Just as I was informing the unlucky messenger that the second night’s show would be “even more Jewish,” places were called. I bounded onstage in time to belt out the opening lines of “We Need a Little Christmas,” wearing a fake grin that barely concealed my rage. After a while, the music calmed me down, and I was able to merge with the holiday spirit encoded in the Jerry Herman classic. The Jewish Jerry Herman Christmas classic.

Image Credit... Ron Barrett

The evolution of Christmas is reflected to a degree in its music. As the holiday has become more secular, so have its songs, with religious and spiritual compositions largely supplanted by the banalities of Rudolph, sleigh bells and Santa. Many Christians feel that the true essence of Christmas has been lost, and I respect that opinion. It must be difficult to see religious tradition eroded in the name of commerce and further dissipated by others’ embrace of a holiday without a sense of what it truly means to the faithful.

Yet I also hope that those who feel this encroachment will on some level understand that the spirit of the holiday is universal. We live in a multicultural time and the mixing, and mixing up, of traditions is an inevitable result. Hence we have the almost century-old custom of American Jews creating a lot more Christmas music than Hanukkah music.

If you look at a list of the most popular Christmas songs, you’ll find that the writers are disproportionately Jewish: Irving Berlin’s “White Christmas,” “The Christmas Song” (yes, Mel Tormé was Jewish), “Let It Snow! Let It Snow! Let It Snow!,” “I’ll Be Home for Christmas,” “Silver Bells,” “Santa Baby,” “Rudolph the Red-Nosed Reindeer” and “Winter Wonderland”  perennial, beloved and, mostly, written for the sheet music publishers of Tin Pan Alley, not for a show or film. (Two notable exceptions: “White Christmas,” introduced in “Holiday Inn,” and “Silver Bells,” written for “The Lemon Drop Kid.”)

You’ll notice that certain famous Jewish songwriters are conspicuously absent from this list. Why? Unlike the Tin Pan Alley songwriters, who churned out songs to order on every conceivable subject for their publishers, writers like Jerome Kern, the Gershwins, Richard Rodgers and Harold Arlen mainly created songs for musical plays and films, and unless a story line required a holiday song they had no need to write one. When they did try one outside the framework of a show, it rarely had the same spark. Rodgers and Hammerstein’s “Happy Christmas, Little Friend,” recorded by Rosemary Clooney in the ’50s, is sadly lethargic. Even Clooney couldn’t recall it when asked to sing it 30 years later. Or so she claimed.