Epiphany: Out of the Orient   2 comments

My favourite Epiphany carol is ‘Falan-Tiding’ (‘Out of the Orient Crystal Skies’), not the modern five-part choral setting popular in the US, but using the simple tune of the Tyrolean carol ‘Ihr Hirten, atehet alle auf’. Last year at this time, in The Daily Telegraph, the choirmaster of Canterbury Cathedral, David Flood, chose it as his ‘most unfairly neglected’ carol. According to ‘the Oxford Book of Carols‘ it dates from about 1610. Interestingly, it starts with Matthew’s wise men and ends with Luke’s shepherds, which is truer to the narrative, since the Magi would have had to have left their homes weeks if not months before the birth, given the distance between Tehran and Jerusalem. We often put their story second, because they arrived after ‘the shepherds there about’, who only had to leave their tents and flocks on Bethlehem Down and run down the hillside, ‘singing all even in a rout, “Falan-tiding-dido!” ‘ The poetic and archaic English fits the simple tune beautifully to illustrate the nativity narrative perfectly:

002‘Out of the orient crystal skies

A blazing star did shine,

Showing the place where poorly lies

A blesséd babe divine,

Born of a maid of royal blood

Who Mary hight by name,

A sacred rose which once did bud

By grace of heavenly flame.

This shining star three kings did guide

Even from the furthest East,

To Bethlehem where it betide

This blessed babe did rest,

Laid in a silly* manger poor,

Betwixt an ox and ass,

Whom these three kings did all adore

As God’s high pleasure was.’

*’simple’

Uffizi Gallery, Florence
Uffizi Gallery, Florence (Photo credit: Wikipedia)

The verb ‘adore’ gives us the other phrase to describe ‘Epiphany’, ‘Adoration of the Magi’, which is the subject of a ‘magical’ piece of orchestral music by the Italian composer Ottorino Respighi (1879-1936), from his ‘Trittico botticelliano’ of 1927, so called because it was inspired by three paintings by the Florentine Renaissance master in the Uffizi Gallery there. The central ‘panel’ is ‘L’aderazione dei Magi’, one of four surviving treatments by Botticelli of this subject, showing the presentation of the gifts by the Magi to the new-born Jesus among a crowd of onlookers. In transposing this scene into music, Respighi hinted at the Renaissance period by including the Advent antiphons of ‘Veni, Veni, Immanuel’, taking us back to the beginning of the Christmas period, and reminding us that, not only did the wise men set off weeks before the birth, but that they too recognised the importance of the child’s birth in the context of the Jewish scriptures. They were not simply astrologers, but Zoroastrians who found their wisdom from different traditions and sources, both terrestrial and celestial, occidental and oriental. To indicate this ‘blending’, Respighi blends the Latinate plainchants with occasional oriental melodic inflections. The ‘Moderato’ section then represents the Journey of the Magi, with a trudging two-bar repeated pattern in the strings and an oriental oboe melody. Other wind instruments, together with strings, suggest the presentation of the three gifts and the piece is then completed with the adoration suggested by a simple melody played by a bassoon, a lullaby for the Christ child, drawing on the bagpipe tunes played in Rome and other Italian villages during Advent. The oboe takes up the tune, merging it with a reprise of the opening Sicilian melody.

So, whether in music, picture or poetry, the Epiphany narrative has proved to be the most enduringly inspirational of all the Advent and Christmas stories set down by the gospel-writers. Its message of a ‘new dispensation’ in the form of a humble human birth is what gives it so many dimensions in time and space.

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2 responses to “Epiphany: Out of the Orient

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  1. thanks for the link

  2. Reblogged this on hungarywolf.

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