Most people have their favourite hymns with strong personal associations acquired over years of faithful worship. You may wonder why we sing the hymns we do at St George’s and perhaps regret that you may not often get a chance to sing one you especially like.   The catholic tradition of St George’s emphasises the richly diverse liturgical moments of the year as set out in the church calendar. Central, of course, is the celebration of the Mass, and most of the musical efforts of celebrant, choir and organists are concentrated on enriching the offering of the Solemn Mass each Sunday morning.
The congregation contributes considerably in spoken words, sung psalm antiphon and ordinary of the Mass when they are familiar, and particularly in the hymns. So how are the hymns chosen?   In selecting the hymns, I always refer to the Mass readings for the day – particularly the Gospel – as well as the collect and psalm. I then look for hymns whose words resonate with or reflect something of the specific or general theme of the particular day.
Additionally I look out for those hymns that celebrate the central features of the catholic faith. These include the eucharistic sacrifice, the communion of saints, the veneration of the Blessed Virgin Mary and honouring of other saints, the celebration of the splendour and love of God as shown in all creation, the centrality of Jesus as Redeemer and Saviour, and the renewing power of the Holy Spirit. There are also seasonal considerations, such as Advent, Christmas, Epiphany, Easter and the successive major festivals thereafter.
The Introit hymn during the censing of the altar may draw us gently into the Mass or be a joyful introduction as we begin the privilege of worship God through the wonderful liturgy to follow. This hymn ought not to be too long.   A longer hymn is required for the Offertory and should reflect the Gospel theme if possible. It also is placed as the threshold for the Great Thanksgiving as well as providing a bridge linking the early section of the Mass to its central point. Thus the hymn should be substantial and unifying. If there is no suitable hymn to “interpret” the Gospel reading, then Eucharistic hymns or other hymns suggesting dedication and offering provide alternative choices. The Final Hymn is usually one of thanksgiving or affirmation and encouragement for the continuing Christian pilgrimage.
Making choices is often difficult. We occasionally need to have unfamiliar hymns with a new tune (or set to a better-known alternative one). As we grow, we learn many new things. New hymns are no exception. They may give us new insights and may be more relevant to our contemporary conditions, social concerns and developing theology.
Overlong hymns may need some verses omitted without destroying the sense of the text. I also try to keep hymns at a reasonably easy pitch for congregational singing. There are many older hymns with archaic words or images and others that are particularly militaristic or notably exclusive in language and which I try to avoid. This is not political correctness. It is an awareness that there are some hymns which women find almost ridiculous to sing, where perhaps they might be repeatedly expected to refer to themselves as “sons” of God and where all elements of the Holy Trinity are expressed in exclusively masculine language or imagery.
Choosing the liturgical music is a great responsibility requiring much thought, careful dedication and a little informed inspiration. I also have to try to be aware of my own biases for personal favourites – whether tunes or text! And I do try to listen for what hymns work well and how enthusiastically the congregation is singing, so that I continue to learn as well.  If you should have any suggestions for worthy hymns I may commonly overlook, please let me know. I will happily consider them for use when appropriate.
Lyndon Murray

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