Hark! The Herald Angels Sing
A majestic carol of theological depth celebrating the angelic announcement of Christ's birth.
With its triumphant melody and rich theological content, "Hark! The Herald Angels Sing" stands as one of the most doctrinally substantial Christmas carols. The following table summarizes its key details.
| Song Title | Author (Lyricist) | Composer (Music) | Year | Original First Line |
|---|---|---|---|---|
| Hark! The Herald Angels Sing | Charles Wesley (original) Modified by George Whitefield & Martin Madan |
Felix Mendelssohn (adapted by William H. Cummings) |
1739 (words) 1855 (current tune) |
"Hark how all the Welkin rings" |
Historical Background
The carol has a fascinating evolution spanning over a century. It was originally written by Charles Wesley (1707-1788), the great Methodist hymn writer and brother of John Wesley, in 1739. Wesley's original opening line was quite different: "Hark how all the Welkin rings, Glory to the King of Kings." ("Welkin" is an archaic term for the sky or heavens.)
In 1753, Wesley's fellow evangelist George Whitefield altered the opening to the now-familiar "Hark! The Herald Angels Sing" and made other changes to make the hymn more accessible. Further modifications were made by Martin Madan in 1760. However, for nearly 100 years, the hymn was sung to various slow, somber tunes that didn't match its joyful message.
The breakthrough came in 1855 when English musician William H. Cummings adapted a melody from Felix Mendelssohn's 1840 cantata "Festgesang" (written to celebrate the 400th anniversary of the printing press). Mendelssohn had explicitly said this melody was suited for secular, "soldier-like" songs, but Cummings recognized its perfect fit for Wesley's triumphant lyrics. This pairing created the carol we know today.
Biblical Foundation
This carol is remarkable for its dense packing of biblical theology into poetic form. Charles Wesley, a theologian as well as a hymn writer, filled the verses with scriptural references:
- Luke 2:13-14 – The direct source: "Suddenly a great company of the heavenly host appeared with the angel, praising God and saying, 'Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.'"
- Malachi 4:2 – "But for you who revere my name, the sun of righteousness will rise with healing in its rays." Referenced in "Hail the heav'n-born Prince of Peace! Hail the Sun of Righteousness!"
- John 1:14 – "The Word became flesh and made his dwelling among us." Echoed in "Veiled in flesh the Godhead see; Hail th'incarnate Deity."
- Philippians 2:6-7 – "[Christ Jesus], being in very nature God... made himself nothing by taking the very nature of a servant, being made in human likeness." Referenced in "Mild he lays his glory by, Born that man no more may die."
- 1 Corinthians 15:20, 22 – "But Christ has indeed been raised from the dead... For as in Adam all die, so in Christ all will be made alive." This resurrection theology appears in "Born to raise the sons of earth, Born to give them second birth."
Wesley's carol uniquely combines the Christmas narrative with Easter hope, presenting a complete gospel message in hymn form.
Full Lyrics (Traditional Version)
The most commonly sung version includes three verses that beautifully encapsulate the Christmas message:
Note: Some modern hymnals include additional verses that further develop the theological themes.
Author & Composer
Charles Wesley (1707-1788) was one of the most prolific hymn writers in Christian history, penning over 6,000 hymns. As a founder of the Methodist movement alongside his brother John, Wesley believed hymns should teach doctrine and inspire devotion. His Christmas hymns, including "Hark! The Herald Angels Sing" and "Come, Thou Long-Expected Jesus," are celebrated for their theological depth and poetic beauty. Interestingly, Wesley had specified that his hymn should be sung to a slow, solemn tune, but history had other plans.
Felix Mendelssohn (1809-1847) was a German composer, pianist, and conductor of the early Romantic period. His "Festgesang" (Festival Song) for male chorus and brass was composed for the 1840 Gutenberg Festival in Leipzig. Mendelssohn himself wrote: "I am sure that this piece will be liked by the singers and the hearers, but it will never do to sacred words." William H. Cummings proved him wrong by skillfully adapting the second movement's melody to fit Wesley's lyrics perfectly.
William H. Cummings (1831-1915) was an English tenor, organist, and musicologist who served as professor of singing at the Royal Academy of Music. His brilliant pairing of Mendelssohn's melody with Wesley's text in 1855 created one of the most enduring marriages of text and tune in hymnody.
Background Music & Melody
The Mendelssohn-Cummings melody is in a bright, marching 4/4 time with a fanfare-like character that perfectly captures the angelic announcement. The tune's rising opening phrase ("Hark! the herald angels sing") immediately creates a sense of proclamation and celebration.
The musical structure follows an AABA pattern for each verse, with the memorable refrain "Hark! the herald angels sing, 'Glory to the newborn King!'" providing a triumphant conclusion to each stanza. The harmony is strong and straightforward, allowing congregations to sing it with confidence.
This carol is typically performed at a lively tempo (around 100-120 beats per minute) with full organ accompaniment, often including trumpet stops to emphasize the royal and angelic themes. The harmonic progression in the refrain from "God and sinners reconciled" to "Glory to the newborn King" creates a powerful emotional and theological ascent.
Notable arrangements include the classic Sir David Willcocks version for the King's College Choir (with its magnificent descant on the final verse), as well as popular recordings by artists like Pentatonix, Carrie Underwood, and Josh Groban. The carol's triumphant character has also made it a favorite for brass ensembles and full orchestral arrangements.