THE POPULAR CHRISTIAN AUTHOR’S SECOND (OF THREE) BOOKS ABOUT CHRISTMAS SONGS
Author ‘Ace’ (Andrew) Collins wrote in the introduction of this 2006 book, “When doing the first book in this series… I had as much fun as I have ever had with a writing project… At the time I finished, I had no idea if readers would come to appreciate the stories behind the songs, but I knew that each of those thirty-one chapters deeply enriched my appreciation of the holidays. Well, I soon found out that readers did want to know the stories behind Christmas carols… [This book] embraces the songs of classical history, folk music, and even modern country and jazz… [In this book] we have had the chance to spotlight the wonderful stories behind a new generation of Christmas songs.”
He begins with Handel’s ‘Hallelujah Chorus’: “These powerful words, coupled with one of the most awe-inspiring piece of music ever penned, put an unmistakably and unabashedly spiritual exclamation point on each Christmas season… Yet there is an irony in the belief that it can’t be Christmas without Handel’s most famed composition. The song itself was … originally considered to be an Easter offering. And… when he composed his most famous work, the great George Handel was a washed-up had-been… living in abject poverty. While penning what is now widely thought of as the world’s most dynamical musical salute to the birth of the Savior, Handel essentially was reborn himself.” (Pg. 13) He continues, “Handel was a man of deep faith… Even at twenty-five, the composer… had also become the most acclaimed composer in Europe… [He] loved the modern city of London… Behind the scenes, a lingering shadow began to haunt the still-young man… Handel physically began to fall apart. Before he reached forty, he suffered several strokes and was all but crippled by rheumatism… Handel went from riches to poverty…” (Pg. 14-16)
He goes on, “Charles Jennens was a wealthy eccentric whom most folks avoided… Jennens had taken what he felt were the most important biblical stories centering on the Messiah and cut them down to what he viewed as the bare-bones essential passages of Scripture…. Maybe, he thought, [Handel] would be interested… for the first time in years [Handel] was inspired… the composer locked himself in his study… In seven days he created the first segment of his new musical. This is now known as the ‘Christmas’ section of the Messiah… A few months later, Handel brought his newest work to the London stage. All of English society was there… King George II was so moved by the first few notes of the ‘Hallelujah Chorus’ that he rose to his feet. When the audience saw the king standing, they followed suit… By 1900, the Messiah was so linked to Easter that people began to expect to hear the oratorio each year. Yet soon a group would move 'the Messiah' to Christmas… For millions, the ‘Hallelujah Chorus’ is the most powerful way of remembering the reason for the season.” (Pg. 17-20)
He asks, “Why have so many Christian artists now embraced standards such as ‘Rudolf the Red-Nosed Reindeer’ and ‘Here Comes Santa Claus’? Probably because these whimsical numbers don’t just spotlight the childlike wonders of a modern secular Christmas, but they also offer a bit more. Hidden beneath carefree lyrics are secular parables spotlighting the rewards of compassion, and understanding and living life within the bounds of moral rules. Of these numbers, ‘Santa Claus is Coming to Town’ is perhaps the most ‘out front’ with its morality play. Many families try to run from Santa, feeling that his presence obscures the Christian elements of the holiday… In fact, St. Nick was once looked on as an example of the way a Christian should respond to children in need. The jolly old elf…. was directly linked to the church…Nicholas was once a real person… Nicholas was born into a wealthy family just three centuries after the birth of Jesus. At seventeen he gave up his wealth … to serve the Lord as a monk and missionary… he was elevated to the position of archbishop of Myra, an area now in Turkey… the red-coated bishop felt it was his mission to reach the downtrodden, the hungry, the sick, and the oppressed… Nicholas did not limit his ministry to adults… he taught children, as well as giving them special gifts…” (Pg. 34-35)
He says of Christmas trees, “In the dark ages, Christians would cut down fir trees, string them with fruit, and use them in religious plays. These paradise trees represented the tree of knowledge in the garden of Eden…. In the midst of hard German winters, the evergreen took on a representation of Christ’s undying love for his people… Using the tree as a symbol, Martin Luther explained the everlasting nature of God’s love… And the candles he placed on the tree represented the light and hope that Christ brought to the world with his birth and his resurrection… the tree evolved into a symbol not just of the first Christmas but of all elements of Christian faith.” (Pg. 41)
He notes that in ‘We Wish You a Merry Christmas,’ “The key line in the old carol is ‘We won’t go until we get some.’ This meant exactly what it said. The band of singers would knock on the doors of the finest houses and sing out their demands. If the owners of the homes did not meet the loathsome group’s request, then the men often knocked open the doors and took what they pleased…. The singing of ‘We Wish you a Merry Christmas’ didn’t just announce the arrival of the unwanted band but gave ominous warnings as well..” (Pg. 58)
Of ‘Carol of the Bells,’ he recounts, “Mykola Dmytrovich Leontovych was… a national celebrity in the Ukraine and Russia when he sat down to compose the music for what has become one of the world’s most popular Christmas carols. Yet when he finished his 'Shchedryk,’ it was not yet the holiday song we now know as ‘Carol of the Bells.’ … Twenty years later, another musical visionary resurrected [the] magical composition. Peter Wilhousky… never quit studying the music of Eastern Europe… This … led to his discovering the beauty of Keontovych’s ‘Shchedryk.’ … Soon the composer became convinced that [it] captured the spirit of every bell in the world ringing out in perfect harmony… the American combined the joy found in Leontovych’s ringing bells with an old Slavic legend his parents had told. In 1936, with Wilhousky’s new lyrics and arrangement, the ‘Carol of the Bells’ was born.” (Pg. 170-172)
He says of ‘The Little Drummer Boy, “Katherine Davis … wrote more than one thousand pieces of music. A piano teacher at Wellesley College… Yet while thousands of choirs performed Davis’s cantatas… she is best remembered today for a single song… penned in the months preceding World War II… There can be little doubt that Katherine understood the suffering that was all around her… With these thoughts in mind, Davis… sat down at the piano in 1941, and wrote a very simple song about a very unpretentious Christmas gift… The child who was the focal point of Davis’s song… could have come off the streets of any American town… It was the story that millions knew well in the days of economic chaos and impending war. After all, it was a time when peace on earth seemed like a fairy tale.” (Pg. 174-176)
Of ‘Blue Christmas,’ he explains, “Jay Johnson… [was] a script and commercial-jingle writer for radio… The holiday season was just around the corner … With the success of ‘White Christmas’ and the tremendous impact of blues music during the forties, surely, Johnson thought… A number about a Blue Christmas seemed so natural… Though Christmas is considered a wonderful time by most, it is also a very difficult time for many. Being alone during a holiday period when family and giving are so important would be tough enough without being bombarded at every turn by the happy and joyful nature of Christmas… Jay Johnson’s verses spoke to those forgotten souls who would face the holiday season alone… With its lonesome message and cleverly lyrics, ‘Blue Christmas’ was truly a hillbilly ode. It may have been written on an East Coast commuter train, but when [Ernest Tubb] vocalized it… Tubb had put it on the map and shaped it into a country music standard… [It] became country music’s first true Christmas classic.” (Pg. 191-194)
This book (and the other two in the series) will be of great interest to anyone (particularly Christians) wanting to know more about the background of these songs.