Enduring Christmas melody ‘Away in a Manger’ is a staple of carol services and nativity plays

But what are the lyrics, who composed it and why are there two melodies?

‘Away in a Manger’ is a beloved Christmas carol, first published in the late 19th century. Here’s all you need to know about its composer, lyrics, and two famous melodies.

Who composed ‘Away in a Manger’?

The origins of this festive favourite haven’t always been clear.

Until the 20th century, ‘Away in a Manger’ was known as ‘Luther’s Cradle Song’, as it was believed the Christmas carol was composed by Martin Luther, a German priest. Historians have since debunked this theory, as none of Luther’s writings mention the song, and no German text for the carol has been found from earlier than 1934.

It’s now believed the carol originated in the US, in the Evangelical Lutheran Sunday School’s 1885 collection Little Children’s Book for Schools and Families.

According to the Hymnology Archive, the song was likely written for Martin Luther’s birth and later, misleadingly attributed to Luther himself, “even though this song is not to be found in any of Luther’s hymn collections, nor it is known to have existed in any form in the German language”.

What are the lyrics to ‘Away in a Manger’? Picture: Getty

Why are there two versions of ‘Away in a Manger’?

‘Away in a Manger’ has two famous musical settings – one more popular in the US, the other better known in the UK and Ireland.

The melody best known in Blighty, known as ‘Cradle Song’, is thought to have originally been composed by Jonathan Spilman in 1837, before being adapted in 1895 by William Kirkpatrick.

‘Mueller’ is the melody best known in the US. First published under the title ‘Luther’s Cradle Hymn’, it was penned by James Murray and first published in 1887’s Dainty Songs for Little Lads and Lasses. It sounds like this:

What are the lyrics to ‘Away in a Manger’?

Away in a manger, no crib for a bed,
The little lord Jesus laid down his sweet head.
The stars in the bright sky looked down where he lay,
The little lord Jesus asleep on the hay.

The cattle are lowing, the baby awakes,
But little lord Jesus no crying he makes.
I love thee, lord Jesus! Look down from the sky,
And stay by my bedside till morning is nigh.

Be near me, lord Jesus; I ask thee to stay
Close by me for ever and love me, I pray.
Bless all the dear children in thy tender care,
And fit us for heaven to live with thee there.

Source : Classic Fm

The 1685 Coronation Anthem "I was Glad"

Choral splendour and huge organ chords, Parry's anthem was the first piece to be played as the coronation service started in 1953. Settings of the text, Psalm 122, have been used throughout British history at coronations, including a setting by Purcell in 1685.

Sir Hubert Parry (1848-1918) composed this setting of verses from Psalm 122 for the Coronation of King Edward VII in 1902, revising it for George V’s Coronation in 1911 by adding a more impressive introduction. Settings of the text by Purcell, John Blow and other musicians had been sung at previous Coronations, but it is Parry’s revised anthem that has been used subsequently, as well as being performed on State occasions and at royal weddings. 

At the Coronation of Queen Elizabeth II on 2 June 1953, the anthem was sung as the Queen entered at the west door of Westminster Abbey and processed into the Church. 

Despite his father’s opinion that music was not a suitable career for a gentleman, Hubert’s musical talent was nurtured at his prep school and while still at Eton he became the youngest student to gain a BMus from Oxford. He read law and modern history at Oxford, but kept up his musical studies while working in insurance until his compositions came to public notice. Having been employed by George Grove of the great new Dictionary of Music and Musicians, he was eventually appointed to the staff of the new Royal College of Music. When Grove retired as director of the RCM, Parry succeeded him and held the post until his death.

The full choir begins the anthem, then divides into two at the words ‘Jerusalem is builded’. The central section, a contemplative prayer for the peace of Jerusalem, is sung by the semi-chorus before the whole choir re-combines and the music builds to its final climax. 

I was glad when they said unto me,
We will go into the house of the Lord.
Our feet shall stand in thy gates, O Jerusalem
Jerusalem is builded as a city that is at unity in itself. 

O pray for the peace of Jerusalem, they shall prosper that love thee.
Peace be within thy walls, and plenteousness within thy palaces.

Book of Common Prayer, 1662, Psalm 122, vv 1-3, 6, 7

What Is the Story Behind Mendelssohn’s Wedding March?

Have you ever sat waiting for the bride to walk down the aisle, ears straining for the first bars of “Here Comes the Bride” or the “Wedding March,” and wondered how long the tradition of playing these songs has been around?

There are many superstitious wedding traditions, but some have pretty clear origins.

One of those is the music most commonly associated with Western weddings. The “Wedding March” and the song perhaps best known as “Here Comes the Bride” are both believed to have been first performed at a wedding that took place 160 years ago , when Princess Victoria Adelaide Mary Louise, Queen Victoria‘s oldest child, married Frederick William IV of Prussia on Jan. 25, 1858, in the Chapel Royal at St. James’ Palace.

But neither song was actually composed to be performed at a wedding. Rather, German composer Felix Mendelssohn wrote the “Wedding March” for an 1842 production of Shakespeare’s A Midsummer Night’s Dream,and “Here Comes the Bride” was the Bridal Chorus from Richard Wagner’s 1850 opera Lohengrin.

It was the 1858 royal wedding that is thought to have started the practice of a “full choral processional from the church entrance to the altar” and playing music as the bride walked up the aisle, “a change from the usual practice of having music only at the reception,” according to Elizabeth Hafkin Pleck’s Celebrating the Family: Ethnicity, Consumer Culture, and Family Rituals. “A patron of opera who loved Mendelssohn and Wagner, the princess chose the music for her ceremony.”

Usually, the “Bridal Chorus” is played without singing at modern weddings, but you can see the original lyrics and learn more about some of the controversy surrounding it here.

The “Wedding March,” composed by Felix Mendelssohn, was created in 1842 to accompany Shakespeare’s famous A Midsummer Night’s Dream.

Mendelssohn’s wedding march was first played in a wedding in 1847, but it was Victoria, the Princess Royal and Queen Victoria’s daughter, who made it the song to play during a wedding ceremony by having it accompany her own wedding in 1858.

The traditional white wedding 

As still happens at many weddings today — though many couples now choose to branch out, for reasons both personal and political — the Wagner chorus was played as the Princess processed to the altar, and the Mendelssohn march was played as the newlywed couple recessed back up the aisle. Once the royal couple used that music in their ceremony, it caught on more widely.

Plus, starting Western wedding traditions clearly ran in the family: the Princess’ mother, Queen Victoria, was the one who popularized white wedding dresses.

The Royal Caldelian Mark

 

The Royal Caldelian has become a global beacon of high arts , celebrating the unique cultures of the high brow from classical music , architecture, poetry and literature, law and politics , history and theatrical performances. Mark Caldelian was born on 18th April 1999 and from his infancy developed a unique appreciation for classical music. The intricate details of his appreciation are woven in the fabrics of his persona : calm, beauty , meek, graceful and sweet. The melodic tunes of Tchaikovsky seems to be the gold threads that lend his heart with extraordinary taste in English artistry and sculptures , Gothic and contemporary arts .

Well, fascinating details of the royal caldelian strike the core abilities of his ageless depth of knowledge in world history particularly royal history from 1066 to current years utterly incredible!

Mark has developed a world class arena where the world’s most expensive and treasured pieces of memory can be felt , seen and thought about .

Particularly on the blogs where one can access royal stories and historic accounts not forgetting music and food 

The Royal caldelian hopes to raise awareness on the educative aspects of history as a catalogue of events that shape individual thoughts and the appreciation of therapeutic Melodies that builds the brains faculty ,

Poetry that speaks to our soul and arts that connect our wildest imaginations . 

                       Official Insignia of the Royal Caldelian 

Mark celebrates his official birthday on 17th June every year as  part of family traditions  . The official birthday also marks a the celebration of the royal institution of caldelian , a dedication to preserving the high arts and renaissance history.

The ruler who has just been overtaken by The Queen

By John Quincy Adams - The Princely Collections, Vaduz-Vienna, Public Domain, Wiki Commons

 Queen Elizabeth II has just overtaken Johann II of Liechtenstein as the third-longest verified reigning monarch in history. But who exactly is Johann II?

Born 5 October 1840 in Elsgrub, Margraviate of Moravia in the Austrian Empire, Johann II was the elder son of Aloys II, Prince of Liechtenstein and Countess Franziska Kinsky of Wchinitz and Tettau. Johann II ascended to the throne shortly after his 18th birthday. His reign is considered the longest precisely documented tenure of any European monarch since antiquity in which a regent, was never employed (that is a regent of a minority regency.)

The Countess would act as regent from 10 February 1859 to November 1860. She was not head of a minor regency but was appointed by her son to fulfill his duties as he wanted to finish his education before he began his rule.

In 1862, Johann II issued Liechtenstein’s first constitution and several years later in 1866, Liechtenstein left the German Confederation. Following World War I, in 1921 Johann II granted a new constitution that made the principality of a constitutional monarchy and gave political rights to commoners. The constitution would go on to survive with revisions, most notably in 2003. 

Johann II would help mend relations with Liechtenstein’s traditional ally, Austria-Hungary as well as its successor states. This was in an effort to have closer relations with Switzerland, particularly after World War I. During the war, Liechtenstein would stay neutral and broke its alliance with Austria-Hungary. This led to a customs union with Switzerland. 

Johann II followed in the footsteps of several family members and never married nor did he have any children. Following his death in 1929, he was succeeded by his brother, Franz I.

Johann II’s reign lasted 70 years and 91 days. He is considered the second-longest of any monarch in European history. King Bhumibol Adulyadej of Thailand was known for his record-long reign as well. 

Felix Mendelssohn :The best of his 2nd corner stone ,A brilliant piece for his lost generation. The future’s best

                       Felix Mendelssohn 

The symphony was written for a full orchestra and was Mendelssohn's second extended symphony. It was not published until 1868, 21 years after the composer's death – hence its numbering as '5'. Although the symphony is not very frequently performed, it is better known today than when it was originally published. Mendelssohn's sister, Fanny Mendelssohn Hensel, chose the name ReformationSymphony.

By the time, Mendelssohn began writing his ReformationSymphony in 1829, he was still only 20 but had moved far beyond child-prodigy  status. In fact, he had already launched a revival of Bach's music with his celebrated performances of the St. Matthew was one of the most renowned musicians in Germany as a pianist and conductor as well as composer. But this Symphony was to become one of the few major disappointments in a career marked more by triumphs than failures.

With his growing celebrity, Mendelssohn had every expectation he would be called upon to compose music for the gala commemoration of the 300th anniversary of the Augsburg Confession — Martin Luther's declaration of the doctrines of the new Protestant faith — in Berlin on June 25, 1830. Though born into an illustrious Jewish family — his grandfather was the noted philosopher Moses Mendelssohn — Mendelssohn was baptized at seven and reared in the Lutheran Church. Thus, the Augsburg tercentenary stimulated the most ambitious orchestral work he'd yet tackled, grand and heroic in tone and scored for a large ensemble with full brass complement.

However by the time he completed the work in May 1830, Mendelssohn already knew his new symphony would not be played at the Berlin celebration. Many commentators have claimed the festivities were cancelled, but musicologist Judith Silber has recently produced contemporary newspaper evidence that they did in fact take place, with music by the now forgotten Eduard Groll. Why was Mendelssohn passed over for this occasion? No one knows for certain, but it seems that choral music to appropriate religious texts was used and that Mendelssohn's purely instrumental symphony may not have seemed suitable. And anti-Semitism may also have played a part.

Believing in his symphony, over the next two years Mendelssohn urgently but vainly sought a premiere in Munich, Leipzig, and Paris. Paris dealt him a wounding blow when, after one rehearsal of the work, he was told the Conservatoire musicians found the work “too learned, [with] too much fugato, [and] too little melody.” No performance took place, though a cholera epidemic in the city that closed all theaters may have sunk the symphony rather than the musicians' quibbles. Finally, a belated premiere took place in Berlin on November 15, 1832 to mixed reviews.

 Gradually, Mendelssohn turned against his ill-starred symphony and declared it a failure. In 1838 he wrote: “I can hardly stand the Reformation Symphony anymore and would rather burn it than any other piece of mine; [it] shall never be published.” And indeed the work was not published until 1868, two decades after his death. Therefore, it received the misleading designation of “Symphony No. 5,” though it was actually the second of his mature symphonies, predating the “Scottish” and the “Italian.”

This stirring, richly contrapuntal work, however, has finally come into its own as one of Mendelssohn's most frequently performed scores. Its first movement rises from the low strings in a solemn layering of instrumental entrances that Silber calls “a brilliant orchestral evocation of Renaissance polyphony.” Last to enter are the violins, who softly sing the traditional Protestant “Dresden Amen,” which Wagner later exploited in his religious opera Parsifal (heard here last season). Wind fanfares accentuate the ceremonial mood. A bold and militant ascending theme introduces the Allegromain section; marked “con fuoco” — “with fire” — it seems a musical portrait of the pugnacious Luther and the fierce struggle between Catholics and Protestants in the 16th century. Fanfares drive the middle development section, which grows steadily in volume and turbulence. Then a surprise: the violins softly repeat the “Dresden Amen,” and Luther's fiery theme returns, now subdued and almost gentle.

The two middle movements are lyrical interludes, contrasting with the heroic outer movements. First comes the scherzo: a robust German folk dance emphasizing crisp rhythms and including a wonderfully outdoorsy (with trilling woodwind birds) trio section in the middle. Movement three is a lovely “Song Without Words” for the first violins with discreet orchestral accompaniment.

Mendelssohn meets Queen Victoria and Prince Albert

This leads without pause into the opening of the finale, with a solo flute chastely singing Luther's great hymn “Ein feste Burg” — “A Mighty Fortress is Our God.” Gradually, other instruments join in, swelling the majesty of the chorale. Phrases of the chorale in different instruments over a galloping rhythm lead to the Allegro maestoso of a movement Silber calls “a hybrid of sonata form and chorale variations.” Throughout, elaborate fugal passages recall another great Lutheran musician, J. S. Bach. A grandly stretched-out reprise of “A Mighty Fortress” by the full orchestra makes a splendidly triumphant conclusion.

Watch video here 

Notes by Janet E. Bedell copyright 2018

Prince Philip’s funeral wishes was finally fulfilled in moving service overseen by Queen

Her Majesty has been ‘actively involved’ in every detail of the plans for Duke of Edinburgh’s memorial service in Westminster Abbey

The Queen on Tuesday fulfilled the Duke of Edinburgh’s final wishes with a moving service of thanksgiving, incorporating the hymns, themes and guests he was denied in his Covid-19 lockdown funeral.

The Queen has been “actively involved” in every detail of the plans for the Westminster Abbey service, which included flowers paying tribute to their wedding day, honoured guests from his hundreds of charities, and the rousing sound of the full congregation singing Guide me, O thou great Redeemer.

Several of his requests for his own funeral, planned long in advance, finally come to pass, with the young people of his Duke of Edinburgh awards taking centre stage.

The Queen attended the service in person, entering via Poet’s Corner for a short walk to her seat and a 45-minute-long service to maximise her comfort.

The  Duke’s older great-grandchildren  attended giving the younger generation of his family the chance to honour their much-loved great-grandfather.

Only 30 people were allowed to attend his funeral in April, where the Queen sat alone in line with coronavirus rules.

The Queen sat alone at her husband's funeral last year amid Covid rules CREDIT: WPA Pool

The service of thanksgiving is intended to allow the Duke’s wider friends and family, as well as hundreds of people connected to his charity patronages, the chance to come together in loving memory and admiration of his 99 years.

The Queen’s personal touch was felt during the service, with the orchids that formed part of her 1947 wedding bouquet being incorporated into small posies of flowers.

The spiky blue flowers of eryngium, known as sea holly, represented the Duke’s naval career and lifelong affection for the sea, in larger floral arrangements which have been thought through in meticulous detail.

All flowers were red, white or blue, in a final act of patriotism from the Duke who gave up his naval career for a life of public service.

The Queen and Duke of Edinburgh look at their homemade wedding anniversary card, given to them by their great grandchildren, ahead of their 73rd wedding anniversary

The event, which was attended by more than 30 members of foreign Royal families as well as all senior working members of the British Royal Family, was broadcast on BBC One.

Other notable guests included Sir David Attenborough, who has known the Duke and Queen for much of their working lives after producing Her Majesty’s Christmas broadcast for the BBC and finding kinship over their shared love of the natural world.

Dame Floella Benjamin, the broadcaster who has said he was “kind and supportive to me on many occasions” and Baroness Grey-Thompson, the chairperson of trustees of the UK Duke of Edinburgh's Award scheme who last year described the programme as a “testament to his imagination and thoughtfulness”.

The Duke of York  accompanied the Queen  to the Abbey as his daughters and sons-in-law were present . The Duchess of York was absent, as the Duke and Duchess of Sussex.

The service saw the Duke celebrated for his “gifts of character; for his humour and resilience; his fortitude and devotion to duty”.

The congregation also heard of his “service as a Consort, liege man of life and limb, and of earthly worship to Her Majesty”, of his “devotion to family, to nation and to Commonwealth” and of his “strength and constancy”.

The congregation also heard Prince Philip's 'earthly worship to Her Majesty' throughout their marriage CREDIT: The Countess of Wessex

Duke's 'energy and spirit of adventure' to be celebrated

In particular, the congregation celebrated his “energy and spirit of adventure”, both in working with the young to improve their chances in life and his “good stewardship of the environment”.

His interest in bringing different religions together will be reflected in a guest list from numerous “faith communities”, as well as his charities.

An address was  be given by 28-year-old Doyin Sonibare, who attained her Bronze, Silver and Gold Duke of Edinburgh Awards through her youth club in Barking, London, and credits them with changing her life and prospects.

Nine recent Gold Award holders lined the Abbey steps as guests arrive, along with young members of the UK Cadet Force Associations.

Doyin Sonibare, who attained her Bronze, Silver and Gold Duke of Edinburgh Awards through her youth club in Barking, London

The Duke became Colonel-in-Chief of the Army Cadet Force in 1953, and was particularly proud of his influence in changing the lives of young people through practical programmes.

He also hoped to include something of his active role in running the Royal Estates of Windsor, Sandringham and Balmoral, which will be represented by three of the Queen’s domestic chaplains - one from each estate - offering prayers.

While the Duke’s funeral service took place without hymns from the congregation, with singing banned under lockdown rules, the 1,800-strong congregation were invited to sing Guide me, O thou great Redeemer.

The hymn had been part of plans for the funeral drawn up pre-Covid, code-named “Forth Bridge”, at the Duke’s specific request.

The Duke had also asked for the choir to sing Te Deum in C by Benjamin Britten. The eclectic list of music included the moving Pacific theme by Blake Neely and Hans Zimmer, composed for a television mini-series about a US marine corps fighting in the Pacific during the Second World War.

The final piece of music, The Seafarers, was  played by The Band of Her Majesty’s Royal Marines Portsmouth as the guests depart Westminster Abbey.

The service was sung by the Choirs of Westminster Abbey, and Her Majesty’s Chapel Royal, St James’s Palace.

The Dean of Westminster, The Very Reverend David Hoyle, also  conducted the service and gave the bidding describing the late Duke as "a man of rare ability and distinction, rightly honoured and celebrated, he ever directed our attention away from himself".

"Working at pace, with so many claims on his attention, he encouraged us to focus, as he was focused, on the things that matter," he will say.

More than 200 of Duke's charities were represented

"His was a discipline and character that seized opportunity and overcame obstruction and difficulty.


"We recall, with affection and respect, the sustained offering of a long life lived fully."

The Right Reverend David Conner, the Dean of Windsor who led the funeral service, gave the address, and the Archbishop of Canterbury with  the Blessing

More than 200 of the Duke’s charities were represented, with two guests invited from each.

They range from the Royal College of Physicians and The Royal Academy of Engineering and the Worldwide Fund for Nature to the Crathie Cricket Club, the Garrick Club and the Guinea Pig Club with its membership of men who had experimental plastic surgery after being grievously injured in the Second World War.

Buckingham Palace said the service “will give thanks for The Duke of Edinburgh’s dedication to family, Nation and Commonwealth and recognise the importance of his legacy in creating opportunities for young people, promoting environmental stewardship and conservation, and supporting the Armed Forces.”

“The Queen was actively involved in the plans for today’s Service of Thanksgiving, with many elements reflecting Her Majesty’s wishes,” a spokesman confirmed.

The Queen, who has recently suffered mobility problems, was on Monday still hoping to lead her family at the event.

The service showcased his dedication to family, Nation, and Commonwealth and paid tribute to his contribution to public life & steadfast support for over 700 charitable organisations.