Carol of the Bells Song Lyrics 2024

 

Carol of the Bells Song Lyrics Song Info

Hark! how the bells, sweet silver bells All seem to say, throw cares away Christmas is here, bringing good cheer To young and old, meek and the bold Ding, dong, ding, dong, that is their song With joyful ring, all caroling One seems to hear words of good cheer From everywhere, filling the air

Carol of the Bells Song Lyrics Song Credits

Carol of the Bells Song Lyrics :

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About Mykola Leontovych:

Ukrainian composer, conductor, ethnomusicologist, and educator Mykola Dmytrovych Leontovych (Ukrainian: Микoла Дмитрович Леонтович, pronounced [mɪˈkɔlɐ dmɪˈtrɔʋetСʃ ɫeɔnˈtɔʋetСʃ] ⓘ; 13 December [O.S. 1 December] 1877–23 January 1921). Mykola Lysenko, a Ukrainian composer, and the Ukrainian National Music School served as inspiration for his compositions. Leontovych’s specialty was a cappella choral music, which included intricate arrangements of folk songs as well as original compositions and church music.

Leontovych grew up in Monastyrok, which is today in Vinnytsia Oblast, Western Ukraine, in the Russian Empire’s Podolia province. The Kamianets-Podilskyi Theological Seminary is where he received his priestly education. He relocated to Kyiv after the 1917 revolution brought independence to the Ukrainian State, where he worked at the Mykola Lysenko Institute of Music and Drama and the Kyiv Conservatory.

He wrote “Shchedryk” in 1914, which was first performed in 1916 and is now known as “Carol of the Bells” in the English-speaking world. In the Eastern Orthodox Ukrainian Church, he is revered as a martyr for his liturgy, which was the first written in the vernacular—more precisely, in the contemporary Ukrainian language—and for having been killed by a Soviet agent in 1921.

Leontovych’s arrangements and compositions gained popularity among musicians throughout the Russian Empire’s Ukrainian territory during his lifetime. He became known as “the Ukrainian Bach” after his compositions were performed in North America and Western Europe. Leontovych’s music, with the exception of “Shchedryk,” is mostly played in Ukraine and by Ukrainians living abroad.

Life story Early years

On December 13, Mykola Leontovych was born [O.S. 1 December] 1877 at Monastyrok, in the Ukrainian region of Podolia (then a part of the Russian Empire), close to the settlement of Selevyntsi [uk].His five surviving children were Mykola, Oleksandr (born in 1879), Maria (1885), Victoria (1886), and Olena . He was the oldest of these. Village priests were his father, grandfather, and great-grandfather. His father, Dmytro Feofanovych Leontovych, was a singer, as was his mother, Mariya Yosypivna Leontovych.

Mykola received his initial musical instruction from Leontovych’s father, who was an accomplished cello, double bass, harmonium, violin, and guitar player and who also served as the director of a school chorus. All of his siblings went on to pursue careers in music: Olena studied fortepiano at the Kyiv Conservatory, Mariya studied singing in Odesa, and Oleksandr was a professional vocalist Victoriya was able to play a variety of instruments.

Dmytro Leontovych was transported to the village of Shershni [uk] in 1879 to work as a priest. Mykola was accepted to a school in Nemyriv in 1887. A year later, his father moved him to the Sharhorod Spiritual Beginners School, where students were fully supported financially, because to financial difficulties. Leontovych became an expert singer at the institution and could recite challenging portions from religious choral texts without restriction.

Seminary of Theology

In 1865, the Podolia Theological Seminary [UK]
Both his father and grandfather had studied at the Podolia Theological Seminary [uk] in Kamianets-Podilskyi, where Leontovych started his studies in 1892. Oleksandr, his younger brother, also attended and graduated after his older brother.

During his time at the seminary, Leontovych kept to improve his violin playing abilities and discover how to play other instruments like the harmonium and flute.[7] During the third year of his studies at the seminary, Leontovych joined the orchestra after having previously been a member of the choir. Oy z-za hory kamʺyanoyi (“Oh, from the stony mountain”), Oy pidu ya v lis po drova (“Oh, I’ll go to a forest for firewood”), and Mala maty odnu dochku (“A mother has one daughter”) are just a few of the choral arrangements he began writing while studying music theory under Y. Bogdanov.

Leontovych led the choir and orchestra at the seminary. He went to the opera in Kamianets-Podilskyi without his teachers knowing. A concert on May 26, 1899, was one of Leontovych’s final performances at the seminary. “To the future glorious composer” is what his pals wrote on a picture. He chose to become a school teacher rather than a priest after graduating in 1899, defying the family tradition.

Early marriage and musical career

Beginning in September 1899, Leontovych’s first teaching position was at a secondary school in the village of Chukiv [uk] (modern-day Vinnytsia Oblast), where he taught singing and math. “I cannot complain that the students and villagers treated me unfavorably; due to my inexperience and youth, I was not a good school teacher,” he wrote later, reflecting on his time at the school.

Undoubtedly, my musical instruction somewhat made up for my blunders and errors in general school activities. After that, he became a professor. He published a book called “How I Organized an Orchestra in a Village School” (Yak ya orhanizuvav orkestr u silʹsʹkiy shkoli) at the Kyiv Conservatory about his early experiences.

An image from around 1905 showing Leontovych with his wife Claudia and their daughter Halyna
Following arguments with the school’s officials, Leontovych was hired as a teacher at the Theological College in Tyvriv on March 4, 1901, where he taught calligraphy and church music. Along with organizing the college’s amateur orchestra, he worked with the choir and composed original music in addition to arranging folk tunes among the choristers’ regular religious selections. Zore moya vechirnyaya (Oh My Evening Star), a poem by Taras Shevchenko, served as the inspiration for one such piece.

He planned Some of his compositions, along with others by Russian and European composers, were performed by the school’s choir and small orchestra. He started compiling Polissia songs when he was employed at the school. The Second Collection of Songs from Polissia was published in Kyiv in 1903, although the first set was never released. Leontovych became unhappy with the publishing and repurchased all 300 copies, jokingly remarking, “Let me go to the Dnipro.”

On March 22, 1902, Leontovych married Claudia Feropontovna Zholtkevych, a Volhynian girl he had met. In 1903, Halyna, the young couple’s first daughter, was born.[14] Yevheniya, their second daughter, was born later.

Leontovych accepted an invitation to relocate to Vinnytsia to teach after experiencing financial difficulties at the College of Church-Educators.[When?] At the college, he organized a concert band and chorus that played both secular and religious music.

Leontovych studied music theory, harmony, polyphony, and choral performance during lectures at the St. Petersburg Court Capella in 1903–04. He obtained his accreditation as a church chorus choirmaster on April 22, 1904. He started teaching singing in Grishino (now Pokrovsk, Ukraine), a railway town in the Donetsk region, in the fall of 1904.

In order to perform arrangements of Ukrainian, Jewish, Armenian, Russian, and Polish folk songs, Leontovych organized a choir of workers. He prepared a repertoire of pieces by Ukrainian composers Mykola Lysenko and Petro Nishchynsky and assembled a small orchestra to accompany the soloists. Leontovych’s His relationship with the authorities deteriorated as a result of his activities, and he was compelled to return to Tulchyn in the spring of 1908.

The Tulchyn phase

Tulchyn, from a 1908 image
The start of Leontovych’s flourishing writing career coincided with his relocation to Tulchyn. There, he instructed the daughters of local priests in vocal and instrumental music at the Tulchyn Eparchy Women’s College. The composer Kyrylo Stetsenko became a lifelong friend of his and later influenced his technique. Regarding his friend’s compositions, Stetsenko said, “Leontovych is a well-known music scholar from Podolia. He recorded a lot of folk songs, which have been arranged for a mixed choir. The author’s proficiency in both has been demonstrated by these harmonisations.

Theoretical study and choir singing. In addition to music by Stetsenko, Lysenko, and Nishchynsky, Leontovych’s choir played pieces by Russian composers Mikhail Glinka, Alexey Verstovsky, and Pyotr Ilyich Tchaikovsky. Beginning in 1909, Leontovych received instruction from Boleslav Yavorsky, a musicologist he would see in Moscow and Kyiv over the course of the following 12 years. In addition to becoming active in Tulchyn’s theatrical music scene, he oversaw the local chapter of Prosvita, a Ukrainian organization devoted to promoting and conserving its culture and education.

Piyutʹ pivni (The Roosters are Singing) is one of the Ukrainian traditional tunes that Leontovych composed choral arrangements of . Stetsenko persuaded Leontovych to let the Kyiv University student chorus, led by Alexander Koshetz, to sing his compositions in 1914. December The performance of Leontovych’s arrangement of “Shchedryk” in 1916 won him considerable popularity among Kyiv’s music enthusiasts.

About Grant Geissman :

American jazz guitarist and Emmy nominee Grant Geissman was born on April 13, 1953. Since 1976, he has recorded a great deal for a number of labels and contributed guitar to the theme music for TV shows including Monk.

Career
Geissman was raised in San Jose after being born in Berkeley, California. Geissman started taking guitar lessons with his private instructor, Mrs. Allen, when he was eleven years old. He started taking guitar lessons from local musicians including Terry Saunders, Don Cirallo, Bud Dimock, and Geoff Levin (of the pop group People!) after completing his private instruction.

He started playing in rock bands on the weekends, as well as with small jazz groups and large ensembles, when these instructors encouraged him to learn jazz standards and improvise. As When he was a student in high school, he started taking lessons with avant-garde guitarist Jerry Hahn, who exposed him to the works of Ornette Coleman, John Coltrane, Miles Davis, and Charlie Parker.

Geissman played in the Daddio Band (of older professionals) and De Anza’s jazz band while attending De Anza College after graduating from Prospect High School. Herb Patnoe, director of Stan Kenton’s Jazz Clinics and a jazz educator, led both. Patnoe suggested Geissman to teach at Kenton’s summer clinics in Sacramento and southern California, as the band at the time lacked a guitarist. Geissman initially met (and performed with) pianist Dan Haerle and drummer Peter Erskine during his many summers of teaching at these clinics.

Geissman moved in 1973 He traveled to Los Angeles and spent a semester at Cal State Fullerton, where he played in the band under the direction of Tom Ranier, a pianist and clarinetist. In order to be nearer the Hollywood studio scene, Geissman transferred to Cal State Northridge in 1974. There, he joined Joel Leach’s jazz educator’s “A” band.

He started performing in Louie Bellson’s Big Band and Gerald Wilson’s Big Band while he was a student at Northridge. He also recorded multiple CDs with Bellson. Geissman wrote an original piece for Louie Bellson’s Live at the Concord Summer Festival called “Starship Concord.” He recorded Tony Rizzi’s Five Guitars Play Charlie Christian (1976), which included Tom Ranier and Pete Christlieb, and started performing in local jazz venues with Rizzi’s guitar band.

Geissman’s debut performance alongside Chuck Mangione, a flugelhornist held on November 9, 1976, at the Santa Monica Civic Auditorium. Mangione requested Geissman to join the band permanently shortly after they completed a brief tour of the Pacific Northwest. James Bradley Jr. on drums, Chris Vadala on woodwinds, Charles Meeks on bass, and Geissman on guitar made up Mangione’s ensemble.

Geissman was included on the two million-selling album Feels So Good (1977). The tune “Feels So Good” with Geissman’s guitar solo was a global hit on the radio. Current Biography named it the most famous song since The Beatles’ “Michelle” in 1980.

Geissman’s debut solo album, Good Stuff (Concord Jazz), was released in 1978 . It included piano player Tom Ranier, fellow Northridge alumnus Gordon Goodwin on sax, Steve Shaeffer on drums, and Bob Magnussen on bass guitar. In order to focus on his own records, session work, and composition, Grant quit Mangione’s band in 1981. Many of his songs made it to the top ten, and two of his albums (Time Will Tell and Flying Colors) peaked at number one in the Gavin and Radio and Records Contemporary Jazz airplay charts.

Gordon Goodwin’s Big Phat Band has included Geissman on a regular basis. The albums of Peter Allen, Sheila E., Miki Howard, Quincy Jones, Rodney Friend, Diane Schuur, Van Dyke Parks, and Luis Miguel all use him as a session musician. His recordings include a guitar solo as a stand-alone tune and collaborations with Keiko Matsui, 3rd Force, David Benoit, Cheryl Bentyne, and Lorraine Feather.

Not at all. Say That! is a nice comeback for a guitarist who has always deserved more street cred than he has earned because of Geissman’s obvious roots in the jazz mainstream and his understated technique, which shows more depth. The Tonight Show, Dinah Shore, Merv Griffin, Phil Donahue, The Midnight Special, Don Kirshner’s Rock Concert, and Dick Clark’s New Year’s Rockin’ Eve were just a few of the television programs on which Geissman and Mangione made appearances. Children of Sanchez (1978), Live at the Hollywood Bowl (1979), and Fun and Games (1980) are among Geissman’s previous recordings with Mangione.

Numerous television shows, such as Dawson’s Creek, Family Affair, Boy Meets World, Touched by an Angel, and Lizzie McGuire, have included Geissman’s playing. His Djangoesque acoustic guitar performance can be heard on the opening theme for Tony Shalhoub’s television show Monk. He was nominated for an Emmy in 2001 for co-writing the song “No Puedo Olvidar” for the afternoon drama Passions.

In 2004, he was nominated for another Emmy for the song “Momma, Gotta Let Her Go” from the same series. He produced Van Dyke Parks’ songs for HBO’s Harold and the Purple Crayon in 2003, earning him an Annie Award nomination. The Ponder Heart (2001), Call Me Claus (2001), Monday Night Mayhem (2002), Die, Mommie, Die! (2003), and The Mojo Cafe (2004)

are among the other motion picture and television film soundtracks he has composed. Geissman and Dennis C. Brown worked together to create the theme music for the popular sitcom Two and a Half Men on CBS-TV. Geissman co-wrote the show’s theme, which was nominated for a 2004 Emmy Award.

Books In addition to his musical career, Geissman has authored books about EC Comics and Mad magazine, such as Tales of Terror and Collectibly Mad (Kitchen Sink Press, 1995). Foul Play! The Art and Artists of the Notorious 1950s E.C. Comics! (HarperDesign, 2005); and The EC Comics Companion, co-authored with Fred von Bernewitz (Fantagraphics, 2000).

He also features in Chip Selby’s documentary, Tales from the Crypt: From Comic volumes to Television (2004), and has annotated and/or edited 10 more volumes about Mad. In order to carry on the hardcover EC Archives series that Gemstone had started, Geissman and Russ Cochran founded GC Press in 2011.

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