Today, some unfamiliar Christmas carols — or perhaps very familiar ones, if you’re Polish.

In 1946, the Director of Polish Music Publishing asked composer Witold Lutosławski to make some new arrangements of old Polish carols. During World War II, Poland had been under the control of Nazi Germany, and after the war dominated by the Soviet Union. In addition to material hardships, in the cultural sphere 1946 was a difficult time for Polish artists. Overnight Communist ideology was imposed on all endeavors, including music. The Polish Music Publishing director probably thought collecting and publishing Christmas carol arrangements was a relatively safe activity.

And so, Lutosławski collected and arranged 20 old Polish Christmas carols for voice and piano, and these were premiered in Kraków soon after. In the political and cultural turmoil of the decades that followed, these arrangements were pretty much forgotten until almost 40 years later, when Lutosławski re-arranged them for solo soprano, chorus, and orchestra.

And, even if you don’t speak Polish, if you sing in a choir looking for some new Christmas music, you should know these Lutosławski carol arrangements are available in English-language versions, too.

Witold Lutosławski (1913-1994): The Angels Came to the Shepherds and Hey, We Look Forward Now (excerpts), from 20 Polish Christmas Carols; Polish Radio Chorus, Kraców; Polish National Radio Chorus and Symphony; Antoni Wit, conductor; Naxos 8.555994

On Christmas Eve in 1951, NBC television broadcast live the world premiere performance of Gian Carlo Menotti’s opera, Amahl and the Night Visitors. Now, for decades the kinescope recording of that original live transmission was thought to be lost, but miraculously, a copy resurfaced just in time for Amahl’s 50th anniversary and was shown at the Museum of Television and Radio in Beverly Hills in December of 2001.

On the broadcast, the dapper Menotti can be seen introducing the new work, confessing that NBC had commissioned the opera in 1950, but its wasn’t until the Thanksgiving of 1951 that he actually began working on it, inspired by the painting “The Adoration of the Magi,” which he saw at New York’s Metropolitan Museum of Art. In fact, Menotti was working on his new score up to the last minute, delivering it bit by bit to the performers prior to its premiere.

The opera proved a hit, and for the next five years became an annual live holiday broadcast on NBC.

NBC continued to air Amahl occasionally through the 1970s, but by that time it had become an established seasonal tradition for both professional and amateur performers coast to coast.

Gian Carlo Menotti (1911-2007): Amahl and the Night Visitors Suite; The New Zealand Symphony; Andrew Schenck, conductor; Koch 7005

The greatest clarinetist of the early 19th century was Heinrich Baermann, whose son Carl was also a fantastic performer on the basset horn, the lower-voiced member of the clarinet family. Felix Mendelssohn, in addition to being fond of their playing, was fond another Baermann Family specialty: the “Dampfnudeln” or sweet dumplings they served their friends.

In December of 1832, Mendelssohn asked if they’d whip him up a batch. The Baermanns said “Sure – if you’ll whip something up for us, namely a duet for clarinet and basset horn.”

Carl Baermann described what happened next: “Mendelssohn put a chef’s hat on my head, drew an apron around my waist and stuck a cooking spoon into the waistband. He did the same himself, except that instead of a spoon, he stuck a pen behind his ear. Then he led me into the kitchen ... He returned to his room where, as he said, he was going to stir and knead tones ... When I brought the dumpling in a covered dish to the table at the time agreed upon, Mendelssohn also had his duet in a covered dish. Father and I were delighted with the charming piece — although Mendelssohn kept saying that my creation was better than his.”

Felix Mendelssohn-Bartholdy (1809-1847): Concert Piece No. 1; Sabine and Wolfgang Meyer, clarinet and basset horn; Wurtemberg Chamber Orchestra; Jorg Faerber, conductor; EMI 47233

In the 1930s and 40s, radio’s so-called Golden Age, Deems Taylor was the dominant voice of classical radio. Taylor was both the broadcast announcer of the New York Philharmonic on the CBS Network, and the opera commentator for NBC. He was also the voiceover narrator in the famous Disney animated film Fantasia.

In his day, Taylor was also a successful composer, producing a wide variety of music ranging from orchestral works to grand operas, including two that were commissioned by and staged at the prestigious Metropolitan Opera in New York: The King’s Henchman, composed to a libretto by Edna St. Vincent Millay premiered there in 1927, and Peter Ibbetson, based on a novel by George du Maurier, in 1931. He was also a fine writer and critic on musical topics, and was the author of several books.

Taylor was born in New York City on today’s date in 1885 and died there in 1966. The year after his death, ASCAP, the American Society of Composers, Authors, and Publishers, established the annual Deems Taylor Awards to acknowledge outstanding coverage of music topics — and in the interest of full disclosure, this program, Composers Datebook was one of the recipients of that award.

Deems Taylor (1885-1966): Through the Looking Glass; Seattle Symphony; Gerard Schwarz, conductor; Delos 3099

In December of 2020, during the first, bleak winter of the worldwide Covid pandemic, The New York Times ran a story about the English Renaissance composer John Sheppard, who, as a member of the Chapel Royal, the household choir of the English monarchs, was buried in London on today’s date in 1558.

Shepard lived during the turbulent English Reformation, and as a church musician composed liturgical works in both English and Latin, probably reflecting whether the Protestant king Edward VI or the Catholic Queen Mary I was seated on the throne.

We know little about Sheppard’s life and nothing about his own religious inclinations. His most famous work, an elaborately polyphonic compline setting of a Latin text, “Media vita in morte sumus” (In the midst of life we are in death), might have been written for the funeral for a fellow composer who died from what was called the “new ague,” a pandemic that swept England in 1557, and returned the following year in a devasting second wave, killing one in ten Londoners.

One of them was John Sheppard. He died just after the strain claimed Reginald Pole, the archbishop of Canterbury, and probably Queen Mary as well.

John Sheppard (1515-1558): Media Vita; Tallis Scholars; Peter Phillips, conductor; Gimell 16

American composer John Harbison grew up listening to the Saturday afternoon broadcasts of the Metropolitan Opera, so on today’s date in 1999 it must have been gratifying to celebrate his 61st birthday taking curtain calls there when his opera The Great Gatsby premiered at the Met.

F. Scott Fitzgerald’s novel, a devastating evocation of America’s Roaring 20s, is a regular contender for the title of the “Great American Novel,” but Harbison says when he told his mother he was writing an opera based on it she wasn’t very enthusiastic, arguing that the novel’s characters were an unsympathetic bunch. Gatsby, the novel’s anti-hero is a both a fraud and a crook. Daisy, Gatsby’s lost love and the object of his obsessive desire, is selfish, spoiled and shallow.

But Harbison saw it differently: “Yearning and despair are very big operatic themes,” he said. “As for the character of Gatsby, he takes a lot of risks and is steadfast and loyal to some vision that is not realistically possible. The opera provides many opportunities to look at to what degree he's an impostor, and to what degree his story is real, which is a big American theme in general.”

John Harbison (b. 1938): Remembering Gatsby; Minnesota Orchestra; Edo de Waart, conductor; Vol. 11, from Minnesota Orchestra at 100 special edition boxed CD set

On today’s date in 1930, Igor Stravinsky’s Symphony of Psalms received its American premiere by the Boston Symphony. Russian-born conductor and new music impresario Serge Koussevitzky had commissioned the work to celebrate the Boston Symphony’s 50th anniversary.

Stravinsky said later that for some time he had been carrying around the idea for a choral symphony based on Psalm texts. Since Koussevitzky’s commission was for “anything Stravinsky had on his mind” that is exactly what emerged.

Even though Stravinsky is on record stating that “music is, by its very nature, essentially powerless to express anything at all,” in Symphony of Psalms, Stravinsky gave powerful expression to his own deep religious convictions. Koussevitzky’s performance was supposed to be the world premiere of the new work, but the conductor took ill, forcing the world premiere in Boston — originally scheduled for December 12 — to be postponed until the 19. By then, a European performance of Stravinsky’s new score conducted by Ernest Ansermet had already occurred.

No matter. Koussevitzky had the satisfaction of knowing that he had commissioned a masterpiece. Stravinsky’s Symphony of Psalms has come to be regarded as one of the great sacred works of the 20th century.

Igor Stravinsky (1882-1971): Symphony of Psalms; The Monteverdi Choir; London Symphony; John Eliot Gardiner, conductor; DG 436 789

Any movie buff knows composer John Williams is the usual choice for director Steven Spielberg. But for The Color Purple, which was released on today’s date in 1985, Spielberg turned to jazz great and master orchestrator Quincy Jones.

The Color Purple was based on a Pulitzer Prize-winning novel by Alice Walker that tells the story of Celie Harris, graphically depicting the trauma of a young African-American woman during the early 20th century. Spielberg cast Whoopi Goldberg — better-known then for stand-up comedy — in the intensely dramatic role of Celie.

For Spielberg, it was a movie without dazzling special effects or space aliens; for Jones, who had just finished producing Michael Jackson’s Thriller, working on The Color Purple was, as he put it, “An amazing experience … the biggest of my life.”

Whoopi Goldberg was nominated for an Academy Award for Best Actress — Quincy Jones, for both Best Original Score and Best Original Song. Neither Goldberg nor Jones won an Oscar, but Jones says he felt honored to participate in a project that, despite the many warnings of nay-sayers, he had absolute faith in, inspired by the passion of all those involved in its making.

Quincy Jones (1933-2024): The Color Purple: Main Theme; Itzhak Perlman, violin; Pittsburgh Symphony; John Williams, conductor; Sony 63005