'Angels We Have Heard On High'

Surveying the collection of carols in American hymnody, one might be excused for thinking that Christmas was about angels.

The Christ child gets attention in carols like “O Holy Night” or “O Come All Ye Faithful,” and the magi of Matthew's gospel take center stage in “We Three Kings,” but we just can't get enough of those angels. Whether the heavenly host sings alleluia in “Silent Night,” or angels greet the newborn Christ with sweet anthems in “What Child Is This,” it's rare to find a Christmas carol that doesn't mention them. We just can't get enough of the angels proclaiming Christ's birth to a group of frightened shepherds.

The angels take center stage in the story of the first Christmas in “Angels We Have Heard on High.” In the structure of the song we are neither shepherds receiving the announcement of Christ's birth, nor are we angels declaring the news. We are instead a third party, wandering the countryside and arriving too late to witness the stunning tableau that transpired outside Bethlehem.

Imagine and take it in for a moment, what that spectacle would have been like. The gospel of Luke mentions a group of shepherds in the fields near Bethlehem tending their flocks of sheep, one presumes in connection with the sacrificial system at the Temple in nearby Jerusalem.

On the one hand is the landscape, barren except for the scrub, meadow muffins and a small flock of sheep that dot the area. Scattered through that flock are rough-spun shepherds, some sleeping, some possibly drunk and some watching the scene with whatever emotion sits in the hearts of a shepherd late at night. On the other hand is a heavenly visitor who has just appeared, illumined and illuminating with an unworldly light that burns with a wondrous terror.

Caesar and other rulers concern themselves with halls of power and faraway kingdoms. Whenever they have an important proclamation to share, like the birth of an heir, they send messengers throughout the realm to declare it to the mighty. The angelic messenger is here to declare that God has restored the royal line of David, Israel's golden king.

Fifteen hundred years earlier, Moses went to Pharaoh and declared that God had sent him to save Israel from slavery and genocide, and to deliver his people to their own land. Now the angel is declaring that God is sending a new Moses to free Israel again, but the announcement isn't going to Caesar or even to Herod. It's going to the beneficiaries of that news, a group of social outcasts who can't even give testimony in court.

It's hard to tell which is a bigger shock to the shepherds: that the messiah has been born, or that they're the ones who are receiving the birth announcement.

This is the scene of wild, uncontainable wonder expressed in the opening lines of “Angels We Have Heard on High.” That first verse comes from the shepherds themselves, struck senseless with wonder. They have seen a host of angels and heard those angels, lost in worship, as a heavenly song rolled over the plains and came echoing back from distant mountains.

This is their witness account of what they heard and what they saw, and frankly it is incredible.

By the time we arrive on the scene, it is 2,020 years later. The angels are gone. Their music, however glorious it once sounded, has faded into silence. There is no one left living whose great-grandfather might have been stirred by that song. All that remains is what purports to be a written record of their encounter, and whatever questions we have.

The first verse is the account of the shepherds; the second verse is ours, and it is addressed to the shepherds. Why this celebration? Why this singing? What could you possibly have heard to set you to such celebration?

These are all reasonable questions, whether they are asked as the shepherds rush toward Bethlehem, or two millennia later as we wonder at the story we have heard. Either way, the shepherds' response in the third verse is the only one suitable. They don't argue theology with us. (As for how they feel about it, that should be obvious from the major key and upbeat tempo to the carol.)

Nor do the shepherds even talk about what they think the birth of Jesus will mean for them personally, for their nation, or for the world. Their initial response is simply “Come to Bethlehem and see.”

What do we find there? A baby, certainly; some would say, no more. The remainder of the third verse, and the fourth verse as well, state what the shepherds themselves believed they would find: Christ the Lord, the newborn king, Lord of heaven and earth, laid in a manger.

And woven throughout the song at the end of every verse is the song of the angels itself, rendered in a rolling chorus that rises and falls in rapid tempo, the Latin Gloria in Excelsis Deo, “Glory to God in the highest.”

This, then, is our cue, as visitors to this pageantry. We have missed the angels, and are witness only to the record of what Luke tells us the shepherds found.

Follow the shepherds. Come to Bethlehem. What do you see there?



Copyright © 2016 by David Learn. Used with permission.


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"Angels We Have Heard On High"

1. Angels we have heard on high Sweetly singing o’er the plain And the mountains in reply Echoing their joyous strains Gloria, in excelsis Deo! Gloria, in excelsis Deo! 2. Shepherds, why this jubilee? Why your joyous strains prolong? What the gladsome tidings be? Which inspire your heavenly songs? Gloria, in excelsis Deo! Gloria, in excelsis Deo!

3. Come to Bethlehem and see Christ, whose birth the angels sing; Come, adore on bended knee, Christ, the Lord, the newborn King. Gloria, in excelsis Deo! Gloria, in excelsis Deo! 4. See Him in a manger laid, Jesus, Lord of heaven and earth; Mary, Joseph, lend your aid, With us sing our Savior's birth. Gloria, in excelsis Deo! Gloria, in excelsis Deo!

O Come O Come Immanuel

This Sunday is the fourth Sunday of Advent, something I suspect has escaped the notice of many Christians in America.

What we popularly consider the Christmas season technically is the Advent season. Advent is a part of the traditional Christian calendar, beginning four Sundays before Christmas, and ending on Christmas itself. The four Sundays of Advent are marked by lighting candles on a wreath, each with a different theme. The fifth candle, the Christ candle, is lit on Christmas Eve or Christmas. In a liturgical sense the Christmas season does not begin until Christmas itself, and lasts for 12 days before ending on Epiphany, or Twelfth Night.

Fortunately, this doesn't make a difference to any but the stodgiest and most annoying people. Luckily for the rest of us, they have their own churches where they can fret over these things and wait until Christmas before they start singing Christmas carols, without ruining the fun of the season for the rest of us. (You know who you are.)

Advent technically has its own set of carols, such as “Come Thou Long Expected Jesus,” written by Charles Wesley; but for whatever reason these have not received the elevated status of Christmas carols. With some exceptions.

Chief among these exceptions is “O Come O Come Emmanuel.”

Like all other great songs, whether they are hymns, Christmas carols or something else, “O Come O Come Immanuel” is best learned not from a lyrics sheet but by immersion. You grow up hearing it sung as the last leaves fall from the trees and as the sky first grows leaden with winter. You first sing it yourself before you can read, and learn to lose yourself in its somber notes at an age when it still thrills you to watch your breath chill in the air around you.

Some Christmas carols contain lessons on the meaning of Christmas, or they retell a familiar story around the Nativity. Some try to do both. None of that applies in this case. There is no progression of ideas in this carol, no breakthrough or “aha” that it tries to impart. Each verse begins the same way as its fellows, and each verse ends the same way: God, come rescue us. We are suffering here for want of you.

“O Come O Come Immanuel” was not written as much as it was grown — not from among the mountains, fields and forest rivers, nor from the bustle and jostle of our cities. It springs instead from the eternal longing in the human heart to transcend this sullied flesh and to connect with God. It is the prayer of a soul chained to the earth while it longs to dance in fields of glory.

“O Come O Come Immanuel” is not merely a hymn. It is Advent itself, given words and stretched over a frame of music that glides by as regularly as the chimes that call monks to prayer. It is a song that exudes the universal yearning for relief from the tedium of mortality. We are exiled here, we are under sentence of death, we are oppressed, we are weary. Come save us.

And always, in the same cadence that it gives voice to our longing, the carol returns to that same patient reminder: “Rejoice! Rejoice. Immanuel shall come to thee, O Israel.”

So we wait. Thousands of years ago God's people waited in faith for the coming of the promised deliverer, whose arrival we now celebrate from the vantage of a faith rewarded. We also wait for his promised return and the fulfillment of the deliverance that he began when he first arrived. And lastly we wait for him to come more fully into our hearts and change us.

You came into the darkness and you made a difference, Anglicans pray at this time of year. Come into the darkness again.

Even so. Come, Lord Jesus. We are waiting. Amen.


Copyright © 2016 by David Learn. Used with permission.


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O Come O Come Immanuel

1.O come, O come, Immanuel, And ransom captive Israel, That mourns in lonely exile here, Until the Son of God appear. Rejoice! Rejoice! Immanuel Shall come to thee, O Israel. 2. O come, Thou Rod of Jesse, free Thine own from Satan's tyranny ; From depths of hell thy people save, And give them victory o'er the grave. Rejoice! Rejoice! Immanuel Shall come to thee, O Israel. 3. O come, Thou Dayspring, come and cheer, Us mortals by thine advent here. Disperse the gloomy clouds of night, And death's dark shadows put to flight. Rejoice! Rejoice! Immanuel Shall come to thee, O Israel.

4. O come, Thou Key of David, come And open wide our heav'nly home ; Make safe the way that leads on high, And close the path to misery. Rejoice! Rejoice! Immanuel Shall come to thee, O Israel. 5. O come, Adonai, Lord of might, Who to thy tribes, on Sinai's height, In ancient times did give the law In cloud and majesty and awe. Rejoice! Rejoice! Immanuel Shall come to thee, O Israel.

'Hark the Herald Angels Sing'

If you want a quietly solemn way to end the midnight service, sing “Silent Night.” If you want a song that will transport the congregation to heavenly realms, go with “O Holy Night.” But if you want to get people out of their seats, charged up and ready to move, the Christmas carol you want is “Hark the Herald Angels Sing.”

The secret is in that tune. Written with an upbeat tempo and in a major key, “Hark the Herald Angels Sing” is the Christmas carol for a celebration. It's a versatile song, one that can sound heavenly when it's sung acapella or accompanied by a violin; but if you listen to the music, it's just as easy to imagine it played on trumpets like a quartet of heralds announcing a royal arrival. It's virtually impossible to get this song wrong. It can even be played on an organ and still come out inspiring.

We owe “Hark the Herald Angels Sing” to the prolific creativity of Charles Wesley, the credited author of more than 6,000 hymns. Wesley — who, like his brother John and their father, was an ordained minister of the Church of England — is also remembered as the founder of Methodism. The denomination takes its name from a prayer group the Charles Wesley founded while he was attending Christ Church, Oxford, that was known for its intensive, methodological approach to studying the Bible.

Wesley considered hymns, made easier to remember by virtue of being sung, a natural way to teach. He brought his meticulous approach to Bible study to bear so that the lyrics became not just recountings of stories in the Bible or passages of Scripture set to music, but miniature lessons in church doctrine. It would be as though contemporary theologian N.T. Wright put portions of “Surprised by Hope” to music, and then received airtime comparable to popular Christian singers like Chris Tomlin.

Originally published in 1739, "Hark the Herald Angels Sing" underwent some minor changes under the revival preacher George Whitefield, who changed the opening lines of the first verse (from “Hark! how all the welkin rings / Glory to the King of Kings”) and added the familiar couplet that closes each verse. The song originally had the same tune as "Christ the Lord Is Risen Today," but in 1855 musician William H. Cummings adapted Mendelssohn's song to fit the lyrics. For all that, “Hark the Herald Angels Sing” is no exception to the depth of Wesley's writing.

The carol begins by placing the singers in the position of the shepherds of Luke's gospel as the angels appear and announce the birth of Jesus. To modern sensibilities, this a nice place to be. The shepherds are a quaint pastoral touch, and most of us are happy to identify with them in the gospel narrative as the first to hear that Christ has come.

We lose sight of how radical and subversive Luke's gospel is on this point, because the truth is that the shepherds embody the sort of people we usually go out of our way to avoid. People in the first century were discouraged from buying anything directly from shepherds because it was a given that anything a shepherd tried to sell was probably stolen. Even their testimony was inadmissible in the courts. This wasn't a quaint or pastoral group of people; it was an assemblage of crack addicts from under the bridge who aren't allowed to vote.

It's among this group of felons and illiterates that Wesley's hymn places us, as they receive the unexpected announcement from the angels, along with the news that the new king has removed any barriers that may have kept the from God:

Hark! The herald angels sing,
“Glory to the newborn King;
Peace on earth, and mercy mild,
God and sinners reconciled!”
Joyful, all ye nations rise,
Join the triumph of the skies;
With th’angelic host proclaim,
“Christ is born in Bethlehem!”
Hark! the herald angels sing,
“Glory to the newborn King!”

That's standard Bible stuff. In the second verse Wesley starts to teach about the Incarnation.

In Bible studies I've attended or led, I've encountered some pretty surprising attitudes toward Jesus. It seems we like Jesus to be something unreal or unnatural. We see the miracles in the gospels and assume that he had special God powers, and that this is why people followed him; or we catch the doctrine of his sinless nature and assume that life was easy for him, free of temptation, doubt or fear.

This is an old error. Christian orthodoxy teaches that Jesus was not a demigod like Herakles or some other hero of Greco-Roman myth, but as fully human as he was fully God. The Bible makes a point of it. He gets hungry. He gets angry. He gets tired. He cries, and even has full-blown panic attacks. He even cooks food and folds the laundry. Wesley addresses that point of doctrine in Verse 2.

Christ, by highest heav’n adored.
Christ the everlasting Lord!
Late in time behold him come,
Offspring of a virgin’s womb.
Veiled in flesh the godhead see;
Hail th’incarnate deity,
Pleased as man with man to dwell,
Jesus our Emmanuel.
Hark! the herald angels sing,
“Glory to the newborn King!”

The proclamation of the angels and the mystery of Christ revealed, Wesley in the third verse turns to the shepherds' response, which is to worship. But here Wesley sneaks in a reference to Easter, as he proclaims that Christ is come to see the end of death:

Hail the heav’nly Prince of Peace!
Hail the Sun of Righteousness!
Light and life to all he brings,
Ris’n with healing in his wings.
Mild he lays his glory by,
Born that man no more may die;
Born to raise the sons of earth,
Born to give them second birth.
Hark! the herald angels sing,
“Glory to the newborn King!”

There are two other verses Charles Wesley wrote for the carol that George Whitefield cut. To this day, they are rarely sung. But reading these, you can see firsthand the attention that Charles Wesley gave to Scripture as he wrote:

Come, desire of nations, come,
Fix in us thy humble home;
Rise, the woman’s conqu’ring seed,
Bruise in us the serpent’s head.
Now display thy saving pow’r,
Ruined nature now restore;
Now in mystic union join
Thine to ours, and ours to thine.
Hark! the herald angels sing,
“Glory to the newborn King!” 

Adam’s likeness, Lord, efface,
Stamp thine image in its place:
Second Adam from above,
Reinstate us in thy love.
Let us thee, though lost, regain,
Thee, the life, the inner man:
Oh, to all thyself impart,
Formed in each believing heart.
Hark! the herald angels sing,
“Glory to the newborn King!”

I hope your church incorporates this Christmas carol into worship at least once this Advent; and if it doesn't, I hope you can find time to enjoy it yourself, around the table with your family, or out caroling with your friends.

“Hark the Herald Angels Sing” is one of the greatest Christmas carols ever written. It's scarcely possible to imagine Christmas without this song.



Copyright © 2016 by David Learn. Used with permission.


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'O Little Town of Bethlehem'

Christmas is coming, and if you want a deeper worship experience in church, that's good news. In addition to the latest worshiptainment song from the radio, chances are good that you're going to hear actual Christmas carols. And by “hear,” I actually mean “sing.”

Traditional Christmas carols have several advantages going for them that popular and trendy worship songs don't. For starters, because American society is largely influenced by Christianity, people usually are familiar with Christmas carols even if they grew up outside the church. They probably recognize with the tunes, and if they have the lyrics in front of them, they almost certainly can sing along with confidence from the start.

Secondly, unlike many contemporary songs which deal strictly with a reductionist gospel of loving God and receiving forgiveness of sins, most Christmas carols are heavy lifters when it comes to doctrine. They'll carry their own weight in every verse, if not on every line.

Carols like “The First Noël” retell the story of the first Christmas around the supporting cast of shepherds and magi, while “O Come All Ye Faithful” teaches good doctrine on the hypostatic union. “We Three Kings” explores the coming life of Christ down to his death and Resurrection, and “O Holy Night” reflects the gospel call for social justice.

And then there's “O Little Town of Bethlehem,” a four-verse meditation on the Nativity itself.

Written in 1868 by Phillips Brooks, an Episcopal priest from the Church of the Holy Trinity in Philadelphia who had visited the Holy Land three years earlier, “O Little Town of Bethlehem” is a song people know of but don't know. Without the lyrics in front of them, most people can sing the first line with great enthusiasm before trailing off into “Da dee da dee dee dum” on Line 2.

If you sang “O Little Town” in church as a child, you probably sang it accompanied by a battered and tuneless organ. When you finished singing, you may even have looked at the carol itself with a measure of pity for all the trauma it had just suffered. Many songs suffer horribly during congregational worship in church, especially when they're sung without enthusiasm and played on an organ.

If your church still uses hymnals you're more likely to find “O Little Town of Bethlehem” than a carol like “It Came Upon a Midnight Clear,” but there are no guarantees you'll sing it during Advent, on Christmas or during the days leading to Epiphany. It's more of a bench-warmer than a Christmas titan like “Silent Night.”

That's a shame, because this song has what it takes to be a winner. The melody fits comfortably within a one-octave range, and proceeds at a steady, easily managed pace. The carol is lyrically unassuming as well, starting out like the opening montage of a Hollywood movie before delving into its deeper themes.

The first verse of “O Little Town” begins with the camera tracking slowly across a field of stars against the cold night sky before it drops down toward Bethlehem. It's a small town, scarcely more than a village. Many of the houses are hovels, owned by working-class families, although a few are bigger. Winding through the village are roads made of dirt and frozen mud, beaten paths made by the steady footsteps of people and their livestock over the years.

It's night, so as the camera pans through town we see the darkened windows of the houses. The only light comes from the stars and moon above, except for one mysterous source. As our field of vision steadily shifts leftward we perceive an unearthly light, small but steady, coming from the edge of town.

The second verse takes us to a closeup of the manger. Mary is lying on a pile of straw. Her face and her entire body are streaked with dust and dirt, and she is leaden with exhaustion. It's more than 100 miles from Nazareth to Bethlehem, and if it weren't for that Roman census, she and her husband wouldn't have made the trip. It's too much to manage when you're nine months pregnant, but it did have one benefit. All that travel made labor a lot faster than it would have been otherwise.

The scene in the manger is perfectly idyllic, the proverbial calm after the storm. A moment ago Jesus was screaming fit to raise the dead, but he has finally settled down. Right now he's nestled in the crook of Mary's arm, latched onto her breast and lazily drinking colostrum as his eyes close and his tiny body unclenches.

In a moment Jesus will fall asleep and then Mary will too, but that won't last long. He's going to wake up a lot the next few nights, and aggravate his parents to no end. That's how it works when you have an infant.

Now the camera pulls back from the manger scene, and pans up toward the heavens again. It's quiet in town. Aside from Joseph, who is trying to decide if he puts too much stock in his dreams, pretty much everyone in Bethlehem is asleep right now.

That’s a shame because the people in the town are missing quite a show. The gates of heaven are open wide, and the angelic host is looking in amazement at the scene below them. While the stars themselves announce the birth of Jesus to anyone who is watching, the angels are lost in worship to the God who is at once too vast to comprehend and yet so tiny and vulnerable that it beggars description.

As rare as it is that we sing “O Little Town of Bethlehem,” it's rarer still we sing the third and fourth verses. That's our loss. The third verse contemplates the unassuming gospel, which by its nature comes silently and without fanfare or acclaim to the meek; rather than with the might and bluster we ourselves often rely on to advance it.

The fourth verse moves to entreaty, asking for our own transformation. Two things I find compelling about this verse: Rather than focusing on the crucified Christ we focus on so much, it welcomes the infant Christ into our lives, and it does so with the title Emmanuel, God-with-us.

Why is this important? I can't speak for others, but too often I take the adult Man of Sorrows for granted. I pause, consider his death for my sins, breathe a quick prayer of contrition and ask for forgiveness, and then I move on, my life largely unchanged. You can't do that with a child.

I became a father 17 years ago. I can think of nothing that upended my life more than the arrival of my daughter on that October afternoon. My wife and I had altered our lives to accommodate one another, but either one of us could and often did manage just fine without the other around when it came to day-to-day living.

I went to work in the morning and came home in the evening, just as I had done before we got married. My wife did the same with her studies and teaching post at graduate school. The big change in our lifestyle after our wedding was that now, when we returned to the apartment for the evening, somebody else would be there. That was it.

Not so when Oldest Daughter arrived on the scene. She required our presence in her life constantly for food, for comfort, for cleaning and for education. If she was hungry, we had to drop everything and feed her. If she was upset, we did our best to comfort her immediately. As soon as she started babbling, we started babbling back to encourage her to speak. Even a trip to the supermarket or to a friend's house was altered fundamentally by her presence. She didn't run the house, but her well-being became our highest priority, even above our own. If she couldn't sleep because of an ear infection, we didn't either.

It's been 17 years now and Oldest Daughter has learned remarkably well to stand on her own two feet. She gets herself food, works her own job, and pursues her own learning at high school and at home. For all that, our lives remain ordered around her needs, her goals and her for her own sake, because we love her. The same is true for her sisters.

In that sacrificial and occasionally selfless devotion to her life and well-being, I see a shadow of the life-upending transformation that Christ can bring when the unassuming infant from the manger arrives in our midst and compels us to place someone else truly first.

That's not just singing a song. That's worship.



Copyright © 2016 by David Learn. Used with permission.


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The lyrics:

O Little Town of Bethlehem

1. O little town of Bethlehem, How still we see thee lie. Above thy deep and dreamless sleep The silent stars go by. Yet in thy dark streets shineth The everlasting light. The hopes and fears of all the years Are met in thee tonight. 2. For Christ is born of Mary, And gathered all above While mortals sleep, the angels keep Their watch of wondering love. O morning stars together Proclaim the holy birth! And praises sing to God the King And peace to men on earth.

3. How silently, how silently The wondrous gift is given! So God imparts to human hearts The blessings of his heaven. No ear may hear his coming, But in this world of sin, Where meek souls will receive him still, The dear Christ enters in. 4. O holy child of Bethlehem, Descend to us, we pray. Cast out our sin and enter in; Be born to us today. We hear the Christmas angels The great glad tidings tell. O come to us, abide with us, Our Lord Emmanuel.

Dying of thirst

I want you to think about the thirstiest you've ever been.

In March 2010 I returned to Haiti to assist at the Quisqueya Crisis Relief Center with its efforts following the earthquake. I'd been up all night the night before, on an airplane with its dry, air-conditioned cabins. After that I stood in a crowded tropical airport so hot that the shirt on my back was plastered to my skin within minutes. All I'd had to drink since leaving home was about a quarter-cup of water given to me on the plane. I should have known better. But I didn't.

I'd been standing in the sun for 30 minutes, looking for the ride I was told might be able to come get me, when I noticed my head was hammering at me. My skin was red and starting to ache. And my stomach wanted to revolt, but there was nothing in it.

 I was dehydrated, and I needed a drink of water — badly.

This was just poor planning on my part. The adult body sheds about a quart of water every day just through run-of-the-mill perspiration and breathing. We lose another one to three quarts each day through urination. Think about that. Your body is roughly 60 percent water, and in the course of a day you can lose a gallon of it just by living.

As dehydration sets in, the body begins to move water from its cells into the bloodstream. As the water leaves, cells begin to shrink. The throat parches. The tongue becomes a clumsy, inarticulate piece of meat. Fine and even gross motor skills decline, sharply. Your head starts to hurt and it gets harder to think clearly.

Let it go too long, and the kidneys can start to fail, which lets the body's toxins build up in the bloodstream. Soon the organs begin to fail, and then death follows. People can survive weeks without food, but only a few days without water. Water is life.

It's no wonder then that in ancient times it was considered an act of war to fill someone's well with stones. And it's no wonder that the psalmist compares worship to thirst:

As a hart longs
    for flowing streams,
so longs my soul
    for thee, O God.
My soul thirsts for God,
    for the living God.
When shall I come and behold
    the face of God?
— Psalm 42:1-2

It's Sunday morning and I've come to church to worship, but I'm dying of thirst. Think about the sort of song you're likely to hear on Sunday morning at church. If you go to a church like the one I attend, chances are good you'll hear songs about how wonderful it is to be saved, or how we much we love Jesus. There's nothing wrong with appreciating salvation or loving Jesus, but there's something essential missing in both songs: a sense of adoration.

Think about those songs, and then listen to this. It is one of the most beautiful recordings of "Holy, Holy, Holy," one of the most beautiful songs ever written for corporate worship. The entire focus of this song is not on we feel, it is not on what Christ did for us on the Cross, and it is not about how we desire to know God better. It is a song about the holiness and majesty of God. Who wouldn't love to hear music like this in church?



Older worship songs like "Holy Holy Holy" have fallen out of favor in recent years among worship bands, which is a shame. These were songs that had a lot of thought put into them. They contain solid doctrine, and often possessed some good melodies too. We still sing them hundreds of years later, because they were that good.

There are any number of reasons why older songs, particularly hymns, have fallen out of favor. For many of us the word hymn is enough to send us cowering under the seats in whatever space our church rents. It conjures unpleasant childhood memories of attending a church we didn't enjoy, and enduring the uninspired singing of the entire congregation as they were accompanied by an organ played at the same tempo by the same woman every week, year after year. For many of us, hymn denotes boredom and irrelevance, the exact opposite of what we require church and particularly worship to be.

This is, of course, due a complete lack of imagination on our part. Back when I was in college, Word Records published an album called "Our Hymns," a collection of classic hymns rearranged along then-contemporary sensibilities by Christian bands like Petra and singers like Amy Grant. Far from organ music, these songs sounded like they could have been written in the 1980s.

One of the songs included on the album was "O God Our Help in Ages Past," published in 1719 by Isaac Watts. Phil Keaggy gave it a hauntingly beautiful intro. Keaggy trimmed it to the first and final verses, threw in a Bach composition and made it possible to appreciate the soft, meditative sound of the song and its lyrics.


   

The same album included "'Tis So Sweet to Trust in Jesus," as recorded by Amy Grant. The song was written in 1882 by Louisa Stead after she and her daughter witnessed her husband die in an attempt to rescue a boy from drowning, and soon fell into financial destitution without his income.  I've heard worship leaders dismiss older songs as irrelevant because of their age, but I confess that is an argument I've never understood. The joys and the sorrows that birthed these songs in the first place are just as meaningful today, and with some effort any song can be arranged to any other genre.


   


Forty years ago, it was difficult to find a church where songs such as these were not in currency. It didn't matter if you were Lutheran, Methodist, Pentecostal, Baptist or Catholic. You could walk into any church of any other denomination, and the chances were good that you would find the familiar hymns of your own church contained with that denominational hymn book.

That's a power to music that we often don't appreciate. Studies have shown that when a choir, a congregation or even a stadium full of people begins to sing the same song together, the experience produces a measurable physiological effect on them. Singers' heartbeats and respiration begin to synchronize, and the group forms a cohesive collective identity through the shared experience.

Now stop and think how this approach to worship can mend some of the splits fracturing the church.

Consider "Just A Closer Walk with Thee," as recorded by folk musician Joan Baez. It starts off a little slow, but just wait until she hits her stride, around the 1:20 mark. (There's no one else like Joan.)




Because these worship songs were so common, they often became woven into the identity not just of the church but of the larger community itself. A lot of churches lament the declining spiritual influence of Christianity in America. Small wonder when we've abandoned the music that once helped to knit us together, regardless of age, denomination and region, in favor of music written only within the past few years — especially when the selection changes every few weeks.

Worship is meant to be a congregational experience. Too often that is not what happens. Rather than one person or even a group leading the congregation in worship, what is happening in our churches is a shift of our focus to the band and its performance, We crank the volume up like we would for the radio or at a concert, and the band plays the songs it has rehearsed for that week. This isn't a bad thing, but with the volume pounding, worship ceases to be an active, participatory experience because we're listening to the music instead. New songs are never bad, but in order for the congregation as a whole to join in on the worship, they need a chance to learn the song. That doesn't happen if the songs change to a new set before the congregation can learn them.

There is power in singing familiar worship music, just as there is in telling familiar Bible stories. While we should never close ourselves to innovation and new music, we're wrong to ignore the much greater participation that comes when we invite the congregation to sing familiar songs.

We're dying of thirst out here, and these are familiar channels where the water flows.


Copyright © 2016 by David Learn. Used with permission.

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Still reading? I based this on something I wrote earlier. You can read it here.

'O Holy Night': Christmas remembered

The mythic Christmas is a white one, but one of my greatest Christmas memories involves weather that was easily fifty degrees above freezing.

It was December 1993. I was teaching middle school English at Cradle of Life Christian School midway between Port-au-Prince and Petionville. I was more than two thousand miles from home, and couldn't help but feel a little yearning for the days when I used to wake up early and rush for the presents under the tree. And I couldn't help feeling a little wistful when I thought about the Christmas Eve services my brothers and I had attended as children.

On this particular evening, those teachers who felt so inclined had gathered for a school Christmas party. It was a hot night, and although there were Christmas decorations and there was a general effort afoot to get into the Christmas spirit, I don't recall much success.

At one point, the power failed, this being Haiti, and our hosts produced kerosene lanterns. It was shortly after this that Jim Muchmore produced a guitar and started leading us in Christmas carols. We sang Rudolph the Red-Nosed Reindeer, Tammy Lynn Johnston joining me on the tags at the end of each line; and we sang a Christmas song Jim had written about the economic embargo then in effect; and then we sang "O Holy Night."

It was a new song for me, one I knew the existence of but one that I had never actually heard at church as a boy. As we went on, I felt the awe and wonder of the song steal over me. By the time we had finished, the Christmas spirit had arrived, and this hymn had become my favorite Christmas carol.

Like many Christmas carols, "O Holy Night" is a song that is rarely sung in full, and that is a tremendous loss to us all. While carols like "Hark the Herald Angels Sing" and "Adeste Fideles" beautifully express deep and timeless doctrine about Christ, "O Holy Night" expresses a deep truth about the nature of Christ and the gospel he brings:

O holy night! The stars are brightly shining,
It is the night of our dear Saviour's birth.
Long lay the world in sin and error pining,
'Til he appeared and the soul felt its worth.
A thrill of hope! The weary world rejoices
For yonder breaks a new and glorious morn.

Fall on your knees! O hear the angels' voices!
O night divine, O night when Christ was born;
O night divine, O night, O night Divine.

Truly he taught us to love one another;
His law is love and his gospel is peace.
Chains he shall break for the slave is our brother;
And in his name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise his holy name.

Christ is the Lord! O praise his name forever,
His power and glory evermore proclaim.
His power and glory evermore proclaim.

Written in the 19th century, the song was translated into English by John Sullivan Dwight, who gave it a strong abolitionist message at a time when many in the South were still defending slavery as their God-given right. Not surprisingly, while the song became very popular in the North, it took a while for it to find an audience in the southern states.

While the first verse recounts the wonder of the Incarnation, and the second verse (not shown above) recounts the Christmas narrative of the magi coming to Bethlehem, the third verse recounts nothing. Neither warm nor fuzzy, it instead challenges us to consider the stark contrast between the way we do business and the way Christ does it.

In recent months there has been some fear among some churches about the resurgence of the "social gospel." Some people feel that it neglects the spiritual tones of Jesus' message, and others fear what a faith-driven political liberalism could change.

People are right to be afraid. The gospel is one of the most subversive messages ever proclaimed. Socialism, which has become a byword in America the last two years, is merely an economic system. In the end, socialism wouldn't uproot even a fraction of the American way of life that would be undone if we took Jesus as seriously as we claim we do. The ridiculous salaries and bonuses of Wall Street and corporate CEOs wouldn't just be indefensible, they would be unthinkable. Our entire health care industry would be overturned. Our welfare and immigration rules would be undone, and our foreign policy would be torn to shreds. And that would be just the beginning.

Since I first discovered the song in Haiti, "O Holy Night" has stuck with me in a way no other Christmas carol has. The tune is too beautiful for words, and the words are a challenge to the comfortable life I live. Christ has come, and he has made the slave my brother. Every time I benefit from the debasement or exploitation of another, through the clothes I wear, the food I eat, or by any other means, I am out of step with the call Christ has placed on all our lives.

At this time of year, it is common for Christians in some churches to pray, "You came into the darkness and made a difference. Come into the darkness again." We must always remember that Christ has come, not just into the darkness, but into us as well, and it is up to us now, his people, his body, his partners, to see that the difference is made.

Copyright © 2010 by David Learn. Used with permission.

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Rudolph, the Red-Nose Savior

About sixteen years ago, when I was teaching English at Cradle of Life Christian School in Haiti, a co-worker of mine regaled us one lunchtime with the frustrations of that morning's lesson.

Ruth, who like me was a first-year teacher at the school, had been going over classic Christmas carols with her students and trying to get them to appreciate the wealth of doctrine contained in their lyrics, especially once you get past the first verse. "O Come Let Us Adore Him," for instance, talks about the divine nature of Christ, the virgin birth, and Christ's eternal pre-existence. It sounded like a compelling and thought-provoking lesson, I thought.

Alas, Ruth taught middle school students.

"Look at this line," she had told them as they stared blankly at the lyrics sheet to "Hark the Herald Angels Sing." "'Born to raise the sons of earth, born to give them second birth.' What do you think he's talking about?"

One almost imagines the angels leaning in with anticipation. Spiritual regeneration, the "born again" experience, is foundational to Christianity. Would the students see the connection?

"Reincarnation?" suggested one particularly penetrating student, and a thousand angels wept.

The other middle school teachers and I listened sympathetically. We taught these kids too. I'd had to explain something on the order of thirty-seven times to Georges al Reyes that a sentence that goes on for 93 words counts as a run-on sentence. He had remedied the problem by writing one even longer.

"Maybe," I suggested, "you're setting your sights too high. Why not pick a Christmas carol they're more familiar with? Something like 'Rudolph the Red-Nosed Reindeer.'"

"Really," said Ruth. She was already amused, and probably wondering where I could take this impromptu suggestion. I'm sure she knew I hadn't thought it out any further than picking a title at random.

"Well, you have to understand that it's written in code," I said as I stalled for time. "It was written at a time of intense persecution."

"Go on," she said.

And go on I did. I have a bachelor of arts in English language and literature, but I'm pretty sure that on that day, I earned a B.S. as well. The reindeer in the opening lines, I argued, clearly represent the saints and other heroes of the faith. But the writer reminds us that they are not the cause celebre, as he moves on to ask if we remember that "most famous reindeer of all." This is an oblique reference to the heart and soul of Christianity, he reminds us. Do we remember?

The song goes on to share how Jesus (Rudolph) was tormented and reviled, persecuted by his fellows, as prophesied in Isaiah 53 (being denied his rightful place in the reindeer games), but then God (Santa, who also is artistically depicted as an old man with a beard) came and asked, "Rudolph, with your nose so bright" -- my voice rose in crescendo, and students at nearby tables turned to see what I was up to now -- "won't you guide us through the spiritual fog that has enveloped the world?" After this, Jesus (Rudolph) sees his vindication as the reindeer love him, and he goes down in history.

"Interesting," Ruth said when I had finished, her mood lifted by the bizarre conversation we had all had. "And what do you make of 'Frosty the Snowman?'"


Copyright © 2009 by David Learn. Used with permission.

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