Whenever I hold you tight in the text
It was a concession to the churchgoers, who were influenced by popular music, that a total of 37 New Spiritual Songs, Canons and Calls were recorded in the trunk part of the Praise of God in 2013. There are also 21 chants from Taizé. Three years after the introduction of the new hymn book, these songs are apparently still insufficient for certain circles, as I recently learned at a baptism.
The texts of the following chants were recorded in the six-page divine service template:
- Where two or three
- Hallelujah (Taizé),
- A stone falls into the water
- Great God, we praise you,
- May the road bring us together.
Of these five chants, only “Great God, we praise you” is in the trunk of the praise of God. For the canons “Where two or three” and for “A stone falls into the water” I found the melodies in the “Crossings” collection. I couldn't find a template for the Taizé Hallelujah in a hurry and for the Irish blessing “May the road bring us together” I found it on the Internet.
According to the Effata rite (The ears and mouth are opened to the newly baptized so that he may hear the word of God and confess the faith.) - the newborn is expected to do a lot - the small baptismal community sang two stanzas of the song "Pass it on" by the American songwriter Kurt Kaiser (* 1934) with the German text by Manfred Siebald.
1. A stone falls into the water
very secretly, quietly and quietly;
and is he still so small,
he draws wide circles.
Where God's great love
falls into a person
there it continues to work
in deed and word
out into our world.
3. Accept God's love.
You don't need to struggle alone
because his love can
to draw circles in your life.
And first it fills your life
and set you on fire
do you go out
for God fills your hand.
The stone that falls into the water in the first stanza can perhaps be seen as a symbol of baptism in which "God's great love falls into a person." But to address a newly baptized person with "Accept God's love" in the third stanza , totally overwhelms the baby, who is just a few weeks old, and only serves to evoke fond memories of earlier youth services in which this song was heard. Why not instead sing the song “Bless this Child” (no. 490) in praise of God from the section Baptism? In Lothar Zenetti's text, without mentioning the name of God (!), Requests for the child are formulated to help him become a fully-fledged person.
After the blessing and discharge, the Irish blessing followed with all four stanzas:
1. May the road bring us together and the wind be on your back.
Rain falls softly on your fields and warm on your face the sunshine.
And until we meet again, God hold you tight in his hand.
And until we meet again, God hold you tight in his hand.
2. Run the road theyougo, always downhill to your destination;
Have warm thoughts when it gets chillyken and the full moon in the dark night. Refrain.
3. Got one under my head soft Pillow, have clothes and daily bread;
be in heaven over forty years before the devil finds out you're dead. - Refrain.
4. Until we us' times againsee, I hope that God won't leave you.
He keep you in his ownnen Hands, but never squeeze his fist too tight. - refrain.
Creator / Author: Markus Pytlik
Rights management: Strube Verlag, Munich
The text based on Irish templates and the music was written by Markus Pytlik (* 1966), "a German teacher and composer" according to the Wikiwand. In the first stanza he wishes the friends of the street a tail wind at all times and is aimed at the predominantly rural population, for whom the desire for rain in the fields is only too understandable given the current global warming. In the second stanza one should take the easy road, which unfortunately sometimes leads to ruin. Why couldn't the path also go upwards via aspera ad astra (through hardship to the stars)? The well-known saying comes to mind about the second line: “My head is cool, my feet are warm… I also have something against the full moon, because I always sleep very badly there. One could argue about the soft pillow in the third stanza. I prefer to sleep on a slightly harder head wedge. But now comes the hammer. The line with heaven and the devil can actually only be said in cabaret, not in the “locus iste” (in this holy place). In the fourth stanza the “German teacher” lets the cat out of the bag completely. Instead of bravely believing that God will not forsake man, he just hopes. The Celtic image of a god who might squeeze too hard with his fist reinforces the impression of the bard Pytlik. In contrast to “Pass it on”, in which Manfred Siebald adapted the German text to the melody of Kurt Kaiser perfectly, Pytlik did not make it with his own melody. In relation to the first stanza, it gives way to ten in the remaining stanzas Syllables from the given rhythm.
Some will say that taste can be debated. But I take the position that only the best is good enough for a church service. The infant shouldn't care what one sings at his baptism. But if a parish is required to sing at least three songs from the “crossings” on every Sunday and public holiday, then I prefer to look for a “crossover-free” zone.
Anton Stingl jun.
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