RSS

Monthly Archives: September 2023

Hymn History: His Eye Is On The Sparrow

 

“His Eye Is On The Sparrow” was the postlude at Pender’s 9:00 am Traditional Service on September 3, 2023. It was played on piano by Heidi Jacobs.

His Eye Is on the Sparrow
Civilla Martin
The Faith We Sing, page No. 2146

“Why should I feel discouraged?
Why should the shadows come?
Why should my heart be lonely
and long for heaven and home?
When Jesus is my portion?
My constant friend is he;
His eye is on the sparrow,
and I know he watches me.”

Civilla Durfee Martin (1866-1948) was born in Nova Scotia and died in Atlanta, Ga. In “His eye is on the sparrow” (1905), she has provided one of the most influential and often-recorded gospel hymns of the 20th century.

Notable versions include recordings by Shirley Ceasar, Marvin Gaye, Kirk Franklin & the Family, Mahalia Jackson, Sister Rosetta Tharpe, Dottie West and Barbara Mandrell.

Jessica Simpson included this song in her album Irresistible (2001). The most stirring renditions of this song are associated for many with actress-singer Ethel Waters, who loved this it so much that it became the title of her autobiography (1950).

Martin was the daughter of James N. and Irene Harding Holden, and was a schoolteacher with modest musical training. Together with her husband, Walter (1862-1935), they often wrote gospel songs for revival meetings. “Be not dismayed” (UM Hymnal, No. 130) is an example of their collaboration.

Walter Stillman Martin was a Baptist minister who received his education at Harvard. He later became a member of the Disciples of Christ, teaching at Atlantic Christian College (now Barton College) in Wilson, N.C., before moving to Atlanta in 1919, a location that became the base for revivals that he held throughout the U.S.

The song was obviously inspired by Matthew 6:26: “Look at the birds of the air; they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they?”

Later in Matthew (10:29-31), the Gospel writer continues on this theme: “Are not two sparrows sold for a farthing? And one of them shall not fall on the ground without your Father. But the very hairs of your head are all numbered. Fear ye not therefore, ye are of more value than many sparrows.” Similar thoughts are cited in Luke 12:6-7. Stanza two quotes part of John 14:1 directly, “Let not your heart be troubled…”

Civilla Martin describes the context out of which the hymn was born: “Early in the spring of 1905, my husband and I were sojourning in Elmira, New York. We contracted a deep friendship for a couple by the name of Mr. and Mrs. Doolittle—true saints of God. Mrs. Doolittle had been bedridden for nigh twenty years. Her husband was an incurable cripple who had to propel himself to and from his business in a wheelchair. Despite their afflictions, they lived happy Christian lives, bringing inspiration and comfort to all who knew them. One day while we were visiting with the Doolittles, my husband commented on their bright hopefulness and asked them for the secret of it. Mrs. Doolittle’s response was simple: ‘His eye is on the sparrow, and I know He watches me.’ The beauty of this simple expression of boundless faith gripped the hearts and fired the imagination of Dr. Martin and me. The hymn ‘His Eye Is on the Sparrow’ was the outcome of that experience.”

The next day she mailed the poem to Charles Gabriel, a famous composer of gospel songs, who wrote a tune for it.

The themes of solace in spite of sorrow, and a profound sense of being under the watch-care of Jesus, who is a “constant friend,” offered the African-American community comfort during the Civil Rights movement. The refrain seals the theme by offering an apology for singing—“I sing because I’m happy, I sing because I’m free”—words that would speak to everyone, but especially African Americans.

There is no doubt that African American gospel artist Kirk Franklin was influenced by Martin’s song when he composed “Why we sing” (The Faith We Sing, No. 2144).

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-his-eye-is-on-the-sparrow

 

Tags: , , , , , , , , , , , , , , , , , , , , , ,

Clergy Fashion — Chuck Knows Church

Have a chuckle and learn with Chuck when he explains the differences between a robe and an alb — even if your pastor wears neither! Ever wonder why one is white and the other black? That’s why Chuck is talking about clergy fashion on his SECOND SHOW!

 
Leave a comment

Posted by on September 15, 2023 in Chuck Knows Church, Posts of Interest, Videos

 

Tags: , , , , , ,

Pender Music: When We Gather

 

Pender’s Joy Ringers (handbells), Sanctuary Choir and Congregation perform “When We Gather” by Kath Wissinger on September 26, 2021.

The Soloist was Brian Stevenson.

 

From the composer:

 
Leave a comment

Posted by on September 14, 2023 in Music, Music Ministry, Pender UMC, Special Music, Videos

 

Tags: , , , , , , , , , ,

Hymn History: Be Thou My Vision

 

Said to be a favourite of King Charles’, ‘Be Thou my Vision’ is one of the oldest hymns in the world. Its text has its origins in 6th-century Ireland, in a poem attributed to early Christian Irish poet Dallán Forgaill. In the early 20th century, Forgaill’s Gaelic words were translated into English by Mary Elizabeth Byrne, and soon after adapted into verse by Eleanor Hull.

“Today, the text is usually sung to an Irish folk tune known as ‘Slane’, an ever-rising and deeply satisfying melody which gradually opens up through the verse, before resolving on the tonic on the final three notes.”
from The 15 greatest, most rousing hymns of all time

“Be Thou My Vision” was the middle hymn at Pender’s Music Appreciation Sunday on June 11, 2023 It was sung by Pender’s congregation, accompanied on piano by Heidi Jacobs and guitar by Brian Stevenson.

“Be Thou My Vision”
Versified by Eleanor Hull
The United Methodist Hymnal, No. 451

Be thou my vision, O Lord of my heart;
Naught be all else to me save that thou art.
Thou my best thought, by day and by night,
Waking or sleeping, thy presence my light.

Sometimes hymn singing invites us to connect with the saints who have gone before. Such is the case with the famous Irish hymn, “Be Thou my vision.” The original poem, found in two Irish manuscripts in the library of the Royal Irish Academy, may be dated as early as the 8th century.

Quite often, older hymns come to us as a collaborative effort before we are able to sing them from our hymnals. The Irish text, beginning “Rob tu mo bhoile, a Comdi cride,” was translated into literal prose by Irish scholar Mary Byrne (1880-1931), a Dublin native, and then published in Eriú, the journal of the School of Irish Learning, in 1905. Byrne was also known for her academic publications, including Old and Mid-Irish Dictionary, Dictionary of the Irish Language, and a treatise, England in the Age of Chaucer.

The original prose translation comes to us in 16 couplets.

The first is: Be thou my vision, O Lord of my heart. None other is aught but the King of the seven heavens.

And the last is: O heart of my heat, whate’er befall me, O ruler of all, be thou my vision.

It is at this point that Eleanor Hull (1860-1935) enters the story. Born in Manchester, England, she was the founder of the Irish Text Society and president of the Irish Literary Society of London. Hull versified the text and it was published in her Poem Book of the Gael (1912).

Following the original publication in Ireland, the hymn was included in a number of British hymnals. After World War II, the hymn came to the attention of hymnal editors in the U.S. and it has become a standard hymn in most hymnals today.

Irish liturgy and ritual scholar Helen Phelan, a lecturer at the University of Limerick, points out how the language of this hymn is drawn from traditional Irish culture: “One of the essential characteristics of the text is the use of ‘heroic’ imagery to describe God. This was very typical of medieval Irish poetry, which cast God as the ‘chieftain’ or ‘High King’ (Ard Ri) who provided protection to his people or clan. The lorica is one of the most popular forms of this kind of protection prayer and is very prevalent in texts of this period.” The original chieftain language of the “High King of heaven” has given way to the more inclusive “Great God” in the UM Hymnal.

When Hull’s versification was paired with the lovely traditional Irish tune SLANE in The Irish Church Hymnal in 1919, its popularity was sealed. The folk melody was taken from a non-liturgical source, Patrick Weston Joyce’s Old Irish Folk Music and Songs: A Collection of 842 Airs and Songs hitherto unpublished (1909).

“Most ‘traditional’ Irish religious songs are non-liturgical,” says Dr. Phelan. “There is a longstanding practice of ‘editorial weddings’ in Irish liturgical music, where traditional tunes were wedded to more liturgically appropriate texts. This is a very good example of this practice.”

It was on Slane Hill in County Meath around 433 CE that St. Patrick lit candles on Easter Eve, defying a decree by High King Logaire of Tara that no one could light a fire before the king signaled the beginning of the pagan spring festival by lighting a fire on Tara Hill. King Logaire was so impressed by Patrick’s devotion that, despite his defiance, he was permitted to continue his work as Ireland’s first Christian missionary.

Dr. Hawn is director of the sacred music program at Perkins School of Theology.

 

Tags: , , , , , , , , , , , , , , ,

Image

Remember 9/11

 
Leave a comment

Posted by on September 11, 2023 in 911, Posts of Interest

 

Tags: