Early Mass at Parish A today. The Entrance Song was a little C+ effort from freshman-year harmony and comp class called One Spirit, One Church:
We are a pilgrim people,
we are the Church of God.
A fam’ly of believers,
disciples of the Lord.
United in one spirit,
ignited by the fire.
Still burning through the ages,
still present in our lives.
1. Come, Holy Ghost, Creator blest,
and in our hearts take up thy rest;
come with thy grace and heav’nly aid
to fill the hearts which thou hast made.
2. O Comforter, to thee we cry,
thou gift of God sent from on high.
Thou font of life and fire of love,
the soul’s anointing from above.
My first consideration: Can I sing this song in Church? Answer: Yes. While the music – the new part, not the sadly maimed but still noble (like the battered corpse of a great man is noble) Come Holy Ghost – is execrable drivel, the words, while not quite rising to the level of doggerel, are not overtly heretical, and in fact are blandly orthodox. So, yes, I sang my guts out on this tune – think of it as a musical hair shirt.
The most striking thing about this ditty is the dazzling cluelessness of the composers – do they not recognize the vast gulf in quality between Come Holy Ghost, with its instantly recognizable tune and lines of actual poetry like “come with thy grace and heav’nly aid to fill the hearts which thou hast made” and the infantile melody and insipid text of “We are a pilgrim people, we are the Church of God. A fam’ly of believers, disciples of the Lord.” It comes off a little like seeing someone blow their nose on the corner of a linen tablecloth.
(BTW: Just because some earlier poets got away with “heav’nly” doesn’t mean you get a pass on “fam’ly” – you gotta establish that you can walk up the hillside of Parnassus before you get to try the slippery slope of willful elision.)
In freshman music, it’s not unusual for a teacher to assign the task of writing a melody over the chord progression of a well-known song, or, slightly more advanced, a counterpoint of sorts to the existing melody – that’s what we have here. I give the student a generous C+ for effort – points off for 1) changing the time signature – Come Holy Ghost is in a swinging, inexorable 3, and suffers greatly from being shoehorned into 4 time; 2) the new melody is really, really, lame; 3) the new melody doesn’t blend stylistically with the old. This effort should have never moved beyond scribbles in a notebook headed for the trash at the end of freshman year.
Finally, the lyrics. Come Holy Ghost is a classic intercession after the model of the Psalms: you ask for God’s help and praise Him for his mercy and works. The new text (again: the writer read CHG and his effort and said to himself: yea, these new words really kick this up a notch!), OTOH, simply states how wonderful we already are – no intercession (what could we possibly need, given how rockingly happening we are?) no overt acknowledgment of God’s infinite glory and our need for His blessing and mercy.
Lame. It’s worrisome that so many composers think the purpose of sacred music is nothing higher than self-affirmation.
But not doctrinally evil, gotta give ’em that!