The Richer, Fuller Story behind “O Love That Will Not Let Me Go” by George Matheson

George Matheson image in public domain accessed via Wikimedia Commons.

I’m always a little suspicious of what I call “just-so stories,” ones that seem too neat and tidy in drawing straight lines to explain human actions. The “just-so” on the lyrics of “O Love That Will Not Let Me Go” says that George Matheson, a Scotsman living in the mid-1800s, was going blind. He had been at university and engaged to be married, but when he told his fiancé the news of his impending blindness she refused to marry him. So his sister became his housekeeper, assistant, and companion. She helped him with his scholarship as he became a prominent theologian and preacher, even learning Greek and Hebrew so that she could read those texts to him. 20 years later, though, she married. Matheson was heartbroken as he contemplated being alone again, perhaps reliving the rejection he had felt when his fiancé had ended their relationship. Out of his grief he penned the famous four-stanza poem that is the subject of this post.

It could certainly have happened that way, but real life is always messy. For one thing, we have no definitive source about this supposedly unfaithful fiancé, just a few allusions that say he “might have” been involved with a young woman who broke his heart. Here’s what one old hymnbook has to say: “There is a story of how years before, he had been engaged until his fiancé learned that he was going blind, and there was nothing the doctors could do, and she told him that she could not go through life with a blind man.” Not a lot of corroborating detail here, it must be said. And Matheson didn’t suddenly realize that he was going blind; in reality, his vision was never very good and steadily deteriorated over time. While at school he was able to make out texts by the use of a strong magnifying glass and always sat near the front of the classroom in order to see the board. He could see faint outlines and shadows throughout his life, but his poor vision made him almost totally dependent on others for the practicalities of daily life. Although the system of Braille writing for the blind had been invented in 1824, I don’t see any references to his use of it. In spite of these limitations, however, his list of accomplishments would be truly remarkable even for a sighted person. He published books, produced sermons, gave lectures, and even preached before Queen Victoria, all without being able to read or write without the aid of a secretary. His sister, Jane Gray Matheson, filled that role at least until she married, and he gave her credit for her help in his own works.

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Two Hagenberg Hits

Image by 12019 from Pixabay

My own choir, the Cherry Creek Chorale, has performed quite of few of Elaine Hagenberg’s choral compositions, and we were privileged to be part of the original commissioning consortium for her first extended work, Illuminare. She burst on the classical choral world in 2013 with “I Will Be a Child of Peace,” an arrangement of a Shaker hymn, and hasn’t looked back since. We are now heading towards yet another Hagenberg premiere, her new major work Aeterna Via. We are performing the Colorado premiere on May 8 & 9, and its worldwide introduction will be in Paris this June. If you live in the Denver metro area and would like to attend this very special concert, you can get your tickets here. Below is a two-part post about some other Hagenberg works we’ve performed in the past. “You Do Not Walk Alone” will be a part of this upcoming program in May.

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An Illuminating New Work–Elaine Hagenberg’s “Illuminare”

A Composer Composes

Image by Stefan Keller from Pixabay

Elaine Hagenberg’s Illuminare burst on the classical choral scene in 2022 with initial performances by member choirs of a commissioning consortium. My own choir, the Cherry Creek Chorale in the Denver area, was privileged to be a part of this group and to perform the work in March 2022. We had the additional privilege of having Ms. Hagenberg on board for our final rehearsal. The composer was a full collaborator that evening, listening and critiquing gently but firmly. She clearly knew exactly how she wanted the piece to sound, and we benefited greatly from her input.  I’m reminded of something that the director of my choir, Brian Patrick Leatherman, said when we started working on the piece: “This is going to be big.” He also said that when he’d been contacted about our participation in the consortium he’d “JUMPED AT!” it. I’d say that his enthusiasm has been fully justified. Illuminare was made available for sale in August 2022 and is now being performed widely all over the world. A gala performance in Paris is scheduled to take place on June 24, 2026; this concert will also include the performance of a new major Hagenberg work. I hope to write about the texts of that composition at some point.

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