October 2008
Hymns - Some 'New'Hymns in Church Hymnal 5	Show Menu

A survey of some ‘new’ hymns in Church Hymnal 5 that have been adopted in a selection of churches in the diocese

First of all, ‘new’ hymns in the context of this article refer to those hymns in Church Hymnal 5 that were in neither Church Hymnal 4 nor Irish Church Praise. While a number of these hymns are relatively new, quite a number have been taken from other sources and indeed some of them are quite old! In compiling this article, lists of the ‘new’ hymns that have come into use in churches were supplied from the organists of eleven churches. Those hymns that appeared on three or more lists are mentioned below, with a short note about each. These notes are taken mainly from the Church Hymnal Companion, and are complemented by comments supplied by the relevant organists. A survey like this is of course very limited, but a definite pattern emerged — the first three hymns that are mentioned below appear on six of the lists and the next four hymns are on four lists. The Editor would like to thank the following for submitting lists of hymns: Adrian Somerfield, Peter Barley, John Morris, Jacqueline Mullen, Gladys Sparks, Ruth Maybury, Donald Maxwell, Lesley Whiteside, Derek Verso, David McConnell.

490 The Spirit lives to set us free

Both words and music are by Damien Lundy (1944–97) who wrote some 63 worship songs during his short life. ‘I use the piano for this and really fill out the accompaniment with rock & roll style playing! We use it for confirmation, services of light, etc. People are always buzzing afterwards. Simplicity, joy and a jingly tune are what people like’.

581 I, the Lord of sea and sky

The words and music of this hymn are by American Jesuit priest Daniel Schutte (b.1947), who wrote it in 1981 for an ordination service. ‘We use this at all dedication services and the congregation raises the roof. The appeal is in the tuneful refrain and the resonance of the words’.

562 Blessed assurance

Written by the blind American Fanny Crosby (1820–1915), who, during her long life produced over 9000 hymns. The music is by Phoebe Knapp, who wrote over 500 gospel tunes, many for the texts of her friend Fanny Crosby.

9 There’s a wideness in God’s mercy

Written in the 19th-century by Oxford-born cleric Frederick Faber, the principal theme is God’s loving mercy and kindly forbearance. It is normally sung to the familiar tune Cross of Jesus, by Stainer.

81 Lord, for the years

This is one of the many popular hymns by well-known retired bishop Dudley Smith (b.1926). The familiar tune is by Michael Baughen (b.1930). ‘A great hymn with a great tune. Very popular’.

224 How deep the Father’s love

Both words and music are by contemporary musician and worship leader Stuart Townend (b.1963). ‘Hymn is being increasingly used during Passiontide and Holy Week.’

134 Make way, make way, for Christ the King

This is one of Graham Kendrick’s (b.1950) many good hymns. ‘A good rouser which we have used quite often. Very suitable for Palm Sunday.’

102 Name of all majesty

This is another of Bishop DudleySmith’s hymns, and the majestic tune is by Michael Baughen. ‘Very popular and straightforward.’

213 Jesus’ hands were kind hands

This hymn was written in 1926 for use at a Sunday school and is set to a French traditional melody ‘Au clair de la lune’. ‘Quite a nice hymn and quite easy.’

253 As we walked home at close of day

By John Bell and Graham Maule of the Iona Community, this song focuses on the meeting of Jesus and two of his disciples on the road to Emmaus. The tune is an arrangement of a folk melody from the Orkneys

352 Give thanks with a grateful heart

Written in 1978 by American hymn writer Henry Smith, it has now spread throughout Europe.

Reasonably successful but tricky to play. Needs to be sung twice. More successfully played on a piano.

368 Sing of the Lord’s goodness

This was written by Ernest Sands, a priest who is a member of the influential St Thomas More group of liturgical composers. ‘This in in 5/4 time for the more adventurous, but good fun and a good descant too. Really needs to be led by a saxophone (I heard it played by a solo saxophonist in Grafton Street!). A pity it is so badly set out in the Hymnal. I have made a simplification of it that I can follow (as with some other hymns too!).’

494 Beauty for the brokenness

It was during a visit to Bombay that hymn writer Graham Kendrick became intensely aware of the plight of thousands of people who live on the streets and this provided the stimulus to write this hymn.

‘Straightforward enough (the Rector likes it better than I do!) thought the fitting of the irregular words to the tune can be tricky and results in an awkward page turn. It is a bit unnecessarily jazzed up. Also very long, unless you omit the refrain (as suggested).’

5 If I were a butterfly (The ‘Butterfly Song’)

By Brian Howard (b.1948), and American worship leader, this song was written in 1974 for a mission reaching out to children in a poor neighbourhood. The combination of infectious fun and serious truth is a characteristic of Howard’s work. ‘We have had this at a children’s service (with actions), for which it is reasonably suitable. I might be doubtful of its theology though.

565 Father, I place into your hands

By Jenny Hewer (b.1945), this song dates from 1975. ‘A simple tune with words that are meaningful to many. Has many uses and is versatile. Key F is too high when no choir — play it in E flat’.

605 Will you come and follow me

‘The Summons’ is the title given to this hymn/song, written as a sending out hymn at the end of an act of worship. It was written by John Bell and comes from the Iona Community. ‘Very popular. Lovely tune with a nice Scottish lilt.’

617 Jesus, remember me

A short Taize style hymn. ‘A nice little hymn for Holy Week and during Communion. Needs to be sung twice.’

710 Sing to God new songs of worship

Another of Bishop Michael’s Baughen hymns, this one is a paraphrase of Psalm 98. Michael Baughen conceived the idea of a popular kind of hymn concert — which he based on the Henry Wood ‘Proms’ — and he gave it the title ‘Prom Praise’. This hymn was sung in many Prom Praise concerts, and as a result has grown quickly in popularity. The tune comes from the final movement of Beethoven’s 9th Symphony. ‘ The tune is also very suitable for Hymn 545.’ .

The next issue of SOUNDBOARD will feature an article about modern hymns that are not in the Church Hymnal. Readers are invited to let us have details of any such hymns that are used in their churches.
 

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