Tuesday, December 26, 2023
Ivana Raymonda - Song For The World (Original Song & Official Music Video
Monday, December 25, 2023
Bryan Adams - Christmas Time (Classic Version)
Band Aid - Do They Know It's Christmas (Music Video)
Sunday, December 24, 2023
Saturday, December 23, 2023
CHRISTMAS WITH ANDRÉ RIEU 2023 - Silent Night/Stille Nacht
The tale of Have Yourself a Merry Little Christmas
Composers Hugh Martin and Ralph Blaine were assigned to write songs for Meet Me in St. Louis, starring Judy Garland. Among those that they came up with were The Boy Next Door, The Trolley Song and Have Yourself a Merry Little Christmas. The movie was about a family who must relocate to New York after the Holidays and an important part of the story was how they did not want to leave their happy life in St. Louis. Have Yourself a Merry Little Christmas was written for Garland to sing to child actress Margaret O’Brien. And in keeping with the plot, it was a sad song. When Frank Sinatra decided to record a cover in 1957, he requested Martin and Blaine for a happy version. This is what we now listen to from Sinatra and other artists who thought of it as a beautiful Christmas song that they just had to record their own version.
SOUNDS FAMILIAR - Baby A. Gil - The Philippine Star
December 24, 2023 | 12:00am
I was only able to watch the musical Meet Me in St. Louis on Betamax many years after it was released in 1944. But I was already familiar with one of its soundtrack songs, Have Yourself a Merry Little Christmas because of the movie The Victors.
That film was a war drama from 1963 and the song was used in a scene where a deserter soldier was executed. It was a poignant moment which I never forgot. It was rendered more powerful with the sound of Frank Sinatra singing Have Yourself a Merry Little Christmas as background music.
To this day, despite many other versions I still think of Have Yourself a Merry Little Christmas as the saddest Christmas song ever written. Now, I recently found out that how it was originally written was even sadder.
How can anybody write a sad song about Christmas? Well, composers Hugh Martin and Ralph Blaine did. The songwriting duo was assigned to write songs for Meet Me in St. Louis, starring Judy Garland. Among those that they came up with were The Boy Next Door, The Trolley Song and Have Yourself a Merry Little Christmas.
The movie was about a family who must relocate to New York after the Holidays and an important part of the story was how they did not want to leave their happy life in St. Louis. Have Yourself a Merry Little Christmas was written for Garland to sing to child actress Margaret O’Brien. And in keeping with the plot, it was a sad song.
Very sad indeed. Check out the original lyrics which I found in an article by Ellen Gutosky in the online mag Mental Floss.
“Have yourself a merry little Christmas/ It may be your last/ Next year we may all be living in the past/ Have yourself a merry little Christmas/ Pop that champagne cork/ Next year we may all be living in New York.
“No good times like the olden days/ Happy golden days of yore/ Faithful friends who were dear to us/ will be near to us no more.
“But at least we all will be together if the Lord allows/ From now on we’ll have to muddle through somehow/ so have yourself a Merry Little Christmas now.”
The message was, have yourself a merry little Christmas while you can because next year will be different for us.
Garland’s reaction was instantaneous. “If I sing that to little Margaret O’Brien, the audience will think I’m a monster.”
The tale says that it took Martin and Blaine some convincing but they later agreed to work on the song. After some editing or I should say a little tweaking, Garland had the song she wanted and a true Christmas classic was born.
However, it was still sad. So, when Sinatra decided to record a cover in 1957, he requested Martin and Blaine for a happy version.
And this is what we now listen to from Sinatra, Michael Bublé, Ella Fitzgerald, Kelly Clarkson, The Carpenters, John Legend, Sam Smith and so many others who thought of it as a beautiful Christmas song that they just had to record their own version.
“Have yourself a merry little Christmas/ let your heart be light/ from now on our troubles will be out of sight/ Have yourself a merry little Christmas/ Make the Yuletide gay/ From now on our troubles will be miles away.
“Here we are as in olden days happy golden days of yore/ Faithful friends who are dear to us will be near to us once more.
“Through the years we all will be together/ if the fates allow/ Hang a shining star upon the highest bough/ and have yourself a merry little Christmas now.”
And that is how that shining star made it to the highest bough. Isn’t it just amazing what a little tweaking can do to the lyrics of a song.
Merry Christmas, everyone.
Friday, December 22, 2023
Transcending Tunes of Light and Shade Handel: Messiah
by
George Frideric Handel © portlandhandelsociety.org
The reasons for this tradition are somewhat apocryphal: one version is that at the first London performance in 1743, the audience “together with the King”, were so moved by the ‘Hallelujah’ Chorus that they spontaneously rose to their feet. An alternative explanation is that King George II was so tone-deaf that he thought the performance had finished, and the orchestra was playing the National Anthem: once the King stood, everyone present was obliged to stand too. Whatever the reason, there is something really special about standing for such an uplifting and triumphant piece of music.
For me ‘Messiah’ will forever be associated with the beginning of the Christmas season. When I was at school, it formed an integral part of the concert which ended the Autumn term, along with the service of nine lessons and carols at the church next door to my school. I must have sung Handel’s ‘Messiah’ at least 10 times, for the tradition of performing it at Christmas continued when I joined my university choir.
Background
‘Messiah’ was composed in 1741, with a text compiled by Charles Jennens from the King James Bible and the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. Initially it received a modest public reception, despite Handel’s established reputation in England, where he had lived since 1712, but gradually the oratorio gained in popularity and it is now one of the best-known, much-loved and most frequently performed choral works in Western music.
The Story
The work is organised in three sections: Part 1 tells the story of the birth of Christ and includes all the familiar elements of the Christmas story. Part 2 is concerned with Christ’s passion and death, his resurrection and ascension, and ends with the joyous ‘Hallelujah’ chorus. It is this aspect of the work which makes it just as applicable for performance at Easter as well as at Christmas (in fact, its premiere in Dublin took place 19 days after Easter 1742). Part 3 returns to the theme of resurrection and represents the real core of the work as Christ’s resurrection is connected to our own redemption and sense of hope, beautifully affirmed in one of the work’s most famous arias, ‘I Know that My Redeemer Liveth’. And I suppose the best thing about ‘Messiah’ really is all the memorable ‘tunes’ – from ‘Ev’ry Valley Shall be Exalted’ to ‘The Trumpet Shall Sound’, ‘I Know My Redeemer Liveth’ to the charming duet between tenor and alto ‘O Death Where is Thy Sting’. Then there are the choruses: ‘And the Glory of the Lord’, ‘All We Like Sheep’, ‘For Unto Us a Child is Born, ‘Hallelujah’, and the wonderful fugue of the final chorus. In between all this are some beautiful solos, recitatives, which serve to move the narrative forward, and delightful orchestral interludes.
Handel brings the text to life with light and shade, storms and sunshine, fugue and counterpoint, and a huge variety of textures and “word painting”, the technique of having the melody mimic the literal meaning of the libretto. Because of the skilful way in which Handel organises the material, and the universal, redemptive message of the text, Messiah remains a work which is uplifting and life-affirming, regardless of how it is performed.
