A Winter's Ball Lyrics - Hamilton

Song Overview

Song Credits

• Album: Hamilton: An American Musical (Original Broadway Cast Recording)
• Release Date: 2015-09-25
• Producer: Bill Sherman, Alex Lacamoire, Lin-Manuel Miranda, Black Thought, ?uestlove
• Composer & Writer: Lin-Manuel Miranda
• Genre: Broadway, Musical Theater, Rap
• Label: Atlantic Records
• Instruments: Drums, Banjo, Guitar, Cello, Harp, Viola, Violin, Synthesizer, Keyboards, Bass
• Conductor: Alex Lacamoire
• Recorded At: Avatar Studios
• Language: English

Song Meaning and Annotations

Lin-Manuel Miranda’s “A Winter’s Ball” opens with a blunt summation of Alexander Hamilton’s troubled beginnings: “bastard, orphan, son of a whore and a Scotsman.” These sharp descriptors echo the harsh realities of Hamilton’s early life. His mother, Rachel Faucette, had separated from an abusive husband when she began living with James A. Hamilton, the son of a minor Scottish noble. Though often labeled otherwise, Rachel wasn’t a prostitute—the term “whore” was a societal judgment, applied to women who didn’t conform to prescribed sexual norms. Her husband’s divorce petition accused her of “whoring with everyone,” branding her sons as “whore-children” and legally barring her from marrying again.

From the start, Hamilton bore the weight of his illegitimacy. He was excluded from the local parish school, abandoned by his father, and orphaned at just 13 when his mother died of a fever. Her estranged husband claimed all her property, leaving Hamilton destitute. These early hardships trailed him throughout his life. Even John Adams took a shot, famously calling him “That bastard brat of a Scottish peddler,” a line that inspired the musical’s memorable opening.

In the show, Aaron Burr cleverly strings together those first four insults—“bastard, orphan, son of a whore, and a Scotsman”—to spell out “BOSS.” It’s an ironic twist that flips degradation into something empowering, hinting that Hamilton’s drive outmatched his origins. But his relentless ambition—and his habit of talking “non-stop,” both with speech and pen—often put him at odds with others, Burr included.

In "Right Hand Man," Burr tries to earn Washington’s favor, but it's Hamilton who captures the general’s attention. Burr can only watch, frustrated, as Hamilton secures a coveted role while he’s left behind. Though Washington once complained to Congress about how much desk work he had, Hamilton managed to handle it all, ghostwriting letters so seamlessly that Washington’s voice echoed through them.

The musical doesn't shy away from exploring the sexual reputations of its characters either. In “The Amorous Adventures of Aaron Burr,” Burr’s seductive escapades take center stage, but Hamilton, too, had quite the reputation. His libido was, in modern parlance, legendary—and his surviving letters don’t hide it. In one from 1779, Hamilton writes with cheeky bravado about his willingness to charm “maidenly beauties,” even requesting that his friend paint a flattering picture of him for them—complete with a not-so-subtle reference to his nose.

Hamilton and Burr seemed to compete not just on the battlefield or in politics, but in the bedroom. Hamilton once called Burr “a voluptuary in the extreme,” and Burr reportedly kept letters from his conquests as trophies. So scandalous were they that his biographer, Matthew L. Davis, burned them to protect the women involved. Burr’s behavior earned him no shortage of condemnation.

In 1861, a titillating and anonymous book titled The Amorous Intrigues and Adventures of Aaron Burr chronicled many of these alleged affairs. While sex outside marriage wasn’t unheard of in the 18th century, it came with real risks —especially for women. Losing one’s “virtue” could mean losing a future, especially in the upper classes, where a woman’s economic survival often hinged on a good marriage.

Back in the musical, Burr casts doubt on Hamilton’s presence at a high-society ball, implying he was too poor to belong. But both men, young and striking in their military uniforms, drew plenty of attention. Angelica Schuyler, sharp and socially astute, quickly connects Hamilton’s interest to her position near power, while Burr comments slyly on her perfume and wealth in “The Schuyler Sisters.”

A quirky, often-repeated anecdote involves Martha Washington naming a tomcat “Hamilton.” While Hamilton breaks the fourth wall in the show to swear it's true, it’s likely apocryphal. Lin-Manuel Miranda has since acknowledged the error, explaining he believed it at the time. Researchers Michael Newton and Stephen Knott traced the story back to a satirical letter from a supposed British captain, published more than fifty years after Hamilton’s death. What started as a joke somehow made its way into multiple biographies.

Interestingly, the term “tomcat” didn’t imply sexual promiscuity until later; in the 18th century, it simply meant a male cat.

Early editions of Chernow’s Hamilton biography included a tidbit about him charming fashionable women who visited army headquarters—thanks to his charisma, quick wit, and dancing skills. Later versions removed it, likely due to attention from the musical. In a letter to Eliza, Hamilton playfully mentioned that she, her sister Peggy, and Mrs. Carter were frequently toasted by British officers, with him claiming the credit.

The musical’s use of “sister” plays on multiple levels. On one hand, it nods to the diverse casting—two of the Schuyler sisters are played by Black actresses—and on the other, it references Hamilton being called a “brother” in the opening number.

When Hamilton met Elizabeth Schuyler in 1779, he was very much on the hunt for a wealthy wife. In a letter to John Laurens, he outlined his ideal partner: young, attractive, intelligent, well-bred, religious but not too pious, and financially secure. Yet even after marrying into the powerful Schuyler family, Hamilton reportedly refused assistance from his father-in-law, General Philip Schuyler, choosing instead to live on credit. His debts lingered, and after his death, Eliza would spend much of her life in financial hardship.

Still, that marriage launched Hamilton into elite society. Later in the show, romantic tension builds between him and both Eliza and her sister Angelica. Their flirtation, full of layered charm and wit, culminates in the song “Helpless,” where their emotional push-and-pull takes center stage.

Miranda once shared in a Buzzfeed interview that Hamilton’s repeated “Hey” throughout the musical became a kind of flirtatious shorthand, conveying seduction, affection, and just a little mischief.

Setting the Scene: From War to Wits and Winks

“A Winter’s Ball” from the Hamilton soundtrack isn’t your typical Broadway showstopper — it’s a wry, breezy interlude that snaps like cold air against powdered wigs. Taking place between the fiery “Right Hand Man” and the lovestruck “Helpless,” this track is less about battle strategy and more about social climbing with swagger.

“How does the bastard, orphan, son of a whore / Go on and on / Grow into more of a phenomenon?”

Aaron Burr opens with bite, reciting Hamilton’s origin like a mixtape intro to his legend. But it’s not all shade — it’s admiration veiled in envy. Hamilton’s meteoric rise through charisma, rhetoric, and relentless ambition puts him squarely “at the right hand of the father,” that is, George Washington himself.

Power, Proximity, and Parties

The track swiftly pivots into the rakish exploits of the men:

“There are so many to deflower!”

Yeah — not exactly subtle. The Founding Fathers, as portrayed here, are not just founding a nation; they’re flirting their way through it. The phrase “proximity to power” becomes a sly commentary on how influence and intimacy often walk arm in arm at colonial balls.

The Schuyler Sisters, Enter Stage Left

“A winter's ball / And the Schuyler sisters are the envy of all”

Here comes the real spark: the setup to one of Hamilton’s most consequential encounters — meeting Eliza Schuyler. We’re told, in Burr’s words, that this isn’t just a dance; it’s a matchmaking battlefield where wealth, family name, and ambition converge.

“Yo, if you can marry a sister, you're rich, son”

The kicker, of course, is Hamilton’s cheeky reply:

“Is it a question of if, Burr, or which one?”

It's less about love and more about strategy — marriage as an alliance, the Schuyler sisters as political prizes. That line alone foreshadows the emotional entanglements and rivalries that fuel the musical’s drama later on.

Similar Songs

1. "Guns and Ships" – Daveed Diggs & Cast of Hamilton
   Like “A Winter’s Ball,” this piece captures the slick, sharp edge of Hamilton’s rise — but swaps the flirting for full-blown battlefield bravado. Both tracks push tempo and tongue-twisting delivery, highlighting how language becomes a weapon. “Guns and Ships” is the other side of Hamilton: strategic, unyielding, while “A Winter’s Ball” shows his charm as social currency.
2. "Satisfied" – Renée Elise Goldsberry & Cast of Hamilton
   “Satisfied” plays like the emotional echo of “A Winter’s Ball.” Where the latter introduces Hamilton’s romantic options, “Satisfied” delivers the fallout from that choice. It’s Angelica Schuyler’s regret and resilience, mirroring the moment Hamilton flippantly asked “which one?” — a question that quietly detonated her future.
3. "Ladies Who Lunch" – Elaine Stritch (from Company)
   While stylistically different — Sondheim versus Miranda — both tracks skewer upper-class social scenes. “Ladies Who Lunch” critiques performative femininity in cocktail circles, while “A Winter’s Ball” lampoons the masculine equivalent: powdered egos and whispers of wealth. They’re both waltzing through hypocrisy with a raised eyebrow.

Questions and Answers

Why is “A Winter’s Ball” such a short track?

It serves as a narrative bridge — not a standalone number but a witty set-up for “Helpless” and “Satisfied.” It's efficient, stylish connective tissue.

What historical event does it reference?

The winter encampment of 1779–1780 at Morristown, NJ, was one of the most brutal winters for the Continental Army. These balls were real, too — think powdered wigs and proto-Instagram moments.

Why does Burr sound so sarcastic?

Because he’s Hamilton’s foil — always watching, rarely acting. His tone layers jealousy with bemusement, setting up his simmering rivalry with Hamilton.

What does the “which one?” line imply?

That Hamilton is both calculating and cavalier when it comes to love — seeing marriage more as a strategy than a sentiment.

Is the song rap or Broadway?

Both. Like most of Hamilton, it blurs genre lines, marrying hip-hop flow with theatrical flair to tell history with a pulse.

Awards and Chart Positions

• Certified Gold by RIAA on April 4, 2019

Fan and Media Reactions

“This moment is so smooth it feels like the setup for a rom-com — but make it colonial.” @BroadwayBabeNYC

“Hamilton: the only place where a diss becomes a dance.” @VerseAndVine

“‘Which one?’ – bro, that’s savage AND hilarious.” @DuelOfWords

“A minute and a half of pure vibe and flirtation. Love how it sets up Eliza’s arc.” @HistoryInHeels

“That Martha Washington cat line lives in my head rent-free.” @CatsOfTheRevolution

“Hamilton knew his way around a quill... and a ballroom.” — Rolling Stone

“Miranda’s brilliance is in the restraint here — this isn’t spectacle, it’s social satire with rhythm.” — The Guardian