Between the Lines: “Coventry Carol,” Arranged by Mark Burrows

Coventry Carol

This truly unique setting of Coventry Carol pairs an a cappella choir with a single instrument. Singers will be awestruck by a harmonic structure that supports and intensifies the beloved 16th century melody. Listeners will be captivated by an emotional journey from lullaby to battle cry and back again. The pivotal obbligato adds a sorrowful overtone and may be played on oboe or any C-instrument. A dramatic setting of great depth.

Mark Burrows

Mark is a composer, conductor, and educator whose music is published by many major publishing houses. His works are featured on numerous state and festival lists, and he receives multiple commissions each year for groups ranging from children’s choirs to adult ensembles to intergenerational festival choirs. Mark received his undergraduate degree in music education from Southern Methodist University and his graduate degree in conducting from Texas Christian University. Learn more about Mark and see a full list of his Alfred Music publications here .

What inspired you to arrange Coventry Carol?

I have always been drawn to the melancholy side of the Christmas carol repertoire. Coventry Carol has been one of my favorites since I was a child. I’ve wanted to set it ever since I first started composing, but just never quite felt up to the challenge. At least for me, the most straightforward carols, songs, and hymns are often the most intimidating to arrange.

Why did you choose to include an oboe obbligato ?

I love the oboe. It's so versatile. It has the ability to sound somber and mournful in the more lyrical sections of the piece. And it has the brightness to portray the clarion call in the middle verse, evoking the image of Herod's soldiers approaching. Something about the double reed instruments feels close to the human voice, so oboe seemed like a natural fit with choir a cappella.

What teaching suggestions do you have to share for Coventry Carol ?

Dynamics, and especially articulation, play a huge role in this arrangement. From the stentorian marcato of the second verse to the molto legato wail at measure 59 to the tenuti on the word “woe,” each plays an important part in giving this arrangement its character and its humanity.

What message do you have for singers learning this piece?

There is genuine human drama in this carol that I would never want to present as melodramatic. My hope is that this arrangement stays out of the way enough that the haunting beauty of the original text and tune comes through.

See & Hear Now

Mark offers even more insights on the creation of this arrangement and how to teach it in this quick video.