Let Us Be Merry

Program Notes

William Billings (1746–1800) was an uncommon man, described by a contemporary as “a singular man, of moderate size, short of one leg, with one eye, without any address and with an uncommon negligence of person. Still, he spake and sung and thought as a man above the common abilities.” Which, indeed, he was: He was America’s first professional composer, founded the first church choir in America, taught choral singing and pedagogy for 30 years, and published six book-length collections of hymns and anthems, many of which are still sung today!

A facsimile of William Billings’ Judea as published in The Singing Master’s Assistant, published in 1778 in Boston.

Let Us Be Merry is a charming a cappella re-composing of Billings’ Judea (from The Singing Master’s Assistant, published 1778 in Boston). More commonly known as A Virgin Unspotted, the text retells the Christmas story in three verses, taken from eight found in most versions of the hymn.

This new version keeps the raw energy so typical of Billings, but adds depth—the music throughout reflects the mood of the text, from the boisterous “let us be merry!” of the chorus, to the simple storytelling of the first two verses, to the haunting beauty of the third verse.

Commissioned by Gaithersburg Community Chorus in celebration of their 25th Anniversary. Premiered December 8th & 9th, 2012 by Gaithersburg Community Chorus, Gaithersburg, Maryland, Hugh Harvey, director.

Performance Notes

A remote modulation from C major to E major (four sharps away), mixed meter (6/8, 3/8, 3/4, 4/4), and non-imitative counterpoint passages place Let Us Be Merry at Level 3 (Intermediate). Comfortable ranges, a Level 2 rhythmic profile, and the highly repetitive refrain make it an accessible festival piece rooted in the American hymn-tune tradition.

Notes for Directors

The C major → E major modulation (m. 25–26) is the piece’s defining tonal challenge—a chromatic mediant shift aided by a fermata and ritardando. The return from E major to C major (m. 42–43) is equally abrupt. The later C → D modulation (m. 81–82) is gentler.
The piece opens with Tenor and Bass alone on the refrain (mm. 1–7) before Soprano and Alto join at m. 8. Similar staggered entries recur at m. 63.
The shift from compound meter (6/8) to simple meter (3/4 → 4/4) at m. 43 changes the piece’s character significantly. The ensemble must adjust stylistically as well as metrically.
The seasonal text (“our Saviour Christ Jesus was born on this day”) limits festival programming to the fall/winter season or festivals that accept sacred/seasonal repertoire.

The Text

A Virgin, Unspotted

A Virgin, unspotted, by Prophets foretold,
Should bring forth a Saviour which now we behold,
To be our Redeemer from death, hell, and sin,
Which Adam’s transgression involved us in.

Then let us be merry, put sorrow away,
Our Saviour Christ Jesus was born on this day.

At Bethlem in Jewry a city there was,
Where Joseph and Mary together did pass,
And there to be taxed with many one mo’,
For Caesar commanded the same should be so.

To teach us humility all this was done,
Then learn we from hence, haughty pride fro to shun.
A manger’s his cradle, who came from above,
The Great God of mercy, of peace, and of love.

—Traditional, from William Billings’ _Judea_ (1778)

About This Recording

Recorded by the Byrd Ensemble on Stories (2017), directed and produced by Markdavin Obenza.

Christmas Carols

Brightest and Best · Let All Mortal Flesh · Lully Lullay · Of the Father’s love begotten · On this day earth shall ring

Perusal Score