Sir Christèmas

British Christmas carol "Sir Christèmas" (or Sir Christëmas) is a traditional English Christmas carol. The song's lyrics and melody are by an unknown author, with the first record of the song in the Ritson Manuscript, dating the song to some point before 1510.

[edit] Unlike in modern English, "Christëmas" is pronounced in this carol with three syllables rather than two. The following are the opening lyrics as attributed to Richard Smart, Rector of Plymtree, Devon between 1435 and 1477:

1 Nowell, Nowell, Nowell, Nowell, ’Who is there that singeth so?’ ’I am here, Sir Christëmas.’ ’Welcome, my lord Christëmas, Welcome to us all, both more and less Come near, Nowell!’

[edit] An early contemporary setting is that of the Australian composer Arthur Benjamin, published in 1941. His arrangement is for SATB without accompaniment. A setting was made by the Welsh composer William Mathias in 1971 for SATB and organ/brass/orchestra. Another setting was written by Thomas Yeakle in 1972 for SATB, harp and woodwind, advisedly a krummhorn. In 1987, Derek Holman composed a setting of this carol and seven other Christmas-related English texts from the same period, giving the title "Sir Christèmas" to the whole sequence of carols. Written for and premiered by the Canadian Children's Opera Chorus, the work is for treble choir and a five-member instrumental ensemble (flute, cello, harp, piano and percussion) -- though the composer also sanctioned performance with piano as the sole accompaniment, the pianist playing the reduction in the published choral score.

Even without a known composer, Sir Christèmas has lingered in the festive repertoire for over five centuries because its simple, modal melody lends itself to communal singing. The tune sits comfortably in the range of both choirs and casual households, making it a favourite for school concerts and village carol services. Its medieval origins evoke a sense of historical continuity that many listeners find comforting in a season obsessed with nostalgia. The lyrical refrain, though sparse, leaves room for local verses to be slipped in, allowing each community to personalise the carol while still preserving its core identity.

When adding Sir Christèmas to your Christmas playlist, consider the vocal texture you prefer. A cappella choral renditions showcase the purity of the original modal line, while instrumental versions—often arranged for harp or recorder—highlight the melody’s dance‑like rhythm. Look for recordings that include a brief spoken introduction; many modern releases provide historical context that enriches the listening experience. Pay attention to the balance between voices: a well‑mixed recording will let the lower drones shine without drowning out the higher ornamental lines, preserving the piece’s medieval charm while remaining accessible to contemporary ears.

To keep the carol fresh, try pairing it with a short, candle‑lit procession before your main service. Its modest length—usually under two minutes—makes it ideal as an opening or closing piece, framing more elaborate hymns. For a family sing‑along, provide lyric sheets with modern spelling alongside the original Middle English phrasing; this invites younger members to appreciate the historical flavour while still understanding the words. Finally, consider a quick “call‑and‑response” version, where the leader sings a line and the group repeats, turning the ancient tune into an interactive, inclusive moment that feels right at home in any 21st‑century living room.