When congregations sing “Love Divine, All Loves Excelling,” one of Charles Wesley’s most beloved hymns, they are often singing to one of two famous tunes: Blaenwern or Beecher. Each tune has its own history, musical character, and cultural background. While the text of the hymn remains the same, the tune can shape how worshipers experience and interpret its message. Understanding these two tunes enriches our appreciation of hymnody and helps church leaders choose the most fitting setting for their congregations.

Origins of Blaenwern

Blaenwern is a Welsh hymn tune composed by William Penfro Rowlands in 1905. Rowlands was born in 1860 in Wales and was known both as a schoolteacher and as a gifted musician involved in the revival movement. The tune was originally composed for a Welsh revival meeting and was first published in Llyfr Tonau Cynulleidfaol (The Book of Congregational Tunes). Its name, Blaenwern, comes from a farm near the composer’s childhood home in Pembrokeshire, which gives the tune a distinctly Welsh identity.

Blaenwern is written in 8.7.8.7.D meter, meaning each stanza has four lines alternating between eight and seven syllables, and the pattern is doubled. This is one of the most common meters in English hymnody, making the tune versatile and suitable for many hymn texts. The melody is lyrical and flowing, with long lines that rise and fall gracefully, creating a sense of majesty and devotion. It is often associated with the solemn and reverent atmosphere of large congregations or festivals.

Although Blaenwern was composed in the early twentieth century, it gained widespread popularity later, particularly in the mid-twentieth century in Britain. Its most famous association is with the hymn “Love Divine, All Loves Excelling”, which was included in the 1937 edition of the Hymns Ancient and Modern hymnal set to Blaenwern. Since then, it has become one of the favorite tunes for this text in the United Kingdom, often chosen for major services, weddings, and national occasions.

Origins of Beecher

The tune Beecher was composed by John Zundel (1815–1882), a German-born organist and composer who emigrated to the United States. Zundel became the organist for Henry Ward Beecher’s Plymouth Church in Brooklyn, New York, one of the most influential congregations of the nineteenth century. He composed the tune in 1870 and named it after his pastor, Henry Ward Beecher.

Beecher is written in 8.7.8.7.D meter, the same as Blaenwern, which explains why both tunes are frequently used for the same hymns. However, musically, Beecher has a more straightforward and rhythmically solid structure, characteristic of American hymn tunes of that period. It features strong harmonic progressions and a sturdy melody that lends itself well to congregational singing without elaborate accompaniment.

While Blaenwern developed in the context of the Welsh revival, Beecher grew out of the vibrant religious life of American Protestantism in the nineteenth century. The Plymouth Church was known for its powerful preaching, social activism, and musical excellence, and Zundel’s tune reflects that environment. It was designed for congregational participation, emphasizing clarity, strength, and unity.

Beecher quickly became the standard tune for “Love Divine, All Loves Excelling” in American hymnals and has remained so to this day. Many American congregations know the hymn almost exclusively in this musical setting.

Musical Character: A Comparison

Although both Blaenwern and Beecher share the same meter and are sung to the same text, their musical characters are quite distinct.

• Blaenwern has a romantic, lyrical quality. Its melodic lines are more expressive, with soaring phrases and elegant harmonies that give a sense of grandeur. It works especially well for large congregations, choirs, or special services where the music can be sung with strength and dignity.

• Beecher, by contrast, has a sturdy, rhythmic quality. It feels more like a hymn for regular congregational worship, with a clear structure and strong cadences that make it easy for everyone to sing confidently. It has less of the dramatic sweep of Blaenwern but provides a sense of solidity and assurance.

The difference is often compared to the difference between singing a hymn as part of a national service in a cathedral (Blaenwern) and singing it in a small church in rural America (Beecher). Both are equally sincere expressions of worship, but they create different emotional and spiritual atmospheres.

Textual Interaction: “Love Divine, All Loves Excelling”

Charles Wesley’s text “Love Divine, All Loves Excelling” is one of his greatest hymns. It expresses a deep yearning for the transforming love of God, culminating in the vision of being “changed from glory into glory” and “lost in wonder, love, and praise.” Both Blaenwern and Beecher can serve this text beautifully, but they highlight different aspects of it.

• Blaenwern’s expansive melodic lines match the exalted language of the text, particularly in the closing lines, which speak of eternal praise. The tune gives the sense of being lifted up into the grandeur of God’s presence.

• Beecher’s firm harmonic progressions support the text in a way that emphasizes the assurance of God’s love and the steady work of sanctification. It gives a sense of congregational unity and confidence in the promises of God.

Many worship leaders choose Blaenwern for formal occasions or when they want to highlight the soaring, worshipful tone of the hymn, and Beecher for regular congregational singing where familiarity and participation are paramount.

Broader Usage of the Tunes

While both tunes are most famously linked to “Love Divine, All Loves Excelling,” they have been used for other hymns as well.

• Blaenwern is occasionally used for hymns like “Calm Me, Lord” and other texts in 8.7.8.7.D meter, though its association with “Love Divine” is so strong that many congregations expect that text when they hear the tune.

• Beecher appears in various nineteenth-century American hymnals with other texts, but like Blaenwern, its primary identity is tied to Wesley’s hymn.

Choosing Between Blaenwern and Beecher

For worship planners and musicians, the choice between Blaenwern and Beecher often depends on context.

• If the service is formal, ceremonial, or large-scale, Blaenwern may be the better choice, since it allows for rich harmonies, strong choir support, and a grand sense of occasion.

• If the service is congregational, familiar, and community-focused, Beecher may be preferred for its simplicity, accessibility, and familiarity in many American churches.

Ultimately, both tunes are gifts to the church. Each provides a different musical lens through which worshipers can encounter the same text. Understanding their histories and musical characters can help leaders make thoughtful choices that enrich the worship experience.

Both tunes Blaenwern and Beecher illustrates the richness of hymnody. A single text, when set to different tunes, can convey different emotional and spiritual tones. Blaenwern brings a sense of grandeur rooted in Welsh revival tradition, while Beecher offers sturdy assurance from American Protestant heritage. Both have endured for over a century because they serve the text faithfully and help congregations lift their hearts to God.

Next time your church sings “Love Divine, All Loves Excelling,” take a moment to notice which tune is being used and how it shapes your experience of worship. Understanding these musical contexts deepens our appreciation for hymns and for the diversity of Christian musical tradition.