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Waltzes were not yet a dying breed in they have never quite gone away, in fact , but were less popular than some of the newer forms of music that had emerged over the preceding decade. Prolific publisher Jerome H. Remick still added such pieces to his catalog in the interest of creating a spread that covered all spectrums of music taste and wallets. This waltz, which given the position mistletoe has had in Christmas lore, could be construed as a holiday piece. It has many facets to commend it as well.


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There are, in essence, two primary waltzes within, the rest being variations on the main theme, and one particularly enchanting minor interlude. With repeats it makes for a nice long presentation. Mistletoe in ritual and celebration actually predates Christ by a couple of centuries. It was gathered by Druids in northern Europe to decorate homes in celebration of the coming of Winter, and was believed to not only have healing powers, but the ability to promote peace and harmony as well even though it was poisonous , thus the kissing part of the tradition.

The early Catholic church would have nothing to do with the parasitic evergreen plant given the pagan origins of the custom, so they encouraged the use of another greenery that has become a Christmas tradition as well, holly. The irony here is that holly berries are also poisonous and furthermore attractive as food, therefore not the best choice to decorate a home occupied by children or animals. Both plants remain with us today as an essential decorative facet of the season.

Perhaps there is something to be said for their plastic counterparts. Silver Sleigh Bells. QRS Piano Roll Although not specifically titled The Christmas March , this is the closest to a Christmas piece that Paull ever came. This can be better ascertained from the cover, which is covered with holly leaves, sleigh bells and conventional bells, than from the contents. He was a known Christian, evident in some of his other pieces, but the holiday was still closely associated with the church, so many composers still demurred somewhat from writing a popular tune about the event.

The descriptive headings that are supposed to reflect the experience of a winter sleigh ride, and which are excruciatingly detailed in the Explanatory , include the cracking of a whip, sleigh bells silver ones at that , church bells, a railroad crossing, and a race with a mad dash to the finish line, all accentuated in this performance by percussive effects. Performed with the proper sound effects and sleigh bells, it is a passable predecessor to Leroy Anderson's famous instrumental Sleigh Ride from The version presented here is my acoustic recording from my Christmas Eve CD.

Santa Claus: March. The beauty of a march is also its weakness to some extent. You can name it anything you want, thus you can ostensibly write a march for anything or any occasion, but it is still a form of martial music, and rarely descriptive except for some of E.

Paull's well-crafted works. So this march about Santa Claus is essentially just a standard-issue march and not so much a hummable tune that you would associate with Christmas or jolly fat men who's marching days are long past. Maybe in a parade. In any case, the interest here lies more in the cover than the tune.

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While the red suit is not visible, the visage of the face shows a nice transition between the modern Santa created by Thomas Nast see article for more information and the famed Santa of Haddon Sundblom. Thus it provides a nice look at the image that children around the world, specifically in the U. Now maybe if he actually would march more he could drop some of that jelly belly.

Christmas Bells. The Reverie was popular with parlor pianists for many years in the late 19th and early 20th century. Essentially a mood piece, most of them were fairly sedate and not too challenging.

A Waltz Through the Vapor

The themes of church and Christmas fit this form well because of the piano's ability to emulate chimes or bells. This German entry from a mildly prolific but otherwise obscure composer with a fortuitous name for this genre is effective in this regard, as it is scored to imitate the unique sound of carillon bells. Sequestered within the sanguine main theme are, appropriately, two German carols that should ring a bell; O Sanctissima and Stille Nacht or Silent Night.

Although the score works well without any extra bell effects added, this version from the Christmas Eve CD does utilize authentic chimes. This is very much a Christmas Eve or Christmas Morning meditation for the ages. Jolly Jingles or Song of the Sleighbells. As with many similar pieces of the era, this piece is not specifically about Christmas, but fits the season more so now than it did when first composed.

Sleighs and sleigh bells were less common by this time, given the advent of public transportation and the insurgence of automobiles, but it was not quite nostalgia yet either, particularly in New England and the upper Midwest. The march is very short and simple, consisting of only two unique sections expanded upon in this interpretation , something that made it accessible to most levels of pianists. The piece is less descriptive in content than the similar Silver Sleigh Bells by E.

However the device of using a static treble note in the midst of the moving melodic line helps set the tone to some extent in terms of sleigh bell emulation, plus a few whip cracks appear in the B strain. Adding actual sleigh bells themselves to the piano part many people still had the real deal at this time further enhances the Jolly Jingles atmosphere. Know that the bells were the equivalent of a running motor or a horn, letting people know that a sleigh was on the way in the dark or when there was poor visibility due to bad weather. The versatile and formidable composer Charles Daniels was barely even reaching his peak when he brought out this overlooked gem.

Chopin: Complete Waltzes (Full Album) Played by Alessandro Deljavan

At a time when secular Christmas songs were just starting to become popular and getting less resistance from the church, this one combined that favorite season with another popular topic of the s, mother. The opening bars of the piece, intended as church chimes, are a rather advanced progression that would later be heard in choral works, but very unusual for a popular song of the time.

And just when you think it's over, they tack a little hymnlet on the end intended for four part vocal, this being the insurance that tears will well up for any listener who ever had a mother. Whether it was too sentimental or too far ahead of its time to become a perennial holiday tune, I hope to give this worthy piece a second chance, hoping you are moved by it as well.

Publisher John Stark had returned to St. Louis by this time after his tenuous tenure in New York City.


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  6. Still, Lamb, who was living in Brooklyn by this time, continued to submit works to Stark which he continued to publish without hesitation. The A section used mixed staccato passages with sustained notes reinforced by supporting chords. The second pattern is effectively carried over into the B strain providing continuity between the sections. The trio displays contrast through the "less is more" paradigm, minimizing both melodic and harmonic elements.

    The D section is somewhat retro, reflecting patterns used in marches from a decade past. Why there is no reindeer on the cover, or how it got that name are both mysteries. However, Lamb was a hands-on operator who likely named most, if not all of his pieces, and it would be at least three more decades before reindeer would be in vogue thanks to Rudolph. Christmas Chimes.