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Wikipedia article

{{Infobox musical composition

| name = Gwahoddiad

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| translation = 'I Hear Thy Welcome Voice'

| native_name =

| native_name_lang =

| composer = Lewis Hartsough

| genre = Hymn

| occasion =

| text =

| language =

| written = 1872

| based_on =

| meter = with refrain

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'"Gwahoddiad"' is a Welsh hymn of American origin.

"" , also known as and by its first line , was originally the English-language gospel song "I Am Coming, Lord", the first line of which is 'I hear thy welcome voice'. The English words and the tune were written in 1872 by the American Methodist minister and gospel songwriter Lewis Hartsough (1828–1919) during a revival meeting at Epworth, Iowa, where Hartsough was minister. Hartsough was musical editor of 'The Revivalist', a collection of hymns which had begun in 1868 and continued through 11 editions. The English words with Hartsough's tune first appeared in the 1872 edition., No. 464, with "I Am Coming, Lord!" indicated as title atop the score. The 1872 edition, first to bear this gospel song, had 336 pages including revised and enlarged indexes but was otherwise similar in appearance to the 1868 and 1869 editions.

The tune is in 3/4 time, with fermatas at the option of the songleader. The metrical pattern is 6686 with refrain 5576. The rhyme scheme is abcb';' the second and fourth lines rhyme, whether in the verse or in the refrain.

In 1906 the American gospel singer and composer Ira D. Sankey wrote:

The words and music of this beautiful hymn were first published in a monthly entitled 'Guide to Holiness', a copy of which was sent to me in England. I immediately adopted it, and had it published in 'Sacred Songs and Solos'. It proved to be one of the most helpful of the revival hymns, and was often used as an invitation hymn in England and America.

The Welsh version was translated by Calvinistic Methodist minister and musician Ieuan Gwyllt (literally John the Wild, bardic name of John Roberts) (1822–1877). It has become so well known in Wales that, despite its American origin, many people believe it to be an indigenously Welsh hymn.Sean Curnyn, in his discussion of the quick spread and persistence of the song in Wales, writes that more than a century prior to the internet one might have said that Gwyllt's popularization of the song caused it to go "bacterial" even if then it could not 'go viral'.

"I Am Coming, Lord" is an invitation song, typically sung at the end of a sermon in evangelistic meetings. The tune is usually called WELCOME VOICE in American hymnals and may be labeled CALVARY in British hymnals. During World War I Hartsough expressed gratification not only for having heard the song in various languages but also for having learned of its popularity with soldiers in the trenches of Europe.

Consider now the lyrics, with the Welsh version printed first.

Welsh words

The Roberts (Gwyllt) translation has four verses. The first verse is a virtual equivalent of Hartsough's original (see 'infra'). Roberts essentially skipped Hartsough's second verse and then conflated the remaining three verses into similar but not verbatim thoughts matching Welsh to the metrical pattern of Hartsough's tune.Not an easy task, in translation. See dynamic equivalency.


Original English words

's "I Am Coming, Lord!" (first line "I hear Thy welcome voice") from the 1872 edition of the 'Revivalist' edited by Hartsough & Joseph Hillman and published by Hillman in Troy, New York. This English-language American gospel song became phenomenally popular in Wales as GWAHODDIAD (Welsh for "invitation").

'"I Am Coming, Lord!"' as it appeared in the 'Revivalist' (1872, p. 231, No. 464):Which is identical in every detail to this slightly later source:

The theology of the fourth verse from Hartsough's original has attracted some clarification from editors. The Calvinist Roberts (Gwyllt) in the Welsh version simply massaged the concerns away via the translation. English-language editors who are unhappy with the theology have sometimes gone the way of B. B. McKinney in simply eliminating the verse, No. 264.

or [https://web.archive.org/web/20130903012455/http://www.acu.edu/sponsored/restoration_quarterly/documents/RQ_38.4_(McCann).pdf Elmer Leon Jorgenson] in revising it as follows:, No. 83.

American hymn editor William Jensen Reynolds asserted in 1976, as he had done earlier, in 1964, another verse, between the third and fourth verses above:

:'Tis Jesus who confirms

:The blessed work within,

:By adding grace to welcomed grace,

:Where reigned the power of sin.That verse actually appears in all editions of Elmer Leon Jorgenson's 'Great songs of the church' prior to 1937: Jorgenson eliminated the verse in his 1937 edition, 'Great songs of the church Number Two'. 'Cf.' Forrest Mason McCann (1994), 'Hymns & history: An annotated survey of sources' (Abilene: ACU Press), p. 573. .

Notable recordings

* Morriston Orpheus Choir, on their 1994 album '60 Years of Song': EMI Records TCPR 133.

* Cerys Matthews, on her 2003 album 'Cockahoop': Blanco y Negro Records 2564-60306-2

* Only Boys Aloud, on their 2012 self-titled debut album: Relentless Records

* Treorchy Male Choir (1973) 'The Very Best of Welsh Choirs: 16 Fabulous Tracks', EMI Records: EMC 3099


Category:1872 songs

Category:American Christian hymns

Category:British songs

Category:Protestant hymns

Category:Songs of World War I

Category:Welsh Christian hymns

Category:Welsh songs

Category:Songs about Jesus

Category:19th-century hymns

Category:Pages using the Score extension

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