Category Archives: Music

‘A Foggy Day in London Town’

Tonight, not a hymn, but “A Foggy Day in London Town,” a show tune loosely connected to the sainted P. G. Wodehouse.

Damsels in Distress” is a 1937 Fred Astaire vehicle, co-starring Joan Fontaine. This was the first movie Astaire made after his partnership with Ginger Rogers broke up, and the project was complicated by the distressing discovery that Miss Fontaine couldn’t dance. Oops. (I find it hard to understand how anyone, even a very pretty young woman, could make it in the theater/movie world without learning to dance a little. Maybe she just wasn’t up to Astaire’s standard. That I call highly plausible.)

The film’s story, in any case, is based on a 1919 novel of Wodehouse’s, incorporating his personal experience in Broadway theater. Sadly, he didn’t do any lyrics for this show.

The movie, I’m sorry to report, did not do well, despite the presence of a young couple of comedians who called themselves George Burns and Gracie Allen. But its reputation seems to have grown with time.

I don’t think I’ve ever actually seen it. I need to check it out.

‘God’s Word Is Our Great Heritage’

I’m in the middle of reading a very interesting book whose review must wait till Monday. So, this being Friday, I have ferreted out another Scandinavian hymn for you.

“God’s Word Is Our Great Heritage,” I think, is not familiar to non-Lutherans, though the tune will be. (I find, to my chagrin, that most of the YouTube renditions feature the wrong tune – by which I mean a tune I didn’t grow up with. Almost the only version with the right tune is the one I’ve posted above, featuring a solo singer who does a pretty good job.)

The author of the hymn, once again, is the problematic N.F.S. Grundtvig of Denmark. It’s rather odd that we have a hymn in praise of Scripture from his pen, as one of his eccentric doctrines, at least at one point in his career, was that the Apostle’s Creed was older than the Gospels. Nevertheless, there it is, and I think it’s to his credit. The translator, Ole C. Belsheim, a Norwegian immigrant, attended, among other schools, Luther College, Decorah, Ia. and Augsburg Seminary, Minneapolis (both of which I attended too, except that Augsburg was just a college by the time I got there. It calls itself a university now, probably on the strength of its association with me).

The hymn is also peculiar in having just one verse, as far as I can tell. C. S. Lewis, who hated long hymns, would have loved this one, if he ever heard of it, which I doubt.

Happy weekend.

‘The Ballad of Casey Jones’

Yesterday I had three ideas for blog posts, all of which seemed to me both intriguing and easy to remember – so why write them down?

Today, of course, I’ve forgotten them all.

The only thing I came up with today – for no reason I can think of – was the song in the video above, quaintly illustrated with footage of model trains. Well, I’m the grandson of a railroad man (a line foreman), so why not post about the legendary Casey Jones?

As a child, I thought of Casey Jones as a burly blonde man, due to seeing a syndicated TV series about him starring Alan Hale, Jr. (later to be Skipper on “Gilligan’s Island”), and a local Minnesota kids’ TV show, starring a guy constructed along roughly the same lines. In fact, Jones was a tall, thin, dark-haired fellow. His name was John Luther Jones (1864-1900). He was born in Missouri, but his family moved to Cayce, Kentucky, from which he acquired the nickname “Casey.” He married a Roman Catholic girl in 1886 and converted to that church.

Jones went to work for the Mobile & Ohio Railroad as a telegraph operator, but rose rapidly to the lofty position of engineer, moving to the Illinois Central railroad. He achieved, if not celebrity, at least some public distinction during the 1893 Chicago World’s Fair, when he was one of the engineers assigned to carry tourists to the fairgrounds. He was popular with the passengers, and enjoyed the work.

As an engineer, he was known to be a risk-taker. There were penalties for skirting safety rules, and he racked up a fair number of them, but Jones and the other engineers were well aware that the penalties for late arrival were greater. In any case, he seems to have liked the challenge. He was a speed junky – in a later time he might have been a race car driver or jet pilot. He was proud of his “on time” record, and is credited with performing an authentic real-life rescue worthy of a movie – sighting a child standing frozen on the tracks as he worked on the engine’s running board, he climbed out onto the cowcatcher and scooped her safely up in his arms.

He worked out of Jackson, Tennessee until 1900, the year of his death, when he transferred to Memphis. On April 30, 1900, at 12:50 a.m., he boarded his regular engine 75 minutes behind schedule (accounts differ as to whether he’d been given time to rest properly). The weather and track conditions were good, and he whooped and poured on the speed, confident he could make up the time. Unbeknownst to him, a train stalled at Vaughn, Mississippi, too long for the siding, was blocking the track. A flagman had been sent out to give warning, but Jones either did not see him or saw him too late. When he realized he was going to plow into the other train, he blew the whistle (as a warning), reversed the engine, and told his fireman to jump. He himself stayed in place. His train hit the boxcar, derailed, and finally came to a rest. There were some injuries, but only Casey Jones died. Since that time there have been quibbles, but most people considered him a hero.

“The Ballad of Casey Jones” seems to have been first sung by Wallace Saunders, a black engine wiper who’d been a friend of Casey’s. However, it’s not certain what words or music he sang; he never wrote them down. The ballad evolved into the folk song we know today. It’s been recorded by many artists.

The Commie labor agitator Joe Hill wrote a version called, “Casey Jones, the Union Scab,” which was a vile slander – John Luther Jones was a paid-up union member.

‘O Gladsome Light’

I often post old hymns here, especially on Fridays. But I’ve never posted one this old — it’s “O Gladsome Light” (Phos Hylarion) a hymn still used in Orthodox churches, and first known from a manuscript around 300 AD. But it could be older.

I should mention that others promote a hymn called the Oxyrhynchus Hymn. You can decide for yourself.

Have a good weekend.

“Den Himmelske Lovsang”

Tonight, as is so often my lazy wont, I share with you a Norwegian hymn, performed here by a volunteer pietist men’s choir. But this hymn is different, in a highly insignificant way.

The hymn is called “Den Himmelske Lovsang,” which translates, “The Heavenly Song of Praise.” (“Lovsang” does not mean “love song,” however much you might want it to. “Lov” is Norwegian for “praise.”)

I can’t find an English translation, and that’s kind of the point of this post. The gist of the lyrics is that it’s all about the joy of Heaven, embodied in music. The idea that all nature and the heavenly host are having a wonderful time singing God’s praise, and that through Christ we can hope to join in the fun ourselves someday.

Once a month I get together with a small clutch of old men, most of whom are retired pastors from my church body. At the last meeting, one of them mentioned this hymn, commenting that it’s the most popular hymn among the Lutherans of Madagascar.

(The reason for this goes back to the 19th Century, when international mission organizers “assigned” part of the Madagascar mission field to the Norwegians. These missionaries came not only from Norway, but from the Norwegian-American immigrant church.)

In our gathering, we noted that the hymn has never caught on in the US. Nobody was sure why. I thought it might be because no one had ever done a satisfactory English translation.

You can guess what came next. I decided to give it a go myself.

I’m not working at it full-time; I’ve got several other projects demanding my attention. But I’ve been noodling with it in odd moments, and I’m generally pleased with my progress.

Translating verse is a particular challenge. The only way I can figure out to do it is to first study the text closely, trying to figure out what the poet is attempting to convey, and how. Then I proceed to do my own original poem on the same theme, in the same meter, touching base with the original text whenever I can.

I have no idea where it’s all going.

Anyway, do you think this hymn would be interesting to American Christians?

‘This Ole House’

Tonight, for no particular reason, Stuart Hamblen’s “This Ole House.” Probably his biggest hit.

This clip comes from the long-running Country & Western comedy show, “Hee-Haw.” I think I actually saw this episode, which surprises me a little, because I wasn’t a regular viewer. I was too snobbish about “hillbilly” music.

As I recall, Hamblen introduced this performance by recounting how he’d come to write it. He was on a hunting trip with a friend in the mountains when they found an abandoned hunting lodge with a man’s body in it (dead, apparently, by natural causes). As they rode back down the mountain, he meditated on mortality and composed the lyrics.

“I hated, Rosemary Clooney’s performance,” he said (as I remember it), “because she speeded it up to a sort of a schottische rhythm. Then it sold a hundred-thousand copies… and I came to love Rosey’s version.”

I was reminded of this song tonight by association. My dad, when he was milking cows out in the barn, used to sing the first couple lines of another of Hamblen’s songs: “I Won’t Go Huntin’ With You, Jake (But I’ll Go Chasin’ Women).” This was a big hit of Hamblen’s before he was born again.

He had a crazy American Christian story. A preacher’s kid, son of the founder of the Evangelical Methodist Church denomination in Texas, he got into music and became a popular singer and recording artist, with his own radio program. He also acted – if you watch old B westerns, you’ll often see Hamblen – not as a hero, but as the bad guy who leads the outlaws or the evil posse. He dealt with the pressures of fame by drinking, and became an alcoholic. Whenever he got arrested for brawling or public intoxication, his radio sponsors would pay his bail and get it covered up.

Then he attended a Billy Graham crusade in Los Angeles in 1949, and surrendered his life to Christ. He stopped doing beer advertisements on his radio show, and got fired for it. But by then he’d given his testimony on the air, and it boosted Billy’s public profile immensely (though Randolph Hearst’s instructions to his editors to “Puff Graham” certainly had plenty to do with it too).

He remained an outspoken Evangelical the rest of his life, composing such songs as “It Is No Secret What God Can Do” (title suggested by his friend John Wayne) and “Open Up Your Heart and Let the Sunshine In.” He also ran for office, repeatedly and unsuccessfully, on the Prohibition ticket.

The main thing I love about “This Old House” is the line, “Now it trembles in the darkness / When the lightning walks about.”

That’s genuine poetry.

‘Built On a Rock, the Church Shall Stand’

I thought to myself, “Hey! I haven’t posted “Built On the Rock the Church Shall Stand” yet. That’s an important Scandinavian hymn I haven’t done here before!”

Checked our search utility. No, I posted about it – and as recently as last year.

Chalk it up to old age. Old men tell the same stories over and over, and old bloggers blog the same material under and under.

I’ll post it anyway, because I’ve got nothing else.

The lyrics were composed by Nikolai F. S. Grundtvig, the eccentric Danish clergyman who made the first translation of Beowulf into a modern language and started the Folk High School movement.

My people (the Norwegian Haugeans) did not like Grundtvig much, but we sang his hymn. This rendition is done by the Luther College Cathedral Choir, Decorah, Iowa. My people didn’t like Luther College much either, and the one year I spent studying there didn’t leave me with a lot of good memories. The arrangement is by F. Melius Christiansen, who conducted the choir of St. Olaf College, Northfield, Minnesota – which I never attended, but still dislike on principle.

The English translation is pretty faithful, but the opening line takes an interesting tack. The original Danish says, “The church, it is an ancient house,” but goes on to say that it keeps standing anyway, upheld by God. Our English version, as you’ll notice, kicks off in a more upbeat, defiant vein.

Danes, generally speaking, don’t do audacity.

‘Behold a Host, Arrayed in White’

I recall sitting in my office one day (I think it was a Saturday; I had to work Saturdays at the time) back when I lived in Florida, listening to the local Christian station on my radio. Suddenly I heard the strains of “Behold a Host, Arrayed in White,” (an English translation is at this link) and was astonished. This is not a hymn much known outside Scandinavian Lutheran circles, and down among the gators a lot of people had no idea what a Lutheran was, let alone a Scandinavian Lutheran.

The reason the radio station had that song, I later learned, was that they leased music from the University of Northwestern (St. Paul) radio network’s licensing library, and Scandinavian Lutheranism is pretty well known up in these parts.

In my mind, at least, “Behold a Host” is the preeminent Scandinavian choral hymn. My dad and my grandparents loved it. This recording has the Norwegian lyrics, whose first lines actually go “This great, white host we see, like a thousand mountains full of snow, before the Throne – who are they?

It’s a reference to Revelation 7:13-17:

 13Then one of the elders answered, saying to me, “These who are clothed in the white robes, who are they, and where have they come from?” 14I said to him, “My lord, you know.” And he said to me, “These are the ones who come out of the great tribulation, and they have washed their robes and made them white in the blood of the Lamb. 15“For this reason, they are before the throne of God; and they serve Him day and night in His temple; and He who sits on the throne will spread His tabernacle over them. 16“They will hunger no longer, nor thirst anymore; nor will the sun beat down on them, nor any heat; 17for the Lamb in the center of the throne will be their shepherd, and will guide them to springs of the water of life; and God will wipe every tear from their eyes.”

The text was written by Hans Adolph Brorson, a much-loved Danish pastor and hymn writer. The tune is, I believe, traditional, but this arrangement is by none other than Edvard Grieg.

This particular recording is of the choir of Augsburg College, Minneapolis, which happens to be my alma mater, though this performance was around 1945, somewhat before my time.

‘O Love That Will Not Let Me Go”

A hymn tonight, as is so often my lazy default on Fridays. I’ve posted a different version of the one before, but it never gets old. I can’t find a composition or publication date for “O Love That Will Not Let Me Go, ” but Wikipedia reports that its author, Rev. George Matheson, wrote it on the evening of his sister’s wedding.  It must have been a poignant moment for him, as he’d gone blind as a young man, and his sister had been his caretaker since then.

He wrote, “I am quite sure that the whole work was completed in five minutes, and equally sure that it never received at my hands any retouching or correction. I have no natural gift of rhythm. All the other verses I have ever written are manufactured articles; this came like a dayspring from on high.”

He himself had been engaged to be married once, but his fiancée broke it off when she learned he was losing his sight. In spite of his handicap, he became a very successful minister in the Scottish Presbyterian Church and a respected scholar, publishing several books and earning an LL.D. degree.

Matheson is also the author of my favorite hymn, “Make Me a Captive, Lord,” which I hardly ever sing anymore, because my church doesn’t seem to know about it, and everybody but me sings it wrong anyway.

Have a blessed weekend.

How not to be a child

Thing noticed this morning in devotions, as I work my way through Luke 18:

Surprise, surprise. The next section carries on the same theme (asking boldly vs. humility) developed in the previous sections:

The Rich Ruler

18And a ruler asked him, “Good Teacher, what must I do to inherit eternal life?” 19And Jesus said to him, “Why do you call me good? No one is good except God alone. 20You know the commandments: ‘Do not commit adultery, Do not murder, Do not steal, Do not bear false witness, Honor your father and mother.’” 21And he said, “All these I have kept from my youth.” 22When Jesus heard this, he said to him, “One thing you still lack. Sell all that you have and distribute to the poor, and you will have treasure in heaven; and come, follow me.” 23But when he heard these things, he became very sad, for he was extremely rich. 24Jesus, seeing that he had become sad, said, “How difficult it is for those who have wealth to enter the kingdom of God! 25For it is easier for a camel to go through the eye of a needle than for a rich person to enter the kingdom of God.” 26Those who heard it said, “Then who can be saved?” 27But he said, “What is impossible with man is possible with God.” 28And Peter said, “See, we have left our homes and followed you.” 29And he said to them, “Truly, I say to you, there is no one who has left house or wife or brothersb or parents or children, for the sake of the kingdom of God, 30who will not receive many times more in this time, and in the age to come eternal life.”

What have we learned up to now?

That Christianity calls for a) boldness, but b) humility.

We further established that this pattern is embodied in children. Nobody will enter the Kingdom of God unless they become like children.

Now in comes the Rich Ruler (they always called him the Rich Young Ruler when I was a kid, but maybe that was in one of the synoptics).

The Rich Ruler is the opposite of a child. He thinks he’s got it all together. Has he kept the Law? You bet. Been there, done that, got the tee-shirt.  What else do I need?

Jesus tells him he needs to sell everything he owns, give it to the poor, and follow Him.

The point, I’m convinced, is not that we earn salvation through poverty (though some Christian socialists seem to think so). It’s that the Rich Ruler needs to become a child again. He needs to put himself in a helpless, dependent position where Christ is all he has.

Which he can’t bring himself to do.

The answer he should have given was to say, “I can’t do that! Help me!”

Then he’d be a child. Then he’d be saved. We can hope he reached that point, later on.

Above, Sissel Kyrkjebø with the Oslo Gospel Choir, in a fairly awesome arrangement of a song appropriate to the topic.