AHJ, Vol. 7 No. 4, Winter 1980

Overall Design
Erwin Stein has observed:
In his song cycles, choral works and operas, he [Britten] did
not so much aim at integrating the pieces, movements or
acts thematically as at achieving unity of the whole by
skillfully coordinating the parts.'
University of Rochester
EASTMAN SCHOOL OF MUSIC
A Ceremony of Carols is no exception to the rule.
Although the cycle begins and ends with a liturgical
framework, the plainchant, there is no obvious connection
by theme or rhythm between the movements
except the recall of the chant in the harp interlude.
The key connections have been considered in the
individual analyses, but it should be pointed out that
the impression of framework is strengthened by the
fact that the first and second pieces and the penultimate
and final pieces are all on a species of A, either
major or modal. The collection of poems is varied,
but the texts are unified by reference to some aspect
of the Nativity. Only the "Spring Carol" does not
allude to the events of Christmas; the reason for its
inclusion remains hidden.
The placement of the harp "Interlude" about halfway
through the cycle suggests that Britten felt a
certain climax had been reached in "This Little
Babe," as indeed it had, and that the moment of
restful denouement was at hand. None of the concluding
movements involve the aggressive intensity
of "This Little Babe."
Some directors have tried to solve balance problems
for performance with large groups by the use of
two harps. Since a perfect unison between two
plucked-string instruments is nearly impossible to
achieve, discreet amplification would be a more artistic
alternative, although most harpists deplore, and
rightfully so, any electronic modification of the tone
of the instrument.
"Procession" and "Recession"
The only sections of A Ceremony of Carols based on
pre-existing material are the identical "Procession"
and "Recession" which are derived almost literally
from an Antiphon to the Magnificat for Second Vespers
on Christmas Day. 2 Britten apparently put aside
considerations of English nationalism in choosing a
chant from the Gregorian rather than from the Sarum
rite.
The original plainchant is cast in Mode I; it begins
on step three of the mode and rises to consistently
flatted Bs, thus creating the illusion of a modern
major scale. Britten has chosen to dwell upon the
major sonority of the chant; the tonal center, however,
is placed on A. The chant is quoted almost
verbatim, except for insignificant deviations connected
primarily with text-setting.
Winter/1980
Eileen Malone
professor of harp
Eastman School Degree Programs:
BACHELOR OF MUSIC
• applied music, vocal and instrumental • music
education • theory • composition • music history
MASTER OF ARTS
• music education • musicology • theory
MASTER OF MUSIC
• performance • music education • composition
• jazz studies and contemporary media
DOCTOR OF PHILOSOPHY
• music education • musicology • theory
• composition
DOCTOR OF MUSICAL ARTS
• performance and literature • music education
• composition • conducting
For more information, or for a copy of the Eastman
Bulletin, wri•e: Charles Krusenstjerna, Director of
Admissions, Eastman School of Music, 26 Gibbs St.,
Rochester, N.Y. 14604. The University of Rochester
offers equal opportunity to all applicants.
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