Dial H for Pentecost

Today we celebrated Pentecost at a Hymnal 1982 ACNA parish. This prompted me to contrast Hymnal 1982 and Hymnal 1940 in how they handle Pentecost.

The most obvious difference is that in 1940, the feast was called Whitsunday. As the 1912 New Catholic Encyclopedia writes:

Pentecost (Whitsunday)

A feast of the universal Church which commemorates the Descent of the Holy Ghost upon the Apostles, fifty days after the Resurrection of Christ, on the ancient Jewish festival called the "feast of weeks" or Pentecost (Exodus 34:22; Deuteronomy 16:10). Whitsunday is so called from the white garments which were worn by those who were baptised during the vigil; Pentecost ("Pfingsten" in German), is the Greek for "the fiftieth" (day after Easter).

Whitsunday, as a Christian feast, dates back to the first century, although there is no evidence that it was observed, as there is in the case of Easter; …

That Whitsunday belongs to the Apostolic times is stated in the seventh of the (interpolated) fragments attributed to St. Irenæus. In Tertullian (On Baptism 19) the festival appears as already well established. The Gallic pilgrim gives a detailed account of the solemn manner in which it was observed at Jerusalem ("Peregrin. Silviæ", ed. Geyer, iv). The Apostolic Constitutions (Book V, Part 20) say that Pentecost lasts one week, but in the West it was not kept with an octave until at quite a late date. It appears from Berno of Reichenau (d. 1048) that it was a debatable point in his time whether Whitsunday ought to have an octave. At present it is of equal rank with Easter Sunday.

The two have a surprisingly similar approach. Hymnal 1940 lists 5 Whitsunday hymns (#107-111) and Hymnal 1982 lists 8 Pentecost hymns (#223-230). This morning, we opened with the most memorable hymn on either list: Salve Festa Dies (H40: #107, H82: #225), i.e. the Pentecost variant of Ralph Vaughan Williams’ second greatest hit (after his Nov. 1 classic).

What’s interesting in both hymnals is that the real hymnody comes from the list of hymns about the Holy Spirit (née Holy Ghost). For H40, it’s under “also the following” (13 hymns total) while H82 it’s under a section formally titled “Holy Spirit” (#500-516). Many of the great hymns fall under this category, include “Come, Holy Spirit, Heavenly Dove” (H40: #369; H82: #510) that we sang today.

One we didn’t sing was “Come down, O Love divine” (H40: #376, H82: #516), but with the 15th century lyric and the wonderful Vaughan Williams tune Down Ampney, we really should have. (After I wrote this posting, I noticed that bjs of Chantblog posted today a tribute to this, “the best hymn ever written.” High praise indeed.)

The other hymn I wish we had sung (perhaps at communion) is “Come, Holy Ghost, our souls inspire” (H40: #217, H82: #504) to Veni Creator. However, I understand the decision not to use it, because this Sarum (i.e. medieval Salisbury) chant requires either a good quality choir or an moderately large and experience congregation. I love plainsong but have come to recognize through my wanderings among the Anglican diaspora is that the average parish can’t handle plainsong without considerable practice.

Neither hymnal considers “Take my life, and let it be” (H40: #408; H82: #707) to be a hymn about Pentecost or the Holy Ghost. I disagree, but maybe that’s just how a particular Pentecost sermon struck me two years ago.

Overall, I think that H82 made a good choice to group some (even if not all) of the Holy Ghost hymns into one place — making it easier to find a good Pentecost hymn under “H” if not under “P”.

Principles of Anglo-Catholic worship

From page 2 of the 66-page booklet “The Order for Low Mass and Solemn High Mass,” St. Mary of the Angels:

Worship at St. Mary’s

St. Mary’s is a parish church with her roots set firmly in the Catholic tradition of Anglicanism. Our worship is centered around the Holy Eucharist (the Mass), continuing in the Tradition we have received from the Apostles, to whom the Lord JESU was “known in the Breaking of the Bread.” Our worship is that of traditional Western Catholicism, with a uniquely Anglican flavor. The ancient chant, the medieval vestments and the Elizabeth language may make our worship seems a bit strange to those unfamiliar with it, but these things are not irrelevant or old-fashioned. For 2000 years the solemn ceremonial of the Mass, the veil of incense which fills the church during the liturgy, and the stately cadences of the Book of Common Prayer speak to us (as they have spoken to many generations of our ancestors in the Faith) of the glory and majesty of God. It is to God the Holy Trinity, the Father and the Son and the Holy Ghost, that our worship is directed. The purpose of worship is not to entertain or inform us, but to turn “ourselves our souls and bodies” to God. So if the Mass seems a bit strange to you, relax. Sit through it if you’re curious. You may catch a glimpse, even if just for a moment, of heaven.

-- Fr. Gregory Wilcox, rector

This statement by Fr. Wilcox, fourth rector of St. Mary’s (1986-2006), articulates both a general philosophy of Anglo-Catholicism and the particular Catholic-leaning interpretation that predates the Vatican’s 2009 announcement of the Ordinariate and St. Mary’s recent efforts to become Anglican rite Catholics.

A favorite hymn day, but not a favorite hymnal

At the ACNA parish I attended on Palm Sunday, we had a great collection of hymns. The opening hymn was the obligatory processional — “All glory, laud and honor” — that combines a 9th century text and a 17th century Lutheran tune (H40: #62; H82: 154). Since this time we started outside the building, I ended up acting as de facto cantor: all those years as a High Church (PECUSA) choir boy came rushing back.

The second hymn was the other obligatory Palm Sunday hymn “Ride on, Ride on in Majesty.”  The Hymnal 1940 Companion says it was written in the 1820s by Henry Hart Milman, an Oxford poetry professor. As it turns out, on Holy Monday the Issues Etc. (unofficial) LCMS radio show reposted their earlier interview with Pastor Will Weedon on this Passiontide favorite.

On Palm Sunday, we used the tune King’s Majesty — composed for Hymnal 1940 — which is the only tune given in Hymnal 1982 (H82: #156). While it is a wonderful stately tune — suitable for a Cathedral choir — I had forgotten how hard that was to sing: it’s out of my range, the voice leading is difficult, and this year the rest of the congregation clearly didn’t know it well.

Hymnal 1940 (H40: 64) gives an alternate choice, the familiar (and much easier) Winchester New, a 17th century German tune also used for the Advent hymn “On Jordan’s bank.” This is also the tune used with this text in my 1876 edition of Hymns Ancient & Modern. Oremus implies that this is the only tune that Church of England worshipers would know.

H40 also has a third option, St. Drostane, but I’ve never heard that sung. However, it was the first tune for the US Hymnal 1916 (#125), with Winchester New listed as second tune. The Hymnal 1940 Companion says “St. Drostane was composed by John B. Dykes for this hymn in Chope’s Congregational Hymn and Tune Book, 1862,” which implies it is a familiar American but not Anglican tune. (Unfortunately, I don’t have music in any of my 19th century PECUSA hymnals.)

So Hymnal 1982 made life difficult for our small parish by omitting the easier (and more Anglican) of the two melodies. But that’s not the only problem with H82. While singing the hymn, I also noticed their trademarked bowdlerization of the text. Even Oremus (written by a hymnal modernist) lists the original text for the second verse:

The company of angels
are praising thee on high;
and mortal men and all things
created make reply.

This is also the text in Hymns Ancient & Modern. However, that’s not good enough for the PC authors of Hymnal 1982:

The company of angels
is praising thee on high;
and we with all creation
in chorus make reply.

I guess they’re proud of themselves for only changing two phrases, but it’s neither a subtle change nor faithful to the original text:

Coetus in excelcis te laudat caelicus omnis
Et mortalis homo, cuncta creat simul.

Even with my complete lack of formal Latin training, I know that “Et mortalis homo” does not mean “we.”