We are doing so for the sake of increasing numbers among us who are largely unaware of their inheritance as Covenanters in both life and thought.The complete Glad Hearts volume is available for purchase under the Resources Link on the Home Page of the rootedwings.com website. Comments or questions regarding any of the readings here are always welcome.
‘The Song in Them, in Us, is One’
Between the end of the Thirty Years War and 1680, German hymnody experienced a transition--moving from the churchly and confessional hymns to those that were more pietistic and devotional in tone. It was at this time that German hymnody found its purest and sweetest expression in the hymns of Paul Gerhardt (1607-1676). Gerhardt, who attended Wittenberg University in his native Saxony and became a Lutheran pastor, has been called the most significant master of hymnody since Luther. A comparison of Luther's and Gerhardt's hymns reveals that Luther depicted God as powerful and gracious; Gerhardt saw God as a gentle, loving man. Luther's hymns are more corporate and Gerhardt's more personal-frequently beginning with the pronoun “ich.” Gerhardt wrote only 132 hymns, but because of their intimacy and rich emotional quality they are a high point in Protestant spirituality.K. James Stein (1929- ), Philipp Jakob Spener: Pietist Patriarch (1986), p. 28.
It [poetry] ought to be as true as the Bible, as artless as a child, as sound as Luther, as hearty as Rutström, as true to form as Runeberg, as lovable as Topelius, and flow as easy as Sandell. The one who could fill these requirements would have the right to be called the king of poets. But until that time comes, we will have to “eat what we've got and sing, as best we can.”
Nils Frykman (1842-1911)
Quoted in Herbert E. Palmquist, The Wit and Wisdom of Our Fathers (1967), p. 45.
Monday the 18th we gathered again 8:30 a.m. First we sang a hymn, after which C. M. Youngquist read one of David’s psalms, thanked God, and then spoke a few moments on the words which, in the hours of farewell, he wanted to give the dear friends, words in Romans 14:8: “If we live, we live to the Lord, and if we die, we die to the Lord; so then, whether we live or whether we die, we are the Lord’s.” After singing again, “The last day right joyful will be,” and, upon the suggestion of a happy brother, “My little nook with Jesus,” the local society had a little auction of goods....
L. J. Peterson (19th Century), Missions-Vännen, 1876
Quoted in Eric G. Hawkinson, Images in Covenant Beginnings (1968), pp. 90,91.
There is something wonderful about visiting Christians in many parts of the world, using different languages from different cultures, and yet hearing some of the old familiar hymns sung in these different languages. To sense that they have found the same reality affirms the oneness of God’s people everywhere. Yet there is something even more encouraging. In recent years we have heard people in these same countries singing hymns and anthems which they themselves have composed, giving expression to the Christian faith and message in terms of their own culture, language, and experience. That first expression of the faith is good, but the second kind of expression is essential.
Russell A. Cervin (1913- ), Mission in Ferment (1977), p. 65.
Covenanters: a Singing People
In By One Spirit Karl Olsson characterizes the early Covenanters in this way: “The unifying experience of the Mission Friends was salvation. They were one in the Crucified. They gave the freest expression to this in their singing. The name läsare, by which Mission Friends were designated in Sweden, emphasized the importance of a devotional reading of the Bible and related literature; it would have been equally correct to call these people ‘singers’. For nothing seems to have brought them closer to a union with Christ than the singing of their hymns. And in the hymns the constantly recurring theme is the friendship of Jesus in the vicissitudes of life and the final ‘closing’ with him when the mists have vanished….”
Singing is important among Covenanters today as well, and this singing is enriched by lyrics and melodies written and composed by hymnists and musicians from the time of ancient Israel to the present--and representing faiths from Pentecostalism to Unitarianism. Gradually the hymnals of most groups have moved toward greater diversity and an inclusiveness of the whole Christian tradition. This has been true of the hymnals of the Evangelical Covenant Church as well, although material peculiar to that particular heritage has not been sacrificed. As far as I know, this cannot be said of any other American denomination which has its roots in Scandinavia. In the early days of the Scandinavian-American churches there was a body of hymnody quite common to all, but now it seems that the Covenant has become the custodian of this tradition.
J. Irving Erickson (1914-1992), Twice-Born Hymns (1976), p. 1.
Singing was prominent in these services. The whole congregation would join in the unaffected and beautiful songs which were willingly led by brothers and sisters who had the gift. At the conclusion of the sermon it seemed as if the singing would not end. A verse, or perhaps only a refrain, would be repeated again and again until the words were impressed upon our minds and “joy stood high on the ceiling!” When I think of it now, it is as if portions of the songs we sang most often still sound in my ears.
C. M. Youngquist (1851-1901), Hem-Missionären, 1892.
Quoted in Eric G. Hawkinson, Images in Covenant Beginnings (1968), p. 86.
The Evangelical Covenant Church of America has grown from a small emigrant church to a denomination with full stature in the world community, and the trends in its worship, theology, education, and mission have been matched by its music and hymnody. Each succeeding hymnal has drawn from wider sources, but has never found any deeper wells than those of its own heritage. In many ways we and our hymnody have become sophisticated and our standards have been raised, but we have not become spoiled. Proof of this can be seen in the wide acceptance and acclaim of the text that comes out of Moravian Pietism in Sweden in the late eighteenth century and set to a lilting folk melody of unknown origin. The translation is by Karl Olsson.
O let your soul now be filled with gladness, Your heart redeemed, rejoice indeed!
O may the thought banish all your sadness That in his blood you have been freed,
That God's unfailing love is yours, That you the only Son were given,
That by his death he has opened heaven, That you are ransomed as you are.
If you seem empty of any feeling, Rejoice-you are his ransomed bride!
If those you cherish seem not to love you, And dark assails from ev’ry side,
Still yours the promise, come what may, In loss and triumph, in laughter, crying,
In want and riches, in living, dying, That you are purchased as you are.
It is a good ev’ry good transcending That Christ has died for you and me!
It is a gladness that has no ending Therein God's wondrous love to see!
Praise be to you, 0 spotless Lamb, Who through the desert my soul are leading
To that fair city of joy exceeding, For which you bought me as I am.
J. Irving Erickson (1914-1992), Twice-Born Hymns (1976), pp. 12,13.
When God's people begin to sing again, then all will be well! Nothing can stop a praising congregation! And nothing stopped [our forebears] in their day, either. Adversity, disappointment, poverty, famine, fire, flood, drought, death--none of these was ever able to break their spirit. They came to our shores with their pockets empty. Many of them borrowed the money to buy the ticket to get across. They settled in our cities and began working in jobs that they could find even though they were often paid pitifully low wages. They were not promised any fringe benefits--no tenure of any kind, no pension plan when they were through, no health program, no holidays or vacations. They struggled along on the few dollars a month that father brought home....
But most of them managed to bring with them the Bible and the song book. These two books were never far apart. Some of them brought along a stringed instrument or an accordion from the old country. This was their only entertainment. On the Lord's Day they gathered together as a family--or sometimes with other families in the neighborhood--to sing. There were also moments during the week when the family would join in song. They literally praised their way out of trouble, and the song in their hearts kept them going.
Glenn L. Lindell (1920- ), “...To Praise God,” from Bound To Be Free, essays on being a Christian and a Covenanter, James R. Hawkinson, ed. (1975), p. 10.
Composers and Instrumentalists
The best days of the church have always been its days of song, and times of revivals are always days of singing. Poets are inspired to write songs of praise when souls come to the foot of the cross. Psalms and hymns, and spiritual songs, have always had an important part in the services of religious worship. But Nils Frykman, Lina Sandell, Oscar Ahnfelt and others introduced among the Christians a new style of popular hymn which was “calculated to awaken the careless, to melt the hardened, and to guide inquiring souls to the Lord Jesus Christ.” By his songs Mr. Frykman became more effective as a gospel preacher, and more popular.
Carl G. Strom (1882-1972), “Nils Frykman”
From Lund, Olson, Strom, Frykman, Hultman, Skoog: Pioneers of Covenant Musicians (1943), p. 13.
Frykman [Nils, 1842-1911] has one great fault and because of that he will probably never be numbered among the great poets. The truth is that he writes so that everyone, even the most simple-minded person, can understand what he is saying. A writer who wishes to be great in a modern sense must write so that no one, not even himself, can know what he means. Then it takes a lot of ingenuity to discover what he intends and that makes it wonderful. Oh, what a depth there is in his poetry, someone says, and all who want to be considered intelligent must necessarily agree. But Frykman will never get there. It is the same trouble with his poetry and Hultman's singing and my preaching.
Paul Peter Waldenström (1838-1917)
Quoted in Herbert E. Palmquist, The Wit and Wisdom of Our Fathers, (1967), p. 44-45.
I stood by the marker in the midst of mosquitoes, wild flowers, and trees. We stood around the rectangular shape of a school building where just the foundation stones remained. In the middle of the rectangle stood a granite marker about six feet tall with the name Nils Frykman [1842-1911], a school teacher, missions friend, an immigrant to America, circuit-rider Covenant minister and hymn writer. Over the roads of Kandiyohi County he rode and wrote. I stood there in Värmland, Sweden, and remembered hymns [I Have a Friend Who Loveth Me (489), Why Should I Be Anxious (431), Our Mighty God Works Mighty Wonders (471), Joy Bells Are Ringing (166), I Have a Future All Sublime (743)]. We sang and marveled at the gift of such a songwriter in the Covenant as it unfolded in America. Last Sunday, I sat in the chancel of our Vista Covenant Church, surrounded by Sunday School children and we sang This Little Light of Mine (696) during the introduction of the Covenant Hymnal. I was able to point my finger, hide it under a bushel and not let Satan blow it out! My prayer is that these little ones will, when they are sixty years old, also have songs and hymns of lasting depth in their minds and hearts.
Frykman is buried in the Lakewood Cemetery here in Minneapolis. Our forebears erected a memory stone in the outline of that schoolhouse to celebrate the hymns of their church. I celebrated that I could hear the melodies and words of those hymns as I stood by that memory stone. What a rich gift! What a rich gift to sit with the little ones and sing “This Little Light of Mine!” One of my growing concerns as I travel in our churches today is that we might not be giving the gift of memory. Are we still memorizing Gods Word in Sunday School? Are we still giving psalms, songs, and hymns that are learned “by heart” and can reside in the heart? Learning techniques have changed and information is available at the push of the “mouse,” but are we giving one another the gifts of the heart? Those gifts are rich indeed.
Paul H. Erickson (1940- ), “A Rich Gift”
From Imprints: The Journal of the Northwest Conference (October, 2000).
Many of the musical settings for the läsare [“reader”] songs were Swedish folk melodies whose composers are unknown. These derivative sources often were questioned, but this was justified by the idea that “the devil should not have all the good tunes.” We have noted that Oscar Ahnfelt [1813-1882] provided many tunes. Some were originals, and others were adaptations. A number of the melodies were of English and American origin. Amanda Waesterberg (1842-1918) is one of the few Swedish composers who have contributed more than one tune.
J. Irving Erickson (1914-1992), Twice-Born Hymns (1976), p. 7.
...The Swedish Evangelical Lutheran Missionary Society was founded July 4, 1868, in Peter Englund's home. He was elected chairman.
...Mrs. F. 0. Johnson of the Edina Covenant Church in Minneapolis, Minnesota, and granddaughter of Peter Englund writes, “Grandpa was exacting and had a mind of his own, but he was also kind and thoughtful and ever ready to help in any reasonable request. For instance, at the age of twelve I talked to my mother about going to grandpa's house to ask him to buy me a Sears Roebuck organ. This he did with the understanding that I would play in church. So I became the first organist in Swede Bend. Before that time, musicians from Pilot Mound came to play. I have so many hallowed memories from the bend of the river where my church and childhood home still stand.”
Eric G. Hawkinson (1896-1984), Images in Covenant Beginnings (1968), pp. 6,7.
‘The Sunshine Singer’
There was a popular traveling singer named J. A. Hultman, generally known as “The Sunshine Singer.” Adults spoke of him with deep respect. He was, I understood, an able concert soloist, fully qualified to handle sophisticated music. However, he chose to write and sing simple songs that appealed to the common people. During his concerts he accompanied himself either on the piano or on a little pump organ which he carried with him on his tours. He was also a master at showmanship, and he was a tender man. He provided both theatrical finesse and spiritual stimulus, and whenever he came to town the church was packed full. Children, including me, always sat in the front pew to watch with fascination. We had been awed by reports that he crossed the ocean several times and had held command performances for the President of the United States and for European kings. More than this, we were impressed with the unpredictable way he would sing his songs.
Wesley W. Nelson (1910- ), Crying for My Mother (1975), p. 9.
“Where are we going to seat all the people [November, 1899] who want to hear Hultman [J.H. Hultman, the ‘Sunshine Singer’] play and sing?” Quist of Westmark asked me. “Hundreds stood outside our church last night when he sang at home.” That’s the way he talked and I pleaded, “Oh that our church were expandable so that we could push out the walls according to need.” Just then the “free” friends from Phelps Center came and invited us to use their church free of charge. That is large and roomy, but on Sunday afternoon even that was too small. Hultman sang the Gospel so that hearts melted as wax before the fire. Peterson from Lincoln spoke powerfully on the importance of having your name recorded in the Book of Life, “for if one is not found by name written in that 'Book of Life,’ he will be cast into the lake of fire.” Then Hultman sang number 208 in Jubelklangen and proceeded to talk about the Apostles Creed: “I am not ashamed of the Gospel for it is the power of God for salvation for everyone who believes.” It came from the heart and went directly to the heart. “It was remarkable how it went to my heart”, said one listener afterwards. Yes, now hide and keep this Word in your heart and root it deeply.
On Monday evening Hultman had a concert in the Loomis Mission Church with an admission charge. It was filled with Swedes and Americans and everyone was pleased with the concert. No one needs to feel regrets for giving 25 cents for such a treat. On Tuesday evening be had another concert in Holdredge, and many people gathered there as well. Thank you for your visit and welcome back because we can not soon tire of spiritual song and edifying music.
G. D. Hall (1870-1927), G. D. Hall, Pastor-Journalist: Reports Mission Meetings, 1895-1911, George F. Hall tr. (Typed Script, 1991), pp.55,56.
Themes
There are at least two strains in Mission Friend hymnody, the one psalmodic, rich in objective content and poetry, the other more subjective in content and having less poetic depth, set to the rhythms of folk music. Both have served and continue to serve us well.
Eric G. Hawkinson (1896-1984), Images in Covenant Beginnings (1968), pp. 86,87.
...The concept of “friendship” is key to understanding the life movement that has emerged from the Mission Friends of Sweden to the Evangelical Covenant Church. The Swedes were so calcified by the ritualized cultural Christianity of their day, they responded to their conversion in terms of flesh and blood warmth over against confessions and creedal coldness. (It is possible that the impetus for characterizing their relationship with God as a friendship dates back to the Psalmbok of 1819 where Wallin titles one of his hymns “Where Is the Friend for Whom I Am Yearning?”.) To characterize Christ and God as one’s friends was to emphasize relationship over ritual. The dynamic and freedom that exists in any loving human relationship was seen to be representative of one’s relationship with God. The same is true for the Covenant in this country. One’s experience of faith is a vital encounter that cannot be codified, only experienced on an individual basis. For us as for them:
The highest joy that can be known
By those who heav’nward wend–
It is the Word of Life to own,
And God to have as Friend.
(The Covenant Hymnal: a Worshipbook, No. 533)
Gregory E. Asimakoupoulos (1952- ), “The Theology of the Mission Friends Hymns”
From The Covenant Quarterly, November, 1994, p. 28.
I have often wondered why the song, “Jesus Loves Me,” is mostly sung by the children in our churches. Can you remember the last time you heard it sung by adults? Perhaps it is because the statement seems so simple. It would do no good to suggest that the love of God is not complex as well as simple. As an old black spiritual says, “it feels so high, you can't get over it; feels so low, you can't get under it.” Nevertheless, any pastoral approach to caring for people must communicate the simple truth: God's love is unconditional. Such love is unmistakable. Perhaps children understand this better than adults. Someone once said, “I would rather love one person into the kingdom than to preach 10,000 sermons on the meaning of love.” That statement calls attention to the essence of pastoral care.
Everett Jackson (1933- ), “The Role of Lay Leadership in Pastoral Care”
From Servant Leadership, Volume Two: Contemporary Models and the Emerging Challenge, James R. Hawkinson & Robert K. Johnston, editors (1993), p. 100.
Songs have played a great part in the history of man, but the most wonderful singing that has ever been heard by man on earth will be heard when multitudes, who have slept in the dust for centuries, will awaken and sing a song of joy that will allure all creation to join in the rhapsody. The redeemed will sing of redemption, restored Israel will sing the song of Moses and the Lamb, and all creation, delivered from the bondage of corruption, will share the liberty of the children of God. The mountains will break forth into singing, all the trees of the field shall clap their hands (Isaiah 55:12); all the earth will sing unto the Lord, for the curse has been removed and sin shall hold sway no longer.
Gustaf F. Johnson (1873-1959), “Carols from the Dust”
From The Covenant Pulpit, G. F. Hedstrand, ed. (1954), p. 54.
The concept that song, whether by choir or congregation ought to be an expression of the heart, is a kind of thinking nearly abandoned among us. One must have beautiful voices in the choir. It is less important that they have tender hearts. Naturally they ought to be converted, but many so classified put little heart into what they sing.
Often I have witnessed a young man or woman appear with an ancient guitar, without much talent and lacking in technique. Their voices were not remarkable either as to degree of training or as to natural beauty. They would frequently sing something very simple. It was clear, however, that their hearts were in what they sang. They sang with tears flowing from eyes that shone with the light of heaven. Members of the audience would begin to weep here and there, and the soloist was just as ready to bend the knee and pray with a sinner as to sing.
Ah, me, how often has not art, profane human art, displaced the spirit, life, and power in our singing! Does the soloist often go home weeping because no one was moved toward God by his singing? No doubt some go home weeping because their singing was not sufficiently appreciated or because they “failed” so that they lost the praise of others.
Oh, singers, ask God for a warm heart!
Gustaf F. Johnson (1873-1959), “Hearts Aflame”
From Gustaf F. Johnson, Hearts Aflame, trans. Paul R. Johnson (1970), p. 10.
Why a New Hymnal?
“What? A new hymnal?? Didn't we just get a new one?' (referring either to the red hymnal, the silver supplement, or both). Such is the response I hear frequently when the subject of a new hymnal is raised. Why did the Covenant Executive Board, with the concurrence of the Annual Meeting of June 1990, give the mandate to prepare a new hymnal?
A BRIEF HISTORY
First, denominational history warrants such an undertaking. The book we now refer to as “the brown hymnal,” which bore the name The Covenant Hymnal, was published in 1931. Though authorized by “The Swedish Evangelical Covenant of America,” it was primarily a collection of hymns and gospel songs gathered by Hope Publishing Company, which permitted the inclusion of a few hymns from our tradition--that is, Swedish translations selected by a special committee of the denomination.
The next hymnal, often referred to as “the green hymnal,” was published in 1951. That book, named The Hymnal, was truly a pioneering work. It was the first hymnal in English entirely the work of a Covenant hymnal commission.
This was followed in 1973 by The Covenant Hymnal, now referred to as “the red hymnal.” Denominational history indicates we produce a new hymnal every twenty years or so. This is considered by many hymnologists the average lifespan of a hymnal.
TEXTUAL AND MUSICAL CHANGES
Second, present experience makes this undertaking imperative and urgent. “Rise Up, 0 Men of God,” “Good Christian Men, Rejoice,” and others contain non-inclusive language that is no longer usable in most congregations. The present hymnal supplement, The Song Goes On, follows the guidelines of the Board of Publication's inclusive language policy adopted by the Council of Administrators and the Covenant Executive Board. This policy guided the present hymnal commission in its selection and approval of hymn texts.
Inclusiveness, however, is only one part of the language issue. The commission was also sensitive to ways in which hymn texts speak about God. One should not expect the exalted language of majesty or kingship to disappear, nor the language of fatherhood. But the new hymnal shows greater sensitivity to the more intimate metaphors for God, as well as the characteristics of vulnerability, the capacity to suffer and feel pain, gentleness, and compassion.
Our own revival movement--through the hymns of Lina Sandell, Oscar Ahnfelt, and Nils Frykman--has given us many such metaphors and traits, such as “I Have a Friend Who Loveth Me” or “With God and His Friendship.” Other biblical images suggesting feminine characteristics have been included.
Present experience in our churches also makes a new hymnal necessary because of the explosion of “praise and worship” music. Likewise, the infusion of music from the ethnic churches within the Covenant provides both the variety and vitality we need for the enrichment of our worship.
A SINGING CHURCH
Third, a new hymnal is warranted because of the important place music plays in Covenant worship. A study of New England churches provides some interesting information on congregational feelings and ideas about music in worship:
1. Music is very important to people.
2. The most common complaint about church music has to do with congregational singing; the second most frequent complaint was the choice of hymns.
3. Hymn singing ranked first as the most meaningful part of music in worship; choral anthems ranked second.
4. Sixty-one percent favored an increase of resources for music in their churches (from “The Music in Churches Project” by Linda J. Clark, Tower Notes, Spring 1991).
I have no doubt that the inclusion of Covenant churches in such a study project would yield similar results--with perhaps even higher percentages for the importance of congregational singing in worship. From our beginnings in the Swedish revival movement of the nineteenth century, we have been a singing people....
Glen V. Wiberg (1925- ), “Why a New Hymnal?” (Booklet of Hymnal Introductory Essays, 1996), pp. 8,9.
Praise songs and scripture songs tend to be the most direct and intimate in their language. Hymns often have numerous stanzas. They develop a theological statement and thus are a "commentary" on a biblical text or theological theme, bearing some resemblance to secondary theology. But even the chorales, which have extensive theological content, usually end with a doxology to the Holy Trinity. More recent hymnody seems to have recovered the narrative or story form and thus one can sing about the characters who populate a biblical text as well as the events in it, which lead to praise, protest, or lament. Such use of the narrative form has opened hymnody to a larger inclusiveness such as the numerous texts involving the role of women or, on the more dramatic side, the inclusion of a text, with music to fit, of Jesus' conflict with demons. The user of The Covenant Hymnal: A Worshipbook [1996] is under the tutelage of stories and storytellers. The book is the more inclusive for it.
But what about the tutelage of stories? They are not analytical in the philosophical sense and they are not praise or prayer. What they do is narrate a crisis, celebrate a hero, retell the history of a people, or look at life through the lens of a parable. Stories evoke praise or protest, anger or peace, joy or sorrow. Readers and hearers of a story are drawn into the movement of a parable, history, or biographical sketch. Readers and hearers respond. They take sides with the characters. When their hearts are opened to scrutiny they often resist the exposure and cut themselves off from an opportunity to be changed. Stories and parables seldom leave people neutral. To be under the tutelage of stories and storytellers is to have not only instruction but also person scrutiny, to have both a goad and a guardian.
When The Covenant Hymnal: A Worshipbook is used, either publicly in worship or personally in one's devotions, the user again is under the tutelage of a previous book, the Bible. The Covenant Hymnal: A Worshipbook sings the story and stories that the canonic Christian Scriptures guard and pass on to our generation. What is the story line? Put simply: the one and same God who brought Israel out of Egypt raised Jesus from the dead; the one and same God who created the world redeemed it....
Consistent with the theme of being under the tutelage of the story and storyteller, the organization of the worship resources section is arranged in narrative form. The readings for example, are presented in the order they might be used in their proper places in worship. The collection begins with that which is appropriate to gathering before God, entering God's presence, and concludes with discipleship texts, commissioning prayers, and sending. Consider what is available for congregations to use in the exercise of their priesthood or in their personal, devotional lives....
The recovery of the narrative form is a marvelous teaching methodology, because it combines the commemorative, or the recital of the story; the celebrative, since it is cast in the form of a prayer of thanksgiving; and the confessional, since it articulates a faith that calls upon God to do now what God has been known to do in the past. By providing for such a substantial participation by the congregation, the book truly becomes the handbook of the people of God. They can do their part in the public praise of God and confession of the story that gives continued warrant for the people of God to continue using water, bread, wine, the laying on of hands, and other acts. With the help of this book, the people of God can sing the story in hymns and songs, recite and enact the story in sacramental rites, and pray the story in Scripture's own words. In the process of singing, reciting and praying, God's story has a chance to become their story.
C. John Weborg (1937- ), “Learning from the Story” (Booklet of Hymnal Introductory Essays, 1996), pp. 4,6,7.
Balance in Music
Music will always be a vital part of a worshiping community. This was so in the first century (Col. 3:16) and is so today. Both hymns of the church and new songs have their place. But among some groups, music–and a certain contemporary style of music at that–is the expression of worship. Jesus’ example tempers this emphasis. The one time we read of Jesus singing with his disciples is at the Last Supper. At the time he probably sang one or all of Psalms 113-118 (hardly “contemporary” songs!).
Randolph J. Klassen (1933- ), Jesus’ Word, Jesus’ Way (Herald Press, All Rights Reserved, 1992), p. 132.
Perhaps the most common concern people have about the new Covenant hymnal is, “How much of my kind of music is in it?” Good question. In an effort to keep the book from being the size of Webster's Unabridged Dictionary and, therefore, requiring every church to shore up the pew racks, we have sought to find a delicate balance in the new hymnal.
This effort of finding balance is a good example of the struggle that most churches go through weekly to provide living worship experiences. A hymnal must have balance. To achieve that, consideration must be given to the following:
1. Present generations must find their voices in the hymnal. There must be acceptance of the new sounds and forms that Christian music has taken in the last twenty years. These expressions must be offered with the same integrity musically and textually as the ancient forms of church music.
2. The voices of previous generations must be heard. The hymnal must include the custodial responsibilities of our “roots,” both as a denomination and for the history of the larger church. It must retain the story. When the “story” is forgotten then so is identity. Without an identity our distinctives become cloudy and are subject to the winds of personal prejudice rather than the conflict and resolution provided in the story.
3. The hymnal is a tool for the entire work and life of the church. The hymnal must provide the musical and worship resources for as many of the events, seasons, rituals, life passages, themes, biblical encounters, and sentiments as possible. The hymnal serves the entire life of the church from times of celebration to times of grief and loss.
4. The hymnal must help the church look forward. Worship is not a static structure; it is a living organism, constantly changing with the surrounding world and local environment. In each culture, generation, and region, worship finds different yet meaningful expressions. If we truly are to be a church committed to reaching the world for Jesus then our hymnal must look forward to what this living organism is becoming. There must be texts that help us take hard look at those things dividing us and embrace what pulls us together. We must be singing new songs of justice and peace; songs of confession and forgiveness; songs that include and welcome; songs of dissonance and harmony; songs of complexity and simplicity; songs that remind us why we have come together and send us equipped to reenter the world; songs that stretch the imagination and keep us near to home. This is not a book for just 1996; it is book that will carry us musically into the next century.
Richard K. Carlson (1956- ), “Breadth and Balance,” (Booklet of Hymnal Introductory Essays, 1996), p. 8.
