Though in the form of God
(Audio Sample - 802 KB)
Hymn from Philippians 2
Though in the form of God, Christ did not cling to this state,
but emptied himself, and took on the form of a servant.
Born in the likeness of us, and taking on the form of a slave,
he humbled himself, becoming obedient to death.
He became obedient for us obedient for us to death,
to death on a cross, not grasping equality with God.
Therefore God raised him up, therefore God raised him up,
and gave him a name, and gave him a name above all other names.
At that name every knee must bend, every knee should bow and bend low;
how great is that name! All creatures of earth and heaven praise him.
Every tongue acclaim: Christ is Lord! Jesus Christ is Lord ever more!
For Jesus is Lord, the glory of God the Father.
A Reflection on Isaiah 42:1 - 53:12
Here is my servant, whom I uphold, my chosen one in whom I delight.
He will prosper, he will become great, and will rise to great heights.
Yet many were appalled at him.
So disfigured was he, he no longer appeared to be human.
He had no charm to attract us, no beauty to win our hearts.
He was despised, shunned by all, a man of sorrows, familiar with grief,
we could not even look at him.
But he was wounded because of our sins,
ours were the sufferings he bore.
We thought him as one punished by God, ill treated and afflicted,
he never opened his mouth but was led like a lamb to the slaughter;
like a sheep dumb before his shearers, he never opened his mouth.
Composer's Reflection
Much of the New Testament evolved within a liturgical context. The Gospels were catecheses for newcomers to the community. The pastoral letters were addressed to local communities assembled for worship. The dynamism of the Young Church was best defined by its liturgy. Paul drew copiously from the acclamatory songs, refrains and canticles which had become part of the Apostolic Church's worshiping life. For example, Ephesians 5, Awake You Who Sleep, is a refrain taken from an evening hymn, sung at the lucernarium kindling of the lamps at sunset at the beginning of the night vigils.
Though In The Form Of God is one such a canticle, from Philippians 2:6-11. It draws its imagery and theology from the Suffering Servant Songs of Isaiah. The Palm Sunday liturgy links it to the third Servant Song of Is 50:4-7, but other links exist to the fourth Servant Song of Is 52:13 - 53:12. In trying to understand the meaning of the resurrection, the Apostolic Church began to explore the events which led up to the resurrection, namely the death of Jesus and the passion which brought about that death.
As with all of the songs quoted by Paul, it is tropic rather than strophic. It consists of a list of acclamations rather than assuming the form of the rhythmic verse hymn. My setting respects this, using only brief phrases, often repeated. These repetitions are not fillers to pad out the melody, they are intentional reiterations of key phrases of a most elementary, uncomplicated text.
The vocal scoring uses the analogy of a string orchestra. The melody is for the viola, the soprano descant for violins and the bass counter melody for the cello. Phrasing and rubato take their cues from the bowing techniques for these instruments. The coloring and mellow nature of these instruments provide a clue to the quality of vocal timbers. The soprano descants (verses 2 and 6) emulate the sweet, dramatic qualities of the violin, phrases which soar and dance in concert with the melodies yet with a life and vitality of their own. The bass harmonies on verses 4 and 6 reflect the majesty and vibrancy of the cello, injecting the energy needed to prevent the song from lagging.
Tenors and altos support the assembly by singing all 6 verses in unison.
The accompaniment is for piano or organ, and both instruments may play together to provide a richer sound for the harmony verses of 2, 4, and 6. Two trumpet descants have been provided; the first for verse 2, the second for verse 4, and both together on verse six. A string trio may be used as an introduction, intermezzo, and postlude.
This piece is an appropriate preparation or communion song for Holy Week, reflecting on the Scriptures for Palm Sunday and Good Friday. It is good for the foot-washing of Holy Thursday. It may also be used in baptismal liturgies and on occasions celebrating discipleship and stewardship, the True Cross.. It may be sung as a hymn for Evening Prayer; in the long tradition of the liturgical hours, the evening offices have always reflected on the suffering, death and resurrection of the Lord, while morning prayer has tended to be more missionary or apostolic.