In Dulci Jubilo "In sweet rejoicing" for Oboe Consort

For: Double reed ensemble
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In Dulci Jubilo "In sweet rejoicing" for Oboe Consort

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Composer
Arranger
Year of arrangement
2016
Difficulty
Moderate (Grades 4-6)
Duration
2 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

A little transcription of In Dulci Jubilo for Oboe Quintet.

In dulci jubilo ("In sweet rejoicing") is a traditional Christmas carol. In its original setting, the carol is a macaronic text of German and Latin dating from the Middle Ages. Subsequent translations into English, such as J.M. Neale’s arrangement "Good Christian Men, Rejoice" have increased its popularity, and Robert Pearsall’s 1837 macaronic translation is a mainstay of the Christmas Nine Lessons and Carols repertoire. J.S. Bach’s chorale prelude based on the tune (BWV 729) is also a traditional postlude for Christmas service. Dieterich Buxtehude set the melody as a chorale-cantata in 1683 for soprano, alto and bass accompanied by two violins and continuo (BuxWV 52) and as a chorale prelude for organ (BuxWV 197) c. 1690.

Johann Sebastian Bach set this melody several times: as a chorale in BWV 368; and then for organ in BWV 608 as a double canon in his Orgelbüchlein and in BWV 729 and BWV 751 as a chorale prelude. Commentators agree, however, that BWV 751 is too simple and undeveloped to be the work of Bach. Bach also used the opening phrase of the melody as a fugal subject for two other choral preludes, BWV 703 (Gottes Sohn ist kommen) and BWV 724 (Gott durch deine Güte). BWV 729, written by Bach to accompany congregational singing in Arnstadt, is traditionally performed as the first organ voluntary at the end of the Festival of Nine Lessons and Carols at King’s College, Cambridge. This voluntary was first introduced to the service in 1938 by organ scholar Douglas Guest. Franz Liszt included the carol in his piano suite Weihnachtsbaum in the movement entitled Die Hirten an der Krippe (The Shepherds at the Manger). Norman Dello Joio uses the theme as the basis of his "Variants on a Medieval Tune" for wind ensemble. Ronald Corp composed a setting of In Dulci Jubilo for unaccompanied SATB choir in 1976.

The original song text, a macaronic alternation of Medieval German and Latin, is thought to have been written by the German mystic Heinrich Seuse circa 1328. According to folklore, Seuse heard angels sing these words and joined them in a dance of worship.In his biography (or perhaps autobiography), it was written:

Now this same angel came up to the Servant (Suso) brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus …

The tune first appears in Codex 1305, a manuscript in Leipzig University Library dating from c.1400, although it has been suggested that the melody may have existed in Europe prior to this date. In print, the tune was included in Geistliche Lieder, a 1533 Lutheran hymnal by Joseph Klug. It also appears in Michael Vehe’s Gesangbuch of 1537. In 1545, another verse was added, possibly by Martin Luther. This was included in Valentin Babst’s Geistliche Lieder, printed in Leipzig. The melody was also popular elsewhere in Europe, and appears in a Swedish/Latin version in the 1582 Finnish songbook Piae Cantiones, a collection of sacred and secular medieval songs.

The tune appears in Michael Praetorius’s Polyhymnia Caduceatrix & Panegyrica collection of 1619.

A polyphonic arrangement for 8 voices was made by Robert L. Pearsall (1795-1856), this being later adapted for 4 voices, the most commonly performed version, by W. J. Westbrook (1831-1894).

There have been a number of translations of the Latin/German poem into English. The most popular that keeps the macaronic structure is Robert Lucas de Pearsall’s 1837 translation, which retains the Latin phrases and substitutes English for German. A 2008 survey by BBC Music Magazine found this to be the second most popular choral Christmas carol with British cathedral organists and choirmasters.

Alternatively, a looser translation produced in 1853 by John Mason Neale titles the work "Good Christian Men, Rejoice". This translation is often criticised. In 1921, H. J. Massé wrote that it was an example of "musical wrong doing … involving the mutilation of the rhythm of that grand tune In dulci jubilo to the English words Good Christian Men Rejoice. It is inconceivable that anyone of any real musical culture should have lent himself to this tinkering with a perfect tune for the sake of fitting it perforce to works of inferior merit." He goes on to cite a more appropriate English translation from 1567 by John Wedderburn as a more "worthy effort".

Still another English translation, made in the 19th century by Arthur T. Russell and featured in several Lutheran hymnals, renders the work as "Now Sing We, Now Rejoice".

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Mattinata for Oboe & Piano, Vedrò con mio diletto Aria: from the opera "Il Giustino" for Oboe & Keyboard, Fugue for 6 Oboes, Vesti La Giubba for Oboe & Piano, Badinerie from Suite No.2 for Oboe & Piano, M’Appari Tutt’ Amor for Oboe & Piano, Arrival of the Queen of Sheba for Oboe Consort, Quando Me’n Vo (Musetta’s waltz) for Oboe & Piano, O Sole Mio for Oboe & Piano, Chorale Partita with Seven Variations for Wind Quintet (Alle Menshen), Bollywood Tango for Oboe, Bassoon & Keyboard, Jazz it up:When the Saint’s Go Marching In for Cor Anglaise & Piano, Prelude from the Te Deum (Eurovision Song Contest Theme) for Oboe & Organ w pedals, Hula Bird Song for Concert/Wind Band, Amazing Grace for Oboe & Piano, Lullaby for an Oboist, Keyboard & Bass, Hebrew Slaves Chorus from Nabucco ( "Va, pensiero") for Oboe Quintet, Trumpet Tune from the Island Princess for Wind Quintet, Were You There? Oboe & Piano, Four Early Jazz Classics from the USA for Wind Quintet, Pachelbel’s Canon for Oboe Consort/Octet, Fanfare & Soliloquy for Oboe & Piano, Two Jeremiah Clarke Trumpet Tunes for Oboe Consort, SUO-GAN for Oboe & Piano, Twenty Minute Tango for Oboe & Piano, Vedrò con mio diletto Aria: from the opera " Il Giustino" for Bassoon & Keyboard, March from Scipio for Wind Quartet & optional Keyboard & Percussion, Be Thou My Vision (Hymn Tune:Slane) for Oboe Consort, Times lost for Oboe & Piano, Swing Low, Sweet Chariot for Wind Quintet, Czardas for Oboe & Pianoforte, Air from the Suite No. 3 in D for Oboe Quartet, Frankie & Johnny for Wind Quintet, Jasmine Flower (The) for Oboe & Piano, Czardas for Solo Violin & Symphony Orchestra, Welsh National Anthem for Wind Quintet (hen Wlad fy Nhadau-Land of my fathers), Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Oboe & K/B, Stanley Trumpet Voluntary for Wind Quintet, Cwm Rhondda Oboe Quartet, What Shall We Do With The Drunken Oboist?, Chinese National Anthem for Wind Quintet (March of the Volunteers) World National Anthem Series, Overture from Suite in D from The Water Music for two Oboes & Harpsichord, Franzosisches Lied: Est-ce Mars? for Wind Quintet, Air from the Suite No. 3 in D for Oboe & Keyboard, Stanley Trumpet Voluntary for two Oboes & Organ (no pedals), Solveig’s song for Salon Orchestra, Pachelbel’s Kanon Rocks! Mixed Ensemble, O Mio Babbino Caro for Oboe & Piano, Stanley Trumpet Voluntary for Oboe & Organ + Pedals, What Shall We Do With The Drunken Wind Quintet?, Hebrew Slaves Chorus from Nabucco ("Va, pensiero") for Wind Quintet, Swing Low, Sweet Chariot for Oboe & Keyboard, Von Fremden Landern und Menschen for Oboe Consort, Von fremden Ländern und Menschen for Wind Quintet, Kanon in D minor, but not that one!, Ode to Joy for School/Flexible Band, All Through the Night(Ar Hyd Y Nos) for Wind Quartet & Percussion, Havana Rhubarb Rumba for two Oboes & Piano, Für Elise Boogie Woogie for Wind Quintet (Keith Terrett Jazz for 5 Wind Series), An Oboist Goes Ballroom Dancing for Oboe & Piano, Stanley Trumpet Voluntary for Two solo Oboes & Piano, Nessun Dorma for Bb Bass Clarinet & Piano, Battle Hymn of the Republic ’’Mine Eyes Have Seen the Glory’’ for Wind Quintet, Cwm Rhondda for Wind Quintet, Lost Patrol March (The) for Concert/Wind/Symphonic Band (Keith Terrett Classic March Collection), American Military Marching Songs for Concert/Wind Band (Keith Terrett Classic March Collection), Two Arias for Oboe Consort, Royal Hussar (The) - Ceremonial Slow March for Brass Band (Keith Terrett Classic March Collection), Träumerei for Solo Oboe & Piano, Eternal Father Strong to Save (Naval hymn) for Wind Quartet/Quintet, Two Arias for Oboes, Horns & Bassoon, Frankie & Johnny for Oboe & Piano, March from ’Judas Maccabaeus’ for Wind Quartet (School Junior Wind Series) with optional KB & Percussion, It Is My Right for Concert/Wind Band, Pachelbel’s Kanon Rocks for Concert/Wind Band , A Serenade for Cor Anglais/English Horn & Keyboard, Jasmine Flower (The) for Flute & Concert Band, Two Arias for Wind Quintet, Jazz it up: ’When the Saints Go Marching In’ for Oboe & Piano, Kokoda Campaign for Concert /Wind Band (Keith Terrett Classic March Series), Allegro from the Concerto for Trumpet in D for Woodwind Trio & KB, Arrival of the Queen of Sheba for Wind Quintet, Solveigs sang for Cor Anglais & Keyboard, Air on the G string for Oboe Duo, Londonderry Air & Cavalry Last Post for solo Eb Cavalry Trumpet & Concert/Wind Band, No. 1 of the Trois Gnossiennes for Bassoon & Piano, Sa To To Ka Lei for Concert/Wind Band, Moonlight Serenade (Glen Miller) for Wind Quintet (Jazz for 5 Wind Series), Sounds of the Pacific (Tagi Voli) for Concert/Wind Band, Elegy Sentimentale for Concert/Wind Band, Elegy Sentimentale for Symphony Orchestra Opus 1, Islands & Mountains for Concert Band, Down by the Salley Gardens for Young Symphonic Band, Escape to the Phaeacians for Concert/Wind Band, Salut d'Amour (Loves Greeting) Opus 12 for Bassoon & Piano, Moonlight Serenade for Oboe & Piano, Czardas for Oboe & Concert/Wind Band and Intermezzo from Cavalleria rusticana for Doublebass & Piano

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