Sonoma Bach
  • Bach's World
    • 2022-2023 Concerts >
      • Travels with Sebastian
      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Rehearsal Recordings
  • Contact
  • Join our Mailing List!
  • Bach's World
    • 2022-2023 Concerts >
      • Travels with Sebastian
      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Rehearsal Recordings
  • Contact
  • Join our Mailing List!
Veni, Veni Emmanuel by Philip Lawson
The Advent carol 'O come, o come Emmanuel', beloved to many, has a deep history. Its melody first appeared with the text 'Bone Jesu dulcis cunctis'' in a 15th-century manuscript devoted to processional hymns for burial. The tune in this source matches the melody we know note-for-note, except that the first two lines in each verse are repeated, making a sort of 'bar form'. The source provides a single accompanying line. A facsimile of the original manuscript pages upon which the song is found is attached, along with a transcription in modern notation.

The Latin text 'Veni, veni Emmanuel' appeared much later, in 1710. It is a versification of five of the so-called 'O antiphons', which are the antiphons used at Vespers for the Magnificat in the last seven days of Advent. These date at least back to the 8th-century. Attached is a very nice recording which combines the music from the 15th-century manuscript with the
​Latin verse-text from 1710.

The English singing translation by John Mason Neale was published in 1851, and this is the version which is used for most of the standard carol settings. Here's Robert Shaw's arrangement.

But the version which I really want to share with you today is by Philip Lawson, formerly of the King's Singers. I stumbled upon this wonderful performance of his arrangement on YouTube, sung by the Gesualdo Six. Lawson's setting seems to me to strike the perfect balance between honoring the mood and intention of the original melody and words while yet providing a harmonious modern setting. It's just magical...

The score for the Lawson version is attached--it'd be a fun one with which to sing.
Click here to download learning materials
Sonoma Bach  | 911 Lakeville Street #193 |  Petaluma |  CA  |  94952 
​707-347-9491 | info@sonomabach.org

Sonoma Bach is a 501(c)(3) nonprofit arts organization