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”.
“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!
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.
“Good King Wenceslas” is a popular Christmas carol that tells a story of Good King Wenceslas braving harsh winter weather to give alms to a poor peasant on the Feast of Stephen (the second day of Christmas, December 26). During the journey, his page is about to give up the struggle against the cold weather, but is enabled to continue by following the king’s footprints, step for step, through the deep snow. The legend is based on the life of the historical Saint Wenceslaus I, Duke of Bohemia or Svatý Václav in Czech (907–935).
In 1853, English hymn writer John Mason Neale wrote the “Wenceslas” lyrics, in collaboration with his music editor Thomas Helmore, and the carol first appeared in Carols for Christmas-Tide, 1853. Neales’ lyrics were set to a tune based on a 13th century spring carol “Tempus adest floridum” (“The time is near for flowering”) first published in the 1582 Finnish song collection Piae Cantiones.
Good King Wenceslas looked out
On the feast of Stephen
When the snow lay round about
Deep and crisp and even
Brightly shone the moon that night
Though the frost was cruel
When a poor man came in sight
Gath’ring winter fuel
“Hither, page, and stand by me
If thou know’st it, telling
Yonder peasant, who is he?
Where and what his dwelling?”
“Sire, he lives a good league hence
Underneath the mountain
Right against the forest fence
By Saint Agnes’ fountain.”
“Bring me flesh and bring me wine
Bring me pine logs hither
Thou and I will see him dine
When we bear him thither.”
Page and monarch forth they went
Forth they went together
Through the rude wind’s wild lament
And the bitter weather
“Sire, the night is darker now
And the wind blows stronger
Fails my heart, I know not how,
I can go no longer.”
“Mark my foteps, my good page
Tread thou in them boldly
Thou shalt find the winter’s rage
Freeze thy blood less coldly.”
In his master’s steps he trod
Where the snow lay dinted
Heat was in the very sod
Which the Saint had printed
Therefore, Christian men, be sure
Wealth or rank possessing
Ye who now will bless the poor
Shall yourselves find blessing
The origins of popular Advent hymn, “O Come, O Come, Emmanuel,” extend back to the 9th century. Photo and Canva illustration by Crystal Caviness, United Methodist Communications
When United Methodists sing “O Come, O Come, Emmanuel,” few likely know this popular Advent hymn’s origins span across 1200 years.
The story of how Latin vespers chanted by monks in the 800s found itself recorded in the 21st century by the likes of Kelly Clarkson and Wynonna Judd follows a circuitous and mysterious history through Europe.
The words
“O Come, O Come, Emmanuel” hearkens back to medieval times when Christmas Vespers were sung, primarily in monasteries, from December 17 to December 23, a tradition which continues to this day in Roman Catholic and Anglican churches. Using hymns called “O” Antiphons, the verses, sung in Latin, all began with “O.” (The word, “antiphon” means psalm or anthem.)
Englishman John Mason Neale first translated the “O” Antiphons from Latin to English in the early 1850s. Neale was an Anglican priest, hymn writer and prize-winning poet who was influenced by the Oxford Movement.
Said to be a high church traditionalist, Neale eschewed the hymns of popular 18th century composer Isaac Watts, who wrote more than 600 hymns, including “Joy to the World.” Neale longed to return the Church to its liturgical roots and was known for translating ancient Greek and Latin hymns into English.
In addition to authoring “O Come, O Come, Emmanuel,” Neal also wrote “Good King Wenceslas,” “Good Christian Men, Rejoice,” and the Palm Sunday hymn, “All Glory, Laud and Honor.”
Fun fact: Neale’s first version of the hymn began with the words, “Draw nigh, draw night, Emmanuel.”
The music
In 1851, Thomas Helmore is credited with pairing the familiar tune we sing today, called “Veni Emmanuel,” with the English translation of the words when he published “Hymnal Noted.” At the time, Helmore attributed the music to “a French Missal in the National Library, Lisbon.” Additional details of the melody’s origins remained a mystery for more than 100 years. In 1966, Mary Berry, a British musicologist, discovered a 15th-century manuscript of the melody at the National Library of France. The original composition, according to Berry’s writings, is a burial processional chant with the words, “Bone Jesu dulcis cunctis.” The author is unknown.
Though the “Veni Emmanuel” tune is the most common, alternative versions exist, particularly in German.
The popularity
When Helmore published “O Come, O Come, Emmanuel” in “Hymnal Noted,” he unknowingly set the song on its trajectory to distinction.
Helmore’s version was included in “Hymns Ancient and Modern,” edited by William Henry Monk, published in 1861 and considered the Church of England’s official hymnal. By the end of the 1800s, more than three-quarters of English churches used the volume, making “O Come, O Come, Emmanuel” part of the Christian church’s tradition.
Across the decades, translators tweaked the verses. The version we sing today, including the one found as no. 211 in the United Methodist Hymnal, combines Neale’s translation with revisions made in 1941 for the Episcopal “Hymnal” and translations by Henry Sloane Coffin, a Presbyterian minister and social activist.
In addition to serving as an Christmastime standard both in Christian and secular society (dozens of popular music acts have recorded versions of the hymn), the verses provide a meaningful devotion for us during the Advent season, a time when we prepare and await the birth of Jesus, Emmanuel, God with us.
Crystal Caviness works for UMC.org at United Methodist Communications. Contact her by email or at 615-742-5138.
Matthew 25:39 ‘When did we see you sick or in prison and go to visit you?’
Pender is in mission to incarcerated Fairfax youth as they await their sentencing. We worship monthly, and once a year, we host a Christmas Party.
It is a particularly difficult environment in which to establish a party mood. But I am Maryann Weber, and I bring party. Is joining me something you could do and is on your heart?
Covid restrictions are lifted and we can bring as many as who want to come. Still masks, though.
The origins of popular Advent hymn, “O Come, O Come, Emmanuel,” extend back to the 9th century. Photo and Canva illustration by Crystal Caviness, United Methodist Communications
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