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lighting significant directives and actors, (“Behold,” the final direct object “Immanuel,” which can be heard
“virgin,” “son,” and “Immanuel”) by whole-tone and as a B11 extended triad, or alternatively as a pandiatonic
expanded triads. triad of B-Major and A-Major. This is a creative and
Looking at this section more closely, the second part original compositional choice that is both effective and
of the carol sets the Isaiah passage by first declaiming consistent with the overall harmonic approach within
in octaves, with a pedal tone F in the bass: “Therefore, the carol (Figure 1 on the next page).
the Lord himself shall give you a sign,” against a mini-
mal harp accompaniment, clarifying the texture. The 2) High Word of God
chord at “sign” is appropriately enigmatic (as prophetic A consistent 6/8 duple meter, Allegretto gioioso, brings a
“signs” can often be); a chord filling the measure com- contrast from the immensity of the opening movement,
prised of five whole tones, with an added D-natural, which suits the metrical version by nineteenth-century

and/or a pandiatonic chord (E -A-F + D-G-B), form- Oxford professor and hymn writer Charles Bigg to the
ing an F7 in third inversion and G-Major triad in sec- tenth-century hymn Verbum supernum prodiens:
ond inversion. Regardless, the overall effect on this sig-
nificant object of the phrase is luminous and contrasts High Word of God, who once didst come,
the simplicity of the rest of the verse. Finally, the last Leaving thy Father and thy home,
clause, “And shall call his name,” is varied from the uni- To succour by thy birth our kind,
son treatment by a simple imitative setting, leading to When, t’ward thy advent, time declined.

Earn

Graduate

Credit

by Attending the
2025 ACDA

National Conference
March 18-22 Dallas, TX

For more information please contact Dr. Robert Sinclair
email: rsinclair@vandercook.edu
direct: 312-788-1144

Chicago, IL | 312-225-6288 | www.vandercook.edu

CHORAL JOURNAL September 2024 Volume 65 Number 2 57