Jerusalem Is Mine - Score

Songs of Zion, or The Hymnal Casket d The Advent Harp; designed for believers in the speedy coming of Christ b. The American Vocalist The Baptist Harp The Baptist Hymn and Tune Book The Baptist Psalmody The Bible Harp d The Boston One-Line Psalmist d The Brethren Hymnody The Christian Hymn Book The Christian Hymnal d The Christian Hymnal The Christian hymnal The Christian Hymnist d The Christian Lyre d The Christian Melodist The Christian Minstrel d In joy and peace First Line: The Christian Psalmist d The Christian Songster With palms in view, we still journey on First Line: Jerusalem my glorious home Date: The Church Hymn Book d The Devotional Chimes a.

The Little Minstrel Home, home, sweet home First Line: The Millennial Harp d The Modern Harp d The National Psalmist d The People's Hymnal The Pilgrim's Harp d The Prayer Meeting Hymn Book d The Sabbath School Choir d The Sabbath School Minstrel The Sacred Lute d The Sacred Lyre The Social Psalmist The Southern Psalmist d A contemporary illustration of the fire shows a devil squatting on the building. Blake's phrase resonates with a wider theme in his works, what he envisioned as a physically and spiritually repressive ideology based on a quantified reality.

Blake saw the cotton mills and collieries of the period as a mechanism for the enslavement of millions, but the concepts underpinning the works had a wider application: Another interpretation, amongst Nonconformists , is that the phrase refers to the established Church of England. This church preached a doctrine of conformity to the established social order and class system, in contrast to Blake.

In the new Bishop of Durham , N. Wright , explicitly recognised this element of English subculture when he acknowledged this alternative view that the "dark satanic mills" refer to the "great churches". Bateson noted how "the adoption by the Churches and women's organizations of this anti-clerical paean of free love is amusing evidence of the carelessness with which poetry is read". Stonehenge and other megaliths are featured in Milton , suggesting they may relate to the oppressive power of priestcraft in general; as Peter Porter observed, many scholars argue that the "[mills] are churches and not the factories of the Industrial Revolution everyone else takes them for".

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Satan's "mills" are referred to repeatedly in the main poem, and are first described in words which suggest neither industrialism nor ancient megaliths, but rather something more abstract: The line from the poem "Bring me my Chariot of fire! The plural phrase "chariots of fire" refers to 2 Kings 6: Blake lived in London for most of his life, but wrote much of Milton while living in the village of Felpham in Sussex. Amanda Gilroy argues that the poem is informed by Blake's "evident pleasure" in the Felpham countryside.

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The phrase "green and pleasant land" has become a common term for an identifiably English landscape or society. It appears as a headline, title or sub-title in numerous articles and books. Sometimes it refers, whether with appreciation, nostalgia or critical analysis, to idyllic or enigmatic aspects of the English countryside. Several of Blake's poems and paintings express a notion of universal humanity: He retained an active interest in social and political events for all his life, but was often forced to resort to cloaking social idealism and political statements in Protestant mystical allegory.

Even though the poem was written during the Napoleonic Wars , Blake was an outspoken supporter of the French Revolution , and Napoleon claimed to be continuing this revolution. In Blake was charged at Chichester with high treason for having "uttered seditious and treasonable expressions", but was acquitted.

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Prophecy for Blake, however, was not a prediction of the end of the world, but telling the truth as best a person can about what he or she sees, fortified by insight and an "honest persuasion" that with personal struggle, things could be improved. A human being observes, is indignant and speaks out: Blake wanted to stir people from their intellectual slumbers, and the daily grind of their toil, to see that they were captivated in the grip of a culture which kept them thinking in ways which served the interests of the powerful.

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The words of the poem "stress the importance of people taking responsibility for change and building a better society 'in Englands green and pleasant land. The poem, which was little known during the century which followed its writing, [25] was included in the patriotic anthology of verse The Spirit of Man, edited by the Poet Laureate of the United Kingdom , Robert Bridges , and published in , at a time when morale had begun to decline because of the high number of casualties in World War I and the perception that there was no end in sight.

Under these circumstances, Bridges, finding the poem an appropriate hymn text to "brace the spirit of the nation [to] accept with cheerfulness all the sacrifices necessary," [27] asked Sir Hubert Parry to put it to music for a Fight for Right campaign meeting in London's Queen's Hall.

Bridges asked Parry to supply "suitable, simple music to Blake's stanzas — music that an audience could take up and join in", and added that, if Parry could not do it himself, he might delegate the task to George Butterworth. The poem's idealistic theme or subtext accounts for its popularity across much of the political spectrum. It was used as a campaign slogan by the Labour Party in the general election ; Clement Attlee said they would build "a new Jerusalem". In adapting Blake's poem as a unison song, Parry deployed a two- stanza format, each taking up eight lines of Blake's original poem.

He added a four-bar musical introduction to each verse and a coda , echoing melodic motifs of the song. The word "those" was substituted for "these" before "dark satanic mills". The piece was to be conducted by Parry's former student Walford Davies , but Parry was initially reluctant to set the words, as he had doubts about the ultra-patriotism of Fight for Right, but not wanting to disappoint either Robert Bridges or Davies he agreed, writing it on 10 March , and handing the manuscript to Davies with the comment, "Here's a tune for you, old chap.

And did those feet in ancient time

Do what you like with it. We looked at [the manuscript] together in his room at the Royal College of Music , and I recall vividly his unwonted happiness over it He ceased to speak, and put his finger on the note D in the second stanza where the words 'O clouds unfold' break his rhythm.

I do not think any word passed about it, yet he made it perfectly clear that this was the one note and one moment of the song which he treasured Davies arranged for the vocal score to be published by Curwen in time for the concert at the Queen's Hall on 28 March and began rehearsing it. But Parry began to have misgivings again about Fight for Right and eventually wrote to Sir Francis Younghusband withdrawing his support entirely in May The song had been taken up by the Suffragists in and Fawcett asked Parry if it might be used at a Suffrage Demonstration Concert on 13 March Parry was delighted and orchestrated the piece for the concert it had originally been for voices and organ.

After the concert, Fawcett asked the composer if it might become the Women Voters' Hymn. I wish indeed it might become the Women Voters' hymn, as you suggest. People seem to enjoy singing it. And having the vote ought to diffuse a good deal of joy too. So they would combine happily. When that organisation was wound up in , Parry's executors reassigned the copyright to the Women's Institutes , where it remained until it entered the public domain in The change to "Jerusalem" seems to have been made about the time of the Suffrage Demonstration Concert, perhaps when the orchestral score was published Parry's manuscript of the orchestral score has the old title crossed out and "Jerusalem" inserted in a different hand.

He had originally intended the first verse to be sung by a solo female voice this is marked in the score , but this is rare in contemporary performances. Sir Edward Elgar re-scored the work for very large orchestra in for use at the Leeds Festival. Although Parry composed the music as a unison song, many churches have adopted "Jerusalem"; English cathedrals, churches and chapels frequently use it as an office or recessional hymn on Saint George's Day. An Anthem for England , have said that the song is not technically a hymn as it is not a prayer to God which they claim hymns always are, though many counter-examples appear in any hymnal.

Upon hearing the orchestral version for the first time, King George V said that he preferred "Jerusalem" over the British national anthem " God Save the King ". However, some sports, including rugby league , use "Jerusalem" as the English anthem.

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Questions in Parliament have not clarified the situation, as answers from the relevant minister say that since there is no official national anthem, each sport must make its own decision. As Parliament has not clarified the situation, Team England, the English Commonwealth team, held a public poll in to decide which anthem should be played at medal ceremonies to celebrate an English win at the Commonwealth Games.

The track features the debut of the prototype Moog Apollo , the first-ever polyphonic music synthesizer. Though a single was released of the song, it failed to chart, and it was banned from radio play in England. The BBC would not accept it as a serious piece of music, the band claims. We wanted to put it out as a single We figured it was worthy of a single.

JERUSALEM IS MINE

In England, they have this format where four or five people have to [approve it] before it gets played on the airwaves; it's a very old-fashioned way of doing it, but that's the way it was being done at the time. I think there was some apprehension [as] to whether or not we should be playing a hymn and bastardizing it, as they said, or whatever was being called at the time We thought we'd done it spot-on, and I thought that was very sad because I've got a jukebox at home, and that's a piece of music that I've got on the jukebox, so I actually thought the recording and just the general performances from all of us were absolutely wonderful.

I couldn't believe the small-mindedness of the English It got banned and there was sort of quite a big thing about it, these people just would not play it. They said no, it was a hymn, and we had taken it the wrong way. The popularity of Parry's setting has resulted in many hundreds of recordings being made, too numerous to list, of both traditional choral performances and new interpretations by popular music artists.

Consequently, only its most notable performances are listed below. One unexpected touch is that "Jerusalem" is sung in four-part harmony, as if it were truly a hymn. This is not authentic: Parry's composition was a unison song that is, all voices sing the tune — perhaps one of the things that make it so "singable" by massed crowds and he never provided any harmonisation other than the accompaniment for organ or orchestra.

Neither does it appear in any standard hymn book in a guise other than Parry's own, so it may have been harmonised specially for the film. The film's working title was "Running" until Colin Welland saw a television programme, Songs of Praise , featuring the hymn and decided to change the title. Deep Space Nine , Goodnight Mr. An extract was heard in the Doctor Who episode " The Crimson Horror " although that story was set in , i. A punk version is heard in Derek Jarman 's film Jubilee.

In an episode of Peep Show , Jez Robert Webb records a track titled "This Is Outrageous" which uses the first and a version of the second line in a verse. Blake's lyrics have also been set to music by other composers without reference to Parry's melody.

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Tim Blake synthesiser player of Gong produced a solo album in called Blake's New Jerusalem , including a minute track with lyrics from Blake's poem. The words, with some variations, are used in the track "Jerusalem" on Bruce Dickinson 's album The Chemical Wedding , which also includes lines from book two of Milton. Finn Coren also created a different musical setting for the poem on his album The Blake Project: