Video
Historical Narrative
Composed in the early 1970s, A Holiday Greeting is one of Betty Jackson King’s most charming choral miniatures, originally conceived as part of her suite Half a Dozen Nursery Rhymes. Scored for two-part treble voices (or unison with optional handbells) and piano, the work captures the spirit of seasonal joy through its clear melodic writing and graceful harmonic design. King’s compositional technique blends the accessibility of children’s music with refined craftsmanship, allowing young singers to experience artful choral texture and expressive phrasing.
The piece is dedicated to Josephine Poelinitz and the Chicago All-City Elementary Youth Chorus, a group she directed for the Chicago Public Schools. Poelinitz was a respected music educator, choral conductor, and arranger known for her work with children’s choirs and her promotion of African American spirituals in educational settings. As a longtime member of the National Association of Negro Musicians, Inc. (NANM) and the Chicago Music Association (CMA), Poelinitz frequently collaborated with other leading African American composers and conductors, including Betty Jackson King.
Her artistic leadership and dedication to youth music education aligned perfectly with King’s philosophy of nurturing musical excellence and cultural pride in young performers. The dedication of A Holiday Greeting to Poelinitz and her chorus honors this shared vision—celebrating the transformative power of choral music as both an educational tool and an artistic expression of community.
Musical Description
Key: G major (one sharp)
Tempo: Moderato
A Holiday Greeting opens with a bright, bell-like piano introduction that immediately establishes a festive tone. The notated Bells part, written on two staves, can be performed on handbells or keyboard to enhance the shimmering quality of the accompaniment. The rhythmic interplay between the upper and lower bell parts creates a sparkling texture that evokes the sound of carillon or sleigh bells.
The choral entrance (“God bless the master of this house…”) introduces a simple, lyrical melody sung either in unison or two-part harmony. King’s text setting is natural and speech-like, preserving the clarity of diction essential for young voices. The melodic contour rises and falls gently, reflecting the warmth and sincerity of the text’s blessing.
Throughout the piece, King employs brief touches of chromaticism—select accidentals in both melody and accompaniment—to enrich the harmonic color without complicating the tonal center. The piano part alternates between arpeggiated patterns and sustained chords, offering harmonic support while maintaining lightness and transparency.
The dynamics move fluidly between mf and p, enhancing the expressive contrast between reverent phrases and joyful cadences. Ornamentations such as trills and grace notes add a touch of elegance, recalling the tradition of English carols and early American holiday songs.
The overall effect is one of graceful simplicity and refined beauty, capturing the spirit of celebration and community that characterizes both the holiday season and King’s broader philosophy of musical education.