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Silent in Wond'ring works well either as a congregational hymn or as a solo or duet song. The lilting folk melody suits flute and recorder harmonies over plain voices. Alternatively use a simple guitar, as presented here, or piano accompaniment.
Silent in Wond’ring was written to meet the need of particularly Anglican congregations and ecumenical gatherings for a song to Mary that most Christian traditions will be able to embrace prayerfully. It achieves this by adhering to the scriptural sources. Stanza One refers to the Lucan annunication and nativity. Next Luke 8: 19-21, normally overlooked in mariology is addressed. The Johannine passion narrative, which casts Mary as Mother of the Beloved Disciple, lies behind the third stanza. The final stanza places Mariology in its true context of Christology.
Throughout the piece it is the human faith, the brave assent, the risk taking for God, the trust within confusion of Mary that is exposed, enabling the singers and hearers to grow in genuine appreciation of this remarkable historical Christian figure.
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