Mr. H. Hageman, writer of this and a previous article on this subject, is a church organist living in Scarborough, Ontario. To inform or remind our readers of the occasion for his articles, we quote the following from the 1973 Acts of Synod:
“Synod of 1971 appointed a committee to provide a wider range of music and songs by way of a supplement to the Psalter Hymnal and report to the Synod of 1972 . . . . The committee submitted a provisional copy of such a supplement containing 66 songs to the Synod of 1972. The synod requested the committee to send two copies of the supplement to the churches and that the churches send reactions to the committee not later than February 1, 1974. Problems in the areas of copyrighting and harmonization have delayed production, but the committee is hopeful to finish its task this fan.
“Synod [1973] authorized the committee to make enol1gh copies available for denominational use and evaluation and that the churches be invited to send their reactions to the committee no later than February 1, 1975 with a view to approval or disapproval by the Synod of 1975.”
In its introduction the committee says, among other things, that: “it has become apparent to us that not all Christian song which is indeed worth singing is appropriate for the Sunday worship service.” It is encouraging that the committee at least recognizes this fact, which is so true as I pointed out earlier. In a following paragraph they say: “All of them, we believe, satisfy certain textual and musical standards, are liturgically fitting and arc properly able to enrich the worship service of the Church.” It is a pity that the committee does not specify what kind of standards have been applied. The term “certain standards” is very vague in this regard and as will appear later on it will often be difficult to discover any standards at all.
Let’s get started and have a look at the first one. Number one is based on Psalm 150. Given the fact that our present Psalter Hymnal already contains three versions of this Psalm the fact that the committee felt they had to include a fourth and also put it first easily creates the impression that something special is here proposed, a poetical and musical achievement of extreme beauty which may not be withheld from our denomination. Here it is:
Adoration and praise
PRAISE THE LORD
Orientis Partibus 7.7.7.7.
Traditional French melody
1. Praise the Lord with joyful cry; Let the mood of praise run high. Praise him who with mighty deeds Human greatness far exceeds.
2. Praise him with the sound that swings, With percussion, brass, strings. Let the world at every chance Praise him with a song a dance.
Text by permission of Galaxy Music Corp. based on Psalm 150, Fred Kaan
I do not think this is an enrichment. The words may seem contemporary but in reality this is just lack of taste and talent. “Joyful cry”? Why cry? This word is usually not associated with joy. If we read a little further, however, we discover that it has to rhyme on high! “Human greatness” is also poor material of comparison in relation to the Almighty. “The sound that swings” and “song and dance” is all a bit cheap and cannot but distract the attention of the believer to secular entertainment.
The fact that a traditional French tune has been used does not make it much better. The tune is acceptable for congregational singing, although I have seen better French tunes. An enrichment, therefore. would be an overstatement as far as this opening hymn is concerned.
Space does not allow me to comment on every song. I will take a cross section of those I think are representative for a certain type of song. That’s why we now skip to number four. Here it is:
Adoration and Praise
FROM ALL THAT DWELL BELOW THE SKIES
Lasst Uns Erfreuen 8.8.4.4.8.8. with Alleluias
Tune: from Geistliche Kirchengesang, Cologne, 1623
1. From all that dwell below the skies Let the Creator’s praise arise: Alleluia! Alleluia! Let the Redeemer’s name be sung Through every land, in every tongue. Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
2. In every land begin the song; To every land the strains belong: Alleluia! Alleluia! In cheerful sound all voices raise And fill the world with joyful praise. Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
3. Eternal are thy mercies Lord; Eternal truth attends thy word: Alleluia! Alleluia! Thy praise shall sound from shore to shore Till suns shall rise and set no more. Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
Text: Issac Watts, 1674–1748, based on Psalm 117
This song I will take as representing the ten odd good ones in the selection. Here indeed we can speak of enrichment. (The same could be said of the numbers 34, 42, 43, 47, 58 [yes 58!] and 61 and may be also of 9, 40 and 48.) Hymn number nine is the only one for which the committee gives a Dutch translation (God is getrouw, zijn plannen falen niet). I do not see the sense of it and the committee leaves us in the dark as to their reason.
Another enrichment is number 34 “Saviour of the nations.” I want to enlarge on it a little bit because the tune is a real beauty. Many great musicians in the past and present have been inspired by it and most organists will be able to produce a decent prelude to it because the tune excel1s in solemn simplicity.
I do not want to give the reader the impression that things are not so bad after all (I wish I could!) and therefore we now turn to number 10, an old song of George Herbert (1593–1633) and set to a tune of John Worst (born 1940):
Adoration and Praise
LET ALL THE WORLD
Shawnee 10.4.6.6.6.6.
Tune: John Worst, b. 1940
Let all the world in every corner sing: My God and King!
1. The heav’ns are not too high, his praise may thither fly: The earth is not too low, his praises there may grow.
2. The church with psalms must shout, no door can keep them out; But first of all the heart must bear the biggest part.
Text: George Herbert, 1593–1633
“Clap your hands, all peoples! Should to God with loud songs of joy!” (Psalm 47:1)
Like many praise psalms by the sons of Korah and David, this hymn should be sung with a joyful spirit. Liturgically the song fits into the worship as an opening hymn of praise or as a closing call to action. Musically it is in a contemporary idiom with frequent dissonances, irregular phrase lengths, and several meter changes that bespeak the pulse of life.
Apparently the committee is specially satisfied with this one as some additional footnotes are made as to the use of this song. Or, maybe the committee felt that some would not see the use of it and thus made some additional comment for that reason. Even taking into account the footnote I am not impressed.
With all respect for old songs this one proves that not everything made 40 years ago is necessarily great.
This song is not much better than number one as far as the text goes. “Praises” that “thither fly” and “praises” that “grow.” Particularly the last sentence does not make sense to me.
The tune is not worth the paper it is printed on. In the introduction. or whatever it may be called, rhythm or beat is very difficult to detect, if at all present. According to the notation it seems that the tune is “composed” in C, but it ends in B. This would appear to be a violation of a basic law in music which even the layman can easily experience because he gets the feeling that somewhere the song is not finished after the last note.
In the footnote the committee says a.o.: “musically it is a contemporary idiom with frequent disssonances,1 irregular phrase lengths and several meter changes that bespeak the pulse of life.”
If my pulse was in that shape my doctor would rush me to a nearby hospital! This tune is not an achievement of contemporary composition but the poor result of venturing into things without the proper knowledge.
This bring us to Number 15 which is in a sense similar to Number ten. I would not discuss this particularly one if I would not have discovered that the composer/author—Mike McGervey—is a member of our committee. The fact that both text and tune come from the same source could paint to a man of many-sided giftedness, being poet and composer at the same time. Here follows his contribution:
Dedication
PSALM 4: O GOD, YOU SAY
M.R.M. Tune: Mike R. McGervey, b. 1937
1. O God, you say I am perfect in your eyes, You’ve cared for me in my distress; And now I cry out for You once again: Hear my prayer! in Your mercy I rest; Hear my prayer! in Your mercy I rest.
2. You say that man turns Your glory into shame By loving the things we have made; You ask us why, for their claims are all false And the glimmer we see soon fades, And the glimmer we see soon fades.
3. The Lord, it’s said, has set them apart, The ones whose lives are in Him; Stand before God, my friend, and give Him your life: Trust, turn away from what’s been, Trust, turn away from what’s been.
4. There are many who say that god doesn’t care–O Lord, shine your light down on me! For the joy you give is more treasured than wealth, And my fears no longer will be, And my fears no long will be.
Text by Mike R. McGervey, b. 1937
This song is based on Psalm 4. I suggest at this point that the reader take the Bible and read Psalm 4 for himself. It is clear that not much is left of the original spirit of this psalm.2
The tune, which seems to be set in D ends however in A, and is not much fun either. Again a basic mistake which is only aggravated by the fact that the last note is too low for congregational singing.
I do not blame anybody for not having knowledge of the basics of music. A person is to blame, however, when he nevertheless ventures into doing things without the proper knowledge required for such things. And I wonder very much what reason the committee has for accepting such a song. I do not question the enthusiasm of Mr. McGervey but it must be said that from other contributions about singing in the church which appeared in our denominational press from him it would appear that his knowledge about this subject is at least questionable.
We now go to Number 27. It is not necessary to print it here in full . The basic thought here is: “God be with you till we meet again.” This phrase appears twice in each stanza. There are four stanzas of four lines only. Apart from being unable to discover any real gain here the liturgical use is not clear to me because “you,” which pronoun appears sixteen times, is not defined. Obviously the poet does not have the Almighty in mind. But who else? The pastor maybe? Possible; but in that case we can use this song only when our pastor goes on vacation or something of the kind and then only after the worship service as some congregations used to do on New Year’s day, using Psalm 121.
Another example in which the liturgical use is difficult to see is Number 28. There is very little to say about this round. It takes a maximum 20 seconds to perform:
Close of worship
SHALOM
Music: Traditional Israeli Round
Sjaloom* my friends, sjaloom my friends, sjaloom, sjaloom, we’ll see you again, we’ll see you again, sjaloom, sjaloom.
*Sjaloom = Shalom (English); means peace in Hebrew.
Text: Hebrew, translation by Paul Abels
Note: when sung as a round, play Dm chord throughout with steady rhythm.
Who are “my friends”? The only thing that vaguely ties this to Christianity is the word shalom. This word is “in” nowadays, also in other circles. In my opinion this little thing disqualifies itself because it can be used by anybody and nowhere particularly relates to our Covenant God and His service. It could very well be the closing song of the Democratic Convention of a Union meeting. Hence we have no use for it.
I have to mention Number 29. We have something very special here. It is a communion song. We are invited to break bread together on our knees. This would present no problems, but when we are urged to join and fall on our knees no doubt some of us won’t manage that because we also have to take care how we fall, namely with our faces to the rising sun! You can hardly expect that from an average congregation.
One might argue on this point that this is all meant to be figurative. Maybe that is the case but also in figurative expression there are limits. Look how the song continues. In the second stanza we have to do the same things but then while drinking the cup. The third stanza gives some relief because we now only have to bow “round the altar.” Which altar? In the fourth stanza we just praise God but still while falling on our knees and with our faces 10 the rising sun! Further comments not needed.
We turn to Number 55. This is a typical best seller. In general it might be stressed that best sellers are not always the best. This is a WE song. We this and We that. Very subjectivistic except for the last stanza, but in the coda the singer assures the hearer again that we are Christians by our love. We should always emphasize that we are Christians, not by our love, but by His love.
The tune, in E minor, is not too bad and at least the rhythm has been kept consistent. The words however remain below par and renders this song unfit for our worship service. For evangelism purpose it may be of value.
I should comment briefly on the so-called Gelineau psalms of which three appear in this addition. Here we have to do with texts that have been literally translated from the Hebrew psalms and then set to music. This is of course very difficult and I doubt whether they will ever be used in congregational singing because it will take too long to really master these psalms. The way they are printed does not help very much either and it is oftentimes confusing. It is a pity because here we have good texts. This may be good material for a church choir but as far as congregational singing goes they have not much going for them as they require a rather advanced ability to read music.
What I wanted to say is by no means exhausted. I have limited myself.
Number 45 has the same text as Hymn 372 of our present Psalter Hymnal. The tune is different though and there arc three stanzas added which do not warrant this new tune, In this sixth stanza (the present third stanza) the sentence “look to Him your Captain” has been chanted into: “Crown him as your Captain.” This hardly can be considered an improvement. Captains are not crowned as far as I know.
Thy’s and Thou’s still appear which seems odd in a selection published in 1972. In Number 51, which is called “God of Concrete,” something strange happens. The word use is very up to date here: rocket, piston, mail and rail, etc. This may he rather unusual but each stanza ends on . . . thine!
If we allow ourselves a moment to dwell upon the forms and quality of art produced in previous ages ba;<;ed on Christianity we call only admit that presently we arc at an all time low.
I only hope that the mind of the readers have been alerted by the above comments. I repeat that this selection contains a handful of really good selections that speak of enrichment. But there are also some bad and very had ones which the committee tries to sell as being contemporary but which really are products of incompetence, tastelessness, and superficiality. For the rest this proposed supplement consists of a lot of songs that are of the same mediocrity that is so characteristic of our present Psalter Hymnal, which really is not in need of any addition, but should be revised drastically. The denomination would be better served by a small but select collection than by a large collection of everything.
As to the use of guitars to which the notation of the songs invite, I would like to remark that although a beautiful instrument in itself, (i.e., without electronic attachments) the guitar has not been found the most fitting instrument in the Church. It should be remembered that this is one of the oldest instruments and really not a discovery of the seventies. What is relatively new is the use of amplifiers and speakers, but the introdl1ction of this sound equipment into our worship service can generally not be marked as enrichment because so often the enormous sound must cover up for the incapabilities of the “performers.” There arc still too many people around who arc turned on or impressed by a lot of noise instead of having developed a refined taste for beauty.
It should also be clear by now why I said at the beginning that our youth would not be particularly turned on by the 66 selections proposed, because only a small number caters to them and it is too bad that that is exactly the portion that we should object against.
I share with many of our young people the conviction that our present Psalter Hymnal needs revision. But we should not go the way of adding more and more without giving serious regard to quality.
The determination that determines quality or real value is not a mutter of taste, which is a widespread misconception, but a matter of knowledge and truth.
Recently I attended a youth service. Among other things we recited bravely that we should worship our God in Spirit and in Truth. It would appear that this is easily confessed but that how to go about it in practice is a different story.
One aspect of Truth is that it does not bear compromise.
Before using this collection of songs proposed it would be fitting to remind ourselves of the words of Psalm 141:3:
“Set a guard, O Lord, before my mouth;
keep watch at the door of my lips.”
1. The use of the word dissonance seems strange here as dissonances only occur when chords or harmony comes into play. In a single tune no dissonances will appear.
2. As a comparison note the first stanza of Psalm 4 made by Dewey Westra. Note the beautiful rhythm!
Give answer to my supplications
O God, you God of righteousness
My Friend in former tribulation
Pray, kindly hear my lamentation
and come my weary soul to bless.
How long, O mighty will ye try me
and turn my glory into shame?
How often will you belie me
And with your arrogance defy me
and strive to vilify my name?