Seemingly since the beginning of time, there have been rules about what is and is not appropriate for music in God’s house (or even if music is appropriate at all.) Over the years, the progression and development of church music has invariably been in response to those guidelines, either in compliance with or in rebellion from.
Over the years, these rules have addressed texts, language (and translations), melody, instrumentation, singers… and get endlessly more complicated when church politics and personal relationships are added into the mix. There are as many different ways to worship God as there are people on earth, but there have always been people who believe that how they encounter God is the only way to encounter God, or the only correct way, and that the church’s worship should reflect those opinions.
Out of such a situation comes LAUDA ANIMA, “one of the finest [hymn]tunes that arose out of the Victorian era,” along with the text for which it was originally written, “Praise my soul, the King of Heaven.”