Hymn of the Day: “Songs of Thankfulness and Praise” ELW 310
Text: Christopher Wordsworth, 1807–1885, alt.
Tune: SALZBURG, Jakob Hintze, 1622–1702; arr. Johann Sebastian Bach, 1685–1750
Christopher Wordsworth, nephew of the great Romantic poet William Wordsworth, wrote this hymn in five stanzas. It was published in his Holy Year (1862) John 3:13-17 with the heading "Sixth Sunday after Epiphany." Wordsworth described the text as follows:
"[It is a] recapitulation of the successive manifestations of Christ, which have already been presented in the services of the former weeks throughout the season of Epiphany; and anticipation of that future great and glorious Epiphany, at which Christ will be manifest to all, when he will appear again to judge the world."
The didactic text teaches the meaning of Epiphany–the manifestation of Christ in his birth (st. 1), baptism, miracle at Cana (st. 2), healing of the sick, power over evil, and coming as judge (st. 3). Originally the refrain line was "Anthems be to thee addressed, God in man made manifest." The revised refrain borrows Peter's confession, "You are the Christ!" (Mark 8:29), and makes that our corporate confession as we acknowledge the 'Word become flesh" who lived among us.
Wordsworth was a prolific author and the most renowned Greek scholar of his day. Included in his works are Memoirs of William Wordsworth (1851), Commentary on the Mole Bible (1856-1870), Church History (1881-1883), innumerable sermons and pamphlets, and The Holy Year (1862), which contained 117 of his original hymns as well as 82 others written for all the Sundays and Christian holy days according to the Book of Common Prayer. Wordsworth was educated at Trinity College, Cambridge, England, where he distinguished himself as a brilliant student. He later taught at Trinity College and was headmaster of Harrow School (1836-1844). Ordained a priest in the Church of England in 1835, he was canon of Westminster in 1844, a country priest in Stanford-in-the-Vale, Berkshire (1850-1869), and then Bishop of Lincoln (1869-1885).
The tune SALZBURG, named after the Austrian city made famous by Wolfgang Amadeus Mozart, was first published anonymously in the nineteenth edition of Praxis Pietatis Melica (1678); in that hymnbook's twenty-fourth edition (1690) the tune was attributed to Jakob Hintze. Partly as a result of the Thirty Years' War and partly to further his musical education, Hintze traveled widely as a youth, including trips to Sweden and Lithuania. In 1659 he settled in Berlin, where he served as court musician to the Elector of Brandenburg from 1666 to 1695. Hintze is known mainly for his editing of the later editions of Johann Crüger's Praxis Pietatis Melica, to which he contributed some sixty-five of his original tunes.
Offertory: “Laudate Nomen Domini” Christopher Tye (1505-1572)
The musical source for this well-known piece is Tye’s 1553 publication The Actes of the Apostles, a rendering of that New Testament book in metrical verse together with a musical setting for each chapter. The music for ‘Laudate nomen’ is the setting for Chapter 4 in Tye’s version; however, the Latin text with which the music is now generally associated is a later anonymous contrafactum, or substitute text, being a paraphrase of the first verse of Psalm 112; an English translation of this, beginning ‘O come, ye servants of the Lord’, is also frequently encountered.
Laudate nomen Domini, vos servi Domini;
ab ortu solis usque ad occasum ejus.
Decreta Dei justa sunt, et cor exhilarant:
laudate Deum principes et omnes populi.
Translation:
Praise the name of the Lord, you servants of the Lord;
from the rising of the sun until the same setting.
The decrees of the Lord are just, and [their] heart is glad:
Praise the Lord you princes and all you people.
Opening Voluntary: “In dir ist Freude” Theodore Beck (1929-2003)
The chorale tune, IN DIR IST FREUDE, was composed by Giovanni G. Gastoldi (1582-1609) who served as a deacon and singer in the chapel of the Gonzaga family in Mantua. Gastoldi composed a considerable body of court music, such as madrigals, and some church music, but he is best known for his Balletti, which influenced composers such as Monteverdi, Hassler, and Morley.
The earliest record of this text is found in Johannes Lindemann’s 1594 collection of 20 Christmas carols appearing as the German sacred text replacing Giovanni Giacomo Gastoldi’s Italian secular text from a collection of vocal dance songs. No wonder this chorale invites one to dance!
Theodore A. “Ted” Beck taught and composed music for the Lutheran Church-Missouri Synod for more than 50 years and is remembered as a quiet and humble man who had a wry sense of humor and was a demanding but kind teacher. He taught music at Concordia Teachers College (which became Concordia University in 1998) in Seward, Nebraska, from 1953 until his full retirement in 2001. He also composed many pieces for organ as well as for church choirs. He taught at Concordia Teachers College (now Concordia University-Chicago) in River Forest, Ill., from 1950-1953.
Closing Voluntary: “Hyfrydol” Ralph Vaughn Williams
The tune "Hyfrydol", which means "cheerful" in Welsh, was first published in 1830 by Rowland H. Prichard. He was a Welsh composer born in 1811 just outside of Bala, North Wales; Graenyn, North Wales to be exact. The tune is often set to Charles Wesley's hymn text, "Love Divine, All Loves Excelling", Ralph Vaughn Williams' "Come, Thou Long Expected Jesus", and William C. Dix's "Alleluia! Sing to Jesus".
The tune HYFRYDOL, which means "cheerful" in Welsh, was first published in 1830 by Rowland H. Prichard. He was a Welsh composer born in 1811 just outside of Bala, North Wales, where he lived for most of his life serving as a loom tender's assistant in Holywell, North Wales where he eventually would pass away in 1887. It wasn't until 1844 that Prichard published his only known work Cyfaill Y Cantorion (The Singer's Friend). His most famous tune was HYFRYDOL, which is most commonly used with "Come, Thou Long Expected Jesus." The best known arrangement came from none other than English Composer Ralph Vaughn Williams. Vaughn Williams was known for his adaptations on several original hymn tunes, creating new arrangements for wind bands and for brass bands all across England.
In 1954, the 82-year old Ralph Vaughan Williams was taken to hear The International Staff Band. He was suitably impressed and agreed to write something which the Salvation Army could publish. The result was Prelude on Three Welsh Hymn Tunes, for which he re-worked and expanded material that had originally been published as two organ preludes – Calfaria and Hyfrydol. The setting of Ebenezer at the start was new and sets the tone for a work which despite its brevity, is characteristically expansive and festive.