Hauser - Suffering Saviour
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invisibl...@gmail.com
Nov 29, 2013, 12:19:36 AM11/29/13
to Fasola Discussions
Happy American Thanksgiving, everyone. Is this tune from the Hesperian Harp familiar to you?
http://www.shapenote.net/berkley/054.jpg
http://www.shapenote.net/Hesperian%20Harp-Suffering%20Saviour.htm
http://www.shapenote.net/berkley/054.jpg
http://www.shapenote.net/Hesperian%20Harp-Suffering%20Saviour.htm
Two things I'm wondering about:
1. I want to cite the tune accurately. Would Hauser have claimed credit if the arrangement were his? He does so elsewhere. Is there another shape-note setting/printing of this tune that I'm unaware of? The Christian Lyre features an earlier two-part setting, but if Hauser arranged it, he doesn't claim credit.
2. Would Hauser have sharped the 6ths if he wanted them that way? He was definitely not shy about accidentals, but I'm not sure how he felt about minor modes. He could have taken Dorian for granted. I read much of his introduction to the Olive Leaf, but didn't find any revealing details about his conception of the minor scale. However, here's a good thought to close with:
2. Would Hauser have sharped the 6ths if he wanted them that way? He was definitely not shy about accidentals, but I'm not sure how he felt about minor modes. He could have taken Dorian for granted. I read much of his introduction to the Olive Leaf, but didn't find any revealing details about his conception of the minor scale. However, here's a good thought to close with:
"To have good church music we must have good music in our families, and nothing is better calculated to bring happiness to our firesides. Families, like churches, cannot harbor divisions and discord when all regularly unite in making good music." (Prof. Ivy Daggan, in an essay reprinted by Hauser)
Matt Bell
Wade Kotter
Nov 29, 2013, 12:47:12 PM11/29/13
to invisibl...@gmail.com, Fasola Discussions
Matt
"The Shenandoah Harmony" cities "The Christian Lyre" as the source of the tune. Hauser published another arrangement of this tune with a different text (Newton's "In evil long I took delight") under the name SUFFERING JESUS on p. 83 of "The Olive Leaf." He sharpens the 6th, 7th and even the 3rd in spots. Interestingly, he still mentions the "O, the Lamb"
chorus which he also mentioned in a footnote in the "Hesperia Harp" version and which was printed by Leavitt in "The Christian Lyre" version. Of potentially even more interest is that the scanned copy of "The Olive Leaf" that is available at:
has an attribution to "D. Read" written in. Rachel, this is a scan of Chute's annotated copy, is it not? Regardless, looking at tunes by Daniel Read might be worth a try.
Wade
Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
From: "invisibl...@gmail.com" <invisibl...@gmail.com>
To: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Thursday, November 28, 2013 10:19 PM
Subject: [fasola-discussions] Hauser - Suffering Saviour
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Karen Willard
Nov 29, 2013, 1:45:21 PM11/29/13
to Matt Bell, Fasola Discussions
Matt asked if Hauser can be cited as the arranger of the Hesperian Harp version of this tune (which G. P. Jackson called a "folk hymn" and said was related to EDGEFIELD, and which Miss Gilchrist said may have been composed as a psalm tune by Dr. Maurice Greene; see 184 in Jackson's Down East Spirituals).
Hauser presented 4-part harmony. Christian Lyre presented 2-part harmony, i.e. melody and bass. After Christian Lyre came out, but before Hesperian Harp, I've found the tune in 3-part harmony in Henry Smith's Church Harmony. I've not looked to see if the 3rd part matches what Hauser did -- I'll leave that to others. (on page 102t; found in 8th edition).
Matt also asked whether Hauser have printed sharped 6ths, if he conceived of the song with those tones. Would B. F. White?
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Karen Willard
(not "kayren"; long story, that...)
invisibl...@gmail.com
Nov 29, 2013, 1:57:18 PM11/29/13
to Wade Kotter, Fasola Discussions
Wow, thanks Wade! I was unaware of the Olive Leaf arrangement. I think I still prefer Suffering Saviour for my purposes, but Suffering Jesus is extremely interesting. Hauser went a little sharp-crazy on this one! Despite that the arrangements are different, I suppose this could be interpreted as a point for Dorian 6ths in Suffering Saviour. Paging through Read's American Singing Book, I didn't find this melody.
Matt Bell
invisibl...@gmail.com
Nov 29, 2013, 2:31:08 PM11/29/13
to Karen Willard, Fasola Discussions
Karen, thanks for the extra info. I can't seem to find any leads on Henry Smith's book online. Do you remember if that page would be scanned somewhere? If not, I will be content to credit the 4-part version to Hesperian Harp, if not Hauser.
As to your (rhetorical?) question about B.F. White, I think I am lacking some knowledge needed to connect the dots. From past discussions, I believe the answer would be "no" for B.F. White. I would love to know how to apply this to Hauser. I don't recall how close their association was or how much they held in common. As arrangers, they approached accidentals very differently, but they may have had similar ideas about the "default" minor scale.
Matt Bell
Wade Kotter
Nov 29, 2013, 2:28:48 PM11/29/13
to invisibl...@gmail.com, Fasola Discussions
I was also unaware of "The Olive Leaf" arrangement until I found it this morning; I share your preference for the "Hesperian Harp" version. Interestingly, Leavitt's printing has a raised 7th but no raised 6ths. We know that Leavitt didn't compose the tune so it presumably predates his printing of the tune and may be one of those tunes that was submitted to him by one of his "correspondents." I suspect that a pre-1830 source will be found; perhaps Nikos has already located one. Like you, I looked through Read's American Singing Book and didn't find this specific tune; two tunes in this collection, DOVER (a plain tune which was occasionally reprinted by other compilers) and BARRINGTON (a fuging tune which was not picked up by other compilers and dropped by Read in the 1890s), begin and end in
a somewhat similar manner to SUFFERING SAVIOUR, but they diverge so much in other ways that I can't believe they are related. There are a few other tunes in Temperley's hymn tune index with a similar incipit, but the ones I was able to locate don't fit either.
Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
From: "invisibl...@gmail.com" <invisibl...@gmail.com>
To: Wade Kotter <wadek...@yahoo.com>
Cc: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Friday, November 29, 2013 11:57 AM
Subject: Re: [fasola-discussions] Hauser - Suffering Saviour
Wade Kotter
Nov 29, 2013, 3:24:14 PM11/29/13
to kayren....@gmail.com, Matt Bell, Fasola Discussions
Karen and Matt:
I can see some similarity to EDGEFIELD but the relationship seems pretty distant to me. Warren says EDGEFIELD is "a variant of BETHANY, in [Howe], The Psalm-Singer's Amusement,[ca. 1804]" (The Makers, p. 189). Unfortunately, I can't find a scan of BETHANY online. No
surprising, since Temperley cites only one printing of this tune prior to 1821. As for Dr. Maurice Greene, I guess it's worth taking a look at some of his music; I've found Miss Gilchrist's suggestions to be pretty useful in other cases. Interestingly, in his hymn tune index, Temperley cites only one tune (printed only once)", St. Austle, as being attributed to Greene. Oxford Music Online doesn't list any psalm tunes by Greene in it's list of his works, but given Greene's musical output of anthems, service music, canticles, oratorios, etc., I guess it's possible that he composed psalm tunes or, perhaps more likely, that some of his tunes were converted to psalm tunes by 18th or 19th century tune book editors.
Regarding the arrangement in Henry Smith's Church Harmony, the bass is quite different from both Leavitt's and Hauser's versions. I can scan Smith's version and send it off list to anyone who would like to see it.
Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
From: Karen Willard <kayren....@gmail.com>
To: Matt Bell <invisibl...@gmail.com>
Cc: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Friday, November 29, 2013 11:45 AM
Subject: Re: [fasola-discussions] Hauser - Suffering Saviour
Rachel Hall
Nov 29, 2013, 7:25:26 PM11/29/13
to fasola-di...@googlegroups.com
The arrangement of SUFFERING SAVIOR that's in the Hesperian Harp is one of my favorite songs! It's in the Shenandoah on p. 344t and there's a rough recording of it here: http://www.shenandoahharmony.com/mp3/ShH_sampler_2/22%20ShH%20344t%20Suffering%20Savior.mp3
I just love the two treble 4-sols in the middle of the piece that tie the two phrases together.
It's difficult to know how to cite this tune. We referenced Hesperian Harp, p. 54, as the direct source, but gave Christian Lyre credit for the basic form of the tune - in this case, just the title and the Hesperian tenor is similar to the Christian Lyre. Nikos pointed out to me that the song is related, though not as similar, to CALVARY (with the same text and chorus) in Shaw & Spilman's Columbian Harmony (1829), so the melody can't solely be credited to Christian Lyre either. CHRISTIAN INQUIRY on p. 24 in Patterson's Church Music (1813) is also related - and also ends the first phrase on that delicious 1-4 dyad. Oddly enough, I found the tune in an 1834 fraktur tunebook with a German text.
Did Hauser arrange the tune for HH? I'm reluctant to credit it to him, as he wasn't shy about taking credit for other arrangements. After all, there are a bunch of uncredited arrangements in HH that we now know come from Songs of Zion. On the other hand, it seems likely that he did rearrange it for Olive Leaf, and yet takes no credit for it.... Perhaps just citing "arr. in HH" would make the most sense.
Would/should this song be sung with the raised sixth? I'm in favor of singing it that way, and I do think that Hauser, who was interested in presenting melodies from the oral tradition, wrote in the sharps in the Olive Leaf because that's how it was sung (he didn't make this sort of "correction" in HH but times had changed, or he had changed, or something). It's interesting that a sharp is used as a sort of melodic leading tone elsewhere in the piece, even though it "spoils" the conventional V7/i cadence at the end. This may be, again, how it was sung - you can hear that sort of thing in Appalachian ballad singing, for example.
In the Olive Leaf, he also puts raised sixths in KEDRON, Monday's WASHINGTON, Lowry's MECKLENBURG, O SAVE, RED HILL (version of BETHEL), MESSIAH, NEW BRISTOL (version of CHILD OF GRACE), TIME FLIES, MOURNER'S PRAYER (version of CH WALK WITH GOD), FAIRFIELD, SWEET PROSPECT, DETROIT, EMORY (version of CROSS OF CHRIST), WEEPING SAVIOR, Billings' NEWINGHAM, Wetmore's AMERICA, Smith's PSALM 119, WONDROUS LOVE, and HEDDING (version of HEAVENLY SPARK). And we've already discussed how he goes full Dorian in HAPPY SOULS. He does NOT write the raised sixth in BEGONE UNBELIEF (THO DARK BE MY WAY in Shenandoah) or BABYLON IS FALLEN, though he does alter other notes in BABYLON.
To sum up, he puts raised sixths in pretty much every minor song that has sixths in it. BEGONE UNBELIEF is an exception because it modulates from major to minor like the version of CONFLICT I discussed in an earlier post. I don't know why he didn't do it in BABYLON - perhaps because he knew that Chute, who helped him with OL, didn't want them? It's really interesting that he writes raised sixths into New England songs as well.
Hauser writes in the Musical Million that other singers said that it was impossible to sing minor music with instruments, but he disagreed - he said that the instruments ought to conform to what the singers did, and I assume the altered notes in the Olive Leaf are an example.
Although Hauser's notation of the raised sixths corresponds to how we are taught in the Sacred Harp rudiments (both of them), be aware that he alters a lot of other pitches, too - sevenths, and then there's this "leading tone" phenomenon. He also alters notes in major songs. I'll see if I can write down the rules he uses, because there seem to be some, and my hunch is that they're melodically rather than harmonically driven.
The last question - the attribution of SUFFERING JESUS and HEDDING to Read. Yes, this seems to be Chute's mistake, and it was propagated in other books, like Durand & Lester. Both SUFFERING SAVIOR (CALVARY) and HEAVENLY SPARK (like HEDDING) are in Shaw & Spilman's Columbian Harmonist. Read also wrote a Columbian Harmonist. Oops.
Long post. Phew!
best,
Rachel
I just love the two treble 4-sols in the middle of the piece that tie the two phrases together.
It's difficult to know how to cite this tune. We referenced Hesperian Harp, p. 54, as the direct source, but gave Christian Lyre credit for the basic form of the tune - in this case, just the title and the Hesperian tenor is similar to the Christian Lyre. Nikos pointed out to me that the song is related, though not as similar, to CALVARY (with the same text and chorus) in Shaw & Spilman's Columbian Harmony (1829), so the melody can't solely be credited to Christian Lyre either. CHRISTIAN INQUIRY on p. 24 in Patterson's Church Music (1813) is also related - and also ends the first phrase on that delicious 1-4 dyad. Oddly enough, I found the tune in an 1834 fraktur tunebook with a German text.
Did Hauser arrange the tune for HH? I'm reluctant to credit it to him, as he wasn't shy about taking credit for other arrangements. After all, there are a bunch of uncredited arrangements in HH that we now know come from Songs of Zion. On the other hand, it seems likely that he did rearrange it for Olive Leaf, and yet takes no credit for it.... Perhaps just citing "arr. in HH" would make the most sense.
Would/should this song be sung with the raised sixth? I'm in favor of singing it that way, and I do think that Hauser, who was interested in presenting melodies from the oral tradition, wrote in the sharps in the Olive Leaf because that's how it was sung (he didn't make this sort of "correction" in HH but times had changed, or he had changed, or something). It's interesting that a sharp is used as a sort of melodic leading tone elsewhere in the piece, even though it "spoils" the conventional V7/i cadence at the end. This may be, again, how it was sung - you can hear that sort of thing in Appalachian ballad singing, for example.
In the Olive Leaf, he also puts raised sixths in KEDRON, Monday's WASHINGTON, Lowry's MECKLENBURG, O SAVE, RED HILL (version of BETHEL), MESSIAH, NEW BRISTOL (version of CHILD OF GRACE), TIME FLIES, MOURNER'S PRAYER (version of CH WALK WITH GOD), FAIRFIELD, SWEET PROSPECT, DETROIT, EMORY (version of CROSS OF CHRIST), WEEPING SAVIOR, Billings' NEWINGHAM, Wetmore's AMERICA, Smith's PSALM 119, WONDROUS LOVE, and HEDDING (version of HEAVENLY SPARK). And we've already discussed how he goes full Dorian in HAPPY SOULS. He does NOT write the raised sixth in BEGONE UNBELIEF (THO DARK BE MY WAY in Shenandoah) or BABYLON IS FALLEN, though he does alter other notes in BABYLON.
To sum up, he puts raised sixths in pretty much every minor song that has sixths in it. BEGONE UNBELIEF is an exception because it modulates from major to minor like the version of CONFLICT I discussed in an earlier post. I don't know why he didn't do it in BABYLON - perhaps because he knew that Chute, who helped him with OL, didn't want them? It's really interesting that he writes raised sixths into New England songs as well.
Hauser writes in the Musical Million that other singers said that it was impossible to sing minor music with instruments, but he disagreed - he said that the instruments ought to conform to what the singers did, and I assume the altered notes in the Olive Leaf are an example.
Although Hauser's notation of the raised sixths corresponds to how we are taught in the Sacred Harp rudiments (both of them), be aware that he alters a lot of other pitches, too - sevenths, and then there's this "leading tone" phenomenon. He also alters notes in major songs. I'll see if I can write down the rules he uses, because there seem to be some, and my hunch is that they're melodically rather than harmonically driven.
The last question - the attribution of SUFFERING JESUS and HEDDING to Read. Yes, this seems to be Chute's mistake, and it was propagated in other books, like Durand & Lester. Both SUFFERING SAVIOR (CALVARY) and HEAVENLY SPARK (like HEDDING) are in Shaw & Spilman's Columbian Harmonist. Read also wrote a Columbian Harmonist. Oops.
Long post. Phew!
best,
Rachel
invisibl...@gmail.com
Nov 30, 2013, 12:47:40 AM11/30/13
to Rachel Hall, Fasola Discussions
Rachel, thanks for the extremely insightful post! I can definitely see how this song would be high on your personal list, as it has quickly captivated me. The treble part you mention was the first thing that really grabbed my attention about it.
This is exactly the kind of data that will make me confident to put parenthetical sharps on the FAs, even though I prefer the melody with that one in the tenor natural. I agree with your conclusions about Hauser's consistent raising of 6ths, and am happy for now to cite the arrangement to HH generally.
Even though I sometimes don't love the results (e.g. Suffering Saviour > Suffering Jesus), I do love Hauser's willingness to defy expectations, with accidentals and in other ways, which makes him one of my compositional role models.
It is interesting that these "other singers" referenced in the Musical Million could make that complaint about minor music specifically. Just thinking aloud - but it seems that neither Dorian, Aeolian, Ionian, nor any other scale should be inherently more challenging for a musical instrument. The only thing in my limited ken that relates to that is the way I have heard minor tunes sung in the Primitive Hymns oral tradition with microtonal pitch "bending." For whatever reason, this doesn't happen the same way in major tunes, only slow minor ones.
On second thought, maybe the problem was simply that in minor keys, singers were raising notes when the music didn't tell them to, and the instrumentalists were reading the music as printed.
Matt Bell
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Rachel Hall
Dec 1, 2013, 2:46:01 PM12/1/13
to fasola-di...@googlegroups.com, Rachel Hall
You're welcome, Matt! It made me think about a lot of things. I've written my comments to you into a more formal post here: http://www.shenandoahharmony.com/2013/suffering-savior-p-344t/
best,
Rachel
best,
Rachel
Matt Bell
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Wade Kotter
Dec 2, 2013, 1:08:16 PM12/2/13
to rh...@sju.edu, fasola-di...@googlegroups.com
Rachel, et al.
Does anyone have copies/scans of CALVARY and CHRISTIAN INQUIRY (mentioned below) that they can send me? I like to take advantage of every opportunity I have to look at tunes that people I respect say are related. And, Rachel, I'd be interested in knowing what 1834 tune book you're referring to.
Wade
Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
From: Rachel Hall <rh...@sju.edu>
To: fasola-di...@googlegroups.com
Sent: Friday, November 29, 2013 5:25 PM
Subject: [fasola-discussions] Re: Hauser - Suffering Saviour
Matt Bell
Apr 14, 2017, 3:49:41 PM4/14/17
to Wade Kotter, rh...@sju.edu, fasola-di...@googlegroups.com
I was reminded of this old thread this morning when I came upon Intercession in the Southern Harmony, and realized that it is basically a majorization of Suffering Saviour. Is there a major-key branch of the tune family related to any of the variants mentioned before?
Matt Bell
On Mon, Dec 2, 2013 at 12:08 PM, Wade Kotter <wadek...@yahoo.com> wrote:
Rachel, et al.Does anyone have copies/scans of CALVARY and CHRISTIAN INQUIRY (mentioned below) that they can send me? I like to take advantage of every opportunity I have to look at tunes that people I respect say are related. And, Rachel, I'd be interested in knowing what 1834 tune book you're referring to.WadeWade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"
Sent: Friday, November 29, 2013 5:25 PM
Subject: [fasola-discussions] Re: Hauser - Suffering Saviour
Nikos pointed out to me that the song is related, though not as similar, to CALVARY (with the same text and chorus) in Shaw & Spilman's Columbian Harmony (1829), so the melody can't solely be credited to Christian Lyre either. CHRISTIAN INQUIRY on p. 24 in Patterson's Church Music (1813) is also related - and also ends the first phrase on that delicious 1-4 dyad. Oddly enough, I found the tune in an 1834 fraktur tunebook with a German text.
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