Sir Frederick Arthur Gore Ouseley

Born into Great Britain's upper classes on this day in 1825, composer Frederick Arthur Gore Ouseley grew up the son of the ambassador to Russia and godson to the Dukes of Wellington and York. His musical talents were obvious from an early age, and he wrote an opera (L'isola disabitata or, The Uninhabited Island) when he was eight years old.

His lifelong interest in Anglican church music was sometimes seen by his social peers as odd, but he persisted, founding the College of Saint Michael and All Angels in 1856. This was a choir school which gained a sterling reputation for excellence, and the library, started with Ouseley's own collection was renowned well into the twentieth century. When the school closed in 1985, the books were transferred to the Bodleian Library at Oxford.

Ouseley's anthems and hymn tunes are not well known these days, though they turn up now and then. Today's tune was first published in the influential Hymns Ancient and Modern in 1861.

Where is your God, my soul?
Is God within your heart,
Or ruler of a distant realm
In which we have no part?

Where is your God, my soul?
Only in stars and sun?
Or have the holy words of truth
God's light in every one?

Where is your God, my soul?
Confined to Scripture’s page?
Or does the Spirit check and guide
The spirit of each age?

O Ruler of the sky,
Come rule within my heart;
O great Adorner of the world,
Your light of life impart.

In you have I my help,
As all my forebears had;
I’ll trust you when I’m sorrowful,
And serve you when I'm glad.

Thomas Toke Lynch, 1855; alt.
Tune: ABERYSTWYTH (Ouseley),(S.M.)
Frederick A. Gore Ouseley, 1861

This text by Thomas Toke Lynch (recently discussed here) is another hymn from The Rivulet, his controversial collection. You can see how some of its ideas were not exactly in line with much of the theology of his day (particularly the third stanza).  "Adorner of the world" is a name of God that I have not encountered before.



Eight Years Ago: Joseph Barnby

Seven Years Ago: Frederick A. Gore Ouseley

Six Years Ago: Joseph Barnby

Four Years Ago: Frederick A. Gore Ouseley

Three Years Ago: Joseph Barnby

Another Birthday Today: Katharine Lee Bates

Saint Mary Magdalene

The saints of the church do not often appear in the modern day 24 hour news cycle, yet Mary Magdalene, whom we commemorate today on the calendar of saints, was the topic of several articles last month when the Roman Catholic church raised the classification of her day from "memorial" to "feast," on par with the twelve apostles. She was described as "an example of true and authentic evangelization; she is an evangelist who announces the joyful central message of Easter."  Or, as she was described by Saint Thomas Aquinas, "apostle to the Apostles."

In fact, she is more well-known than several of the other apostles, about whom little is actually told in scripture, though it is only in recent years that scholars have untangled her story, rejecting the characterization of her as a prostitute, or "fallen woman."  Also, that she is not the unnamed woman who anoints Jesus' feet and wipes them with her hair (Luke 7: 36-50). 

Today's hymn comes from John Newton (whose birthday is coming up this Sunday), telling of Mary's joyful reunion with Jesus on Easter morning.

Mary to her Savior’s tomb
Hastened at the early dawn;
Spice she brought, and sweet perfume,
But her Lord, the Loved, was gone.
For awhile she weeping stood,
Struck with sorrow and surprise;
Shedding tears, a plenteous flood,
For her heart supplied her eyes.

Jesus, who is always near,
Though too often unperceived
Came, his suff'ring child to cheer,
And inquired why she grieved?
Though at first she knew him not,
When he called her by her name,
Then her griefs were all forgot,
For she found he was the same.

Christ, who came to comfort her,
When she thought her all was lost;
Will for your relief appear,
Though you now are tempest-tossed:
On his Word your burden cast,
On his love your thoughts employ;
Weeping for awhile may last,
But the morning brings new joy.

John Newton, 1779; alt.
Tune: ABERYSTWYTH (7.7.7.7.D.)
Joseph Parry, 1876

In stanza 2, the word "inquired" should probably be pronounced "in - qui - red" (like the color) - rather than "in - qui - ured."

I could wish that Newton had gone a bit farther in the story, incorporating the "apostle to the Apostles" theme (as Charles Wesley did), but at least there's no "fallen woman" language, which often appeared in older hymns.  Modern hymnwriters are writing new texts about Mary Magdalene, leaving out the now-discredited parts of her story.



Eight Years Ago: Saint Mary Magdalene

Seven Years Ago: Emily E. S. Elliott 

Six Years Ago: Saint Mary Magdalene

Four Years Ago: Saint Mary Magdalene

Three Years Ago: Saint Mary Magdalene

Other Mary Magdalene Hymns:

Lift your voice rejoicing, Mary
             
Resting from his work today

Charles Wesley

Charles Wesley, born today in 1707, has been called the "sweet singer of Methodism," and the "bard of Wesleyanism" by various writers.  His more than 6500 hymns could be said to have formed the foundation of the Methodist Church for many of its early members.  Charles and his brother John believed in the power of congregational singing to reinforce their teaching and preaching to their followers. 

In those days, the Methodist meetings were held on Friday nights, assuming that most people went to their local Church of England parish on Sunday mornings.  Charles himself always insisted that he remained a faithful member of the Anglican clergy throughout his life, though the Church did not necessarily agree.  Anglican bishops and many of the clergy still maintained at this time that psalm paraphrases were the only acceptable form of congregational singing.  Hymns were sung by the Nonconformist churches, like the Congregationalists, the Baptists, and the Methodists, which made them suspect to the Anglicans, who feared that incorrect doctrine might be transmitted.

Today's hymn by Charles Wesley remains one of his most well-known, though originally his brother thought it overly sentimental.  There are several stories as to its origin, one being that it was written after an angry mob who objected to the Mothodists chased Charles away from a prayer meeting, leading him to compose this hymn on the theme of Jesus' protecting love.

Jesus, lover of my soul,
Let me to thy bosom fly,
While the nearer waters roll,
While the tempest still is high.
Hide me, O my Savior, hide,
Till the storm of life is past;
Safe into the haven guide;
O receive my soul at last.

Other refuge have I none,
Hangs my helpless soul on thee;
Leave, ah! leave me not alone,
Still support and comfort me.
All my trust on thee is stayed,
All my help from thee I bring;
Cover my defenseless head
With the shadow of thy wing.

Plenteous grace with thee is found,
Grace to free from all my sin;
Let the healing streams abound;
Make and keep me whole within.
Thou of life the fountain art,
Freely let me take of thee;
Spring thou up within my heart;
Rise to all eternity.

Charles Wesley, 1740; alt.
Tune: ABERYSTWTYTH (7.7.7.7.D.)
Joseph Parry, 1875

Like many of Wesley's hymns, this one has traveled far beyond its Methodist roots. The website hymnary.org finds this hymn in 2,524 hymnals (which only includes hymnals published in North America, so the total number must be much larger).  In 1899, hymnologist Louis Benson listed it at #3 in The Best Church Hymns, finding it in 104 of the 107 hymnals he researched.  I'm sure it still appears on the favorite list of many people today.



Four Years Ago: Phoebe Worrall Palmer

Two Years Ago: Charles Wesley

Saint David

March 1 is the feast day of the patronal saint of Wales, Saint David (or Dewi Sant in Welsh). He was a sixth-century monk and later Archbishop of Wales, said to have converted thousands from the pagan Celtic tribes to Christianity. St. David's Cathedral in Pembrokeshire was built after he was made a saint in the twelfth century, on the site of one of his monasteries. He is usually depicted in art with a dove on his shoulder or hovering near him, and he is also closely associated with water, as fresh springs are said to have erupted in the Welsh countryside to mark many of the milestones of his life.

There are hymns specifically written for Saint David, many probably untranslated into English. You can see one at this page (of uncertain provenance) with several other legends about his life and works. However, I thought I would take this day of Welsh celebration to gather together several of the Welsh hymn tunes already used here over the last three years. The tunes of Wales were said to be rousing melodies, some from older folk melodies, simple for a congregation to learn and remember, and were not from a high church tradition. This is probably still true today - you will probably know many of these even if you did not see them the first time around on the blog. I like them all.

HYFRYDOL - Love divine, all loves excelling (and also here and here)

CWM RHONDDA - God of grace and God of glory (also here)

ST. DENIO - Immortal, invisible, God only wise

ABERYSTWYTH - Watcher, tell us of the night

TON-Y-BOTEL - Jesus Christ, eternal Savior

LLANGLOFFAN - Sometimes a light surprises

BRYN CALFARIA - Look, O look, the sight is glorious

RHOSYMEDRE - O Source of Life divine

MEIRIONYDD - You hide within the lily

RHUDDLAN - Light's abode, celestial Salem

These are most, if not all, of the Welsh tunes I've used, and I'm sure there are more to come (the familiar AR HYD Y NOS has not yet appeared, for example).

St. David's Day is also an occasion for large gatherings of Welsh choirs, particularly in the male choir tradition, and many of these hymn tunes were probably sung somewhere today. If you want to hear more of these tunes, searching for any of the tune names above at YouTube will probably bring up a rendition or two (or more) sung exuberantly by a Welsh male choir.

P.S. - Our commenter Leland is looking for some information on a particular Welsh hymn (the text, not the tune) at his blog, if anyone here happens to know more about it.

Promised Day of Israel

We continue the Advent theme of anticipation today with a text by John Bowring, constructed as a dialogue between two people looking for the coming reign of God. The first line is derived from Isaiah 21:11 (Sentinel, what of the night?), and the sentinel responds with good news of the coming morning.

Bowring's hymn has sometimes been sung antiphonally, with different groups taking the "role" of the watcher or the traveler and singing different halves of each stanza.

Watcher, tell us of the night,

What its signs of promise are.

Trav'ler, o’er yon mountain’s height,

See that glory-beaming star.

Watcher, does its beauteous ray

News of joy or hope foretell?

Trav'ler, yes -— it brings the day,

Promised day of Israel.

Watcher, tell us of the night;

Higher yet that star ascends.

Trav'ler, blessedness and light,

Peace and truth its course portends.

Watcher, will its beams alone

Gild the spot that gave them birth?

Trav'ler, ages are its own;

Lo, it bursts o’er all the earth.

Watcher, tell us of the night,

For the morning seems to dawn.

Trav'ler, shadows takes their flight,

Doubt and terror are withdrawn.

Watcher, let your wanderings cease;

Hasten to your quiet home.

Trav'ler, lo! the Source of Peace,

Lo! the Child of God is come!

John Bowring, 1825; alt.

Tune: ABERYSTWYTH (7.7.7.7.D.)

Joseph Parry, 1875

The tune ABERYSTWYTH, by Joseph Parry, was named for the town in Wales where he was professor of music at the university at the time of its composing. It first appeared in the hymnal Ail LlyfyrTonau ac Emynau (1879) and later in Parry's cantata Ceridwyn.

Two (Liturgical) Years Ago: Comfort, comfort ye my people

Two (Calendar) Years Ago: Christina Georgina Rossetti

One (Liturgical) Year Ago: Hail to you, God's Anointed

One (Calendar) Year Ago: Walter Chalmers Smith

The Feast of the Ascension

He is gone—a cloud of light

Has received him from our sight;

Through the veils of time and space,

Passed into the holiest place;

Still his words before us range
Through the ages as they change:
Wheresoe’er the truth shall lead,
Christ will give whate’er we need.

He is gone—towards their goal

World and church must onward roll;

Far behind we leave the past;

Forward are our glances cast:

Though himself no more we see,
Comfortless we will not be:
No, the Spirit still is ours,
Quick'ning, fresh'ning all our powers.

He is gone—but we once more

Shall behold him as before;

In the heaven of heavens the same,

As on earth he went and came;

In the many mansions there,

Place for us he will prepare;

In that world unseen, unknown,

Christ and we shall yet be one.

He is gone—but not in vain,
Wait until he comes again:

Christ is ris'n, he is not here,

Far above this earthly sphere;

Evermore in heart and mind

There our peace in him we find:

To our own eternal Friend,

Thitherward let us ascend.

Arthur P. Stanley, 1859; alt.
Tune: CULFORD (7.7.7.7.D)

Edward J. Hopkins, 1867

This hymn is a bit of a cut-and paste job. The original text appears to be in six verses, though I have mostly seen it in four. I've rearranged a few lines here and there while keeping the same progression of ideas. Admittedly, the tune CULFORD is not particularly well-known. Edward Hopkins wrote a number of hymn tunes, though the only one still familiar to many would be ELLERS. Sullivan's hymn tune ST. PATRICK was specifically written for this text, but it's not one of his better efforts. I almost like ABERYSTWYTH, but the mood is not quite right. The text could also be sung to EASTER HYMN, though I don't think anyone would (matching up the Alleluia sections would be a chore for many).