RSS

Category Archives: Hymn History

Hymn History: When Jesus the Healer Passed Through Galilee

25 Sep

 

“When Jesus the Healer Passed through Galilee”
Peter D. Smith
The United Methodist Hymnal, No. 263

“When Jesus the Healer Passed Through Galilee” was the closing hymn at Pender’s 9:00 am Traditional Service on September 10, 2023 It was sung by Pender’s Sanctuary choir, congregation and accompanied on piano by Heidi Jacobs.

The Pender UMC Traditional Service Closing Hymn “When Jesus the Healer Passed Through Galilee” on Sunday June 19, 2022 was accompanied by Liz Sellers on piano, Brian Stevenson on guitar and sung by Brian and the Pender Congregation.

During the season of Epiphany, we recall those actions of Jesus, especially the miracles, that demonstrate that he was indeed the Christ, the Son of God. “When Jesus the healer” provides a compendium of many of Christ’s miraculous healing activities.

Peter David Smith was born in Weybridge, Surrey, England, in 1938. After working for a time in the aircraft industry, he became a Methodist minister. A hallmark of his ministry was his gift as a folksinger. Though trained as a classical pianist, the folk guitar became his instrument of choice. He edited several popular song collections including Faith, Folk, and Charity (1968), Faith, Folk and Nativity (1969), Faith, Folk, and Festivity (1969), and New Orbit (1972). These collections appeared during the height of the popularity of the folk music idiom.

The folk idiom in the service of the church provides an immediacy and accessibility to great biblical truths. While classical hymnody often engages through the depth of metaphors and symbolic use of language, the more colloquial language of the folk idiom captures us with its earthiness—what you see is what you get. The music of a successful folksong must be easily learned—captured immediately—or it works against the directness of the language.

Folk Songs often tell stories, or have a narrative quality. The guitar is the preferred instrument of the folksinger. Its portability and accessibility invite participation. An organ or even a piano might separate the singer and the people, both in physical and psychological space, but not the guitar.

In many ways, Christian folk singers of the 1960s and 1970s find their roots in the songs of Woody Guthrie (1912-1967), Pete Seeger (b. 1919) and Bob Dylan (b. 1941), to name a few. However, the prototype of the Christian folksong may be found in Sydney Carter (1915-2004) and his famous “Lord of the Dance” (1963). Carter shocked the faithful and endeared himself to the prophets in the church. While he is known primarily for “Lord of the Dance” in the United States, many more of his songs are commonly sung in England.

The overarching narrative of Jesus as healer guides this hymn. In a mere 22 syllables and a brief refrain, the author opens up an entire healing narrative in each stanza: stanza 1, Luke 4:31-41; stanza 2, Mark 2:3-12; stanza 3, Mark 5:22-24, 35-43; stanza 4, Mark 10:46-52; stanzas 5 and 6, Matthew 10:5-15. A soloist carries the weight of the narrative in the third person while the people respond from the perspective of those needing healing in the first person plural: “Heal us, heal us today!”

Mr. Smith composed this song during a course he was teaching on contemporary worship for the Iona Community in 1975. Later, he served on the editorial committee for the hymnal, Partners in Praise (1979), and this was one of ten contributions by the composer included in its contents.

One stanza was omitted due to sensitivity to discriminatory language and a slight alteration to one line in stanza five was made for the same reason. Other than that, the hymn comes to us as originally composed.

The composer skillfully draws the people into the narrative in the final stanza by pointing out that the need for Christ’s healing power is still with us today: “There’s still so much sickness and suffering today. . . . We gather together for healing and pray: Heal us, Lord Jesus!”

*© 1979 Stainer & Bell, Ltd. Used by permission. All rights reserved.

Dr. Hawn is professor of sacred music at Perkins School of Theology.

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-when-jesus-the-healer-passed-through-galilee

 
Leave a comment

Posted by on September 25, 2023 in Hymn History, hymns, Military Ministry, Ministries, Music, Pender UMC, Posts of Interest, Videos

 

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

Hymn History: His Eye Is On The Sparrow

18 Sep

 

“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

 
Leave a comment

Posted by on September 18, 2023 in Hymn History, hymns, Ministries, Music, Music Ministry, Pender UMC, Videos

 

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

Hymn History: Be Thou My Vision

12 Sep

 

“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.

 
Leave a comment

Posted by on September 12, 2023 in Hymn History, hymns, Music, Music Ministry, Posts of Interest, Videos

 

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

Hymn History: Tell Out My Soul/Be Still My Soul

04 Sep

The above is the melody to Finlandia by Jean Sibelius, which is commonly used for “Tell Out, My Soul” as well as “Be Still, My Soul”.

“Be Still My Soul” was the prelude at Pender’s 9:00 am Traditional Service on August 6, 2023. It was played on piano by Heidi Jacobs.

 

“Tell Out My Soul” by Joel Raney was sung at Pender’s 2022 Christmas Cantata by Laura Connors, soprano and Brian Stevenson, baritone

The main melody was based on Finlandia, a tone poem by Jean Sibelius.

From the publisher: This paraphrase of the Song of Mary calls for Christians to proclaim the greatness of the Lord, the greatness of his name, the greatness of his might, and the greatness of his word. For soprano and baritone solo with choir backup, this piece is equally effective with piano accompaniment or full orchestra. It originally appeared in Mary McDonald and Joel Raney’s best-selling Christmas musical, Sing Christmas.

Special thanks to the Sanctuary Choir, Liz Sellers, accompanist, Brian Stevenson, director and the Orchestra: Gwyn Jones, flute; Jeff Kahan, oboe; Alisha Coleman, clarinet; Jeanne Kim, violin; Sean Wittmer, violin; Ethan Chien, viola and Kyle Ryu-cello for all the effort in presenting Pender’s Christmas Cantata!

More from the Christmas Cantata at https://penderumc.org/music-ministry/concert-series/

The Finlandia hymn refers to a serene hymn-like section of the patriotic symphonic poem Finlandia, written in 1899 and 1900 by the Finnish composer Jean Sibelius. It was later re-worked by the composer into a stand-alone piece.

Finlandia used in Be Still My Soul:

 
Leave a comment

Posted by on September 4, 2023 in Christmas, Christmas Music, Hymn History, hymns, Music, Pender UMC, Posts of Interest, Videos

 

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

Hymn History: All Hail the Power of Jesus’ Name

28 Aug

 

“All hail the power of Jesus’ name!
Let angels prostrate fall,
bring forth the royal diadem,
and crown him Lord of all.”

“All Hail the Power of Jesus Name” was the opening hymn at Pender’s 9:00 am Traditional Service on July 30, 2023 It was sung by Pender’s congregation, accompanied on piano by Heidi Jacobs and violin by Sean Wittmer.

The Pender UMC Traditional Service Opening Hymn “All Hail the Power of Jesus’ Name” on Sunday July 3, 2022 was played by Liz Sellers on piano and sung by the Pender Congregation.

The popularity of this late-18th-century hymn may be attested by the fact it appears in hymnals with as many as three different tunes: CORONATION, DIADEM and MILES’ LANE. Each tune reflects a different cultural and denominational context in which this text is sung.

Another unusual aspect of “All Hail the Power of Jesus’ Name” is the number of modifications that have been made from the original text.

The original hymn text dates from 1779 and 1780, and was first printed in November 1779 in the Gospel Magazine, a publication by “Rock of Ages” composer Augustus M. Toplady. An eight-stanza version appeared just a year later in the same magazine titled, “On the Resurrection. The Lord is King.”

Massive alterations began as early as 1787 when the text was included in John Rippon’s Selection of Hymns with the title “The Spiritual Coronation, Canticles 3:11”—a reference to the Song of Songs: “Go forth, O ye daughters of Zion, and behold King Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart.”

British hymnologist and literary scholar J.R. Watson notes, “By applying Solomon’s crowning to this hymn, the Old Testament reference is seen as Solomon’s prefiguring of Christ.”

Among the most notable changes made by Rippon was the final stanza. Perronet originally wrote:

“Let every tribe and every tongue
That bound creation’s call,
Now shout in universal song
The crowned Lord of all.”

Rippon’s version, which took hold in the early 19th century and remains in constant use today, is:

“O that with yonder sacred throng
We at his feet may fall,
We’ll join the everlasting song,
And crown him Lord of all.”

Perronet (1726-1792) was born in Sundridge, England, and died in Canterbury. His family came from the Huguenots of Switzerland, and according to The UM Hymnal editor Carlton Young, “was closely associated with and esteemed by the Wesleys.”

Against the desires of John Wesley, Perronet promoted the idea that Methodist preachers should be able to administer the sacrament of the Lord’s Supper. In another controversial act, Perronet published a satire on the Church of England, The Mitre, angering the Countess of Huntingdon in whose chapel he served. As a result, he left to become a minister in the independent chapel in Canterbury.

Working together for a time, Wesley encouraged Perronet to preach, but Perronet preferred to defer to Wesley. The Methodism founder persisted, however, and announced that, “Brother Perronet will now speak.” Perronet stood before a large crowd and declared, “I will now deliver the greatest sermon ever preached on earth.” He then read the Sermon on the Mount and promptly sat down.

The tunes commonly associated with this famous text reveal much about this joyful expression of the 18th-century evangelical revival movement. CORONATION is a tune by American Oliver Holden (1792) and was first published in Boston in 1793. A stately tune in duple meter, it has the character of a coronation march.

DIADEM was composed by James Ellor in 1838 at the age of 19 for the anniversary of a Wesleyan Sunday school in his hometown of Droylsden, Manchester. This tune, in triple rhythm, has the feel of a stately minuet and suggests an anthem to be sung by a choir, especially with the independent parts of the refrain. It is indeed thrilling to hear congregations or church musicians sing this version in four parts.

The tune originally paired with this text, MILES’ LANE, does not appear in The United Methodist Hymnal. Written by William Shrubsole (1760-1806), it is less favored, in light of the other more buoyant tune options.

Regardless of the tune, the version we sing today leaves no doubt that the entire earth—from the “chosen seed of Israel’s race” and “sinners” and “martyrs” to “every kindred, every tribe on this terrestrial ball”—will sing the “everlasting song” at Jesus’ feet. Now that will be a song to hear!

Dr. Hawn is professor of sacred music at Perkins School of Theology.

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-all-hail-the-power-of-jesus-name

 
Leave a comment

Posted by on August 28, 2023 in Hymn History, hymns, Music, Pender UMC, Posts of Interest, Videos

 

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

← Older posts
Newer posts →