The Holy City (song)

The Holy City is a semi-religious Victorian ballad dating from 1892, with music by Michael Maybrick writing under the alias Stephen Adams, with lyrics by Frederic Weatherly.

Context

As a semi-religious ballad the song was commercial in the first instance, rather than religious, marketed towards the Victorian market for religious sentiment, rather than an expression of any great Christian piety - the song's authors were not hymnists, but writers of popular music. The lyrics 'The light of God was on its streets, The gates were open wide, And all who would might enter, And no none was denied.' is suggested to be a reference to Masonic religious doctrine, as against the Christian Last Judgment. Both men were prominent freemasons.[1] The universalist message might also simply reflect the desire for a 'happy ending' in a piece of popular music.

The song's refrain 'Jerusalem! Jerusalem!' and the title 'The Holy City' may have been a reference to the crusaders cry upon reaching Jerusalem. In addition to possible masonic allusions, the song refers to the cross, and makes other Christian allusions.

The song is recorded in the African Methodist Episcopal Church Review in 1911 as having been sung by an opera singer awaiting trial for fraud in his cell while a group of men arrested for drunk and disorderly conduct were before the judge. The men were said to have dropped to the knees as the song began 'Last night I lay a-sleeping, There came a dream so fair.', the lyrics contrasting with their previous night's drunkenness. The song's conclusion resulted in the judge dismissing the men without punishment, each having learned a lesson from the song.[2]

The song is mentioned in James Joyce's Ulysses, published 1918-1920.[3]

The song gained renewed popularity when it was sung by Jeanette MacDonald in the 1936 hit film San Francisco.[4]

The melody formed the basis of a Spiritual titled Hosanna, which in turn was the basis for the opening of Duke Ellington's Black and Tan Fantasy.[5]

The song has been performed by Mahalia Jackson and numerous other performers.

References

  1. ^ http://www.blessedquietness.com/journal/housechu/holycity.htm
  2. ^ African Methodist Episcopal Church Review, Vol. 28, Num. 1. Ohio Historical Society. Oct 1911. Last accessed 25 Sep 2011.
  3. ^ http://www.james-joyce-music.com/song11_lyrics.html
  4. ^ http://www.revolve.com.au/polemic/adams_profile.html
  5. ^ Metzer, David (2003). Quotation and Cultural Meaning in Twentieth-Century Music. Cambridge: Cambridge University Press. pp. 51–52. ISBN 0521825091.