Christmas Carol Surprises [history and more]

markdroberts.com ^ | 12/21/2004 | The Rev. Dr. Mark D. Roberts

[sionnsar]

Table of Contents
Part 1 Some Bits of History
Part 2 Favorite Christmas Carols

Some Bits of History
Part 1 in the series “Christmas Carol Surprises”
Posted at 11:00 p.m. on Sunday, December 19, 2004

Okay, I admit it. I love Christmas carols. I love the way they sound. I love the memories they evoke. And, in many cases, I love the truths they celebrate. So in the next few days I’m going to do a short series on Christmas carols. I promise that it will be informative, fun, and maybe a bit inspirational too.

Christmas Carol Fun

Do you like Christmas carols? Do you think you know Christmas carols pretty well? Then I have a website for you. FunTrivia.com, which claims to be the “world’s largest, best, and most fun trivia website” has a great collection of Christmas music trivia quizzes. My favorite is “Christmas Carol Trivia: Sacred Carols,” but there are many more. Warning: You can spend a lot of time at this site if you’re not careful.

Ancient Christian Songs

Early in the second century A.D. the Roman governor of Pontus and Bithynia (northern Turkey) wrote letters to the Emperor Trajan. In one of these letters

he describes the actions of some troublesome (from Pliny’s point of view) Christians: “They asserted, however, that the sum and substance of their fault or error had been that they were accustomed to meet on a fixed day before dawn and sing responsively a hymn to Christ as to a god, . . .” This is one of the earliest references to Christian singing.

Many scholars believe that early Christian songs are quoted in the New Testament letters of Paul. One of these, in Philippians 2:5-11, includes the following lyrics:

[Christ Jesus] who, though he was in the form of God,
            did not regard equality with God
            as something to be exploited,

but emptied himself,
            taking the form of a slave,
            being born in human likeness.
And being found in human form,
            he humbled himself
            and became obedient to the point of death—

            even death on a cross. (2:5-8)

Though we wouldn’t call this a Christmas carol, it does focus on the birth of Jesus and this his death. It sees this birth through the lens of theology rather than narrative, however. Some scholars see this song as a theological statement informed by the early stories of Jesus’s birth. This is possible, but cannot be proven.

Carols as Forbidden Folk Music

Although the church did include religious singing in its liturgy surrounding the birth of Jesus, carols were written in a more popular idiom. The word “carol” originally described a song that had verses and a repeating chorus. It was frequently sung in the context of folk dancing (circle dancing). Most of the Christmas carols in the Middle Ages were secular or pagan in origin, and thus they were not popular with religious officials. On more than one occasion, as early as the 7th century and as late as the 16th century, Roman Catholic councils attempted to ban Christmas carols altogether. Only the reverent sounds of sacred chant were deemed appropriate for memorializing the birth of Jesus.

[This is an excerpt, and as noted, there will be more material. --sionnsar]

[sionnsar]

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[Publius]

Most of the great Christmas carols of our age were written amateurs, but there are a few exceptions.

”Joy to the World” was written by George Frederick Handel as a part song for male voices -- after one too many tankards of ale.

”Hark the Herald Angels Sing” was written by Felix Mendelssohn during his Birmingham (England) years as a song for SATB chorus, organ and orchestra. It is rarely heard in its original arrangement, which is formidable.

”Cantique de Noel” -- in English, “O Holy Night” -- was written by Adolphe Adam (accent of the second syllable of both names), a composer best known for an insipid ballet called “Giselle”. “Cantique” has guaranteed him a slot in the Composers Hall of Fame even when “Giselle” is forgotten. The problem with “Cantique” is that Adam wrote it for an operatic soprano or tenor in the key of D-flat (5 flats). He expects the singer to hit a high A-flat at the end -- and few church congregations contain that kind of vocal talent (unless there are castrati in the group). It's a rare church congregation that can perform this one without falling flat on its musical -- er, face.

Brahms actually tried his hand at a carol. “Lullaby of the Spirit” (not to be confused with the infamous “Brahms Lullaby”) is a setting of a poem by Emmanuel Geibel which details the thoughts of Mary as the newborn Jesus sleeps. Brahms set the carol for contralto with piano and viola accompaniment, but unfortunately he wrote the part for a contralto with operatic prowess. The piece shows up at lieder concerts but has failed as a Christmas carol because of this one (major) flaw.

[sionnsar]

Interesting. Thanks!

[AnAmericanMother]

As a contralto, I'm very familiar with the glories of transposition. Our choirmaster routinely bumps the psalm down a step or two for me, and fortunately I have a couple of books of "sacred solo - low voice" that have already done the work for me. (I can hit an A flat above the staff . . . but only once or twice. < g >)

Favorite modern carols: Holst's "Lullay My Liking"; Harold Darke's "In the bleak midwinter"; Warlock (Heseltine)'s "Bethlehem Down"; Joubert's "Torches"; and of course Sabine Baring-Gould's beautiful words for the Basque Carol "The Angel Gabriel from Heaven Came".

[bannie]

THANK YOU!!! That was a great hour...and a great classroom tool!!

:)

[secret garden]

Good ping. Thank you.

[anniegetyourgun]

Your recitation takes me back to a Christmas Eve service many years ago (in Mukilteo, of all places) when O Holy Night was performed by a congregate (a classically trained soprano) in the beautifully candlelit old church. Such sweet strains are the stuff of angels......