Sussex Carol

Song

The "Sussex Carol" is a Christmas carol popular in Britain, sometimes referred to by its first line "On Christmas night all Christians sing". Its words were first published by Luke Wadding, a late 17th-century poet and bishop of the Catholic Church in Ireland, in a work called Small Garland of Pious and Godly Songs (1684). It is unclear whether Wadding wrote the song or was recording an earlier composition. Both the text and the tune to which it is now sung were discovered and written down by Cecil Sharp in Buckland, Gloucestershire, and Ralph Vaughan Williams, who heard it being sung by a Harriet Verrall of Monk's Gate, near Horsham, Sussex (hence "Sussex Carol"). The tune to which it is generally sung today is the one Vaughan Williams took down from Mrs. Verrall and published in 1919. An earlier version using a different tune and a variation on the first line, "On Christmas night true Christians sing", was published as early as 1878 in Henry Ramsden Bramley and John Stainer's Christmas Carols New and Old. The carol has been arranged by a number of composers. Vaughan Williams' setting is found in his Eight Traditional English Carols. Several years earlier, Vaughan Williams had included the carol in his Fantasia on Christmas Carols, first performed at the 1912 Three Choirs Festival at Hereford Cathedral. Erik Routley's arrangement in the 1961 University Carol Book adds a modal inflection to the setting. The carol often appears at the King's College "Festival of Nine Lessons and Carols", where it is performed in arrangements by either David Willcocks or Philip Ledger, both former directors of music at the chapel. Willcocks's arrangement appears in the first OUP Carols for Choirs.

[edit] Instrumental arrangement on synthesisers A number of variations on the text exist, although all feature the repetition of the first two stanzas. Below is a comparison between the text collected by Cecil Sharp in Gloucestershire, that of Ralph Vaughan Williams in Sussex (the version used in his Fantasia and both the David Willcocks and Philip Ledger arrangements). The version printed by Bramley and Stainer in 1878 is closer to the earliest known version by Luke Wadding from 1684, but it is clear that the original does not fit the modern tune.

Version collected by Cecil Sharp

Version collected by Ralph Vaughan Williams

Version in Christmas Carols New and Old (ca.1870)

Version in A Smale Garland (1684)

On Christmas night all Christians sing To hear what news those angels bring; News of great joy, news of great mirth, News of our Saviour King's own birth.

Then why should men on earth be so sad Since our Redeemer made us glad, When from sin He set us free All for to gain our liberty.

Now sin depart, behold His grace, Everlasting life comes in its place, And soon we shall its terror see And poor and rich must conquered be.

Then out of darkness we see light, Which makes all angels to sing this night Glory to God and peace to men Both now and evermore. Amen.

On Christmas night all Christians sing To hear the news the angels bring. News of great joy, news of great mirth, News of our merciful King's birth.

Then why should men on earth be so sad, Since our Redeemer made us glad, When from our sin he set us free, All for to gain our liberty?

When sin departs before His grace, Then life and health come in its place. Angels and men with joy may sing All for to see the new-born King.

All out of darkness we have light, Which made the angels sing this night: "Glory to God and peace to men, Now and for evermore, Amen!"

On Christmas night true Christians sing To hear what news the angel bring News of great joy, cause of great mirth Good tidings of the Saviour's birth

The Sussex Carol’s staying power isn’t just about a catchy melody; it’s a rare example of a truly folk‑originated hymn that survived the Victorian “church‑song” sanitising. Its lyrical opening – “On Christmas night all Christians sing” – captures the inclusive, communal spirit of the holiday, while the modal contour of Vaughan Williams’s version gives it a slightly bittersweet, almost medieval flavour that modern congregations find refreshing amid more polished hymnody. Because the tune was collected from a Sussex cottage singer rather than composed in a cathedral, it feels grounded in everyday life, making it a favourite for village choirs, school concerts and even pop‑era arrangements. That grassroots authenticity, combined with a melody that is both simple to learn and rich enough for professional brass or choir settings, explains why the carol still turns up on Christmas programmes and recordings.

If you want to add the Sussex Carol to your Christmas programme, start with a reliable score. The 1919 Vaughan Williams edition, reproduced by Oxford University Press, includes the original harmonies and suggested descants – perfect for mixed choirs. For a more contemporary take, look for Erik Routley’s modal arrangement in the 1961 University Carol Book; it adds a subtle, folk‑like colour that works well with small ensembles. When choosing a recording, compare the lush choral version by the Choir of King's College, Cambridge (often featured in the Festival of Nine Lessons) with the folk‑styled rendition by the English folk group The Watersons – the former showcases the piece’s cathedral grandeur, the latter highlights its village roots. Pair a printed part with at least one recording to help singers internalise phrasing and tempo.

Many listeners lump the Sussex Carol with standard hymns because of its sacred text, but it’s technically a carol – a secular‑origin song that was later adopted by churches. This distinction matters when programming a service: carols traditionally sit between liturgical pieces, providing a moment of celebration rather than doctrinal reflection. Because the carol’s verses reference “Christians” rather than specific theological doctrines, it can comfortably bridge Anglican, Catholic and non‑denominational services without alienating congregants. Mislabeling it as a hymn sometimes leads choirs to over‑ornament the piece with organ accompaniment, which can drown the subtle modal line that gives the carol its charm. Keep the accompaniment light and let the melody speak – that’s how the Sussex Carol was meant to be heard.