An Extra for the Season

Many thanks to the Allentown Band for posting this excellent arrangement of variations on our classic Moravian Christmas Eve hymn.

Jesus, mine, in me shine,

Fill my heart with light divine.

Hymns That Move Me (11) - In a Class All Their Own!

For the past ten weeks I have been posting on hymns that move me, great hymns of the church, Gospel songs and hymns, and specifically Moravian hymns. I posted them in alphabetical order so that I didn't have to choose "the best" ones. One of the reasons I did this was to introduce people to some of the hymns of my rich Moravian tradition. Christianity Today/Christian History has an online article about us and the music. There is also a good Wikipedia article on Moravian Church Music.

Here are some of what they have to say about its power and insight:

• They are based upon biblical or hymn texts, often the Daily Text assigned for the day of the first presentation of the work.
• The voice parts tend to move all together so that the words can be understood rather than any imitative writing such as Bach would do. In this way the Moravians resemble Handel more than Bach.
• They often have elaborate instrumental introductions and interludes, but the instrumental parts provide support when the voices are singing rather than drawing attention away from the text.
• Thus they are straightforward, well-crafted works like other Moravian arts and crafts.

There were two Moravian hymns that were not included in the previous list, two hymns that we in the American Moravian Church consider our "national anthems!" They are truly in a class all their own. Let me introduce you to them.

Moravian Hymns- The Anthems!

Jesus Makes My Heart Rejoice- Henrietta Louise van Hayn (1776) According to Hymnary.org, Henrietta Louise van Hayn (1724-1782) "was a gifted hymnwriter. A fervent love to Christ pervades her productions; and they are remarkably free from the unpleasant sentimentalism and that dwelling on the physical details of our Lord's Passion which mars so many of the Moravian hymns of that period." The hymn, of which this is the traditional and most commonly used English translation, was a children's hymn. I am told that at least some of our German Brethren find it interesting that we Americans have such a fondness to a children's hymn. I think it is because of this translation which moved from the children's hymn to a more adult wording. It captures the simplicity and wonder of following Jesus. As we become like little children in awe and joy, the better we can follow Him. Jesus makes my heart rejoice, I’m his sheep, and know his voice; he’s a Shepherd, kind and gracious, And his pastures are delicious; constant love to me he shows, yea, my very name he knows. Trusting his mild staff always, I go in and out in peace; he will feed me with treasure of his grace in richest measure; when athirst to him I cry, Living water he’ll supply. Some like to refer to this as "the leaping song." Somewhere along the line at church camps and retreats, and I may have even been among the guilty parties, we would literally "leap" at the end of the last verse's first line. Even in church many of us will rise onto our toes in a subtle leap. Being a Christian should have a sense of joy. It's quite childlike. Should not I for gladness leap, led by Jesus as his sheep? For when these blessed days are over to the arms of my dear Savior I shall be conveyed to rest. Amen, yea, my lot is blessed. Sing Hallelujah Praise the Lord- John Swertner (1789) The hymnwriter, John Swertner (1746-1813) was a Moravian minister born in Holland and served various places in England and Ireland. He was the editor for the 1789 British Moravian hymnal, perhaps where this song was first published. The composer of the song's tune, John Christian Bechler (1784-1857 was educated at the Moravian College and Theological Seminary in Germany, came to the United States in 1806. When the American Moravian Theological Seminary was founded, he was appointed one of its first professors. He had charge of various churches in Pennsylvania and on Staten Island and was consecrated a Bishop at Lititz, Pennsylvania, in 1835. He was a gifted musician and wrote many varied pieces while in the United States. The hymn itself is, for us, priceless. It is the song that ends the liturgy used at the regular worship on Easter (as differentiated from the Easter Dawn service.) It is a moving, soaring hymn. It should not drag, no, in my opinion, should it ever be played too fast. A majestic allegro is how I personally would describe it. Until the last two lines of the song. As the directions in the Moravian Book of Worship indicates, it should be "broadened to a hold on the word 'slain' and continuing to a climax on 'Amen'." Sing hallelujah, praise the Lord! Sing with a cheerful voice; exalt our God with one accord, and in His Name rejoice. Ne’er cease to sing, O ransomed host, praise Father, Son and Holy Ghost, until in realms of endless light your praises shall unite. There we to all eternity shall join th'angelic lays and sing in perfect harmony to God our Savior’s praise; He has redeemed us by His blood, and made us kings and priests to God; for us, for us, the Lamb was slain! Praise ye the Lord! Amen.

So this eleven-part series comes to an end. Thirty-two hymns and songs that have moved me- and continue to feed my spiritual life. Just putting this series together was a weekly spiritual experience. I hope it has been for you.

I will do this again from Thanksgiving through Epiphany with hymns of the seasons.

Hymns That Move Me (Week 10)

This is the tenth 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.

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 for a Thousand Tongues to Sing- Charles Wesley (1739) I know this is not a "Moravian" hymn, as such. The Wesley brothers were, of course the founders of the Methodist Church in England. But I like to think that if it hadn't been for the Moravians the Methodists might never come into being. Since I am a Moravian, I have two stories since we have a difficult time discussing theological subjects without a story. First, with excerpts from an article from Christianity Today's web site on "The Moravians and John Wesley", a couple events leading to his conversion at Aldersgate in 1738.: On Sunday, January 25, 1736, John Wesley is on board a ship bound for America and observes the Moravians in the midst of life-threatening storms. He writes in his journal, “I had long before observed the great seriousness of their behaviour. Of their humility they had given a continual proof, by performing those servile offices for the other passengers, which none of the English would undertake; for which they desired, and would receive no pay…” He goes on: "In the midst of the psalm wherewith their service began, the sea broke over, split the main-sail in pieces, covered the ship, and poured in between the decks, as if the great deep had already swallowed us up. A terrible screaming began among the English. The Germans calmly sung on. I asked one of them afterwards, 'Was you not afraid?' He answered, 'I thank God, no.' I asked, 'But were not your women and children afraid?' He replied, mildly, 'No; our women and children are not afraid to die.'" Second, as a follow up to this encounter, the Wesley's sought out the Moravians when they returned to England. A little more than two years later, prior to his conversion and in the midst of one of his own crises of faith he went to see his brother at Oxford. Moravian Peter Boehler was with him. Again from Wesley's journal: Immediately it struck into my mind, “Leave off preaching. How can you preach to others, who have not faith yourself?” I asked Boehler, whether he thought I should leave it off or not. He answered “By no means.” I asked, “But what can I preach?” He said, “Preach faith till you have it; and then, because you have it, you will preach faith.” Not long after that the Wesleys had their conversions and the Methodist Church was born. A year later, in 1739 for the first anniversary of his conversion, Charles Wesley, the great hymn writer put together a long hymn (18 verses!) to celebrate. Several of the verses of that hymn became this amazing hymn. Wesley took the title phrase of this text from that same Peter Boehler who said to Wesley, "If I had a thousand tongues, I would praise Christ with them all." So, while it isn't a Moravian hymn, it certainly captures who the Moravians were- and are. As a singing people, the idea of using a thousand tongues to sing praise God would not have been out of place. O for a thousand tongues to sing my great Redeemer's praise, the glories of my God and King, the triumphs of his grace! My gracious Master and my God, assist me to proclaim, to spread thro' all the earth abroad the honors of your name. Jesus! the name that charms our fears, that bids our sorrows cease, 'tis music in the sinner's ears, 'tis life and health and peace. He breaks the power of cancelled sin, he sets the prisoner free; his blood can make the foulest clean; his blood availed for me. The final benediction and doxology verse sums it up. To God all glory, praise, and love be now and ever given by saints below and saints above, the Church in earth and heaven.

Great Hymns of the Church

When I Survey the Wondrous Cross- Isaac Watts (1707) Again in England, this time in the early part of the 18th Century, the greatest single English hymn writer, Isaac Watts, revolutionized worship forever. Wikipedia, referencing scholars of hymnody says: Watts led [English hymnody into new areas] by including new poetry for "original songs of Christian experience" to be used in worship. The older tradition was based on the poetry of the Bible, notably the Psalms.... Watts was not the first Protestant to promote the singing of hymns; however, his prolific hymn writing helped usher in a new era of English worship as many other poets followed in his path. -Link It is hard to say which of Watts's hymns may be the greatest. This one would certainly be at the top for many of us. It is the summation of the Christian message in timeless poetry. What else can I say? When I survey the wondrous cross on which the Prince of glory died, my richest gain I count but loss, and pour contempt on all my pride. Forbid it, Lord, that I should boast save in the death of Christ, my God! All the vain things that charm me most, I sacrifice them through his blood. See, from his head, his hands, his feet, sorrow and love flow mingled down. Did e'er such love and sorrow meet, or thorns compose so rich a crown? As I have noted before, closing verses often contain some of the most powerful words of the whole hymn. This one is no different. I can never sing it without being humbled by how profound it is with an amazing simplicity of thought and word. Were the whole realm of nature mine, that were a present far too small. Love so amazing, so divine, demands my soul, my life, my all.

Gospel-type Hymns and Songs

Will the Circle Be Unbroken- Original by Ada Habershon (1907) Ada Ruth Habershon (1861-1918) was an English Christian hymnist, who was in the circle of several great preachers of her era including Charles Spurgeon and Dwight L. Moody. She was asked at one point to write some hymns for a preaching series being held in England, eventually sending the preacher over 200 songs. This one has entered popular and spiritual culture and become a classic. Her original song's chorus has been adapted and brought into a couple of songs including the famous Carter Family song, "Daddy Sang Bass." Wikipedia also reports: A reworked version of the song, intended as a funeral hymn, was written by A. P. Carter and released in 1935 by the Carter Family. The Carter version, titled "Can the Circle be Unbroken", uses the same music and the same verse structure but with different verse lyrics and a modified chorus. That version has often been recorded as "Will the Circle be Unbroken", including the 1972 performance by Mother Maybelle Carter and ensemble on the Nitty Gritty Dirt Band album of the same title. -Link The song is most often covered in country, bluegrass, and Gospel music, but you can find versions in almost any popular music genre. (I love to play it in jazz-style trumpet!) In 1998, the popular Carter Family version was inducted into the Grammy Hall of Fame. As great as any of the others and filled with hope and good news! I was standing by the window On one cold and cloudy day And I saw the hearse come rolling For to carry my mother away Chorus: Can the circle be unbroken Bye and bye, Lord, bye and bye There's a better home a-waiting In the sky, Lord, in the sky Lord, I told the undertaker Undertaker, please drive slow For this body you are hauling Lord I hate to see her go Chorus I followed close behind her Tried to hold up and be brave But I could not hide my sorrow When they laid her in the grave Chorus Went back home Lord, my home was lonesome Miss my mother she was gone All my brothers, sisters crying What a home so sad and lone Chorus: Can the circle be unbroken Bye and bye, Lord, bye and bye There's a better home a-waiting In the sky, Lord, in the sky

 
We sang the songs of childhood 
Songs of faith that made us strong 
Ones that Mother Maybelle taught us 
Hear the angels sing along.

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 There is one more post left in this series of thirty (plus two) hymns. Next week I will talk about the two Moravian hymns that are our Moravian Anthems and stand in a class all their own. After that I will do another series for Thanksgiving, Advent, Christmas and Epiphany of hymns for those seasons. I know a number of you have enjoyed this series. I hope these hymns have moved you- and even discovered some new ones to bless your personal worship!

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.

Hymns That Move Me (Week 8)

This is the eighth 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

The Savior's Blood and Righteousness- Nicholas von Zinzendorf (1739) Zinzendorf insisted that the truest language for heart religion is song.... For Zinzendorf and the Brüdergemeine... the truths of the Christian religion are best communicated in poetry and song, not in systematic theology and polemics. (Craig Atwood, Zinzendorf.com) "The Savior’s Blood and Righteousness” is perhaps “the one hymn most representative of his theology.” The count wrote the 33 stanzas of this hymn in 1739 on his voyage home after visiting Moravian mission work in the West Indies. (Christianity Today)  (He had gone to the islands to boost the position of the missionaries there who were not welcomed by the landowners since the aim of the mission work was the slaves. He later traveled to Pennsylvania and helped establish Bethlehem on Christmas 1741.) Theology was not, for Zinzendorf or the 18th Century Moravians an academic pursuit. It was the language of the heart. Again and again the mystical language of union with God in Jesus through the Spirit comes through. The Savior’s blood and righteousness My beauty is, my glorious dress; Thus well arrayed, I need not fear, When in His presence I appear. The holy, spotless, Lamb of God, Who freely gave His life and blood For all my numerous sins to atone, I for my Lord and Savior own. Therefore my Savior’s blood and death Are here the substance of my faith; And shall remain, when I’m called hence, My only hope and confidence. Lord Jesus Christ, all praise to Thee, That Thou didst deign a man to be, And for each soul which Thou hast made Hast an eternal ransom paid. This hymn, in the original German and in alternative translations can be found in a number of different denominational hymnals. I could not find a version in either English or German that used the same tune as the American hymnals. Here is one, in German, however, with a more contemporary tone. If you know German, you can see the way translations can vary.

Great Hymns of the Church

Ten Thousand Times Ten Thousand- Henry Alford (1867) Henry Alford (1810 – 1871) was an English churchman, theologian, textual critic, scholar, poet, hymnodist, and writer. (Link)  Among his best known hymns are "Come, Ye Thankful People Come" and "Ten Thousand Times Ten Thousand." This hymn, according to Hymnary.com is found in over 380 hymnals. It is, for me, one of the truly great hymns of the church. It's language and message reminds us of what is often called the "Church Triumphant," i.e. those who have died and gone on to the immediate presence of our Lord. The joy and wonder of the hymn almost jump off the page. The first time I remember hearing it was at a memorial service held at the 1974 Moravian Northern Provincial Synod in Bethlehem. The service was to remember the pastors who had died in the four years since the previous Synod. It was just about ten years since my father had died when I was 16 and nearly thirteen years since my mother had died. We came to what was then the 3rd verse and I was overwhelmed by the words and sentiment. Here- from the 1969 hymnal: O then what raptured greetings On Canaan's happy shore; What knitting severed friendships up, Where partings are no more! Then eyes with joy shall sparkle, That brimmed with tears of late; Orphans no longer fatherless, Nor widows desolate. I could not sing the last verse. I was moved in ways I have never forgotten. Read the words as words of incredible praise and wonder at the grace of God! Sadly, in the revision made for the more recent Moravian Book of Worship, the original words were changed to: no orphans left without a home, nor mourners desolate. While I appreciate and support the desire to be inclusive, personally I am glad those were not the words in 1974. One more reason for sadness, this time for every other denomination who uses this hymn. No one else has the same tune that is in the Moravian hymnal. The tune, Eastham, is only found in our hymnal.  At the 1976 Moravian Music Festival in Bethlehem, band director, Jeffrey Reynolds, then principal trombone of the Los Angeles Philharmonic, commented that the Eastham tune paired with this hymn may be the single best example of perfect melding of words and music. I agree. I wish others could have experienced this amazing hymn the way we have in the Moravian Church.  Ten thousand times ten thousand in sparkling raiment bright, the armies of the ransomed saints throng up the steeps of light! 'Tis finished, all is finished, their fight with death and sin. Fling open wide the golden gates and let the victors in! What rush of halleluias fills all the earth and sky! What ringing of a thousand harps bespeaks the triumph nigh! O day, for which creation and all its tribes were made! O joy, for all its former woes a thousand fold repaid! O then what raptured greetings on Canaan's happy shore; what knitting severed friendships up, where partings are no more! Then eyes with joy shall sparkle that brimmed with tears of late, no orphans left without a home, nor mourners desolate. Bring near your great salvation, O Lamb for sinners slain; fill up the roll of your elect, then take your pow'r and reign! Appear, Desire of nations, your exiles long for home; show in the heav'n your promised sign; then, Prince and Savior, come. Needless to say, I could not find a video of the hymn with this tune. So I made one using a recording from the Moravian Music Foundation. Most of the pictures are from God's Acre in Bethlehem, two are from Berea/Our Savior's Churches Easter Dawn, and two are from Costa Rica. It is the more recent revision of the words, but it captures the majesty and wonder in all its fullness. I never tire of this hymn!

Gospel-type Hymns and Songs

Precious Lord, Take My Hand- Thomas A. Dorsey (1938) Thomas Andrew Dorsey (1899 – 1993) was known as "the father of black gospel music" and was at one time so closely associated with the field that songs written in the new style were sometimes known as "dorseys". Earlier in his life he was a leading blues pianist known as Georgia Tom. (Not the big band leader!) As formulated by Dorsey, gospel music combines Christian praise with the rhythms of jazz and the blues. His conception also deviates from what had been, to that time, standard hymnal practice by referring explicitly to the self and its relation to faith and God, rather than the individual subsumed into the group via belief. Dorsey wrote "Precious Lord" in response to his inconsolable bereavement at the death of his wife, Nettie Harper, in childbirth, and his infant son in August 1932. This video begins with Dorsey giving his testimony about its composition. Truly a powerful witness in word and song!

Hymns That Move Me (Week 7)

This is the seventh 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

Most Holy Lord and God- Notker Balbulus (9th C.) Notker the Stammerer (Latin: Notcerus Balbulus c. 840 – 912), was a musician, author, poet, and Benedictine monk at the Abbey of Saint Gall in modern Switzerland.The translation into German was by Count Zinzendorf. Many of you may have never heard this hymn before. According to Hymnary.org both the text and the tune, which is a Moravian update on a 15th C. German hymn, are only found in Moravian hymnals. The chant-style, the simple melody line with little adornment makes it a quiet, deep song for spiritual meditation. Most Holy Lord and God, Holy, Almighty God, Holy and most merciful Savior, Thou eternal God! Grant that we may never Lose the comforts from Thy death Have mercy, O Lord. Most Holy Lord and God, Holy, Almighty God, Holy and most merciful Savior, Thou eternal God! Bless Thy Congregation Through Thy sufferings, death, and blood. Have mercy, O Lord.

Great Hymns of the Church

Praise to the Lord, the Almighty- Joachim Neander (1680?); tr. Catherine Winkworth (1863); Tune: Lobe den Herrn Neander was a German Reformed (Calvinist) Church teacher, theologian and hymn writer whose hymns were quickly adopted by the German Lutherans as well. Translator Catherine Winkworth maybe the best known of translators of German hymns into English. The tune is most likely based on a German folk tune. Together they form one of the truly great hymns of praise in the English language. Praise to the Lord, the Almighty, the King of creation! O my soul, praise him, for he is your health and salvation! Come, all who hear; now to his temple draw near, join me in glad adoration. Praise to the Lord, above all things so wondrously reigning; sheltering you under his wings, and so gently sustaining! Have you not seen all that is needful has been sent by his gracious ordaining? As with many hymns, the last verse brings the prayer to a spiritual call to greater praise. Praise to the Lord! O let all that is in me adore him! All that has life and breath, come now with praises before him. Let the Amen sound from his people again; gladly forever adore him.

Gospel-type Hymns and Songs

Just as I Am- Charlotte Elliott (1835) Charlotte Elliott (1789-1871), as noted in Hymnary.org was a person of "deep spiritual-mindedness which is so prominent in her hymns. Though weak and feeble in body, she possessed a strong imagination, and a well-cultured and intellectual mind. Her love of poetry and music was great, and is reflected in her verse. Her hymns number about 150, a large percentage of which are in common use." The hymn of course, may be mos famous for its use by Billy Graham in his Crusades.  While it can be as syrupy sweet as hymns of this type can get, its power lies in the simple words repeated at the beginning and end of each verse: Just as I am... O Lamb of God, I Come. I still remember the morning in church as we were singing this hymn and I turned to the back of the hymnal to see what it had to say about Elliott. The last five words jumped off the page giving new meaning to her words and her faith. Her short bio ended simply with, "She was a lifelong invalid." Hard to forget! Just as I am, without one plea, but that thy blood was shed for me, and that thou bidd'st me come to thee, O Lamb of God, I come, I come. Just as I am, and waiting not to rid my soul of one dark blot, to thee, whose blood can cleanse each spot, O Lamb of God, I come, I come. Just as I am, thou wilt receive, wilt welcome, pardon, cleanse, relieve; because thy promise I believe, O Lamb of God, I come, I come.

Hymns That Move Me (Week 6)

This is the sixth 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

Morning Star-Johannes Scheffler (1657); F. F. Hagen (1836) Morning Star, is a popular American Moravian Church carol with text originating as a poem by Johannes Scheffler in 1657, to music composed by Francis F. Hagen from Salem in 1836.  That's what Wikipedia tells me. Scheffler, as far as  I know, was born a Lutheran Protestant around 1624 in Silesia (Poland). As he became more mystical in his theology his life within the Lutheran Church became more tense and difficult. He converted to Roman Catholicism in 1653. He was a poet whose poetry clearly fell into the mystical, pietistic within an ortodox Catholic framework. Morning Star clearly fits into that theology. (There does seem to be that connection with most of these Moravian hymns. Mystical connections are very much a part of them!) Francis Florentine Hagen (1815–1907) was a Moravian minister and composer. He was born in Salem, North Carolina, on October 30, 1815. He grew up in Salem before attending the Moravian Theological Seminary in Bethlehem, Pennsylvania, where he graduated in 1835. Hagen served various congregations in North Carolina, Pennsylvania, Iowa and New York before retiring from the ministry in 1877. As a composer, his musical style reflected his Moravian roots combined with elements of 19th century Romantic music. He composed large scale orchestral and vocal works in addition to solo voice and piano pieces. He died in Lititz, Pennsylvania, on July 7, 1907. -Wikipedia The Christmas Encyclopedia tells us: At some point in the service, it is customary for a child to sing two lines of the Moravian hymn “Morning Star,” whereupon the congregation antiphonally repeats these lines, and all sing the final line in unison. That happens in the best of all possible worlds, of course. Many congregations have a group of children sing or use the choir as the soloist. The tune generally starts relatively quietly and builds through the verses ending with the joy of the birth of the Christ Child. It may be one of the most moving moments in Moravian worship, transcending even the often overly romanticized music and sound. It moves one into the mystical depths that Scheffler would have understood. It is also a connection with some of the deeper roots of our Moravian theology and history. Solo: Morning Star, O cheering sight! Ere thou cam'st, how dark earth's night! Congregation: Morning Star, O cheering sight! Ere thou cam'st, how dark earth's night! S: Jesus mine, C: in me shine; S: in me shine, C: Jesus mine; All: fill my heart with light divine. S: Morning Star, thy glory bright far excels the sun's clear light. C: Morning Star, thy glory bright far excels the sun's clear light. S: Jesus be, C: constantly, S: Constantly, C: Jesus be All: More than thousand suns to me. S: Thy glad beams, thou Morning Star, cheer the nations near and far. C: Thy glad beams, thou Morning Star, cheer the nations near and far. S: Thee we own, C: Lord alone, S: Lord alone, C: thee we own, All: Our dear Savior, God's dear Son. S: Morning Star, my soul's true light, tarry not, dispel my night. C: Morning Star, my soul's true light, tarry not, dispel my night. S: Jesus mine, C: in me shine; S: in me shine, C: Jesus mine; All: Fill my heart with light divine.

Great Hymns of the Church

It Is Well With My Soul-Horacio Spafford (1873); Philip Bliss. It is not a surprise that this hymn has survived as one of the truly great hymns of the church. Many of the powerful hymns come from personal experiences of either great joy or great sorrow. Spafford wrote this after a series of traumatic disasters in his own life. The first was the death of his son at the age of 2 and the Great Chicago Fire of 1871, which ruined him financially (he had been a successful lawyer and had invested significantly in property in the area of Chicago that was extensively damaged by the great fire). His business interests were further hit by the economic downturn of 1873, at which time he had planned to travel to Europe with his family on the SS Ville du Havre. In a late change of plan, he sent the family ahead while he was delayed on business concerning zoning problems following the Great Chicago Fire. While crossing the Atlantic, the ship sank rapidly after a collision with a sea vessel, the Loch Earn, and all four of Spafford's daughters died. His wife Anna survived and sent him the now famous telegram, "Saved alone …". Shortly afterwards, as Spafford traveled to meet his grieving wife, he was inspired to write these words as his ship passed near where his daughters had died. -Wikipedia When peace like a river, attendeth my way, When sorrows like sea billows roll; Whatever my lot, Thou hast taught me to say It is well, it is well, with my soul. Refrain: It is well, (it is well), With my soul, (with my soul) It is well, it is well, with my soul. Though Satan should buffet, though trials should come, Let this blest assurance control, That Christ has regarded my helpless estate, And hath shed His own blood for my soul. My sin, oh, the bliss of this glorious thought! My sin, not in part but the whole, Is nailed to the cross, and I bear it no more, Praise the Lord, praise the Lord, O my soul! And Lord, haste the day when my faith shall be sight, The clouds be rolled back as a scroll; The trump shall resound, and the Lord shall descend, Even so, it is well with my soul.

Gospel-type Hymns and Songs

Just a Closer Walk- Anonymous The precise author of A Closer Walk is unknown. Circumstantial evidence strongly suggests it dates back to southern African-American churches of the nineteenth century, possibly even prior to the Civil War, as some personal African American histories recall "slaves singing as they worked in the fields a song about walking by the Lord's side." ... Just a Closer Walk with Thee became better known nationally in the 1930s when African-American churches held huge musical conventions. The first known recording was by the Selah Jubilee Singers on October 8, 1941, New York City. Rosetta Tharpe also recorded the song on December 2, 1941 -Link The wide range of artists who have recorded the song points to its ability to reach into each of us in our own unique ways. It is one of the standards of jazz funerals and has a special place in Dixieland and jazz music. The ongoing presence of Jesus in one's life is the ultimate sense of hope, no matter what. In that it is in the same rich tradition as It is Well With My Soul. I am weak, but Thou art strong, Jesus, keep me from all wrong, I’ll be satisfied as long As I walk, let me walk close to Thee. Just a closer walk with Thee, Grant it, Jesus, is my plea, Daily walking close to Thee, Let it be, dear Lord, let it be. Through this world of toil and snares, If I falter, Lord, who cares? Who with me my burden shares? None but Thee, dear Lord, none but Thee. When my feeble life is o’er, Time for me will be no more, Guide me gently, safely o’er To Thy kingdom's shore, to Thy shore. (Note: Stay for the "Second Line" after the applause.  It's a different song but you will see how a New Orleans Jazz funeral puts it all together!)

Note: I have received a couple comments on this series asking me to come up with another thirty songs. I am considering it, after all there are so many hymns and songs - and so little time!

Hymns That Move Me (Week 5)

This is the fifth 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

Join We All With One Accord- Matthew of Kunwald (1457) Matthew (1442?-1500) was one of the first priests of the Unitas Fratrum, ordained in 1467 the year the Unitas decided it was time to make the complete break with the Roman orders and establish their own priesthood. He was one of three chosen by "the lot" for ordination. As described in Wikipedia: After choosing nine members of the Unity that the synod attendees felt had gifts suitable for ministry, they took twelve slips of paper and wrote the words “it is he” on three of them. The slips of paper with those words would be called the positive lot because the members that drew those slips of paper would be selected as priests. It was also possible that none of the positives would be drawn, which would be seen as a sign from God that no priests should be selected. (-Link) This process would be utilized countless times in the coming centuries to make major decisions. This hymn, written most likely in the first years of the organizing of some of the Hussite followers into the Unitas is often considered the first hymn written by the Brethren. Michael Weisse is sometimes credited with writing it, but dates don't match and Weisse is usually given credit as a translator of the hymn into German. Putting the hymn into historical context, it is no surprise that the theme of Church unity and the Body of Christ would be its theme. It was 42 years since Jan Hus was martyred. A number of different factions vied for supremacy. The group, soon to be known as the Unitas Fratrum took that call to unity very seriously, making it their name! Join we all with one accord; praise we all our common Lord; for we all have heard his voice, all have made his will our choice. Join we with the saints of old, no more strangers in the fold, one the Shepherd who us sought, one the flock his blood has bought. One our Master, one alone, none but Christ as Lord we own; "brethren of his law" are we — “As I loved you, so love ye.” Branches we in Christ, the Vine, living by his life divine; as the Father with the Son, so, in Christ, we all are one. One the name in which we pray, one our Savior day by day; with one cup and with one bread thus one cov'nant way we tread. One in spirit, one in life, one amid earth’s frequent strife, one in faith and one in love, one in hope of heav'n above. It remains one of the favorite hymns of the Moravian Church. It is traditionally sung to a catchy, upbeat tune written in the early 1500s by Jan Roh, that makes the hymn not only fun to sing, but also fun to play and listen to.

Great Hymns of the Church

Love Divine, All Loves Excelling- Charles Wesley (1747) The prolific hymn writer, Methodist Charles Wesley, captures the heart of Christian faith in what is one of his most popular hymns. It is found, according to the Dictionary of North American Hymnology in 1,328 hymnals in their index, even more than Amazing Grace. Wesley brings together many great allusions and metaphors. Jesus coming to live in us- a humble dwelling. The Holy Spirit breathing (!) into us peace and liberty from sin. God the Almighty Creator in whose Temple we will live forever. Love divine, all loves excelling, joy of heaven, to earth come down, fix in us thy humble dwelling, all thy faithful mercies crown. Jesus, thou art all compassion, pure, unbounded love thou art; visit us with thy salvation; enter every trembling heart. Breathe, oh, breathe thy loving Spirit into every troubled breast; let us all in thee inherit; let us find the promised rest. Take away the love of sinning; Alpha and Omega be; end of faith, as its beginning, set our hearts at liberty. Come, Almighty, to deliver, let us all thy life receive; suddenly return, and never, nevermore thy temples leave. Thee we would be always blessing, serve thee as thy hosts above, pray and praise thee without ceasing, glory in thy perfect love. The hymn's fourth verse brings it all together in what to me are some of the greatest lines in English hymnody: Finish, then, thy new creation; pure and spotless let us be; let us see thy great salvation perfectly restored in thee: changed from glory into glory, till in heaven we take our place, till we cast our crowns before thee, lost in wonder, love and praise. Lost in wonder, love and praise! Joy rings forth in ways few hymns can match! There are three different tunes used for this hymn. Here is the St. Olaf Choir at one of their Christmas events singing it to the tune of Hyfrydol.

Gospel-type Hymns and Songs

I'll Fly Away- Albert Brumley (1932) Albert Brumley was a prolific shape-note and Gospel music composer with over 600 songs to his credit. This one is considered one of the most popular and most often recorded in many genres. It is a staple at many bluegrass jams. According to interviews, Brumley came up with the idea for the song while picking cotton on his father's farm in Rock Island, Oklahoma. Brumley says that as he worked he was "humming the old ballad that went like this: 'If I had the wings of an angel, over these prison walls I would fly,' and suddenly it dawned on me that I could use this plot for a gospel-type song." The song Brumley described appears to be "The Prisoner's Song". It was an additional three years later until Brumley worked out the rest of the song, paraphrasing one line from the secular ballad to read, "Like a bird from prison bars has flown" using prison as an analogy for earthly life. Brumley has stated, "When I wrote it, I had no idea that it would become so universally popular." -Link Some glad morning when this life is over, I'll fly away. To a home on God's celestial shore, I'll fly away. I'll fly away, O Glory, I'll fly away. (In the morning) When I die, Hallelujah, bye and bye, I'll fly away. When the shadows of this life are gone, I'll fly away. Like a bird from prison bars has flown I'll fly away. I'll fly away, O Glory, I'll fly away. (In the morning) When I die, Hallelujah, bye and bye, I'll fly away. The dilemma- which version to pick? I gave in to the wondrous Allison Krauss/Gillian Welch version from the O Brother, Where Art Thou? soundtrack. Enjoy!

Okay, this is one version of I'll Fly Away I can't resist. Here's a great jazz arrangement by one of the up and coming young trumpet players, John Raymond, with his group, Real Feels.

Hymns That Move Me (Week 4)

This is the fourth 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 obviously stick to the traditional and best known tunes in the case where alternate tunes might be used.

Moravian Hymns

Jesus Still Lead On- Nicholas von Zinzendorf (1721) Another hymn by Zinzendorf. He was 21 years old when he wrote this one and it shows the influence of the Pietist movement that he was steeped in. Even as a nobleman, he was willing to follow his faith and Lord. Spener, the father of Pietism, was his godfather; and Franke, the founder of the famous Orphan House, in Halle, was for several years his tutor. (Link) He wrote over 2000 hymns between age 12 and the day of his death just shy of his 60th birthday. Many of these are not noteworthy. But some, such as this one, are filled with a faith and hope beyond his years. Jesus still lead on Till our rest be won; And although the way be cheerless, We will follow calm and fearless; Guide us by your hand To our fatherland. If the way be drear, If the foe be near, Let no faithless fears overtake us, Let not faith and hope forsake us; Safely past the foe To our home we go. When we seek relief From a long felt grief, When temptations come alluring, Make us patient and enduring; Show us that bright shore Where we weep no more. So I went looking for a video. I didn't find anything that attracted me. Then I saw a large number of versions under the original German title, Jesu Geh Voran including one from an Orthodox church as well as others. I chose this one since it captures the Moravian trombone choir aspect of how the hymn would be played chorale-style even though there are added flourishes between the phrases.

Great Hymns of the Church

How Great Thou Art- Carl Gustav Boberg (1885) What is most likely the second best known and best loved hymn, How Great Thou Art started as a poem by Gustav Boberg in Swedish. It was first translated into English in 1925 with the title, O Mighty God. There have been various translations in different hymnals over the years, partly due to copyright and extremely high licensing fees. It became widely known and popular in the 1960s and 70s surpassing many older hymns in popularity. In my experience it became one of the most common hymns people requested at funerals. To some degree based on Psalm 8, Boberg had this to say about it's composition: It was that time of year when everything seemed to be in its richest colouring; the birds were singing in trees and everywhere. It was very warm; a thunderstorm appeared on the horizon and soon there was thunder and lightning. We had to hurry to shelter. But the storm was soon over and the clear sky appeared. When I came home I opened my window toward the sea. There evidently had been a funeral and the bells were playing the tune of 'When eternity's clock calls my saved soul to its Sabbath rest.' That evening, I wrote the song, 'O Store Gud.' (Wikipedia) I had the hymn sung as an anthem at my ordination in 1974 and it remains one of my favorite hymns, calling me to remember the wonders of the world around me- and the way I have been called into God's service and presence in all I do. O Lord my God, when I in awesome wonder, Consider all the worlds Thy hands have made; I see the stars, I hear the rolling thunder, Thy power throughout the universe displayed. Chorus: Then sings my soul, my Savior God, to Thee, How great Thou art! How great Thou art! Then sings my soul, My Savior God, to Thee, How great Thou art! How great Thou art! When through the woods, and forest glades I wander, And hear the birds sing sweetly in the trees. When I look down, from lofty mountain grandeur And hear the brook, and feel the gentle breeze. Chorus And when I think, that God, His Son not sparing;Sent Him to die, I scarce can take it in; That on the cross, my burden gladly bearing, He bled and died to take away my sin. When Christ shall come, with shout of acclamation, And take me home, what joy shall fill my heart. Then shall I bow, in humble adoration, And then proclaim, "My God, how great Thou art!" I chose another instrumental for this hymn, too. It is a hymn that is way too easily made corny and schmaltzy (in my opinion, anyway.) This is a beautiful arrangement that avoids that, I think. Sing the words to yourself and enjoy.

Gospel-type Hymns and Songs

His Eye is on the Sparrow- Civilla D. Martin (1905) According to Wikipedia, Civilla Martin, who wrote the lyrics, said about her inspiration to write the song based on the scriptures: "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?" (Matthew 6:26) and "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" (Matthew 10:29–31): 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 wheel chair. 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 reply 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. Actress-singer Ethel Waters used the title for her autobiography and Mahalia Jackson's recording of the song was honored with the Grammy Hall of Fame Award in 2010. Why should I feel discouraged and why should the shadows come? Why should my heart be lonely and long for heaven and home? When Jesus is my portion, a constant Friend is He, His eye is on the sparrow and I know He watches me. His eye is on the sparrow and I know He watches me. Chorus: I sing because I'm happy; I sing because I'm free; His eye is on the sparrow And I know He watches me. Let not your heart be troubled; these tender words I hear; And resting on his goodness I lose my doubts and fears; Though by the path He leadeth but one step I may see; His eye is on the sparrow and I know He watches me. His eye is on the sparrow and I know He watches me. Chorus Whenever I am tempted; whenever clouds arise; When songs give place to sighing; when hope within me dies; I draw the closer to Him; from care He sets me free; His eye is on the sparrow and I know He watches me. His eye is on the sparrow and I know He watches me. Chorus