Hymns That Move Me (Week 9)

This is the ninth in my series looking at thirty amazing hymns and songs of the Christian faith. I made three lists, one of my top 10 from the Moravian Church's tradition, one of my top 10 of the great classic hymns, and a top 10 of more "Gospel-type" hymns and songs. I am doing it alphabetically to be fair to all the songs. I hope you are both inspired by these words and learn a little about my own denomination's rich musical heritage.

When choosing videos to accompany the hymns I try to choose ones that best capture the spirit of the song as it has been important to me. I try to stick to the traditional and best known tunes in the case where alternate tunes might be used.

Moravian Hymns

O Sacred Head Now Wounded- Medieval Latin Hymn, (Passion Chorale, 1680s) Passion Week is, of course, what we now refer to less powerfully as Holy Week. The Passion of Christ being part of the central action of Christ as Savior. Almost by definition a "passion" hymn should evoke powerful emotional reactions. This hymn, perhaps, even sets the standard in both word and music. It is, obviously, not a Moravian hymn, but is such a central part of the Moravian tradition, I had to include it here. The original poem was written sometime in the early 13th Century. Although Bernard of Clairvaux was long credited with it, recent attribution is given to a medieval poet, Arnulf of Leuven, who died in 1250. The German translation came in the 1650s from Paul Gerhardt who is considered the greatest Lutheran hymnist. An American Presbyterian minister, James W. Alexander, gave us the most widely used English translation in 1830. (Wikipedia) The tune for the hymn is almost as important as the words. It is an iconic tune connected with several of Bach's works. According to Wikipedia: The music for the German and English versions of the hymn is by Hans Leo Hassler, written around 1600 for a secular love song, "Mein G'müt ist mir verwirret (de)", which first appeared in print in the 1601 Lustgarten Neuer Teutscher Gesäng. The tune was appropriated and rhythmically simplified for Gerhardt's German hymn in 1656 by Johann Crüger. Johann Sebastian Bach arranged the melody and used five stanzas of the hymn in the St Matthew Passion. He also used the hymn's text and melody in the second movement of the cantata Sehet, wir gehn hinauf gen Jerusalem, BWV 159. Bach used the melody on different words in his Christmas Oratorio, in the first part (no. 5). Because of its strong connections with Christ's passion, Bach's use would no doubt have touched the average worshiper with a depth of power no matter when it was used. The words are intended to evoke the great suffering (the Passion) of Jesus death on the cross. While many criticized Mel Gibson's extreme portrayal of violence in his movie, The Passion of the Christ, he does stand in a long tradition in Christian preaching. The general thought was that if any one of us could stand and watch what Jesus went through, and understood the message that he went through this for our salvation, we couldn't help but fall in worship and adoration. I have even heard preachers use this quite graphic approach with late-elementary and early-middle school children. The original Latin is quite graphic and describes the different parts of Christ's body while hanging on the Cross. There are ten verses in the original versions, although most hymnals now only contain three. You can get some of the feel for that graphic quality behind Alexander's English translation: O sacred Head, now wounded, with grief and shame weighed down, Now scornfully surrounded with thorns, Thine only crown; O sacred Head, what glory, what bliss till now was Thine! Yet, though despised and gory, I joy to call Thee mine. My Lord, what you did suffer was all for sinner's gain; mine, mine was the transgression, but yours the deadly pain. So here I kneel, my Savior, for I deserve your place; look on me with thy favor and save me by your grace. For me, the last verse brings it all home in what may be among the greatest verses in English hymnody, expressing hope and faith from the center of the singer's soul: What language shall I borrow to thank you, dearest Friend, for this, your dying sorrow, your pity without end? Lord, make me yours forever, a loyal servant true, and let me never, never outlive my love to you.

Great Hymns of the Church

What Wondrous Love- Anonymous American Folk Hymn (1811) "What Wondrous Love Is This" is a Christian folk hymn, sometimes described as a "white spiritual", from the American South. Its text was first published in 1811, during the Second Great Awakening, and its melody derived from a popular English ballad.... Most sources attribute the hymn's melody to the 1701 English song "The Ballad of Captain Kidd", which describes the exploits of pirate William Kidd. The melody itself predates the Kidd usage, however, possibly by more than a century. (In addition, at least a dozen popular songs were set to the same melody after 1701.) (Wikipedia) The use of popular secular tunes for hymns may seem sacrilegious to many, but it has a rich history including the tunes for such hymns as "A Mighty Fortress." Church camps in the midst of the Great Awakening clearly did this. This tradition still continues. At many church camps I directed and was part of we would sing the table grace to such widely varied tunes as Hernando's Hideaway and the Gillette razor commercial. We also have to remember that until more contemporary times, the music for the hymns was not included in the pew hymnals and many hymns used the same meter of the verses. That can, of course, change the feel for the hymn, making for some interesting results. For example, try singing Amazing Grace to the tune for "House of the Rising Sun"! What wondrous love is this, O my soul, O my soul! What wondrous love is this, O my soul! What wondrous love is this that caused the Lord of bliss to bear the dreadful curse for my soul, for my soul, to bear the dreadful curse for my soul? When I was sinking down, sinking down, sinking down, when I was sinking down, sinking down; when I was sinking down beneath God's righteous frown, Christ laid aside his crown for my soul, for my soul, Christ laid aside his crown for my soul. To God and to the Lamb, I will sing, I will sing, to God and to the Lamb, I will sing; to God and to the Lamb who is the great I AM - while millions join the theme, I will sing, I will sing; while millions join the theme, I will sing. As has often been the case, the last verse, building powerfully on the previous one, takes the theme to an ongoing life, here and eternally, in the praise of God. The style of this hymn is another powerful example of "folk" hymnody coming from the heart of the people.  And when from death I’m free, I’ll sing on, I’ll sing on, and when from death I’m free, I’ll sing on; and when from death I’m free, I’ll sing and joyful be, and through eternity, I’ll sing on, I’ll sing on, and through eternity I’ll sing on.

Gospel-type Hymns and Songs

This Little Light of Mine- African-American Spiritual This song has been made famous by many artists over the years. The authorship is debatable. Even the traditional "Negro Spiritual" tag is questioned since there seems to be no evidence of the song in any collection of 19th Century plantation songs. It was first collected by ethnomusicologist John Lomax in 1939. Credit is sometimes given to Harry D. Loes who wrote several gospel songs. It has been used as a Civil Rights anthem, a children's song, and by Odetta and the Boys Choir of Harlem on David Letterman's show the first night broadcasting following the 9/11 attacks. (Wikipedia) It is a fun song that takes its message to heart. It can be a great instrumental as well as hymn of promise and praise. This little light of mine, I'm gonna let it shine; this little light of mine, I'm gonna let it shine; this little light of mine, I'm gonna let it shine; let it shine, let it shine, let it shine. Everywhere I go, I'm gonna let it shine; everywhere I go, I'm gonna let it shine; everywhere I go, I'm gonna let it shine; let it shine, let it shine, let it shine.

The Tuning Slide - Watching With Wow! and Insight

Weekly Reflections on Life and Music

Last week I talked about the  "Wow!" factor and how it is  important not to fall prey to it in the sense of being overwhelmed and not getting intimidated by the music (or other things.)  Well, this past week I came across a trumpet quintet video that blew me away. My first reaction was "Wow!" But as I kept watching I allowed the music to move me and my understanding to flow from it.

Here's the video. Take 7 1/2 minutes if you like to watch and then read on.

Oklahoma State (Division Winner) perform Toccata and Fugue in ...
Oklahoma State University win the Getzen Trumpet Small Trumpet Ensemble Division with “Toccata and Fugue in D minor (Bach)” at the 2015 National Trumpet Competition.Video - Michael Cano
Posted by Auckland City Brass Band on Thursday, September 24, 2015

My first thoughts- any brass group doing a decent job on a Bach transcription deserves the "Wow!" The music of J S Bach is always spectacular and moving. Bach touches so many sides of the human experience that one must allow the music to live on its own. Math and magic and amazingly well-constructed phrases make Bach untouchable. His "Toccata and Fugue" ranks among his greatest works. The toccata shows the "improvisational" touch and the fugue the polyphonic structures. Originally written for organ, a brass transcription has to take certain liberties. Any group wanting to perform it has to know the music and their place in it.

So what was it about this group that caught my attention and my "Wow!"

First, they just start out with such confidence. The opening phrase sings and in so doing lifted me up into the music from the word go. "Now that we have your attention...."

That took poise and confidence. So second I was aware that this group was comfortable with itself and its musicianship. They are performing at a competition, so they have worked hard to get to this point, but they don't appear in the least bit nervous. They are there and want you to listen to them. They like what they are about to do- and they want you to enjoy it, too. They also trust each other that the other people will do what they are supposed to do.

As they play, I noticed, third, that they are aware of each other no matter what is going on. Even when the one moves around to the opposite end the whole group is involved. Their body language throughout let me know that they were playing as a unit. More than a team, the unit moves together with all parts moving smoothly.

Fourth, and I know this may be part of watching on a computer monitor, at times it is difficult to separate which player is playing at any given time. That is part of the movement I mentioned above. But it goes beyond that into the smooth transitions from each musical phrase to the next. The handing-off of the melody is seamless.

 Next, fifth, when they are having to move around, change instruments, adjust the tuning, they do so with class. Part of that is the awareness of each other, but it is also, I think, that they are aware that even when they are not playing, what they do is part of the music. That is an often overlooked aspect of a public performance. Yes, people are there to listen to the music, but the performers can do things onstage that detract from that. These musicians are very aware of that and work very clearly to keep it to a minimum.

Everything else falls into place for me as I notice these aspects. It allows me to revel in the wonderful sound they present, the fine technique that is always evident, the deep knowledge of the music itself since they are not using music.  The entertainment value of the music is enhanced. The success of the group is in their relationship with each other and the music.

Instead of just going "Wow!" I found some things for myself, none of which is profound in and of itself. We all know about working together with others as "teams" and "units." We are all aware that we need to be sensitive to those around us and their part in what we are doing together. We agree that if we do not feel comfortable or competent with what we are doing, we will not succeed.

I may never play the Toccata and Fugue in a trumpet or brass quintet, but the inspiration of this performance will have an impact on what I do play- and beyond that- to how I interact with people every day.

Calendar of Saints: Bach, Handel, and Purcell (2)

Twice a week I post a quote from saints from the Episcopal Calendar of Saints that week. They are to be meditative and mindful, playful and thought inducing. I hope they are helpful in your spiritual journeys.


Johann Sebastian Bach,
George Fredrick Handel,
Henry Purcell
Composers
July 28

George Frederick Handel (Georg Friedrich Händel) was born at Halle in Germany in 1685. He originally studied for the law and then began to write operas. He moved to Italy in 1706 and to England in 1710, where in 1726 he became a British subject. ...His greatest work, The Messiah, was first performed in Dublin in 1741. The words are Scriptural passages from both Testaments dealing with the birth, death, and resurrection of Jesus. G B Shaw referred to it as "the hymn that can make atheists cry."

Henry Purcell (10 September 1659 (?)– 21 November 1695), was an English organist and Baroque composer of secular and sacred music. Although Purcell incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music. Purcell died in 1695 ...at the height of his career. Purcell is buried adjacent to the organ in Westminster Abbey. The music that he had earlier composed for Queen Mary's funeral was performed during his as well. Purcell was universally mourned as 'a very great master of music.'

-Link

Calendar of Saints: Bach, Handel and Purcell (1)

Twice a week I post a quote from saints from the Episcopal Calendar of Saints that week. They are to be meditative and mindful, playful and thought inducing. I hope they are helpful in your spiritual journeys.

Johann Sebastian Bach,
George Fredrick Handel,
Henry Purcell
Composers
July 28

Johann Sebastian Bach, widely regarded as the greatest of all composers of music for Christian worship, was born in 1685 in Eisenach, Thuringia, Germany, into a family of distinguished musicians. From 1723 until his death in 1750 he was at Leipzig, where he taught, conducted, sang, played, and composed. He had 20 children, of whom nine survived him, four of whom are also remembered as composers.

In addition to his secular music, Bach wrote a considerable amount of music for worship. He drew on the German tradition of hymn-tunes, and arranged many of them as cantatas, with elaborate choir settings for most stanzas, and a plain four-part setting for the final stanza, to be sung by the congregation with the choir. Bach was not just a musician. He was a Christian, and a preacher of the Gospel.


-Link