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).

PECUSA hymnals: first 130 years

In reading about the American prayer book, I found interesting snippets of history regarding the PECUSA hymnals of the 19th and early 20th century. The source was William Sydnor, The Real Prayer Book: 1954 to the Present (1978).

The end of Chapter VII (on the 1892 BCP) and beginning of Chapter VIII (on the 1928) summarize American hymnals up to that date. (No mention is made of Hymnal 1940.) According to the book, the American church distributed hymns as follows:

• 1786: 51 hymns, 8 pages of tunes, appended to end of proposed prayer book
• 1789: 27 hymns (no tunes) as an appendix
• 1826: 212 hymns (no tunes) appended to the prayer book
• 1828: tune book published by Rev. Jonathan Mayhew Wainwright
• 1871: 502 hymns in first stand-alone hymnal
• 1896: 679 hymns
• 1916: 559 hymns, adding 126 and dropping 200. Sydnor favorable quotes a contemporaneous account that praises Hymnal 1916 as “a visible demonstration of the liberality of the [General] Convention to new devotional demands.”

Of course, regular readers know that PECUSA has since published two main hymnals, Hymnal 1940 and Hymnal 1982.

It turns out that this history came from the preface to the Hymnal 1940 Companion, a must have book for any Anglican musician. (By now I would also own the companion to Hymnal 1982, except that it’s multiple books totaling hundreds of dollars, which I am acquiring as I can find them available used.)

Although it’s the only book I’ve found about the history of the American prayer book, I can’t say I care for the book overall. It was written as an apologia for the 1979 prayer book and in the sort of temporo-centrist conceit common to that century, claims that the vast transformation of industrial society justifies new approaches to worship and theology. As with Oremus, it also justifies modernist revisionism with the claim “things were always changing anyway.”

Actually the Brits managed just fine with one prayer book for 300 years. The late Peter Toon argued that if you changed the thees and thous, it would make a fine prayer book for 21st century Americans.