Singing and Christmas seem to go naturally together, like plum pudding and custard. Even those who would not normally attend a choir concert or church service throughout the year might happily participate in a civic Carols by Candlelight or a Midnight Mass.
In these settings, the carols come thick and fast, and everyone joins in, almost involuntarily. But what is the origin of the choral music which adorns these settings?
The tradition of carol singing dates from the Middle Ages, and was not restricted to the Christmas season. There were carols for Easter, for New Year, and sometimes even for political events such as the Battle of Agincourt.
The poetic form was simple: a succession of stanzas with different texts, interspersed with a recurring refrain. In more recent times, the term “carol” has come to mean any song associated with Christmas.
Medieval carols from England and elsewhere have survived, though much transformed.
“Good Christian Men, Rejoice” dates from the 14th century, though only its text has been reliably attributed, to the Dominican friar Heinrich Seuse (Suso). The melody is known in Latin as In dulci jubilo (in sweet joy), and has been frequently used as the basis of extended instrumental or vocal compositions.
This song found its way into English through the 1853 publication Carols for Christmastide by JM Neale. This and other volumes of carols contributed materially to the Victorian era’s wholesale adoption of seasonal trimmings, along with royally sanctioned Christmas trees and greeting cards.
During the centuries between the first iteration of a carol tradition and the Dickensian revival of the Christmas spirit in the mid-1800s, there was comparatively little in the way of English composition of new works in this genre. A few pieces that are more appropriately termed Christmas hymns were, however, produced during the 18th century.
One of these is Adeste fideles or “O Come, All Ye Faithful“. Its authorship is disputed, but the most likely source is the 1751 volume Cantus diversi, published by John Francis Wade. Like most other Christmas carols, its text has clear Christian references.
Interestingly, it is also thought to contain covert Jacobite symbolism, with the phrases “all ye faithful” and “to Bethlehem” referring respectively to the supporters of Bonnie Prince Charlie and England itself. Wade fled to France after the failure of the 1745 Jacobite uprising, but his hymn soon came into regular use, particularly among English Catholics.
An indication of its wider adoption is the inclusion of “O Come, All Ye Faithful” within the Service of Nine Lessons and Carols, a familiar modern-day tradition inaugurated at Cornwall’s Truro Cathedral in 1880. In the age of mass media, this most renowned Christmas ceremony, as practised in King’s College Cambridge, has become universally familiar, firstly on radio and then television. Choirs around the world also perform their own Lessons and Carols programs every December, and most often conclude with this piece.
The most famous Christmas carol of all time is undoubtedly “Silent Night, Holy Night“. The original words for “Stille Nacht, heilige Nacht” were written by Joseph Mohr in 1816 and the melody two years later by Franz Xaver Gruber, when both were living in villages near Salzburg.
The German version was published soon afterward, and the familiar English translation in 1859, since when it has become known in nearly 150 languages. Due to its universality, “Silent Night” was in 2011 designated by UNESCO as an intangible item of cultural heritage.
With its stereotypical overlay of European winter costumes and snow-covered fir trees, the translation of Christmas traditions around the world is problematic.
In Australia, there have been several attempts to develop parallel traditions of carols that eschew northern hemisphere references, in favour of local culture.
The best-known are those composed by WG James, former federal controller of music for the ABC, to texts by John Wheeler. Outback images of drovers, summer heat, red dust and red-gold moon, dancing brolgas, mulga plains, Christmas bush, gully creeks and grazing sheep recur throughout these songs.
They were published in several sets, commencing in 1948. Despite several recordings by major ensembles, their familiarity and popularity has fluctuated greatly.
However, two of James’ carols recently made it into a “top 10” list of Aussie Christmas songs by the Australian Times, whose target audience is expats living in the UK.
The tradition of singing Christmas carols is embedded in the season, even though the contexts where they are performed may differ widely from that where the words and music originated.
We happily ignore the obvious disconnect between the imagery of some familiar carols and our hot Australian summers, and there is something reassuring about hearing and singing them once again, with feeling, every Christmas time.
Peter Roennfeldt is Professor of Music at Griffith University. This article was first published on The Conversation.Jump to next article