Winter Solstice

Camilla Jessel-Panufnik (E)

When I was asked to compose a Christmas choral work, my mind turned immediately towards the fascinating dualism between early Christianity and paganism, particularly the close parallel between the celebration of Christ's birth - the Son of God - and the pagan celebration for the birth of their god - the Sun - both events taking place at the same point of the year.





The text for this work was specially written for me by my wife according to my requirements,to give me full opportunity to express musically this dualism between Christianity and paganism. The cantata has five movements:





i) Mistletoe Carol: The Christians sing a mistletoe carol of Christmas cheer. The pagans meanwhile express their pious feelings towards the mistletoe, the healer of all ills and bringer of fertility. The contrasting attitude of each group emerges in the music. Bitonality is used to illustrate their divergent ideas. The pagans (male voices, because women were often excluded from the rites) use a rather primitive song-speech, repeating the same rhythmic and melodic pattern; while the Christians (female voices) are more lyrical, more cantabile. The two groups are constantly merging then separating, coming together only on the actual word 'mistletoe'. The brass instruments interpolate in this dialogue, emphasising the differences.





ii) Chant of the Earth Mother: This is a kind of arioso, sung by soprano solo on a back-ground of trombone chords, while from time to time, the male voices and timpani break in with recitation of different names by which the Earth Mother has been known in various primitive religions. The music has strictly defined melodic and harmonic lines, based on the vertical and horizontal reflections of one triad only. However, the note values for the soloist are undetermined, in order to allow her freedom of emotion and expression. The movement starts very softly, as from the distance, with a gradual crescendo , reaching an emotional climax which leads into the next movement.


iii) Nativity of the Son / sun: In pagan celebrations in pre-christian times, at Winter Solstice, the shortest day of the year, typically a new baby was brought in to symbolise the birth of the new year and hope for the future. In this movement, Christians and pagans are simultaneously celebrating the Nativity, both filled with religious exultation. Though they seem to begin alike, fervent debate rapidly ensues, and they remain divided about the vital point - 'the Son of God' or 'the Sun, our God'. The movement starts (and ends) with the two choruses' mutual outburst: 'The Son/Sun is born!' Here the two groups are very clearly divided: voices clashing and brass instruments emphasising the conflict.





iv) Sermon of St. Augustine: This movement is based on St. Augustine's Christmas Sermons, and it starts with his own words: 'Worship not the sun, but Him who made the sun!' It is sung by the baritone solo on the chords of the trumpets, with the female voices (Christians) as a congregation supporting his declamation. The structure and triadic pattern of this arioso is similar to the Chant of the Earth Mother, except that it starts with much strength, gradually softening and slowing down - unlike the Earth Mother, whose agitation grows throughout. St. Augustine ends in calm and confident meditation.





v) Hymn for the New Year: The Christians and pagans at last find really common ground in their prayers for the New Year. They share their aspirations, their seasonal joy and their wish to celebrate. This movement has some similarity in musical language to the first movement of the Cantata - but starts with chorus a cappella like a chorale, the brass instruments joining in to emphasise the festive atmosphere of both Christmas and Winter Solstice. The soloists take part too, this time superimposed upon each other, each with their characteristic wishes for the coming year - and the Cantata ends with an ever-increasing emotional expression of the mystical ecstasy of heartfelt prayer.





Both singers and instrumentalists, each with their own quite defined dramatic roles, are divided into two groups and should be placed stereophonically either side of the performance space: the Christians represented by the female chorus, baritone solo (St. Augustine), with their 3 trumpets and glockenspiel, and on the other side of the platform, the pagans represented by the male chorus, the solo soprano (the Earth Mother), with 3 trombones and timpani. The two groups have their own characteristics in musical language, at the same time reflecting each other musically just as they do in their parallel religious celebrations.





To reflect the similarities rather than contrasts of the Christian and pagan celebrations, this work is designed palindromically.


Andrzej Panufnik


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This programme note can be reproduced free of charge in concert programmes with a credit to the composer