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The New Century Hymnal: Ucc Pew Edition, by Pilgrim Press
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This is a hymnal that invites us into a new century. The best hymns of the past are combined with exciting new hymnody from some of the finest contemporary poets and composers, reflecting the pluralistic church in which we worship today. The New Century Hymnal has been created with a high level of musical and theological scholarship -- including remarkable new translations of original texts. Its texts honor tradition while at the same time using inclusive language that will welcome and affirm all as members of Christ's church.
-- a full 934 pages containing more than 600 hymns
-- many new translations to bring freshness and clarity to older texts
-- more than 100 psalms, fully set to music
-- arrangements and harmonizations carefully selected for congregational singing
-- includes orders for worship, with services for morning and evening prayer
- Sales Rank: #230498 in Books
- Published on: 1997-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.32" h x 1.57" w x 6.34" l, 2.40 pounds
- Binding: Hardcover
- 934 pages
Features
- ISBN13: 9780829810509
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Most helpful customer reviews
51 of 61 people found the following review helpful.
Pilgrim's Regress
By Allen Smalling
People had been waiting a long time for the United Church of Christ's 1995 NEW CENTURY HYMNAL. Many of that denomination's churches had quite understandably skipped the mediocre, 300-hymn denominational hymnal from 1974, which seemed mostly an exercise in even-Steven hymn choice from the two groups that merged to form the U.C.C. in 1962, the Congregationalists and the Evangelical & Reformed churches. Then the NEW CENTURY HYMNAL came out in 1995. It is impressive. It is bulky, black, solid, and looks and feels like everything a "millennial" hymnal ought to be; but for most of us it is a severe disappointment. It's as though the professionals got shoved aside in favor of the "Original Amateur Hour" in the compiling of this hymnal.
References that automatically defer to the masculine gender had to be removed--fair enough; after all, it seems weird that only 15 years or so ago we were singing "Good Christian *Men*, Rejoice." But this passion for purity further morphed into a kind of cultural Jacobinism, so out went not only masculine terminology, but any tiniest trace of 17th Century pronouns or nouns (Thee, Thine, Blest); also metaphors of royalty, hierarchy, miltarism, individuality ("I" becomes "We") and so on. That's why "Onward Christian Soldiers" has to go, and just imagine the embarrassment caused by "God, the Omnipotent, King Who Ordainest."
As someone once said, figures of speech must serve a purpose, or what's a meta for? The complaint has been made for years that the people who administer the "oldline" Protestant denominations are insufficient in economists but superfluous in poets. Are they condescending to us poor pew-sitters? Do they think we're so dumb that we'll take "Onward Christian Soldiers" literally and feel justified in igniting some new kind of Trinitarian "jihad"? (At the risk of taking the Lord's name in vain, Sheesh!)
For those charged with representing the descendants of Yankee Pilgrims and Puritans, the compilers of the NEW CENTURY HYMNAL did a pretty good job of spitting on the one area which ought to be their custody--the Plymouth experience. That magnificent internal rhyme "Let Thy congregation escape tribulation" got thrown out (was it the "Thy"?) in favor of some Cool-Whip banality written by staff. Person(s) had the arrogance to rewrite "Materna" ("O, Beautiful, for Spacious Skies") into "O Beautiful, Our Spacious Skies" followed by some very roundabout rhymes to make it more "inclusive" of "all the Americas." Wow--all of a sudden they want to make it inclusive. That sort of thing used to be called "cultural imperialism." Still is, in many, many other parts of the world. Ironic, isn't it--the more forward and progressive these authorities strain to be the more Puritan they become--dictating what is right for us to sing and think.
Indeed, while NEW CENTURY is more than happy to dictate what goes in terms of faraway languages and cultures, it's here in this country that problems arise. Part of this is inherent in the denomniation and not anyone's fault or responsibility. Because of the historic westward spread of Congregationalism, the U.C.C. is geographically mostly a "Northern Tier" denomination, restricted mainly to big cities, a few dots in the Deep South where Congregationalists founded African-American colleges 130 years ago, New England, a narrow swath around the Great Lakes, the Upper Midwest, a dip into the Central Midwest and Plains where the old German E&R Church predominated, and the Pacific Northwest. So we can't blame Hymnal for slighting the South or Mid-Atlantic hymary, and Hymnal has done quite a good job including several hymns in Spanish and that bellwether of Caucasian coolness "Lift Every Voice and Sing"; also "De Colores." Good show.
**Another reviewer has corrected me** NEW CENTURY does indeed have what is probably the Taize community's favorite chant, "Jesus, Remember Me (When You Come Into Your Kingdom)," but it's listed as a liturgical response, not in with the hymns, as is the (only partial) "On Eagle's Wings," set as a Doxology only. ("Majesty" is missing altogether.) But they did have room for rewriting (or is it RUINING) a line from "What Child Is This": "This, this the angels sing, is Christ, God's holy offering" instead of "This, this, is Christ the King, whom shepherds laud and angels sing." Notice how quickly narrative and scope departed from ancient and revered poetry when these amateurs imposed their banal scruple -- they purged the word "King" and the line just fell apart. This kind of thing happened over and over; it got to where I feared to turn each new page for fear of the poetic mangling and absurdity that so often ensued. What's worse, dogmatism begets further dogmatism: Since the reference in "O Love That Will Not Let Me Go" to "Thee" was changed to "You," out went the rhyme at the end of the verse, "may richer, fairer be": it was changed to "may swell with ardor true." Who okayed this junk? Although I didn't grow up wealthy or landed in accord with the cultural stereotype, it's times like this make me ashamed to be a White and (mostly) Anglo-Saxon Protestant. I've belonged to UCC churches here in the Midwest and the members strike me as being not stuffy or hidebound, certainly liberal but not "looney left" or wedded to agendas. The tension in the UCC between the Congregational heritage--in which churches simply have no hierarchy--and modern denominationalism--is explained to some extent by the current UCC catch-phrase "responsible freedom." I do know that a lot of responsible church members--none of whom remotely resemble ignoramuses--feel betrayed by this hymnal, especially the more oddly-shafted and gratuitous cultural incursions such as rewriting "We Gather Together to Ask The Lord's Blessing" alluded to above.
In my opinion a congregational or other independent church that is still making do with the PILGRIM or a fill-in hymnal to represent the Reformed tradition would do much better eschewing this weirdity and going with one of the more flexible (and fuller-contented) private-market hymnals. (For mention of some updated nondenominational hymnals, see final paragraph.) Unless, your congregation finds "Onward Christian Soldiers" so inherently offensive, they can RIP OUT THE PAGE and show what censorship means . . . There are a couple of aspects of this book that I actually like. Superior binding and workmanship and acid-free paper -- and (my face is red--no amateur at work here)the hymnal does its users a true courtesy by printing a mini-history of each hymn's author and the hymn itself at the bottom of the hymn's page. Many denoms. charge a pretty penny to sell a separate book of history and anecdote surrounding the hymns in their hymnal, which then must be word-processed or otherwise imaged into the Sunday bulletin. I do honestly feel that no congregation should feel stampeded or made to feel like theological doofuses if they kick a few other hymnals' tires before deciding whether or not to go with the NEW CENTURY.
**UPDATE** (Jan. 2013): Current leading nondenomination hymnals include the CELEBRATING GRACE HYMNAL (celebrating-grace.org, 2010), CHRISTIAN LIFE HYMNAL (Hendrickson, 2006), WORSHIP AND REJOICE (Hope, 2001), and the enduring CELEBRATION HYMNAL (Word/Integrity, 1997). The National Association of Congregational Christian Churches, through GIA of Chicago, has a very powerful hymnal in HYMNS FOR A PILGRIM PEOPLE (GIA Publications, 2007), specifically designed as a Reformed-tradition (Congregational) hymnal that includes traditional language but does occasionally footnote more modern linguistic options. How I wish it had become the official UCC hymnal instead! Reviews of all these hymnals are currently found at Amazon.
19 of 21 people found the following review helpful.
New Century hymnal
By Corno di Bassetto
The church I recently started working for uses this hymnal. And like the majority of our congregation, I don't like it. In taking gender out of some things and using more modern pronouns and other factors, they have destroyed some of the most beautiful poetry. Many hymns that I have known and loved since childhood are either removed from this hymnal or so altered that it is difficult to tell it's even the same hymn. In my humble opinion, "Dear Lord and Father of Mankind" shouldn't be altered to become "Dear God Embracing Humankind." It just doesn't have the same impact. Neither does "Nearer My God to You" in place of "Nearer My God to Thee." And don't even get me started on what they did to the Christmas carols. I suppose I can understand the need to change some things, but this is really over the top and overdone.
21 of 24 people found the following review helpful.
Well balanced with only a few disappointments.
By C. Stave
My family joined a UCC church just as they were transitioning into using the New Century Hymnal. Since that time I have been very pleased with the hymnal as a whole. Not a season goes by that I am not surprised by something I find within its pages.
A big issue within the UCC as well as the christian community as a whole is the issue of inclusive language. I believe the intentions of political correctness are good. In the case of this hymnal this good-natured attempt often goes just a bit too far. In the case of new hymns set to poems by such authors as Brian Wren this hymnal stands out far beyond any others. My philosophy regarding inclusive language is that, rather than change the old standard hymns, we should write new ones with a more enlightened approach to equality. The new additions to the standard repertoire within this book are second to none.
On the other hand, many of the old standards in this book have been sent through the blender and come out resembling nothing closer than a distant cousin of their original ancestors. More times than I can remember I would turn to a hymn I was sure I had never heard of to find it to be an old favorite in disguise. Occasionally a stroke of genious finds its way into the inclusified "translation" such as "Good Christian Men" becomming "Good Christian Friends". This is an example of a very tasteful change that holds true to the feel and spirit of the original so well that the change goes by unnoticed. In other cases, such as "O Come let us adore him" becoming "O come in adoration" the term "inclusive" is really inappropriate for what has been done to our favorite hymns. "Mutually Exclusive" would be a better name for it. Seriously, is it really necessary to deny the gender of Jesus Christ?
As for the modernization of the older hymns there really is no excuse. Is anyone really bothered by the "Ye" in "O Come all Ye Faithful"? Modern language is for modern hymns. This hymnal has at least its fair share of new and contemporary hymns and songs to balance out this difference in language styles.
I am quite pleased to see the inclusion of just about every possible variety of congregational music. Reviewer Allen Smalling seems to think there are some that have been excluded. As far as the examples he gives I find him to be dead wrong. The difficulty in finding old tunes when the titles may have been changed is alleviated by a very comprehensive index which includes common titles (those in italics) for many hymns that go by new or different names. "Creator of the Stars of Night" can be found on page 111 as "O Loving Founder of the Stars". "Of the Father's love Begotten" is on 118 as "Of the Parent's Heart Begotten" (They actually kept the word Begotten?). A few other examples of plainsong and chant can be found on 87, 184, 244. Medieval and ancient music has not been left out, nor have others. "On Eagles Wings" is not included as a hymn but is represented in the liturgical portion, #775. Taize music comes from a strong tradition of call and response and lends itself primarily to repetition. I would imagine the hymnal's editors felt that this music could be purchased separately for use by the worship leaders while congregations could participate without written music.
The short histories at the bottom of each page are an invaluable resourse to the church community. Occasionally this history is slightly biased toward the text while sometimes offering no history of the music at all but the vast majority offer the best information they can in such a small space. When I visit other churches I find I miss this feature more than any other.
As a musician I greatly appreciate the effort that has been made to include musically superior versions of the hymns. When one is available J.S. Bach's glorious harmonizations are included for all of the old German hymn tunes (sometimes more than one). When the same tune is set to several texts there are often several different harmonizations offered. When these exist a note refers to the other options throughout the book. For those churches who choose to do so there is a great variety of options for liturgical music in the back of the hymnal that can be assembled into a functional liturgy. The order of service guides in the front portion refer to these options as well. Also notable are the cantor/congregation psalm settings which are good for breaking the monotony of spoken scripture.
Overall the selection of hymns and songs included make this hymnal second to none in my opinion. While I disagree with some of the adaptations that were made, the content is as well balanced as it can be and has something to offer each and every one of us, in or out of the UCC.
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