Radio Series: Hymns of the Faith: Hymns of the Faith: Whate’re My God Ordains is Right

by Bill Wymond, Derek Thomas, J. Ligon Duncan on January 6, 2008

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Hymns of the Faith

“Whate’er My God
Ordains is Right”

A Presentation of
First Presbyterian Church



Dr. Ligon Duncan, Dr. Derek Thomas, and Dr. Bill

Dr. Wymond: Good morning! This is “Hymns of the
Faith” brought to you by Jackson’s First Presbyterian Church. The minister of
the First Presbyterian Church is Dr. Ligon Duncan. Stay tuned for “Hymns of the
Faith.” And now with “Hymns of the Faith” is Dr. Ligon Duncan.

Dr. Duncan: Thank you, Bill and Derek. This is
Ligon Duncan, and we are here today to talk about hymns of the faith, and this
morning we are going to be talking about one of my very favorite hymns.

It’s yet another of these great German hymns, and
it is a powerful affirmation of God’s care for us even in the midst of our
troubles, and the wisdom of what God appoints for our lives
. And that is
something that is so rare, sadly so, in so much of modern Christian
spirituality, especially here in the United States.

And the substance of the assertion of this song just
is mind-bogglingly powerful, and I think pastorally comforting, when Christians
understand it. Let me just give you a taste of it, and then I want you to tell
us a little bit about the author and Catherine Winkworth, who came along and
found this beautiful hymn and gave it to us in English. And then we’ll talk
about the tune, too, but here’s the central assertion of this song: “Whatever my
God ordains is right.” And it’s an assertion that God has ordained everything in
our lives, and that it is right. And so it goes on:

“Whate’er my God ordains is

His holy will abideth;

I will be still whate’er he

And follow where he guideth.

He is my God; though dark my

He holds me that I shall not

Wherefore to him I leave it

This is an extraordinarily comprehensive, sweeping
assertion of trust in God when all the lights have gone out. And there’s a
background to that great text in the history surrounding it, and so let’s talk
just a little bit about Samuel Rodigast, the composer. Derek, tell us a
little bit about that composer of the hymn itself…the author of the hymn.

Dr. Thomas: Well, Samuel Rodigast is a
seventeenth century hymn writer, a German
born in 1649. That sort of places
him just a few years after the Westminster Assembly that brought about The
Westminster Confession of Faith and Shorter Catechisms
in England. He was
born in Groben in Germany, and was a pastor there. And later, in 1680, became a
teacher at the Gymnasium, the Greyfriars Gymnasium (which must have some
Scottish connection, I’d think) at Berlin. This particular hymn first appeared
in a hymnbook in 1676, and written it seems for the composer of the tune, who
was sick, Severus Gastorius.

Dr. Duncan: Although there’s a debate, I think,
amongst hymnologists. Some people will assert that Pachelbel actually wrote the
tune, but we’re going to let Bill explain that.

Dr. Thomas: Now, the hymn, of course is known to us.
It was obviously written in German, but the hymn is one of these hymns
translated by Catherine Winkworth.
We’ve come across her at least once, and
maybe twice before in this little series that we’re doing. She translated If
Thou But Suffer God to Guide Thee
, and Now Thank We All Our God…nineteenth
century Cheshire, which is in middle England…obviously a German scholar of some
kind, and we know her because of these wonderful translations that she did of
these German hymns.

Dr. Wymond: She’s a remarkable person, because she
did so many. We talked about them before, but I just admire her. There’s nothing
dramatic about her life otherwise than that she was a good German scholar; and,
I think, went to Germany for about a year, collected all these various excellent
songbooks, and just took out of them the cream of the crop. And we are so much
better off with that lady’s work.

Dr. Duncan: We are hugely indebted to her for those
labors. Derek, the hymn speaks to a specific context. Rodigast has this friend,
Gastorius, who himself is sick. And he writes this word of Christian exhortation
and encouragement to him. And if what we think is right, Gastorius ends up
writing the tune to go with it. Even if the tune that we most frequently
associate with it doesn’t end up being Gastorius’ tune, but is Pachelbel’s tune
from a later time, he did write some tune to go with this particular
text. But here’s a Christian, an educator, just writing a word of biblical
exhortation to a friend to trust in God in the midst of his illness and
troubles, no matter how severe it is.

Walk with me through the text, and let’s start in
this first stanza and just talk about the doctrines that he assembles in order
to encourage a Christian who’s undergoing trials, because it’s instructive, I
think. So just take the first couple of lines of the first stanza and tell us
what he’s appealing to, Derek.

Dr. Thomas: Well, it’s on the word in the story of
Abraham: “Will not the Judge of all the earth do right?” But in the opening
phrase you’ve got the doctrine of God’s foreordination, a strong doctrine of
predestination, of God in total, absolute control of everything: “Whate’er my
God ordains is right” — so that what happens, happens because God wills
it to happen, and wills it to happen before it happens, and wills it to happen
in the way that it happens. And then you’ve got, much like Ephesians 1, the
sovereignty of God and foreordination, the will of God, so the second phrase is
“His holy will abideth.” Those are strong, strong statements. And, “I will be
still whate’er He doth, and follow where He guideth.”

Dr. Duncan: So there’s the response to recognizing
that what God ordains is right, and that His will is holy. There’s this personal
— not just resignation, but embrace of that will: “I will be still, whate’er He
doth, and follow where He guideth,” because of this trust in the rightness and
the holiness of what God appoints.

Dr. Wymond: Well, let me ask you something, Derek.
We live in an era where everybody is trying to be very sensitive to the Muslim
faith, and so often you’ll hear someone in that faith say, ‘Whatever Allah
wills,’ you know. And so are we at one with them in doctrine? Is there a

Dr. Thomas: There’s an enormous difference. Islam is
essentially deterministic, in that there is certainly an emphasis on

Dr. Duncan: …even fatalistic, I think…

Dr. Thomas: …fatalistic, yes.

Dr. Wymond: So what do you mean by that?

Dr. Thomas: Well, God has ordained everything that
happens, but we are still held accountable, held responsible. There is such a
thing as freedom within that ordination, and that freedom is real.

Dr. Duncan: If I could break that down in just a
very simplistic way, I would say that in those aspects of Islamic theology that
press this kind of determinism that the deduction is made because God is
sovereign, it doesn’t matter what I do; whereas the Christian deduction is
always entirely different, 180 degrees different: “Because God is sovereign, it
does matter what I do” is the Christian deduction.

If you could summarize the difference between the two
views of the way God’s sovereignty is deployed, it would be that in the
Christian view, God’s sovereignty requires and under girds and reinforces our
human responsibility, whereas in the Muslim view it often undermines it.

Dr. Thomas: I love the way that this hymn is
almost antiphonal
. There’s a statement…actually it keeps on
repeating the statement, “Whate’er my God ordains is right.” That’s the opening
phrase of each stanza. But there’s a response then: “His holy will
abideth. I will be still, whate’er He doth, and follow where He guideth.” And
again, “He is my God; though dark my road, He holds me that I shall not fall:
wherefore to Him I leave it all.” It’s antiphonal. And it would be
interesting as a choral piece if one section stated the doctrine and another
section gave the response.

Dr. Duncan: That’s a good idea, Dr. Wymond!

Dr. Wymond: Well, it’s just like the Psalms and the
way they were sung in the synagogue in the early church. They were the main
songs, and they were sung in that antiphonal way.

Dr. Thomas: I think for me what is so fundamental
about this hymn is that it raises the question that every one of us
has asked:
“Is it fair? Is what’s happening to me, or my
friend, or my wife or my son, daughter, mother or father…is it fair? Is
providence fair? Is what God is doing fair?”

And here’s the opening affirmation: “Whate’er
my God ordains is right.” God works all things together for the good of those
that love him.

Dr. Duncan: You know, another thing that I love
about it is that you can tell that even as Rodigast is writing this for a
friend, and thus as an encouragement and exhortation for him, that there’s in
the author (and I think especially in the singer of the song) there’s preaching
to ourselves again, which we’ve talked about over and over in the hymns. You
know — it’s “whate’er my God ordains is right.” You don’t even sit down to write
that without knowing the experience of having to preach that to yourself,
because you know that even if you do believe that–and we do, all of us in this
room this morning believe that fervently–we also know that there are
circumstances in our lives where we have had to preach that to ourselves.

And every opportunity that you have to sing this
hymn, you have a chance to preach that to yourself again. And that makes those
antiphonal parts of it, I think, even more special. Strong affirmations:
“Whatever my God ordains is right”; and then later in the song, again one of my
favorite lines, “He is my God, though dark my road; He holds me that I shall not
fall.” And these wonderful words of response, “Wherefore to Him I leave it all.”
So throughout the hymn the text gives you this kind of preaching to yourself
response to God’s truth: focus on who God is and what He does; respond to it,
and rest in it.

Bill, the tune (whoever wrote it) is wonderful. I
love this tune. Tell us a little bit about it.

Dr. Wymond: It is a really good tune. It’s more
of a didactic, or a teaching, tune
. I think it’s so straightforward
without a lot of floweriness
to it, but it’s easy to get hold of and it’s a
tune that you do not tire of, even though it is quickly learned.

And let’s say that Pachelbel did write this tune.
He was a contemporary of Bach, although he was older than Bach, and he was in
Nuremburg, which is not far generally from the area where Bach was

But this hymn was in the hymnal that was used in
Weimar. And before Bach went to his last and most important post, which was in
Leipzig, Germany, he was at the court of Weimar as the court musician; and so
I’m sure that he used that hymnal, that Weimar hymnal, in which this tune was.
And he certainly used this tune, we know, because he has written organ pieces on
it, and it appears in cantatas.

Dr. Thomas: And everybody knows Pachelbel because of
the Canon….that arrangement that people have at weddings.

Dr. Wymond: Oh, yes! And we have totally overused
it! I am so tired of that song! Everybody has it now. I’ll be glad when we latch
on to another one for a while!

But Bach really obviously loved this tune, and loved
the words. And I’m thinking about the era in which he lived, where things were
so much more difficult for people just in everyday life. Bach had, I think,
nineteen children, a number of whom died at birth. That was a very common
experience for people back in those days. There were economic hardships; there
were political concerns because of the various states in Germany that were
having tensions between them. Life was just tough. And I think this may be why
this song was so popular. I’m going to play the tune for us. I’m sure that folks
know it, but… [plays first phrase on piano]…and then we go again with the same
thing [plays]…and the same response [plays]. And then new affirmations: “He is
my God…” [plays] “…though dark the road” [plays] “…He holds me that I shall not
fall.” And then it finally says in conclusion, “Wherefore to Him I leave it
all.” [Plays.] Just such a strong affirmation.

I must tell you that I have read comments by the
English historian whose name was Burney, the eighteenth century historian who
knew Bach and knew Handel and so on like that, and he talks about going to
Leipzig. Bach was in charge of three church services every Sunday in Leipzig
that were going on at the same time. He was in charge of St. Thomas Church, St.
Nicholas Church — and I think it was St. Paul, if I’m not mistaken. And so he
had choirs in all of those churches that had to be prepared each Sunday. Usually
he was at St. Thomas Church. But Burney says that you could leave St. Thomas
Church as they were beginning a hymn, and you could walk over the several blocks
to St. Nicholas and come back later to St. Thomas, and they’d still be singing
the hymn! Because they sang so slowly back in those days, because the organ
did not accompany the hymns at that time in Bach’s church. The organ gave a
prelude to the hymn. We call it a chorale prelude
. It would be a fancy
introduction that would go on for a couple of minutes, and so we have all those
chorale preludes that Bach did. But then the organ stopped, and the singers —
boy singers in the choir — would lead the congregation
. And the tunes tended
to slow down a good bit.

Dr. Duncan: And they’re big…those big German tunes,
and when you start singing them

a capella, unless you have a choir really pushing
you along, you can….

Dr. Wymond: You could really get slow, plodding, on
these. But what I think is important is that we sing this tune with energy
and vigor, and so we’re not captive to the system of that time.
We use the
organ now. In fact, I think it’s important to us as organists to sing through
tunes when we’re preparing for the service even though we know them all the
time, so that we can get the sense of how fast it should go. And normally I
think you should have something like a speaking speed. Let me sing this so that
it is as though I am saying it when I sing it. It will be slower, but it
shouldn’t be too slow.

Dr. Duncan: This tune, as you say, is didactic and
it’s straightforward, but I also find it a very ….there’s a lot of feeling in
this tune. There’s …I’m not even sure how to put it. There is a certain quality
of …it supports the sober message of the song in such a way that it…

Dr. Wymond: Well, let me just say this. Emotionally,
I think the ascending line which makes the statement “Whatever God does is
right,” is responded to by a descending line. And I always think descending
lines are a little more emotional, but also they are relaxed and comfortable.

Dr. Thomas: And resignation, too.

Dr. Wymond: Yes, a sense of resignation.

Dr. Thomas: I love the way at the end of the first
stanza, and then at the end of the final stanza, it says, “Wherefore to Him I
leave it all.”

Dr. Duncan: Oh, I love that!

Dr. Wymond: And it goes back up high again [plays
phrase] and then it comes down the scale [plays].

Dr. Thomas: Well, it sort of reminds me, really, of
what the book of Job is about: that there is no resolution to Job’s predicament
or his questions — God never answers Job’s question as to why — and at the end
Job has resigned himself to the sovereignty of God. It’s not important that Job
understands what God is doing; what is important is that God understands what
He’s doing. “Wherefore to Him I leave it all.” And that statement alone to me
epitomizes what being a disciple and what being a pilgrim really is: trust…trust
in God.

Dr. Duncan: Amen! And this hymn, the very meter
of the hymn
supports the emphasis of all of these discrete statements so
well. It’s an 8-7, 8-7, 4-4, 8-8. That’s an irregular kind of metrical flow
to a tune.
I’m not sure that I’ve even checked in my hymnal to see how many
others of those there are. This may be the only one in our particular hymnal.
But what it ends up doing is it allows several different parts of the hymn to
distinctly, discretely assert truths
. For instance, take those 4-4 in sort
of the third quadrant of each line. It repeats or emphasizes the terms “He is my
God, though dark my road”; and “I take, content, what He hath sent”; and “My God
is true; each morn anew”; and “My Father’s care is round me there.”

And then at the same time, because of that sort of
discrete content, it allows the next line to also have its highlighting. And so
the very way that the meter of the tune flows allows for these assertions to
have their own distinct emphasis. And so I think that the tune itself is not
only…there’s a lot of pathos to it, but it also really helpfully emphasizes the
teaching that’s being affirmed in the text.

Dr. Wymond: You know, even some of our brethren in
various other Christian faiths are a little nervous about saying that God
ordains things in our lives, as though we are giving up all freedom and that we
are more like puppets. But it seems to me that real comfort comes out of the
fact of saying that we are not in charge of our lives, and we are
not determining our futures, ultimately, although we can affect by choices, I
think. But these great issues are left in God’s hands.

Dr. Duncan: And doesn’t it beautifully affirm
exactly that in the fourth stanza? “Whate’er my God ordains is right”–by the
way, that’s the fourth time that it’s been said! I haven’t looked at the German
on this particular text yet, but I’m going to go back to it afterwards and see
how each line starts, but at least in Winkworth’s translation every single line
begins with “Whate’er my God ordains is right.” And then here’s how she renders

“Here shall my stand be taken;

Though sorrow, need, or death be

Yet am I not forsaken.”

Isn’t it interesting that that’s the deduction that
circumstances do not drive you to think that you are forsaken, but the truth
that God what ordains is right means that despite my circumstances, I’m not
. And that, Bill, is exactly why this is such a liberating truth.
Otherwise, you are completely captive to reading your life through the lenses of
your circumstances.

Dr. Thomas: And the sovereignty here — absolute!
It’s the sovereignty of a Father who loves you and cares for you…

Dr. Duncan: Just share that line, because there it

Dr. Thomas: “My Father’s care is round me there;

He holds me that I shall not fall:

And so to Him I leave it all.”

Dr. Duncan: And by the way, there’s the other
difference between the Christian doctrine of God’s sovereignty and the Muslim
doctrine. The Christian doctrine of God’s sovereignty is the sovereignty of a
personal God,
not some impersonal force, and it’s the Father. The
heavenly Father is a caring, loving, heavenly Father who will not allow one hair
of your head to be harmed apart from His good purposes. So it is, it’s a
wonderful profession of faith.

I love to sing this with strong believers in times of
trouble. I love to look out at the congregation when we sing this hymn at people
who have gone through trouble, that I know are trusting in Christ, and they’re
trusting in the heavenly Father. And I love to sing this hymn with them.

Bill, let’s listen to Whate’er My God Ordains is
, by Samuel Rodergast, and translated by Catherine Winkworth.

Dr. Wymond: Whate’er My God Ordains is Right
is sung by Victor Smith.

“Whate’er my God ordains is

His holy will abideth;

I will be still whate’er he

And follow where he guideth.

He is my God; though dark my

He holds me that I shall not

Wherefore to him I leave it all.

“Whate’er my God ordains is

He never will deceive me;

He leads me by the proper path;

I know he will not leave me.

I take, content, what he hath

His hand can turn my griefs

And patiently I wait his day.

“Whate’er my God ordains is

Though now this cup, in

May bitter seem to my faint

I take it, all unshrinking.

My God is true; each morn anew

Sweet comfort yet shall fill my

And pain and sorrow shall

“Whate’er my God ordains is

Here shall my stand be taken;

Though sorrow, need, or death be

Yet am I not forsaken.

My Father’s care is round me

He holds me that I shall not

And so to him I leave it all.”