Originally a pre-Christian song of blessing sung in the springtime, at the turn of the New Year. I have always loved this motif. It's found its way into several pieces I've composed or arranged over the years.
After playing through the traditional arrangement by Ukrainian composer Mykola Leontovych several times, I thought I heard a countermelody underneath, one that subtly altered the chords.
As does the usual arrangement, this arrangement makes extensive use of hemiola - the interplay of duplex and triplex rhythms (and this is a recurring theme in the pieces of this album). I explored this, and it became the true melody of the song, one that is ornamented by the signature ostinato of the Carol of the Bells.