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Tag Archives: Ludwig van Beethoven

Hymn History: Joyful, Joyful We Adore Thee

“Joyful, Joyful, We Adore Thee”
Henry Van Dyke
The UM Hymnal, No. 89

“Joyful, Joyful, We Adore Thee”, set to the famous “Ode to Joy” melody of the final movement of Ludwig van Beethoven’s final symphony, Symphony No. 9, was the opening 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.

“Ode to Joy” was the postlude at Pender’s 9:00 am Traditional Service on July 9, 2023, played by Heidi Jacobs on the piano.

On June 20, 2022, a Memorial Concert was held for long-time choir member, Diane Martini. The Pender Sanctuary Choir and The Choral Arts Society of Washington sang several of Diane’s favorites.

“The Hymn of Joy” (often called “Joyful, Joyful We Adore Thee” after the first line) is a poem written by Henry van Dyke in 1907 with the intention of musically setting it to the famous “Ode to Joy” melody of the final movement of Ludwig van Beethoven’s final symphony, Symphony No. 9.

Former Pender UMC Music Director, Ann Rollins, directed the combined choirs and congregation in singing Joyful, Joyful We Adore Thee with organ accompaniment.

Joyful, joyful, we adore thee,
God of glory, Lord of love;
Hearts unfold like flowers before thee,
Opening to the sun above.
Melt the clouds of sin and sadness,
Drive the dark of doubt away.
Giver of immortal gladness,
Fill us with the light of day.

This joyful ode is one of the best-known hymns in the English language. Henry Van Dyke (1852-1933) was inspired in 1907 by the beauty of the Berkshire mountains where he was serving as a guest preacher at Williams College, Williamstown, Mass.

It has been said that Van Dyke handed the poem to the president of the college, saying: “Here is a hymn for you. Your mountains were my inspiration. It must be sung to the music of Beethoven’s ‘Hymn to Joy.’” The hymn appeared in the 3rd edition of Van Dyke’s Book of Poems (1911).

While this story may be true, Methodist hymnologist Fred Gealy commented on this hymn from a different perspective (as cited by UM Hymnal editor Carlton Young):

“Van Dyke countered [the doom prior to World War I] by speaking a gay cheery all’s-right-with-the-world note which was in complete harmony with the widely held belief in an easy if not inevitable progress. . . . The daintiness of phrase and the lilt of rhythm suggest Elysium or Eden before the Fall.”

The adaptation of Ludwig van Beethoven’s (1770-1827) stirring melody from the final movement of his Ninth Symphony is the perfect companion to this exuberant text. Beethoven never wrote a hymn tune, per se, though a number of texts have been adapted to this melody. Van Dyke’s is by far the most closely associated hymn text with this tune.

The metaphor of light, the antithesis of darkness—a common theme in Romantic poetry—provides the overarching vehicle for expressing joy in stanza one. “Flowers . . . [open] to the sun above.” “Clouds of sin and sadness” disperse. “Dark and doubt” are driven away. The final line of stanza one petitions the “Giver of immortal gladness” to “fill us with the light of day.”

The second stanza paints a vivid picture of God manifest in the beauty of nature, also a common theme of the Romantic era. The third stanza extends to the human creation and the brotherhood of humanity. Since God is the Father of humanity, Christ is our brother.

The belief that ultimately humanity is progressing culminates in the final stanza, “Ever singing, march we onward,/ Victors in the midst of strife.”

Beethoven’s “joyful music” was adapted by British composer Edward Hodges (1796-1867). The United Methodist Hymnal restores Beethoven’s original syncopation that begins the final line of each stanza.

Dr. Young comments on this bold move with a combination of humor and irony: “Its restoration in our hymnal has spawned complaints from those for whom congregational song is devoid of surprises—and resurrection!”

Van Dyke was a Presbyterian minister. Most of his career (1899-1922) was spent as a professor of English literature at Princeton University.
He also served in civil posts, including his appointment to the Netherlands and Luxembourg by Woodrow Wilson, a personal friend, and was a lieutenant-commander in the U.S. Navy Chaplain Corps during World War I. Van Dyke wrote some 25 books and chaired the committee that in 1905 prepared the Book of Common Worship for the Presbyterian Church.

Given Van Dyke’s experience in Europe and service as a military chaplain, it is unlikely that this famous hymn, written during the bleak days before the World War I, was composed with a Pollyanna worldview of denial. Rather this poem, composed by a minister and English professor, reflects the Romantic poetic themes of its day while imbued with a Christian sense of ultimate hope.

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

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-joyful-joyful-we-adore-thee

Violin Sonata No. 5 in F major, Op. 24 by Ludwig van Beethoven from Concert for Ukraine

02 May

Liz Sellers, Pianist/Organist at Pender UMC in Fairfax, VA, and violinist Anthony Shields performed Violin Sonata No. 5 in F major, Op. 24 by Ludwig van Beethoven during Pender’s new Concert Series which began on April 23, 2022.

The Violin Sonata No. 5 in F major, Op. 24, is a four movement work for violin and piano by Ludwig van Beethoven. It was first published in 1801. The work is commonly known as the Spring Sonata (Frühlingssonate), although the name “Spring” was apparently given to it after Beethoven’s death.

Liz and Anthony played the first movement.

The Pender Concert Supporting Ukraine on April 23 featured Liz Sellers on piano, Brian on harp, and local professional musicians, including woodwind quintet, drums, organ, guitar, flute, penny whistle, singing and violin.

Concert repertoire included: Harp arrangements by Debussy, Piano trio of Jazz/Baroque, Flute Concertino by Chaminade, Woodwind Quintet with music of Duke Ellington, The Widor Toccata Organ Symphony Movement V and an Irish session!

There was no charge for this concert but there was a free will offering taken to support Ukraine through Advance #982450, UMCOR International Disaster Response and Recovery. This fund provides direct assistance to those in Ukraine as well as assistance to Ukrainians fleeing to neighboring countries.

One hundred percent of all Advance contributions go to the designated cause. (The independent charity watchdog, “Charity Watch,” gives UMCOR an “A+” ranking, and includes the UM organization on a highly selective list of charities it recommends when considering how to support the Ukrainian people. Read more)

The United Methodist community in Ukraine, though quite small, is actively engaged in assisting neighbors in need. Global Ministries is in touch with the church’s leadership as well as with church leaders in countries welcoming those who are fleeing from violence in Ukraine.

Click this link and choose UMCOR to send direct aid. In the memo line, put Advance #982450, UMCOR International Disaster Response and Recovery.

Thank you for your support!

Pender Offering on January 9, 2022: Beethoven’s Piano Sonata No. 8 in C minor, Op. 13

16 Jan

During the Offering at Pender UMC’s Traditional Service on January 9, 2022, we were treated to Ludwig van Beethoven’s Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique played by Liz Eunji Sellers .

View the entire service

Ludwig van Beethoven’s Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions.Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven’s liking) by the publisher, who was impressed by the sonata’s tragic sonorities.

Liz played the second movement – Adagio cantabile (above)

This movement exemplifies the expressive Adagio style of many slow movements in the classical period. The famous cantabile melody is played three times, always in A♭ major, separated by two modulating episodes; the movement is thus a simple rondo rather than the sonata form more common for movements of this seriousness. The first episode is set in F minor (the relative minor of A♭ major), further modulating to E♭ major before returning to the main theme. The second episode begins in A♭ minor and modulates to E major. With the final return of the main theme, the accompaniment becomes richer and takes on the triplet rhythm of the second episode. There is a brief coda.