Commentary & Hymn Suggestions, Palm Sunday-Easter

MUSIC NOTES FOR PALM SUNDAY THROUGH EASTER DAY By Sarah Hussey, Canon for Music, Diocese of Montana

PALM SUNDAY

Palm Sunday is one of the most difficult liturgies to plan well, due to its split personality: triumphal entry, with a drastic shift in focus after the full Passion reading to a solemn focus on the Cross to come.

The earliest liturgical references we have for worship services on this day, from the late 4th century, reflect this same pattern, with a morning service commemorating the entry into Jerusalem, and a service later in the day also including a procession (with palm and olive branches) from the Mount of Olives into Jerusalem, concluding with a recitation of the Passion narrative. Liturgies for the day from later centuries reflected the same, including an elaborate and lengthy Sarum rite from the 11th century. However, by the 16th century, various Protestant worship materials either split these focuses, or eliminated altogether any mention of the Entry, including the 1549 Prayer Book rites for the “Sunday next before Easter”. This elimination, or truncation, continued well into the 20th century. In the 1928 BCP, even though the day is “The Sunday next before Easter, commonly called Palm Sunday”, there is no mention of the entry into Jerusalem (or waving of branches) in the collect or readings that day; the Gospel is not a full Passion reading, but begins with the Trial. Rather, the full Passion was read one week earlier, on “Passion Sunday”, what we now call Lent V. Likewise, Roman missals through approximately 1960 called Lent V “Passion Sunday”, beginning a two-week focus on the Passion with a full narrative; this contrasts with the one “Holy Week” most Christian communities now observe.

Frequently, of course, liturgical developments come from practical concerns, not theological ones. For a number of reasons -- a primary one, the adoption of a common lectionary by several Christian denominations -- by 1970 in Roman missals, “Passion Sunday” on Lent V had been eliminated, with a full Passion reading shifting to Palm Sunday. In our church, the 1960 Book of Offices added a ceremony for the blessing of palms. In the 1979 BCP, Lent V is no longer Passion Sunday, and on Palm Sunday we find appointed both a Liturgy of the Palms and a full account of the Passion (from the entry into Jerusalem through the Crucifixion).

Thus, with the 1979 BCP, we return to the practice for the day observed by Christians throughout most of our 2000-year history, but it brings us back to our challenge in liturgy and music planning. We begin the day in praise and adoration…but it ends foreseeing tragedy. It’s tempting in more informal churches to center the music – particularly a choral anthem at the Offertory -- on Hosanna and donkeys and waving of palms. But if we do so, we have not only inappropriate music, but likely immature as well. Yes, music in this service begins with adulation, but we must shift the music focus to the Passion when the readings themselves shift. And, we must think carefully enough about this shift to avoid the service seeming a schizophrenic hodgepodge.

The hymns you choose for this service, and where you place them, require many considerations:

1. For the Liturgy of the Palms, will you have a procession “outside to inside”? If so, will there be singing while still outside? 2. Do you have a choir, or strong independent singers in the congregation, or do you have a small gathering that sings only if a hymn is very familiar? 3. If you have a choir or strong singers, are they capable of carrying hymns that might be less familiar or even new? 2 Music Notes for Palm Sunday through Easter Day Sarah Hussey, Canon for Music, Diocese of Montana

4. If you don’t have a choir, is your accompanist skilled enough to convey the shift in tone through her/his playing style? Can the accompanist lead unfamiliar hymns confidently? 5. And, will you have sung music (choir or congregation) at your Good Friday service? Specifically, this affects whether or not I suggest “O sacred head, sore wounded” (168) as a final hymn on Palm Sunday.

Given these myriad considerations, I offer a number of variations below, as well as extended commentary.

ENTRANCE HYMN (into church): For practical and theological reasons, Hymn 1541, “All glory, laud and honor” should be the FIRST congregational hymn of this service. Because its text celebrates triumph, save one brief phrase, “before thy passion”, it should NEVER be elsewhere on Palm Sunday (i.e., offertory), nor should any choral anthem at the offertory or communion reflect this theme.

During the Liturgy of the Palms the choir/soloist may sing/lead a different processional anthem, or anthems, particularly if the service begins outside, but please schedule 154 for the first congregational hymn once the procession is indoors, or as it is entering the church. Most likely, you’ll have some congregants or guests who choose not to (or cannot) be part of the outdoor procession; they will be indoors already. This is the only day this powerful hymn can be sung. Using it once indoors, or while coming indoors, will allow the most people to participate, even if all they are doing is listening.

SEQUENCE/GOSPEL HYMN, With a choir or strong congregational singers: Hymn 156, “Ride on, ride on in majesty”, verses 1-3 only. Alternative older tune, Winchester New, 391. Canon comment: Even though it was the most common tune in 19thC-early 20th English hymnals, and still is the standard in Church of England hymnals, I don’t consider it an appropriate musical fit (and neither did Alec Wyton, which is why Dirksen’s The King’s Majesty is Hymn 156 in 1982),. I mention it here in case you have a smaller, older congregation that may know it and might be lost using The King’s Majesty (156).

Alternative without choir or strong congregational singers: 458, My song is love unknown, verses 1-3 only. The downside to this choice: you’ve “used up” they hymn for this day, and can’t sing all the verses later (as you can if a communion hymn, which is where I prefer it).

OFFERTORY HYMN: If you do not sing a Sequence hymn, 156 (all verses, not just 1-3) is an option. 458 My song is love unknown is also possible here, particularly if you do not commonly sing long communion hymns (sing a shortened version at the Offertory, v1, v2, v7 only).

COMMUNION HYMNS 313 Let thy blood in mercy poured 458 a. If you do not sing it at the Offertory, program My song is love unknown as the final (or only) Communion hymn, all verses. b. An SATB Choral version: v1 unison, v2 SATB, v3 men melody, v4 ladies melody, v5 tenor melody with A&B as written and S singing tenor line one octave higher, v6 SATB, v7 unison (accomp) or SATB unaccompanied. As v6 and v7 are not set to music in the hymnal, you may want to make an edited version for the choir.

1 This is a superb hymn for many compositional reasons, but much magnificence comes from it spanning so many centuries: text circa 900A.D., melody circa 1600, harmony (in our Hymnal) 19th c. 3 Music Notes for Palm Sunday through Easter Day Sarah Hussey, Canon for Music, Diocese of Montana

c. Shorter version: verses 1,2, 7

POST-COMMUNION HYMN, 164 Alone thou goest forth, O Lord If you will NOT have sung music at your Good Friday service, you may program 168, O sacred head, v.1- 3 only. Canon comment: Good Friday is the more appropriate service for O sacred head, but it should be sung sometime during Holy Week, so if you will not have sung music on Friday, 168 (v. 1-3) will fit as the closing hymn on this Palm/Passion Sunday.

If you do sing 168, O sacred head, to close the service, then you can choose 164 for an Offertory or Communion hymn.

MAUNDY THURSDAY

Different clergy assign this service different flavors, so it’s difficult to recommend a generic hymn list. Here, my comments on where you can use common hymns for this service.

495 Hail, thou once despised Jesus (verses 1 and 2 only, or 1,2,4) A good entrance hymn, but the tune at 495, In Babilone, is a bit peppy for this evening. Try Abbott’s Leigh (523) or, if that’s unfamiliar, Hyfrydol (460) with a subdued registration.

439 What wondrous love is this As an entrance hymn, this would set a familiar and welcoming tone. Can also work as a Sequence hymn, if you do not want opening music to focus on the institution of Communion.

325 Let us break bread together Appropriate for Sequence if you want to reflect Epistle, but realize it does not segue naturally into the reading from John. Of course, very appropriate at Communion

322 When Jesus died to save us Beautiful as Sequence, but won’t be familiar to most congregants, so best as choir only, or by soloist. I prefer piano accompaniment for a soloist, if possible.

602 Jesu, Jesu, fill us with your love Excellent at footwashing, particularly for an informal mood. Also appropriate as Offertory. 576 (or 577) God is love Appropriate at footwashing or offertory. If 576 isn’t well known, a soloist or small group can sing the verses, with all on the refrain.

Settings of Ubi caritas (Where charity and love are found, there God is). All appropriate at footwashing or at the Offertory.

821 (WLP) Ubi caritas A Taize setting; informal and simple to learn

581 Where charity and love prevail A Geneva Psalter (16th c) setting, so sounds more “formal” to us. Best at offertory for congregation. Option at footwashing: a capella choir/quarter. 4 Music Notes for Palm Sunday through Easter Day Sarah Hussey, Canon for Music, Diocese of Montana

606 Where charity and love dwell This Plainsong setting (here translated, obviously), is good for choir or soloist, accompanied or unaccompanied; it’s the basis of Durufle’s famous motet.

Durufle, Ubi caritas One of the seminal anthems (from all choral literature) for this evening. However, requires accurate, independent choral readers, and 6-8 weeks for amateur choirs to learn and sing confidently (in other words, if you aren’t already working on it by the time you’re reading this, wait ‘till next year).

During communion 325 Let us break bread together 149 LEVAS In remembrance of me Familiar informal song setting 155 LEVAS This is my Body Popular-song style, well-suited for soloist and piano 315 Thou, who at thy first Eucharist Orlando Gibbons (early 17th c); “formal”

Post-communion / stripping of the Altar Silence or quiet organ music only is always an appropriate option as well.

329 Now, my tongue (Plainsong) The same setting (melody) I’ll recommend for Good Friday. I find this a good symmetry; using the same tune both days also helps those who don’t commonly sing or hear plainsong to follow. Please read the verses carefully, to decide specifically if you want to include v.5 and/or v.6 at this service.

331 Now, my tongue (metrical) Unfortunately, I don’t find this Victorian-era music appropriate for this text; I’m betting (hoping) it won’t make the next hymnal edition.

GOOD FRIDAY

For reasons I can’t quantify completely, from young childhood Good Friday has been the most powerful and meaningful to me of the Christian year. I grew up attending a small UMC church in Alabama, not too different from some of our smaller parishes here (I was the kid who passed the service - when it wasn’t my time to sing - leafing through every page of the hymnal and worship book), and we always had a service that day. Decades and many fancy city liturgies later, my most powerful Good Friday experience remains one in that church when I was 12. We had a new young pastor, and for the sermon that afternoon he simply read an article from a recent UMC publication, written by a minister who was also a physician: A medical description of the Crucifixion.

The power (and most of the content) of that message has never left me. As a music and liturgy planner, I take seriously the search for and programming of music that reflects the solemnity of this day, yet has a simplicity that does not interfere with the meaning of the Crucifixion, either the events themselves or their meaning for us. I ask you to do the same. 5 Music Notes for Palm Sunday through Easter Day Sarah Hussey, Canon for Music, Diocese of Montana

In our 1979 BCP Good Friday service, there is no music until after the Sermon, unless the Psalm is sung (in my opinion, best by trained singers using a solemn setting). Organ prelude or postlude music is NOT appropriate, and Communion from the reserved sacrament is administered/taken in silence. Music, by the congregation or choir, is allowed 1. After the Sermon 2. After the Solemn Collects 3. As one of, or in addition to, the optional “Anthems”, after the cross is placed before the congregation 4. Hymn in veneration of the Cross, after the “Anthems”. This is the one place singing is specifically prescribed: in other words, if you have no other music this day, sing here (or have a small group) a hymn in honor of the Cross.

With a choir or quartet, for the most solemn tone to service: After sermon, 158 Ah, holy Jesus, or 168 O sacred head* see verse note below After the Solemn Collects 170 To mock your reign (choir only), or 168 O sacred head* In place of, or in addition to, a solemn choral anthem, such as 16th-17th c setting of “Anthem 1,2 or 3” Adoramus te , or Behold, the Lamb of God, or Hymn 170 if not sung after Collects Canon opinion: Most 19thC or modern settings of these (or similar) texts in a popular-song tradition are not appropriate anthems this day. Stainer’s God so loved the world is acceptable, if not stretched into dramatic romanticism. At the Veneration, after “Anthems” 166 Sing my tongue the glorious battle (sung kneeling, preferably unaccompanied)** see verse note below

With a choir or quartet, more informal tone, or congregation only: After sermon: 168 O sacred head* see verse note below After the Solemn Collects 172 Were you there (try final verse unaccompanied, SATB) In place of “Anthem 1,2 or 3”, a choral anthem, such Stainer’s God so loved the world. Please be careful with your choices this day. Choose short selections. And, avoid anthems with text, melody or harmony more appropriate to an informal or ‘evangelical’ tradition, usually focused on “I” or “me”. God may forgive you, but I won’t At the Veneration, after “Anthems” – Sing kneeling, if able. The first two hymns will have a different power sung kneeling than they do sitting or standing. 474 When I survey the wondrous cross, v. 1-3 only. I do not include v.4 because it shifts focus from Christ/Cross to “me”. OR LEVAS 38 The old rugged cross. OR, if you have singers to lead it, 166 Sing my tongue the glorious battle. It’s worth learning. See verse 6 note below.

*IMPORTANT NOTES ON VERSE SELECTIONS for 168 and 166, next page: 6 Music Notes for Palm Sunday through Easter Day Sarah Hussey, Canon for Music, Diocese of Montana

*168 O sacred head, sore wounded, v. 1-3 or v. 1-3, 5 Canon note: v.4 is a Victorian-era translation focused on “I/me” that I find incongruent both with other verses and at this service. If you want focus solely on Christ/Cross, use v. 1-3. Verse 5 shifts focus to us, but the English translation is consistent stylistically with v. 1-3.

**166 Sing my tongue (plainsong) Worth your congregation learning, particularly if you have a choir/strong singers to lead. Same Plainsong setting recommended for stripping of the altar (Maundy Thurs, hymn 329). Please read verses carefully to decide if you wish to include v. 6 in this service.

EASTER VIGIL / EASTER SUNDAY

On the accompanying spreadsheet I offer suggestions for these services, working with these principles:

1. Your most faithful congregants attend the Vigil. It doesn’t have too many visitors, unchurched or from other denominations, unless there’s a baptism. Most attendees will also attend on Sunday morning. For these reasons, and some musical and textual ones, sing hymns at the Vigil that are different from the ones you’ll sing on Sunday morning.

2. The FIRST hymn on Sunday morning for almost every parish should be 207, Jesus Christ is risen today, for a multitude of reasons: a. You’ll have more visitors this Sunday (some that rarely darken the door, and some from other denominations) than on any other in the year. If they only know one Easter hymn, it’s this one. They will feel the most welcome at your service if you begin with the one hymn they know, even if they don’t sing themselves. b. Your congregation will likely sing this hymn more loudly than any other, also, so it’s a strong opening to the service. c. The text is most appropriate at the opening of the service. In my opinion, the only other place this hymns fits reasonably well is at the Offertory (but, then you have the challenge of finding another hymn equally well-known for your entrance). There are commentaries that list this as an option for a closing hymn; I couldn’t disagree more. d. Musically, it’s relatively easy to write (or find) a decent triumphal introduction to this hymn, or, if needed for the length of procession, an extension before the final verse. Other potential entrance hymns present more musical challenges.

3. Eastertide lasts many weeks. Several Easter hymns – specifically, 180, 182, 191, 194 - work well as entrance hymns in subsequent weeks, so you don’t need to squeeze every one in this day. HYMN SUGGESTIONS, Palm Sunday-Holy Week-Easter 7

PALM SUNDAY - Please read notes on pages 1-2 before making your choices 153, 157: Palm Sunday chants (formal/solemn) 153+157, or 154 or HYMN during outside 154: All glory, laud and honor LEVAS 97 Procession (if desired) LEVAS 97: Ride on, King Jesus Sing 156 here ONLY if you sang 154 outside. Hymn 391 Entrance into Church 154 or 156 154: All glory, laud and honor gives an alternate (19th c) tune to 156. 156 (v.1-3 ONLY) or I prefer 458 at Communion, because more of the verses are Sequence/Gospel 156: Ride on, ride on in majesty 458 (v.1-3 ONLY) appropriate there.

156 (all verses) OR 164: Alone thou goest forth. You may sing this With both 156 and 458, there's a final verse appropriate at Offertory 458 (v. 1,2,3,7) here IF you are closing the service with 168 Offertory that woudn't be as Sequence OR 164 (because you are not singing it on Good Friday) Communion 313 Let thy blood in mercy poured

458 My song is love unknown My preferred use of 458, because all verses are appropriate 164 OR (if not sung G 164: Alone thou goest forth You would choose 168 if 164 is very unfamiliar to your Post-Comm Friday) 168, v-1-3 168: O sacred head, sore wounded congregation and you have no choir to lead. ONLY

MAUNDY THURSDAY - Please read notes on page 3-4 before making your choices Entrance 495 (use alt tune) / 439

Sequence/Gospel 439 / 325 / 322

602 / 576 / WLP 821/ Footwashing 581 / 606 602 / 576 / WLP 821 / Offertory 581 / 606 Communion 325 / 315 / L 149 / L 155

Stripping of the Altar Silence, or 329

GOOD FRIDAY - Please read notes on pages 5-6. For a solemn, more formal service, with choir/quartet NO MUSIC until after the Sermon After sermon 158 Ah, holy Jesus OR 168 (verses 1-3 OR verses 1,2,3,5; see notes regarding verse 4)

After Solemn Collects 170 To mock your reign (choir only) OR 168 (if not sung after sermon)

Optional: In place of, or in Appropriate choral addition to, said "Anthems" selections After Cross is placed (sung 166 Sing my tongue, preferably unaccompanied kneeling)

GOOD FRIDAY - More informal NO MUSIC until after the Sermon After sermon 168 O sacred head (v. 1-3 or 1-3, 5)

After Solemn Collects 172 Were you there (unaccompanied if have SATB) Optional: In place of, or in Appropriate choral addition to, said "Anthems" selections After Cross is placed (sung 166 Sing my tongue OR 474 (verses 1-3 ONLY) When I survey the wondrous cross OR LEVAS 38 The old rugged cross kneeling)

EASTER VIGIL After Baptism, before 208 The strife is o'er OR 296 We know that Christ is raised "Alleluia! Christ is risen!" Sequence (also good at 183 Christians, to the Paschal victim (historical Sequence) OR 184 Christ the Lord is risen again Communion w/choir) Offertory 208 The strife is o'er OR 296 We know that Christ is raised OR 191 Alleluia! Alleluia! Hearts and voices heaven raise Communion 186 Christ Jesus lay in deaths' strong bands (GREAT with SATB choir); 174 At the Lamb's high feast Communion (Good for solo) 190 Lift your voice rejoicing (Rarely used; less formal music) Specifically, I avoid hymns that refer to "the day 180 He is risen OR 182 Post-Comm of resurrection" or "morning" unless the Vigil is Christ is alive! held just before sunrise on Sunday

EASTER DAY - Option 1: Please read notes on page 6 ENTRANCE 207 Jesus Christ is risen today! Slowest, quarter=100. Fastest, qtr=116. Just right 108-112 Sequence 205 Good Christians all, rejoice and sing! This is a dance. Quarter = 132 to 144 Offertory 210 The day of resurrection Quarter = 112-120 O sons and daughters (can use either 203 203, qtr =128-132. 203 (metrical) or 206 (plainsong) setting. 206, speed of speech, "note" about 144-152 Communion 206 text is for Easter 2. Segue from 203/206 with simply 4 mm of melody. 204 Now the green blade riseth Tempo can range qtr =124 to 136; very different moods at 124 and 136 great communion anthem! 192 This joyful Eastertide Anthem: take half note= 76 to 84 a capella 178 Alleluia! Alleluia! Give thanks to the risen Lord Piano or guitar most appropriate accompaniment Post-Comm 199 OR Come ye faithful, raise the strain Half note = 60-64 210 (if not sung at the Offertory)

EASTER DAY - Option 2, smaller congregation, without choir ENTRANCE 207 Jesus Christ is risen today! Sequence 208 The strife is o'er Offertory 178 OR Alleluia! Alleluia! Give thanks to the risen Lord 179, v. 1,4,5,6 Welcome, happy morning (Some older congregants know/love this; it probably won't be in next hymnal edition) Communion (congregation) 204 Now the green blade riseth (works as a solo, if not familiar) 205 Good Christians all, rejoice and sing Post-Comm 210 The day of resurrection

EASTER DAY - Option 3, if want to open with something other than 207 ENTRANCE 175 Hail thee, festival day! qtr = 120, for most naves Sequence 199 Come ye faithful, raise the strain Offertory 207 Jesus Christ is risen today! Communion 203 O sons and daughters (can use either 203 (metrical) or 206 (plainsong) setting. 206 text is for Easter 2. 204 Now the green blade riseth Segue from 203/206 with simply 4 mm of melody great communion anthem! 192 This joyful Eastertide Anthem: take half note= 76 to 84 acapello 178 Alleluia! Alleluia! Give thanks to the risen Lord Post-Comm 210 The day of resurrection