Before and after 'Morning Has Broken'

 

Our church members missed spring-cleaning after the past winter and decided to do a summer-cleaning. I inherited one "Glory & Praise" hymns and songs hardcover volume. Admittedly, I must confess that after reviewing titles listed alphabetically, of 301 only 8 are well-known to me. Yet, the volume is a subjective treasure to me, although its usefulness expired with the congregation and was replaced with another hymnal. I highly value it for one composed piece as follows.

The tunefulness of "Morning Has Broken" most all will recognize and find consonant and very pleasant. Parochial circles have been familiar with the tune for a very, very long time, however, it was in 1972 that it was released upon secular circles by Cat Stevens and became extremely popular. The published page in my now considered possession tells us much about the melody and lyrics, which may be surprising to some.

So, the English pop musician and folk singer did not originate "Morning Has Broken" in any way with the exception of his unique and recognizable voice. The exacting melody has its roots from a small Scottish village settlement named Bunessan off the west coast of Scotland and is linked to and associated with various hymns. Thus, Bunessan is celebrated as the official name of the tune or melody. However, it was English authoress Eleanor Farjeon who indeed did title and compose the timeless lyrics in 1931 for which she is best remembered.

Perhaps, you have heard in similar wording the statement that "It is amazing what you can accomplish if you do not care who gets the credit." Well, Cat Stevens invited one keyboardist, Rick Wakeman, to accompany him on piano. On the 1971 recorded album, "Teaser and the Firecat," there was no mention of him, much less Farjeon in the credits of the album. In fact, Wakeman of later fame with the English progressive rock group YES was finally paid 37 years later for the collaboration. Of course, the melody and Farjeon's lyrics were in public domain and thus appropriated, but Wakeman's enhancement of the musical notes was not. I dare say there are few who could have come up with Wakeman's part. Both he and Farjeon are to be extolled.

Wakeman's brilliance and great skill in the performed arrangement is displayed and explained by YouTuber Josh Walsh. He breaks down the song showing Wakeman's piano intro modulating from D major to B minor (utilizing an F-sharp dominant 7 chord) and then to the home key of C major. The musical jargon is a bit over my head, but the musical sound is not. Wakeman's improvised piano accompaniment throughout the piece is masterful.

The rift-creating move of credit omission had more to do with Paul Samwell-Smith than Cat Stevens. Samwell-Smith was a record producer for the Island Records label. Anyway, better late than never, Stevens kept the peace and apologized to Wakeman for the error of omission and compensated the artist.

The British cliche alludes that there is always more to a story than meets the eye, but you have to go through great effort and dig it up like an investigative reporter. There is still yet more to say than what I have written above. That involves a historical interest, a wish to know and much research time.

The author (wrjones@vsu.edu) published the novella “Beyond Harvard” and teaches English as a second language.