Karl writes:

Tempi are part of a yet-broader and more important kind of distinction between "this" kind of hymn and "that" kind of hymn. To some degree these distinctions ought to reflect the basic underlying theology from which each hymn came, regardless of where it is being sung now. (Yes, sometimes that background is not as specific or meaningful as with other hymns.)

For example, medieval and late-medieval hymns in Gregorian-chant style are mystical and deserve such treatment: not too fast, not too "thrilling," basically meditative or of carefully-controlled praise or proclamation.

Moravian chorales as they developed in England and in America -- the Moravians had an important presence in England as well as in America -- generally tend toward the communal sense in which they were sung, but often they also express the "inner-light" -- I'm sure there's a better way to put this! -- sort of inspiration which caused such great stress between them and German Lutherans and German Reformed churches in USA in the 18th century. Don't get caught up in the thrill of singing "Sing Hallelujah! Praise the Lord" almost like it's a football song, as though THAT is typical Moravian hymnody; it is quite atypical for Moravians, wonderful though it is in its uniqueness. Most Moravian hymns are more like the "Seelinbräutigam" tune and its oft-associated text by Zinzendorf, "Jesus geh voran" ("Jesus, Still Lead On"), which does NOT want a fast tempo but rather a quiet, meditative expression. When sung that way, it becomes a MOST moving spiritual experience.

Lutheran chorale, esp. of the 16 & 17th centuries and before the era of Lutheran pietism in Germany & elsewhere, are marvelous expressions of the Lutheran dialectic of sin and grace, of Law and Gospel but which ultimately becomes a very joyful theology. (Joyful, not so much just "happy.") Thus, when sung by a congregation, Lutheran chorales should be joyful and NOT acculturated into the sort of Calvinist/Reformed aesthetic into which they so often came to be cast in America. Lutheran chorales should be sung strictly in unison, preferably in their original "rhythmic" manner, and preferably without accompaniment, much as Bach's congregations did at Leipzig and elsewhere in the days of Lutheran orthodoxy. Bach's four-part chorales are strictly -- and wonderfully -- for his choir and orchestra in the rear gallery of Nikolaikirche or Thomaskirche in Leipzig but NOT for the congregation. Harmony in general tends to slow down and calm down the expression of many sorts of hymnody, just the opposite of what Lutheran chorales need to be faithful to their Law-Gospel dialectic. (How this problem came to bloom in America is a long discussion for another day.)

Calvinist theology focuses to some extent on the Law, even to the extent that while Edward VI's First Book of Common Prayer ,1549, did maintain much of the traditional Mass order, his Second Book of Common Prayer, 1552, totally removed the Kyrie and in its place inserted the Decalogue, i.e., THE LAW. And the Gloria in Excelsis got moved to the end of the Eucharistic liturgy as a sort of Post-Communion canticle. Some of us grew up knowing this order of things in the 1928 BCP. This emphasis on the LAW typifies Calvinist sternness in worship, impact of which had arrived in England in earnest. Calvinist hymnody in general but also many of the metrical psalms in particular should be fairly slow, very solid/rigid, and quite stern. That's their basic, underlying aesthetic, reflecting their theological origin, and they become marvelously effective in worship when given that kind of authentic singing and organ-playing manner. SLOW! The "DUNDEE" tune takes on marvelous character when played like THE LAW and NOT like a Moravian chorale, not like a Lutheran chorale, nor like a Lowell Mason tune, but like THE LAW. They want lots of weight on down-beats, LOTS of articulation so as to emphasize those downbeats, etc., and reed sound if you have worthy reed sound that does not curl people's hair.

Many of the Victorian-era and post-Victorian-era hymns combine this Calvinist aesthetic with a much warmer harmonic language, but even at that point in time, they do NOT want to go "too fast." That incredibly wonderful tune "MICHAEL" loses some of its essential character when played like a gospel song or the like. It's not just that the tempo wants to be held in check, but the very nature of one's articulation at the organ and the use of stops on the organ all contribute to making that tune the wonderful experience it becomes in faithfully-syled singing. Paul Callaway's marvelous tune "VINEYARD HAVEN" is the same way. I would opine that those two tunes are top-of-the-pile tunes in the Anglican tradition within the past 100 years.

Lowell Mason tunes, by comparison, "live" best in a relatively relaxed but not heavy aesthetic. They were intended to meet his goal of four-part congregational singing among Presbyterians and Congregatioanlists, which by nature means that it does a bit slower. Don't play "HAMBURG" strong and stern like "VINEYARD HAVEN" but also NOT like "DUNDEE." MANY American hymn tunes took flight in the shadow of Lowell Mason's hymnody and teaching; think of "FAITHFULNESS," to which we sing "Great Is Thy Faithfulness." That hymn wants to move along gently and quietly, much as the Mennonites usually sing it. Far too few of today's organists have any idea of who Lowell Mason was or what he was up to. Read Dr. Carol Pemberton's book on his life and work! He was very important in his day, and one of my very distant relatives, a country singing-school teacher, named his second soon Lowell Mason Meyer. (My family names is Meyer, but Moyer is a Pa. Dutch corruption of Meyer."

Gospel songs hardly need my comment here.

When we treat each hymn style carefully in its own combined theological and aesthetic manner, we achieve a WIDE and very welcome variety of hymn singing in our congregations. That's helps to forestall the gripe, "It all sounds the same; what we need is contemporary Christian music." No, what we need is more theologically, aesthetically, and spiritually sensitive hymn playing.

Even in my small, humble Episcopal Church parish in Marietta PA, we can achieve this kind of authenticity in hymn singing simply by studying and then pondering the basic underlying spirituality of a given hymn and then trying to put that into practice with a congregation often with not more than 40 people and with a 1959 four-rank unit Wicks with celeste and trumpet ranks added later but hardly useful in congregational leadership with so few people.

WE CAN DO THIS, wherever we are. O.K,.: think of the old American gospel song, "Brighten the Corner Where You Are." Yes !! It is a privilege in old-age retirement years to be playing for that small parish and trying to brighten their corner of the world.
Karl E. Moyer, F.A.G.O.
Lancaster PA