Good Christian Friends Rejoice UM 224, Advent 3 Year C
“Good Christian Friends, Rejoice” (Isa,
Matt) B96, C164, E107 (PD), EL288, F177, G132, L55, N129, P28, UM224, VU35,
W391
This is Parson Paul on the Hymns. If this is
your first time or you’ve tuned in before, welcome. Today’s hymn is Good
Christian Friends Rejoice, UM 224.
1. Today’s first example comes from the Dominican
House of Studies in Washington DC. And
the Dominican Friars. Give a listen to this a Capella recording.
Again, welcome this is Parson Paul. I
am Paul Lathum a retired United Methodist Pastor. My bachelor’s degree is in
Sacred Music. I want to help busy church professionals, church musicians and
people in general to have a greater appreciation and understanding of the hymns
and church music today. I want to help give you some background on the hymns
and how they came to us as well as share some great music.
I believe the hymns can speak into our
lives as well today as in the day when they were first written. Please feel
free to share this blog or podcast with others you think might enjoy and drop
us a line with suggestions or any comments. Be sure and check out the links and
notes I have placed at the end of this blog and in the show notes of the
podcast for full videos today’s hymn selection and others I found interesting.
United Methodist Hymnal editor Carlton
Young talks about folk carols such as this that are of unknown authorship. This
carol seems to be from the 15th century Germany. It is interesting
in that it was originally written in Latin, but Carlton Young, Editor of the
United Methodist Hymnal points out that this is linked to dance.
The Oxford Movement of the 19th
century England brought back many ancient Greek and Latin hymns and translated
them for modern use. John Mason Neale (1818-1866) translated this hymn from
Latin and the vernacular German. This mash-up making what is called macaronic
carol.
In the Medieval Roman Catholic church
liturgy such settings would not have been allowed for at least 3 reasons: only
Latin was allowed in the Mass, macaronic carols such as this used dance rhythms
in contrast to the traditional plainsong chant, and it often used folk
instruments including percussion instruments not usually permitted in the Mass.
I think it is interesting that in some
popular worship music today we think we have a new idea of resurrecting the
hymn tunes or texts for a modern audience. But as we read the history this is not a new
idea. We are doing what others have done before in updating the loved tunes and
texts for modern audiences.
2. Our final selection for today is rendered by
the Robert Shaw Chorale which was a professional choir founded in New York City
in 1948 by Robert Shaw. The Chorale ceased operations in 1965.
Carlton Young points out that Thomas
Helmore “incorrectly transcribed the tune from the old notation and added two
notes after each third phrase.” As you will notice in the rhythm in this hymn
is irregular and Neal added words to accommodate that change in meter , “Joy,
joy,” and ‘Peace, peace’ and ‘News, news’ which has become the standard
version.
The message of the carol is clear and
is found in the last line of each stanza of “Christ is born today!”
“Christ is born for this!” Christ was born to save!”
Please let us know your favorite
Christmas hymn or Worship Song perhaps we can feature it next week.
Kiersten
Rose, modern worship leader at Manchester United Methodist in St. Louis shares
with us one of her current favorites “I like the freshness of a new song, new words, new ways of
saying an age-old truth. This year I have a new favorite called "Glory
(Let There Be Peace)" by Matt Maher. It speaks to the promise of Emmanuel,
one child, one voice, one love to bring us together in peace.”
Thank you Kiersten.
This is an a capella recording posted in 2016.
2. A capella, The Robert Shaw Chorale
recording featuring a verse in the Latin https://www.youtube.com/watch?v=kv9-m-xDvwk
A history of the Robert Shaw Chorale can be found https://en.wikipedia.org/wiki/Robert_Shaw_Chorale
4. With full organ, King’s College
Cambridge, 2012. Arranged by Philip Ledger
Comments
Post a Comment