O Come, O Come Emmanuel

‘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. 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.  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 favourite.  Well, where to start. ‘O Come…’ 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.