2017 November 26: All Glory, Laud and Honor

November 26, 2017 10:30

“All Glory, Laud and Honor” arr. J.S.Bach (1685-1750) ORGAN

“Immortal, Invisible, God only Wise”

Improvisation

The original Latin words to “All Glory, Laud and Honor" were written by Theodulph of Orleans (760-821). Theodulph was born into the Ital­i­an no­bil­i­ty, but de­cid­ed on a life of re­li­gious ser­vice. His first po­si­tion was as ab­bot of a mon­as­te­ry in Fi­ren­ze (Flor­ence), Ita­ly. In 781, Char­le­magne ap­point­ed him Bi­shop of Or­leans, France. How­ev­er, his flour­ish­ing ca­reer came to an abrupt end with Char­le­magne’s death. Lou­is the Pi­ous sus­pect­ed The­o­dulph of se­cret loy­al­ty to po­li­ti­cal lead­ers in It­a­ly, the coun­try of his birth. These sus­pi­cions led to The­o­dulph’s im­pris­on­ment in An­giers in 818. It was there he wrote “All Glo­ry, Laud and Hon­or”, and later died.

We owe the translation of Theodulph’s hymn into English to John Mason Neale (1818-1866). Neale received his education at Cambridge, and although acknowledged the best classicist in his graduating year (at a time when Greek and Latin were highly valued), his inability with mathematics prevented him from taking an honors degree. Neale was ordained in 1841, but his sympathies were for a strongly ‘high church’ approach to Christianity, which was mistaken by both his congregation and bishop as promoting Roman Catholicism. This resulted in him being ’transferred’ to the position of warden at an alms house – a position which he held until his death. Neale was even attacked and mauled at a funeral, and from time to time unruly crowds threatened to stone him or burn his house.

Nevertheless, Neale translated the Eastern liturgies into English, and wrote a mystical and devotional commentary on the Psalms. He also enriched English hymnody with many ancient and medieval hymns translated from Latin and Greek, including “O Come, O Come Emmanuel” and “Of the Father’s Love Begotten”. And in 1854 Neale co-founded the Society of Saint Margaret, an order of women in the Church of England dedicated to nursing the sick.

In Bach’s setting of this hymn, you’ll find the hymn tune stated with majestic slowness in the organ pedals (the bass, played with my feet). In Bach’s day organs frequently had far more powerful pedal divisions than modern instruments, which would have made the tune “All Glory, Laud and Honor” even more thunderous. (I’ll have ALL the pedal stops engaged to approximate the effect as best I can!)

 

    Previous