The Passion-Hymns of Iceland

Total Page:16

File Type:pdf, Size:1020Kb

The Passion-Hymns of Iceland THE PASSION - HYMNS OF ICELAND BE ING T RANSLATIO NS FROM THE PASSI ON HYMNS OF HALLG RIM PETUR SSON AND FROM TH E H YMNS O F THE M O DE RN IC ELAND IC H YMN B O O K TOGETH ER W ITH A N I NT R ODUCT I ON c V E NN P I L C H E R . , FOREWORD BY TH E RI GHT R EV . M L D D. c . E H G. O U , . B IQ H O I‘ OF DUR HA M ’ L O N D O N ! R O B E R T S C O T T R O ! B U R G H E H O U S E w E R N S E R o E . C . P A T O T R , M C M ! I I I E MY M OTH R , WHO FIRST TAU GHT ME THE STO RY F TH C R OSS O E , AND I NTERESTE D ME I N TH E PEOPLE OF I CELAN D . FO R EWOR D ’ P assion - H mns o el d MY friend Mr . Pilcher s y f I c mz finds at least one deeply interested welc omer in myself. From early youth till now the great d its northern islan , with natural wonders , its population of hardy and educ ated peasants and i s c fishermen , and t prac ti al retention , through a s its c c thou and years , of an ient spee h , has had for me a pec uliar fasc ination . To be thus introduc ed to the spiritual life of I c eland , as embodied in and d fostere by its hymnody, is no common delight acc ordingly . That delight , I am confident , will be shared by a large circ le of readers . To the believer whose anc hor - hold is settled for ’ his life and death at the foot of Redeemer s Cross , it is cheering indeed to se e in these beautiful E nglish renderings , by a scholar whose sympathies are complete with the faith and hope of the N orse c c psalmists , how I elandi hearts have in the past beat true to the Gospel of Calvary , and how they do so still in these days s o often troubled by alien thinking. Fo re w o rd The I ntroduc tion is rich throughout in historic al d the an biographical interest , and greatly helps as reader to a true appreciation of the hymns , full e these are , in their setting , of the air and landscap of Iceland . H A Y N DLE DUNELM . A K LAND CAS TLE UC , a n u a r 2 1 1 y y 5 , 9 3 . P R E FAC E H I b T S book represents what is , I elieve , practically a pioneer attempt to do some such work in the field of Icelandic Hymnology as that already an d done so admirably in the Latin , Greek , German fields . as Icelandic sacred song is worthy of study , well o for its own sake , as because it is the fl wer of the Spiritual life of a people and of a church s o nearly akin to our own , and yet situated in such a different environment . The closeness of this i w a s relationship s not often realized . Iceland largely colonized by N orse settlers from our a s E islands a s well from N orway . ven the Celtic element was not absent from the blood of the new N als nation . The greatest of Icelandic Sagas , j ’ ” is . Saga , simply Neil s Saga And the Ice l andic a s o langu ge i tself, unintelligible to us now , was spoken over . half E ngland a thousand years ago by the Norsemen , spoken , too , by some of our I t has Kings . is our language that changed , not theirs . The modern Icelander still speaks what is practically the tongue of the Sagas . l \ x P re fac e c The Icelandic Church may laim our interest , as one of those Lutheran Churc hes whi c h posse ss the allegian c e of so large a part of the Teutonic c d Ra e , Churches closely connecte with our own Royal Family, Churches whose history , at the w as period of the Reformation , entwined with that of the Church of E ngland . But while the I c elandic people are thus closely ' difle rin related to ourselves , under what vastly g conditions have they passed the thousand and odd years of their national life ! Inhabiting Ultima Thule ” itself (a land containing some of the wildest and weirdest scenery on the globe) , speak ing the most northern of civilized langu ages, and forming the far - fl un g outpost of E urope to the h- nort west , this people have braved the rigours s u b- c of a ar tic c limate , and survived the loneliness fam in e cthe of isolation , the wasting of , violence of volcanic action . The life of such a people has i an interest of ts own to all . The hymnologist asks , What type of sac red song did such a life develop P” The story Of the hymns of Iceland centres d H all rim P e tu rs largely roun two names , that of g s o n in the seventeenth century , and that of Bishop E Valdimar riem at the present day . Not that e either of these singers stands alone , but ach towers above his contemporaries in the domain of o sacred song , as Mont Blanc over the neighb uring r n s la Aiguilles . The maj ority of the present t a P re fac e xi tions are made from the hymns of these two writers . H all rim I , hope that the translations from g Pe tu rs so n will give some idea of his pec uliar power. I have chosen passages which illustrate his method of drawing comfort from spec ial ’ c in idents of our Lord s Passion , passages which illustrate the prayers with which his hymns abound (prayers which have a wonderful power of haunting the memory) , and also one passage which will give an example of his bursts of praise — a stanza often sung by itself in Iceland as a doxology . From the hymns of Bishop Valdimar Eriem I have chosen those which seem to me interesting by their originality , or by their fulness of refer ence to Nature , although a selection made on such a principle will scarcely represent the ordinary devotional simplicity o f Icelandic hymns . I have closed this collection with a translation of the hymn written by Matthias J o c hu m s s o n on the occasion of the thousandth anniversary of the — landing of the first settlers ah occasion marked by the gift to the island of the privilege of Home ” Rule from the King of Denmark . The hymn well mirrors the feelings of the people emerging from a period of struggle and isolation into the dawning brightness of a freer and a wider life . I am aware that my translations may appear to Icelandic eyes somewhat too paraphrastic , at least Pre fac e in . certain parts But I v enture to think that , n upon the whole , this is i evitable . I have always d E tried to make as goo an nglish hymn as I could , and to do this the I c elandic ori ginal must at times be treated with some freedom . The reasons for this E nglish scholars of I c elandic will understand . The great majority of the translations are in the same , or very nearly the same , metres as their prototypes . Only portions of the long hym ns of H allgrim s P e tu rs s o n have been translated . This is true al o of some of the other hym ns . As c to the anglicizing of Icelandi names , I have used my j udgment in each case . ’ k R e I should li e to suggest Gounod s tune , ” “ ” as E demption , suitable to the aster Hymn ’ B arn b s . y tune , St Sylvester, for The Divine “ ” P au lu m Guest and the old chorale , Attolle , for the two stanzas on Our Lord ’s Cry from the ” “ o Cross . The Whitsuntide Hymn g es well to a Danish tune by Bergreen , one of the few m odem tunes in the Icelandic Hymn Book which E really please nglish ears . I should like to call particular attention to the H all rim P e t u rs s o n longer translations from g , especially to the Hymn on the Stream from ’ a s Our Lord s Wounded Side , representing some hi of s best work . From the Hymns of Bishop E i Valdimar r em , I would select , in addition to a e c those lr ady mentioned , The Voi es of Crea P re fac e ” “ tion , The Good Shepherd , and Labourers in ” the Vineyard . I have u s ed the eleventh e dition of the Icelandic ” “ lm abOk P i l S é , and the edition of the a s s u s a ” m ar e dite d o o 1 0 . l , by J nas J nsson in 9 7 The who e o ‘ a of these bo ks I have gone over , as well s the hymns of the Icelandic Sunday School Hymn Book , published in Winnipeg , choosing those hymns for translation which made a personal .
Recommended publications
  • The Translation of German Pietist Imagery Into Anglo-American Cultures
    Copyright by Ingrid Goggan Lelos 2009 The Dissertation Committee for Ingrid Goggan Lelos Certifies that this is the approved version of the following dissertation: The Spirit in the Flesh: The Translation of German Pietist Imagery into Anglo-American Cultures Committee: Katherine Arens, Supervisor Julie Sievers, Co-Supervisor Sandy Straubhaar Janet Swaffar Marjorie Woods The Spirit in the Flesh: The Translation of German Pietist Imagery into Anglo-American Cultures by Ingrid Goggan Lelos, B.A.; M.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2009 Dedication for my parents, who inspired intellectual curiosity, for my husband, who nurtured my curiositities, and for my children, who daily renew my curiosities Acknowledgements I would like to express my gratitude to so many who made this project possible. First, I must thank Katie Arens, who always believed in me and faithfully guided me through this journey across centuries and great geographic expanses. It is truly rare to find a dissertation advisor with the expertise and interest to direct a project that begins in medieval Europe and ends in antebellum America. Without her belief in the study of hymns as literature and the convergence of religious and secular discourses this project and its contributions to scholarship would have remained but vague, unarticulated musings. Without Julie Sievers, this project would not have its sharpness of focus or foreground so clearly its scholarly merits, which she so graciously identified.
    [Show full text]
  • Sofia Gubaidulina and Wolfgang Rihm
    THEOLOGY OF BEAUTY Rocznik Teologii Katolickiej, tom XVII/1, rok 2018 DOI: 10.15290/rtk.2018.17.1.12 0000-0001-6701-1378 Joanna Cieślik-Klauza Uniwersytet Muzyczny Fryderyka Chopina Passion Music at the Turn of the XX and XXI Centuries, Part I: Sofia Gubaidulina and Wolfgang Rihm The great conductor and scholar of the works of Bach, Helmuth Rilling, com- missioned his colleague composers from different countries to write works on the Passion of Christ inspired by the four Gospels. This project known as Passion 2000 was realized on the 250th anniversary of Bach’s death. As part of this valuable initiative and tribute to the Bach, the Russian composer Sofia Gubaidulina, the German composer Wolfgang Rihm, the Chinese composer Tan Dun, and the Argentinian composer Osvaldo Goliovo created four considerable works that completely differ stylistically and provide new perspectives onPas - sion settings. This article presents the following two European Passions from a historical perspective: the St. John Passion by Sofia Gubaidulina and the Deus Passus by Wolfgang Rihm. These composers’ perspectives of the Passion genre expand the traditional framework of this genre as they present the events of the Passion within contemporary contexts and combine musical styles from different historical periods. Key words: Passion, Wolfgang Rihm, Sofia Gubaidulina, contemporary sacred music, St. John Passion, Deus Passus. One cannot remain indifferent to the topic of the Passion. Every year for centuries, cultures and traditions have recalled the revelation of the mystery of the cross, the sorrow of the Mother of God, and the sacrifice of Jesus Christ. This teaching arises from the moment that is the most important to Christians: the Death and Resurrection of 184 Joanna Cieślik-Klauza Christ.
    [Show full text]
  • The Three Doctrines of the 1933 Methodist Hymn Book
    The Three Doctrines of the 1933 Methodist Hymn Book. David Rumsey Conservatorium of Music, Sydney Australia. In 1933 the Methodist Church in England produced a new Hymn-Book. A version of it was also prepared for use in Australasia and New Zealand which appeared in 1935. Identification with Australia and New Zealand was almost entirely through provision of a supplement of words (Hymn Nos. 985 to 1035). These publications were products of the unification of Methodism that commenced in 1902 (Australia), 1907 (Britain) and concluded in 19321. The 1933 Hymnal was to all intents and purposes the last publication of its kind compiled and used extensively by the Church for which it was intended2. It represented two centuries of stylistic development in a distinctive medium that had its own rules and purposes, a kind of Gebrauchsmusik. Since John Wesley’s first hymnal of 1737 (compiled in North America) Methodist Hymnody had shown a continuous growth and evolution for almost two centuries. Words and music were selected, adapted, created and tested together. Various original pairings survived and still appeared together in the 1933 book. Sometimes preferred alternate tunes had been found that better suited the symbol and content of the texts, or were superior expressions of the developing ethos of Methodism. A broadly- based but identifiable stylistic trend was established and cultivated over these two centuries. It came to reflect the social preoccupations, doctrines and theology of the Methodist Church. These hymns also made demands on the performing skills, and revealed something of the musical tastes of Methodist choirs and congregations.
    [Show full text]
  • A Lamb Goes Uncomplaining Forth, Part 1 Paul Gerhardt, 1648
    THE HYMNS WE SING: A Lamb Goes Uncomplaining Forth, Part 1 Paul Gerhardt, 1648 Paul Gerhardt wrote the hymn A Lamb Goes Uncomplaining The first stanza holds forth Christ as the Lamb who bears Forth (The Lutheran Hymnal, 142) in 1648 at age 41. Gerhardt all of our sin and punishment. All of His punishment, grew up during the Thirty-Years War and lived a life marked suffering, “anguish” and “death” is held before our eyes. All with hardship and suffering, both this, the hymn says, He suffers 1. A Lamb goes uncomplaining forth, physical and theological. His time The guilt of all men bearing; “willingly”. This is an important as a Lutheran pastor in Germany And laden with the sins of earth, theme in the hymn and the was marked with controversy None else the burden sharing! Scriptures: it is the Lord Jesus' Goes patient on, grow weak and faint, between the Lutherans and the To slaughter led without complaint, desire to suffer and die in order to Reformed. Gerhardt stood firm That spotless life to offer; save us. He dies because He wants against the elector (governor) and Bears shame and stripes, and wounds and to, not because He must. We death, compelled the Lutheran pastors not Anguish and mockery, and saith, rejoice that the Son has such great to compromise their faith. "Willing all this I suffer." love for us that He willingly goes Gerhardt is considered one of 2. This Lamb is Christ, the soul's great Friend, forth unto death. [See St John the best Lutheran hymn-writers.
    [Show full text]
  • Searching for the "Good Song" Determining the Quality of Christian Songs Within the Polarities of Worship
    Searching for the "Good Song" Determining the quality of Christian songs within the polarities of worship by Johanna Gertrud Tönsing Submitted in fulfilment of the academic requirements for the degree of PhD in Practical Theology (Hymnology) in the Faculty of Theology of the University of Pretoria August 2013 i © University of Pretoria Summary This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance.
    [Show full text]
  • How Our Songs in Worship Shape Our Theological Identity: a Study of Lutheran Hymns and How They Shaped German Descendent Lutheran Congregations
    Page 1 of 11 Original Research ‘Forming identity through Song’: How our songs in worship shape our theological identity: A study of Lutheran hymns and how they shaped German descendent Lutheran congregations Author: How do songs and Christian hymns shape the identity and theology of Christian communities? Gertrud Tönsing1 How does the identity and theology of a Christian community shape the hymns that are written, sung and collected in song books and hymnals? This article explores these questions from Affiliation: 1School of Religion, the point of view of the author’s community, the German-descendent Lutheran communities Philosophy and Classics, in South Africa, and studies their main hymn book, the Lutheran hymnal from Germany University of KwaZulu-Natal, (Evangelisches Kirchengesangbuch [EKG]) which was used from the 1950s until the early 1990s South Africa in the congregations. It shows up the strengths and the gaps of these hymns which come from Correspondence to: a theology with a strong focus on faith and trust, but a rather narrow personal morality, with Gertrud Tönsing the social ethics restricted to doing one’s Christian duty and praying for the government. Comparing this hymnal to the later hymnal published in 1990, the article shows, that some of Email: the blind spots of one generation can be filled in by the next generation of songwriters. gertrud.tonsing@googlemail. com Postal address: Introduction 50 Pat Newsom Road, Epworth, Pietermartizburg I am a Lutheran, proud of my musical heritage. Ever since the time of Martin Luther, the hymn 3201, South Africa book has come a close second for Lutherans in importance, behind the Bible, in shaping our faith and our life.
    [Show full text]
  • Thesis Final
    WHO DO YOU SING THAT I AM? THE LIFE OF JESUS IN TWENTIETH CENTURY MENNONITE HYMNALS: A CASE STUDY IN THE USE OF HYMNODY FOR THEOLOGICAL RESEARCH A THESIS SUBMITTED TO THE FACULTY OF ASSOCIATED MENNONITE BIBLICAL SEMINARY IN PARTIAL FULFILLMENT OF THE DEGREE OF MASTER OF THE ARTS: CHRISTIAN FORMATION BY ADAM MERRILL LONGORIA TICE GOSHEN, INDIANA MAY, 2007 2 CONTENTS CHAPTER 1: INTRODUCTION . .5 Method . .6 Similar research . .10 Overview . 12 CHAPTER 2: EXPLORING THE HYMNALS . .13 Mennonite Church Roots . .13 The Church and Sunday School Hymnal With Supplement . .13 Church Hymnal . .25 General Conference Roots . .35 Mennonite Hymn Book . .35 The Mennonite Hymnary . .49 Convergence . 60 Mennonite Hymnal . 60 Hymnal: A Worship Book . .73 Conclusions . .90 CHAPTER 3: COMPARING THE HYMNALS TO CONFESSIONS OF FAITH . 92 Mennonite Church . .93 “Christian Fundamentals . .93 General Conference . .95 “Ris Confession” . .95 “Articles of Faith” . .97 “The Statement of Faith” . 97 Convergence . .99 “Mennonite Confession of Faith” . .99 Synthesis . 101 Confession of Faith in a Mennonite Perspective . 101 CHAPTER 4: CONCLUSIONS . .104 APPENDIX: LISTS AND TABLES . 107 BIBLIOGRAPHY . 155 3 4 CHAPTER 1 INTRODUCTION In the introduction to Hymnal: A Worship Book, Rebecca Slough writes that as Mennonites, “[o]ur singing reveals much about who we have been and who we are…” 1 Similarly, Ken Nafziger and Marlene Kropf claim that the songs of the church “bring to life the narratives of scripture.” 2 They go on to say that “[t]he church’s wisdom and the poetic insights of individual poets, along with scripture’s great treasury of images of God, provide abundant resources for nurturing faith’s imagination.” 3 They even suggest that “[h]ymn writers will more effectively mold the sentiments of a church than those who preach or make creeds or confessions.” 4 If this is the case, then Isaac Watts, Charles Wesley, Catherine Winkworth and Brian Wren may in fact be the most important writers of Mennonite theology.
    [Show full text]
  • The Passion Hymns
    c h a p t e r 15 The Passion Hymns This chapter seeks to place Hallgrimur Petursson’s Passiusalmar within the European Passion hymn tradition. Verse meditations on the suffering and death of Jesus were a recognized literary genre in Germany and Scandinavia in the seventeenth and eighteenth centuries. The characteristics of this genre will be analyzed as will the extent to which those features are reflected or reconfigured in Hallgrimur’s Passiusalmar. Sixteenth-century European verse meditations on the Passion followed the scriptural accounts quite closely, whereas by the end of the seventeenth century and into the eighteenth century poets treated the same subject matter with greater self-conscious artistry and freedom. They were no longer content to paraphrase the biblical texts but sought to expand on them, employing a more affective style and drawing on features from neo-Latin verse (Krummacher 1976, 309-457), notably the use of classical figures of speech. Grad­ ually the narrative events of the Passion almost disappear under the weight of meditation and interpretation, the stylistic level is winched up, complexity increases, and the presentation is dramatic and emotive as emphasis shifts from Christ’s suffering onto man’s responsibility for that suffering (Krummacher 1976, 38off.). This transformation is true for Passion poems in Germany, Sweden and Denmark/Norway (Lindgarde 1996, 51). More often than not the whole sequence of events is recounted, but some poems focus on individual aspects, such as Christ’s seven words from the Cross, or 387 'HISTORY nnjutttj ii>g hiiiinf )jt& &tjzif{i/ fncd tjeriaz bietlegufliL JitzdomSi^mjk vififiz og IjuggunXil girtin', njima $# Mim OJf tyltfbm.
    [Show full text]
  • STUDIES in LUTHERAN CHORALES by Hilton C
    STUDIES IN LUTHERAN CHORALES by Hilton C. Oswald Edited by Bruce R. Backer ! Copyright 1981 by Dr. Martin Luther College, New Ulm, Minnesota All Rights Reserved Printed in U.S.A. • Redistributed in Digital Format By Permission TABLE OF CONTENTS EDITOR’S PREFACE! iii ABOUT THE AUTHOR! v 1!THREE REPRESENTATIVE CHORALES OF DR. MARTIN LUTHER! 1 1.1!A MIGHTY FORTRESS IS OUR GOD! 1 1.2!WE NOW IMPLORE GOD, THE HOLY GHOST! 3 1.3!IN THE MIDST OF EARTHLY LIFE! 4 2!CHORALES BY CONTEMPORARIES OF LUTHER! 7 2.1!MY SOUL, NOW BLESS THY MAKER! 7 2.2!IN THEE, LORD, HAVE I PUT MY TRUST! 8 3!THE UNFAMILIAR CHORALES OF DR. MARTIN LUTHER! 10 3.1!MAY GOD BESTOW ON US HIS GRACE! 10 3.2!WE ALL BELIEVE IN ONE TRUE GOD! 12 3.3!IN PEACE AND JOY I NOW DEPART! 14 3.4!O LORD, LOOK DOWN FROM HEAVEN, BEHOLD! 16 3.5!IF GOD HAD NOT BEEN ON OUR SIDE! 17 4!THE GREAT CHORALES OF LUTHER’S CONTEMPORARIES! 19 4.1!IN THEE, LORD, HAVE I PUT MY TRUST! 19 4.2!PRAISE GOD, THE LORD, YE SONS OF MEN! 20 4.3!ALL GLORY BE TO GOD ON HIGH! 22 4.4!LAMB OF GOD, PURE AND HOLY! 22 4.5!WHEN IN THE HOUR OF UTMOST NEED! 24 5!GREAT CHORALES OF THE 17TH CENTURY! 27 5.1!ZION MOURNS IN FEAR AND ANGUISH! 27 5.2!O DARKEST WOE! 28 5.3!ON CHRIST’S ASCENSION I NOW BUILD! 30 5.4!NOW THANK WE ALL OUR GOD! 31 5.5!O LORD, WE WELCOME THEE! 32 6!LUTHER’S ADAPTATIONS FROM THE HYMNODY OF THE OLD CHURCH! 33 6.1!JESUS CHRIST, OUR BLESSED SAVIOR! 33 6.2!O LORD, WE PRAISE THEE! 34 6.3!ALL PRAISE TO THEE, ETERNAL GOD! 35 6.4!CHRIST JESUS LAY IN DEATH’S STRONG BANDS! 37 6.5!COME, HOLY GHOST, GOD AND LORD! 39 i TABLE OF CONTENTS 7!THE CATECHISM CHORALES OF DR.
    [Show full text]
  • Download Master List As A
    2/14/19 THESES AND DISSERTATIONS RELATED TO HYMNOLOGY MASTER LIST A Aalders, Cynthia Yvonne. “To Express the Ineffable: The Problems of Language and Suffering in the Hymns of Anne Steele (1717-1778).” Th.M., Regent College, 2007. Abbott, Rebecca L. “‘What? Bound for Canaan’s Coast?’: Songs of Pilgrimage in the American Church.” M.A., Gordon-Conwell Theological Seminary, 2002. Abbott, Rebecca Nelson. “Developing a Curriculum of Spiritual Formation for Children Through the Hymns of Charles Wesley at First United Methodist Church, Georgetown, Kentucky.” D.W.S., Robert E. Webber Institute for Worship Studies, 2010. Abee, Michele. “‘Journey into the Square’: A Geographical Perspective of Sacred Harp.” M.A., University of North Carolina at Greensboro, 2012. Abels, Paul Milford. “An Ecumenical Manual of Song for Young Churchmen.” S.M.M., Union Theological Seminary, 1965. Adams, Gwen E. “A Historical-Analytical Study of Johann Sebastian Bach’s Canonic Variations on the Christmas Hymn ‘Von Himmel Hoch, Da Komm’ Ich Her.’” M.M., Yale University, 1978. Adams, Nelson Falls. “The Musical Sources for John Wesley's Tunebooks: The Genealogy of 148 Tunes.” S.M.D., Union Theological Seminary, 1973. Adams, Robert Alvin. “The Hymnody of the Church of God (1885-1980) as a Reflection of that Church's Theological and Cultural Changes.” D.M.A., Southwestern Baptist Theological Seminary, 1980. Adekale, Elizabeth. “Christian Hymnody: Its Influence on African American Spirituals and Contemporary Christian Music.” M.A., Northeastern Illinois University, 2014. Adell, Marian Young. “Mystery–Body Lost, Body Found: The Decline, Loss and Recovery of the Body of Christ in Methodist Worship.” Ph.D., Drew University, 1994.
    [Show full text]
  • How Our Songs in Worship Shape Our Theological Identity: a Study of Lutheran Hymns and How They Shaped German Descendent Lutheran Congregations
    Page 1 of 11 Original Research ‘Forming identity through Song’: How our songs in worship shape our theological identity: A study of Lutheran hymns and how they shaped German descendent Lutheran congregations Author: How do songs and Christian hymns shape the identity and theology of Christian communities? Gertrud Tönsing1 How does the identity and theology of a Christian community shape the hymns that are written, sung and collected in song books and hymnals? This article explores these questions from Affiliation: 1School of Religion, the point of view of the author’s community, the German-descendent Lutheran communities Philosophy and Classics, in South Africa, and studies their main hymn book, the Lutheran hymnal from Germany University of KwaZulu-Natal, (Evangelisches Kirchengesangbuch [EKG]) which was used from the 1950s until the early 1990s South Africa in the congregations. It shows up the strengths and the gaps of these hymns which come from Correspondence to: a theology with a strong focus on faith and trust, but a rather narrow personal morality, with Gertrud Tönsing the social ethics restricted to doing one’s Christian duty and praying for the government. Comparing this hymnal to the later hymnal published in 1990, the article shows, that some of Email: the blind spots of one generation can be filled in by the next generation of songwriters. gertrud.tonsing@googlemail. com Postal address: Introduction 50 Pat Newsom Road, Epworth, Pietermartizburg I am a Lutheran, proud of my musical heritage. Ever since the time of Martin Luther, the hymn 3201, South Africa book has come a close second for Lutherans in importance, behind the Bible, in shaping our faith and our life.
    [Show full text]
  • Paul Gerhardt
    Paul Gerhardt The Singer of Comfort, Hope, and Peace in Christ His Life and Summaries of Seventeen of His Hymns Prepared by Pastor Don Hougard Benediction Lutheran Church Milwaukee, Wisconsin, USA Contents Preface – Pages 1-2 Biography — Pages 3-4 Summary of Hymns Hymns of Trust 1. Ich singe dir mit Herz und Mund O Lord I Sing with Lips and Heart — Pages 5-6 2. Ist Gott für mich so trete If God Himself be for Me — Pages 7-9 3. Befiehl du deine Wege Commit Whatever Grieves Thee — Pages 10-11 4. Gib dich zufrieden Be Thou content – page 12-15 Hymn of Joy 5. Warum sollt ich mich denn grämen Why Should Cross and Trial Grieve Me — Pages 16-17 Hymn of Thanksgiving 6. Nun danket all und bringet Ehr All Ye who on this earth do dwell — Pages 18-19 Hymn of Praise 7. Sollt’ ich meinem Gott nicht singen I Will Sing my Maker’s Praises — Pages 20-22 Advent Hymn 8. Wie soll ich dich empfangen O Lord, How Shall I Greet Thee — Pages 23-24 Christmas Hymns 9. Kommt und laßt und Christus ehren Come, Your Hearts and Voices Raising — Pages 25-26 10. Fröhlich soll mein Herze springen All My Heart this Night Rejoices — Pages 27-29 Lenten Hymns 11. Ein Lämmlein geht und trägt die Schuld A Lamb Goes Uncomplaining Forth — Pages 30-32 12. O Haupt voll Blut und Wunden O Sacred Head now Wounded — Pages 33-34 13. O Welt sieh hier dein Leben Upon the Cross Extended — Pages 35-37 Easter Hymn 14.
    [Show full text]