“… Not in that poor lowly stable …”

“Christmas is coming, the goose (gander?) is getting fat …” It is an interesting time of year.  Without going into details, December always feels two-faced to me – an ideal image of warm sentimentality and good-will juxtaposed against a more realistic frenzy of greed, being overcommitted, and exhaustion.  I’m sure everyone deals with these or similar emotions; but this season takes a unique toll on musicians (and especially church musicians).

While I’m fond of our Christmas hymns, I often have difficulty enjoying them, because in my mind they’ve become associated with stress, panic, and quite frankly, fear (fear of playing something wrong, omitting that special carol and therefore ruining someone’s holiday, or not playing it “the way it’s supposed to be played”.)  Eventually, we musicians build up defenses to help deflect the stress and keep our sanity.  This can take the form of alternate words to carols, hilarious Facebook posts about playing “The Nutcracker” 19 times in 12 days, or being able to play Handel’s “Messiah” in retrograde inversion.  (I can completely play Bach’s “Wachet auf” with the right hand starting one eighth-beat behind.  In college I would sing “All We Like Sheep have Gone Astray” one beat behind and a whole step down (under my breath and only in rehearsal, of course)).

So how do I deal with the season?  I reckon that I’ve performed “O Come All Ye Faithful” over 500 times, and that’s not an exaggeration.  It’s become difficult to enjoy the more sentimental carols.  And what’s worse, I get a sick sense of superiority when I point out that “We Three Kings” is incorrect, as the Magi were in fact not kings, and that there’s actually no biblical reference to three of them (just three gifts).  I also love to roll my eyes when the angels appear “singing sweetly through the night”, because if the heavenly host appeared before me I would probably need a new pair of underpants.  And of course, there’s the countless references to snow, which rarely falls in Bethlehem.  (but it does on rare occasion, and when it does, it’s beautiful.)

Again – I love these hymns and the cultural train which flows from them.  But my eyes will be dry when we sing “Hark the Herald Angels Sing” or even “Silent Night” (if these give you tears of joy, that’s wonderful.)  HOWEVER – there still are a few Christmas carols that can strike me in the heart; these usually go far beyond the image of a cuddly baby in a snow-covered manger with cherub angels hovering around.

Everyone knows the iconic first verse of “Once in Royal David’s City.”  But this hymn is less about the birth of Christ, and more suited to Christ’s second coming:

And our eyes at last shall see him, through his own redeeming love;
For that child who seemed so helpless is our Lord in heaven above;
And he leads his children on to the place where he is gone. 

Not in that poor lowly stable, with the oxen standing round,
We shall see him; but in heaven, where his saints his throne surround:
Christ, revealed to faithful eye, set at God’s right hand on high.

A modern hymn by American composer David Hurd, “A Stable Lamp is Lighted” is in our hymnal (#104) – the text is written by Richard Wilbur (© GIA Publications). Again, the first verse paints a gentle image of the stable, but the hymn is really about Christ’s sacrifice on the Cross (maybe this is why this hymn struggles to become a popular Christmas carol?)  What strikes me most is the subtle change in the meaning of “and every stone shall cry”, from verse to verse: 

A stable-lamp is lighted whose glow shall wake the sky;
The stars shall bend their voices, and every stone shall cry.
And every stone shall cry, and straw like gold shall shine;
A barn shall harbor heaven, a stall become a shrine. 

 This child through David’s city shall ride in triumph by;
The palm shall strew its branches, and every stone shall cry.
And every stone shall cry, though heavy, dull, and dumb,
And lie within the roadway to pave his kingdom come. 

Yet he shall be forsaken, and yielded up to die;
The sky shall groan and darken, and every stone shall cry.
And every stone shall cry for stony hearts of men:
God’s blood upon the spearhead, God’s love refused again. 

 But now, as at the ending, the low is lifted high;
The stars shall bend their voices, and every stone shall cry.
And every stone shall cry, in praises of the child,
By whose descent among us, the worlds are reconciled.

Finally, although Christina Rossetti’s most famous hymn begins with a very English (ie: not Middle Eastern) “earth stood hard as iron … snow had fallen, snow on snow”.  The last verse is simply perfect: 

What can I give him, poor as I am?
If I were a shepherd, I would bring a lamb;
If I were a wise man, I would do my part;
yet what I can I give him: give my heart.

- Erik Meyer