Resonet in laudibus

14th-century carol "Resonet in laudibus" in the 1582 Swedish songbook Piae Cantiones "Resonet in laudibus" (Latin for "Resound in praises") is a 14th-century Christmas carol which was widely known in medieval Europe, and is still performed today. Although probably earlier, in manuscript form it first appears in the Moosburg gradual of 1360 and occurs in several 15th, 16th and 17th century printed collections from both Catholic and Lutheran traditions.

Orlande de Lassus's motet based on "Resonet in laudibus"

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There is no definitive version of the Latin text, and there are many variations and parodies in various sacred songbooks, as well as extended, embellished versions (for example motets by the Franco-Flemish composer Orlande de Lassus or the Slovenian-German composer Jacobus Gallus). Georg Witzel, a contemporary of Martin Luther, referred to the carol as "one of the chief Christmas songs of joy" in 1550. In addition to its literal English translation, it has also appeared as "Christ was Born on Christmas Day" in two different translations by John Mason Neale in 1853 (who based his version on the 1582 Swedish song collection Piae Cantiones) and Elizabeth Poston in 1965. In Germany, the melody is used for the traditional song "Joseph, lieber Joseph mein [de]" ("Joseph dearest, Joseph mine"), originally sung as a lullaby by the Virgin Mary in a 16th-century mystery play in Leipzig (and doubtfully credited to Johannes Galliculus). The Lutheran poet and composer Johann Walter wrote one of his finest motets using this song. Sir David Willcocks' arrangement in Carols for Choirs 2 titles the work "Resonemus laudibus".

[edit] Audio playback is not supported in your browser. You can download the audio file. Source: Erk, Ludwig; Böhme, Franz Magnus, eds. (1894). Deutscher Liederhort. Vol. 3. Leipzig. pp. 642–643.{{cite book}}: CS1 maint: location missing publisher (link)

The melody of "Resonet in laudibus" is a textbook example of medieval pentatonic simplicity that adapts effortlessly to modern worship. Its modal contour allows organists and choir directors to weave in harmonies without losing the original character, making it a favourite for both high‑liturgies and community services. Because the tune survives in both Catholic and Lutheran sources, it bridges denominational divides, offering a shared musical language at Christmas. The plain chant feel also complements contemporary acoustic arrangements, from brass bands to folk ensembles, without sounding dated. This versatility is why choirs keep re‑introducing the carol in their Advent programmes, confident it will resonate with congregations of all ages.

When selecting a setting of "Resonet in laudibus", consider the skill level and tradition of your group. The original Moosburg gradual presents a monophonic line suitable for untrained voices or children’s choirs, allowing a pure, unadorned delivery. For more experienced ensembles, Orlande de Lassus’s motet offers lush polyphony, but demands precise intonation and a good grasp of Renaissance phrasing. If you prefer a sing‑along feel, the English translation by John Mason Neale ("Christ was Born on Christmas Day") pairs well with congregational participation, especially when paired with a modest organ accompaniment. Test a short excerpt during rehearsal to gauge how the arrangement sits with your singers and the acoustic of your venue before committing to a full performance.

Many listeners assume the Latin text is a static, unchanging prayer, yet "Resonet in laudibus" exists in myriad versions across centuries. The verses were adapted locally, sometimes inserting regional saints or altering theological emphasis to suit Catholic or Protestant sensibilities. This fluidity means the carol you hear in a German parish may differ markedly from the English version popularised by Mason Neale. Another myth is that the carol celebrates solely the Nativity; some medieval manuscripts embed references to the shepherds’ adulation, blurring the line between Christmas and Epiphany themes. Understanding these textual layers helps performers convey the piece’s original joyous spirit rather than a narrowly modern interpretation.