Alleluia, Alleluia

The Fifth Sunday of Easter
May 19, 2019

As we continue the Easter Feast, Praying Twice is focusing on Easter hymns. This week, we are singing one of the modern Easter hymns in The Hymnal 1982, "Alleluia, alleluia, give thanks to the risen Lord" (Alleluia No. 1). The words and music were written by Donald Fishel (b. 1950) when he was a college student. Listen to a recording: Alleluia No. 1 

Fishel remains active as a composer and flute instructor. He currently lives in Nashville, Tennessee. 

Hymnologist C. Michael Hawn writes:

In the years following the Second Vatican Council (1962-1965), Roman Catholic composers contributed many new songs for congregational use in a variety of musical styles. The folk song style of the 1960s and 1970s became very popular because of its fresh sound to parishioners of this era, the accessibility of the guitar and the singability of the tunes, especially for those unaccustomed to singing in the liturgy.

(History of Hymns: https://www.umcdiscipleship.org/resources/history-of-hymns-alleluia-alleluia-give-thanks)

Unlike so many songs from the 1970s, Alleluia No. 1 is a hymn that has survived and flourished. It appears in Episcopal, Lutheran, Methodist, and Roman Catholic hymnals. One reason for its durability is the memorable refrain, which can be learned quickly. Another important reason for its widespread acceptance is the excellent arrangement by Betty Pulkingham, Charles Mallory, and George Mims. The use of harmonized verses, a soaring descant, and an accompaniment that works well on piano, organ, or guitar allows for its effective use in a variety of church settings. 

These three musicians were associated with the Episcopal Church of the Redeemer in Houston, Texas, a congregation at the center of the "renewal" movement that rose to prominence in the 1970s. Within the Episcopal Church, this branch of the charismatic movement emphasized liturgical worship enhanced by a variety of musical styles and instrumentation. Church of the Redeemer received widespread attention in the 1970s and early 1980s for its unique worship style which later came to be known as "blended" worship. However, Redeemer created blended worship with a level of preparation and commitment rarely seen today. On any given Sunday, one might hear a mix of traditional hymns, newly composed songs and praise choruses, and traditional choral anthems, accompanied by pipe organ, piano, guitar, and other instruments - or sung a cappella. Creative use of art, textile design, and dance was also an integral part of worship. The large choir was exceptionally well prepared, rehearsing 6 hours every week and singing a wide range of choral literature from memory. What differentiated Redeemer from other charismatic/renewal congregations was the combination of musical excellence, liturgical innovation, and outreach to its surrounding inner city neighborhood.

A number of laypersons and clergy from Church of the Redeemer formed the Community of Celebration, a Benedictine religious order, which later moved to England, Scotland, and finally to Pennsylvania, where it continues today. The Community also formed a musical ensemble, The Fisherfolk, which toured widely and recorded extensively in the 1970s and 1980s. Betty Pulkingham was one of the leaders of this group. 

Pulkingham edited several widely used songbooks, composed a psalter and four mass settings, and was a major contributor to Songs for Celebration, an Episcopal hymnal supplement focused on music from the renewal movement. Two of her arrangements from that collection were selected for use in The Hymnal 1982 - "Alleluia No. 1" and "I am the bread of life," as well as her setting of the Magnificat (The Song of Mary), S-247. (Ask one of our CCA choristers to sing it for you - we use it regularly at Evening Prayer!)

Betty Pulkingham died last week at the age of 90. You can learn more about her exceptional life and ministry in this interview, recorded a few years ago with our current presiding bishop, The Most Reverend Michael Curry: Interview with Betty Pulkingham

Only a small percentage of music composed in any given era survives the test of time, and this is certainly true of church music. Much of the "renewal" music of the 1970s has come and gone. The musicians at Church of the Redeemer were called to other ministries; a number have died. The church, located in a changing neighborhood, went through a period of decline before closing its crumbling building and moving to another location. However, the musical legacy of Betty Pulkingham and others survives. This significant period in church history broadened the acceptance of new music in the Episcopal Church. That, in turn, prepared the way for greater acceptance of diversity within the church. The work of these innovative composers and arrangers opened doors for future generations. When we sing "Alleluia No. 1" during Holy Communion this Sunday, I invite you to join me in remembering and giving thanks for Betty's life and ministry.

Mural: Christ of the Workingman, John William Orth, Church of the Redeemer, Houston, TX

Music for the Fifth Sunday of Easter

May 19, 2019

Hymns

492   Sing ye faithful, sing with gladness (Finnian) 

529   In Christ there is no East or West (McKee)

193, stanza 5   That Easter day with joy was bright (Puer nobis)

178   Alleluia, alleluia! Give thanks to the risen Lord (Alleluia No. 1)

657   Love divine, all loves excelling (Hyfrydol)

Service Music

Gloria in excelsis S-278   -William Mathias

Psalm 148, A Hymntune Psalter   -Carl P. Daw, Jr. and Kevin R. Hackett

Sanctus S-128   -Mathias

Fraction Anthem S-167  The disciples knew the Lord Jesus   -Mode 6 melody, adapt. Martens 

Anthems

I Give to You a New Commandment   -Peter Nardone

The Gift of Love   -American folk song, arr. Hal H. Hopson

Organ Music

Prelude on Gelobt sei Gott   -John Leavitt

Fugue in E Minor   -Johann Pachelbel