what do other organists do in those old hymns where the congregation adds long breaths/fermatas and pauses that aren't written?
I am speaking of two hymns in particular, they are both very old, which would make sense that they have had a lot of development/changes over the years. Have others actually seen them notated as people sing them?
I have actually come to dread playing these two hymns since I don't quite know what to do with the rhythm!
Let me try and describe it here:
Nun Danket Alle Gott:
"Now that we all our God (dotted half note, which is natural to sing,) with hearts and hands and voi-CES" the "CES" is where there is only a quarter note written, but everyone wants to make it a dotted half note! A similar problem after "in whom his world rejoi-CES." It would make perfect sense to give it three beats, (not necessarily in our modern 4-4 rhythmic notation, but certainly for when Nun Danket would have been written!) but also since all the other places resembling a cadence or half cadence in the song get three whole beats!
exactly a four phrase hymn, however, all of the ends of the phrases are notated as only a half note (two beats,) while the congregation wants to give them 4 whole beats. ("All people that on earth do dwell--and I end up cutting them off to come in with--Sing to the Lord with cheerful voice", etc.)
After doing either of these songs I occasionally get comments like, "there's something about the rhythm/way you play that song that makes it hard for me to sing it..." (of course people don't know how to properly musically describe things.)
SO this is my dilemma! I DO actually know exactly how these songs should sound to be sung naturally/comfortably, BUT I am so attached to doing things exactly as notated! Are these two songs somewhat mis-notated? (Or have we lost some of those possibly misunderstood, ancient fermatas?) Or have other people seen other rhythmic notations?
WHAT DO OTHER ORGANISTS DO IN THIS CASE? These two hymns in particular?