Thursday, April 18, 2013

A funeral for a Baroness

Wednesday was the funeral for Margaret Thatcher (1925-2013), Britain’s second greatest prime minister of the 20th Century (after Churchill), who in her three consecutive terms transformed the British economy and society.

The service for Baroness Thatcher of Kesteven was held at St. Paul’s Cathedral, which lacks the official history of Westminster Abbey but makes up for it with architectural grandeur and scope (having been for centuries Britain’s tallest building). I couldn’t watch live, but it was covered by her old ally the Telegraph and her nemesis the Guardian (among others).

Since her death, I’ve been reading a wonderful biography by American Claire Berlinski, entitled There is No Alternative: Why Margaret Thatcher Matters. It credits her Methodist upbringing (and the influence of her father) for her great political success.

I don’t know much about English Methodists — other than the Wesley family and their hymns — but the order of service posted at the Telegraph and the St. Paul’s website seems very Church of England to me. The words to the hymns were very familiar to my ECUSA-raised upbringing (although the tunes were not).

The headline on the Telegraph service commentary termed it “a miraculous pairing of words and music.” As Christopher Howse wrote:
From the moment her coffin was met at St Clement Danes with the words, “We who are baptised in the death of Christ,” the topic was something universal: death. This was not divisive but, in the words of the Bishop of London, “the common destiny of all human beings”. It was, yesterday, as if the millions watching were following a stage tragedy. The difference was that this was a true story, and the tragic flaw of the heroine was not a moral failing but mortality itself.

The Church of England service emphasised two things: the reality of death, with no demurring, and the hope of resurrection. “The days of man are but grass,” read Prebendary Rose Hudson-Wilkin. “For as soon as the wind goeth over it, it is gone.” Left at that, it would be no more than Hadrian’s sad farewell to the soul: “Animula, vagula, blandula.” But it was not left at that. From deep, dim waters it strove upwards towards the light.

“Let not your heart be troubled,” the Prime Minister read from the Gospel of St John. “I go to prepare a place for you.” Those were words of Jesus, and, in the passage read, Thomas usefully responded, “Lord, we know not whither thou goest.” Nothing could rub in more sorely that we cannot see beyond the dark and narrow gates of death.
The text was from the Authorized Version (King James for us Yankees), including the Lord’s Prayer and a reading by her granddaughter of Ephesians 6: 10-18.

The opening sentences sung by the choir include these three (or at least two) very familiar passages, to a setting by William Croft:
I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die.
John 11. 25, 26

I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth. And though after my skin worms destroy this body, yet in my flesh shall I see God: whom I shall see for myself, and mine eyes shall behold, and not another.
Job 19. 25-27

We brought nothing into this world, and it is certain we can carry nothing out. The Lord gave, and the Lord hath taken away: blessed be the name of the Lord.
1 Timothy 6. 7 and Job 1. 21
Other music included “How lovely is thy dwelling place,” an adaptation of Psalm 84 that’s one of my favorite songs from Brahms’s German Requiem.

The first congregation hymn was “He who would valiant be,” adapted by Dearmer and Vaughan Williams for The English Hymnal from text by John Bunyan (the great Puritan author) and an English folk tune. From The Cyberhymnal description, it seems an odd hymn to put in a CoE hymnal:
Words: John Bun­yan, Pil­grim’s Prog­ress, 1684; mo­di­fied by Per­cy Dear­mer in The Eng­lish Hym­nal (Lon­don: Ox­ford Un­i­ver­si­ty Press, 1906). Bun­yan wrote these words dur­ing his 12-year pri­son sent­ence for re­fus­ing to con­form to the of­fi­cial state church.
The “official state church” in this case was the 150-year-old CoE, which was too Anglo-Catholic for the Puritans and many others of the severe (or seriously) reformed faith. So this hymn in a 20th century Anglican hymnal celebrates defiance of the 17th century Anglican church.

Lady Thatcher’s funeral used the TEH version (#402) with the tune to Monks Gate, while H40 (#563) lists St. Dunstan’s and H82 (in a rare improvement) includes both tunes (#565 and #564 respectively), albeit without harmony for the former.

In a similar vein, the final congregation hymn was “Love Divine” by Charles Wesley. Raised on H40, the version to Hyfrodol (H40: #479) had very strong resonance with me, even before Mrs. Nine and I sang it at our wedding.

However, apparently that’s not the tune used by the CoE. TEH (#437) lists Moriah, while Songs of Praise, Enlarged Edition (#573) has the Welsh Moriah and the English Exile. Among CoE hymnals, only in the New English Hymnal (#408) do we see Blaenwern, the 1905 tune by William Rowlands used at Lady Thatcher’s funeral.

Other than the 1905 date, I haven’t found much about Blaenwern, perhaps because I only have a limited collection of books on English hymns. Ian Bradley lists five tunes, including three no longer used: the Purcell tune Westminster that Wesley favored, Love Divine by John Stainer (in the 1889 Hymns A&M and NEH), and Airedale by Charles Stanford. Bradley continues
Nowadays the hymn is generally sung to one of two equally majestic Welsh tunes: Hyfrydol by Rowland Huw Pritchard (1811-57), a loomtender’s assistant in the Weslh Flannel Manufacturing Company’s mills at Holywell; and Balenwern by William Penfro Rowlands (1860-1937).
One last note on Blaenwern: it’s the tune used with these lyrics at the wedding of the Queen’s grandson to Kate Middleton held two years earlier — and two miles away — at Westminster Abbey.

The service concluded with the Nunc Dimittis (in English) from Stanford’s Evening Service in G. Again, the words are very familiar but the tune is not; H40 has seven settings of the Nunc Dimittis, but none match the Stanford setting. By the end of the service, I would have would have heard many familiar texts, but (except for Brahms) not to the expected melodies.

Interestingly, the only overlap between Lady Thatcher’s service and the 2007 service for (Episcopalian) Gerald Ford is the Brahams — “How Lovely Is Thy Dwelling Place” (in English) from the German Requiem.

I won’t be having a state funeral, but perhaps my friends and family will host one at my local parish church many decades hence. I feel I can’t go wrong with these examples: the Brahms and “Love divine” would top my requests for my own funeral (assuming our local choir can handle it). My third request would be “The Lord is my Shepherd” (Psalm 23) from Rutter’s Requiem; we did the psalm for my dad’s funeral, but the choir at his church wasn’t up for the Rutter setting on such short notice. In general, I’m not a big Rutter fan, but this piece is the most haunting setting I’ve ever heard of this text.

Sunday, April 7, 2013

Saving the next generation of Anglo-Catholics

Today we attended the closing service for the annual youth retreat of the San Diego Anglicans. Nearly 50 teens from the San Diego ACNA parishes were in attendance, as were their parents, other supportive parishioners and of course the retreat leaders.

Abdicating our Anglo-Catholic Leadership

Watching the contemporary, evangelical Anglican service made me realize how much we Anglo-Catholics have abdicated our responsibility to train the next generation of faithful Christians. If we don’t expose the young generation to the beauty of a thousand years of liturgy — or acquiesce to the myth that young people are only interested in contemporary worship — the traditional liturgy will be lost, at best to be rediscovered a century or two hence.

The arguments for contemporary worship seem to be associated with the evangelical wing of the Anglican tradition, whether among theological liberals or traditionalists. Their ongoing desire to be “relevant” supplants hymns (and organs and four-part chorales) with CCM.

What’s wrong with praise music? Why should we try to preserve traditional hymnody?

While I personally object to the guitars and pop melodies of contemporary worship, I realize this is a "classical" vs. "pop" music argument that is unlikely to be won any time soon. For my generation, training in music meant training in the classical Western tradition, renaissance to romantic with a little 20th century thrown in for good measure. However, since that time, the whole pop-infused culture (and the decline of musical education more generally) means that classical radio stations and record label are dying while every big city has a dozen or more pop stations.

Instead, today’s service highlighted two more fundamental problems of the contemporary, praise music-oriented liturgy that seems to be dominant in the ACNA and AMiA (as with the ECUSA that these parishes fled).


The first problem is the ahistoric hubris of praise music. While the hymnals of 1860, 1906, 1940 or 1982 include new hymns (sometimes from the hymnal editors), they also retained the best hymns from four or five centuries of Christian liturgical worship.

Today, the praise music leader makes the assumption that worship music began in 1960 (or 1970 or 2000) and nothing older than that is relevant for our pop-infused culture or Christians.

With one exception, I didn’t know any of the songs from this afternoon’s service. However, by noting key phrases from three praise songs, I was able to look them up later
There were no hymns, not even from the 60s — so if these were representative of the whole service, then the leaders assumed that teen-suitable music was composed before 2001.

This is hardly the only Anglican service to take this approach. (Intentionally) I haven’t been to a lot of praise music services, but this seems typical of the ones I’ve seen.

Who authorized these worship leaders to throw out Christian worship and start over again? Is this something that the church should do every century, generation or (in this case) every decade? What about linking believers to the message, historic role or linkage of the faithful through the ages? If you reset the canon of hymnody every decade, how will parents ever share the same musical heritage as their children?

In the end, this is the fault of the clergy who either exercise, delegate or abdicate their authority over the content of liturgy. Will we also throw away scripture, theological essays, creeds, or prayers when they’re more than a decade old? That’s the way of the TEC, not a denomination that claims to be theologically orthodox and anchored in Anglican tradition.

Shallow Roots

The second problem of today’s service was the utter vapidity of the lyrics. Rather than being anchored in scripture — direct quotations or paraphrases — the emphasis is on the emotive.

Let’s take Cannons by Phil Wickham:
It's falling from the clouds
A strange and lovely sound
I hear it in the thunder and rain
It's ringing in the skies
Like cannons in the night
The music of the universe plays

You are holy great and mighty
The moon and the stars declare who You are
I'm so unworthy, but still You love me
Forever my heart will sing of how great You are

Beautiful and free
Song of Galaxies
It's reaching far beyond the milky way
Lets join in with the sound
C'mon let's sing it loud
As the music of the universe plays
Contrast this to the great Anglican hymnodist Isaac Watts, e.g. Hymn #289 in Hymnal 1940, composed nearly 300 years ago:
O God, our help in ages past,
our hope for years to come,
our shelter from the stormy blast,
and our eternal home:

Under the shadow of thy throne,
thy saints have dwelt secure;
sufficient is thine arm alone,
and our defense is sure.

Before the hills in order stood,
or earth received her frame,
from everlasting thou art God,
to endless years the same.

A thousand ages in thy sight
are like an evening gone;
short as the watch that ends the night
before the rising sun.

Time, like an ever-rolling stream,
bears all its sons away;
they fly, forgotten, as a dream
dies at the opening day.
As usual, the praise song is about me, me and me, while Watts and is writing about God.

Relevance and evangelicalism does not have to mean shallow. Consider Charles Wesley, the prolific hymnodist and leader of the Methodist revival in (and eventual schism from) from the Church of England and Hymn #479 in my favorite hymnal:
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.

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.

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.
The shallow, emotive nature of most CCM calls to mind the parable of the sower (Matthew 13, Mark 4, Luke 8). The gospel of Luke is particularly relevant:
5 “A sower went out to sow his seed. And as he sowed, some fell along the path and was trampled underfoot, and the birds of the air devoured it.
6 And some fell on the rock, and as it grew up, it withered away, because it had no moisture.
7 And some fell among thorns, and the thorns grew up with it and choked it.
8 And some fell into good soil and grew and yielded a hundredfold.”

9 And when his disciples asked him what this parable meant,
10 [Jesus] said, “To you it has been given to know the secrets of the kingdom of God, but for others they are in parables, so that ‘seeing they may not see, and hearing they may not understand.’

13. And the ones on the rock are those who, when they hear the word, receive it with joy. But these have no root; they believe for a while, and in time of testing fall away.
The evangelical preacher and parishioner can bring great enthusiasm to their faith, but (as in the gospel parable), what happens when the enthusiasm fades? As my daughter could have explained in elementary school, sugar provides a short-term energy rush, but the human body needs a more balanced diet (with protein) to build muscle and long-term endurance.

After the service, I approached a young (college graduate) member of our parish who, as it turns out, felt as I did about the CCM emphasis on emotion over belief. This evening, he e-mailed me this quote from Seraphim Rose, a San Diego-born Orthodox monk:
“A person must be in the religious search not for the sake of religious experiences, which can deceive, but for the sake of truth."
The risk of inculcating our children with a shallow faith is creating shallow Christians who will wither away in the face of our relentlessly secular culture. If we are trying to preserve the faith for all generations, we should inculcate a deeper and more durable faith — one more anchored in the proven faith and tradition across the millenia.

What Can We Do?

The role of the Anglo-Catholic parishes, clergy, laity and musicians should not merely be to serve the graying 28 Prayer Book/Rite I refugees, but to raise a new generation of Anglican believers in North America. We should not abdicate this responsibility to our evangelical brethren, but continue articulate and stand for our principles in preserving the historic faith.

The uneasy alliance that is the ACNA should be willing to embrace such an option: in theory, the denomination should be willing to support a diversified approach to continuing the faith that has existed for centuries. However, the ACNA’s recent liturgical efforts (as the emphasis on contemporary worship at most ACNA parishes) suggests that this is unlikely to happen. Anglo-Catholicism still has its proponents — at Nashotah, PB USA, FiF and the Schism I parishes — but they’re not running the ACNA.

We still have the attention of the praise band children who sing Watts and Wesley on Sunday morning, if not the rest of the year. Perhaps a few grandparents (or parents) can put their foot down to make sure the next generation hear the full canon of Christian of Christian music, rather than just a shallow slice of the past decade.