On December 24, 1818, the carol “Stille Nacht! Heilige Nacht” was heard for the first time in a village church in Oberndorf, Austria. The congregation at that Midnight Mass in St. Nicholas Church listened as the voices of the assistant pastor, Fr. Joseph Mohr, and the choir director, Franz Xaver Gruber, rang through the church to the accompaniment of Fr. Mohr’s guitar. On each of the six verses, the choir repeated the last two lines in four-part harmony.
On that Christmas Eve, a song was born that would wing its way into the hearts of people throughout the world. Now translated into hundreds of languages, it is sung by untold millions every December from small chapels in the Andes to great cathedrals in Antwerp and Rome.
This song wouldn’t be what it is without Norm Bagley, a local resident of Ogden, Utah. In fact, it’s more his song than it is mine. He originally created this rendition in December 2004. For the 2009 25 Days of Christmas Music project, he made new recordings of the vocals and guitar, and sent it to me to add some piano to it. The purpose of the new rendition was meant to help create a unique sound and feel, while re-emphasizing the important role of our King and Savior. He came into the world as humbly and meekly as they come, yet His 33 short years on this earth were spent serving others, healing the sick, lifting the wounded souls, teaching people how to be better, to love and serve others (John 13:34; 15:13).
Vocals and Guitar: Norm Bagley
Piano: Justin K. Reeve
Lyrics (Revised)
Silent night, holy night
All is calm, all is bright
Round yon Virgin Mother and Child
Holy Infant so tender and mild
Sleep in heavenly peace
Sleep in heavenly peace
Silent night, holy night!
Shepherds quake at the sight
Glories stream from heaven afar
Heavenly hosts sing Alleluia!
Christ, the Saviour is born
Christ, the Saviour is born
A tiny baby, the Son of God.
He came into the world,
that He might save us all.
Silent night, holy night
Son of God, love’s pure light
Radiant beams from Thy holy face
With the dawn of redeeming grace
Jesus, Lord, at Thy birth
Jesus, Lord, at Thy birth
A tiny baby, the Son of God.
What can I give to Him?
As I look into His eyes,
they tell me to believe in Him,
Go forth and share his light.
A King is born, upon the earth
He’s come to save us, and lead us home.
This song, originally called “Christmas, Why Can’t I Find You,” was written by James Horner for the 2000 movie How the Grinch Stole Christmas. It was first performed by Taylor Momsen, who played Cindy Lou Who in the movie. A different version was later co-written by James Horner, Will Jennings and Mariah Carey, where it was given its more popularly-known title, “Where Are You Christmas?”
“Happy Xmas (War Is Over)” was recorded by John Lennon, Yoko Ono and the Plastic Ono Band in late October 1971, with the help of producer Phil Spector. It features soaring, heavily echoed vocals, and a sing-along chorus. The children singing in the background were from the Harlem Community Choir and are credited on the song’s single. The song is a protest song about the Vietnam War, based on a campaign in late 1969 by John Lennon and Yoko Ono, who rented billboards and posters in eleven cities around the world that read: “WAR IS OVER! (If You Want It) Happy Christmas from John and Yoko”. The cities included New York, Los Angeles, Toronto, Rome, Athens, Amsterdam, Berlin, Paris, London, Tokyo and Hong Kong. At the time the US was deeply entrenched in the unpopular Vietnam War. The line “War is over, if you want it, war is over, now!”, as sung by the background vocals, was taken directly from the billboards.
The melodically captivating song “Were You There on That Christmas Night?” was written by Natalie Sleeth in 1976. Sleeth was an accomplished composer who received an Academic major in music and a BA in music theory at Wellesley College in Massachusetts. She married a Professor of Homiletics, Reverend Ronald E. Sleeth, and was a member of the Highland Park United Methodist Church, and even wrote some hymns which appear today in the United Methodist hymnal.
The text to “O Come All Ye Faithful” was originally written in Latin (”Adeste Fideles”) and is attributed to John Francis Wade, an 18th-century hymnist. It was first published in a collection known as “Cantus Diversi” in 1751.
“You’re A Mean One, Mister Grinch” was originally written and composed for the 1966 cartoon special How The Grinch Stole Christmas! The lyrics were written by Theodor “Dr. Seuss” Geisel, the music was composed by Albert Hague, and the song was performed by Thurl Ravenscroft. The song’s lyrics describe the Grinch as being foul, bad-mannered and sinister using increasingly creative metaphors and synonyms.
“Santa Baby” was written in 1953 by Joan Javits and Philip Springer. The song is a tongue-in-cheek look at a Christmas list sung by a woman who wants the most extravagant gifts like sable, yachts and decorations from Tiffany’s. “Santa Baby” was originally sung and recorded in 1953 by Eartha Kitt. The song was a huge hit for Kitt, and she later said that it was one of her favorite songs to record. A sequel, “This Year’s Santa Baby”, was recorded by Kitt in 1954, to no commercial success; Kitt also reprised the original song for a 1963 re-recording with a more uptempo arrangement (Madonna’s popular rendition for the 1987 charity album A Very Special Christmas is based on this latter version). The song was featured in the 1989 film Driving Miss Daisy.
Irving Berlin wrote “White Christmas” in the early 1940s, reminiscing about an old-fashioned Christmas setting. Bing Crosby made this song famous, and his single has been credited with selling 50 million copies, the most by any release. Even the Guinness Book of World Records lists Crosby’s song as a 100-million seller, encompassing all versions of the song, including albums. The song was even made into a movie, under the same name, starring Bing Crosby together with Danny Kaye, Rosemary Clooney and Vera-Ellen.
“What Child Is This?” was written by William Chatterton Dix in 1865. At the age of 29, William was struck with a sudden near-fatal illness and confined to bedrest for several months, during which he went into a deep depression. Yet out of his near-death experience, Dix wrote many hymns, including “What Child Is This?” It was later set to the traditional English tune “Greensleeves.”
There are many songs by the name “Mary’s Lullaby,” but this particular one comes from the Children’s Primary songbook, used by the LDS Church. It is based on an old German folk tune, and is a simple sweet lullaby to the Christ child. The words were written by Jan Underwood Pinborough in 1989, with the music arranged by Darwin Wolford.
The words to “O Come, O Come, Emmanuel” are a translation of the Catholic Latin text “Veni, veni, Emmanuel” by John Mason Neale in the mid-19th century. Their origins are very old indeed, and may date as far back as the 12th century. They were of such importance in medieval days that in monasteries a separate stanza, to be sung from December 16 through December 23, was assigned to each of the most pious monks. In the 1800s, a musical setting that would accommodate the stanzas and the refrain “Rejoice! Rejoice! Emmanuel shall come to thee O Israel” was fashioned out of some plainsong sequences. (There was no refrain in the original Latin.) And, since plainsong has no measures and no specified rhythmic scheme, the quality of this hymn is always flowing and free.
“Jingle Bell Rock” was written by Joe Beal, a New England-born public relations man, in 1957. It’s in the “rockabilly” style, and was written during a time when rock-and-roll was coming on strong and casting its new rhythmic vitality over everything, including the Christmas season. Joe Beal collaborated with Jim Boothe, a Texas writer in the advertising business, to create this unique novelty, which became a best-selling record for Bobby Helms.
The words to the triumphant song “Joy to the World” are by English hymn writer Isaac Watts, based on Psalm 98 in the Bible. The song was first published in 1719. Watts wrote the words of “Joy to the World” as a hymn glorifying Christ’s triumphant return at the end of the age, rather than a Christmas song celebrating his first coming as a babe born in a stable. Only the second half of Watts’ lyrics are still used today.
You may know Meredith Wilson as the composer of the Broadway hit The Music Man in 1957, but before that in 1951 he had already achieved success with “It’s Beginning to Look a Lot Like Christmas.” Perry Como and The Fontane Sisters with Mitchell Ayres & His Orchestra on September 10, 1951. Bing Crosby recorded a version on October 1, 1951 which was also widely played.
“Let It Snow!” was written by lyricist Sammy Cahn and composer Jule Styne in July 1945 in Hollywood, California during one of the hottest days on record.
The “Coventry Carol” is a Christmas carol dating from the 16th Century. The carol was performed in Coventry as part of a play called The Pageant of the Shearmen and Tailors. The play depicts the Christmas story from chapter two in the Gospel of Matthew. The carol refers to the Massacre of the Innocents, in which Herod orders all male infants under the age of two in Bethlehem to be killed. The lyrics of this haunting carol represent a mother’s lament for her doomed child. It is the only carol that has survived from this play. Our knowledge of the lyrics is in considerable doubt, as the only surviving manuscript copy was burnt in 1875, and only two poor quality transcriptions remain from the early nineteenth century.
“Have Yourself A Merry Little Christmas” was introduced in 1944 by Judy Garland in the musical Meet Me in St. Louis, “a love of a film” as one critic put it. Frank Sinatra later recorded a version with modified lyrics, which has become more common than the original. The song was credited to Hugh Martin and Ralph Blane, although during a December 21, 2006 NPR interview, Martin said that Blane had encouraged him to write the song but had not had anything more to do with writing it. In 2007, the American Society of Composers, Authors and Publishers (ASCAP) ranked “Have Yourself a Merry Little Christmas” the third most-performed Christmas song written by ASCAP members of the past five years.
“Do You Hear What I Hear?” was written in October 1962 with lyrics by Noël Regney and music by Gloria Shayne Baker. It has sold tens of millions of copies and has been covered by hundreds of different artists.
“The Christmas Shoes” is based on a story passed around on the Internet. Eventually it was forwarded to a member of the Christian vocal group NewSong in 1996. They worked on the song for four years and eventually released it as a bonus track in 2000. It reached #31 on the Billboard Hot Country Songs chart that year, and #42 on the Hot 100 chart. A year later, country music group 3 of Hearts released their own version, which peaked at #37. In 2002 Donna VanLiere took the story and the theme of the song and produced a novelization which was published in 2002 by St. Martin’s Press. The book became a made-for-TV movie released in December 2002.
In 1857, John Henry Hopkins, Jr., assembled an elaborate Christmas pageant. He wrote both words and music for the General Theological Seminary in New York City, where he was an instructor in church music. One of the selections dealt with the Wise Men who came from the East, and for this part of the pageant, Hopkins created one of America’s most beloved carols. The three kings, Melchior, Caspar and Balthazar, brought gold, traditionally the metal of royalty; frankincense, an aromatic bark whose smoke was thought to reach the gates of heaven; and myrrh, an unguent used in the preparation of bodies for burial. The gifts symbolically signified Jesus’ kingship, His oneness with God, and His eventual death on the cross.
Phillips Brooks, one of 19th-century America’s best-loved preachers, was ministering to a Philadelphia church when he wrote his now-famous verses at Christmastime in 1868, three years after a pilgrimage to the Holy Land. He was inspired by the nighttime view of Bethlehem from the Hills of Palestine, and the memory was, he said, “still singing in my soul.” His organist, Lewis Redner, who was professionally a highly successful real-estate broker and on Sundays a leader in the Sunday school, set Brooks’ words to music for the church’s children’s choir, and “O Little Town of Bethlehem” was subsequently taken up by the rest of the world.
“Still, Still, Still” is an old Austrian tune, first known as the “Salzburg Melody.” The song was written around 1819. Not much more is known about it beyond that, and the original author has since been lost in time.
The lyrics to “Mary, Did You Know?” were written by Mark Lowry in 1984, and the music was written by Buddy Greene six years later.![chestnuts_roasting_on_an_open_fire_theme-201257-1230172884[1]](http://christmas.justinreeve.com/wp-content/uploads/2009/12/chestnuts_roasting_on_an_open_fire_theme-201257-12301728841.jpg "chestnuts_roasting_on_an_open_fire_theme-201257-1230172884[1]")
“The Christmas Song,” also know as “Chestnuts Roasting on an Open Fire” was composed by Mel Tormé and Bob Wells in 1944, incidentally during a hot summer. The most popular recording of this song was recorded by Nat King Cole in 1946. The descriptive language of the song is poignant and something anyone can identify with during the Christmas season — carolers, people bundled up in warm clothing, and children, with innocent magical imagery dancing around in their heads, anxiously watching for Santa and his reindeer on Christmas Eve.
“It’s practically the only song about Christmas in a big city, with department store lights, window displays, shoppers and all the rest,” said Ray Evans, describing the song he and Jay Livingston wrote in 1950. At the time the two were under contract to Paramount and were assigned to write a Christmas song for The Lemon Drop Kid, starring Bob Hope and Marilyn Maxwell. They were a bit daunted by the task, because there were so many Christmas standards. So, as Evans put it, “We set out attention on the ‘bell’ side of Christmas and to Christmas in the city — in contrast to ‘White Christmas’ and other standards, with lots of snow and country and small-town images.” The result was a holiday classic, especially after Bing Crosby and Carol Richards recorded it in 1951.
