I have been puzzled about Erb’s setting for a long while and your post further puzzles me particularly in light of your post about "Now Thank We All Our God" in which you emphasize form must match content. You say it is a fitting tune but to me it sounds nothing like a solid rock and far more like sinking sand. Specifically, running eighth notes don’t convey an object that is solid. Like how Bach’s renditions of A Mighty Fortress which don’t sound at all like a mighty fortress. FUNDAMENTUM might be a lovely piece of music but doesn't appear matched for that text.
The only way I can imagine folks choosing FUNDAMENTUM over SOLID ROCK is if the classic tune is played anemically and sluggishly. But if you played your recording and a recording of my church singing SOLID ROCK to a non-English speaker and asked which sounded the most like Yosemite’s El Capitan, I think the answer is obvious. But am I missing something?
I think fittingness here should not be too narrowly focused on whether the rhythm evokes a rock affect in how we think of Christ. While we want music to “Amen” the text, we do not have to be too one-dimensional or reductionistic. After all, a rock does not move. Neither of us would argue for a whole and double whole note-laden melody because using such a rhythm would be more closely associated in style with an unmoveable object like a rock. That would be too reductionistic by narrowly defining fittingness. Instead, the beauty and glory of this setting is that it works in multiple layers of meaning.
In my judgment, Erb's FUNDAMENTUM pairs just fine with the text. It starts in a rugged harmonic and simple homophonic opening like all fuging tunes do, and then the moving and glorious fuging tune refrain elevates the main idea of the hymn. It won't feel flighty or fluid if sung/played in a robust, vibrant two-meter.
There is some subjective room for evaluation here. Both pieces move. Both have an alternating quarter and eighth notes. Erb's piece pulls people in. It underscores the corporate aspect of worship. It is a little picture of the church. People want to learn it, and it rewards them. It is not too polished and flowery that it can't be learned. The minor key opening gives it that rustic feel that doesn't confuse the meaning.
Again, it's worth highlighting that we don't have to throw out one if we like the other. Both are good tunes. We will likely have both side by side in our Redeemer Hymnal.
Hope this clarifies my thoughts on this in light of my other post about Now Thank We All Our God. Thank you for the thoughtful feedback!
I have been puzzled about Erb’s setting for a long while and your post further puzzles me particularly in light of your post about "Now Thank We All Our God" in which you emphasize form must match content. You say it is a fitting tune but to me it sounds nothing like a solid rock and far more like sinking sand. Specifically, running eighth notes don’t convey an object that is solid. Like how Bach’s renditions of A Mighty Fortress which don’t sound at all like a mighty fortress. FUNDAMENTUM might be a lovely piece of music but doesn't appear matched for that text.
The only way I can imagine folks choosing FUNDAMENTUM over SOLID ROCK is if the classic tune is played anemically and sluggishly. But if you played your recording and a recording of my church singing SOLID ROCK to a non-English speaker and asked which sounded the most like Yosemite’s El Capitan, I think the answer is obvious. But am I missing something?
I think fittingness here should not be too narrowly focused on whether the rhythm evokes a rock affect in how we think of Christ. While we want music to “Amen” the text, we do not have to be too one-dimensional or reductionistic. After all, a rock does not move. Neither of us would argue for a whole and double whole note-laden melody because using such a rhythm would be more closely associated in style with an unmoveable object like a rock. That would be too reductionistic by narrowly defining fittingness. Instead, the beauty and glory of this setting is that it works in multiple layers of meaning.
In my judgment, Erb's FUNDAMENTUM pairs just fine with the text. It starts in a rugged harmonic and simple homophonic opening like all fuging tunes do, and then the moving and glorious fuging tune refrain elevates the main idea of the hymn. It won't feel flighty or fluid if sung/played in a robust, vibrant two-meter.
There is some subjective room for evaluation here. Both pieces move. Both have an alternating quarter and eighth notes. Erb's piece pulls people in. It underscores the corporate aspect of worship. It is a little picture of the church. People want to learn it, and it rewards them. It is not too polished and flowery that it can't be learned. The minor key opening gives it that rustic feel that doesn't confuse the meaning.
Again, it's worth highlighting that we don't have to throw out one if we like the other. Both are good tunes. We will likely have both side by side in our Redeemer Hymnal.
Hope this clarifies my thoughts on this in light of my other post about Now Thank We All Our God. Thank you for the thoughtful feedback!
https://soundcloud.com/user-262889866/on-christ-the-solid-rock?si=d02660cd6fd449559eadb976a75f1407&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
This is a nice recording of your service! Thanks for the link.