Methodist Hymn It Is Well With My Soul – (1834). At the time, Lyte was curate of Lower Brixham, a town on the English Channel in southern England. His collection contains many of his own paraphrases and some paraphrases
Therefore, instead of trying to create a new version of the Psalms, he tried to condense the main feelings of each in a few verses for congregational singing. The modern practice of using only three or four verses at a time makes most of the Psalms, if translated literally, unsuitable in length for congregational worship; A few erroneous verses, isolated from the rest, cannot give a fairer view of the whole harmony than a few bricks of the building of which they form a part.
Methodist Hymn It Is Well With My Soul
In the compass tolerable to the public taste, and sometimes, as the length of the original admits, an almost literal translation, sometimes a peculiar spiritual expression, and sometimes a universal one provides a brief overview. psalm
The United Methodist Hymnal 66b. Praise, My Soul, The King Of Heaven
He included four phrases based on Psalm 103 for his book. The most famous of these is the second, given in five stanzas of six lines, called “My Soul, King of Heaven.”
Later editions have brackets around the fourth verse to indicate that the verse should be omitted if the entire paraphrase is considered too long to be sung in public worship. In the posthumous edition edited by his son-in-law, the Rev. John Rotton Hogg, the third line of the second stanza was changed to “Praise her still as.”
Although Light’s rendering of Psalm 103 is representative of the original text, it is freely composed. The first stanza covers approximately verses 1-6 of the Psalm. Light included the title “King of heaven” in the first line, which is somewhat related to verse 11 (“as the heavens are above the earth, so are his mercies”). The second stanza covers verses 7-12; he translated Moses and the children of Israel into the more general phrase “our fathers are in trouble” and focused on the language of grace. The third stanza takes words like “father” and “frame” from the KJV after verses 13-14. The fourth stanza covers verses 15-18, with the blossoming flower and the wind, which are contrasted with the unchanging nature of God. The fifth stanza, which contains the end of the psalm, calls for an all-encompassing praise, looking at heaven and the immensity of its domain.
], is “My Soul, King of Heaven,” which contains Lyte’s characteristic pattern and rhetoric with pauses and inversions: he uses the words in an unexpected order, as in a metrical Psalm, but does so. A way to make deviation from normal speech patterns a source of strength, not weakness. It is a subtle hymn that is powerful in its individual lines, verses and overall structure [1].
Image 166 Of The Southern Harmony, And Musical Companion: Containing A Choice Collection Of Tunes, Hymns, Psalms, Odes, And Anthems Selected From The Most Eminent Authors In The United States: Together With
Examples of Lyte word inversions are: “Blows the wind” (4.2), “All the inhabitants” (5.4), or “Our frail frame he knows” (3.2).
Hymnologist Eric Routley also praised Lyte’s work, citing its importance in the Psalms:
It is difficult to talk about any psalm without using superlatives. Without a doubt, the 148 is the most brilliant, the 23 the same way the most subtle, the 34 the most strengthened, the 100 the most famous, the 90 the most solemn; 104- the most colorful. What is so special about 103? Of course, this is the most evangelical of the Psalms; In him we see the furthest to the New Testament; in which God is more like Christ.
“Praise, My Soul” is what we want a hymn to be. He speaks in a simple language that hides an extraordinary level of competence and concentration. He speaks clearly, but leaves room for imagination. It has a few catchy lines, but everything is domestic enough to educate the simplest and comfort the most distracted.[2]
Arise My Soul Arise — Hymnology Archive
As Richard J. Stanislaus points out, “[Verse 1’s] short list—”paid, healed, restored, forgiven”—captures much of the truth about God’s grace in our salvation; “My soul” could not have more reason to praise him.” [3] Structurally, as Carl Dow notes, “Each stanza is united by a rhyme that occurs every second line (
) and the text is given urgency by its trochaic meter. “[4] Albert Edward Bailey saw in this hymn an optimism not usually associated with other hymns of Light, saying: “These words have the ring of the ascendant. from despair to sunlight and self-forgetfulness” [5].
The exultant exhortation to praise God at the end of each verse is not a mere repetition of words, for in every last line there is a reflection of the character of God, whom Leet declares to be eternal, faithful, merciful, unchanging and gracious . Unique aspects are celebrated. [6]
When Lyte’s hymn was added to the first edition of Hymns Ancient & Modern (1861 | Fig. 2), the editors exclaimed “Praise Him! Praise Him!” “Hallelujah! Hallelujah!” It is probably the song they chose, an abridged version of BENEDICTION by Samuel Webbe (1740-1816). The editors also changed 1.4: “Who do I love that should sing his praises?” “His praises always sing”; they used JR Hogg’s ‘as always’ in 2.3, a small change from ‘as’ to ‘yet’ in 3.6, and significant changes to lines 1, 3 and 4 in the last clause.
Man Of Sorrows What A Name — Hymnology Archive
A committee of the Chicago Ecumenical Women’s Center revised Lyte’s hymn for its collection in an effort to address contemporary sensitivities to gendered language.
(1974). Committee members include Sandy Amundsen, Ruth Duck, Susan Del Grande Dixon, Marcy Smith Edgerton, Judy Thomas and Julie Less Wagstaff. Duck is particularly known for his songwriting, which deals with contemporary cultural issues related to Christianity in particular.
In general, we want to eliminate the use of the exclusively male image of God, the exclusively female image of the Church and nature, and the use of the “common” man, humanity, etc. We also want to avoid militaristic and feudal images.
His version begins “My soul, praise the God of heaven” (Figure 3). This is repeated in other hymns. Carl Dow notes that the emendations here do not simply neutralize the language: “Some emendations, such as 1.4 [‘Who shall praise the God whom I love?’], approach the original paraphrase, and others, such as and 3.6 [“It is all in me. glorify the name of God”], restore the biblical language, not the original wording. “[7]
Praise, My Soul, The King Of Heaven — Hymnology Archive
A tune closely related to Lyte’s text is PRAISE OF MY SOUL, also known as LAUDA ANIMA [MEA] by John Goss (1800-1880). Goss had a long career as organist at St Paul’s Cathedral (1838-1872), composer of the Royal Chapel (1856-1880) and professor of harmony at the Royal Academy of Music (1827-1874). Goss’s original manuscript of this hymn tune, in the possession of Dr. Chalmers Burns in 1969, was dated July 15, 1868. He later created an alternative arrangement for the fourth stanza on November 5, 1868 .
, 3rd edition. With Appendix (1869 | Fig. 5), edited by R. Brown-Borthwick. In this arrangement, composed in C major, each bar is harmonized differently to reflect the message of the text. The edition also includes a four-part hymn in E major because “the key of D would be too low for the bass”.
Figure 5. Additional book of hymns and melodies, 3rd ed. With an Appendix (London: Novello, Ewer & Co., 1869)
Shortly after the first tune was published in 1869, it received glowing praise, and continues to be revered among church musicians. Review
Clergy Record Free Music Videos For Lenten Season
The app consists of a number of settings of favorite hymns from the best church musicians of the day. Mr. Goss, Mr. Turle, Mr. E.J. Hopkins, Mr. Sullivan, Mr. J.B. Calkin et al gives sufficient assurance that the parameter is the best; and among these the contributions of Mr. Goss are singular and without comparison. Today, when the composers of hymns are so numerous and prolific, it is difficult (perhaps unwise) to try to assign a specific place to a composition of this description. Yet we cannot stand to say that we have never in our experience met with a hymn tune whose melodic charm was more joyful with musical harmony, as in the place of the hymn, “A mo soul, king of heaven! ,” by Mr. Goss. We repeat that this is the most beautiful and authoritative hymn to capture our attention in recent times; It is highly esteemed by its composer, and is of inestimable value as a guide to young writers who have lately indulged in roaming “at will” in matters of style. The influence of a tune like this on modern hymn writing is immeasurable.[8]
English
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