Not many people do their best thinking during a heat wave. Then again, most people are not Leroy Anderson. The original idea for the light-hearted orchestral romp known as “Sleigh Ride” was born in the mind of the American composer during a heat wave in July of 1946.
Finished in February 1948, the instrumental piece would not receive its classic lyrics until 1950 (when lyricist Mitchell Parish added in the bits about riding in a sleigh and other fun wintertime activities). The orchestral version was first recorded in 1949 by Arthur Fiedler and the Boston Pops Orchestra. It quickly became one of the orchestra’s signature songs, and the 45 rpm version was originally issued on red vinyl in celebration of the Christmas season. So catchy was the main melody that other composers of the era tried to pass it off as their own. The main melody of “Sleigh Ride” was used without credit to Anderson in the 1949 western “Streets of Laredo”, scored by Victor Young. Sleigh Ride lyricist Mitchell Parish worked with Young around this time, which might explain how the latter got his not-so-bright idea to “sample” Anderson’s work. That very same year, The Andrews Sisters created the first ever recording of Parish’s vocal version, and the popularity of Sleigh Ride sped off like… well, like a Sleigh Ride!
Although the piece is often associated with Christmas, appearing on more Christmas compilation albums than one can even count, its lyrics leave out any mention of a holiday. Perhaps this is what lends a universal appeal to Sleigh Ride. The song is noted for the characteristic sounds of a horse clip-clopping its way down a country road, and the sound of a whip is featured in most versions to give the illusion of the horse being spurred into motion. The percussionist shines in this piece, for it is they who oversee the creation of these sounds on temple blocks and a slapstick, respectively. Toward the end of the piece, a trumpet imitates the sound of a horse whinnying.
Sleigh Ride was written in seven-part rondo form, with the first rondo episode utilizing an unusual modulation to the third (and then the second) note of the scale. This is not easy to sing, and therefore many recorded versions of Sleigh Ride err on the side of caution by changing the harmonies or omitting this first rondo altogether. This decision was made for the 1963 cover made by the American girl group the Ronettes. This Phil Spector-produced recording is easily the most popular version outside the traditional pop standard genre, charting yearly until it became the group’s second-highest chart hit in the US (after “Be My Baby”). This version of Sleigh Ride features the beloved “Ring-a-ling-a-ling, ding-dong-ding” background vocals, and makes use of the clip-clop and whinny of a horse at both its beginning and end. That’s two adorable/scary horse sounds for the price of one Sleigh Ride.
But Leroy Anderson was no one-hit holiday wonder. Composing “A Christmas Festival” in 1950 during his time as an arranger with the Boston Pops Orchestra, Anderson originally conceived of the wintertime smash-hit when Arthur Fiedler (the conductor-in-chief of the BPO) requested a favor of him. Fiedler needed a piece of music that would cover two sides of a 45 or 78rpm ‘single’ for the holiday season. Anderson did not disappoint. He created an orchestral medley of well-loved Christmas songs and carols into a compelling concert overture. The main theme of Christmas Festival relies on the tunes of ‘Joy to the World’, ‘O, Come all ye faithful’ and ‘Jingle Bells’, but other favorites (such as ‘Deck the Halls’, ‘Good King Wenceslas’, ‘God Rest you Merry Gentlemen’, ‘Hark the Herald Angels Sing’, ‘The First Noel’ and ‘Silent Night’) are also utilized to great effect. Relying on subtlety to pull off such an ambitious combination of Christmas music, the arrangement of Christmas Festival boasts exceptional orchestration that provides each instrument with a moment to shine.
Despite numerous contributions to the American orchestral standard genre, Leroy Anderson will be remembered for his prolific contribution to the musical soundtrack of the holiday season. The American Society of Composers, Authors and Publishers (ASCAP) have repeatedly lauded “Sleigh Ride”, as it consistently ranks as one of the top 10 most-performed songs written by an ASCAP member. ASCAP named “Sleigh Ride” the most popular piece of Christmas music in the U.S. in 2009–2012, based on performance data from over 2,500 radio stations. And, while Johnny Mathis’s has become the most popular vocal version, Leroy Anderson’s recording remains the most popular instrumental version. As Steve Metcalf put it, “‘Sleigh Ride’ … has been performed and recorded by a wider array of musical artists than any other piece in the history of Western music.” For giving us all a song to feel merry and bright about in these dark and chilly days, we salute you Leroy… and that strange trumpet-horse you rode in on.