Hymn Blog - May 30, 2010

May 30, 2010 – Trinity Sunday

VU 315 – Holy, Holy, Holy, Lord God Almighty. This classic hymn text, written by Reginald Heber and published shortly after his death in 1826, is based on Revelation 4:8-11. Heber, impressed by the vitality of singing in evangelical and independent churches, led the movement to lift restrictions on hymn singing in the Church of England, which had traditionally only allowed the singing of metrical psalms. Some older members of TSP (myself included) will remember when this hymn was the regular processional hymn each Sunday. The tune, NICAEA, is by John B. Dykes, and was written for the first edition of Hymns Ancient and Modern (1861). The name relates the tune to the Council of Nicaea, 325 CE, which formulated the doctrine of the trinity. 

VU 316 – Praise Our Maker. The first two verses are anonymous, ca. 1890. Gerald Hobbs adapted the text and added a third verse for Songs for a Gospel People (1987). The tune, PRAISE HIM, was written by Carey Bonner, a Baptist minister who served as the General Secretary of the English National Sunday School Union from 1900 until 1929 and as Joint Secretary of the World Sunday School Association.

MV 176 – Three Things I Promise. The text is by eminent hymn poet and hymnologist Brian Wren.  Wren, born in England and ordained in the Congregational Church, now lives in the United States with partner Rev. Susan Heafield, a United Methodist Pastor and composer. He has written several books related to hymnology, including “What Language Shall I Borrow”, which explores the range of imagery that can be brought to hymnody. This Wren text is strongly trinitarian in theme and structure. The tune, BLANN, is by Dan Damon, an internationally published writer of hymn texts and tunes. He is pastor of First United Methodist Church, Richmond, California.

VU 424 – May the God of Hope Go With Us. The first verse is by Alvin Schutmaat (1921-1987), an American Presbyterian minister who worked in Latin America for most of his career. He taught theology and music in Columbia, Venezuela, and Costa Rica. His primary goal was to use the arts to communicate the gospel, and served as a consultant in the arts for Central American churches and for the International Centre for the Arts in Mexico City. The second verse is by the late Fred Kaan. The text is set to an Argentine folk melody, chosen by Schutmaat for his text.