MONKLAND

The tune MONKLAND has a fascinating if complex history. Rooted in a tune for the text “Fahre fort” in Johann A. Freylinghausen’s (PHH 34) famous hymnal, Geistreiches Gesangbuch (1704), it then was significandy altered by John Antes (b. Frederick, PA, 1740; d. Bristol, England, 1811) in a Moravian manuscript, A Collection ofHymn Tunes (c. 1800). Antes was a missionary, watchmaker, business manager, and composer. Born near the Moravian community of Bethlehem, Pennsylvania, he was trained at the Moravian boys’ school and later received religious education and further training as a watchmaker in Herrnhut, Germany. From 1770 to 1781 he served as a missionary in Egypt and from 1783 until his death was the business manager of the Moravian commu­ nity in Fullneck, England. Although music was his avocation, Antes was a fine composer and musician. Among his compositions are a number of anthems, several string trios, and over fifty hymn tunes. MONKLAND received its present shape at the hands ofJohn Lees in another Moravian hymnal, Hymn Tunes of the United Brethren (1824). From there John Wilkes (b. England, date unknown; d. England, 1882) simplified it and introduced it to Henry W. Baker (PHH 342), who published it in the the English Hymns Ancient and Modern 358 BIBLE SONGS (1861) to his own harvest-theme text, “Praise, O Praise Our God and King.” Wilkes named the tune after the village where he was organist and Baker was vicar— Monkland—located near Leominster in Herefordshire, England Sing the tune in parts, except on the refrain line, which is appropriately sung in unison. [Liturgical Use] During the service of confession and forgiveness; worship services focusing on justification.

Stanza Arc

The narrative or theological arc traced by this tune's stanzas: Penitential call to God's boundless mercy, culminating in assurance of forgiveness and eternal security through Christ