There Is a Green Hill Far Away – Text: Cecil Frances Alexander (1818-1895) / Music: William Horsley (1774-1858)

 

View video here.

 

Some say that Cecil Frances Alexander wrote There is a green hill far away – this Sunday’s final hymn in church – while sitting by the bed of a sick child. Others claim that the inspiration came from a grassy hill near her home in Derry that reminded her of Calvary. While both stories are of questionable provenance, it is certain that in these stanzas the author attempted to explain, in terms children would understand, the phrase “suffered under Pontius Pilate, was crucified, dead, and buried” in the Apostles’ Creed. This is indeed the finest among the hymns Alexander wrote on the phrases of the Creed. Parenthetically, line 2 of stanza 1 originally had – and still does in The New English Hymnal – “without a city wall”; the author changed it to “outside a city wall” when she learned that children were puzzled by a green hill that did not have a city wall.

 

The customary tune to this hymn has always been called Horsley. It was found in Twenty-four Psalm Tunes and Eight Chants 1844, but no name was attached. Only in subsequent hymn books was the composer identified as William Horsley (1774-1858). The first appearance of this tune to There is a green hill was in the 1868 supplement to Hymns Ancient & Modern, although it was likely written sometime between 1798 and 1812.

 

There is a green hill far away,

without a city wall,

where our dear Lord was crucified

who died to save us all.

We may not know, we cannot tell,

what pains he had to bear,

but we believe it was for us

he hung and suffered there.

He died that we might be forgiven,

he died to make us good,

that we might go at last to heaven,

saved by his precious blood.

There was no other good enough

to pay the price of sin,

he only could unlock the gate

of heaven and let us in.

O dearly, dearly has he loved!

And we must love him too,

and trust in his redeeming blood,

and try his works to do.

Gerald Harder

Cortège et Litanie – Marcel Dupré (1886-1971)

 

View video here

 

Marcel Dupré was born into a musical family and at an early age he demonstrated an extraordinary musical talent. He was the titular organist at Saint-Sulpice in Paris for nearly 40 years, an active recitalist, and a prolific composer. His organ works include the Chemin de la Croix (Stations of the Cross), and this Sunday’s postlude in church, the Cortège et Litanie –– a composition especially appropriate for Lent as we reflect on Christ’s redeeming work to take away death’s sting.

 

Originally written for a small orchestra in 1922, the Cortège et Litanie was subsequently published by the composer for piano, and at the request of his publisher Marcel Dupré created two further arrangements: one for grand orgue, and one for organ & orchestra in 1923 and 1925 respectively.

 

The Cortège (a procession) opens with a chorale-like theme, and it seems as if at the end of each phrase one can hear the tolling of a distant funeral bell to call attention that prayers are to be said.

 

The theme of the Litanie is a repeating quasi-plainchant motif which, however, is ever-changing in its supplication. The intensity of the prayer builds as the texture gradually thickens and the motif appears in canon. The piece reaches its apotheosis when in a majestic denouement the Cortège and Litanie themes are combined. It concludes with a glorious and triumphant coda, suggestive of an exultant pealing of bells — foreshadowing the joy of the resurrection.

 

PJ Janson