The Middle Ages
Today, the French word “Noël” literally means Christmas. There’s also a reference to Christ in its Latin root, “natalis,” meaning “birth.” But the association with Christmastide wasn’t always as synonymous as we understand it. If we look back to the Middle Ages, we discover that “noel,” or “noe,” was a Christian expression of joy either shouted or sung. It was used at Christmas and other Feasts.
In the 15th Century, its Christmas connection was already well-cemented. Vocal pieces from England and France survive that give us an idea of its use as a refrain which punctuated song verses.
During the Renaissance, collections of Noels in a popular style sprang up in the first half of the 16th Century and remained fashionable throughout the latter half. They were printed by many publishers who helped to increase their popularity and influence.
On the liturgical side, many hymns were set to music with noel as a refrain, some taking melodies from secular chansons.
The use of the word “noel” in the 17th Century followed the traditions that precede it. In a liturgical setting it was continually used as a refrain to hymns and other texts. And it sometimes took the place of “Alleluia.”
In 17th-century France, instrumental Noels were set to popular tunes of the folksong variety. With names such as “Une jeune pucelle” and “Joseph est bien marié,” the French Noel rose to even greater popularity. Instrumental versions for organ were also in great demand.
Composer Marc-Antoine Charpentier wrote an instrumental Mass, entitled “Messe de Minuit,” which included some of the more popular songs associated with Noels. He interspersed sections of the Mass movements with Noels.
Our new release of the week features violinist Petra Müllejans and fortepianist Kristian Bezuidenhout in a program of sonatas by Wolfgang Amadeus Mozart. Released on the Harmonia Mundi label, their performance is a recording debut.