Sons of Michael, He Approaches
51

Text: Elias L. T. Harrison (1830–1900; LDS); altered
Music: Darwin K. Wolford (b. 1936; LDS)
Tune name: JULIE

In a uniquely Latter- day Saint picture of the events of the last days, this hymn calls upon us to hail the earthly parents of us all— Father Adam and Mother Eve. As we sing this hymn together, we sing about singing, particularly in verses two and four. We take our places as members of a triumphant chorus, participants in a great reunion.

The text is somewhat difficult to understand without some background. The name “Michael” and the phrase “ancient one” both refer to Father Adam (see D&C 27:11; 138:38). All human beings are descendants of Adam—”sons of Michael”—and therefore all people, from all times, are potentially part of this reunion. The chorus truly is made up of “voices million.” Appropriately, Eve is at Michael’s side. We welcome her with song and acclamation, and even dance in her honor!

The Prophet Joseph Smith spoke of a future glorious event when the sons and daughters of Adam and Eve will in fact come together to honor their ancient ancestor: “Daniel in his seventh chapter speaks of the Ancient of Days; he means the oldest man, our Father Adam, Michael, he will call his children together and hold a council with them to prepare them for the coming of the Son of Man. He (Adam) is the father of the human family, and presides over the spirits of all men, and all that have had the keys must stand before him in this grand council.” The Prophet identified Adam- ondi- Ahman (see the discussion of no. 49) as “the place where Adam shall come to visit his people, or the Ancient of Days shall sit, as spoken of by Daniel the Prophet” (Teachings of the Prophet Joseph Smith, sel. Joseph Fielding Smith [Salt Lake City: Deseret Book, 1979], 157, 122).

Some subtle changes made in this text for the 1985 hymnal emphasize the correct nature of Adam’s role. Because he is the father of the human race, Adam deserves our love and respect; however, to distinguish this appropriate adoration from the worship we afford our Father in Heaven, references to Adam have not been capitalized in this hymn: father, patriarch, head, lord, ancient one. In addition, the phrase “his Paradise” has been changed to “his Father’s house.”

This imaginative, unusual text, first published in the Millennial Star in 1861, was part of the 1950 hymnal, but its musical setting was so difficult that only a choir could attempt it. In writing this new, more singable setting, Darwin Wolford admitted frankly that at first he did not find the text attractive. But he continued, “Since writing the music, I have come to love the fine poetry, strong imagery, and especially the solid doctrine regarding Father Adam, as well as the references to Eve, the mother of our gen era tions, and to the events of the Second Coming.”

Concerning the writing of the music, Darwin Wolford said: “As a composer, my first consideration was to make a melody that almost sings by itself. This hymn sounds wonderful with a choir or a congregation singing unison, with no accompaniment except perhaps the melody doubled in octaves. Unison singing really allows the singers to contemplate the meaning of the text. The music also sounds very good with the women singing in parts without the men (with or without the accompaniment).” He added, “As an organist, I wrote a setting that has a melodic bass line— one that feels good to the feet!”

The tune name, JULIE, honors the composer’s wife.