The holiday season arrives each year without fail, and artists have been writing music to celebrate this time of year for centuries, such that the lexicon of hymns, carols, and songs now offers an almost seamless procession of Western music’s slow evolution.
You can find me tickling the ivories at the Santa Maria Town Center Thursday through Sunday evenings in the center court, where the mall’s antique A.B. Chase grand piano sits at the foot of a gargantuan Christmas tree. Trying to stick exclusively to holiday music during the month of December, I find my mind and fingers journeying through time and visiting styles from generations past in an odyssey of festive sounds.
The familiar minor tune of “What Child Is This?” points to the Elizabethan era of English folk music, when the snaking melody was known as “Greensleeves.” Though the melody didn’t receive its biblical lyrics until 1865, the tune comes from the late 1500s, when the simple four-chord structure called a romanesca was used to support the melody and improvisation. In true folk tradition, I take several chances to improvise around the melody and chords, which yield delightfully medieval tonality.
A century and a half later, George Frederic Handel premiered his oratorio Messiah, which has been performed annually ever since to celebrate Christmas. Best known for the bombastic “Hallelujah” chorus, Handel’s florid, Baroque style in Messiah has epitomized the Christmas season for many generations. This signature style of Handel’s can also be heard in Lowell Mason’s setting of “Joy to the World,” which proudly declares the coming of the season and savior. Mason used melodies from Handel’s Messiah to characterize the triumphant words. It’s also the Handel factor that has influenced more contemporary composers to write for small orchestra, harpsichord, and choir when creating a new musical work for Christmas.
Another century ahead, we find Felix Mendelssohn’s Festive Hymn, which was later used to set “Hark the Herald Angels Sing.” The block chord style of this hymn illustrates the simplicity strived for by Romantic-era composers like Mendelssohn when trying to convey sacred ideas and feelings with vocals. The flowing nature of this style is in stark contrast to the melismatic and bouncing nature of Handel’s Baroque style, but can be heard in several carols written or adapted during this time.
Fast-forward another hundred years, and the modern advent of the jazz standard takes the place of the traditional hymn style. Songs like “Let It Snow! Let It Snow! Let It Snow!” and “The Christmas Song” were cut into vinyl by crooners like Frank Sinatra and Nat King Cole. Others like “Have Yourself A Merry Little Christmas” are given wonderful life by such female voices of the era as Judy Garland and Ella Fitzgerald, whose vocal melodies dance over the lush harmonies of jazz orchestras.
The pace of musical evolution quikened after radio became widespread and is evident with the song “Santa Baby,” penned and recorded in 1953. The lilting melody sung by Eartha Kitt over doo-wop accompaniment embraces the commercialism we associate with Christmas today, as she seductively lists extravagant gifts she’s hoping Santa will bring when he hurries down the chimney.
Not even five years after “Santa Baby,” we get the rhythmic electric guitar and ripping saxophone of “Jingle Bell Rock” by Bobby Helms. As the title implies, this is 1950s rock ’n’ roll during the crest of the movement before the British invasion of the early 1960s. This was also the year Elvis Presley released his Christmas album, which included cuts like “Blue Christmas” and “Here Comes Santa Claus” done in the King’s iconic style.
Holiday and Christmas music continued to morph throughout the years, following the musical trends of the day, such as the Jackson Five’s R&B version of “I Saw Mommy Kissing Santa Claus” or John Lennon’s hippie call to peace “Happy Xmas (War is Over)” in the early 1970s. Though the familial themes and sacred inspiration remain, the style always changes, as artists offer their twist on the holiday season.
Anyone hoping to take a break from their shopping at the mall and enjoy some holiday music can do so while I explore music from decades and centuries of celebrations past at the Town Center’s piano, offering my own take on the music that brings people together year after year.
Willie in Buellton
Standing Sun Wines presents Live in the Winery with Willie Watson performing Dec. 20 from 7 to 10 p.m. at Standing Sun, 92 Second St. D, Buellton. Cost is $10 to $15. More information is available at 904-8072 or standingsunwines.com.
See the strings
The D’Vine Wine Bar and Bistro features live music by Different Strings on Dec. 20. Shows happen at 7:30 p.m. at the D’Vine Wine Bar and Bistro, 107 W. Ocean Ave., Lompoc. More information is available at 430-8356 or dvinewinebarandbistro.com.
Silver streak
The Radisson Hotel presents live music Fridays and Saturdays, including Silverback performing Dec. 19 and 20 from 6 to 10 p.m. at the Radisson, 3455 Skyway Drive, Santa Maria. More information is available at 928-8000.
Live at Lucia’s
Lucia’s Wine Co. offers an open mic event for musicians and poets on Wednesdays from 5:30 to 8 p.m. Live music by Robert Herrera is Dec. 27. Friday and Saturday concerts happen from 6 to 9 p.m. at Lucia’s Wine Co. Tasting Room, 126 E. Clark Ave., Orcutt. More information is available at 332-3080 or lucias-wine-co.com.
Get down at the Maverick
The Maverick Saloon offers live entertainment each weekend, including Dusty Jugz performing Dec. 19 at 8 p.m. Concert on the Deck with Melissa Rugge is Dec. 20 at 2 p.m. Dusty Jugz performs Dec. 20 at 8 p.m. at the saloon, 3687 Sagunto St., Santa Ynez. More information is available at 686-4785 or mavericksyv@aol.com.
Contact Arts Editor Joe Payne at jpayne@santamariasun.com.
This article appears in Dec 18-25, 2014.
