Article

Change

Grace

Music

14 March 2023

6 min read

Aside from Amazing Grace

Helping win a historic victory for humanity was an influencer with a shocking back story. Biographer Jonathan Aitken discovers there’s more to John Newton than penning Amazing Grace.

Jonathan Aitken

Jonathan is a former politician, and now a prison chaplain.

John Newton is back in the news. 250 years ago in January 1773 he wrote the words of what has become the most recorded, performed and loved hymn of all time – Amazing Grace.

As a popular song it is right up there competing with Happy Birthday and I’m Dreaming of a White Christmas. And the spiritual power of its lyrics shines out at an estimated ten million annual weddings, funerals, celebrations and services across the world.

As a biographer of John Newton I have paradoxical feelings about Amazing Grace. I love the hymn as much as anyone particularly when it brings tears in the prison chapels where I serve as a chaplain.

Yet for historical reasons I am disappointed on this great man’s behalf that he is largely remembered only for this hymn.

For there is much more to John Newton than Amazing Grace.

For starters he was so close a mentor to William Wilberforce, and so important a witness as an ex-slave ship captain to the horrors of the evil trade, that without Newton the Abolition of Slavery Act 1807 would never have won the necessary Parliamentary votes to pass into law.

If this great historical achievement was not enough Newton’s colourful back story was the stuff of which best sellers and movies came to be made.

In his wild youth Newton was a serial rebel. He ran away from home, church, school and military service. He was jailed and publicly flogged for desertion from the Royal Navy.

After being thrown out of the Navy he ended up working as a slave trader in West Africa.

There the hard drinking, riotous and ruthless young Newton indulged in every imaginable vice. His business as a brutal kidnapper of natives, whom he sold to slave ships, made him a fortune.

Then came a dramatic change, Newton got religion. This happened on the 9th of March 1748. Newton was on board a ship, The Greyhound, in the middle of the Atlantic Ocean. Suddenly a massive storm wave hit the ship and almost broke it apart. Newton was roused from sleep by a cry of “all hands on deck, the ship is sinking.”

The storm of gale force winds which ripped a huge hole in The Greyhound lasted for the next seven days. For most of that time Newton, a strong young seaman, took the helm. He was certain that he and everyone else on board would be drowned. In desperation he remembered some of the prayers he had learned from his mother, in his childhood, and started to pray for God to save his life.

So when, against all the odds, The Greyhound did not sink and limped into the Port of Londonderry, Newton decided that perhaps there might be a God and began going to church.

Although Newton did start praying and reading his Bible, he did not stop slave trading. Promoted to being a slave ship Captain he made five further voyages to West Africa. On his ships he indulged in many of the vicious cruelties that characterised the slave trade.

Newton kept diaries of these horrors which included chaining, shackling, flogging, thumb screwing and throwing overboard the slaves during their long and dangerous voyage from the West Coast of Africa to the East Coast of America.

Yet gradually, his self-educating Bible study and some teaching from Christian friends caused Newton to see the light. He gave up the slave trade. He got a good shore job in his home port of Liverpool, a city which was being targeted by Methodist preachers such as Wesley and Whitefield.

Newton, by now a soul on fire, became a preacher in dissenter chapels in Lancashire and Yorkshire.

After some years he applied for ordination in the Church of England. But he was turned down for ordination seven times in six years by various Bishops and Archbishops.

These rejections had nothing to do with Newton’s sinful past career as a slave ship Captain. For in the 18th Century, the Church of England was not merely tolerant of the slave trade. It reaped many benefits from its large investments in it and the large donations it received from it. All documented in a recent Lambeth Palace Library exhibition.

Astonishingly the reason why Newton was turned down for ordination was because he was thought to have ‘too much enthusiasm’.

This was a coded phrase meaning that he was felt to be too close to the Methodists whose evangelical preaching and hymn singing was disapproved of by the established church hierarchy.

But with the help of an admiring patron, the Earl of Dartmouth, Newton was ordained as a Church of England priest and appointed to a Dartmouth living at Olney church in Buckinghamshire.

As a Parish Priest Newton was a huge success. He trebled the size of his congregation to over 600 worshippers. As a result, the church had to build a gallery to accommodate them.

But his biggest break through was that Newton started writing articles, books and hymns. These bought him fame and a move to the strategically important church of St. Mary Woolnoth in the heart of the City of London.

During his 28 years of service there, Newton continued to be a best-selling author, a campaigner for social reforms and a renowned preacher. Influential people flocked to hear his sermons including an unknown young MP called William Wilberforce.

Wilberforce first approached Newton to ask him to resolve what the young MP called “my anguish of soul”. He said he wanted to give up being a Member of Parliament in order to become a Minister of Religion.

Newton persuaded Wilberforce that it would be better for him to serve God by staying in Parliament. After taking that wise advice, Wilberforce developed a close friendship and mentoring relationship with Newton.

During the next 15 years there were periods when Wilberforce became depressed and wanted to give up his abolitionist campaign. It was Newton who persuaded him to keep going.

More importantly Newton became Wilberforce’s most vital witness about the horrors of the slave trade in front of a Select Committee in the House of Commons and in front of William Pitt and his Cabinet.

Newton’s authentic eye witness accounts of the suffering of the Africans on board slave ships were devastating.

His evidence and his best-selling pamphlet Thoughts on the African Slave Trade were game changers. Gradually the tide of public and parliamentary opinion turned against the slave trade. Eventually in 1807 when 82 year old Newton was still the Rector of St. Mary Woolnoth, William Wilberforce’s Abolition of Slavery Bill was voted into law by the House of Commons by 283 votes to 16.

It was an historic victory for humanity. And a political triumph for William Wilberforce. But that victory and that triumph would never have been achieved without John Newton’s mentoring, supporting and his giving of vital evidence to Wilberforce’s campaign.

In his last years John Newton was venerated as an iconic church leader, bestselling author, and abolitionist reformer.

Surprisingly, he was not well known in his lifetime for Amazing Grace which only became famous when American churches took it up and made it an anthem of the Civil Rights Movement. So Newton was regarded as a great man long before he was recognised as a great hymn writer.

Fame was of little interest to John Newton. He remained endearingly humble. When he was on his deathbed the 18th century equivalent of a tabloid reporter burst into his bedroom and asked:

“Any last words Mr Newton?”

He replied:

“Sir I know only two things. That I am a great sinner and that Christ is a great Saviour!”

What an exit line! What a life!

Article

Culture

Mental Health

Music

25 October 2024

5 min read

Dark, sweet and subtle: recovered music orientates us

The alt-folk music seeking inspiration from forgotten hymns.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A woman stand at a mixing desk playing a small keyboard.

Lleuwen Steffan plays.

In 2012, musician Lleuwen Steffan first came across a trove of lost Welsh folk hymns preserved in the sound archive of St Fagan’s Museum. Knowing they were not in current hymn books, she undertook further research and discovered they had been excluded from earlier hymn books by the then all-male hymn book committees of their time. Instead, they had been passed on orally, and, although recorded for St Fagan’s by the historian Robin Gwyndaf, had become lost with time and secularization.

Steffan was particularly attracted to these hymns as many dealt with the dark side of the psyche including addiction and mental distress. She has said that many of these hymns, some of which date back to the eighteenth century, are “conversational and the lyrics feel so current”. She is currently taking these hymns back to where they were born through a tour of 50 chapels in Wales but this is not an exercise in nostalgia as her focus is on their contemporary resonance: “Musically, I’m not interested in recreating something from the past. That’s missing the point. Yes, the words are old but the message is always new. The music is free form.”

Although the subject matter of these hymns will have been part of the reason for their exclusion from the hymn books of their day, that same subject matter has been part of worship songs from the time of the Psalms to the present. The Psalms are the worship songs of the people of Israel as recorded in the Old Testament and are the first occasion in ancient literature where the voice of victims is heard and valued.

The Old Testament scholar Walter Brueggemann in his book Spirituality of the Psalms provides an insightful and structured overview of the Psalms using three categories: orientation, disorientation, and new orientation. Orientation is the establishment of structure and order. Disorientation is a place of imbalance and nonsense, which is potentially unjust. New orientation is moving forward away from what was and toward new possibilities. As a result, the Psalms provide us with expressions of suffering and hope in the seasons of everyday life. In his book, Brueggemann explains how Psalms of negativity, cries for vengeance, and profound penitence are foundational to a life of faith, and establishes that the reality of deep loss and amazing gifts are held together in a powerful tension.

“This eerie, intriguing and enchanting music... is infused with echoes of the past two centuries’ beliefs and threads of spirituality and song.”

Rupert Loydell

With such a collection of worship songs as the foundation of worship in churches, and with plainsong in Western churches providing a means by which to chant the Psalms on a daily basis, it should not be surprising that later hymns, such as those being reimagined by Steffan, tap into the dark side of the psyche. The success of albums such as Officium by saxophonist Jan Garbarek and The Hilliard Ensemble, together with Steffan’s own collaboration with pianist Huw Warren and saxophonist Mark Lockheart on Welsh hymns Duw A Wyr (God Only Knows) which is in a similar vein, show how such music can be made relevant to contemporary audiences.

Ghostwriter’s latest album, Tremulant, inhabits similar sonic territory to Steffan’s current Tafod Arian (Silver Tongue) music. Created over several years by Mark Brend, Suzy Mangion, Andrew Rumsey and Michael Weston King, this album has also been borne out of a shared love of antique evangelical hymns and spiritual songs. Using English, Welsh, Scottish and American source material from the nineteenth and early twentieth centuries, the quartet pieced together their reconstructed hymnal through remote collaboration – creating an album that sounds both ancient and modern.

In his review of Tremulant, Rupert Loydell says it is “a strange ambient gospel album, where what used to be called spirituals and hymns are subverted by echo, wheezing organ and spacious musical interludes, which recontextualise, reimagine, stretch and mutate the very idea of song”. This, he says, “is eerie, intriguing and enchanting music” with “echoes of classic Nico (the cold beauty of Desertshore)”. It's ”declamatory poetry, alt-folk, noise and gentle discord” combined with “calm vocals” is “infused with echoes of the past two centuries’ beliefs and threads of spirituality and song”. As such, it's not what you’ll hear the local worship band playing, more’s the pity!

“Something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.”

Lleuwen Steffan

Like buses, other revisiting’s and reimagining’s of old hymns and gospel songs are also coming along together. Hymn Time In The Land Of Abandon by Over the Rhine is “Music that we grew up singing, music as present in our formative years as the air we breathed”. Their recordings of hymns have been described as “spare, sweet and subtle renderings that transform the familiar into something fresh and new”.

The musical reimaging involved in Over the Rhine’s reinterpretations of hymns takes them into the space that Brueggemann defines as new orientation, while the sounds and, in some cases, content of the hymns chosen by Steffan and Ghostwriter are more in the realm of his disorientation category. The music making of Lleuwen Steffan, Ghostwriter and Over the Rhine takes us to places not commonly accessed by the music used in many church services. As is indicated by the story of hymn book committees omitting hymns that tap into the dark side of the psyche, much of the music used in church services can be located firmly in either the orientation or, sometimes, the new orientation categories.

Given that the arc of Christ’s life, death and resurrection takes us on a similar journey to that which Brueggemann sees occurring in the Book of Psalms, when our music and liturgy fail to go on a similar journey, we are only encountering part of the meaning and message of faith. The recent music of Lleuwen Steffan, Ghostwriter, and Over the Rhine is therefore profoundly helpful in beginning to redress that loss of balance in worship by taking us back to a fuller appreciation for the original songbook of the faithful, the Book of Psalms.

In speaking about why she has been drawn again and again to church music, Steffan described her teenage experience of drinking with her “mates in Bangor on the Saturday night” then getting “the last bus back home” and rolling “out of bed the following day to go to Sunday School”. She concluded: “That’s a strange paradox but, you see, something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” It may well be that that something is the arc of orientation, disorientation and new orientation we encounter and experience in the Psalms.