In defense of Victorian carols

In my defense of Anglican hymnals against exaggerated claims by @LutheranSatire, I got a little pushback. My previous defense was that these anachronistic “snow” carols are comparatively rare. For example, in the latest U.S. Anglican hymnal, Book of Common Praise 2017, of the 56 Christmas hymns (not counting Advent or Epiphany), two are these “snow” hymns: “In the bleak midwinter” and “Snow lay on the ground.”

The Satirical Accusation

In the original video, “Luther” (i.e. Pastor Hans Fiene) argued with two upper-crust Englishmen (one a vicar with clerical collar) over how they wrote hymns. Their hymn begins

The snow was cold
And the snow was bright
And the snow was all around
Christ was born
On the day that God
Sent snow upon the ground.

to which “Luther” said (in effect) that it really snow in Bethlehem, and snow is not the reason why the first Christmas was such an important event in human history. He chastised them to get past the snow and tell the message of why God sent his son to the earth. The author’s summary of the video is

Instead of focusing on theology, the British love meditating on snow, silence, and livestock in their Christmas hymns. Martin Luther finds this annoying.

How Bad Are The Four Worst Hymns?

As I noted yesterday, there are four 19th century Anglican hymns that mention this cold/snow theme, and all open with this theme — in most cases, the “worst” verse in the sense that it proved “Luther’s” point.

So, according to the “Luther” standard, I went back (using the Hymnary.org lyrics) and tried to find how well the author got around to telling a message about the meaning of Christ’s birth. Here is what I found

Worst	Best
1. In the Bleak Midwinter
In the bleak midwinter, frosty wind made moan, earth stood hard as iron, water like a stone; snow had fallen, snow on snow, snow on snow, in the bleak midwinter, long ago.	Our God, heaven cannot hold him, nor earth sustain; heaven and earth shall flee away when he comes to reign. In the bleak midwinter a stable place sufficed the Lord God Almighty, Jesus Christ.
2. The Snow Lay on the Ground
The snow lay on the ground, The stars shone bright, When Christ our Lord was born On Christmas night. Venite adoremus Dominum; Venite adoremus Dominum.	And thus that manger poor Became a throne; For He Whom Mary bore Was God the Son. O come, then, let us join The heavenly host, To praise the Father, Son, And Holy Ghost.
3. See Amid the Winter's Snow
See, amid the winter's snow, born for us on earth below, see the tender Lamb appears, promised from eternal years. Hail! Thou ever-blessed morn! Hail, redemption's happy dawn! Sing through all Jerusalem, "Christ is born in Bethlehem."	Lo, within a manger lies He who built the starry skies; He, who throned in height sublime, sits amid the cherubim! Hail! Thou ever-blessed morn! Hail, redemption's happy dawn! Sing through all Jerusalem, "Christ is born in Bethlehem."
4. ’Twas in the Winter Cold
’Twas in the winter cold, when earth Was desolate and wild, That angels welcomed at His birth The everlasting Child. From realms of ever bright’ning day, And from His throne above He came with humankind to stay, All lowliness and love.	Grant me Thyself, O Savior kind, The Spirit undefiled, That I may be in heart and mind As gentle as a child; That I may tread life’s arduous ways As Thou Thyself hast trod, And in the might of prayer and praise Keep ever close to God.

Of these, I would say #2 and #3 eventually make a theological point that would satisfy the pickiest Luther-ite; by emphasizing a subjective response, #4 never quite gets there although the sentiment is appropriate; and #1 never really gets past the contemplation into explaining the significance of Christ’s birth.

Remember that

1. is the famous English carol sung most years by King’s College Cambridge, and the only one sung regularly at Anglican churches; 
2. is found in recent Anglican hymnals but not in any top 10 or top 25 list of Christmas hymns at Anglican churches;
3. is an English Catholic hymn not found in US Anglican hymnals, but was published in the Lutheran Service Book (2006), the most recent hymnal from Pastor Fiene’s denomination;
4. is so obscure that it’s only been found in five hymnals total since it was published in 1871 and thus is irrelevant to any claims about what Anglican think, sing or say.

Update: To be fair, “In the Bleak Midwinter” is also the one with the greatest cultural impact. Amazon lists a total of 189 digital recordings of this hymn, including more than a dozen by English cathedral or chapel choirs, including King’s College Cambridge (both Holst and Darke). It also has (relatively sober) recordings by the Cambridge Singers, Chanticleer, the King's Singers, and the Mormon Tabernacle Choir. Pop recordings include the Blind Boys of Alabama, the Moody Blues, Dan Fogelberg, James Taylor, Julie Andrews, Sarah Brightman, and (of course) Keith and Kristyn Getty. (The total is inflated somewhat by including instrumental recordings without the problematic text, such as the one by The Band of Her Majesty's Royal Marines).

So, in effect, the criticism by “Luther” boils down to a single poem by Christina Rossetti, one that the editors of The English Hymnal decided in 1906 to pair with a purpose-written Gustav Holst tune for the first new Anglican hymnal of the 20th century. Even stipulating this omission, does this justify the suggestion that Anglican Christmas hymns tend to be “inferior hymns”?

Victorian Christmas Anachronisms

The 19th century brought not on the rise of distinctively English hymns and carols, but also anachronistic characterization of Bethlehem winters. @LutheranSatire has been particularly caustic in its evaluation, with Pastor Hans Fiene (in his alter ego M. Luther) ridiculing two Victorian gentlemen as they compose “Inferior Anglican Christmas Hymns”.

On the one hand, the enthusiasm of Victorian England was admirable, as a single hymnal — Hymns Ancient & Modern — became the first in Britain (AFAIK in the world) so sell over 8 million copies in less than 50 years (Long 1971; Orford 2017). Nowhere was this enthusiasm greater than at Christmas. As the “Victorian Era” website says

What better way to get into the festive spirit then singing a Victorian Christmas carol. During this era, they were very into joyful choruses of Christmas songs and had revived old medieval songs whilst adding their own spin and writing new ones!

These were meant for both the relaxed occasions such as when singing amongst friends and family and the other songs were meant for more religious, respectful occasions.

And some of the 19th century carols, including many of those by J.M. Neale, were translations or reharmonizations of ancient or medieval hymns that were centuries old. If there was snow involved — as in Neale’s “Good King Wenceslas” — it was in Britain and not 31° N of Bethlehem.

Other winter excesses cannot be traced to the Victorians. This includes the “in kaltem winter” (“cold of winter”) in the 16th century carol “Es ist ein Ros” (“Lo, how a rose e'er blooming” to Anglicans) or the 20th century American secular ditties like “Let it Snow!” (1945) or “Frosty the Snowman” (1950).

Nonetheless, by searching through Hymnary and my Anglican hymnals, I found exactly four Anglican hymns that, to a greater or lesser degree, might attract the scorn of Pastor Luther Fiene. (Although one might be hypocritical for a 21st century LCMS pastor to attack).

1. In the Bleak Midwinter

This poem by English poet Christina Rossetti was commissioned by and published by an American magazine in 1872. It is by far her most popular work (Beall 2015). As a hymn, it has been published in at least 70 hymnals. None of these are by the Missouri or Wisconsin synod Lutherans, but it does appear in the latest (2006) and most ecumenical ELCA hymnal, Evangelical Lutheran Worship.

The first stanza is the one that would cool any appreciation by Pr. Fiene:

In the bleak midwinter, frosty wind made moan,
earth stood hard as iron, water like a stone;
snow had fallen, snow on snow, snow on snow,
in the bleak midwinter, long ago.

As a hymn, it first appeared in The English Hymnal (1906), with a new tune written for this text: Cranham by Gustav Holst. (Yes, that Gustav Holst.) According to Hymnary.org, it accounts for 63/70 of the hymnals printing of the text; six are Castle by Don Cason and one Adventist hymnal that used Uinta by the hymnal’s editor.

However, not found in any hymnal is the 1909 setting of the hymn by Harold Darke — instead in choral anthem books. However, it is a regular favorite of the King’s College Cambridge annual Lessons & Carols service — according to David Sinden, of the last 23 broadcasts, 11 had Darke and two Holst. It was also once voted the best Christmas carol of all time.

2. The Snow Lay on the Ground

For the first Sunday after Christmas, we sang “The Snow Lay on the Ground” (Hymnal 1940: 41; Hymnal 1982: 110; Book of Common Praise 2017: 81; New English Hymnal: 28). Hymnary.org says it appears in 39 hymnals, and quotes Julian (1907) in summarizing its origins as

This appears to be a West of England traditional carol, and is given as such in R. R. Chope's Carols, 1875, No. 44, where it begins "The snow lay deep upon the ground." In the Crown of Jesus, 1862, No. 146, it begins “The snow lay on the ground" and is marked, with regard to the tune, as "Christmas Carol, sung in Rome by the Pifferari from the Abruzzi Mountains." The text of 1862 is in the Arundel Hymnal, 1902, and many others. 

The 39 hymnals include Episcopalian and Catholic Hymnals, but neither Hymns A&M (1861-1904) or The English Hymnal (1906) nor any Lutheran hymnal. Again, it’s the first verse that would boil Fiene’s blood:

The snow lay on the ground,
The stars shone bright,
When Christ our Lord was born
On Christmas night.
Venite adoremus Dominum;
Venite adoremus Dominum.

3. See Amid the Winter's Snow

Surpisingly popular is “See Amid the Winter’s Snow,” penned in 1858 by Anglo-Catholic (turned Roman Catholic) hymnist Edward Caswall. Among the 140 hymnals listed by Hymnary, it’s found in the Anglican hymnals of Canada and Ireland, the 1990 Presbyterian Hymnal, and (natch) numerous Catholic hymnals. (But no Episcopalian or American Anglican hymnals).

Again, the first stanza fits the problematic pattern:

See, amid the winter's snow,
born for us on earth below,
see the tender Lamb appears,
promised from eternal years.
Hail! Thou ever-blessed morn!Hail, redemption's happy dawn!Sing through all Jerusalem,"Christ is born in Bethlehem."

However, it appears that Luther’s influence is limited among the German-American Lutherans, as it is hymn #373 Pastor Fiene’s favorite hymnal — the current (2006) LCMS Lutheran Service Book.

4. ’Twas in the Winter

Here my ignorance is more excusable, as this 1871 text by Irish clergyman Rev. Charles Ingham Black appears in only five hymnals. The most prominent is nearly 150 years ago, from John Stainer’s Christmas Carols New and Old.

I doubt our fussy German-American pastor has heard of this hymn, but if he did, again he’d turn straight to the first verse

’Twas in the winter cold, when earth
Was desolate and wild,
That angels welcomed at His birth
The everlasting Child.
From realms of ever bright’ning day,
And from His throne above
He came with humankind to stay,
All lowliness and love.

Summary

I don’t think four hymns support Pastor Fiene’s claim for a trend for Anglican anachronistic Christmas carols, particularly given there lack of popularity:

• None was published in the dominant Victorian hymnal, Hymns Ancient & Modern, during Victoria’s life — either the 1861 or 1889 editions.
• Only one (#1) was found in The English Hymnal, the Edwardian collection of Victorian hymns published in 1906.
• Only two (#1,#2) were published the American Anglican/Episcopal hymnals of the 20th and 21st centuries. 
• A third hymn (#3)— as bad as the others — was selected by his LCMS colleagues to be published in his preferred hymnal

So to paraphrase an English playwright back: methinks the pastor doth protest too much.

The most influential 19th century Anglican hymnwriter, John Mason Neale, did not write any Christmas carols (other than Wenceslas) that survive to this day; his best-remembered hymns are for Easter and Palm Sunday. However, his most reprinted Advent hymn — a translation of a medieval Latin text written centuries before Herr Doktor Luther was born — contains exactly the sort of timeless truths Pastor Fiene would espouse.

In its current form (from the 1861 edition of Hymns A&M) , “O come, O come, Emmanuel” is the second hymn in my favorite hymnal (#357 in Pastor Fiene’s hymnal)

Oh, come, Oh, come, Emmanuel,
And ransom captive Israel
That mourns in lonely exile here
Until the Son of God appear.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.

References

• Beall, Mary Kay, “In the Bleak Midwinter,” The Hymn, 56, 4 (Autumn 2015), 47-49.
• Julian, John, Dictionary of Hymnology,  London: Murray, 1907. URL: https://www.ccel.org/ccel/julian_j/
• Long, Kenneth R., The Music of the English Church (New York: St. Martin’s, 1971), p. 334
• Orford, Barry A., “Music and Hymnody” in Stewart J. Brown, James Pereiro, and Peter Nockles, eds., The Oxford Handbook of the Oxford Movement (Oxford: Oxford University Press, 2017), 376-386.
• Christmas Carols New and Old, by Henry R. Bramley & John Stainer (London: Novello, Ewer & Co., 1871). URL: https://archive.org/details/christmascarolsn00staiiala

Update: See further discussion of these four hymn on Dec. 30

King’s College Cambridge: Lessons & Carols 2019

For the 102nd consecutive Christmas Eve, the choir of King’s College Cambridge sang its Festival of Nine Lessons and Carols. As every year since 1928 (but one), this service was broadcast worldwide by the BBC; thanks to the Internet, it is also available for replay for the next 30 days.

This year’s Lessons and Carols service was the first led by Daniel Hyde. As an undergraduate, Hyde was an organ scholar at King’s, and then served in a variety of choral posts before becoming Director of Music at King’s in October 2019.

It also marked the first service since the Nov. 22 death of Stephen Cleobury, who suffered a skull fracture when he was knocked over by a bicyclist in March 2018 but died of cancer. Cleobury led last year’s 100th anniversary service, and with 37 years at the helm was the choir’s longest serving leader since Arthur Henry Mann, who launched the modern King’s choir as its music director from 1876 to 1929.

Finally, it is the first King’s service I’ve heard since finishing Timothy Day’s masterful history of King’s: I Saw Eternity the Other Night: King's College Cambridge, and an English Singing Style. Although it makes only passing reference to its signature annual radio broadcast, it provides a well-researched and detailed explanation of the context for how the choir became so influential (even before its first 1926 evensong radio broadcast).

This Year’s Service

In this year’s program, the lessons were as in previous years, except that (as in 2018, 2017 and 1997-2007) the college censored Genesis 3:16 (“Your desire shall be for your husband”) from the opening lesson. At David Sinden’s website, the sung music has been added to his database of all services since 1997 (along with last month’s Advent service at St. John’s Cambridge).

The program included only seven pieces used last year† — including the three obligatory hymns: Once in Royal David’s City, O Come All Ye Faithful, and Hark the Herald Angels. Only four of the pieces had the same arrangement.††  For the first time since 2013, the service drops “In the bleak midwinter,” which in the last four years was to the tune by Harold Darke (acting King’s music director during WWII); in 2008, English choirmasters voted it the best Christmas carol “of all time.”

The service included descants by the three most recent choir directors: Stephen Cleobury, Philip Ledger and David Willcocks, but (unlike last year) only one(?) Cleobury descant rather than three (restoring the better-known Ledger descant for the final hymn); however, it has two other Cleobury arrangements not used in his final Christmas Eve service.

 It also included a newly-commissioned anthem, as it had every year since 1983 when Cleobury instituted the practice. This year, it was an anthem by Philip Moore to the text of “The angel Gabriel.”

From the program — and from listening to the descants — the sung music credits are:

• [Hymn] ††Once in royal David’s city: words, C. F. Alexander; melody, H. J. Gauntlett, harmonized A. H. Mann; descant Stephen Cleobury
• On Christmas night all Christians sing: Sussex Carol; arr. R. Vaughan Williams
• This is the truth sent from above: Herefordshire Carol; arr. R. Vaughan Williams & C. Robinson
• Angels from the realms of glory: words, J. Montgomery; music, French trad., arr. R. Jacques
• Ding! dong! merrily on high: words, G.R. Woodward; music, 16th century French, arr. David Willcocks (from 100 Carols for Choirs)
• [Hymn] It came upon the midnight clear: words, Edmund H. Sears; music: Arthur Sullivan (as in New English Hymnal) with descant by John Scott
• Unto you is born this day: words, P. Brooks; music: Walford Davies
• There is no rose of such virtue; words, anon. c. 1420; music, Elizabeth Maconchy
• ††Little Lamb, who made thee: words, William Blake; music: John Tavener
• The angel Gabriel: words, Basque; music, Philip Moore
• ††Seven Joys of Mary: arr. Cleobury
• †Silent Night: words: Joseph Mohr; music: Franz Gruber, arr. Cleobury
• How do you capture the wind on the water: words and music, John Rutter
• [Hymn] †While shepherds watched: words, N. Tate; music from Thomas Este’s Psalter
• Away in a manger: words, anon.; music, W.J. Kirkpatrick, arr. Cleobury
• Lully, lulla, thou little tiny child: Coventry Carol; music: Kenneth Leighton
• Who is there that singeth so, Nowell: words, anon.; music, William Mathias
• [Hymn] ††O come all ye faithful: Adeste fideles, transl. Frederick Oakley; music, J.F. Wade, descant David Willcocks
• [Hymn] †Hark the Herald Angels: words, Charles Wesley “et al“; music, Mendelssohn, descant Philip Ledger

Applicability to Parish Choirs

In the English tradition (even more than in the U.S.), there is a dramatic difference between the cathedral and parish choirs. The KCC service is highly influential, spawning lessons & carols services on five continents. But what application does this program have for ordinary parish churches?

First, although all the non-congregation pieces are listed as “carols”, many don’t really correspond to the medieval (or at least pre-Victorian) English carol genre but instead are choral anthems. The new Moore anthem would be an excellent choice for a small parish — particularly one where the organ and organist can manage the instrumental interludes.

However, many of the other choices are so complex (if not ornate) that they would not work for most choirs (or, for that matter, most audiences). Subjectively, it seems like this year’s by Hyde has moved further in this direction than under Cleobury — and certainly that under King’s unquestioned dominance from 1925-1975 under Boris Ord and David Willcocks. (OTOH, it may not be a fair comparison if we what consider incremental by Willcocks in 1960 or 1970 was highly avant garde at the time).

For the American audience, Sullivan’s tune Noel for For “It came upon the midnight clear” (although in some U.S. hymnals) would not be familiar to Americans raised on the more familiar Carol.

Still, lessons & carols services worldwide have copied the King’s pattern since 1919 of opening “Once in royal David’s city” with a soprano soloist, and many delay congregation singing until verse 3 (as King’s did today). The request by Hyde that men’s voices not sing the first 2/3 of each refrain of “O come, all ye faithful” also seems easy to adopt.

While Cleobury’s “Seven joys” was sung as a choral carol, some of the verses could be sung by the congregation. Similarly, Cleobury’s “Away in a manger” or “Silent night” would work for a small church choir, as would Willcocks’ “Ding dong” from 100 Carols for Choirs. (The latter remains an invaluable Christmas resource for church choirs large and small).

Overall, the annual King’s service remains an inspiration both for church musicians, and also ordinary congregation members who are unable to experience such excellence locally.

Biblical prophesies in Handel's Messiah

Soprano soloist Carolyne DalMonte and conductor Ruben Valenzuela
at La Jolla Symphony performance of Handel’s Messiah, Dec 15, 2019.

Last weekend, I joined a community sing-along for the Christmas portion of Handel’s Messiah, sponsored and accompanied by the La Jolla Symphony in Carlsbad.

Since my youth, much of what I know the prophesies of the coming Messiah came from singing and listening to the Messiah over these decades. After Sunday’s performance, I thought I would look up the Scriptural references to the KJV (Authorized Version) that was in use at the date of the 1742 premier.

The score we used is the 1912 edition edited by T. Tertius Noble (1867-1953), available in the public domain at Archive.org. In looking through the score — and the words posted in 1999 on the Stanford libretto archive, one thing grabbed me. In many cases, the text by Charles Jennens takes a Scripture passage and spans several movements; this may be a trivial insight, but it is not one that I realized either by listening, or by singing the choruses.

Below is my cross-reference of the arias, recitatives and choruses, the latter indicated by †.

Part I

1. Overture

Isaiah 40:1-5:
2. Comfort ye, comfort ye my people
3. Every valley shall be exalted
4. And the glory of the Lord†

5. Haggai 2:6-7: For thus saith the Lord of hosts

Malachi 3:1-3:
The Lord, whom ye seek
6. But who may abide the day of his coming?
7. And he shall purify†

8. Isaiah 7:14;Matthew 1:23: Behold, a virgin shall conceive
9. Isaiah 40:9,60:1: O thou that tellest good tidings to Zion†
10. Isaiah 60:2-3: For, behold, the darkness shall cover the earth,
11. Isaiah 9:2: The people that walked in darkness have seen a great light:
12. Isaiah 9:6: For unto us a child is born†
13. Pastoral Symphony

Luke 2:8-11:
14. There were shepherds abiding in the field
15. And the angel said unto them

Luke 2:13-14:
16. And suddenly there was with the angel
17. Glory to God†

18. Zechariah 9:9-10: Rejoice greatly, O daughter of Zion
19. Isaiah 35:5-6: Then the eyes of the blind shall be opened
20. Isaiah 40:11;Matthew 11:28-29: He shall feed his flock like a shepherd
21. Matthew 11:30: His yoke is easy, and his burden is light†

Part II

22. John 1:29: Behold the lamb of God†

Isaiah 53:3-6:
23. He was despised
24. Surely he hath borne our griefs†
25. And with his stripes we are healed†
26. All we like sheep have gone astray†

Psalm 22:7-8:
27. All they that see Him, laugh Him to scorn
28. He trusted in God that he would deliver him:

29. Psalm 69:20: Thy rebuke hath broken His heart:
30. Lamentations 1:12: Behold, and see if there be any sorrow
31. Isaiah 53:8: He was cut off out of the land of the living
32. Psalm 16:10: But Thou didst not leave His soul in hell
33. Psalm 24:7-10: Life up your heads, O ye gates†

Hebrews 1:5-6:
34. Unto which of the angels said He at any time
35. Let all the angels of God worship Him†

36. Psalm 68:18: Thou art gone up on high
37. Psalm 68:11: The Lord gave the word†
38. Isaiah 52:7; Romans 10:15: How beautiful are the feet
39. Romans 10:18; Psalm 19:4: Their sound is gone out into all lands†

Psalm 2:1-4:
40. Why do the nations so furiously rage
41. Let us break their bonds asunder†
42. He that dwelleth in Heav'n

43. Psalm 2:9: Thou shalt break them with a rod of iron
44. Revelation 19:6,11:15,19:16: Hallelujah

Advice from the Musicians of the ACNA

Recently the ACNA announced a new website and new task force for worship music:

The Anglican Church in North America’s Music Task Force has now released music resources to accompany the Psalms for the upcoming seasons of Advent, Christmas, and Epiphany. It has also released today a Hymns and Spiritual Songs Worship Planner for the Advent season. These resources have been launched on the Task Force’s new website.

The Music Task Force was commissioned out of the Liturgy and Common Worship Task Force, the group responsible for the Book of Common Prayer 2019. Now, the attention turns to the musicality of the Anglican tradition.

For a comparatively small denomination with limited resources, the 1.0 version of the website is surprisingly polished and complete. The current site lists 11 pages behind the home page:

1. Home
2. Music Leadership Philosophy
3. Hymns and Spiritual Songs
4. Psalter
5. Service Music
6. Altar Book
7. Choirs
8. Handbells
9. Keyboards
10. Praise Teams and Folk Groups
11. Web Resources
12. Pastor and Church Musician Relationship

Across these pages are more than a dozen “highly recommended articles” — nearly all uploaded with November modification dates — as well as planning resources tied to Advent Year A in the ACNA BCP 2019 lectionary.

Despite the predominance of praise music in the ACNA — particularly in its largest parishes — the site is relatively balanced in the worship wars. For example, #3 lists quotes from Jaroslav Pelikan and Keith/Kristyn Getty. The former states:

Tradition is a good thing.  It is traditionalism that is bad.  Tradition is the living faith of the dead; traditionalism is the dead faith of the living. Tradition lives in conversation with the past, while remembering where we are and when we are and that it is we who have to decide. 

The worship planner on the same page includes references to hymns from Hymnal 1982 and Book of Common Praise 2017 (listed as the “2019” hymnal) as well as praise songs. For example, Advent 4 (Year A) lists these hymns

Hymns
Title	Tune	Hymnal 1982/REC 2019 Hymnal
Savior of the Nations, Come	Nun komm	#54/#10
Come, Thou Long Expected Jesus	Stuttgart	#66/#1
Lo, How a Rose E’er Blooming	Es ist ein rose	#81/#32
Let All Mortal Flesh Keep Silence	Picardy	#324/#263
Lift Up Your Heads	Truro	#436/#390
O Come, O Come, Emmanuel	Veni Emmanuel	#56/#7
People, Look East	Besancon	Internet/#12
Spiritual Songs/Communion Songs
Title	Tune	Hymnal 1982/REC 2019 Hymnal
Comfort, comfort ye my people (works well with instrumental ensemble)	Psalm 42	#67/#20
All Beautiful the March of Days(works well with instrumental ensemble)	Forest Green	Internet
Let All Mortal Flesh Keep Silence(works well with instrumental ensemble)	Picardy	#324/#263
The King of Glory (Israeli Folk Song)	Betty Pulkingham	Internet
Lift Up Your Heads	Steven Fry	Internet
Emmanuel	Jeff Buchan	Internet
Awake, O Israel (Israeli Folk Song)	Merla Watson	Internet
Exodus XV	Frank Gallio	Internet
Waiting in Silence	Carey Landry	Internet

Task Force and Members

The task force consists of Mark Williams (Parish Musician, Christ Church Anglican, Savannah, Georgia), Rev. Darrell Critch (rector of Church of the Good Samaritan in St. John’s, Newfoundland) and Jeremy Redmond (Music Associate at St. Peter’s Anglican Cathedral in Tallahassee, Florida) While Williams “was chosen to chair the ACNA Music Task Force by Archbishop Robert Duncan” — i.e. more than five years ago — the website suggests the task force is relatively nascent: three is a relatively small task force, and there’s no discussion of the task force processes, meetings, or contact information.

Similarly, the “Musicians of the Anglican Church in North America (MACNA)” seems like the ACNA response to the “Association of Anglican Musicians,” which publishes a journal 10x/year for church musicians in The Episcopal Church. However, there no additional information about the MACNA, or a way for musicians to join this organization.

Advice for Effective Congregational Singing

While much of the material is specific to the ACNA — e.g. the chants and forthcoming altar book are modeled on the BCP 1979 and Hymnal 1982 — some aspects are of more general interest. Several articles offer advice on introducing a new hymn (or “song”) — helpful for any music director who has not thought out the right vs. wrong way to do so.

The interview with Williams makes some good points that would be relevant (in my research) to the music director of any liturgical church

To me then, what is important is that the choice of music has these quality traits: that it is singable by the congregation and was composed with this in mind (it is not a soloistic piece of music). That the melody of the song is well-crafted and that there is a good marriage between the melody and the text.  That the music, as much as possible, is in a key that the congregation can sing (no notes below the A below middle C and no notes above high D or E).  That the music carries some level of high intrinsic value; that it has stood the test of time, however long. And that the choice of music fits the liturgical year or the theme for the day for worship. 

Similarly, “3 Errors of Musical Style that Stifle Community,” an article by Canadian Baptist pastor Tim Challies, should be must reading by leaders on any side of the worship wars. Based on the book The Compelling Community, Challies explains those three errors are

• Music that’s difficult to sing corporately, particularly rhythmic complexity.
• Music with limited emotional breadth. “Much of church music is happy music. But if that is all we ever have, we substantially dilute the Christian experience. And the tone we set in our services will inevitably carry over into relationships.”
• Music that feels like a performance. “Musical accompaniment can help by leading us in song and helping us through sections of songs that are more difficult to sing. Or it can overpower congregational worship and turn us from active worshipers into passive listeners.”

A liturgy committee, membership association and newsletter are what the ACNA (and Continuing Anglicans before them) church musicians left behind in TEC. It is good to see the first step (at a realistic scale) towards knowledge sharing and professionalism among North American Anglicans.