History of Hymns: 'From North and South, from East and West'

“From North and South, from East and West”
by David Gambrell
Voices Together, 460 (2020)

From north and south, from east and west,
O faithful people, come
to share the feast that Christ prepares,
where heav’n and earth are one.
Come, all who hunger all who thirst;
with confidence, draw near,
for Jesus Christ, the bread of life,
is truly present here.
© 2015 GIA Publications, Inc. Used by Permission. All rights reserved.

David Gambrell (b. 1972) is the associate for worship with the Presbyterian Mission Agency and editor of Call to Worship, a quarterly journal published by the Office of Theology and Worship of the Presbyterian Church. He holds a Ph.D. in liturgical studies from Garrett-Evangelical Theological Seminary in Evanston, Illinois.

The opening line of his hymn recalls “In Christ there is no east or west, / in him no south or north” by John Oxenham (1852–1941). Whereas Oxenham’s hymn is a call for worldwide Christian unity, Gambrell’s text is based on the Great Thanksgiving (Eucharistic Prayer), highlighting his desire to understand the connection and collaboration in the body of Christ. Indeed, the title of the hymn recalls the sursum corda, “We Lift Our Hearts, O Lord Our God,” drawn from stanza 2, gives an indication of the hymn’s eucharistic focus. He states in an interview, “Many members with different gifts, all working for the common good” (PCUSA 2021). Praying at Christ’s Gathering Table is an important emphasis of Gambrell’s composition. Throughout Gambrell’s hymn, the membership of this body is highlighted in each stanza, emphasizing the diversity of the church in partaking of the Eucharist. Set to the tune of THREE IN ONE by Heather Josselyn-Cranson, the text may also be sung to the familiar FOREST GREEN and ELLECOMBE.

The author states, “This [hymn] is an attempt to compose a musical version of The Great Thanksgiving or Eucharistic Prayer. The first half of each stanza is intended to be sung by the presider, with the congregation singing the second half” (Gambrell, 96). The first stanza acts as an invitatory. It is an invitation that not only summons those from other parts of the world but also those who come bringing spiritual and physical burdens. This theme echoes Luke 13:29–30, in which all, no matter their origin, are welcome to eat at the Table in the kingdom of God. Emphasized as well are Jesus’ words of institution, in which he invites us to “eat” and “drink” of the new covenant (1 Cor 11:25–26). In partaking of this invitatory, we remember Christ and his Paschal mystery.

The second stanza is one of praise through the lens of a descending Christology. This stanza reminds the community of the preface found in the Eucharistic Prayer. Highlighting Revelation 21:5, the first half of the second stanza brings praise to the one who is seated on the throne and makes all things new. The idea of sursum corda or lifted hearts speaks of the direction of praise. The latter half of the stanza, again, highlights more Eucharistic Prayer language found in the text of Tersanctus or the “Thrice Holy.”

The third stanza focuses on thanksgiving. In this stanza, eucharistia or thanksgiving is for Christ’s salvific power. Beyond the thanksgiving of bread and wine, Gambrell presents the idea that the Gathering Table is also an altar of sacrifice. Highlighting Romans 6:5–14, this stanza is one of humility offered in grateful adoration for Christ, who conquered death. The Paschal mystery comes to full fruition in this stanza, for Christ lived to conquer death so we may live.

The fourth stanza is petitionary in tone. In the conclusion of the hymn, Gambrell beseeches the Holy Spirit to bless the gifts of bread and wine (the epiclesis) that is offered to be a manifestation of our covenant. Highlighting John 6:25–58, Gambrell reminds us that Christ Jesus is the true bread that has come from heaven. It is Christ in this feast who is present among us; in partaking, we are connected directly with heaven.

The hymn first appeared in the author’s collection, Breathing Spirit into Dust (Chicago: 2015), and then in Voices Together (Harrisonburg, PA: 2020). It was first sung in a jazz Communion liturgy at Highland Presbyterian Church, Louisville, Kentucky, in 2009.

SOURCES:

David Gambrell, Breathing Spirit into Dust: 50 Hymn Texts (Chicago: GIA Publications, Inc., 2015).

C. Michael Hawn, “David Gambrell,” Canterbury Dictionary of Hymnology: Canterbury Press, http://www.hymnology.co.uk/d/david-gambrell (accessed March 13, 2024).

Rick Jones, “Each Christian Has a Calling,” Presbyterian Church USA, https://www.pcusa.org/news/2021/3/16/each-christian-has-a-calling/ (accessed January 9, 2024).

Voices Together Hymnal, https://voicestogetherhymnal.org/ (accessed January 9, 2024).

Daniel Dangca is the Senior Coordinator for Liturgical Life in the Office of University Ministry and Adjunct Faculty in the Department of Music at Gonzaga University in Spokane, Washington. Daniel holds a Bachelor of Arts degree in music from Loyola Marymount University, Los Angeles, California; a Master of Music degree with a choral conducting emphasis from Western Oregon University; and an M.A. in theology and leadership from Gonzaga University. He is a candidate in the Doctor of Pastoral Music degree program at Perkins School of Theology, Southern Methodist University, where he studied hymnology with Dr. C. Michael Hawn.