Silent Night | Christmas and New Year's songs | Nursery Rhymes Songs for...
Silent Night
"Silent Night"
(German: "Stille
Nacht, heilige Nacht") is a popular Christmas carol,
composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr in
the small town of Oberndorf bei Salzburg, Austria. It was declared
an intangible cultural heritage by UNESCO in
2011. The song has been recorded by a large number of singers from every
music genre. The version sung by Bing Crosby is
the third best-selling single of all-time.
(German: "Stille
Nacht, heilige Nacht") is a popular Christmas carol,
composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr in
the small town of Oberndorf bei Salzburg, Austria. It was declared
an intangible cultural heritage by UNESCO in
2011. The song has been recorded by a large number of singers from every
music genre. The version sung by Bing Crosby is
the third best-selling single of all-time.
History
The song was first performed on Christmas Eve 1818
at St Nicholas parish church in Oberndorf, a village in the Austrian Empire on
the Salzach river
in present-day Austria. A young priest,
Father Joseph Mohr, had come to Oberndorf the year before. He had written the
lyrics of the song "Stille Nacht" in 1816 at Mariapfarr,
the hometown of his father in the Salzburg Lungau region,
where Joseph had worked as a co-adjutor.
at St Nicholas parish church in Oberndorf, a village in the Austrian Empire on
the Salzach river
in present-day Austria. A young priest,
Father Joseph Mohr, had come to Oberndorf the year before. He had written the
lyrics of the song "Stille Nacht" in 1816 at Mariapfarr,
the hometown of his father in the Salzburg Lungau region,
where Joseph had worked as a co-adjutor.
The melody was composed by Franz Xaver Gruber, schoolmaster and organist in
the nearby village of Arnsdorf.
Before Christmas Eve, Mohr brought the words to Gruber and asked him to compose
a melody and guitar accompaniment
for the Christmas Eve mass, after river flooding had damaged the church
organ. The church was eventually destroyed by repeated flooding and
replaced with the Silent-Night-Chapel. It is unknown what
inspired Mohr to write the lyrics, or what prompted him to create a new carol.
the nearby village of Arnsdorf.
Before Christmas Eve, Mohr brought the words to Gruber and asked him to compose
a melody and guitar accompaniment
for the Christmas Eve mass, after river flooding had damaged the church
organ. The church was eventually destroyed by repeated flooding and
replaced with the Silent-Night-Chapel. It is unknown what
inspired Mohr to write the lyrics, or what prompted him to create a new carol.
According to Gruber, Karl Mauracher, an
organ builder who serviced the instrument at the Obendorf church, was enamoured
with the song, and took the composition home with him to the Zillertal.
From there, two travelling families of folk singers, the Strassers and the
Rainers, included the tune in their shows. The Rainers were already singing it
around Christmas 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia, as well as making the
first performance of the song in the U.S., in New York City in 1839. By the 1840s the
song was well known in Lower Saxony and was reported to be a
favourite of Frederick William IV of Prussia. During
this period, the melody changed slightly to become the version that is commonly
played today.
organ builder who serviced the instrument at the Obendorf church, was enamoured
with the song, and took the composition home with him to the Zillertal.
From there, two travelling families of folk singers, the Strassers and the
Rainers, included the tune in their shows. The Rainers were already singing it
around Christmas 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia, as well as making the
first performance of the song in the U.S., in New York City in 1839. By the 1840s the
song was well known in Lower Saxony and was reported to be a
favourite of Frederick William IV of Prussia. During
this period, the melody changed slightly to become the version that is commonly
played today.
Over the years, because the original manuscript had
been lost, Mohr's name was forgotten and although Gruber was known to be the
composer, many people assumed the melody was composed by a famous composer, and
it was variously attributed to Haydn, Mozart,
or Beethoven. However, a
manuscript was discovered in 1995 in Mohr's handwriting and dated by
researchers as c. 1820. It states that Mohr wrote the words in 1816 when
he was assigned to a pilgrim church in Mariapfarr, Austria, and shows that the
music was composed by Gruber in 1818. This is the earliest manuscript that
exists and the only one in Mohr's handwriting.
been lost, Mohr's name was forgotten and although Gruber was known to be the
composer, many people assumed the melody was composed by a famous composer, and
it was variously attributed to Haydn, Mozart,
or Beethoven. However, a
manuscript was discovered in 1995 in Mohr's handwriting and dated by
researchers as c. 1820. It states that Mohr wrote the words in 1816 when
he was assigned to a pilgrim church in Mariapfarr, Austria, and shows that the
music was composed by Gruber in 1818. This is the earliest manuscript that
exists and the only one in Mohr's handwriting.
The first edition was published by Friese [de] in 1833 in a collection of Four
Genuine Tyrolean Songs, with the following musical text:
Genuine Tyrolean Songs, with the following musical text:
Translations
In 1859, the Episcopal priest John Freeman Young, then serving at Trinity Church, New York City, wrote and
published the English translation that is most frequently sung today,
translated from three of Mohr's original six verses. The version of the
melody that is generally used today is a slow, meditative lullaby or pastorale,
differing slightly (particularly in the final strain) from Gruber's original,
which was a "moderato" tune in 6
8 time and siciliana rhythm. Today,
the lyrics and melody are in the public domain,
although newer translations usually are not.
published the English translation that is most frequently sung today,
translated from three of Mohr's original six verses. The version of the
melody that is generally used today is a slow, meditative lullaby or pastorale,
differing slightly (particularly in the final strain) from Gruber's original,
which was a "moderato" tune in 6
8 time and siciliana rhythm. Today,
the lyrics and melody are in the public domain,
although newer translations usually are not.
In 1998 the Silent Night Museum in Salzburg
commissioned a new English translation by Bettina Klein of Mohr's German
lyrics. Whenever possible, (and mostly), Klein leaves the Young translation
unchanged, but occasionally Klein (and Mohr) varies markedly. For
example, Nur das traute hochheilige Paar, Holder Knabe im lockigen Haar is
translated by Young: "Round yon Virgin mother and child, Holy infant so
tender and mild" whereas Klein rewords it: "Round yon godly tender
pair, Holy infant with curly hair", a translation closer to the original.
commissioned a new English translation by Bettina Klein of Mohr's German
lyrics. Whenever possible, (and mostly), Klein leaves the Young translation
unchanged, but occasionally Klein (and Mohr) varies markedly. For
example, Nur das traute hochheilige Paar, Holder Knabe im lockigen Haar is
translated by Young: "Round yon Virgin mother and child, Holy infant so
tender and mild" whereas Klein rewords it: "Round yon godly tender
pair, Holy infant with curly hair", a translation closer to the original.
Lyrics
Young's English lyrics |
|
Stille Nacht, heilige Nacht, Alles schläft; einsam wacht Nur das traute hochheilige Paar. Holder Knabe im lockigen Haar, Schlaf in himmlischer Ruh! Schlaf in himmlischer Ruh! Stille Nacht, heilige Nacht, Hirten erst kundgemacht Durch der Engel Halleluja, Tönt es laut von fern und nah: Christ, der Retter ist da! Christ, der Retter ist da! Stille Nacht, heilige Nacht, Gottes Sohn, o wie lacht Lieb' aus deinem göttlichen Mund, Da uns schlägt die rettende Stund'. Christ, in deiner Geburt! Christ, in deiner Geburt! |
Silent night, holy night, All is calm, all is bright Round yon virgin mother and child. Holy infant, so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace. Silent night, holy night, Shepherds quake at the sight; Glories stream from heaven afar, Heavenly hosts sing Alleluia! Christ the Savior is born, Christ the Savior is born! Silent night, holy night, Son of God, love's pure light; Radiant beams from thy holy face With the dawn of redeeming grace, Jesus, Lord, at thy birth, Jesus, Lord, at thy birth. |
Musical settings
Max Reger quotes
the tune in the Christmas section of his organ pieces Sieben Stücke, Op. 145.
the tune in the Christmas section of his organ pieces Sieben Stücke, Op. 145.
Alfred Schnittke composed
an arrangement of "Stille Nacht" for violin and piano in 1978, as a
holiday greeting for violinist Gidon Kremer.
Due to its dissonant and nightmarish character, the miniature caused a scandal
in Austria.
an arrangement of "Stille Nacht" for violin and piano in 1978, as a
holiday greeting for violinist Gidon Kremer.
Due to its dissonant and nightmarish character, the miniature caused a scandal
in Austria.
In film
Several theatrical and television films
depict how the song was ostensibly written. Most of them however are based on a
spurious legend about the organ breaking down at the church in Oberndorf, which
appeared in a fictional story published in the U.S. in the 1930s.
depict how the song was ostensibly written. Most of them however are based on a
spurious legend about the organ breaking down at the church in Oberndorf, which
appeared in a fictional story published in the U.S. in the 1930s.
·
Silent Mouse (1988) television
special directed and produced by Robin Crichton and narrated by Lynn Redgrave.
Silent Mouse (1988) television
special directed and produced by Robin Crichton and narrated by Lynn Redgrave.
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