Clerestory Notes

Commentary -

When we hear the evocatively beautiful melody of fifteenth-century plainsong, O Come, O Come, Emmanuel, we know without doubt that the season of Advent has arrived. The text of this classic hymn is a poetic rendering of the seven “O Antiphons” which were sung at Vespers services the last seven days before Christmas in medieval Western traditions and which date back at least to the eighth century (some say the date is more likely the sixth century). Each of the verses addresses the longing cry, “O Come,” to one of the titles of the Messiah prophesied in Isaiah, with references to other texts of Old Testament prophecies. The minor mode of the verses, which shifts to major for the first phrase of the chorus, “Rejoice!” before returning to the minor tonic, reminds us that even as we rejoice as we commemorate the first coming of the Messiah, we anticipate further rejoicing in His longed-for second Advent.

This arrangement of O Come, O Come, Emmanuel sets four of the hymn’s verses. These were chosen to mirror the themes of the four Sundays of Advent: Hope, Love, Joy, Peace. The harmonic structure varies from verse to verse, reflecting the mood of the text – beginning softly, building through verse 3, then moderating through verse 4. This is especially moving when all four verses are sung at one point in a service. In some Advent seasons, we sing one verse at Gathering or Invocation each week. In this case, the harmonic variation of the verses adds interest to the movement of the weeks as the Sundays build toward the celebration of Christ’s birth.

This arrangement is wonderful for a wide variety of instrument groupings. We like adding choir chimes or hand bells on the verses, and adding harmonica enhances the poignant alteration of longing and quietness. It is also lovely when used as an instrumental prelude or call to worship.

Liturgical Uses:
Gathering hymn; Invocation

Key: Dm (verses 1 and 2), modulating to Em.

O Come, O Come, Emmanuel is available as a lead sheet.