All My Heart Again Rejoices (ELW #273, stanzas 1 & 2)
Last week we started with a non-favorite Christmas carol, and we’re going to again. I discovered this is one of only two carols in the Christmas section of the hymnal we hadn’t used in the 8 seasons of these carol stories. So, like the proverbial shepherd Gustav thrown with garbage to the curb, this was feeling left out.
It’s a little odd that it’s been left out, since both the author and the translator are among the most common names in our hymnals. Catherine Winkworth is listed with 19 hymns, including “Now Thank We All Our God,” “Christ the Life of All the Living,” Luther’s “Lord, Keep Us Steadfast in Your Word,” and Advent’s “Comfort, Comfort Now My People.” Though Paul Gerhardt is named with only nine hymns, that actually shortchanges doing justice to the role he’s played in how we Lutherans sing. One of my professors, Dr. Paul Westermeyer, wrote the Hymnal Companion that offers explanations along with ELW. He called Paul Gerhardt “one of the most important Lutheran hymn writers” and said “he had the rare capacity to express the depth of the Christian faith in understandable yet durable ways. He moved hymnody from the public ruggedness of Martin Luther to a more introspective poetry, without losing the communal marks of faith.” Though it shouldn’t be overstated, some have observed that whereas Luther’s central theme was grace, Gerhardt focused on the love of God.
That love and joy in his words is noteworthy. This carol rejoices. One from Easter is called “Awake My Heart with Gladness.” It’s surprising because Gerhardt’s life certainly was not overly pleasant. For some reason it took him 14 years to graduate from Luther’s school, the University of Wittenberg, in 1642. That was during the Thirty Years’ War, which was utterly ravaging and decimating Europe—just awful—and so not only he did he not have a chance at a career right away, but also Swedish soldiers burned down his family home. It wasn’t until nine years later that he landed a job in a church. He was 48 years old when he finally got married, and he had five children, but four of them died in infancy. He tried to negotiate between fighting denominations, but ended up losing his job because of it, and about that time his wife died, too.
And yet his hymns still speak of joy through faith. This one not only has the sweet angel voices, but we hear the baby Jesus speaking to us, calling us beloved brothers and sisters in the original German, telling us, “You are safe from danger.” That’s the joy and love of faith. So let’s sing.
Let Our Gladness Have No End (ELW #291, stanzas 1 & 4)
Continuing with joy and wrapping up loose ends, the one other carol we haven’t heard about in all these years is #291.
I haven’t told you about it before mostly because we really don’t know much of any story to tell. The composer, the author, the translator are all unknown or anonymous to us. It first appeared in a hymnal in 1602, yet the suspicion seems to be that it was written sometime in the 15th Century. The term of “Bohemian” heritage is an old name for a region that’s now part of the Czech Republic. Speaking of which, we often presume Lutherans to be Norwegians, or to have German roots. Poor Randy Romanski weeps with joy anytime somebody with a Polish name joins the congregation (most recently Ryan Bujnowski). So it’s good that we’re getting around to this carol to honor the heritage of Don Jambura.
Perhaps as a reminder that even old favorites are not the same as they ever were, we notice that things change. The Lord’s Prayer continues to update language. Some wordings we adapt to make less gender exclusive. Some we tweak to fit more with the moods of our times. Sometimes old favorites aren’t really favorites anymore. And sometimes change just happens; so both this tune and these words have gone with other pairings over the years.
Even more interesting is that we changed the notes between the last hymnal and this one. If you look at the 4th note of the carol, you see a B-natural. In LBW, it was a B-flat. Tim will play both for us to hear. Technically, whereas the green book was a simple major scale this makes a Lydian modal scale in the new version (which is actually the older, original version—reminding us that changes aren’t always innovations but sometimes a return to truer origins). Westermeyer thinks it “gives it a festive folk color.” He also says that the excitement of the Hallelujahs interrupt the narrative with a rejoicing that cannot be delayed.
Maybe it’s good for me to stop delaying your joy, too. With this, we’ll have sung every carol in the Christmas section of our hymnal. So let’s sing.