When Peace Like a River

Here is another hymn! It is hard to believe, but it has already been a year since this whole idea began. I am thankful for everyone of you who have taken the time to read these posts! Thank you so much for your support. This blog has grown beyond what I could have expected it to, and I hope and pray that it will continue to grow! God is good!

Title: When Peace Like a River

Tune: Ville du Havre

Meter: 11.8.11.9. with refrain

Composer: Phillip Bliss (9^th July, 1838- 29^th December, 1876)

Author: Horatio G. Spafford (20^th October, 1828-16^th October 1888)

The hymn “When Peace Like a River” is one that is shrouded with tragedy and dark times, but the every present reminder within the text helps the congregation to remember that God will take care of us. Originally published in 1876, this hymn has been published with the tune “Ville du Havre,” composed by Phillip Bliss almost exclusively. The hymn made its first debut in Gospel Hymns No. 2 which was compiled by Ira Sankey and Phillip Bliss, both who were good family friends with Horatio Spafford. The origin of this hymn dates only three years prior to the actual publication of it, and shows us that God has a plan for each and every one of us, and sometimes, tragedy can strike when we least expect it.

Horatio Spafford was born in New York, but would eventually move to Chicago in 1856. While he was in Chicago, Spafford became a Lawyer and professor of medical Jurisprudence at Lind University, which is better known today as Chicago Medical College (Westermeyer, 2010, p. 651.) Though he was busy with his day job, Spafford made sure that he was an active Presbyterian Lay person. Spafford taught Sunday school, was a director and trustee for the Presbyterian Theological Seminary, and was also an employee for the YMCA. As Spafford's life moved forward, he would soon see his fair share of tragedies. Prior to 1871, Spafford had placed all of his money and more in real estate in the area of what is now known as Lincoln Park off of the shore of Lake Michigan. Of course, in 1871, the Great Chicago fire wiped out all of his investment, leaving him with little money. Shortly after the fire, in 1873, Spafford was advised by doctors that he take his family over to Europe to benefit the health of his wife (Spafford's wife born in Norway in 1842, and came with her family to Chicago when she was four, and Minnesota when she was seven). Only a short time before his departure, Spafford was called away on some pressing business, and sent his wife and his four daughters ahead of him, as scheduled. The liner that the family was on, the Ville Du Havre, was hit bu a British ship. The Lochearn, on November 22^nd, 1873, and it took only twelve short minutes for the entire ship to be sunk. All four of Spafford's daughters died in the accident, but his wife was spared.

After this tragedy, Spafford and his wife gave birth to three more children, a daughter, Bertha, a son, Horatio and another daughter Grace (1881). Horatio was born in 1876, and Bertha, in 1878, but both children contracted scarlet fever. Bertha was able to survive the fever, but Horatio was not able to. Bertha is responsible for the retelling of several of Spafford's stories. The story of where this text comes from is proof that God exists, and that he has a hand in all of our lives. While traveling over to Europe to meet his wife, Spafford is said to have penned the text near to the spot where the accident had happened, and his four daughters had perished. After having dealt with such tragedy, life didn't seem to get any better for Spafford. After returning to his Church, Spafford ran into troubles with his own congregation. In one of the weaker moments of the church, Spafford's own congregation denied him. The first misunderstanding came when a member of an evangelical group came to meet with the Spaffords in their own house, and offered to adopt Bertha, opening a wound in the family. From this first incident, the family began planning a move to Jerusalem. After planning a move, the misunderstanding continued for Spafford. Spafford “shocked the complacent” when he said that he could not believe that babies were consigned to hell (Westermeyer, p. 652). After the newspaper got a hold of this story, the Spaffords were asked to leave the congregation of the Fulerton Avenue Presbyterian Church, the church that Spafford had helped build, where he was an elder, the church in which many of the Spafford's were baptized in as well. Shortly after Spafford's daughter, Grace, was born, the family left for Jerusalem and formed an “American Colony” (Westermeyer, p. 652). The story of the families adventures in Jerusalem were told by Bertha in her book Our Jerusalem, which shows that she had spent quite a bit of time in Jerusalem acting as a “modern Florence Nightingale” (Westermeyer, p. 652).

The tune, “Ville du Havre” is a rather emotional tune, and has several challenges within it. Though the tune has many good qualities, it is not often sang as a congregation, but has rather been taken on as a wonderful setting for choral singing. Though the tune is named after the liner that sank and killed most of Spafford's family, it is also often refereed to as “It is Well,” named after the text. Born in a log cabin in Pennsylvania, Phillip Bliss grew up working on farms and in lumber camps. When he was only twelve years old, Bliss entered in the Baptist church. Eventually, Bliss would marry Lucy J. Young, and worked for her father for a year after he and his wife were first married. Later, after having received training from J.G. Towner and William B. Bradbury, Bliss became an itinerant singing school teacher with a horse and melodeon, in 1860. From that point, for a few summers, Bliss attended the Normal Academy of Music in Geneseo New York, which would eventually lead him to move to Chicago, where he worked with the musician, Doctor George F. Boot, composing Sunday school songs. Bliss published many of his works under the Root and Cady music Company in Chicago, and in 1870, he finally began composing on his own, and was the director of the choir at First Congregational Church in Chicago. In 1874, Bliss joined Major D.W. Whittle as a singing evangelist (Westermeyer, p. 653). In the middle of his career, and in the same year in which this tune was composed, Bliss died in an unfortunate train accident. Both he and his wife were traveling by train through Ohio, when the bridge in Ashtabula collapsed, causing the train to fall nearly seventy feet. It is said that Bliss survived the crash, but was killed when he want back to try and save his wife.

The Text:

1. 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 with my soul,
   it is well, it is well with my soul.
   
   (2) 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.
   (Refrain)
   
   (3) 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!
   (Refrain)
   
   (4) 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.
   (Refrain)
   

My Take on the Hymn:



This hymn is a beautiful hymn for when you are in times of struggle. The text is so reverent to the mercies of Christ, and always reminds us, in every verse, that God and Christ are always with you, and no matter what is happening on earth, give it up to God, and it will be well with your soul. Our lives are riddled with tragedy, whether it be something as small as being late for work, or something as distressing as a loved one passing away. It is no doubt that we are given trials each and every day, but it is important that we keep our love pointed towards God, and that we can let the world pass away to us, and know that God will keep our souls safe and well. If you are looking for a good read about tragedy, and the journey to overcoming grief, I would highly recommend reading C.S. Lewis's “A Grief Observed.” In the book, he makes a good point, that if we keep focused on God, everything will be okay. In times of grief, it is easy to forget that we have someone who has already bore our grief on the cross. Stanza three reminds us that Christ was nailed to the cross so that he would take away our sins and our strife. The last stanza is also important, because even though we suffer daily, when it is our time to go home, God will tear open the skies like a scroll, and the trumpets shall sound and we shall no longer suffer (Rev. 6: 14)!



The Hymn:

If you cannot read music, just start the Youtube video, and follow along!

Bibliography:



Psalter, Hymnal Handbook. "When Peace, Like a River." Hymnary.org. Calving Institute of Christian Worship, n.d. Web. 10 July 2013.

"VILLE DU HAVRE." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 10 July 2013.

Julian, John. "Phillip Paul Bliss." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 10 July 2013.

Westermeyer, Paul. "Trust, Guidance." Hymnal Companion to Evangelical Lutheran Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 651-53. Print. 

If You But Trust in God to Guide You

Here is another wonderful hymn during the long season of Common time!

Title: If You But Trust in God to Guide You

Tune: Wer Nur Den Lieben Gott (Neumark)

Meter: 9.8.9.8.8.8.

Author: Georg Neumark (16th March, 1621-18th July 1681), Translater: Catherine Winkworth (1827-1878)

Composer: Georg Neumark (")

The thirty-Years War raged on from 1618-1648, and was known as one of the longest and most devastating wars in modern history. Though those thirty years were extremely tragic and gruesome, many of our hymns that we know today were composed during that time. Some of the more famous authors included Paul Gerhardt (See “Oh Sacred Head, Now Wounded”), and Johann Heerman (see “Ah, Holy Jesus”), and the author of this hymn, Georg Neumark. The story of Neumark is one of great tradgedy and strife, and it is no wonder that his writing can be found in the “Trust, Guidance” section of the Evangelical Lutheran Worship. The road that led Neumark to penning this hymn came with him getting robbed, not being able to find work, and life generally not going according to plan, as was the case for many different hymn-writers in this time period.

Born in 1621 to Michael Neumark, a cloth and clothes salesman, Georg Neumark grew up in Thuringa (After 1623 at Mihlhausen in Thuringa) (hymnary.org, Georg Neumark, Par. 1). After being educated at the Gymnasium in Schleueingen and at the Gymnasium in Gotha, Neumark received his certificate of Dimissal from the Gymnasium at Gotha in 1641. After receiving the certificate, Neumark made plans to matriculate to the University of Konisberg, where he would go to begin studying law. Although he did eventually make it to the university to study law, Neumar's life would be taken on a detour first.

In the fall of 1641, Neumark was traveling with a group between Leipzig, Germany, and Lubeck, Germany. On his journey, just outside of Magdeburg, Neumark was robbed of everything he owned, except for a prayer book, and what little money he had sewed in his clothes (Westermeyer, 2010, p. 632). After having to deal with being robbed, Neumark abandoned his plans to go attend the University of Konigsberg, and went back to Magdeburg to look for work, in which he was unsuccessful in finding a job. After Neumark left Magdeburg, he moved on to try and find work in Luneberg, Winsen, and Hamburg (Neumark was recommended to look in these towns by his friends he had made along the way), but was still unable to find any sort of work. As December of that year finally came around, Neumark was still without work and was willing to do anything for work. Eventually, Neumark moved on to Kiel, where he became good friends with Nikolaus Becker, who was a native of Thuringa, and was chief pastor in Kiel (hymnary.org, par. 1). Though he had finally found good prospects for work, almost the entire month had elapsed with out any news of work for Neumark.

Finally, towards the end of December, 1641, Neumark received news from Becker, that the family tutor for Judge Stephen Henning had fallen into disgrace, and had thus fled from Kiel. Neumark was offered the job, and immediately accepted, filling the vacant position and giving him the opportunity to pen the hymn “If You But Trust in God to Guide You.” After staying with the family long enough to save some money, Neumark left in 1643 and matriculated with the University of Konigsberg, where he was finally able to study Law and poetry for five years. Life seemed to be looking up for Neumark, as he had finally made it to his original destination, and was accomplishing what he had originally set out to do, study law. Though things had finally begun to settle down for Neumark, he would eventually lose all of his belongings once again, in 1646, this time to fire.

Eventually, in 1648 (the year the Thirty-Years war ended), Neumark departed from Konigsberg, bouncing around from place to place until he finally settled in Weimar in 1651, where he was appointed court poet, secretary, and librarian for Duke Wilhelm II of Saxe-Weimar (Westermeyer, p. 633). It was during his time in Weimar that Neumark was inducted into a group named the Fruit-Bearing Society (Die Fruichtbringende Gesellschaft) Which at the time was known as the primary German vernacular literary and scholarly group (formed in 1617). After being inducted into the group, Neumark became secretary, and would eventually write the history of the group (Der Neu-Sprossende Teutsche Palmbaum, Nürnberg and Weimar, 1668). In 1681, Neumark became blind, but was still allowed to hold his positions with the Fruit-Bearing Society and the Pegnitz Order (Neumark became a member of the Pegnitz Order in 1679). In 1681, Neumark wrote of his chance encounter to work with Judge Henning:

“This good fortune, which came so suddenly and, as if fallen from heaven, gladdened my heart so that on that very day I composed to the honor of my beloved Lord the here-and-there well-known hymn 'Wer Nur Den Lieben Gott Lasst Walten'; and had certain cause enough to thank the divine compassion for such unexpected grace shown to me” (Westermeyer, p. 632).

Though Neumark had written the hymn, as well as the tune, in 1641, it was not published until over fifteen years later. The original publishing of the hymn was done in seven stanzas, and was published in Neumarks own Fortgepflantzter Musikalisch-Poetischer Lustwald (Jena, 1657). Neumark captioned the hymn “Hymn of Consolation. That in God's own time God will sustain and keep each person according to the text, Cast your burden on the Lord, who will sustain you” (Westermeyer, p. 633). The text that Neumark is referring to is the a quotation from Psalm 55:23, but has also been suggested to be a quotation from 1 Peter 3: 8-15, which is the epistle that is traditionally read the fifth Sunday after Trinity. In the 18^th century, J.S. Bach used all seven stanza's of Neumark's hymn for his Cantata 93, which was performed the fifth Sunday after Trinity.

Though there was no way of knowing just how popular “If You But Trust in God to Guide You” would become, Neumark was correct in saying that his tune was already somewhat well-known. This hymn was included in many different German hymnals, and was widely used among Lutherans and German Reformed. Catherine Winkworth (See “O, Lord How I Meet Thee”) translated this hymn into her Lyrica Germanica, first series (1855), and then again in her Choral Book for England (1863) in it's original meter, so it could be sung with the original tune (Westermeyer, 633). The hymn became widely used in the English-speaking world, being introduced to Lutheran's in North America through Winkworth's translation in August Crull's Hymn Book for the Use of Evangelical Lutheran Schools and Congregations (Decorah, 1879). Though Crull included all seven stanzas in his publication, most 20^th century hymnals narrowed it down to only four stanzas, and sometimes, outside of the Lutheran hymnals, even two or three stanzas. Evangelical Lutheran Worship includes four stanzas, stanzas 1, 2, 3, and 7 (Westermeyer, p. 633).

The Text:

1. If you but trust in God to guide you
   and place your confidence in him,
   you'll find him always there beside you
   to give you hope and strength within;
   for those who trust God's changeless love
   build on the rock that will not move.
   

2. Only be still and wait his pleasure
   in cheerful hope with heart content.
   He fills your needs to fullest measure
   with what discerning love has sent;
   doubt not our inmost wants are known
   to him who chose us for his own.
   

3. Sing, pray, and keep his ways unswerving,
   offer your service faithfully,
   and trust his word; though undeserving,
   you'll find his promise true to be.
   God never will forsake in need
   the soul that trusts in him indeed. 
   
   
   
   

My Take on the Hymn:

This hymn is very straight forward, trust in God, and all will be well. Though we do not deserve it sometimes, and even though we have fallen, God loves us unconditionally, and he loves us enough to take care of us no matter what, if only we believe in Him. Sometimes, as was the case with Neumark, God's promises seem to take an eternity to be fulfilled, but we must take note that many of our wants and desires are earthly, and God will reward us with gifts in Heaven. As we journey through life, and as we move forward with our journey through faith, we will run into trials, strife, struggle, and misfortune, but if we only place our trust in God, if we see Him every day as our rock and our strength, and our only way to salvation, He will carry us through each and every day with unwavering love!

The Hymn:

If you cannot read music, just start the Youtube video and follow along!

Bibliography:

Julian, John. "If Thou but Suffer God to Guide Thee." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 02 July 2013.

Julian, John. "Catherine Winkworth." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 02 July 2013.

Julian, John. "Georg Neumark." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 02 July 2013.

Psalter, Hymnal Handbook. "NEUMARK." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 02 July 2013.

Westermeyer, Paul. "Trust, Guidance." Hymnal Companion to Evangelical Lutheran Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 632-34. Print.

Softly and Tenderly Jesus is Calling

Here is another hymn for the time of Pentecost!

Title: Softly and Tenderly Jesus is Calling

Tune: Thompson

Meter: 11.7.11.7 and Refrain

Composer: Will L. Thompson (7^th November, 1847- 20^th September, 1909)

Author: Will L. Thompson

                Published by J. Calvin Bushey in the 1880 collection Sparkling Gems, Nos 1 and 2 Combined, both the tune and the text for “Softly and Tenderly Jesus is Calling” were written by Will. L. Thompson. After having numerous issues trying to sell his music to a few well known publishers, Thompson finally decided he was going to open his own publishing company, Will L. Thompson & Co. Originaly written as a hymn of invitation, this hymn was used by Dwight Moody as a welcoming hymn for his evangelistic meetings in the United States and in England (Westermeyer, 2010, p. 448). Carlton Young (Composer for “In the Singing,” with the tune “Bread of Peace.”) calls the text and tune “a typical lullaby in the gospel tradition that characterizes Jesus as a mother, gently rocking and comforting a child” (Westermeyer, p. 448). This hymn has caused much debate throughout the years, falling into the musical and hymnic divide that has been a characteristic of the church since the 19^th century when gospel hymns had begun to be composed. This hymn is one that characterizes Jesus in a waiting, caring, and forgiving and intimate God (Shomsky, Hymnary.org). When it was originally published, “Softly and Tenderly Jesus is Calling” had four stanzas, but in the Evangelical Book of Worship (Minneapolis, 2006), the third stanza is omitted, leaving the new hymn with a total of only three stanzas.

                Born in Pennsylvania but quickly moving to Liverpool, Ohio, Will Lamartine Thompson was a very well-studied musician, studying at Mount Union College, Ohio, the Boston Conservatory of Music, and in Leipzig Germany. After returning from Germany, Thompson was rejected by a publisher for trying to sell one of his pieces for $100, which in turn caused him to open his own publishing company (as mentioned before) under the name of Will L. Thompson & Co, opening offices in Liverpool, Ohio, and in Chicago, Illinois. After learning how to write easily accessible gospel songs, Thompson began spreading his work all throughout Ohio by traveling from town to town by horse and buggy, quickly earning him the nickname “The Bard of Ohio” (Westermeyer, p. 448). After growing up in the Christian church, Thompson became the music director for a Methodist church, and later became a Presbyterian in 1891 when he remarried after the death of his first wife. Known for his ability to never forget a tune or a text that he had in his mind, Thompson is quoted as saying “No matter where I am, at home or hotel, at the store or traveling, if an idea or theme comes to me that I deem worthy of a song, I jot it down in verse. In this way I never lose it” (http://www.hymnary.org/person/Thompson_WL, par. 1). At the end of his life, Thompson was in Europe with his family, but he fell ill and was forced to return home early. A few weeks after he returned home (in 1909), Thompson passed away in Ohio.

The Text:

(1)    Softly and tenderly Jesus is calling,

Calling for you and for me.

See, on the portals he’s waiting and watching,

Watching for you and for me.

Refrain: “Come home, come home!

You who are weary come home”

Earnestly, tenderly, Jesus is calling,

Calling, “O sinner, come home!”

(2)    Why should we tarry when Jesus is pleading

Pleading for you and for me?

Why should we linger and heed not his mercies,

Mercies for you and for me?

Refrain

(3)    Oh, for the wonderful love he has promised,

Promised for you and for me!

Though we have sinned, he has mercy and pardon,

Pardon for you and for me.

Refrain

My Take on the Text:

                This hymn hold great meaning for me, especially being a sinner who has turned to Christ. This hymn is one of reconciliation between Christ and his people. This hymn speaks volumes to the wonderful patience that God and Christ have for us as a people, waiting for us to turn to Him in our times of need. The first verse talks about Christ being patient and waiting for us to Him. I think of these times as our rebellious teen years. Though I didn’t ever want to do what my parents asked, nor did I want to follow any of the rules laid out before me, my parents still held fast in their ideas that I would learn, and that I would come eventually. Christ is the same way, giving each of us a calling and a Cross to bear, waiting for us to pick it up and follow Him. Sometimes, it can take people years of their life to come to Christ, but when they do, Christ probably would not say “It’s about time!” or “What took you so long?” but he would rather say “Welcome my Child!” The Second verse asks the question of why should we wait to take up or calling and or Cross when we know that Christ is waiting for us, and pleading to God on our behalf. Though Christ has all the time in the world for us to turn to Him, we, as humans, do not have infinite time. There is no time like now to turn away from a life of sin, and turn to the life that Christ has called us to live! The third verse talks about the wonderful love that he has promised us. The love that Christ has for each and every one of us her on earth is abundant, unfailing, and all encompassing. All we have to do to receive Christ’s love in full, is to give ourselves entirely to God, and whenever it is that we choose to do so, Christ will welcome us with open arms!

The Hymn:

If you cannot read music, just start the youtube video and follow along!

Bibliography:­

                "Confession, Forgivenss." Evangelical Lutheran Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2006. 608. Print.

Hymntime, .com. "Will L. Thompson." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 01 June 2013.

                Westermeyer, Paul. "Confession, Forgivenss." Hymnal Companion to Evangelical Lutheran Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 448. Print.

"Softly and Tenderly." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 01 June 2013.

  

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Holy, Holy, Holy, Lord God Almighty!

Here is another hymn for the common times!

Title: Holy, Holy, Holy, Lord God Almighty!

Tune: Nicaea

Meter: 11.12.12.10

Composer: John Baccus Dykes (10th March, 1823-22nd January, 1876)

Author: Reginald Heber (21st April, 1783-3rd April, 1826)

               Written using apocalyptic language, this hymn is closely associated with the scripture text from Revelations 4, which in England's Book of Common Prayer, is marked as the scripture reading for Trinity Sunday. Written by Reginald Heber (1783-1826), in 1826, the hymn "Holy, Holy, Holy, Lord God Almighty!" was first published in A Selection of Psalms and Hymns for the Parish Church of Banbury, which was published in 1826, the same year of Heber's sudden and unexpected death. Though Heber had passed away, he had nearly 60 hymn texts that he had written. Feeling it was her duty to share the hymns, Heber's wife published his hymn texts posthumously in the collection Hymns Written and Adapted to the Weekly Church Services of the Year (1827). This collection of Hymns is credited with starting the tradition of arranging the contents of a hymn collection according to the church year (http://www.hymnary.org/text/holy_holy_holy_lord_god_almighty_early, Par. 3). 

               Born in Malpas, England, it was clear from an early age that Reginald Heber had a gift for versification. Educated at Brasenose College in Oxford, England, Heber was named the Vicar of Hodnet in 1807, where he would remain for 16 years. Heber's time at Hodnet was marked by his literary successes, and his great care for the people as the Parish Priest. While he was in Hodnet, Heber was seen as being halfway in-between a person, and a squire. It was in his years at Hodent that Heber became very infatuated with India, so much so that he had envisioned himself becoming a missionary in Calcutta. Along with being the Vicar in Hodnet, Heber was one of the original staff members of the Quarterly Review; Bampton Lectures (1815), as well as a preacher at Lincoln's Inn (1822). During his time in Hodnet, Heber wrote several hymns, some of which were collected in The Christian Observer (1811-1816), which contained not only hymns of his own, but a few hymns of a close friend of Heber's. The first idea of compiling a hymnal came from The Olney Hymns (Newton, Cowper, 1779), which was noted in a letter written by Heber in 1809. Several years later, the collection was published and was originally meant only for the use of the church in Hodnet. In 1823, several years after the hymnal was published, Heber was named a Missionary in Calcutta, and ordained the first Christian Native, Christian David. 

               During his first visit to Calcutta, Heber traveled through Bengal, Bombay, and Ceylon, and eventually through Delhi and Lucknow, which is where he was diagnosed with suffering from some type of fever. In his second visit to Calcutta, Heber traveled the scenes of Schwartz's labours in Madras Presidency to Trichonopoly (John Julian, Hymnary.org, par. 1). On April 3rd, 1826, Heber participated in a church service in Trichonopoly where he confirmed 42 people into the faith. It was said that Heber was so moved by the events, that he had no signs of any bodily exhaustion (John Julian, Hymnary.org, par. 1). After Heber finished the service, he retired back to his room where he wrote on the back of his sermon " Trichonopoly, April 3rd, 1826." This would prove to be the last act of Heber's life. After a long absence, one of the servants went to check on the status of Heber, and was surprised to find Heber laying lifeless in his bathtub. Though Heber's life was cut short, he had many successes, both in the world of hymns, and in the world of his Missionary work in Calcutta. 

For information on John B, Dykes, see "Searcher of Hearts, From Mine Erase."

The Text: 

1. Holy, holy, holy!  Lord God Almighty!
 Early in the morning our song shall rise to thee.
 Holy, holy, holy!  Merciful and mighty,
 God in three persons, blessed Trinity!

2. Holy, holy, holy!  All the saints adore thee,
 casting down their golden crowns around the glassy sea;
 cherubim and seraphim falling down before thee,
 which wert, and art, and evermore shalt be.

3. Holy, holy, holy!  Though the darkness hide thee,
 though the eye of sinful man thy glory may not see,
 only thou art holy; there is none beside thee,
 perfect in power, in love and purity.

4. Holy, holy, holy!  Lord God Almighty!
 All thy works shall praise thy name, in earth and sky and sea.
 Holy, holy, holy!  Merciful and mighty,
 God in three persons, blessed Trinity.

My Take on the Hymn: 

              This hymn is a good example of a hymn of unending praise. Each verse discusses another aspect of God being worshiped. The text coming from Revelations 4 says that there were four creatures seated in front of the throne in Heaven, and each one, day and night, never ceased saying "Holy, holy, holy is the Lord God Almighty, who was, and is, and is to come." Like these creatures, it is our duty to worship the triune God with the same reverence as the beasts do in the scripture. Each and every day, we are given the opportunity to make a decision. We can choose who we want to live our lives for, God, or for the things on Earth. The only thing that God asks of us is that we choose to live out all of our days on earth, for Him. Everything that we do on earth, is done by God, for God, and with the help of God!

the Hymn:

If you cannot read music, Just start the Youtube Video and follow along!

Bibliography:

Julian, John. "Reginald Heber." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 28 May 2013.

Psalter, Handbook Hymnal. "Holy, Holy, Holy, Lord God Almighty." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 28 May 2013.

Julian, John. "Nicaea." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 28 May 2013.

Julian, John. "John Bacchus Dykes." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 28 May 2013.

Sing With All the Saints in Glory

Here is another hymn for the wonderful time after Easter! This hymn is dedicated to a very good friend of mine, Matt!

Title: Sing with All the Saints in Glory

Tune: Hymn to Joy

Meter: 8.7.8.7. D

Composer:  Arranged from Ludwig Van Beethoven (16^th December, 1770- March 26^th, 1827), arranged by Edward Hodges, (20^th July, 1796- 1^st September, 1867)

Author: William J. Irons (12^th September, 1812- 18^th June, 1883)

                The first time this hymn appeared was in 1873, where it was published in the first edition of William J. Irons’ Psalms and Hymns for the Church (London, 1873; second edition, 1875). This collection of hymns was supposed to provide hymns for offering, epistles, and gospels, and also was labeled for use as an Advent and Lenten hymn. Though these are the official uses that are named for the hymn, often times this hymn is sung for Easter. The hymn “Sing with All the Saints in Glory” is found in several different denominations of the Christian faith and each one has the hymn listed in a different section of the hymnal. The Catholic hymnal Gather, from GIA Publications (Chicago, Illinois, 1994) has the hymn listed under “Easter (#442),” the United Methodist Hymnal (Nashville, Tennessee, 1989) has the hymn listed under “New Heaven and New Earth (#702),” and the Evangelical Lutheran Worship (Minneapolis, Minnesota, 2006) has the hymn listed under “Festivals and Commemorations (#426).” Though each denomination, Catholic, Lutheran, and Methodist, have this hymn in their collections, the Methodist church has been publishing this hymn for the longest time in their hymnals. “Sing with All the Saints in Glory” has been published in a Methodist hymnal since 1878, only three years after the second edition of the hymns original publication. Though “Sing with All the Saints in Glory” seems to fit best in the category of “Easter,” the meaning can be flexible, and therefore can be placed in several different categories depending on the season. Though the original version of the hymn has four stanzas, the Evangelical Lutheran Worship, takes the first two lines of the last two stanzas, and combines them to create on final stanza, leaving the hymn with only three total stanzas.

                Born in England in 1812, William J. Irons was the son of Joseph Irons, who happened to be a good friend of John Newton (See Amazing Grace). Irons was educated at Queens college, Oxford, where he graduated with a BA in 1833, and eventually, a DD in 1854 (Westermeyer, 2010, p.246). In 1835, Irons took Holy Orders which led him to become Incumbent of St. Peter’s in Walworth in 1837. Throughout his life, Irons held many different positions at several churches, including Vicar of Barkway, Incumbent of Brompton, Rector of Wadingham, and in 1872, he became Rector of St. Mary-Woolnoth, which the position formerly was held by John Newton himself (Hymnary.org/persons/Irons_WJ, para. 1). W.J. Irons played a small, but prominent role in the ecclesiastical debates that were raging on during his time. He published numerous documents on the topic in the form of sermons, pamphlets, and letters, which all accumulated into his work, The Bampton Lectures, which was written in 1870. The work covered Christianity as it was taught by St. Paul. W.J. Irons’ hymn writing began during his curacy at St. Mary Newington, from 1835-1837, and continued until his death in 1883 (Hymnary.org/persons/Irons_WJ, para. 1). Many of Irons’ hymns were first printed on broadsheets (large sheets of paper with only one side printed on, often times referring to a newspaper that is more serious than some), and were published in R.T. Rowe’s (Rector of Lea, Lincolnshire) Hymns for the Christian Seasons, (Gainsburgh,  1^st ed. 1854)(Gainsborough, written in Westermeyer’s Hymnal Companion), and also in his own collection. Iron’s published a metrical psalter in 1857 and also 100 hymns in Hymns for the Church (1866).

                Perhaps one of the reasons for the great popularity of this hymn can be traced to the very recognizable tune written by none other than Ludwig Van Beethoven. Though he did not do so intentionally, Beethoven is one of only a few composers who wrote hymn tunes (Ralph Von Williams, and Orlando Gibbons being an exception). The tune “Hymn to Joy” was originally composed by Beethoven for J.C.F. von Schiller’s “Ode to Joy,” Which Beethoven wrote for a full chorus in the fourth movement of his Ninth Symphony (Westermeyer, 719).  The first performance of the chorus was in 1824, when Beethoven had gone completely deaf. Though the full piece was not performed until 1824, the tune can be traced to sketches that extend as far back as 1797. The tune to “Ode to Joy” was eventually adapted as a hymn tune by Elam Ives (1802-1862) in his Mozart Collection (New York, 1846), and by Edward Hodges (1796-1867) in his The Trinity Collection of Church Music (New York, 1864)(Westermeyer, p. 719). One of the more famous hymns that this tune was published with was Henry Van Dyke’s “Joyful, Joyful, We Adore Thee (Evangelical Book of Worship, #836). The hymn paired with the tune in The Hymnal (1911) of the Presbyterian Church. 

                The tune “Hymn to Joy” follows the form of AA’BA’, which is very simple, and common for the time in which it was written. The melody is simple, and is built off of the first five notes of a diatonic scale, with the exception of one note that dips below the tonic, but the melody quickly returns to the first five notes. The difficulty of this hymn, for many congregations, lies within the slight syncopation of the beginning of the last line, or the second statement of A’. Because most congregations cannot manage this syncopation, most hymnals have published the tune with the last line square, instead of syncopated. According to Paul Westermeyer, the removal of the syncopation “drains the tune of its life (Westermeyer, p. 720).” Westermeyer believes that with a slight coaching of the congregation, or with the organist playing the melody through as an introduction, the congregation should be able to pick up on the syncopation and sing it through with no trouble. Because many hymnals have been publishing the current version of the hymn, it is difficult for those hymnals who publish the original to catch wind and become popular.  

                Beethoven was a very interesting man, with lots of history to his name. Though I could go on about his story, I will keep it brief for the sake of your time (and mine too! This is a busy semester!). Ludwig Van Beethoven grew up in a very poor and unstable home in Bonn, Germany. Both Beethoven’s Father and Grandfather were musicians as well (Westermeyer, p. 720).  The first time Beethoven suited music was with his father (who was abusive to him as a child), who was a court singer looking to exploit his son’s musical abilities. Later, Beethoven would continue his musical studies with Christian Gottlob Neefe (1748-1798). The next few years of Beethoven’s life seemed to follow with one position after the other. At the age of eleven, he was substitute court organist; at age twelve, Beethoven was accompanist for the court orchestra; at age fourteen, he was assistant court organist, and from 1788-1792, a violist in the theater orchestra. After these positions, Beethoven studied with famous composer Franz Joseph Haydn, and several other composers throughout Vienna, although he was not always happy with his teachers. Eventually, Beethoven became known as Europe’s favorite and most eccentric composer, pianist, and improviser. Beethoven is best known for being the important link between the Classical period and the Romantic period, having lived in the transition between the two. Though Beethoven was a brilliant composer, starting in the year 1798, he began losing his hearing (the cause is not known, but it is known that he suffered from severe Tinnitus, or a high pitched ringing in the ears), and eventually he became deaf all together. Despite his limitations due to hearing, Beethoven arguably did some of his best work after his hearing was gone completely (his Ninth Symphony being one of his works composed completely deaf).

The Text:

1.            Sing with all the saints in glory,

                sing the resurrection song!

                Death and sorrow, earth's dark story,

                to the former days belong.

                All around the clouds are breaking,

                soon the storms of time shall cease;

                in God's likeness we, awaking,

                know the everlasting peace.

2.            O what glory, far exceeding

                all that eye has yet perceived!

                Holiest hearts, for ages pleading,

                never that full joy conceived.

                God has promised, Christ prepares it,

                there on high our welcome waits.

                Every humble spirit shares it;

                Christ has passed th'eternal gates.

3.            Life eternal! heaven rejoices;

                Jesus lives, who once was dead.

                Join we now the deathless voices;

                child of God, lift up your head!

                Patriarchs from the distant ages,

                saints all longing for their heaven,

                prophets, psalmists, seers, and sages,

                all await the glory given.

4.            Life eternal! O what wonders

                crowd on faith; what joy unknown,

                when, amidst earth's closing thunders,

                saints shall stand before the throne!

                O to enter that bright portal,

                see that glowing firmament;

                know, with thee, O God Immortal,

                "Jesus Christ whom thou has sent!"

My Take on the Text:

                This hymn is one of great praise. The whole setting of the text is for praising God and all of the glories he has promised us in heaven above! The love that God displays for us is never ceasing and never failing, and we will live to see it in our lives each and every day! This hymn not only covers the things that we are given here on earth, but it also tells of the promises that Christ has given us through his death on the cross. I can see where each different denomination has reasoning to place this hymn in different categories. The song fits Easter time because it discusses Christ defeating the grave, and rising up to be with God; the song fits New Heaven and New Earth, because it talks about the old Earth being defeated by the glory of God; the song fits festivals/commemorations, because it is glorious, and sings the praises of things still to come in heaven above! Though the meaning and category of this hymn is fairly scattered, there is no doubt that this hymn is glorious and full of life! I cannot wait to see what God has in store for me through the rest of my days on Earth, and I look forward even more to seeing the glories he has promised me in Heaven above when my time here has come to a close!

The Hymn:

if you cannot read music, just start the Youtube video and follow along!

Bibliography:

"Sing, with All the Sons of Glory." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 11 Apr.                 2013.

Julian, John. "William J. Irons." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 11 Apr.    2013.

"HYMN TO JOY." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 11 Apr. 2013.

Westermeyer, Paul. "Festivals, Commemorations." Hymnal Companion to Evangelical Lutheran   Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 246-47. Print.

Ah, Holy Jesus

Here is another hymn during the wonderful time after Easter! He is Risen!

Title: Ah, Holy Jesus

Tune: Herzliebster Jesu

Meter: 11.11.11.5.

Composer: Johann Cruger (1598-1662)

Author: Johann Heermann (1585-1657), Trans. Robert Bridges (1844-1930)

Based off the text from Isaiah 53, this hymn sets the tone for the Christian doctrine of Christ's atonement: Christ died for the sin of the world in a substitutionary death on the cross (hymnary.org par. 1). By using text such as "It was for my sin that Christ died!" this text becomes extremely personal, and turns a plain and simple doctrine into a deep and personal meditation on the effects that Christ has had on our lives. Stemming from the seventh meditation in the Latin Liber Meditationum, which is most often credited to Augustine (354-430), and sometimes ascribed to Jean de Fecamp (d. 1078), this hymn was written in fifteen stanzas in sapphic prose meter (11.11.11.5.) by Johann Heermann. Written in German, the text was first published in Heermann's collection, Devoti Musica Cordis, Haus und Hertz-musica, published in 1630. Eventually, the text was translated from German into English by Robert Bridges (1844-1930), as a five stanza paraphrase of the text, keeping the meter the same. Attributing the original Latin text to Anselm of Canterbury (c. 1033-1109), the English translation was published in Bridges' Yattendon Hymnal (1899).

Evangelical Lutheran Worship follows the same text published in Lutheran Book of Worship (1978), using Bridges' five stanzas and keeping the old Elizabethan English (Westermeyer, 2010, p 151). By making slight modifications to both of the texts, the hymn we sing today is a combination of Bridges' meter, and Heermann’s rhymes scheme. Bridges' text follows the same rules for Sapphic meter, keeping the same syllable count 5+6, where 5 is a dactyl and trochee (metric feet, dactyl being a stressed syllable followed by two unstressed, and a trochee being a stressed syllable followed by an unstressed syllable), and the 6 is all trochees. Heermann's rhyming scheme follows the AABB rhyming form, and stresses the rhyme on the Penultimate syllable, for example: of-fen-ded, and pre-tend-ded; Pay thee and pray thee; un-swer-ving and de-serv-ing (Westermeyer, p. 151). A few points made by Mary Louise Bringle (Ph.D. Professor of Philosophy and Religion Chair, Humanities Division, Brevard College, Brecard North Carolina), show Bridges' effortless quality in the feminine rhymes which are difficult to construct in English, the emphasis on the beginning dactyl, almost turning it into a spondee (a metric foot that uses two stressed syllables in a row), and finally the repetition of words in the beginning of successive phrases. Anaphora is the triple use of "I" in the second stanza, and the quadruple use of "Thy" in the fourth (Westermeyer, p. 151-52).

Life for Johann Heermann was anything but easy. Coming from the same time as the well-known poet, Paul Gerhardt (see "Oh Sacred Head, Now Wounded"), Heermann also suffered through the tragedies of the Thirty Year's War. Born the son of a poor furrier in the small Polish town, Raudten (near Wolau in Lower Silesia), Heermann was the only one of five children to survive. Because of early childhood illnesses, Heermann's mother vowed that if he would survive, she would educate him in the ministry, even though she had to beg for the money to do so. As it happens, Heermann did survive his childhood ailments, and began studying in Fraustadt, Breslau Brieg, and at the University of Straussberg. After only a year of studies at Straussberg, Heermann suffered an affection of the eye, forcing him to retire from his studies and return to Raudten in 1610. Shortly after his return, at the recommendation of Baron Wenzel, Heermann was appointed Diaconus of Koben, a small town nearby to Raudten and to Fraustadt. On Ascension Day in 1611, Heermann began his duties at the church, and later, on St. Martin's Day, Heermann was appointed Pastorate of the church (Hymnary.org, Johann Heermann, par. 1). From here on out, things started going down a slippery slope for Heermann. In 1613, the town of Fraustadt was struck by the plague, and three years later a fire struck Koben and nearly destroyed the town. With things already looking difficult, more strife struck Heermann. In 1617, Heermann’s wife died; 1618 the Thirty Year’s War began; in 1623, throat troubles began affecting Heermann and his ability to preach; and finally between 1629 and 1634, Koben was raided four times. Though Heermann lost almost everything he owned, and was almost killed several times, it was during these difficult times that this hymns (Ah, Holy Jesus), and 48 others, were published in Heermann’s collection Devoti Musica Cordis (Westermeyer, p. 152).

                Devoti Musica Cordis was, as the title indicates, intended for “house and heart,” and not for public use. Finally, in 1631, the plague struck Koben, and in 1634, Heermann’s throat troubles caused him so much pain that he could no longer preach, causing him to retire in 1638. Though he was no longer preaching, Heerman continued to produce hymns, publishing another collection in 1636 containing hymns on the gospel readings for Sundays and Festivals. Among his hymns, Heermann also had many poems which he had written in Latin starting in 1605. It wasn’t, however, until 1608 that he became a Poet at Brieg. Finally, skipping ahead half a century, in 1656, nine years after Heermann’s death, his poetical works were published. Considered one of the greatest German Hymn writers, Heermann is often times cited as being second only to the great Paul Gerhardt (Hymnary.org, Johann Heermann, par. 2).

                Robert Bridges (the translator), was born in England, and studied at Corpus Christi College, in Cambridge, as well as at St. Bartholomew’s Hospital, London. Planning on having an early retirement, Bridges became a doctor in London, hoping to be able to retire by the age of 40, and spending the rest of his life writing poetry. In 1881, Bridges was forced to retire due to lung disease, which was only three years earlier than he had originally intended. Eventually, Bridges was married to Mary Monica Waterhouse and upon marriage, they moved to Yattendon, England. During his time Yattendon, with his wife and his friend Harry Ellis Woodridge (1845-1917), who was professor of fine arts at Oxford and had revised William Chappell’s 1893 collection Popular Music of the Olden Time, Bridges edited the Yattendon Hymnal. Finally, in 1913, Bridges earned the prestigious title of Poet Laureate.

                The tune “Herzliebster Jesu” first appeared in Johann Cruger’s predecessor volume to Praxis Pietatis Melica, which was his collection Newes Vollkomliches Gesangbuch Augsburgischer Confession (Berlin, 1640). In this case, the influences for this hymn are numerous and can be traced back to a melody from the Genevan Psalter for Psalm 23, as well as another melody written by Johann Hermann Schein (1586-1630), who was one of the cantors in Leipzig at the St. Thomas Church before J.S. Bach (Westermeyer, p. 153). The tune is fitting for this text, outlining the last few phrases such as: “I crucified thee,” “God interceded,” and “for my salvation.” Smoothing out what would have been a traditional 16^th century, rugged choral, this tune is a typical 17^th century piece of music. The music, written in a minor key, seems to parallel the introspective texts of authors such as Heermann and Gerhardt (Westermeyer, p. 153). Stimulating many different composers, this tune, as well as the text, has made appearances in many famous works, such as J.S. Bach’s St. Matthew Passion, and Bach’s St. John Passion.

                Johann Cruger was born in 1598 at Grosse-Breese, near Guben, Brandenburg. As a child, Cruger studied at the schools in Gubem, Sorau and Breslau, the Jesuit College at Olmutz, as well as at the poet’s school in Regensburg, and in 1615, finally settled in Berlin after a short time in Austria. For a short while, after a stint at the University of Wittenburg, Cruger worked as a private tutor from 1620 until 1622. It was in 1622 that Cruger was appointed Cantor of St. Nicholas’s Church in Berlin Germany, as well as one of the Masters of the Greyfriars Gymnasium. Cruger would hold these positions until his death in 1662, where he passed away in Berlin. Though Cruger never wrote any hymns, his name does appear as “Johann Kruger, 1610” as the original author of Charles Wesley’s “Hearts of Stone, Relent, Relent.” Cruger is known for writing many different hymn tunes, only twenty of which are still in common use today.

The Text:

1.       Ah, holy Jesus, how hast thou offended,
          that we to judge thee have in hate pretended?
          By foes derided, by thine own rejected,
          O most afflicted!

2.       Who was the guilty? Who brought this upon thee?
          Alas, my treason, Jesus, hath undone thee!
          'Twas I, Lord Jesus, I it was denied thee;
          I crucified thee.

3.       Lo, the Good Shepherd for the sheep is offered;
          the slave hath sinned, and the Son hath suffered.
          For our atonement, while we nothing heeded,
          God interceded.

4.       For me, kind Jesus, was thy incarnation,
          thy mortal sorrow, and thy life's oblation;
          thy death of anguish and thy bitter passion,
          for my salvation.

5.       Therefore, kind Jesus, since I cannot pay thee,
          I do adore thee, and will ever pray thee,
          think on thy pity and thy love unswerving,
          not my deserving.

My Take on the Hymn:

                This hymn is very reflective, forcing us to take a look at what the real reason Christ was crucified truly is. It was because of our sins that Christ was put up on the cross, but this hymn asks Christ to forgive us for the pain that we have caused him. Without Christ dying on the cross, and without Him rising from the dead, there would be no Christian faith. It is this very reason that we are saved today, and that we as Christians can say that we no longer fear death, for it has no hold over us! This hymn does, however, seem to take an incident that was brought on by thousands of people, and turns it back onto ourselves. Though we were not around back when Christ was crucified, it was each one of our sins that hammered the nails farther into the cross. Even though we did this, it is because Christ died that we can take heed an know that Christ is there to forgive us our sins, no matter how far we have turned away from him. As is said in Psalm 139, no matter how far we run from Christ, we can’t hide from Him!

The Hymn:

If you cannot read music, just start the Youtube video and follow along!

Bibliography:

Julian, John. "Ah, Holy Jesus, How Hast Thou Offended." Hymnary.org. Calvin Institute of        Christian Worship, n.d. Web. 04 Apr. 2013.

Westermeyer, Paul. "Holy Week/Three Days." Hymnal Companion to Evangelical Lutheran          Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 151-54. Print.