Cathedral vs. family Anglican worship

At most U.S. Anglican churches, today was the observance of All Saints Day. Upon reflection, it seems as though the two obvious hymns — “For all the saints” and “I sing a song of the saints of God” — represent conflicting worship goals.

I didn’t realize it when I woke up this morning, but this was also the conclusion of a 1994 article on “Episcopalians Celebrate All Saints” by Ruth Myers:

Distinct in style and content, these hymns express different theological aspects of the feast of All Saints. “For all the saints” celebrates the great communion of saints by acknowledging their earthly struggles and rejoicing in their eschatological triumph. In contrast, “I sing a song of the saints of God” was written for children “to impress the fact that sainthood is a living possibility today.”

However, I was focusing on a slightly different dichotomy: between high-church (cathedral-style) worship and reaching out to children.

Cathedral Hymnody

Although part of the American Hymnal 1892, what we know today as “For all the saints” is the version from The English Hymnal (1906), with a new tune by (TEH music editor) Ralph Vaughan Williams and eight of the 11 verses by Bishop How.

It has a bit of an ecumenical flavor. The (Missouri Synod) Lutheran talk show Issues Etc. last week ran a 54-minute interview with a Lutheran seminary professor, talking about the history of the hymn. It’s featured in the Presbyterian and Baptist hymnals, and last week my daughter sang it during the official freshman chapel at her Baptist university. In my (recently acquired) 1975 U.S. Catholic Hymnal, Worship II, it’s listed as Hymn #80 (although alas without four-part harmony on the middle verses).

As the clergy processed in this morning, I could tell who the cradle Anglicans (or Episcopalians) and long-time parishioners were, as they belted it out with great enthusiasm. Apparently I’m not the only one who looks forward to this day every year — for the words, for the music, and for the memories it evokes of my days as a choirboy at San Diego’s proto-cathedral. This is a hymn that cries out for the majesty of dozens (if not hundreds) of voices, a strong choir and a blaring organ.

Still, it’s not for everyone. After church, I went up to one of our newer parishioners, who (as it turns out) has a Pentecostal background but has been seeking a deeper liturgical experience. I asked him how he liked the hymn, and he said it was unfamiliar.

At the same time, except for the syncopated entry, it seems like a pretty straightforward hymn to sing. Yes, I’m not the most objective judge, having sung it in church 25+ times in my life. But objectively, it’s certainly a lot easier than Vaughan Williams’ second most famous hymn, the Easter/Ascension/Pentecost favorite “Hall thee, festival day?”

Children’s Hymnody

The other All Saints’ hymn seems at the other extreme: “I sing a song of the saints of God”. The text was published as a children’s hymn in the 1920s, while the version we sing was introduced to the world by Hymnal 1940 (#243) with a new tune written expressly for this purpose. It appears in Hymnal 1982 and some Presbyterian and Methodist hymnals. However — despite the British text (“at tea”) — the combined hymn has not crossed the pond to any Church of England hymnal. According to Hymnary.org, appears in only 22 hymnals (vs. 473 for the more famous Vaughan Williams cathedral hymn.)

Both my wife and I remember it vividly from our childhood in the proto-cathedral. Our sermon today called it out today as well, as the clergyman had similar memories. Afterwards, we told him it was one of three we scheduled for our daughter’s baptism. (In fact, she heard it today by the children’s choir at her parish, but at our church the children’s choir was on hiatus and so it wasn’t scheduled). Similar recollections were voiced at a Virginia Theological Seminary blog.

Children’s vs. Cathedral Music

While these two styles are very divergent, I see them as more orthogonal than contradictory. Many of us learned “For all the saints” as children, and have loved it ever since (as my teenager daughter does). At the same time, there are many of us in the second half of life who eagerly await hearing the Lesbia Scott every November.

So the former hymn provides an opportunity to model enthusiastic festal worship for parishioners young and old, while the latter reminds us the importance of teaching the faithful the meaning of these feast days.

References

Meyers, Ruth A. (1994). "Episcopalians Celebrate All Saints." In Journal of the Liturgical Conference, vol. 12, no. 2, pp. 9-13. http://dx.doi.org/10.1080/0458063X.1994.10392275

Favorite recording of the all-time favorite All Saints hymn

Of course, it wouldn’t be All Saints’ Day without Ralph Vaughan Williams' greatest hit, “For All the Saints.”

Unlike my daughter, my work schedule did not allow me to attend services and hear this hymn live this week. So on the way to work I decided to look for what recordings I had on my laptop among the 426 hymns.

I found four distinct performances. All were from English choirs using (as far as I could tell) boys for the trebles. Here the the performances, ordered from most basic to most ornate:

1. Worcester Cathedral Choir, from the “Vaughan Williams: Hymns and Choral Music” (3 verses, 2:12). Other than only three verses, a model of what I would want a small church choir or medium-sized congregation to do
2. Trinity College Choir, Cambridge, from “A Vaughan Williams Hymnal” (8 verses, 5:32) has several variations, including men only and an a capella verse. This is the straight-up version that I would hold as the aspirational goal for all but the most experienced church choir.
3. Wells Cathedral Choir, from “Christ Triumphant: The English Hymn 1” (6 verses, 4:23) is similar, but a more pronounced retard at the end.
4. Wells Cathedral Choir, from “Favourite Hymns from Wells Cathedral” (6 verses, 5:03) is all out, with trumpet flourishes before the beginning, between the 5th and 6th verses, and with trumpets and organ blasting over the choir in the final verse.

The first three have an almost identical tempo of 0:40 per verse, while the last one is noticeably slower (10% by my copy of iTunes).

Overall, I think I like #2 the best, in between #1 and #3. While #4 would probably be the one I’d prefer to experience live in a cathedral — or perhaps blaring on my high-end stereo in the music room — it’s just not the same with headphones on my laptop or iPod, and the drama actually gets a little tedious after a while.

Update: If you listen closely to these English choirs, you’ll notice a difference from The English Hymnal (#641) original and American practice. The choirs match this text in verse 1 of TEH:

For all the Saints who from their labours rest,
Who thee by faith before the world the confest,
Thy name, O Jesu, be forever blest,
Allieluya, Alleiluya!

So while there are obvious spelling differences, when listening it is noticeable that the English sing “O Jesu” rather than the “O Jesus” used with this text and RVW’s Sine Nomine in Hymnal 1940 (#126.1) or Hymnal 1982 (#287).

It turns out Hymnal 1916 was first American hymnal to use “O Jesus,” but still used the older 1868 tune (Sarum) which was retained in H40 (#126.2). When I went back to Hymnal 1892, not surprisingly it has Sarum — it couldn’t know about the tune that Vaughan Williams composed in 1906 for TEH — but it used the British “Jesu” (while keeping the other American spellings).

Saints and heroes of the Reformation

For Lutherans, this is a particularly poignant day in the church calendar. Today is Reformation Day — the 499th anniversary of Martin Luther posting (or at least circulating) his 95 Theses.

At the same time, tomorrow is the feast of All Saints — a celebration we inherited from the undivided Western (i.e. Roman Catholic) church. Non-liturgical Christians — often referred to as those who worship in the “Evangelical”† style — generally have a strong suspicion of anything Catholic.

I have argued that traditional Lutherans and Anglicans are the most moderate of the Protestant denominations, because we harken back to the undivided Church, and didn’t re-acquire the sin of iconoclasm. Unlike extreme Calvinists and other Radical Reformers, we did not throw out the baby with the bathwater over our differences with Rome.

Thus our daughter Katy (a cradle Anglo-Catholic) and my niece Erin (a cradle Roman Catholic) have had mixed feelings attending Christian universities with an decidedly Evangelical† bent. From a social-cultural standpoint, they enjoy being surrounded by (at least nominal) Christians. But when it comes to the required chapel service, what they attend only vaguely resembles the historic liturgy that they grew up with.

Thus my daughter was ecstatic this morning when her mandatory college chapel acknowledged these two key dates on the liturgical calendar:

I was so excited when I heard the organ playing when I walked in and then we sang 2 hymns …For all the Saints and Come Thou Fount of Every Blessing  …And then there was a postlude without singing - A Mighty Fortress is Our God. … It was just great. It was even slightly liturgical. §

If the Evangelical† worship can teach us to be sensitive to new members and non-believers, perhaps we liturgical Christians can bear witness to the historic liturgy, liturgical calendar and liturgical music.

† Note: here I use “Evangelical” in a cultural/liturgical sense, rather than to refer to those (Orthodox, Catholic or Protestant) Christians who seek to spread the Good News of our Risen Lord.

§ While unexpected, these three hymns are officially sanctioned at her Baptist university, as all are included in the 1975 Baptist Hymnal

For all our saints

As noted earlier, two hymns are the obvious choice for the observance of All Saints Day:

• The mandatory processional hymn (since The English Hymnal in 1906) is “For all the saints,” to the tune Sine Nomine by Ralph von Williams (H40: 126; H82: 287). Hymnal 1982 cheats us men out of one verse of harmony (#4) and as usual the notes are too tiny for us middle-aged choir members, but otherwise the hymn survived unscathed.
• At some point after the children return from Sunday school, play the Hymnal 1940 song — “I sing a song of the saints of God” — with words by Lesbia Locket Scott to the tune Grand Isle (H40: 243; H82: 293).

To suggest hymns for this year’s observance of All Saints Day, I found very helpful to pull out my copy of Hymnal Studies Five, an official companion to Hymnal 1982. It certainly recommend 287 for entrance, but somehow forgets about 293 — even though it’s the last of the 63 hymns under “Holy Days and Various Occasions” (but one of only three marked for All Saints’ Day).

There are two other “saint” hymns in plain sight. One — by HS5 recommended for Communion — is “Let saints on earth in concert sing” (H40: 397; H82: 526). With text by Charles Wesley and the 17th century tune Dundee, it should be easy if unfamiliar.

The other was called to my attention by Issues Etc., and its interview Thursday with Prof. Arthur Just. The topic of his interview is the hymn “We sing of all the unsung saints.” Set to a 19th century tune, the text is by Rev. Carl P. Daw, a TEC priest, adjunct hymnology professor, former executive director of the Hymn Society of America and an acknowledged contributor to the Hymnal 1982 revision. But because it was written in 1996, it’s not in H82 but instead is only found in the 2006 Lutheran Service Book (#678).

The most useful suggestions that I found were listed in the post-communion (recessional) hymns. Two are tied to the epistle (Revelation 21:1-4,22–22:5 in the 1979 prayer book):

• Ye watchers and ye holy ones (H40: 599; H82: 618)
• Ye holy angels bright (H40: 600; H82: 625)

These were two of my favorites as a kid, and I see the tie of both to the Revelation reading. However, I always associated 599 with early Sundays after Trinity (although H40 lists it for the Annunciation in August and Michaelmas in September), and 600 is listed by H40 as being for Holy Innocents and Christmas 2. So neither made the cut this year.

Another recessional recommended by HS5 is “Lo what a crowd of witnesses” (H40: 569; H82: 545), set to the 16th century tune St. Flavian. I love the text (quoting the vivid imagery of Hebrews 12:1-2) but I don’t ever recall singing it in church (as child or adult).

Instead, my favorite choice (and the one I recommended for recessional) was “Jersualem my happy home" (H40: 585; H82: 620) a 16th century text set to Land of Rest, a traditional American spiritual tune:

Jerusalem, my happy home,
when shall I come to thee?
When shall my sorrows have an end?
Thy joys when shall I see?

Thy saints are crowned with glory great;
they see God face to face;
they triumph still, they still rejoice
most happy is their case.

There David stands with harp in hand
as master of the choir:
ten thousand times that man were blessed
that might this music hear.

Our Lady sings Magnificat
with tune surpassing sweet,
and all the virgins bear their part,
sitting at her feet.

Jerusalem, Jerusalem,
God grant that I may see
thine endless joy, and of the same
partaker ever be!

The promises of eternal rest — to a tune named “Land of Rest” — seems perfect for this date. It’s also something on the draft list of hymns for my own funeral.

References

Marion J. Hatchett, Hymnal Studies Five: A Liturgical Index to The Hymnal 1982, New York: Church Hymnal Corporation, 1986.

One was a solider and one was a priest…

As a child, my favorite hymn of the fall season was the quintessential All Saints hymn, “For all the saints.” However, a close second was the other All Saints hymn “I sing a song of the saints of God,” which has a particular resonance with children ages 4-100.

The only hymnal I knew was Hymnal 1940, which lists a total of seven All Saints hymns (two with alternate tunes). In addition to these seven hymns (#126-130), H40 also recommends a list of 12 “also the following hymns.” In the latter list is “I sing a song of the saints of God” (H40 #243), which is officially listed among the “Hymns for Children”. In H82 (#293), it’s listed under multiple Holy Days (both saints’ days and All Saints).

As a child, I was captivated by the words that Lesbia Locket Scott (1898-1986) wrote in the 1920s. Decades later, the end of the 2nd stanza remains committed to heart:

And one was a soldier, and one was a priest,
and one was slain by a fierce wild beast;
and there's not any reason, no, not the least,
why I shouldn't be one too.

In fact, it was such a vivid part of my childhood that this was one of the three hymns we (successfully) requested from H40 for the baptism of our first child.

The tune, Grand Isle, was written by John Henry Hopkins (1891-1945) to match Mrs. Scott’s words in 1940, so that the poem could become a hymn for Hymnal 1940. It’s a very easy tune to sing, and is particularly catchy in building up to the conclusion of each of the three stanzas.

Apparently I’m not the only one who found it catchy. In the COE, it’s mentioned by a calendar of the Diocese of Ely. The song has been blogged by Episcopalians like the Redhead Editor, and the God’s Friends newsletter. ECUSA has even turned it into a children’s book, to add to the profits of the Church Pension Fund.

However, I don’t want that to detract from the effectiveness of this song for children’s ministry. I don’t think Mrs. Scott (or Mr. Hopkins) could have anticipated what The Episcopal Church would become in the 21st century.

For All the Saints

As a child, my second favorite floating church holiday (after Christmas) was All Saints’ Day. Today, I might put Ash Wednesday ahead of that, but not Epiphany. Good Friday and Ascension, alas, aren’t much of day for hymn singing.

Hymnal 1940 had such wonderful hymns for the occasion that the Sunday closest to Nov. 1 was definitely the high point of low season. But when we were church shopping decades later, there was one particular hymn from our childhood that my wife would ask me to check to see if it was being sung — to determine which parish we would attend for the Sunday closest to Nov. 1. This is the same hymn that Dr. Ian Bradley introduces calls “a magnificent processional song of triumph rejoicing in the communion of saints” in his 2006 Book of Hymns.

That hymn is “For all the saints,” #126 (1st tune) in Hymnal 1940. H40 offers eight of the 11 verses of William W. How’s 19th century text. These are the same eight verses found in in The English Hymnal, which offers three different tunes: Sine Nomine, Sarum, and Luccombe. On this side of the pond, the PECUSA Hymnal 1916 only had the second tune (H16 #295), but the editors of Hymnal 1940 decided to carry both Sine Nomine and Sarum.

Like most Anglican households, the only tune we sing for these words is Sine Nomine written by Ralph Vaughan Williams in 1906 for TEH in his role as TEH music editor. Indeed, this is the only tune that was carried forward to New English Hymnal (#197) and Hymnal 1982 (#287).

I’ve previously called this Ralph Vaughan Williams’ greatest hit (at least for church music), and justifiable so. Searching my bookcase, the eight verses and RVW tune are also found in three LCMS hymnals, The Lutheran Hymnal (#463) Lutheran Worship (#191) and Lutheran Service Book (#677). The same words and tune are also in The Presbyterian Hymnal (1990, H #526) and even the 1975 Baptist Hymnal (#144).

But when TEH came out in 1906 the tune was new so the hymnal helpfully explains: “Suitable or use in procession.” Alas, processionals seem to have fallen out of favor, or RVW would be known to many Anglicans as the author of two great church marching tunes — the other being that Easter/Ascension/Pentecost favorite, Salve Festa Dies.

Bradley helpfully notes how How’s words were originally sung to another tune (called For All the Saints) written for it in 1869 by Joseph Barnby. This is apparently the same tune called Sarum in the 1906, 1916 and 1940 hymnals. Bradley concludes that the RVH tune “is now almost universally used.”

In the original version, the TEH music editor arranged the eight verses into 3 unison, 3 harmony and then 2 unison. H40, H82, LW and NEH, are faithful to this arrangement, while the LSB would certainly allow it but is typeset in a way that does not make the unison verses obvious.

Correction, Oct. 30: As it likes to do, Hymnal 1982 drops the accompanying parts from the pew edition (presumably to sell the accompaniment edition, available for 4x as much.) However, the vocal parts are available for verses 5 and 6, as in the other editions. (Thanks to Raving Revisionist” for pointing out my error in the original version of this posting.)

The editors of H82 also resisted the temptation to bowdlerize the lyrics. Even if H82 is not my favorite hymnal, the missing accompaniment is my only complaint for the RVW classic.