If are from the Philadelphia area, and listen to Art Music regularly or semi-regularly, you are probably aware that the classical music station has something called the “Sousalarm” every morning. (get it? Sousa, as in John Phillip, sounds like and alarm? sounds like snooze alarm? just making sure …)

I grew up with this – every day, right at 7:15, the radio would play a march of some sort. It’s the perfect way to wake up and get moving. The days are now getting longer, thankfully, but it’s still hard to get out of bed. Why not try a march to get yourself moving?

… and then I’ll stop and move on. I promise.

Welsh composer Ralph Vaughan Williams composed two major works for Christmas. Neither is neglected, though they haven’t achieved the same level of popularity as the A-list of holiday Art Music. The first is the Fantasia on Christmas Carols, which is on the B-list because the carols selected are not top-40 (perhaps 41-80?)

The second is the oratorio Hodie, which includes biblical texts along with poetry and hymns – not unlike Bach’s own Christmas Oratorio and the cantatas of Protestant Germany. Today I’ve selected the first movement of the oratorio – the movement after which the complete work gets its name. This piece absolutely tickles me, because it is the closest to Leonard Bernstein that Vaughan-Williams’ music ever gets (though it doesn’t get very close …). Vaughan-Williams composed in a very conservative style, so a movement like this with changing dance rhythms and meters is about as wild as he can get. How wild? Like wearing a tuxedo and … unbuttoning your jacket! Or maybe wearing an country suit to a city supper.

So, not very wild. But give the guy some credit.

Amid a sea of Nutcrackers, Messiahs, and TV specials, one of the best Christmas pieces gets lost in the mix. Bach‘s Christmas Oratorio is a piece which, while not ignored, does not get the recognition it deserves. It is overshadowed even by Bach’s own Advent & Christmas music (namely, Wachet Auf and the Magnificat.)

The Oratorio is actually six different cantatas strung together into one longer work. The six cantatas were not originally performed all at once; instead, they were spread apart and performed as part of six separate church services marking the important feast days of the Christmas season. Nowadays, they are almost exclusively heard as one large concert work.

Here is the opening chorus, “Jauchzet, frohlocket!” Merry Christmas!