Lobe den Herren is a bit odd. we sing it to Praise to the Lord the Almighty etc.
For some reason everywhere does this with these stresses on the words
PRAISE to the LORD the ALmighTY the KING of creAtion,
when the rhythm of the tune and the natural stresses of the words are
PRAISE to the LORD the alMIGHty the KING of creAtion.
I have no idea why.
The way you say it should be, “PRAISE to the LORD the alMIGHty the KING of creAtion,” is the way I always hear it. How does anyone get stress on “AL” and “TY” when “MIGHT” is on the downbeat? Are they taking it to slowly to feel it in one beat per bar?
Yes, I wondered that. I've always sung it (and heard it sung) in the way that @Alan29 describes.
I always hear (and sing it) it the way Nick does; if it's in 3/4 time (or 3/2 depending on the age of your hymnal) I don't see how else it could fit.
I'd go with Nick Tamen's waltz-like "feel" to this hymn. In my view it's too often sung ploddingly.
In other gripes (well, why not?) I get really annoyed when I hear "Come Holy Ghost, our souls inspire" and "O come, O come Emmanuel" sung with bar lines. In my view each line should flow as one continual phrase. Not: "Come, HO-oly GHO-ost, our SO-uls insPIRE".
1250 years ago today (24th September A.D.774 ) Fergal of Aghaboe ,monk of Iona, Abbot of Chiemsee, Abbot of St Peter's Salzburg and bishop of Salzburg consecrated the cathedral in the city of the same name.
Three particular saints are associated with the founding of the cathedral Rupert,Ehrentrudis and Fergal (Virgilius) and 24th September is in Salzburg a big religious festival.
In the cathedral which was filled to capacity the archbishop recounted this year in particular the story of Virgilius and recalled in English the story of St Fergal and the links with Ireland.
The readings were given by a nun from the convent founded by St Ehrentrudis on the Nonnberg,Salzburg and in English by a parishioner of the parish church in Aghaboe,Ireland
Instead of the usual singing by a huge choir of music by Mozart there was no choir but rather three young women who led the congregation in singing and a special item at the Offertory ,music of the Irish bagpipes,played by a young Bavarian who had studied in Limerick. The Archbishop informed us in English that the young man's wife was actually Irish but that she could not be present as she was busy teaching English to the footballers of Bayern Muenchen.
The Pontifical Mass ended,as almost always on special occasions in Austria ,with the singing of 'Grosser Gott,wir loben Dich' (Holy God,we praise Thy name)
Combined with the simultaneous clanging of all the great bells of Salzburg cathedral it made an impressive finale to the ceremony
Lobe den Herren is a bit odd. we sing it to Praise to the Lord the Almighty etc.
For some reason everywhere does this with these stresses on the words
PRAISE to the LORD the ALmighTY the KING of creAtion,
when the rhythm of the tune and the natural stresses of the words are
PRAISE to the LORD the alMIGHty the KING of creAtion.
I have no idea why.
The way you say it should be, “PRAISE to the LORD the alMIGHty the KING of creAtion,” is the way I always hear it. How does anyone get stress on “AL” and “TY” when “MIGHT” is on the downbeat? Are they taking it to slowly to feel it in one beat per bar?
Yes, I wondered that. I've always sung it (and heard it sung) in the way that @Alan29 describes.
I always hear (and sing it) it the way Nick does; if it's in 3/4 time (or 3/2 depending on the age of your hymnal) I don't see how else it could fit.
I think I can tell what’s going on. Maybe? And I think we were on the right track above.
When taken slowly—as, to be fair, is probably necessary in a space with acoustics like those in Westminster Abbey—LOBE DEN HERREN is felt as three beats per measure rather than one beat per measure (or waltz-like, as @Baptist Trainfan described it.) When that happens, the 3/4 time signature of the tune isn’t as obvious, and the eighth note/quaver on the the just before Almighty can feel like a pick-up. That, perhaps coupled with the descending pattern of the melody, results in the following quarter note/crotchet on the Al of Almighty feeling like a down beat. And that, in turn, can lead to a feeling of stress on the last syllable of Almighty, while might is perceived as unstressed.
1250 years ago today (24th September A.D.774 ) Fergal of Aghaboe ,monk of Iona, Abbot of Chiemsee, Abbot of St Peter's Salzburg and bishop of Salzburg consecrated the cathedral in the city of the same name.
Three particular saints are associated with the founding of the cathedral Rupert,Ehrentrudis and Fergal (Virgilius) and 24th September is in Salzburg a big religious festival.
In the cathedral which was filled to capacity the archbishop recounted this year in particular the story of Virgilius and recalled in English the story of St Fergal and the links with Ireland.
The readings were given by a nun from the convent founded by St Ehrentrudis on the Nonnberg,Salzburg and in English by a parishioner of the parish church in Aghaboe,Ireland
Instead of the usual singing by a huge choir of music by Mozart there was no choir but rather three young women who led the congregation in singing and a special item at the Offertory ,music of the Irish bagpipes,played by a young Bavarian who had studied in Limerick. The Archbishop informed us in English that the young man's wife was actually Irish but that she could not be present as she was busy teaching English to the footballers of Bayern Muenchen.
The Pontifical Mass ended,as almost always on special occasions in Austria ,with the singing of 'Grosser Gott,wir loben Dich' (Holy God,we praise Thy name)
Combined with the simultaneous clanging of all the great bells of Salzburg cathedral it made an impressive finale to the ceremony
It was indeed an impressive service (Salzburg seems to Do Things Properly), and you can see it here:
Two particular highlights for me - the three young women singing the lovely Lourdes Gloria, for which I myself have acted as Cantor at Our Place, and the Archbishop obviously enjoying the Irish music during the Offertory (before he stands to move to the altar, you can see him tapping his feet...).
It hadn't occurred to me before that the hymn *Holy God, we praise your name* is a paraphrase of the Te Deum. It's popular in Sweden, too, where it's the first hymn in the Svenska Psalmboken (Swedish Lutheran Hymnbook).
If any of you are leading a non-choral BCP Mattins, here's a useful substitute for the chanted version. No doubt someone will say *O, Our Place has been doing that for years...*!
Lobe den Herren is a bit odd. we sing it to Praise to the Lord the Almighty etc.
For some reason everywhere does this with these stresses on the words
PRAISE to the LORD the ALmighTY the KING of creAtion,
when the rhythm of the tune and the natural stresses of the words are
PRAISE to the LORD the alMIGHty the KING of creAtion.
I have no idea why.
The way you say it should be, “PRAISE to the LORD the alMIGHty the KING of creAtion,” is the way I always hear it. How does anyone get stress on “AL” and “TY” when “MIGHT” is on the downbeat? Are they taking it to slowly to feel it in one beat per bar?
Yes, I wondered that. I've always sung it (and heard it sung) in the way that @Alan29 describes.
I always hear (and sing it) it the way Nick does; if it's in 3/4 time (or 3/2 depending on the age of your hymnal) I don't see how else it could fit.
I was once at a service led by a worship band where it was sung in 4/4 (probably because drummers can’t do 3/4)
Praise - to the / Lord - the al / migh - ty the/ king - of cre / a - - - / tion - - -
[ strum strum strum strum ]
O - my soul / praise - him for / he - is your* / health - and sal / va - - - / tion - - -
[strum strum strum strum]
And so on
*They certainly weren’t going to sing a word like “thy”
Just about doable if you put the three notes into the four beats as 1 a 2 a 3 a 4 - two dotted crotchets and one undotted.
Minim Crotchet Crotchet on the other hand is dead in the water.
How did they manage with *sustaineth* and *ordaineth*?
Well, the 1970s hymnal of my tribe, which eschewed words like “Thou” and associated verb forms, had this updated-language version of that verse:
Praise to the Lord, who o’er all things is wondrously reigning,
sheltering you under his wings, and so gently sustaining.
Have you not seen? All that is needful has been
Granted in all his ordaining.
Sometimes on non-choir Sundays we'll sing a communion hymn through a couple of times to cover the administration of communion. On days when the congregation needs even more time, I'll noodle away at the piano. One of the standard variations is to adapt the hymn tune into a different meter. Sometimes it works very well. Another quick hack is to change the mode -- play in minor instead of major and vice versa. I always find the meter shift easier than the modal.
How did they manage with *sustaineth* and *ordaineth*?
Well, the 1970s hymnal of my tribe, which eschewed words like “Thou” and associated verb forms, had this updated-language version of that verse:
Praise to the Lord, who o’er all things is wondrously reigning;
sheltering you under his wings, and so gently sustaining!
Have you not seen? All that is needful has been
Granted in all his ordaining.
Yes, I thought it might have to be something like that.
Changed words catch me out. I am really good at remembering words of hymns, having sung them for many years and I rarely glance down after the first line of each verse, but with our current hymn book AHO&N that can be risky.
It is easier to spot when the changes are substantial.
Mostly they make good sense, eg in
Christ is made the sure foundation
in v2 instead of
With they wonted loving-kindness
Hear thy people as they pray
And thy fullest benediction
Shed within its walls for ay. ( NEH).
we have
You have promised loving kindness
Hear your servants as we pray,
bless your people now before you,
turn our darkness into day.
After all, how many people know what ‘wonted’ means these days?
After all, how many people know what ‘wonted’ means these days?
Indeed.
My tribe’s hymnal has that verse as:
To this temple, where we call you,
come, O Lord of hosts, and stay;
come, with all your loving-kindness,
hear your people as we pray,
and your fullest benediction
shed within these walls today.
Meanwhile, “Praise Ye the Lord, the Almighty” is back to having thees, thous, sustaineth and ordaineth.
Minim Crotchet Crotchet on the other hand is dead in the water.
That’s precisely what was done though. And then at the end, we sang the last two lines of the final verse before repeating the last line three times, then as the music faded, the “worship leader” spoke the words of the last line followed by “alleluia”.
Just about doable if you put the three notes into the four beats as 1 a 2 a 3 a 4 - two dotted crotchets and one undotted.
Minim Crotchet Crotchet on the other hand is dead in the water.
The two dotted crochet/quarters and then one undotted is how I've (unfortunately) heard praise bands do Be Thou My Vision.
To be honest it doesn't really bother me. The existence of the praise band in the first place has me running for the hills; what they do to hymn tunes thereafter is thus not my concern.
After all, how many people know what ‘wonted’ means these days?
Indeed.
My tribe’s hymnal has that verse as:
To this temple, where we call you,
come, O Lord of hosts, and stay;
come, with all your loving-kindness,
hear your people as we pray,
and your fullest benediction
shed within these walls today.
Meanwhile, “Praise Ye the Lord, the Almighty” is back to having thees, thous, sustaineth and ordaineth.
It seems some hymnals have a propensity for inconsistency with what they update. The newest CRC/RCA (historically Dutch Reformed, for the non-Americans) hymnal actually acknowledges it though, with a mention in the introduction about not altering language in hymns when it would be a distraction/too heavily alters a beloved hymn, although what their criteria is seems to be a little bit wishy-washy. One of the reasons I'm glad I'm no longer having to play out of that hymnal, although I do have other qualms with the Hymnal 1982.
David was on the committee for the Church of Ireland hymnal that came out in the 1990s and IIRC there was some sort of convention that words written before a certain date* were left as they were, but after that were buggered about with.
Our church body went all modern in 1982, but caught enough backlash for it that when they did the new hymnal in 2000, they chose inconsistency. As far as i can tell, it was a popular decision.
Tomorrow is being kept as St Michael & All Angels, as it's the actual day (29th September), and FatherInCharge has a great love for the Holy Angels, especially the Guardian Angels, and will no doubt be exhorting us to pray to them continually...
Two of the hymns are On The Sheet, so I don't at present know what they are, but the other two are fine choices:
Angel voices ever singing (Angel Voices) Ye watchers and ye holy ones (Lasst Uns Erfreuen)
Hail, O Guardian Angels!
Hear our happy song!
We are hugely grateful that
You help us all day long.
We have pressing problems,
Sickness, grief, and woe,
But we need not worry as
Alongside us you go... Hail O Guardian Angels etc.
(You can probably guess the tune. The words, I confess, are by Me, and could do with some improvement).
Hymns: accompanied by organ with unrestrained use of Zimbelstern.
Angel Voices (Angel Voices) with last verse descant
Bright the Vision (Laus Deo)
Around the throne of God a band (Solothurn) - unison but enjoyed the rhythms.
Final hymn was written by the vicar to Helmsley - which I always enjoy
Gotta love singing Darke in F - something for everyone.
The Bullock is a bit marmite-y. I enjoy the contrasts, but not all singers did.
Did the gospel improvisation reference Strictly Come Dancing? and the priest's sparkly vestments? ....it was subtle certainly...
Come you thankful people come- St George’s Windsor
Praise and thanksgiving- Bunessan
For the fruits of his creation- Ar Hyd Y Nos
We plough the fields- Wir pflügen
Our Place was a bit sparse this (chilly) morning, with a fair few of the regulars Away, but the remnant duly sang the angelic hymns prescribed for them:
Angel voices ever singing (Angel Voices) Ye watchers and ye holy ones (Lasst Uns Erfreuen)
The other two were not known to my Spy, though the tunes were familiar - Abbot's Leigh (Sing we of the blessed Mother) and Camberwell (At the name of Jesus).
All Glory, Laud, and Honour (St Theodulph)
O Worship The Lord in the beauty of holiness (don't know which tune- sorry!)
To God Be The Glory (To God Be The Glory)
O Worship The King All Glorious Above (Lyons)
We plough the fields and scatter - first time I've sung it to a "boom chicka boom" from the drummer I love you, Lord (All my life you have been faithful) In the darkness we were waiting - a current favourite of the band, I think Mighty to Save (Everyone needs compassion)
Jesus glorious prince of angels (Laudes Mariae)
Stars of the morning so gloriously bright (Trisagion)
Hark hark my soul angelic songs are swelling (Pilgrims)
They come God's messengers of love (St Crispin)
Christ the fair glory of the holy angels (Coelites Plaudant)
All rather rousing, in a high Anglican setting with a long procession and clouds of smoke! Then hotfoot to a village church a way away for -
Harvest Festival Mattins
Come ye thankful people come (St Georges Windsor)
Venite
Psalms 65 and 67
Te Deum
Jubilate
Fair waved the golden corn (Holyrood)
Lord of the harvest it is right and meet (Harvest)
To thee O Lord our hearts we raise (Golden Sheaves)
We plough the fields (Wir plfugen)
Decent singing but not as hearty as the evening!!
Methodist chapel late afternoon
Harvest Thanksgiving
Come ye thankful people come (St Georges Windsor)
Now the year is crowned with blessing (Morgenlied)
We plough the fields and scatter (Wir pflugen)
To thee O Lord our hearts we raise (Bishopgarth)
Hear us O Lord from heaven thy dwelling place (Peel Castle)
Needless to say the snging was extremely lusty as it always is in chapels and a joy to accompany!
Yesterday I was singing with Scottish Voices; we sang for the Saturday Mass at St Francis Xavier's Church, Motherwell (the Carfin Lourdes Grotto):
Introit: O sacrum convivium - William Byrd Mass for Four Voices - William Byrd (phwoar!)
Motet: My spirit longs for thee - Simon Lole
Hymns: Let us build a house - All are Welcome Come down, O Spirit blest - Down Ampney Lord Jesus Christ - Living Lord (that was a bit of a comedown straight after the end of the Byrd Agnus Dei)! Holy God, we praise thy name Grosser Gott
Harvest Festival at St Pete's today wasn't quite so sublime, but we had a couple of the usual goodies:
We plough the fields and scatter - Wir pflügen Praise and thanksgiving - Bunessan Come, ye thankful people, come - St Georges, Windsor For the beauty of the earth - Dix (why????) Praise God for the harvest - Stowey
I don't think I'd come across it before, having very little experience of RC hymnody.
It’s not specifically Roman Catholic. I first came cross it in an Evangelical place I was visiting and after a quick Google search I found that the writer, Marty Haugen, was raised as a Lutheran and is now a member of the United Church of Christ.
I have to say I share Alan29’s opinion on the song
I don't think I'd come across it before, having very little experience of RC hymnody.
It’s not specifically Roman Catholic. I first came cross it in an Evangelical place I was visiting and after a quick Google search I found that the writer, Marty Haugen, was raised as a Lutheran and is now a member of the United Church of Christ.
I have to say I share Alan29’s opinion on the song
I disagree, I like both the song and its sentiments. In fact I chose it at my Induction Service back in 2017 as a statement of intention about what I believe a church should be like.
I don't think I'd come across it before, having very little experience of RC hymnody.
It’s not specifically Roman Catholic. I first came cross it in an Evangelical place I was visiting and after a quick Google search I found that the writer, Marty Haugen, was raised as a Lutheran and is now a member of the United Church of Christ.
I have to say I share Alan29’s opinion on the song
I disagree, I like both the song and its sentiments. In fact I chose it at my Induction Service back in 2017 as a statement of intention about what I believe a church should be like.
I totally see why you did that.
My quibble is that the words "All are welcome" are repeated so often that they become the take away after singing it. And that thought is a long, long way from the truth in many places (including ours.)
There are too many churches where it cannot truthfully be sung. I have only come across it in Methodist churches, and it was true for each of those places.
I don't think I'd come across it before, having very little experience of RC hymnody.
It’s not specifically Roman Catholic. I first came cross it in an Evangelical place I was visiting and after a quick Google search I found that the writer, Marty Haugen, was raised as a Lutheran and is now a member of the United Church of Christ.
I have to say I share Alan29’s opinion on the song
I disagree, I like both the song and its sentiments. In fact I chose it at my Induction Service back in 2017 as a statement of intention about what I believe a church should be like.
I totally see why you did that.
My quibble is that the words "All are welcome" are repeated so often that they become the take away after singing it. And that thought is a long, long way from the truth in many places (including ours.)
I think it’s worth noting that it was written specifically for the dedication of a church.
As @Puzzler says, there are too many places where it can’t truthfully be sung. Perhaps it needs to come with a warning label—“Don’t sing it unless you’re willing to do it.”
We have very recently adopted an Inclusion Policy - it's of course a declaration of intent rather than a statement of where we are, but I think it shows promise. It's not very long and begins: "We are set an example by Jesus Christ of how to love everyone as our neighbours".
I agree. Save Dix for "As with gladness" and Epiphany.
Absolutely.
Re: actually being welcoming as opposed to just singing about it, I certainly couldn't fault the people at the church in Motherwell; they were most hospitable.
I’d say that on the west side of The Pond, at least among my tribe, DIX is primarily associated with “For the Beauty of the Earth.” “As with Gladness” is in the book but it isn’t a go-to Epiphany hymn in my experience, and when it is sung, I’d guess most people would say it’s being sung to the tune of “For the Beauty of the Earth,” not the other way around.
That said, I don’t really like DIX, and that has probably fostered my lukewarm feelings about both “For the Beauty of the Earth” and “As with Gladness.”
Surely when it comes to boring alto lines, not to mention boring bass lines or just boring tunes period, neither DIX nor AURELIA are as bad as SICILIAN MARINERS.
Comments
I did a quick search on YouTube and the very first one goes ALmighTY the KING of creAtion. FDrom westminster Abbey too!
https://www.youtube.com/watch?v=lXhxbEjfxxc&ab_channel=yes
In other gripes (well, why not?) I get really annoyed when I hear "Come Holy Ghost, our souls inspire" and "O come, O come Emmanuel" sung with bar lines. In my view each line should flow as one continual phrase. Not: "Come, HO-oly GHO-ost, our SO-uls insPIRE".
Three particular saints are associated with the founding of the cathedral Rupert,Ehrentrudis and Fergal (Virgilius) and 24th September is in Salzburg a big religious festival.
In the cathedral which was filled to capacity the archbishop recounted this year in particular the story of Virgilius and recalled in English the story of St Fergal and the links with Ireland.
The readings were given by a nun from the convent founded by St Ehrentrudis on the Nonnberg,Salzburg and in English by a parishioner of the parish church in Aghaboe,Ireland
Instead of the usual singing by a huge choir of music by Mozart there was no choir but rather three young women who led the congregation in singing and a special item at the Offertory ,music of the Irish bagpipes,played by a young Bavarian who had studied in Limerick. The Archbishop informed us in English that the young man's wife was actually Irish but that she could not be present as she was busy teaching English to the footballers of Bayern Muenchen.
The Pontifical Mass ended,as almost always on special occasions in Austria ,with the singing of 'Grosser Gott,wir loben Dich' (Holy God,we praise Thy name)
Combined with the simultaneous clanging of all the great bells of Salzburg cathedral it made an impressive finale to the ceremony
When taken slowly—as, to be fair, is probably necessary in a space with acoustics like those in Westminster Abbey—LOBE DEN HERREN is felt as three beats per measure rather than one beat per measure (or waltz-like, as @Baptist Trainfan described it.) When that happens, the 3/4 time signature of the tune isn’t as obvious, and the eighth note/quaver on the the just before Almighty can feel like a pick-up. That, perhaps coupled with the descending pattern of the melody, results in the following quarter note/crotchet on the Al of Almighty feeling like a down beat. And that, in turn, can lead to a feeling of stress on the last syllable of Almighty, while might is perceived as unstressed.
It’s all down to the tempo, I think.
It was indeed an impressive service (Salzburg seems to Do Things Properly), and you can see it here:
https://www.youtube.com/watch?v=wU9E-WEmmzY
Two particular highlights for me - the three young women singing the lovely Lourdes Gloria, for which I myself have acted as Cantor at Our Place, and the Archbishop obviously enjoying the Irish music during the Offertory (before he stands to move to the altar, you can see him tapping his feet...).
It hadn't occurred to me before that the hymn *Holy God, we praise your name* is a paraphrase of the Te Deum. It's popular in Sweden, too, where it's the first hymn in the Svenska Psalmboken (Swedish Lutheran Hymnbook).
If any of you are leading a non-choral BCP Mattins, here's a useful substitute for the chanted version. No doubt someone will say *O, Our Place has been doing that for years...*!
Just about doable if you put the three notes into the four beats as 1 a 2 a 3 a 4 - two dotted crotchets and one undotted.
Minim Crotchet Crotchet on the other hand is dead in the water.
Praise to the Lord, who o’er all things is wondrously reigning,
sheltering you under his wings, and so gently sustaining.
Have you not seen? All that is needful has been
Granted in all his ordaining.
Yes, I thought it might have to be something like that.
Changed words catch me out. I am really good at remembering words of hymns, having sung them for many years and I rarely glance down after the first line of each verse, but with our current hymn book AHO&N that can be risky.
It is easier to spot when the changes are substantial.
Mostly they make good sense, eg in
Christ is made the sure foundation
in v2 instead of
With they wonted loving-kindness
Hear thy people as they pray
And thy fullest benediction
Shed within its walls for ay. ( NEH).
we have
You have promised loving kindness
Hear your servants as we pray,
bless your people now before you,
turn our darkness into day.
After all, how many people know what ‘wonted’ means these days?
My tribe’s hymnal has that verse as:
To this temple, where we call you,
come, O Lord of hosts, and stay;
come, with all your loving-kindness,
hear your people as we pray,
and your fullest benediction
shed within these walls today.
Meanwhile, “Praise Ye the Lord, the Almighty” is back to having thees, thous, sustaineth and ordaineth.
That’s precisely what was done though. And then at the end, we sang the last two lines of the final verse before repeating the last line three times, then as the music faded, the “worship leader” spoke the words of the last line followed by “alleluia”.
The two dotted crochet/quarters and then one undotted is how I've (unfortunately) heard praise bands do Be Thou My Vision.
To be honest it doesn't really bother me. The existence of the praise band in the first place has me running for the hills; what they do to hymn tunes thereafter is thus not my concern.
I’m not sure ‘Let saints on earth in concert sing’ was a good choice for the first hymn. A quick summary of the words:
Lots of people are dead.
Lots of people are dying right now.
Lots of other people are going to die really soon.
We’re still here… sing up!
It was followed by a reading of Ecclesiastes (summary: life’s crap).
The biblical levels of rain going on outside didn’t help the atmosphere either!
Fortunately Dad still has a keen sense of humour and we had a good laugh about it afterwards.
It seems some hymnals have a propensity for inconsistency with what they update. The newest CRC/RCA (historically Dutch Reformed, for the non-Americans) hymnal actually acknowledges it though, with a mention in the introduction about not altering language in hymns when it would be a distraction/too heavily alters a beloved hymn, although what their criteria is seems to be a little bit wishy-washy. One of the reasons I'm glad I'm no longer having to play out of that hymnal, although I do have other qualms with the Hymnal 1982.
* sorry - can't remember the cut-off point.
Two of the hymns are On The Sheet, so I don't at present know what they are, but the other two are fine choices:
Angel voices ever singing (Angel Voices)
Ye watchers and ye holy ones (Lasst Uns Erfreuen)
Hail, O Guardian Angels!
Hear our happy song!
We are hugely grateful that
You help us all day long.
We have pressing problems,
Sickness, grief, and woe,
But we need not worry as
Alongside us you go...
Hail O Guardian Angels etc.
(You can probably guess the tune. The words, I confess, are by Me, and could do with some improvement).
Darke in F
Bullock Give us the wings of faith
Hymns: accompanied by organ with unrestrained use of Zimbelstern.
Angel Voices (Angel Voices) with last verse descant
Bright the Vision (Laus Deo)
Around the throne of God a band (Solothurn) - unison but enjoyed the rhythms.
Final hymn was written by the vicar to Helmsley - which I always enjoy
Gotta love singing Darke in F - something for everyone.
The Bullock is a bit marmite-y. I enjoy the contrasts, but not all singers did.
Did the gospel improvisation reference Strictly Come Dancing? and the priest's sparkly vestments? ....it was subtle certainly...
Come you thankful people come- St George’s Windsor
Praise and thanksgiving- Bunessan
For the fruits of his creation- Ar Hyd Y Nos
We plough the fields- Wir pflügen
Angel voices ever singing (Angel Voices)
Ye watchers and ye holy ones (Lasst Uns Erfreuen)
The other two were not known to my Spy, though the tunes were familiar - Abbot's Leigh (Sing we of the blessed Mother) and Camberwell (At the name of Jesus).
O Worship The Lord in the beauty of holiness (don't know which tune- sorry!)
To God Be The Glory (To God Be The Glory)
O Worship The King All Glorious Above (Lyons)
O Worship the Lord in the beauty of holiness is often sung to the tune Was Lebet - is this the one you had?
https://www.youtube.com/watch?v=ytBTMr0K__I
We plough the fields and scatter - first time I've sung it to a "boom chicka boom" from the drummer
I love you, Lord (All my life you have been faithful)
In the darkness we were waiting - a current favourite of the band, I think
Mighty to Save (Everyone needs compassion)
Yes! That's the one. Thanks @Bishops Finger
All Creatures of Our God and King (LASST UNS ERFREUEN)
All Things Bright & Beautiful (ROYAL OAK)
Let All Things Now Living (ASH GROVE)
Solemn Patronal Eucharist
Jesus glorious prince of angels (Laudes Mariae)
Stars of the morning so gloriously bright (Trisagion)
Hark hark my soul angelic songs are swelling (Pilgrims)
They come God's messengers of love (St Crispin)
Christ the fair glory of the holy angels (Coelites Plaudant)
All rather rousing, in a high Anglican setting with a long procession and clouds of smoke! Then hotfoot to a village church a way away for -
Harvest Festival Mattins
Come ye thankful people come (St Georges Windsor)
Venite
Psalms 65 and 67
Te Deum
Jubilate
Fair waved the golden corn (Holyrood)
Lord of the harvest it is right and meet (Harvest)
To thee O Lord our hearts we raise (Golden Sheaves)
We plough the fields (Wir plfugen)
Decent singing but not as hearty as the evening!!
Methodist chapel late afternoon
Harvest Thanksgiving
Come ye thankful people come (St Georges Windsor)
Now the year is crowned with blessing (Morgenlied)
We plough the fields and scatter (Wir pflugen)
To thee O Lord our hearts we raise (Bishopgarth)
Hear us O Lord from heaven thy dwelling place (Peel Castle)
Needless to say the snging was extremely lusty as it always is in chapels and a joy to accompany!
Introit: O sacrum convivium - William Byrd
Mass for Four Voices - William Byrd (phwoar!)
Motet: My spirit longs for thee - Simon Lole
Hymns:
Let us build a house - All are Welcome
Come down, O Spirit blest - Down Ampney
Lord Jesus Christ - Living Lord (that was a bit of a comedown straight after the end of the Byrd Agnus Dei)!
Holy God, we praise thy name Grosser Gott
Harvest Festival at St Pete's today wasn't quite so sublime, but we had a couple of the usual goodies:
We plough the fields and scatter - Wir pflügen
Praise and thanksgiving - Bunessan
Come, ye thankful people, come - St Georges, Windsor
For the beauty of the earth - Dix (why????)
Praise God for the harvest - Stowey
https://www.youtube.com/watch?v=VzlYTe8uNdY
“Great God, your love has called us here” - Surrey (should be Abingdon, I know, but we don't know it).
“God loves you, and I love you” (children's song).
“What a friend we have in Jesus” - Converse - sung with gusto!
“Blest be the tie that binds” - Dennis.
"I'll go in the strength of the Lord" - its own tune.
It’s not specifically Roman Catholic. I first came cross it in an Evangelical place I was visiting and after a quick Google search I found that the writer, Marty Haugen, was raised as a Lutheran and is now a member of the United Church of Christ.
I have to say I share Alan29’s opinion on the song
I agree. Save Dix for "As with gladness" and Epiphany.
I disagree, I like both the song and its sentiments. In fact I chose it at my Induction Service back in 2017 as a statement of intention about what I believe a church should be like.
I totally see why you did that.
My quibble is that the words "All are welcome" are repeated so often that they become the take away after singing it. And that thought is a long, long way from the truth in many places (including ours.)
As @Puzzler says, there are too many places where it can’t truthfully be sung. Perhaps it needs to come with a warning label—“Don’t sing it unless you’re willing to do it.”
Absolutely.
Re: actually being welcoming as opposed to just singing about it, I certainly couldn't fault the people at the church in Motherwell; they were most hospitable.
That said, I don’t really like DIX, and that has probably fostered my lukewarm feelings about both “For the Beauty of the Earth” and “As with Gladness.”
What about Aurelia?