Masters in This Hall

Christmas carol

William Morris, self-portrait of 1856 "Masters in This Hall" (alternative title: "Nowell, Sing We Clear") is a Christmas carol with words written around 1860 by the English poet and artist William Morris to an old French dance tune. The carol is moderately popular around the world but has not entered the canon of most popular carols.

[edit] The French composer Marin Marais composed the tune as a dance for his opera Alcyone of 1706, with the title Marche pour les Matelots. The tune was subsequently included in Raoul Auger Feuillet's 1706 Recueil de contredanse along with a longways proper dance, La Matelotte, which Feuillet had himself written to go with the tune. In 1710 John Essex (d. 1744) published an English translation of Feuillet's work called, For the Further Improvement of Dancing, in which the dance is given as The Female Saylor.

[edit] The words were written around 1860 while William Morris, then 26, was working as an apprentice in the office of the architect, Edmund Street, presumably under the persuasion of his fellow students who at that time had a taste for part-song. The architect and musician Edmund Sedding had at one point also been in the office of G. E. Street and he had discovered the tune at a meeting with the organist at Chartres Cathedral. It was included in Sedding's collection of Nine Antient and Goodly Carols for the Merry Tide of Christmas (1860). In 1884 the poet Algernon Charles Swinburne described this carol as "one of the co-equal three finest ... in the language." According to Swinburne, the carol was also included, at his suggestion, in the publisher Arthur Bullen's A Christmas Garland: Carols and Poems from the Fifteenth Century to the Present (1885).

[edit] Gustav Holst incorporated the carol into his work Three Carols (1916–17) along with "Christmas Song: On this Day" and "I Saw Three Ships". Holst wrote the Three Carols for amateurs singing in his Thaxted festivals. The carols are all for unison choir with orchestral or organ accompaniment.

[edit] "Masters in This Hall" is said to have a sixteenth-century feel, harking back to a simpler society, in line with Morris's own romanticism. It also has elements of Morris's socialist beliefs, with the poor bringing news of Christ's birth to the "Masters in this Hall" and a warning to the proud. The image of raising up the poor and casting down the proud is derived from the song of the Virgin Mary, commonly known as the Magnificat, sung upon the occasion of her visit to her relative Saint Elizabeth, mother of John the Baptist, as related in Luke 1:51. In Morris's original version there are twelve verses, though today only four or five are generally sung. The carol is narrated by a poor man, who recounts to local gentry a tale of meeting shepherds travelling to Bethlehem and following them to see the Christ child in his mother's arms. The chorus repeats how the birth of Christ has raised up the poor and cast down the proud.

[edit]

Masters in this Hall, Hear ye news to-day Brought from over sea, And ever I you pray:

Chorus Nowell! Nowell! Nowell! Nowell, sing we clear! Holpen are all folk on earth, Born is God's son so dear: Nowell! Nowell! Nowell! Nowell, sing we loud! God to-day hath poor folk raised And cast a-down the proud.

— Stanza 1 & Chorus

While you might not hear "Masters in This Hall" blasting on the radio, its gentle melody makes it a perfect backdrop for a relaxed festive evening. The tune, originally a French dance, carries a lilting rhythm that feels both historic and surprisingly contemporary. Pair it with a candle‑lit dinner or a cosy fireside gathering and you’ll find it adds a subtle, almost nostalgic ambience without overwhelming conversation. Its moderate popularity means you can enjoy a carol that feels familiar yet fresh—ideal for households that have grown weary of the over‑played classics. In practice, let the track play low on a speaker while guests mingle; the song’s steady tempo creates a warm, inclusive atmosphere that encourages relaxed chatter and gentle swaying.

Because the carol isn’t a staple in mainstream playlists, the quality of the recording can vary widely. Look for versions that feature clear vocal lines and a balanced accompaniment—typically a choir or a small ensemble with piano or harp. Modern productions often add tasteful instrumentation, but avoid overly produced versions that drown out the simple charm of the original French dance melody. Check reviews for mentions of “clean mix” or “authentic folk feel”. If you’re buying digitally, preview the first 30 seconds to gauge the vocal clarity and instrument separation. A well‑recorded rendition will sit nicely alongside other seasonal tracks and won’t clash with louder, brass‑heavy arrangements.

The carol’s relative obscurity stems from its lyrical origins rather than a lack of musical merit. William Morris’s verses, penned in the 1860s, carry a Victorian poetry style that can feel formal compared to the more straightforward, narrative-driven verses of "Silent Night" or "Deck the Halls". This subtlety makes it a favourite among folk‑enthusiasts and choirs looking for something off‑beat, yet it doesn’t fit the blockbuster mould of Christmas hits. Understanding this background helps listeners appreciate its niche appeal: a piece that bridges medieval French dance with Victorian lyrical craft, offering a quieter, more reflective take on the holiday spirit.