CHARLOTTE — Charlotte-based TV anchor Sarah French is used to telling stories through her role as a reporter and anchor for WCNC-TV. Recently, however, she turned her storytelling skills to the printed page to help children get back to the Christian origins of a now secularized Christmas holiday.
“I was looking for a book for my kids that told the story of Jesus’ birth but also explained the origin of Santa Claus in the very real person who was St. Nicholas, and I couldn’t find one,” French said. “So, I decided to write my own.”
The result is her new, colorful children’s book “A Beautiful Story: Jesus and St. Nick,” which tells the narratives of both Jesus’ birth and the life of St. Nicholas. Born in the third century to a wealthy family, the early Christian bishop became known for his tradition of distributing his family’s wealth through secret gift-giving to the needy, which eventually evolved into the modern secular figure of Santa Claus, or, more affectionately, “St. Nick.”
“I have two kids and I love history, so I enjoy teaching them about why we celebrate certain holidays and traditions,” French said.
“I was amazed people didn’t realize that St. Nicholas was a real person. I wanted my kids and others to know that the man behind the tradition of Santa Claus was a real follower of Christ.”
She first wrote up the story about two years ago, using a scrapbooking website to create the layout she envisioned for the book.
French eventually got connected with illustrator Robert Sauber, who worked with her to bring her initial visions to life on the printed page.
Released Sept. 12, the book also explores the origins of common holiday traditions such as hanging up stockings and the Dec. 6 feast day of St. Nicholas, which includes the custom of children leaving their shoes outside their doors so the visiting saint can leave gifts in them.
“When I first held the book, I remember thinking that I hope it’s a blessing for the people who read it,” French said. “The heart of the story is both Jesus and St. Nicholas, a man who thought about other people and gave to other people. My goal is to have my kids show Christ’s love to others – that’s our job as parents – and I hope this book can help teach other kids not only about our traditions, but also a lesson about sharing and giving.”
French’s late grandmother, who passed away in March, was one of her main inspirations for the book because she was a strong woman of faith who loved Christmas, often keeping her decorations up all year long, French said.
The book is currently available online through Amazon and Barnes & Noble and will soon be on sale at select local bookstores.
— Christina L. Knauss
Each summer, orchestras and bands across the United States provide outdoor concerts that are quite popular amid the festivities of Independence Day. Curiously, one of the works featured frequently is the “1812 Overture” by Pyotr Il’yich Tchaikovsky. The bizarre tradition of including this quintessential Russian work on American patriotic concerts stems from the early 1970s in Boston.
The overture’s scoring of church bells and cannon fire were believed to complement the subsequent fireworks and increase audience attendance. It has no connection to America’s War of 1812, but rather commemorates Napoleon’s retreat from Moscow.
From a religious perspective, the overture quotes an Orthodox chant. Tchaikovsky, though he had struggles with religion, penned numerous, though lesser known, sacred works, such as the “Liturgy of St. John Chrysostom” (1878) and “Hymn in Honor of Saints Cyril and Methodius” (1885).
In 1880, Tchaikovsky received a commission from Nicolay Rubinstein, director of the Moscow Conservatory. The work was to be connected to the consecration of the Cathedral of Christ the Savior, which was erected to honor the Russian victory over the French army – although it was more of a victory for Mother Nature, as the harsh Moscow winters were the primary cause of the French downfall.
The overture begins with soli for the violas and celli quoting the Orthodox chant “Save us, O Lord” – the low registers coupled with a slow tempo especially enhance the gravity of the opening. As the piece moves along, it assumes a more militant sound through the scoring for tambour militaire (snare drum) before “La
Marseillaise,” the French national anthem, appears to represent the French invasion. At the risk of being churlish, it’s worth noting that the anthem had been banned by Napoleon and reinstated only in 1815 and, thus, Tchaikovsky’s use of the tune is not historically accurate. A similar factual inconvenience arises at the end of the work, where the Russian national anthem “God Save the Tsar” is heard amid the blasting cannons. This anthem was composed in 1833 – two decades after the events of 1812.
Despite the facts that the “1812 Overture” has nothing to do with the U.S. and that the national anthems incorporated were not in use (or in existence) at the time the work is meant to be set, it remains one of Tchaikovsky’s most beloved works. Part of the appeal is the use of cannons, certainly a rarity in the symphonic … canon.
Tchaikovsky did not think much of this work, and most music critics agree with his assessment. However, he did conduct it himself several times.
His most beloved compositions, “Nutcracker” and the “1812 Overture,” are not actually representative of his compositional style, which is often quite serious and brimming with great emotion. A more accurate reflection of his symphonic style is his final symphony, nicknamed the “Pathetique,” which premiered only days before the composer fell ill. He eventually died under circumstances that remain unclear and are likely never to be known.
— Christina Reitz, Ph.D., Special to the Catholic News Herald
Listen online
Listen to a performance of the “1812 Overture”