127

Jesus Heard with Deep Compassion

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Scripture References

Further Reflections on Scripture References

This text focuses on Jesus’ healing ministry. The first two stanzas speak of his power exercised on behalf of the lame, the leper, the blind, the outcast, the poor, and so on. In the third stanza we ask Jesus to empower us to follow his example of humility and compassion. 

 

Sing! A New Creation

Confessions and Statements of Faith References

Further Reflections on Confessions and Statements of Faith References

This song reflects the deep compassion of the ministry of Christ; similarly, Our World Belongs to God, paragraph 24 testifies that “in his baptism and temptations, teaching and miracles, battles with demons and friendships with sinners, Jesus lived a full and righteous human life before us.”

127

Jesus Heard with Deep Compassion

Tune Information

Name
PLEADING SAVIOR
Key
F Major
Meter
8.7.8.7 D

Musical Suggestion

Both the tune and the text call for simplicity. Feel one big beat per measure. For accompaniment, use organ or piano; with piano, consider arpeggiating the chords from the chord symbols atop the score. Guitar could be used to add another texture, but then add a solo instrument (flute or violin) to bring out the melody. 
127

Jesus Heard with Deep Compassion

Hymn Story/Background

PLEADING SAVIOR is a pentatonic folk melody that was included in The Christian Lyre, compiled by Joshua Leavitt in New York in 1830. The tune's title comes from the John Leland text "Now the Savior Stands a Pleading," to which it was set in that collection. The harmonization by Ralph Vaughan Williams was first prepared for use in The English Hymnal (1906).
 
 
 
— Bert Polman

Leavitt published The Christian Lyre in 1831, the "first American tunebook to take the form of a modern hymnal, with music for every hymn (melody and bass only) and the multistanza hymns printed in full, under or beside the music". It later became one of the standard tunebooks used in the 1930s New England Revivalism movement.
 
— Wikipedia

Author Information

Joy F. Patterson (b. 1931), of Wassau, Wisconsin, is an elder in the Presbyterian Church who has written many texts and tunes; twenty-nine are collected in Come, You People of the Promise (Hope Publishing, Co., 1994); another collection, Teach Our Eyes New Ways of Seeing, was published in 2005 (Selah). Patterson has enjoyed a varied career as a French professor, homemaker, and claim representative for the Social Security Administration.

Composer Information

The anonymous tune (with bass line) dates from a collection of evangelistic hymns compiled by Joshua Leavitt (b. Heath, MA, 1794; d. New York, NY, 1873). After receiving a degree in law from Yale University, Leavitt worked as a teacher and lawyer. Be returned to Yale to study for the ministry and in 1825 was ordained in the Congregational Church in Stratford, Connecticut. In 1830 he began publishing The Evangelist, a weekly newspaper that printed many articles on antislavery, temperance, and religious revivals. That same year he edited and co-published The Christian Lyre, a popular shape-note tunebook.
 
 
 
— Bert Polman

Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrange­ments of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928).
— Bert Polman
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