Third Sunday of Easter – Paul’s Hymn Blog
Sunday, April 15 2018
Third Sunday of Easter
1 John 3:1-7, Psalm 4, Luke 24:36b-48
by Paul Stott
VU 186 – Now the Green Blade Rises (1928)
VU 186 – Now the Green Blade Rises (1928)
Author John Macleod Campbell Crum wrote this text for The Oxford Book of Carols (1928) specifically to create an Easter carol for this tune. Crum was a Church of England clergyman who served from 1929 to 1943 as canon of Canterbury. The text uses the metaphor of plant rebirth to illustrate resurrection rebirth in Jesus and, as Carl Daw points out, as “the essential model for the Christian life; our perpetual need to die to self in order to live for God. This is part of the reason why the final stanza takes the form of an affirmation that we can be brought back to life when our hearts have become cold when we are in grief or pain.”
The tune, NOËL NOUVELET, is a fifteenth century French carol tune in the Dorian mode, and comes to us via the Oxford Book of Carols.
MV 145 – Draw the Circle Wide (1994)
We continue to use this hymn with our children as they leave for church school. Author and composer Gordon Light, retired bishop of the Anglican Parishes of the Central Interior (of British Columbia), is a well-known Canadian musician who composes, plays guitar and sings as a member of the Common Cup Company. Their musical ministry began when Light and the late Ian Macdonald (a United Church Minister), along with founding members Jim Uhrich, and Bob Wallace (also United Church Ministers) served at neighbouring churches in the early ’80’s. In the following decades the group wrote, performed, and recorded together despite living in different corners the country. Scott McDonald & Richard Betts joined the original quartet on bass & drums in the late ’90’s.
This arrangement is by Michael Bloss, Director of Music Ministries at Christ’s Church Cathedral, Hamilton.
VU 179 – Hallelujah, Hallelujah, Give Thanks (1971)
Author and Composer Donald Fishel, a native of Hart, Michigan, wrote this hymn while studying at the University of Michigan School of Music. It was written for the Word of God Community in Ann Arbor, Michigan. The text is a composite of several of Paul’s themes as well as the Easter theme of resurrection. Fishel’s compositions appear in a number of denominational hymn books in North America. Fishel works in music publishing and has been principal flutist in a number of community orchestras, bands and musical theatre productions.
MV 175 – May We But Wait (2004)
Our prayer response is by Will Petricko, who has a Master of Divinity degree from the University of Winnipeg and who serves his community as a spiritual care provider.
VU 697 – O For a World (1987)
This text by Miriam Therese Winter is an escatological vision of Christ’s kindom of justice and peace. It was originally written for the Presbyterian Women’s Triennial Conference at Purdue University in 1982, whose theme was “Nevertheless . . . the Promise.” The version here reflects revisions made by the author in 1987 when recorded by the Medical Mission Sisters. Carl Daw
remarks that the text is in essence a hymnic palimpsest (a manuscript or piece of writing material on which the original writing has been effaced to make room for later writing but of which traces remain) written on top of Charles Wesley’s “O For a Thousand Tongues to Sing”. Winter is Professor of Liturgy, Worship, Spirituality, and Feminist Studies at Hartford Seminary. A Medical Mission Sister, she has been writing and publishing songs and hymns since Vatican II in the 1960’s. Her early recordings with The Medical Mission Sisters were widely popular, bringing a fresh, dynamic musical context to bible stories and simple songs of faith. Many of her later texts bring feminist theological perspectives to our hymnody, in beautiful poetry and melody. “Mother and God” (VU 280) and “Wellspring of Wisdom” (VU287) are two of her hymns in Voices United which we have frequently used at TSP. In 2013 she was named a Companion of The Centre for Christian Studies, the United Church diaconal theological training school.
The tune, AZMON, is German in origin, and was collected by American Lowell Mason in 1837. It is often associated with Charles Wesley’s “O For a Thousand Tongues to Sing.”