Isn’t it interesting that many of our Christmas carols have something to say about angels? We sing of them directly in “Hark! The Herald Angels Sing, “Angels from the Realms of Glory,” and also in “Angels We Have Heard on High,” as well as in many others which reference the angels in one or more of the stanzas. And that last one is the focus of this study, a joyful carol with origins in France before being translated into English, “Angels We Have Heard on High.”
But this angelic dimension shouldn’t surprise us, since these glorious created beings are constantly worshiping before the Lord of glory, watching His plan of redemption worked out through the centuries. We read of their continuing interest in this divine work of redemption in 1 Peter 1:12. “It was revealed to them that they were serving not themselves but you, in the things that have now been announced to you through those who preached the good news to you by the Holy Spirit sent from heaven, things into which angels long to look.” What an intriguing idea, that angels long to look into these things!
And so it’s understandable that they were excited to have a role to play in the annunciation to Mary and to the shepherds about the birth of the Messiah. It fits what we know from Jesus’ own words about heaven’s angels who are rejoicing over every sinner who repents (Luke 15:10). So the joy in the Bethlehem skies was like that joy which is taking place countless thousands of times every day around the world. And their joy is not just their happiness for those sinners. Their joy must be their delight in seeing God bring glory to Himself in this marvelous work of salvation and the extension of His kingdom. And if this was true at Bethlehem, and at the resurrection, and over every sinner who repents, then what unimaginable ecstasy will be theirs (and ours!) when Jesus returns in triumph at the second coming!
One of our well-known Christmas songs about angels is “Angels We Have Heard on High.” The earliest known printed version was in an 1842 French song book. The exact source of that song is unknown, but is generally thought to have come from an 18th century French song. The English translation by James Chadwick (1813-1882), Roman Catholic Bishop of Hexham and Newcastle, was taken from the 1862 “Crown of Jesus,” subtitled, “a complete Catholic manual of devotion, doctrine, and instruction.” The carol was found in the section headed “The Twelve Mysteries of the Sacred Infancy” with the title “Christmas Hymn,” reduced to four stanzas in English.
James Chadwick (1813-1882) was an Anglo-Irish Roman Catholic bishop. After attending Ushaw College in Durham, England, a combined college and seminary, and being ordained as a priest, Chadwick served for several years there as a professor in humanities (mainly teaching philosophy and theology). In 1866, Chadwick was elected bishop of Hexham and Newcastle and worked in this capacity until his death. As a bishop, Chadwick served as a “shepherd” of God’s people. And so it seems appropriate that he would translate the words of the angels as given to shepherds at Jesus’ birth, “Gloria in Excelsis Deo,” Latin for “Glory to God in the Highest” (Luke 2:14).
The French song that served as the basis for Chadwick’s carol was called “Les Anges dans nos Compagnes,” which translates to “The Angels in our Countryside.” The original hymn was in eight stanzas arranged in a dialogue form alternating between the shepherds (“Bergers”) in stanzas one, three, and six, and the women (“Femmes de Bethlehem”) in stanzas two, four, and seven. All sing together in stanzas five and eight.
Though the English version derives from that French version, the lyrics of the English version differ enough from the French version for the song to be considered its own work. The first instance of “Gloria in Excelsis Deo” appearing in a Christian hymn came a long time ago. “Psalmi idiotici” (“private psalms”) written in imitation of the Biblical psalms, were popular as far back as the second and third century. “Gloria in excelsis Deo” is the first line of one of those “private psalms” written in Latin. The hymn “Gloria in excelsis Deo” is still used in Mass.
The way the word “Gloria” is sung in “Angels We Have Heard on High” is melismatic (a word that refers to the practice of holding one syllable and hitting several notes, as in “Glo-o-o-o-o-o-o-o-o-o-ria!”). This effect enhances the idea of what a host of celestial beings singing might sound like, and it adds to the sense of merriment in the carol. The entire carol enlists a joyous spirit in the minds and hearts, and voices, of those who today hear and sing it.
“Angels We Have Heard on High” is a perfect song to accompany the French tradition of the crèche. Handmade nativity scenes are not only common in homes, but also in town squares. Little clay figures, traditionally made in the south of France, are called “santons” (“little saints”). Fine craftsmanship characterizes the production of these figures, and they are a source of local pride for the communities that produce them. It is interesting that “crèche” is also the French term for a nursery for young children during the day.
This tradition is particularly strong in Provence, the south of France, with a crèche that includes the Holy Family, the Magi, the shepherds, and the animals, along with additional local figures, such as the mayor, the little drummer boy, or a peasant dressed in traditional attire. In some villages, people dress as the shepherds and join in a procession to the church. Children often contribute to domestic crèches by bringing small stones, moss, and evergreens to complete the scene. Then everyone sings carols!
Stanza 1 reflects the words of the shepherds, telling what they saw and heard. The language is couched in the pastoral terms that would be descriptive of their location in the fields, both the plains and the mountains.
Angels we have heard on high, sweetly singing o’er the plains,
And the mountains in reply echoing their joyous strains:
Gloria, in excelsis Deo! Gloria, in excelsis Deo!
Stanza 2 asks the shepherds to tell the reason for their great happiness, their “jubilee” and their “joyous strains.” It looks forward to hearing the substance of the “tidings” announced to them, tidings which they enthusiastically spread to others.
Shepherds, why this jubilee? Why your joyous strains prolong?
What the gladsome tidings be which inspire your heav’nly song?
Gloria, in excelsis Deo! Gloria, in excelsis Deo!
Stanza 3 enables us to hear the response of the shepherds, as the stanza is once again a quotation of their presumed answer. And their answer is one of the greatest evangelistic invitations we could hear, and even use ourselves: “Come … and see.”
Come to Bethlehem and see Him whose birth the angels sing;
Come, adore on bended knee Christ the Lord, the new-born King.
Gloria, in excelsis Deo! Gloria, in excelsis Deo!
Stanza 4 encourages others, including Mary and Joseph, to join in the praise. Wouldn’t it have been wonderful if we could have been there, not only to hear the angels, but also these humble parents?
See Him in a manger laid, Jesus, Lord of heav’n and earth!
Mary, Joseph, lend your aid, sing with us our Savior’s birth.
Gloria, in excelsis Deo! Gloria, in excelsis Deo!
Just as the origin of the words to this French song is unknown, so also is the melody. Since it was common for texts to be written for existing tunes, it is possible that the melody is even older than the words. The tune as we know it today was adapted and arranged by Edward Shippen Barnes (1887-1958). He was a talented organist who received training from gifted musicians at both Yale University and the Schola Cantorum in Paris. Having studied in France, it seems fitting that Barnes would arrange this traditional French carol.
After returning from France, Barnes devoted his talent to serving God as an organist in churches all across the U.S. (New York, Pennsylvania and California). Barnes also composed organ symphonies, wrote a book on methods of organ playing and even served in the Naval Reserve during World War I. However, his most lasting contribution proved to be his musical arrangement for “Angels We Have Heard on High.” After all, this music accompanies the voices of people who sing about their utmost purpose in life, bringing “glory to God in the highest.”
Here is a recording of congregational singing of this wonderful carol.