Christmas

What does macaroni have to do with the carol “In Dulci Jubilo”?

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Image by Dorothée QUENNESSON from Pixabay–note the correct use of

Picture this: You eat a plate of macaroni and cheese, followed by a macaron cookie, all the while listening to music with a macaronic text and wearing the costume of a macaroni. Have I finally gone completely over the edge, and what on earth does all this have to do with the Christmas carol “In Dulci Jubilo”?

Well, I’ll tell you. No, I haven’t lost it, because all of these macaronical words are related and come, at least indirectly, from the Sicilian word maccarruni, which refers to foods made from some type of paste, either flour based or almond based. (The word “pasta” in and of itself simply means “paste.”) There’s a long, long trail a-windin’ here, with Arabic influences in Sicily resulting in the melding of many North African foods with Italian ones. Here’s a summary from an excellent article in Slate:

The pasta and the almond-pastry traditions merged in Sicily, resulting in foods with characteristics of both. Early pastas were often sweet, and could be fried or baked as well as boiled. Many recipes from this period exist in both a savory cheese version and a sweet almond-paste version that was suitable for Lent, when neither meat nor cheese could be eaten. . . . Out of this culinary morass arises, circa 1279, the word maccarruni, the Sicilian ancestor of our modern words macaroni, macaroon, and macaroni.1

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The Birds that Sing in Christmas Carols

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Image by nathalieburblis from Pixabay

I would challenge you to find any animals in the actual nativity story of the Gospels with the exception of the “flocks” over which the shepherds are watching in the fields. We usually assume that these were flocks of sheep, but there could have been goats too. Other than that, I regret to inform you that those cleaned-up, prettified little animals that show up in manger scenes almost certainly weren’t there—with the exception, perhaps, of some ewes and newborn lambs. So when the little drummer boy says that “the ox and lamb kept time” while he played his drum for the Christ child, we can be quite sure that this is a later interpolation into the story, at least as far as the oxen are concerned.

Regardless of any scriptural basis for animals in attendance, there are surprisingly many carols that include animals, and not just as window dressing. Below is a selection of carols that include birds. (My own choir, the Cherry Creek Chorale, is singing a couple of them for our December 2024 concert. Follow the link if you live in the Denver area to get your tickets!)

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What Shall We Give? A Christmas Question

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Image accessed via Pixabay

There’s a whole category of Christmas songs/carols that concern the bringing of gifts to the Christ child in Bethlehem. My own choir, the Cherry Creek Chorale, is singing a less-familiar one, “Son of Maria,” but more accurately “Son of the Mother” (“El Noi de la Mare“), which is also sometimes titled “Carol of the Gifts.” It is labeled as a traditional piece from Catalonia, a region of Spain that has seen its fair share of conflict over its periodic attempts to become an independent nation. I was surprised to see the number of carols (14) listed on Wikipedia as having come from this region; we are also singing the “Carol of the Birds,” which I plan to write about later on this blog. Because this is a traditional folk song, there is no “original” version. Instead, the song would have been passed down orally for generations and then finally written down, but these written lyrics vary immensely. Here’s a simple version used in a medley by the great Karl Jenkins; since it’s not being used as a stand-alone piece it needed to be fairly short. I’ll share some additional wording later in this post.

Son of Maria, Son of Maria.
What shall we give to the Son of Maria?
What can we give him that he will enjoy?
Bunches of grapes we will give to the infant,
baskets of figs for the beautiful boy.

Son of Maria.
What can we give to the Son of Maria?
What can we give to the beautiful boy?
Olives and walnuts and raisins and honey,
cherries and figs and some dates to enjoy.

Son of Maria.
Tampatam tam if the figs will not ripen,
what shall we do if the figs are still green?
Tampatam tam when our sins are forgiven,
Lovely ripe figs will at Easter be seen.
Tampatam tam when our sins are forgiven,
lovely ripe figs will at Easter be seen.

The sheet music says “English words by Carol Barratt after a translation from the Spanish”
Barratt is Karl Jenkins’ wife and a music educator in her own right.

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A Staid British Hymn Crosses the Atlantic and Becomes a Rollicking American Folk Favorite

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Image by Gerd Altmann from Pixabay

What started out as a beautiful but, as far as I’m concerned, a little stuffy, hymn for the Christian church feast day of Epiphany, written by the Anglican bishop Reginald Heber and published in 1811, underwent a sea change after it voyaged to America. It acquired a new tune via the shape-note tradition that was developed in the mid-1830’s and became especially popular in Appalachia. (You can read a bit about shape-note singing in my post A Rich American Tradition in “Hark! I Hear the Harps Eternal”) It also acquired a new first verse, with the original first verse becoming the refrain, at least in some versions. So I’ll start with the newly-purposed refrain:

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What on earth is going on in the “Coventry Carol,” with all the mournfulness and killing of children?

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Pieter Bruegel the Elder – Massacre of the Innocents – Google Art Project

When people first realize what the words to this carol are actually saying, they tend to be puzzled and/or outraged. I remember clearly someone in my own choir, the Cherry Creek Chorale, saying, “What on earth is going on with those kids being murdered?” Well, I can’t blame him. While I do love the song myself, it certainly can’t be said that it fits the stereotypical cheery Christmas template. The haunting melody is paired with a text that describes a horrible scenario: Herod the King commanding all young children in Bethlehem to be killed. Here are the relevant two verses that spell out the story:

O sisters too, how may we do
For to preserve this day
This poor youngling for whom we sing,
“Bye bye, lully, lullay”?

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What’s a herald angel? And other questions answered about a confusing Christmas carol.

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Image by LoggaWiggler from Pixabay

Let me start out with the correct way to punctuate the title; it should be “Hark! The Herald Angels Sing.” So the title actually comprises two sentences. “Hark!” is a one-sentence command meaning “Listen!” or “Pay attention!” (The same thing is going on grammatically in “Hark! I Hear the Harps Eternal,” which is also not typically punctuated properly.) And to whom should we pay attention? Why, the “herald angels,” of course. (Let’s spare everyone the joke about the angel’s name being “Harold,” okay?) A ”herald” is a messenger who sometimes blows a trumpet to get everyone’s attention before an announcement. The angels in the Christmas story don’t blow trumpets; they don’t even sing. They simply proclaim. So the illustration that I chose for this post is not correct biblically, but it does agree with the carol.

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Hacking through the symbolism in “Children Go Where I send Thee”

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Image accessed via SecondHand Songs

Man, if I went through this song line by line, starting to write as I am on Nov. 1, giving all the variants both of the song itself and also its precursors, Christmas would be long gone by the time I finished. I’m sure there have been whole doctoral dissertations written on just this subject. But not everyone shares my obsession with history and etymology, so I’m going to concentrate on this version, usually sung or performed as a Christmas song even though none of the verses except for the first one refers in any direct way to the Christmas story.

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The Inn, the Manger, the Shepherds, and the Stable

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Not terribly inaccurate! Image accessed from https://donnagawell.com/2020/12/17/away-in-a-manger-at-migdal-eder/; no attribution given.

I never want with these posts to make musical texts less meaningful to those who sing or hear them, and that is especially true with Christmas music. If I disagree with conventional ideas, rest assured that there will always be a deeper and richer meaning to be had in their place. As usual, I’ve had a ball diving down into various and sundry websites, finally coming up for air to share with you what I’ve discovered.

Probably everyone reading this post knows that the context for the birth of the Christ child in the town of Bethlehem is a Roman census: everyone has to go “to his own city.” (There’s a ton of controversy out there about what and when this “census” was; I’m not going to get into that whole issue here.) Joseph, we are told, was descended from King David, who came from Bethlehem and had been plucked out of obscurity as a youngest son and shepherd boy, ruling Israel way back around 1,000 BC. Bethlehem was therefore probably where Joseph was born. Why wasn’t he living there at the time of the census? We don’t know; in fact, we know very little about Joseph. Perhaps he had moved to Nazareth because there wasn’t much work for a carpenter in Bethlehem. But now he and Mary have had to travel back, a distance of about 100 miles. They would almost certainly have traveled in a group with other people; a lone journey was very dangerous, and they can’t have been the only ones needing to show up for the census. And those scenes with Mary barely making it into town and almost giving birth in the street are most assuredly not confirmed in the text, since we’re told that “while they were there, the days were accomplished that she should be delivered.” They got there with time to spare. I’ve wondered, though, if perhaps they’d delayed their journey in the hopes that the baby would come before the trip? Impossible to know.

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Why Is the Christ Child Sometimes Called the “Christmas Rose”?

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image source unknown

There are many Christmas carols and songs that include the image of the Christ child as a rose. “Lo, How a Rose E’re Blooming” is a famous one, made even more so from the modern pairing of that 17th century hymn with the contemporary pop song “The Rose” by  Amanda McBroom. “When Blossoms Flowered ‘Mid the Snows,” is another one such with its lines:

When blossoms flowered ‘mid the snows
Upon a winter night,
Was born the Child, the Christmas Rose,
The King of Love and Light.

(This song was originally titled “Gesu Bambino,” written by—you guessed it—an Italian.)

So I had always vaguely thought of the image of a rose, possibly a red one for contrast, blooming against the white snow, a miraculous event like the story of Christmas itself. And that would indeed be a beautiful image, except for one problem:

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