May 30, 2011

  • Hymn 30 Christ Jesus lay in death's strong bands

    BACKGROUND

    Both the tune and the text of this Easter hymn were published in 1524 in Enchiridion, the very first reformed hymnal. Three years after the Diet of Worms and one year after the martyrs Hendrik Vos and Joannes van Essen were burned in Brussels. The tune is based on "Victimae paschali laudes" * and “Christ ist erstanden”.

    Characteristic for the hymns composed in the early time of the Reformation (1520-1600) was the somewhat irregular rhythms and unusual emphasis in note values. These rhythmic chorales were usually
    sung in a fairly fast tempo without accompaniment. (Other example of a rhythmic tune: SOLLT’ ICH MEINEM GOTT, Hymn 31a.) These tunes flow nicely, without strong rhythmic emphasis.

    * "Victimae paschali laudes" is also the basis for the tune of Genevan Psalm 80. 

    Martin Luther was a talented and conscientious musician and text writer (his texts are rich in tautology and bold in choice of words). Consideration for the composer’s purposeful chosen musical notation (especially at the end of the first 4 lines) is given by many hymnals, such as Cantus Christi (269), Lutheran Book of Worship (135), Liedboek voor de Kerken (203). Exploiting the opportunity to revise the musical notation of the hymns, the Book of Praise can now also be added to this list.

    SINGING AND ACCOMPANIMENT

    The lines 1 and 2 are repeated in lines 3 and 4. Note that line 1 and 3 start with a whole note and line 2 and 4 start with a half note. Lines 5 to 8 form a second part of the tune.

    The melody of lines 1 through 4 underlines the urgency of the message. Considering lines 1 and 2, there are whole notes at the beginning of line 1, the end of line 1 (which is the middle
    of the first 2 lines) and a whole note at the end of the 2nd line. All other notes are half notes. This suggests a drive, a push, maybe unrest: as if the composer wants to say that there is something important said here. The music is alerting the singer and the listener by this “special effect”.

    Lines 2 and 4 also act as a confirmation, closing at the tonic. The very last line of this hymn has this same character of a confirmation, confirming everything what was said
    before.

    The second part of this tune (lines 5-8) has a different character than the first 4 lines. The melody becomes more dynamic with larger intervals and difference in rhythm. The climax is in line
    6: “and sing to God right thankfully”. In this line the melody exceeds the range of an octave, which gives a jubilant effect. The lines 6 and 7 give an extra dimension to the outburst of joy in the quarter note at the beginning of the line.

    This is different than the tune we have learned a few years ago, in which the composers intention regarding the note values was eliminated and the notation was changed to meet our (rhythmic)
    expectations. Just like we learned new tunes when the Augment came out (and are used to them now), we can learn this tune as well, and hopefully easier when we understand why it was written the way it is written.

    SHEETMUSIC

    Link

    PRACTISE EXAMPLE

    This is a practise of this hymn (April/May 2011) by the Canadian Reformed Church at Langley BC.

    www.bookofpraise.ca