: Today the righteous rejoice, saying: Glory to God in the highest: Alleluia.
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. Now the birth of Jesus Christ was in this wise: when as his mother Mary was espoused to Joseph, before they came together, she was found with child of the Holy Ghost.
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:
"Joseph, thou son of David, fear not to take unto thee Mary thy wife: for that which is conceived in her is of the Holy Ghost. And she shall bring forth a son, and thou shalt call his name JESUS."
The full chorus joins the soloist in the final part of the passage:"He shall be great; and shall be called the Son of the Highest: Emmanuel, God with us."
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":It was the winter wild, While the Heaven-born child, All meanly wrapt in the rude manger lies; Nature in awe to him Had doffed her gaudy trim, With her great Master so to sympathise: And waving wide her myrtle wand, She strikes a universal peace through sea and land. No war or battle's sound Was heard the world around, The idle spear and shield were high up hung; The hooked chariot stood Unstained with hostile blood, The trumpet spake not to the armed throng, And Kings sate still with awful eye, As if they surely knew their sovran Lord was by. But peaceful was the night Wherein the Prince of light His reign of peace upon the earth began: The winds, with wonder whist, Smoothly the waters kissed, Whispering new joys to the mild ocean, Who now hath quite forgot to rave, While birds of calm sit brooding on the charmèd wave.
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 it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world should be taxed. And all went to be taxed, every one into his own city. And Joseph also went up into the city of David, which is called Bethlehem; to be taxed with Mary his espoused wife, being great with child.
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 blessed son of God only In a crib full poor did lie; With our poor flesh and our poor blood Was clothed that everlasting good. Kyrie eleison.
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:And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them:
"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:Christmas Eve, and twelve of the clock. "Now they are all on their knees," An elder said as we sat in a flock By the embers in hearthside ease.
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:And the shepherds returned, glorifying and praising God for all the things that they had heard and seen, as it was told unto them.
"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:The shepherds sing; and shall I silent be? My God, no hymn for Thee? My soul's a shepherd too; a flock it feeds Of thoughts, and words, and deeds. The pasture is Thy word: the streams, Thy grace Enriching all the place.
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:But Mary kept all these things, and pondered them in her own heart.
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 was the song the Virgin sang, When she to Bethlem Juda came And was delivered of a Son, That blessed Jesus hath to name: "Lulla, lulla, lulla-bye, Sweet Babe," sang she, And rocked him sweetly on her knee.
"Sweet Babe," sang she, "my son, And eke a Saviour born, Who hath vouchsafèd from on high To visit us that were forlorn: "Lalula, lalula, lalula-bye, Sweet Babe," sang she, 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 of Hawthornden:Bright portals of the sky, Emboss'd with sparkling stars, Doors of eternity, With diamantine bars, Your arras rich uphold, Loose all your bolts and springs,