The hymn of the day, O Come, O Come, Emmanuel
(LSB 357), is an ancient hymn based upon seven even more ancient antiphons
(called the ‘O’ Antiphons) which were used in the Office at Vespers (the
evening office) during the last seven days of Advent. Each antiphon and each
hymn stanza refers to a different title for Christ: Wisdom, Adonai (‘Lord’),
Root (or Branch) of Jesse, Key of David, Dayspring, King of Nations, Emmanuel
(‘God with Us’).
‘O Come, O Come
Emmanuel’ was originally written in Latin with a title of ‘Veni, Veni,
Emmanuel’ (documents featuring the title and words date back to 1710).
The English translation of the Christmas carol came
about in 1851 when priest and scholar John Mason Neale’s version featured in
the pages of The Hymnal Noted – a key text in the history of hymns collected by
hymnal documenter Thomas Helmore.
Neale also originated the words to ‘Good King Wenceslas’,
making him officially one of history’s most festive clergymen.
What is ‘O
Come, O Come, Emmanuel’ about?
Quite unusually for a Christmas carol still commonly
performed, there are all sorts of arcane words and expressions littered
throughout. This is perhaps because the strong roots of the Latin text come
from the ‘O Antiphons’ (so-called because each one begins with an ‘O’),
traditionally used during the last seven days of advent during the Roman
Catholic Vespers service.
The distinctly biblical feel of the lyrics differ from
the more overtly celebratory tone of most carols (there’s no herald angels
harking nor flocks being watched by night, for example), and the actual
nativity narrative doesn’t feature in any meaningful way.
The Emmanuel of the title refers to the Hebrew
‘Immanuel’ which appears in the Book of Isaiah in the Old Testament more as a
sign of God’s protection than an actual person, whereas in the Gospel of
Matthew in the New Testament the name Emmanuel refers specifically to Jesus
Christ.
Who wrote
the music?
The haunting melody of ‘O Come, O Come, Emmanuel’ has
its roots as far back as 15th Century France, with a sketchy-at-best history.
It wasn’t until the 1960s musicologist Mary Berry (not that Mary Berry) sourced
the 15th century manuscript that bore the tune’s building blocks, among many
others used for processional chants for burials.
So the actual composer of the music for one of the
world’s most popular carols is enigmatically anonymous. It was, however, the
combination of the tune with John Mason Neale’s translation of the Latin text
that began its life as a perennial festive favorite.
Today this ancient hymn has been given contemporary
makeovers by artists as wide-ranging as big-voiced pop sensation Kelly
Clarkson, punk legends Bad Religion and winsome indie band Belle and Sebastian.
In the classical world, you’ll also hear the strains
of the ancient melody in Ottorino Respighi’s Trittico Botticelliano, and also
in Zoltán Kodály’s ‘Adventi ének’, complete with Latin and Hungarian lyrics. [2]
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December 2021—
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