Phonograph Monthly Review, Vol. 1, No. 4 (1927-01)

148 The Phonograph Monthly Review Christmas in cMusic The story of Good King Wenceslas and other carols. By RICHARD G. APPEL T HE first Christmas was ushered in, we are told, with a wonderful song—“and suddenly there was with the angel a multitude of the heavenly host praising God and singing ‘Glory to God in the Highest and Peace on earth, Good Will to men\” Since the dawn of creation when “the morning stars sang together” it is probable that Christmas has been celebrated with more music than any other single festival in our calen- dar. What would Christmas be without the old carols! Undoubtedly the Christmas of 1926 will surpass any preceeding Christmas in the quan- tity of its resonance. As compared with Christmas in 1826 and all preceeding centuries the greatest single impor- tant event in the century has unquestionably been the invention of the phonograph which enables one to select from the wonderful treasures of the past and hear its beautiful strains. Certainly no Christmas music composed since 1826 compares in importance with the invention which perpetu- ates the splendid creations of the past and en- ables us to listen to them anywhere and anytime during the Christmas season. American may well take pride in the fact that if she has not contributed a master oratorio or symphony to the theme of Christmas, she has perfected the instrument to spread the classic strains over the face of the earth. Americans may also take pride in the fact that several carols by Americans have already achieved an unbelievable popularity which bids to make them as immortal as some of the tradi- tional ones from across the sea. How many Americans are aware that “We Three Kings of the Orient Are,” often ascribed to tradition, is the work of an American, John Henry Hopkins? Although first presented anonymously in Eng- land in 1862, it was really by the member of a distinguished American family. Phillips Brooks is responsible for perhaps the best American Christmas hymn, “0 Little Town of Bethlehem,” which is sung far and wide, often to the tune by Brooks' organist, Redner, and often to a tune by Barnby. Next in fame would probably come the carol, “It came upon the Midnight Clear,” with text by Sears and tune by Willis. Lowell Mason's adaption of passages from Handel's “Messiah” has endeared “Joy to the World” (text by Watts) to many. His original tune to “Watchman, what of the Night?” is typical of an epoch in American Church Music. It should be remembered that these Americans were pioneers in Christmas sentiments and strains. There was no material available com- parable to that of today and their efforts are consequently more creditable than many succeed- ing ones. Apart from the popular carols and hymns, there is no doubt that the most generally success- ful musical embodiment of Christmas is found in Handel's “Messiah” which dates from 1742—al- most two centuries ago. A bit nearer to the two century mark would be Bach's Christmas Ora- torio, in 1734. While it is unnecessary to make comparisons, it is much to be hoped that such popular features of the latter as the “Shepherds' Symphony” or the bass aria, “Mighty King,” will be speedily available on records. Haydn's Christmas Symphony is not as typical of Christmas as it is of Haydn. For a purely instrumental composition the pastorale in Cor- elli's Christmas Symphony (1712) would be hard to surpass. In fact, it probably served as a model for Handel's Pastoral Symphony in the Messiah. Four centuries ago would take us back to Luther's beautiful Christmas carol, “From Heaven Above Good News I Bring,” available on a Victor record as sung by Schumann-Heink. Not quite as early would come William Byrd's Lullaby (1588) which can be heard in a record- ing by the English Singers. Five centuries ago would take us back to the carols “A Ship comes Sailing,” or “Lo How a Rose E'er Blooming,” or the carol “In Dulci Ju- bilo,” partly in Latin and partly in the vernacular. Seven centuries would see St. Francis of Assisi starting the custom of the creche with the little babe and his parents and the animals displayed in church—giving rise to many pictures and carols subsequently. Almost eight centuries ago Bernard of Clair- vaux composed the great sequence, “Laetabun- dus,” (1153). When it is recalled that the celebration of December twenty-fifth as Christ's birthday was unknown in Rome before about the middle of the fourth century, we can understand how grad- ual has been its observance. It was introduced into England by St. Augustine in 597.