O Come, O Come Emmanuel—Murfin Winter Holidays Music Festival 2025-26

 

                                                                        O Come O Come Emmanuel by Irish New Age diva Enya.

Today is the Fourth Sunday of Advent and time to share the most famous of all Advent hymns, O Come, O Come Emmanuel which also has some of the oldest roots.  As a boy it always perplexed me—who the hell was this Emmanuel, what did he have to do with Christmas, and how did Israel become involved?

It turns out that Emmanuel—from Hebrew meaning “God is With Us” is mentioned almost in passing in the Old Testament Book of Book of Isaiah connected to a war between the Kingdom of Judea and an Assyrian Empire with its vassal the Kingdom of Israel in 735-734 BCE.  One verse said, “The Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”  The name, is mentioned a second time that the lands of the “two kings you dread” will be laid waste before the child is old enough to “reject the wrong and choose the right.”  Neither Isaiah nor Jewish scholars connected these prophecies to those predicting the coming of a Messiah. 

But early Christians did, or at least the unknown author the Gospel of Matthew did when an angel appeared to Joseph in a dream.   Joseph was about to end his betrothal to teenage Mary because she was carrying the child of another and told him the child’s divine origin was the fulfillment of Scripture.  

Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.

So, by these slender threads hung the notion that Emmanuel was another name for Jesus who was also the Messiah, Savior of Humankind, and Son of God.

The text of the song we know was originally written in Latin and paraphrased O antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The hymn has its origins over 1,200 years ago in monastic life in the 8th or 9th Century. Seven days before Christmas Eve monks would sing the O antiphons in anticipation of Christmas Eve when the eighth antiphon, O Virgo virginum (O Virgin of Virgins) would be sung before and after Mary’s Canticle, the Magnificat (Luke 1:46b-55). 

The words and the music of O come, O come, Emmanuel developed separately. A Latin text was first documented in Germany in 1710, but the tune most familiar in the English-speaking world had its origins in 15th Century France.  The 1851 translation by John Mason Neale from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist.  Anywhere from four to eight verses are attached to the melody. The hymn text was embraced by a Romantic interest in poetic beauty, Medieval exoticism, and a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement of the Church of England.  Despite this pedigree a seven verse version was not included in the official hymnal of the Episcopal Church in the United States.  Catholics, Lutherans, and many other Protestant denominations include versions and variances in their hymnals.

The hymn is now a choral set piece at many Advent services and Christmas concerts.  But today we are featuring a lovely solo version by Irish New Age singer Enya.

O Come, O Come Emmanuel—Murfin Winter Holidays Music Festival 2024-‘25

                                                            O Come O Come Emmanuel by Irish New Age diva Enya.

Today is the Fourth Sunday of Advent and time to share the most famous of all Advent hymns, O Come, O Come Emmanuel which also has some of the oldest roots.  As a boy it always perplexed me—who the hell was this Emmanuel, what did he have to do with Christmas, and how did Israel become involved?

It turns out that Emmanuel—from Hebrew meaning “God is With Us” is mentioned almost in passing in the Old Testament Book of Book of Isaiah connected to a war between the Kingdom of Judea and an Assyrian Empire with its vassal the Kingdom of Israel in 735-734 BCE.  One verse said, “The Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”  The name, is mentioned a second time that the lands of the “two kings you dread” will be laid waste before the child is old enough to “reject the wrong and choose the right.”  Neither Isaiah nor Jewish scholars connected these prophecies to those predicting the coming of a Messiah. 

But early Christians did, or at least the unknown author the Gospel of Matthew did when an angel appeared to Joseph in a dream.   Joseph was about to end his betrothal to teenage Mary because she was carrying the child of another and told him the child’s divine origin was the fulfillment of Scripture.  

Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.

So, by these slender threads hung the notion that Emmanuel was another name for Jesus who was also the Messiah, Savior of Humankind, and Son of God.

 

                                                        An Orthodox icon of Emmanuel from 1688.

The text of the song we know was originally written in Latin and paraphrased O antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The hymn has its origins over 1,200 years ago in monastic life in the 8th or 9th Century. Seven days before Christmas Eve monks would sing the O antiphons in anticipation of Christmas Eve when the eighth antiphon, O Virgo virginum (O Virgin of Virgins) would be sung before and after Mary’s Canticle, the Magnificat (Luke 1:46b-55). 

John Mason Neal, the English translator for the most commonly used version of O Come, O Come Emmanuel.

The words and the music of O come, O come, Emmanuel developed separately. A Latin text was first documented in Germany in 1710, but the tune most familiar in the English-speaking world had its origins in 15th Century France.  The 1851 translation by John Mason Neale from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist.  Anywhere from four to eight verses are attached to the melody. The hymn text was embraced both a Romantic interest in poetic beauty, Medieval exoticism, and a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement of the Church of England.  Despite this pedigree a seven verse version was not included in the official hymnal of the Episcopal Church in the United States.  Catholics, Lutherans, and many other Protestant denominations include versions and variants in their hymnals.

Enya--Eithne Pádraigín Ní Bhraonáin Anglicized as Enya Patricia Brennan

The hymn is now a choral set piece at many Advent services and Christmas concerts.  But today we are featuring a lovely solo version by Irish New Age singer Enya.

 

Come O Come Emmanuel—Murfin Winter Holidays Music Festival 2023-‘24

 

                                                        O Come, O Come Emmanuel sung by Enya with Latin lyrics.

Today is the Third Sunday of Advent and time to share the most famous of all Advent hymns, O Come, O Come Emmanuel which also has some of the oldest roots.  As a boy it always perplexed me—who the hell was this Emmanuel, what did he have to do with Christmas, and how did Israel become involved?

It turns out that Emmanuel—from Hebrew meaning “God is With Us” is mentioned almost in passing in the Old Testament book of Book of Isaiah in connection with prophecies connected to a war between the Kingdom of Judea and an Assyrian Empire with its vassal the Kingdom of Israel in 735-734 BCE.  One verse said, “The Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”  The name, is mentioned a second time that the lands of the “two kings you dread” will be laid waste before the child is old enough to “reject the wrong and choose the right.”  Neither Isaiah nor Jewish scholars connected these prophecies to those predicting the coming of a Messiah.

But early Christians did, at least the unknown author the Gospel of Matthew did when and angel appeared to Joseph in a dream who was about to end his engagement to teenage Mary because she was carrying the child of another and told him the child’s divine origin was the fulfillment of Scripture.  “Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.”

So, by these slender threads hung the notion that Emmanuel was another name for Jesus who was also the Messiah, Savior of Humankind, and Son of God.

 

                                  An Orthodox icon of Emmanuel from 1688.

The text of the song we know was originally written in Latin and paraphrased O antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The hymn has its origins over 1,200 years ago in monastic life in the 8th or 9th Century. Seven days before Christmas Eve monks would sing the O antiphons in anticipation of Christmas Eve when the eighth antiphon, O Virgo virginum (O Virgin of Virgins) would be sung before and after Mary’s canticle, the Magnificat (Luke 1:46b-55). 

                        John Mason Neal, the English translator for the most commonly used version of O Come, O Come Emmanuel.

The words and the music of O come, O come, Emmanuel developed separately. A Latin text was first documented in Germany in 1710, but the tune most familiar in the English-speaking world had its origins in 15th Century France.  The 1851 translation by John Mason Neale from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist.  Anywhere from four to eight verses are attached to the melody. The hymn text was embraced both a Romantic interest in poetic beauty and medieval exoticism and a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement in the Church of England.  Despite this pedigree a seven verse version was not included in the official hymnal of the Episcopal Church in the United States.  Catholics, Lutherans, and many other Protestant denominations include versions and variants in their hymnals.

Enya's album And Winteer Came includes O Come, O Come Emmanuel.

The hymn is now a choral set piece at many Advent services and Christmas concerts.  But today we are featuring a lovely solo version by Irish New Age singer Enya.

O Come O Come Emmanuel—The Murfin Winter Holidays Music Festival 2022-‘23

                                                 O Come, O Come Emmanuel sung by Enya with Latin lyrics.

Today is the Fourth and Final Sunday of Advent and time to share the most famous of all Advent hymns, O Come, O Come Emmanuel which also has some of the oldest roots.  As a boy it always perplexed me—who the hell was this Emmanuel, what did he have to do with Christmas, and how did Israel become involved?

It turns out that Emmanuel—from Hebrew meaning “God is With Us” is mentioned almost in passing in the Old Testament book of Book of Isaiah in connection with prophecies about a war between the Kingdom of Judea and an Assyrian Empire with it’s vasal the Kingdom of Israel in 735-734 BCE.  One verse said, “The Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”  The name, is mentioned a second time that the lands of the “two kings you dread” will be laid waste before the child is old enough to “reject the wrong and choose the right.”  Neither Isaiah nor Jewish scholars connected these prophecies to those predicting the coming of a Messiah.

But early Christians did, at least the unknown author the Gospel of Matthew did when and angel appeared to Joseph in a dream who was about to end his engagement to teenage Mary because she was carrying the child of another and told him the child’s divine origin was the fulfillment of Scripture.  “Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.”

So, by these slender threads hung the notion that Emmanuel was another name for Jesus who was also the Messiah, Savior of Humankind, and Son of God.

                                  An Orthodox icon of Emmanuel from 1688.

The text of the song we know was originally written in Latin, a paraphrase of the O antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The hymn has its origins over 1,200 years ago in monastic life in the 8th or 9th Century. Seven days before Christmas Eve monks would sing the O antiphons in anticipation of Christmas Eve when the eighth antiphon, O Virgo virginum (O Virgin of Virgins) would be sung before and after Mary’s canticle, the Magnificat (Luke 1:46b-55).

                                     John Mason Neal, the English translator for the most commonly used version of O Come, O Come Emmanuel.

The words and the music of O come, O come, Emmanuel developed separately. A Latin text was first documented in Germany in 1710, but the tune most familiar in the English-speaking world had its origins in 15th Century France.  The 1851 translation by John Mason Neale from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist.  Anywhere from four to eight verses are attached to the melody. The hymn text was embraced both a Romantic interest in poetic beauty and medieval exoticism and a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement in the Church of England.  Despite this pedigree a seven verse version was not included in the official hymnal of the Episcopal Church in the United States.  Catholics, Lutherans, and many other Protestant denominations include versions and variants in their hymnals.

        Enya's album And Winteer Came includes O Come, O Come Emmanuel.

The hymn is now a choral set piece at many Advent services and Christmas concerts.  But today we are featuring a lovely solo version by Irish New Age singer Enya.

 

O Come O Come Emmanuel—Murfin Winter Holidays Music Festival

                                            O Come, O Come Emmanuel sung by Enya with Latin lyrics.

Today is the Fourth and Final Sunday of Advent and time to share the most famous of all Advent hymns, O Come, O Come Emmanuel which also has some of the oldest roots.  As a boy it always perplexed me—who the hell was this Emmanuel, what did he have to do with Christmas, and how did Israel become involved?

It turns out that Emmanuel—from Hebrew meaning “God is With Us” is mentioned almost in passing in the Old Testament book of Book of Isaiah in connection with prophecies connected to a war between the Kingdom of Judea and an Assyrian Empire with it’s vessel the Kingdom of Israel in 735-734 BCE.  One verse said, “The Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”  The name, is mentioned a second time that the lands of the “two kings you dread” will be laid waste before the child is old enough to “reject the wrong and choose the right.”  Neither Isaiah nor Jewish scholars connected these prophecies to those predicting the coming of a Messiah.

But early Christians did, at least the unknown author the Gospel of Matthew did when an angel appeared to Joseph in a dream who was about to end his engagement to teenage Mary because she was carrying the child of another and told him the child’s divine origin was the fulfillment of Scripture.  “Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.”

So, by these slender threads hung the notion that Emmanuel was another name for Jesus who was also the Messiah, Savior of Humankind, and Son of God.

                        An Orthodox icon of Emmanuel from 1688.

The text of the song we know was originally written in Latin, paraphrase of the O antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The hymn has its origins over 1,200 years ago in monastic life in the 8th or 9th Century. Seven days before Christmas Eve monks would sing the O antiphons in anticipation of Christmas Eve when the eighth antiphon, O Virgo virginum (O Virgin of Virgins) would be sung before and after Mary’s canticle, the Magnificat (Luke 1:46b-55).

                           John Mason Neal, the English translator for the most commonly used version of O Come, O Come Emmanuel.

The words and the music of O come, O come, Emmanuel developed separately. A Latin text was first documented in Germany in 1710, but the tune most familiar in the English-speaking world had its origins in 15th Century France.  The 1851 translation by John Mason Neale from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist.  Anywhere from four to eight verses are attached to the melody. The hymn text was embraced both a Romantic interest in poetic beauty and medieval exoticism and a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement in the Church of England.  Despite this pedigree a seven verse version was not included in the official hymnal of the Episcopal Church in the United States.  Catholics, Lutherans, and many other Protestant denominations include versions and variants in their hymnals.

Enya's album And Winteer Came includes O Come, O Come Emmanuel.

The hymn is now a choral set piece at many Advent services and Christmas concerts.  But today we are featuring a lovely solo version by Irish New Age singer Enya.

 

How Can I Keep from Singing?—Murfin Home Confinement Music Festival 2020

How Can I Keep from Singing sung by Enya.

It’s Sunday—Palm Sunday no less—and the perfect day for one of my favorite, uplifting, and inspiring hymns—How Can I Keep from Singing? also known as My Life Flows On in Endless Song. The simple but lovely song is often mistaken for an uncredited, usually Quaker, traditional hymn.  The original lyrics were published  in The New York Observer under the Title Always Rejoicing  and attributed to a Pauline T. Baptist minister Robert Wadsworth Lowry included in the 1869 song book, Bright Jewels for the Sunday School and claimed authorship of the music.  

American Baptist minister Robert Wadsworth Lowry wrote the music to How Can I Keep From Singing? and included it in an 1868 song book.

The song was largely forgotten through much of the 20th Century and was included only in the 1941 edition of The Church Hymnal of the Seventh-day Adventist Church, and titled My Life Flows On.

Around  1950 Doris Plenn reported that she had learned the original hymn from her grandmother, who mistakenly believed that it dated from the early days of the Quaker movement. Plenn wrote a new version that eliminated some of the explicitly Christian references in the original and added this new verse:

            When tyrants tremble, sick with fear,

And hear their death-knell ringing,

When friends rejoice both far and near,

How can I keep from singing?

In prison cell and dungeon vile,

Our thoughts to them go winging;

When friends by shame are undefiled,

How can I keep from singing?

Pete Seeger popularized Doris Penn's pacifist revision of How Can I Keep From Singing?

These lyrics were popularized by Pete Seeger during the folk revival of the late 1950’s and early ’60.  In this form it became popular in mainstream and liberal Protestant congregations.  In the late 1970s, How Can I Keep From Singing was recorded closely following the original lyric by Catholic folk musician Ed Gutfreund on the album From An Indirect Love  and then was published in the widely used Catholic Hymnal Glory and Praise.  It was especially popular in guitar masses.

The Plenn/Seeger version has been particularly embrace by the Society of Friends and other Peace churches and by the Unitarian Universalist Association (UUA) and was included in the 1993 hymnal Singing the Living Tradition.

Irish New Age singer Enya brought  How Can I Keep From Singing? to new audiences.

The song received new prominence in 1991 when the ethereal Irish singer Enya, a New Age  music favorite released it her album Shepherd Moons following Seeger’s version including  changing the original lines “What tho’ my joys and comforts die? The Lord my Saviour liveth” to “What tho’ the tempest ‘round me roars, I hear the truth it liveth.”  Her video of the song included clips from then contemporary events like the Gulf War and the fall of the Soviet Union.

It was also performed by Celtic Woman in their Destiny show live from the Round Room at the Mansion House in Dublin.