Music Notes: January 1st, 2012

Name Of Jesus Sunday

Omega and Alpha.  The end and the beginning.  This is the end of Music Notes for 2011, and it features information for the first Sunday of the new year.  Now that we are on the precipice of 2012, I cannot help but wonder whether we will all be here in a year's time.  I know it is cheesy, but it's still a thought that sneaks into the back of my mind every once in a while.  Anyway, on to the music...

This first week after Christmas at St. Paul's, we will be using the readings for Name of Jesus Sunday.  In Luke's Gospel, we pick up right where we left off on Christmas Eve/Morning, and we hear how Jesus is named and circumcised.  The music this week celebrates this act and pays homage to the glory of Jesus' name.

HYMNS AND SONGS

Let All Together Praise Our God (Opening Hymn: 9:00 AM)

Pastor Schneider was *quietly* disappointed that I did not include this hymn on either Christmas Eve or Morning.   I appeased him by pointing out that there were several other strong Austro-German hymns, and by promising we would do it on this Sunday.

Nikolaus Herman was an organist, choirmaster, hymn writer, and poet, mostly active between the years of 1520 until his death in 1560.  He was closely tied to the Reformation, and even acted as an adviser to Luther from time to time.

In reading the first stanza of Let All Together Praise Our God, it may seem inappropriate to use this hymn on any day other than Christmas Morning, but I beg to differ.  Though the translation does say "Today God opens heav'n again and sends the only Son," I don't think the word "today" has to be taken literally.  Looking at it another way, one could look upon it not necessarily in the eyes of Christmas, but that through the power of God, he opens the skies every day and sends his love down on to us.

The center of the hymn takes special care in emphasizing that though Jesus is a divine gift from God, he is still a baby, born in poverty to a lowly mother, and raised in the humblest of ways.  In the closing stanzas, we hear the reason of why Jesus was sent to us.  In exchange for our flesh and blood, he shows us the way to the shining realm of God.

In His Temple Now Behold Him (Hymn Of The Day: 9:00 AM)

One of the most loved and enjoyed Christmas hymns is "Angels From The Realm of Glory."  While we are not singing that hymn this year, this hymn is set to the same REGENT SQUARE tune.

This is a hymn that looks back on the miracle that we celebrated on Christmas Eve.  Stanza three touches on our message for this Sunday, where the baby Jesus is presented to us, so in turn he can bring us to salvation and present us to his Father.  Like many hymns in our hymnal, the concluding stanza ties Father, Son, and Holy Spirit together with a Trinitarian blessing.

Lo, How A Rose E'er Blooming (Communion Hymn: 9:00 AM)

This beautiful German chorale is appropriate during Advent, at Christmas, and during the twelve days following.  Due to the change in the style of hymn composition in the 19th century, German chorales were altered from their "rhythmic" versions, and transformed into their "isometric" versions that we know today (see the two versions of A Mighty Fortress in the ELW.  The one we are used to singing is the "isometric" one.).

Lo, How A Rose E'er Blooming is one of the few chorales that has remained in its "rhythmic" version.  This is evident by its mixed meter and syncopation throughout.  The text is based on Isaiah 6, which tells us a root will come out of the stump of Jesse, creating a beautiful fruit.  Stanza two makes direct reference to this prophesy.  The first two stanzas are the only two that are original to the carol.  In this ELW version, the closing two stanzas were composed later, but they provide a nice conclusion to the original stanzas.  Stanza four, in particular, again describes the contrast between a tiny baby born of Mary, who is to grow into the Savior of the world.

Cold December Flies Away (Communion Hymn: 9:00 AM)

Continuing from the previous hymn, Cold December Flies Away once again uses a metaphor of a flower to describe Jesus.  Jesus is the reddest flower on the blessed tree in love's own garden, which is full and strong in glory.  The bud blooms, the world awakens, and the fragrance of the flower spreads around the earth over us all.

This text and tune is an old Catalonian carol, which is a region in eastern Spain.  While it may appear deceptively difficult to sing, if taken at the correct tempo, it is a wonderfully rhythmic tune which fits beautifully with the text.

INSTRUMENTAL MUSIC

Two Settings of ES IST EIN ROS'- John Leavitt and Dennis Lovinfosse (Prelude: 9:00 AM)

These two settings of Lo, How A Rose contrast each other very nicely.  The Leavitt setting has a pastorale-esque quality, with a swinging 12/8 meter.  The tune is heard clearly in a 4' principal, singing through the middle of the accompaniment.
 
The Lovinfosse setting is extremely interesting.  In 1974, Lovinfosse wrote a set of 12 chorale preludes, each written in a style that reflected newer compositional trends throughout the 20th century.  This particular setting demonstrates two styles, minimalism and pointillism.  By carefully weaving the tune in between rests, Lovinfosse creates a composition that is very reflective of these two styles.

REGENT SQUARE (Incorporating Handel's Messiah) (Postlude: 9:00 AM)

This is a setting of the tune used for our hymn of the day combined with the chorus "For Unto Us A Child Is Born" from the Messiah.  The two tunes compliment each other very nicely.  The steady, rhythmic nature of the hymn tune contrasts with the florid, melismatic writing of the Handel chorus, creating a well-rounded, interesting piece.

That is it for 2011!  If you're coming to worship this weekend, remember there is NO 7:45 AM service. 

My oh my! What a busy time of year it is!

Hello everyone,
            Usually on Thursday afternoons, those of you who find your way to this blog usually discover the latest week's entry is available to read.  Unfortunately, this week, it seems that every time I considered writing a full blog for both Christmas Eve and Christmas Day services, I nearly collapsed into the fetal position.  With practicing, meetings to attend, practicing, practicing, bulletins to proofread, rehearsing with soloists, practicing, planning the following Sunday, and oh yes, practicing, the thought of writing two super-sized blogs explaining the origins of the 423,594,509 Christmas carols we are singing was simply too daunting of a task.  So I apologize for that.

However, I would like to give a little plug to our Christmas DAY service, which will be on Sunday morning at 10:00 AM.  This will be a beautiful service rich in wonderful music, where we will explore and sing nearly the entirety of Martin Luther's glorious Christmas hymn, "From Heaven Above To Earth I Come," as our opening hymn.

Our Hymn of the Day will actually be five hymns in one, as we explore Christmas Carols from Around the World.  We have carols from France, Sweden, China, Malawi, and Norway.  Taken together, these five verses recount the Christmas story beginning at midnight in the manger, all the way through to the joy and celebration of all the world on Christmas morning.  The offering piece will be similar, combining three global characters into one lovely organ fantasy.

While it may be tempting to stay at home and enjoy a morning of hot cocoa, pancakes, fudge, and the ferocious tearing open of boxes, I encourage you to join us at St. Paul's at 10:00 AM to experience what will surely be a beautiful morning of worship as we continue to welcome the baby Jesus into our world and our hearts.

Music Notes: December 18th, 2011

First of all, I would like to thank everyone who attended the Advent festival Wednesday evening.  It meant so much to see a full room of people, and I hope everyone left fulfilled and moved by the experience.

Fourth Sunday of Advent

This week is the final Sunday of Advent before Christmas Eve.  We are blessed to hear the wonderful story of the angel Gabriel being sent by God to the virgin Mary, announcing that she will conceive and give birth to a son, and name him Jesus.  He will be called the son of the most high, and the Lord God will give him the throne of his ancestor David, where his kingdom will have no end.

This is one of the Gospel's main turning points.  The birth of Jesus has been hinted at through prophesies throughout the Old Testament, but this is one of the first times an angel is sent directly from God to announce that Jesus is on his way, and will be brought into the world by a meek, lowly maiden.

HYMNS AND SONGS

Gospel Reading: Luke 1: 26-45- arr. John Ferguson (Gospel Reading: 7:45 AM, 9:00 AM, 11:15 AM)

What, you say?  The Gospel reading is being presented musically this week?  Why yes!  My mentor and organ teacher, John Ferguson, created this setting of the prelude to the Magnificat a few years ago, and it brings the story of the angel Gabriel meeting Mary to life like few other things have.  Set for narrator, trumpet, and organ, all three elements work with each other to create a cohesive whole.  You'll notice how the organ and trumpet both emphasize the importance of the text, particularly in the portion where the child leaps in the womb of Elizabeth.

Dr. Ferguson also composed a setting of the actual Magnificat text for choir, organ, and trumpet, but in lieu of that, the reading will transition directly to a hymn...

Canticle of the Turning (Hymn of Praise: 7:45 AM, 9:00 AM, 11:15 AM)

This text by Rory Cooney is a direct paraphrase of the Magnificat.  Otherwise known as Mary's Song, the Magnificat is the song sung by Mary after being told by Elizabeth that both she and the fruit of her womb have been blessed by God.  It is one of the most widely used texts throughout music history.  J.S. Bach, Antonio Vivaldi, Heinrich Schuetz, and countless others have created settings of this text, ranging in length from three minutes to over an hour.

The rhyme scheme of Cooney's setting is outstanding.  I think the best way to describe it is AABCCB.  For example, the first two lines, "My soul cries OUT with a joyful SHOUT, that the God of my heart is GREAT.  And my spirit SINGS of the wondrous THINGS, that you bring to the ones who WAIT," show just how complex the rhyme scheme is and how brilliant of a setting we have.

Musically, it is set to a version of a traditional Irish folk tune.  Here called STAR OF COUNTY DOWN, it is derived from the same tune as the more widely used tune KINGSFOLD (see ELW 251, coincidentally, also a setting of the Magnificat).  Though there are several minute differences between the tunes, the main difference is the addition of a refrain in the hymn we sing on Sunday.

The Angel Gabriel From Heaven Came (Hymn of the Day: 7:45 AM, 9:00 AM)

Unfortunately, the hymnal contents dedicated to the angel Gabriel are far too limited, but luckily, one of the only hymns dedicated to the angel himself happens to be one of the finest moldings of text and tune in the ELW.  While I wouldn't necessarily call this a paraphrase of Luke 1: 26-45, it follows a similar pattern and creates a beautiful narrative.

In stanza one, Gabriel is described vividly as having "wings as drifted snow" and "eyes as flame."  Stanza one concludes with Gabriel introducing himself to Mary.  Stanza two picks up right where one left off, concluding with the great proclamation that her son shall in fact be Emmanuel.

Stanza three switches the emphasis to Mary herself.  Astounded by this news, she bows her head and accepts this responsibility, while also pledging her allegiance to God forever.  The concluding stanza foreshadows Christmas Eve, the wonderful time when we will celebrate the coming of Mary's son.  At the announcement of the birth, Christians throughout the world should always remember the mother Mary.

The tune accompanying this beautiful text is an old dance carol from the Basque region of southern France.  Though traditionally very dance like in character, I believe that a more modest, reverent rendition is more appropriate for this text.

Savior Of The Nations Come (Communion Hymn: 7:45 AM, Closing Hymn: 9:00 AM)

 This is a mystical, magical Advent text.  Though widely known throughout many hymnals, the ELW version is the only one I am aware of that contains several stanzas by Martin Luther.  The translation is slightly altered as well.  Many of the standard ideas and representations of Jesus as both human and divine are present in these stanzas.  Stanza two, for instance, tells us that Jesus was born not from flesh, but from the mystic breath of God.  Stanza three echoes the sentiment, describing Jesus as "very God and Mary's son..."  Stanza five again foreshadows Christmas, looking forward to the manger, shining bright with the newborn light of Jesus.  The concluding stanza is a trinitarian doxology, binding God, Jesus, and Holy Spirit in one.

INSTRUMENTAL MUSIC

Nun komm, der Heiden Heiland (Prelude and Postlude- 7:45 AM, 9:00 AM)

The prelude and postlude this week are two settings of the chorale from Savior of the Nations Come.

The prelude, by William Albright, may seem quite shocking at first.  Chord clusters accentuate behind a statement of the chorale in a pedal reed.  Where this piece shines is in its structure and how that relates to the Advent season.  In between each line of the chorale there is a period where the manuals sound by themselves.  The length of these interludes decreases as the piece goes on, which represents the Advent season progressing as we get closer and closer to Christmas Eve.  Also important to note is the ending.  The final line of the choral is played, but then stops on the penultimate note of the tune, creating a sense of incompleteness. This creates an especially dramatic Advent picture.

The postlude, composed by Hugo Distler, is one portion of a larger group of chorales.  The tune is partially presented in the left hand of the organ, while the right hand is playing florid counterpoint, supported by the bass notes playing harmony.

Music Notes: December 11th, 2011

3rd Sunday of Advent


Another week of Advent, and we are one more week closer to the return of our Savior to the world.  In our Gospel reading this week, John the Baptist is introduced to us.  His motives of administering baptisms are questioned since he is neither the coming Christ nor a prophet.  He references the coming of Christ by saying, "I baptize with water; but among you stands one whom you do not know, even he who comes after me, the thong of whose sandal I am not worthy to untie." (John 1: 25-27)

HYMNS AND SONGS

All Earth Is Hopeful (Opening hymn: 7:45 AM, 9:00 AM)

This lovely Latin-American tune is actually one of my  personal favorites in the hymnal.  The translation by Madeleine Marshall (not to be confused with the former Juilliard professional who wrote the "Singers Manual of English Diction), is very faithful to the original text by Alberto Taule.  Taule, who passed away in 2007, was a Spanish-born theologan,  pastor, and composer, who wrote many works for organ and choir, as well as many hymns.  Toda la Tierra (translated as "All the earth") is easily his most well known among English-speaking worshipers, and for good reason.

The four verses contain many biblical references.  Stanza two tells us "a virgin mother will bear Emmanuel" (Isaiah 7:14), and a few words later, we hear the meaning of Emmanuel, "God with us," and tells us that he will restore hope and courage to the earth.  In stanza three, we hear from Isaiah again, specifically Isaiah 40:4, where the mountains and valleys will be made low.  The final stanza mentions that though Jesus' life began 2000+ years ago as a baby in a crib, we now can see him in our world, our neighbors, and our friends, and that he is always present and always sets us free.

People Look East (Hymn of the Day: 7:45 AM, 9:00 AM, Praise Song: 11:15 AM)

Eleanor Farjeon's lovely poem of anticipation is set here to a Renaissance French carol.  Each stanza is wonderfully structured within itself.  In stanza one, we prepare the way for Jesus by preparing our houses and setting the tables.  Who are we doing this for?  "Love, the guest..." the closing line in stanza one.

The second stanza begins with a bare earth with one seed planted.  This seed is nourished by our strength, and over time, the flower grows and blooms.  This flower?  "Love, the rose..."

Stanza three is all about stars, one star in particular.  As the night continues to grow darker, one star emerges to shine ever brighter, with all the power of the sun and moon put together.  What could illumine with such brightness?  "Love, the star..."

In the closing stanza, the imagery vanishes and we hear directly about the coming Christ.  Once again, Isaiah 40 is referenced (Set every peak and valley humming), and we await, "Love, the Lord."

Drawn To The Light (Communion hymn: 9:00 AM, Opening song- 11:15 AM)

One of the most important themes of this Sunday is the idea of the Light of Christ enveloping the world.  This hymn by John Ylvisaker is all about us being drawn into the light of Christ.  The light is what differentiates the good from the bad, the heaven from the hell, and the morning from the night.

Christ, Be Our Light (Communion hymn: 9:00 AM, 11:15 AM)

This modern hymn by Bernadette Farrell is one of the most exquisite gifts that the ELW has given us.  This hymn was largely unknown before the publication of the ELW, despite being written in 1993.  Much like Ylvisaker's hymn, its refrain calls upon the light of Christ to shine through the darkness, and into our church where we all are gathered.

The stanzas are a whole different animal, discussing some of the current problems and issues in the world, and how the light of Christ continually helps with them.  When each verse gets to its second half, the music changes as well.  The bleak E minor that is underneath all of the gloom in the world is replaced by a much more hopeful G major for the second half of each stanza and the refrain.

INSTRUMENTAL MUSIC


Piano Sonata, op. 110, I. Moderato cantabile molto espressivo- Ludwig van Beethoven (Prelude: 7:45 AM, 9:00 AM)

Ludwig van Beethoven is arguably one of the greatest composers to ever live, and his 32 piano sonatas, even more than his 9 symphonies, are beautifully representative of the way his style evolved throughout his career.

The Piano Sonata, op. 110, is the middle of the three "late" sonatas of Beethoven, op. 109, 110, and 111.  These three pieces are so revolutionary and forward-thinking in nature... they are just unbelievably ahead of their time.  The emotions that travel through each work are drastically contrasting... one minute it seems like Beethoven is borderline suicidal, and the next, he doesn't seem like he could be more at peace with himself, despite all of his frustrations.

I believe the opening movement of op. 110 is very indicative of the spirit of Advent.  The movement never really arrives anywhere.  Though its sonata form is rather straightforward, but it certainly isn't self evident.  Upon closer examination, however, the movement is surprisingly simple.  Still, the sense of anticipation and longing is evident.

Dance on BECANSON- Wayne Wold (Postlude- 7:45 AM, 9:00 AM)


This organ piece by prolific composer Wayne Wold takes the tune from People Look East, and sets it as a dance between two voices on the organ.  The tune travels through several different key areas and frequently switches voices as it nears the end.





 

Music Notes: December 4th, 2011

I would first like to apologize for my late entry this week.  On Thursday and Friday, Stephanie and I were in Minnesota, where we attended the St. Olaf Christmas Festival, spent some time at Mall of America, and went to visit my mom.

If you are not going to Christmas With Wartburg on Sunday, I would highly recommend you attend a simulcast of the Christmas Festival.  Unfortunately, the closest venue is in Iowa City, but I think it would be worth the drive.  More information can be found here.  http://www.stolaf.edu/simulcast/#

The journey through Advent continues this Sunday at St. Paul's.  Through both Isaiah and the Gospel of Mark, we hear two very important messages of Advent.  Isaiah tells us that every valley should be exalted, every mountain made low, the rough places plain, and the crooked straight, and both prophets tell us to prepare the way of the Lord, for he is coming soon.

HYMNS AND SONGS


Comfort, Comfort Now My People (Opening Hymn- 7:45 AM, 9:00 AM, Scripture Song- 11:15 AM)

These three stanzas are a direct paraphrase of the first verses of Isaiah 40.  We are singing this text at both of our services this week, but using two different tunes.  The 7:45 AM/9:00 AM tune is a Renaissance dance from the mid-16th century known as FREU DICH SEHR.  Like most dance-like melodies of the period, it is not set in a standard meter, but rather it can be thought of in groups of two and three quarter notes.  For example, the first line is 3+3+2+2+2 done twice.  Essentially it is twelve total beats, divided down the middle into two groups of three and three groups of two, respectively.  For conducting purposes, it can best be divided into a 6/8 bar plus a 3/4 bar.  Despite this all sounding very technical and possibly confusing, the tune itself is very singable.  As you sing, let it be light, energetic, and rhythmic.

Prepare the Royal Highway (Hymn of the Day- 7:45 AM, 9:00 AM, Offering Song- 11:15 AM)

This is yet another hymn that we will be using at both services, but this time, it will be the same tune, a 17th century Swedish folk tune.  Like the first hymn, this is a paraphrase direct from our scriptures of the day, both Isaiah and the Gospel of Mark.  The scripture itself is made reference to at the conclusion of stanza one, "...foretold in sacred story."

While this hymn is traditionally heard at Advent, it is also appropriate for Palm Sunday.  The "arrival of Christ" text is generalized enough that it is appropriate for both occasions, particularly with stanza two, "Palm branches strew before him! Spread garments! Shout and sing!"

On Jordan's Bank the Baptist's Cry (Communion Hymn- 7:45 AM, Closing Hymn- 9:00 AM)

I feel that one of the more overlooked figures in the Advent story is John the Baptist.  After all, he was the one that announced that Jesus was on his way, and he also recognized the young baby when he was brought to the temple by Mary and Jesus.        

This hymn is all about John the Baptist's announcement that the Lord is coming.  Stanza two, once again references the prophet Isaiah, "Make straight the way for God within."  Stanza three mentions what the world would be like if Christ would not come, and stanza four touches on a very important theme of Advent... the light of Christ enveloping the world.  The concluding stanza delivers a trinitarian doxology.

INSTRUMENTAL MUSIC

FREU DICH SEHR- Gerald Near (Prelude- 7:45 AM, 9:00 AM)

Gerald Near's setting of this Renaissance dance maintains the dance-like quality of the tune, but stretches the chorale itself out a little further.  Statements of each phrase are separated by sixteenth note imitations, usually starting in the right hand.  

Improvisation on Prepare the Royal Highway (Postlude- 7:45 AM, 9:00 AM)

While I was planning on preparing Paul Manz's setting of this chorale, I decided just today (Saturday) that our organ couldn't quite handle the setting, so instead I will improvise on this great Swedish tune.  Due to the structure, harmonies, and rhythm of the tune, it lends itself very nicely to improvisation.

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Once again, I apologize for both the lateness and shortness of this article.  Stay tuned next week for a special edition of Music Notes, featuring information on the choral-led Advent Festival, this year titled "Shine In Our Hearts, Lord Jesus."

Music Notes: November 27th, 2011

The new liturgical year starts this weekend with the first Sunday of Advent.  Not only do we begin our journey towards Christmas Eve and the birth of Christ, but we also embark on a new series of readings, which allow for new possibilities of music and exploration of other areas of the hymnal.

As a new liturgical year begins, I'd also like to announce a slight change I will be making to Music Notes.  Due to time, resources, and effort required, I will no longer be including every piece of 11:15 AM service music in Music Notes.  While currently, the majority of the content of this blog ends up being for the 9:00 AM service, I actually spend the majority of time on researching, writing, and learning more about the 11:15 AM music.  While it is a worthwhile endeavor for me, I don't feel like it is a completely efficient use of my time when I spend hours researching it only to yield a paragraph of info that is shorter than this current paragraph.  So unless there is a piece that I feel that I can really write something worthwhile and profound on, I will be omitting the majority of them from this point forward.

I want to emphasize that in absolutely no way do I consider that music to be "below" any of the music at the 9:00 AM service.  It is simply a decision based on two things.  First, my knowledge of that repertoire is more limited than that of the traditional hymnal, and secondly, being written more recently, there simply isn't as much interesting history, tidbits, or fun facts to be found about them.  In general, the music is more easily understandable and more straightforward, requiring less explanation from me.

I would love to hear your feedback on this.  If there is enough negative feedback from this decision, I would be more than happy to begin including them again.

HYMNS AND SONGS

The King Shall Come (Opening Hymn- 7:45 AM, 9:00 AM)

This first hymn of the Advent season certainly looks forward to the coming of Christ, but also references the previous week's celebration of Christ The King Sunday.  In a sense, this hymn both looks forward and looks back.  Christ isn't just the King of Kings on one Sunday of the year, it is celebrated every Sunday, whether we are awaiting the coming or are celebrating his baptism, arrival, or resurrection.

The King Shall Come foreshadows all of the major events in Christ's life, while still remaining relevant with its closing line, "Come quickly, King of kings."  Its tune, CONSOLATION, is an early-American hymn tune from the Kentucky Harmony tune book, published in 1816.  While "Sacred Harp" is generally considered the most well known shape note song book, Kentucky Harmony was the first major one to be published, including over 140 tunes, most of which were in four part shape note style.

Rejoice, Rejoice Believers (Hymn of the Day- 7:45 AM, 9:00 AM)

This hymn is based largely on the Parable of the 10 Virgins from Matthew 25.  In the parable, 10 women go out to await the arrival of the bride groom.  They all bring their lamps, but only five of them bring oil for them.  When the bride groom approaches, the five with no oil ask to borrow from the five that did, but there was not enough for both.  As the five with no oil scampered off to try and find some, the bride groom arrived, entered the party with the five who brought oil, and shut the door.  When the other five had returned, they were denied entrance to the party.

Where the five virgins with oil were prepared for the arrival of the bride groom, we should also be prepared for the arrival of Christ in the church and in our lives.  The advent connection of this lovely hymn is made in stanza four, "Our hope and expectation, O Jesus, now appear; arise, O Sun so longed for, o'er this benighted sphere."

The tune is a traditional Swedish folk tune, in a familar AABA format, meaning lines one, two, and four are identical musically, with only the third line leading to a secondary dominant and half cadence.

My Lord, What a Morning (Communion Hymn- 9:00 AM)

For the celebration of Eucharist today, I've created a little triptych of hymns about light.  Light is an extremely important element of the Advent season.  This first selection is all about the dawn.  This African-American spiritual preaches the rising of a sun over a new and glorious future.  The "nations underground" of course refer to all the slaves who were in desperate need for the sun to rise in their life.

Light Dawns on a Weary World (Communion Hymn- 9:00 AM)

As the sun rises, we feel the promised day of justice, the feast of plenty, and the green of Eden come into our world.  This entire hymn describes the coming alive of nature, and our reactions to the light coming forth to the world.  Mary Louise Bringle, professor of philosophy and religious studies at Brevard college, penned this hymn in 2002.  It is a wonderful example of a modern day hymn packed with theology, imagery, and a beautiful Advent message.

Christ, Be Our Light (Communion Hymn- 9:00 AM)

The third element of this Triptych is similar to the second.  The primary difference is that "Christ, Be Our Light" is, as evident by its title, Christ-centered.  On this first Sunday of Advent, our world is in darkness.  We are waiting for truth, peace, and hope in the world.  We are waiting for the glorious light of Christ to approach us and eventually arrive on Christmas morning.  The first four stanzas of this hymn all follow the same formula.  We are longing for something, and we then learn how the coming of Christ will deliver it.  The final stanza puts the focus back on us, being servants to each other in the example of Christ's teaching, and let it be a sign of the kingdom to come.

Hark! A Thrilling Voice Is Sounding (Closing Hymn- 7:45 AM)

The translation of this ancient 17th century Latin hymn is set in the voice of the people, hearing a voice delivering the Advent message of Christ's coming.  In stanza two, we once again see a reference to Christ as the sun, dawning over the world and shining upon the morning skies.  In stanza three, we see a source to our confession of sins, as Christ comes from heaven with pardon and we flock for forgiveness.  The hymn concludes with a doxological trinitarian statement, uniting Father, Son, and Holy Spirit.

INSTRUMENTAL MUSIC

Benedictus- Alec Rowley (Prelude- 7:45 AM, 9:00 AM)

This expansive organ piece by English choirmaster Alec Rowley is mainly harmonically based, featuring a rising harmonic progression through a wide variety of keys.  Beginning in E major, it quickly moves to G major, repeating the sequence.  As the piece unfolds, the organ opens up to a glorious climax, finally settling in C major with the "melody" (really just a set of broken arpeggios), voiced differently in the lower krummhorn.  The piece concludes with a characteristic bVI, bVII, I progression, characteristic of the English school of composition (if you're curious, I'll explain what that means later!). 

Entrada on Rejoice, Rejoice Believers- David Lasky (Postlude- 7:45 AM, 9:00 AM)

This brief piece is based on the Swedish folk tune from our hymn of the day.  Surrounding a rather straightforward statement of the tune is a joyous trumpet fanfare, often stretching to some unusual, far-reaching key areas.  Some of those progressions will be implemented into my organ introduction to the hymn as well.

CHORAL ANTHEM

Keep Your Lamps- arr. André Thomas (Offering- 9:00 AM)

Dr. Thomas is Director of Choral Activities at Florida State University, and is a well known composer and arranger of African-American spirituals.  His setting of Keep Your Lamps is one of his most popular, and is based upon the Gospel of Matthew 25:1-13.  The middle section, "Children don't be weary, 'till your work is done," of course references the ten virgins, who end up sleeping during the time prior to the arrival of the bridegroom.  The second verse, "Christian journey soon be over, the time is drawin' nigh" connects us once again to Advent and the eventual coming of Christ.

Music Notes: November 23rd, 2011

Thanksgiving Eve

Welcome to a special edition of Music Notes!  Our Thanksgiving Eve service is this evening, and it is chock full of wonderful, praise-filled music that deserved its own entry this week.

HYMNS AND SONGS

Litany Of The Saints (Opening Processional)

This Litany essentially combines many facets of what you would find in a traditional liturgy.  The first line contains the framework for the Kyrie, which is normally sung to open the service.  Basic principles of the Old and New Testaments are covered, as is the birth and life of Christ, the Creed, and the principles of baptism, which we are celebrating tonight.  The entire litany is sung in a call and response style, with the congregation responding to the petitions of the cantor.

Now Thank We All Our God (Opening Hymn)

Few hymns identify with Thanksgiving more than this timeless text, with a translation by Catherine Winkworth.  In Germany, it is actually the national song of thanksgiving, and the very first line (in its original language) is one of the most easily deciphered by a non-German speaking crowd... "Nun Danket alle Gott, mit Herzen, Mund, und Händen (Now thank we all our God, with hearts and hands and voices)."  The first line of stanza two feels like a wonderful table grace, and stanza three, like many other theology-packed hymns, contains a Trinitarian reference. 

The tune, originally attributed to Johann Cruger, has been used in a variety of ways since the 17th century.  Its original version can be seen by looking at ELW 839, and was used in a similar form by J.S. Bach in at least two of his cantatas.  In 1840, Felix Mendelssohn established the now common harmonization of the tune when he included it in his Symphony No. 2.

O Day Full Of Grace

This beautiful Scandinavian hymn has a special place in my heart, especially the alternate text we are singing tonight.  The entire hymn depicts the creation, blossoming, and flourishing of the world.  The stanza one line, "Bring light from our God that we may be abundant with joy this season" is a beautiful testament to Thanksgiving.

Stanza two begins the true narrative of the story.  Never before in text or tune has a sunrise been so beautifully depicted.  This sunrise is, of course, the light brought to us thanks to the birth of Christ ("...when God in our flesh was given").  Christ brightened the dawn with light and power, spread over the darkest heavens, rose over the world, and drove all the gloom from our hearts.

The world bursts into life in stanzas three and four.  Trees, birds, and all of nature bursts into song, celebrating the wonderful bounty we have all been blessed with.

Beautiful Savior (Communion Hymn)

This Silesian folk tune is another that is much loved among Lutherans, especially in this part of the country, where Lutheran college grads spent four years and countless alumni gatherings singing F. Melius Christiansen's lovely setting. 

The region of Silesia no longer exists, but most of it is occupied by what is now Poland.  Unfortunately, there is little information on the origin of this hymn, nor who first translated it into English.  The structure is symmetrical in that the interior and exterior stanzas are hymns of praise to the creator, and the interior stanzas proclaim said creation, by describing the meadows, woodlands, stars, and tying them to Jesus, who is said to shine fairer and brighter than all of these things.

For The Fruit Of All Creation (Communion Hymn)

Fred Pratt Green's lovely 20th century hymn is a beautiful example of a hymn of thanksgiving.  The first and third stanzas both use the conclusion, "Thanks be to God," as a conclusion to each petition.  The conclusion of the final stanza is one of the more profound, thought provoking phrases in the hymnal... "For the wonders that astound us, for the truths that still confound us, most of all, that love has found us, thanks be to God." 

Let All Things Now Living (Communion Hymn)

Concluding our triptych of Thanksgiving Folk tunes is ASH GROVE, the tune made famous by Benjamin Britten.  It is interesting that such a joyful, cheerful hymn tune was once set to the poem of a man visiting his recently deceased wife's grave.

This text by Katherine Davis is anything but sad.  This is a joyful hymn of thanks, again, to the creator of all things.  God fashioned, made, and protected us, and still guides us to this day.  Stanza one also contains several Biblical references, including a reference to the pillar of fire in Exodus 12, guiding us along our way.  Our Thanksgiving service concludes with the line, "...with glad adoration a song let us raise 'till all things now living unite in Thanksgiving to God in the highest hosanna and praise!"

INSTRUMENTAL MUSIC

SCHÖNSTER HERR JESU- Gerre Hancock

The title of this arrangement of Beautiful Savior is the German word of the first line of the hymn, "Fairest Lord Jesus."  The organ setting is in two sections with a coda.  Each section begins with a rising and descending dissonant figure, followed by two full statements of the tune.  The first statement is more straightforward, soloed out with a running accompaniment, while the second setting is fuller, with mixtures, reeds, and grows to the coda.  The pieces concludes where it starts, with the first two bars of the tune being stated in the pedal.

Gerre Hancock is one of the most respected and well-known improvisers on the organ in the country.  His compositional output is quite large, and is one of the leaders of the 20th century evolution of the hymn festival.

N.B.- Unless I can change it in time, I believe the title of this piece in the bulletin is an error.  It may be listed as "Herzliebster Jesu," which actually references the hymn "Ah, Holy Jesus."  Management regrets this error.  :)  I got my German adjectives twisted around. 

Toccata on NUN DANKET ALLE GOTT- Egil Hovland

This is one of Norwegian composer Egil Hovland's most boisterous, energetic pieces.  The tune of "Now Thank We All Our God" in canon between the very top voice and the pedal, surrounded by a complex series of arpeggios and chordal flourishes.  The piece grows to a sometimes dissonant, but always glorious conclusion.

I sincerely hope you enjoy and are fulfilled by our Thanksgiving Eve service today.  Stay tuned for this week's normal edition of Music Notes some time Friday as we begin the liturgical year by celebrating Advent.

 

Music Notes: November 20th, 2011

Christ The King Sunday

This is the final Sunday of the Liturgical Year.  The Reign of Christ is celebrated and he is crowned the King of all glory.  The Kingship of Jesus is referenced at several points in the Bible (1 Timothy 1:17, John 1:49, Matthew 27:11, Revelation 1:5), and the feat of Christ the King generally serves as a close of the liturgical year across all major western denominations of Christianity.

The amount of music that is appropriate for Christ the King is extremely large and varied.  I have spent a lot of my first fall here at St. Paul's doing some "innovative" (ie. risky) things, and they have been, for the most part, very well received.  For Christ the King Sunday this year, I have decided to pretty much do all the old standards that have been around for years, with hopefully a new, exciting spin on them.

HYMNS AND SONGS

Crown Him With Many Crowns (Opening Hymn: 7:45 AM, 9:00 AM)

When most people think of hymnody for Christ the King Sunday, this is most likely the first one that pops into people's minds.  Initially, this hymn was a collaboration between two English poets, Matthew Bridges, and Godfrey Thring.  The collaboration was not direct, but rather Thring wrote his stanzas in response to Bridges', fearing that Bridges' stanzas may have been viewed as too Catholic (the evidence of Catholic doctrine is rather noticeable, particularly in ELW stanza two, which has been slightly altered from the original version).  In our five stanza ELW version, only stanza four is Thring's... the rest are Bridges' original version, slightly altered.

The tune, by English composer George Elvey, was composed to accompany this specific text.  The closing three lines of this five line tune contain one of the most glorious, upward sequences in the hymnal repertoire, climaxing on the high D at the start of the last line.

Several stanzas of the hymn almost make commentaries on other Biblical moments, and show how those situations are either impacted by Christ's Kingdom, or how they would react to them.  A reference to the "root sprouting from the stump of Jesse" is hinted at in stanza two.  Stanza three discusses the angels in the sky being overwhelmed with the amazing royal power of Christ.  Could these angels be the same ones that danced and sang "Holy, holy, holy" in Isaiah 6?  Stanza four references the resurrection and how it leads to the Kingdom.

Oh... stanza five.  One of my favorite stanzas in all of hymnody, this is.  From the "potentate of time" (referring to the most powerful being to exist past, present, and future), to the "creator of the rolling spheres," (the universe), it is the definition of creative use of language.

This hymn will be accompanied by our wonderful St. Paul's Brass Quartet, as well as the Bells of Praise.

Lo, He Comes With Clouds Descending (Hymn of the Day: 9:00 AM)

The may be the least known hymn we are doing this morning, especially inside of our four walls. (Methodists sing this every year!).  Charles Wesley is certainly the father of Methodist hymnody, though of all of his hymns, this is one that can certainly break down any and all denominational barriers.

Stanza one is representative of the coronation itself.  All the saints that have come and gone before and after join in a refrain of "Alleluia!  Christ the Lord returns to reign!"  Stanza two is referencing the second coming, and the redemption and healing that accompanies it.  "All the saints this world rejected" I feel is a line that could be easily misinterpreted.  I think that "this world" is the subject of the sentence, and it refers to the world of sin and Satan.  It could be re-stated as "This (is the) world (of sin) that (was) rejected (by) all the saints."   It is open to interpretation, however, so I'd be interested in hearing any others.

Stanza three, while not doxological or Trinitarian in nature, certainly has that same feeling, ending with the emphatic statement of faith, "Thou shalt reign and thou alone."

At The Name of Jesus  (Hymn of the Day- 7:45 AM, Communion Hymn- 9:00 AM)

This is a very interesting hymn of praise.  On one hand, the text is a rather straight forward poem where we worship and bow in adoration of the King.  Stanza two touches on birth, and three touches on the suffering and death.

Of primary interest here is the tune.  KING'S WESTON, by British composer Ralph Vaughan Williams, is one of the most under-utilized and under-appreciated hymn tunes in the repertoire.  I find it amazing that a hymn of praise and adoration can be so effective with a tune cast in the minor mode.  More specifically, the tune is in the Dorian mode, which means a minor scale with the sixth scale degree raised (as evident by the B-natural at the end of the third line).

All Hail The Power of Jesus' Name (Communion Hymn- 7:45 AM, 9:00 AM)

When you open the hymnal and look at this on paper, you may be surprised at how little content there actually is.  With only two lines in each stanza, the entire hymn is composed of twelve lines.  Much like the closing stanza of Crown Him With Many Crowns, the language of this hymn is extremely elevated and colorful.  Here's a little dictionary...

Prostrate- standing or bowing in awe, adoration, or worship
Diadem- a crown or royal title
Terrestrial ball- referring to the Earth

Contrasting from KINGS WESTON, this tune, CORONATION, is as triumphant and joyful as they come.

Lord, Reign In Me (Opening Song- 11:15 AM)

A couple of our songs at 11:15 AM this week are songs that we have done in weeks past.  We did Brenton Brown's wonderful song, Lord, Reign in Me, a couple of weeks ago.  Just as Christ's physical reign is celebrated here on Christ the King, this song speaks of Jesus reigning over all our lives in edition to that of the earth.

Soon and Very Soon (Praise Song- 11:15 AM)

As far as African American spirituals go, this is one of the most joyful and emphatic ones there is.  Many spirituals come from a very dark place.  The trials and tribulations of the people led to a lot of turmoil and apparent hopefulness in their songs.  Underneath all of that pain though, there is always some type of hope or alleluia. 

This song, musically, is extremely joyful, though in the words, there is still the reminder of what is being dealt with on earth.  The spiritual proclaims that there will be no more crying or dying, and it's only a matter of time before we all head off to meet the King.

Open Our Eyes, Lord (Scripture Song: 11:15 AM)

A few weeks when we did this song, we did it a little more uptempo.  This week, we'll do it as I believe it was intended from the beginning, as more of a ballad.

He Is Exalted (Communion Song: 11:15 AM)

The repetitive, simple nature of this Twila Paris song is perfect for during Communion.  "He is exalted, the King is exalted on high," pretty much sums up the message this Sunday in one succinct sentence.

Majesty (Sending Song: 11:15 AM)

"Jesus who died, now glorified, King of all Kings!" 

Again, this pretty much sums up the message of this Sunday right here.  It's also a celebration of yet another liturgical year ending.  There are so many stories and so much theology that we learn about each year, some of it annual, more of it unfamiliar.  We can take the opportunity to use this wonderful Gospel song as a chance to rejoice that the year is ending and another Advent is nearly upon us.

CHORAL ANTHEM

Climb To The Top of the Highest Mountain (Offering: 9:00 AM)

One thing that is really being emphasized on this Christ the King Sunday from our Gospel reading is Jesus, in his role as King, is also the Good Shepherd, guiding his flock through all the trials and tribulations.  A line at the end of this anthem demonstrates that, "He will feed his flock like a shepherd.  He will carry the lamb in his arm."  This lovely piece by Carolyn Jennings is mostly used during the Advent season (it will be in the Advent festival on the 14th), but I feel it is equally appropriate on this Christ the King Sunday as well.

INSTRUMENTAL MUSIC

Crown Him With Many Crowns- arr. Cathy Moklebust (Prelude- 7:45 AM, 9:00 AM)

This arrangement for the Bells of Praise uses a lot of extended techniques.  It is book ended by sections with a lot of rhythmic excitement and harmonic modulations, augmented by martellato techniques in the bells.  They surround two playthroughs of the tune DIADEMATA, the first of which is rather straightforward, and the second being very elaborate and augmented with a running bass line, and triplet rhythms.

Toccata on CORONATION- Tim Fields (Postlude- 7:45 AM, 9:00 AM)

This expansive toccata is the finale to Tim Fields' Suite on the hymn All Hail the Power of Jesus' Name.  Like most modern day toccatas, it contains rapid 16th note figurations in the hands with the tune being presented in the pedal.

And thus ends another Liturgical year.  Next week we start the first Sunday of Advent, and we'll have a whole new section of the hymnal to explore!  This is a big December for us, and I'm really looking forward to it.  In addition, next week we will have our mid-week Thanksgiving service, so look for a special edition blog detailing that service as well.

Music Notes: November 13th, 2011

First of all, I wanted to say a big thank you to the congregation of St. Paul's for all the wonderful feedback I've received for the last two weeks.  The Chancel Choir has worked extremely hard these last two weeks on their music, and it is wonderful for them and me to hear that all the work they put in is enhancing worship.

23rd Sunday After Pentecost

This Sunday, we hear the parable of the talents from Matthew 25.  A wealthy landowner leaves three of his servants each with different values of money, one with 5 talents (a large unit of money/property), one with 2, and one with just 1.  Upon his return, he learns that the servants with which whom he has left the 5 and 2 talents have taken that money and doubled it, whereas the person with just the 1 talent had taken and buried it, gaining nothing.  The first two servants were rewarded, and the third was punished.

Through this parable, we are called to use our gifts from God in ways that will benefit us and the world.  They should not be frittered away or wasted.

HYMNS AND SONGS

Voices Raised To You (Opening Hymn- 9:00 AM)

This hymn by widely-known 20th century poet Herman Stuempfle takes the using of our times and talents and puts them into a Trinitarian perspective.  Stanza one serves as an introduction, tuning our voices to sing songs of praise to God as thanks for all of our gifts.

Stanzas two through four comprise the Trinitarian message of this hymn.  Following the standard pattern of Father-Son-Holy spirit, each stanza represents the gifts that each of these elements gives us, and the ways that we can take those gifts and use them to give back.

Stanza five begins with a question, "How can any praise we offer measure all the thanks we owe?"  It's a fair question.  The gifts we have been given are so grand in scale, that it may seem that there is nothing we can do to ever express our gratefulness for them.  As the hymn concludes, the song of praise we have just sung is one of those examples of thanks.

As Saints of Old (Opening Hymn: 7:45 AM, Communion Hymn: 9:00 AM)

By the title of this hymn, it seems like this may have been a more appropriate choice on All Saints Sunday last week.  As stanza one unfolds however, we see that it's really a reflection on how the gifts given in the past can be teaching tools for how we can use our gifts today, whether they come from "farm, market, shop, home, mind, heart, or soul."

Stanzas two and three continue in this same mold.  I think stanza three as a whole says it all...

"In gratitude and humble trust we bring our best today to serve your cause and share your love with all along life's way.  O God, who gave yourself to us in Jesus Christ your Son, teach us to give ourselves each day until life's work is done."

Lord Of Light (Hymn of the Day: 7:45 AM, 9:00 AM)

By now, we should be starting to see a theme in our music today.  Once again, this lovely hymn by Howell Lewis discusses ways in which we can share our God-given gifts with God and the world at large.

Different than before however, this hymn is more of a prayer for God to give us the power to use the talents he has given us.  It is a bit of a long path through the logic and theology of it, but at the same time, the message is clear.  Line two of stanza one lays it out quite concisely, "...use our talents in your kingdom as the servants of your grace."   

Stanzas three and four depart slightly from the "using of gifts" message to something a little more abstract.  Stanza four, in fact, is a giant sentence explaining reasons that the will of God be done on earth, as it says in the refrain.

Let Us Talents and Tongues Employ (Communion Hymn: 9:00 AM)

This fun hymn by Fred Kaan, set to a traditional Jamaican folk tune, puts the sharing of our gifts in the context of communion.  Stanzas two and three are where the meat of the message is.  At the Eucharist table, he teaches us to live, bless, and love in word and deed, to send us out into the world.  Even though the world can be full of doubt and worry, Jesus gives us love to tell, read to share, and the power to spread the love and grace of God everywhere.

Lord, Speak To Us, That We May Speak (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)

Frances Havergal is a well-known hymn writer from the mid 19th century.  While she might be most known for the hymn "Take My Life and Let It Be (a version of which is being sung at the 11:15 AM service this Sunday)."

The tune, credited to Robert Schumann, is actually derived from a piano piece.  After a long and complex set of variations, this chorale leads to a gentle conclusion to the piece.  With its singable melody and accessible, yet interesting, harmony, it adapts itself beautifully as a hymn tune.

When The Poor Ones (Opening Song: 11:15 AM)

Through all the trouble in the world, there is comfort.  After all the war in the world, there can be peace.  With all the hatred in the world, there can be love abounding.  Through it all, God is constantly watching over us.  That's what this song is all about.  Set to a Latin American folk tune that is somewhat challenging but still singable, it reminds us that God is certainly omniscient and omnipresent.

Take My Life That I May Be (Praise Song: 11:15 AM)

As mentioned earlier, Frances Havergal penned this hymn in the 1860's, but I can't imagine that she imagined that it would ever be set to a global tune such as this.  Like much of our other music today, this hymn is all about giving our whole selves to God so that he can give us the gifts to do his will.

Make Me A Servant (Scripture Song: 11:15 AM)

This gentle, eloquent tune is a direct prayer to God with a message of the day in mind.  Many hymns express the idea of God making us a servant, but none possibly do it more directly than this simple poem.

INSTRUMENTAL MUSIC

Prelude and Fugue in E minor- Johann Pachelbel (Prelude: 7:45 AM, 9:00 AM)

While Pachelbel was more prevalent in the areas of Toccatas and Ciaconnas, he had a rather large output of preludes and fugues as well.  The prelude here, in fact, is very similar in terms of harmonic progression as several of his other shorter pieces.  The fugue, while not as complex as some of J.S. Bach's later offerings, contains a nice contour with an intriguing development towards the middle section.

Toccata in F major- Johann Pachelbel (Postlude: 7:45 AM, 9:00 AM)

Most Pachelbel toccatas begin with a flourish figuration in the hands, and are followed by systematic, scalar passages over a pedal point.  This toccata is no different, but unlike most of the others, the pedal points are longer, change more often, and the scalar passagework is significantly more complex.

MUSIC RECOMMENDATIONS

Once again, the Amazon Associate links appear to be down, but hopefully they will be fixed by next week.  Christ the King Sunday will be celebrated, and there is an enormous spectrum of wonderful music associated with that Sunday. 

Music Notes: November 6th, 2011

All Saints Sunday

Following the hectic and fulfilling Reformation/Confirmation Sunday here at St. Paul's, we have another Sunday that has a great deal of liturgical significance.  The day of All Saints itself is on November 1st, and is a commemoration for all those who have reached the Promised Land of Heaven.  Traditionally, congregations gather on the Sunday following to remember and reflect on those members of the congregation that have departed.

In our Gospel reading this week, we will hear from Matthew 5, where before the Sermon on the Mount, Jesus introduces the Beatitudes, which are a series of "Blessed are... for..." statements that are a unique set of Christian ideals.  Along with the themes of All Saints, the Beatitudes will be the source of most of our music this week.

HYMNS AND SONGS 

Shall We Gather At The River (Opening hymn- 7:30 AM, 9:00 AM)

This much loved Christian hymn was composed by American song writer Robert Lowry in 1864 (Lowry is also well known for his hymn, "How Can I Keep From Singing," as well as several others).

The four stanza structure follows a clear pattern.  Stanza one asks the question, "Shall we gather at the river?" The refrain answers this question.  Stanza two describes the edge of the river, where all the people will gather together and worship "all the happy golden day."  In stanza three, we get a glimpse ahead to the future, and imagine the robe and crown we receive.  Finally in stanza four after those glorious thoughts, we come slightly back to reality looking forward, as we reflect on the knowledge that we will all soon arrive.

Please note the particularly special use of the organ during this hymn should you be joining us on Sunday morning.

Blest Are They (Hymn of the Day- 7:45 AM, 9:00 AM, Opening Song, 11:15 AM)

This modern hymn by David Haas is a direct paraphrase of the Beatitudes.  Stanzas one through four are taken directly from verses 3-9 of the Gospel lesson, but Haas puts extra emphasis on Matthew 5:11, which unlike the rest of the Beatitudes, shows Jesus almost apologizing directly to his followers, with a promise that they will receive the Kingdom of God. "Blest are you who suffer hate, all because of me.  Rejoice, be glad, yours is the kingdom, shine for all to see."

The nature of this tune, and its style, lends itself equally to both styles of worship here at St. Paul's, hence its use at both services.

Softly and Tenderly (Communion Hymn- 9:00 AM, Communion Song, 11:15 AM)

Will Thompson's much loved 19th century hymn is a direct message from us to those who have gone before us.  In the refrain, Jesus tells his followers, "Come home, come home, you who are weary, come home."  For those who have already gone, as well as those who remain, we can take comfort in the words of stanza three: "Oh, for the wonderful love he has promised, promised for you and for me.  Though we have sinned, he has mercy and pardon, pardon for you and for me."

For All The Saints (Communion Hymn- 7:45 AM, 9:00 AM)

For All The Saints was written as a processional hymn for use on the Festival of All Saints in the Anglican church in the 1860's.  Originally set to a different tune, it eventually found a home set to English composer Ralph Vaughan Williams' tune SINE NOMINE (literally "without a name").

Different than most English tunes of the time, the majority of the hymn is sung in unison, with only the interior stanzas (3-5) designated to be sung in harmony.

The interior stanzas are also where the majority of the theology starts.  The "communion" referred to at the beginning of the third stanza is the "communion of saints" that is mentioned in the Creed.  At the conclusion of the stanza, it mentions that though we struggle and they shine, we are all one in Christ.

Several stanzas are rather militaristic in nature, and stanza four is one of them.  It is not a typical war... rather it references the book of Revelation and the "war" (ie. struggle, or journey) to pass through purgatory into the valley of the saints.

Stanzas five and six are a beautiful unit.  In stanza five, those seeking rest are arriving at their destination.  Those destined to arrive are basking in the calm of the realization that they have made it.  In stanza six, there is a veritable explosion of joy and triumph, as the saints arise and the King of Glory passes.  To close, stanza seven is somewhat of a doxology, wrapping everything up as the Saints are joined with all in heaven.

Open Our Eyes, Lord (Praise Song- 11:15 AM)

This song is normally presented as a ballad, but this Sunday, we're envisioning it more as an uptempo song of praise.  We are asking for our eyes to be opened as we cross over into the promised land.

How Deep The Father's Love For Us (Scripture Song- 11:15 AM)

As we gather on this All Saints Sunday, it is important to never forget the gift that was given to us by Jesus, who in many ways is the ultimate saint.  At the end of stanza one, it even says "As wounds which mar the chosen one bring many saints to glory."  Thanks to Jesus' sacrifice, we all have the blessing of the Kingdom of Heaven waiting for us when we pass on.

Come, Bless The Lord (Offering Song- 11:15 AM)

This is John Ylvisaker's paraphrase of Psalm 34, which is traditionally the psalm sung on All Saints Sunday.  Musically, it is set to the popular and well-known English folk tune O WALY WALY, which creates a singable, memorable psalm setting.

O When The Saints Go Marching In (Closing Song- 11:15 AM)

This much loved African American spiritual was a mainstay of blues and jazz artists in the early 20th century, such as Louis Armstrong.  It also strongly ties to the Dixie style of music from Louisiana.  Like other African American spirituals, it has a very simple, accessible message, that of hoping to join the saints one day on their journey to the promised land.

CHORAL ANTHEMS

Nearer, My God, To Thee (Choral Anthem- 9:00 AM)

The title of this piece is derived from the famous hymn of the same name, along with its accompanying hymn tune, BETHANY.  Around that framework is a Latin text which accentuates and enlightens the original hymn tune text.  The Latin partially translates to "At the moment of death, my strength is from heaven."  Set in a 7/8 meter for the majority of the piece, it creates an exciting drive towards heaven, particularly on the word "Excelsior (higher)."  As the voices rise on that word, it moves us further and further to heaven.

Medley Of The Saints (Friends of the Lord- 9:00 AM)

The Friends of the Lord choir this week sings a combination of two of the more popular African American spirituals.  The tunes are "This Train Is Bound For Glory," and "Oh When The Saints Are Marching In."  The choir has learned about two musical techniques in learning this piece.  The first is "canon" where one part of the choir echoes the other as they sing.  The other is "quodlibet," where two different songs can be combined together and sung at the same time.

INSTRUMENTAL MUSIC

Psalm Prelude, op. 32 #1- Herbert Howells (Prelude- 7:45 AM, 9:00 AM)

Herbert Howells wrote six Psalm Preludes in the early 20th century.  Each expansive organ work features one verse of a psalm.  This piece is based on Psalm 34:6- "I called in my affliction, and the Lord heard me, and saved me from all my troubles."  The piece is based around one main melodic motive, which grows to an enormous climax on the organ.

MUSIC RECOMMENDATIONS

 1. Herbert Howells: The St. Paul's Service and Other Music





This is one of my favorite albums in my library.  Not only does it feature all three of Howells' Psalm Preludes, op. 32 (the first of which I am playing Sunday), but it also contains a plethora of Howell's choral music as well.

2. Nonstop - BYU Vocal Point


This CD contains the original arrangement of Nearer My God To Thee that the Chancel Choir is singing, as well as other offerings from the all male a capella group.  Vocal Point is also featured this year on NBC's show, The Sing Off.

Music Notes: October 30th, 2011

Well, here we are! Once again, Reformation Sunday is upon us! Time to assemble the brass and bells, pull out all the stops on the organ, and sing A Mighty Fortress!

What a marvelous hymn! For a long time, it was known as the “Battle Cry Of the Reformation,” despite the fact that it is now contained within virtually every denominational hymnal, even the ones that brought about the reformation to begin with. That being so, does it change its meaning now? Is it something else entirely now that it is embraced by the church universal? Maybe we don’t even need the Reformation anymore.

There are misconceptions about the Reformation as it stands today, I believe. It’s not about elevating ourselves (Lutherans) above other denominations. The Reformation was, and continues to be, a wonderful, beautiful gift, and we who celebrate it the most can certainly be held accountable to live it to the fullest in our minds, hearts, and souls.

Really, what did the Reformation do, in the long run? Sure, it created the protestant revolution, but I really believe that something would have come along eventually that would have done that very same thing anyway. I believe the Reformation broke down a lot of barriers, most notably the barrier that was “clergically” placed between us and God. Luther created the Deutsche Messe in 1526 and his German Bible in 1534 (9 and 17 years after he wrote his “Theses”), which brought the Word of God in the vernacular of the people. The Catholics didn’t figure that out until Vatican II closed in 1965! Priests and other religious leaders were no longer simply the only vehicles for a lay person to experience God. God filled the room, through every prayer and through every chorale that was so joyfully sung by the German people.

God’s word is a remarkable thing. The Reformation is built around the Word of God, and brought the Word directly to the people. From our Gospel reading this week, Jesus tells his disciples, “If you continue in my word, you are truly my disciples, and you will know the truth, and the truth will make you free.” (John 8:31-33) Continue. It’s not, “If you listen to my word,” or “If you hear my word,” it’s, “continue in my word.” Continue is certainly a much more active verb, and it is our promise to God that we all made, and that the young men and women being Confirmed this Sunday will make.

The music of the Reformation took the Word of God and placed it directly into the hearts and minds of the people. I always call the hymnal the “Bible for the church choir,” because I believe hymnody has a power that equals, and arguably, even surpasses at times, the power of scripture. They were both born from God’s word and God’s inspiration.

“A Mighty Fortress Is Our God” is a great testimony to the power of hymnody in the church. Through its words, we come even closer to continually living, breathing, and acting in the Word of God. They are words that will stick with us, and thanks be to God to know that, as the final line of the great poem says, “The kingdom is ours forever.”

HYMNS AND SONGS

A Mighty Fortress Is Our God (Opening hymn- 7:45 AM, 9:00  AM)

I have already discussed this hymn quite a bit in my opening section, but here is just a little more about it.  The words and music were composed by Martin Luther circa 1528, with the words being a paraphrase of Psalm 46 (which is our Psalm of the day for today).  While it still is intrinsically tied to the Reformation movement, it has branched out and become a much loved hymn in all denominations, as it speaks strongly to the power of God's Word and God's promises to us, and ours to God.  

In the ELW, you may notice that there are two versions of this hymn.  The one you are probably more used to singing is ELW 504, which is the isometric version created some time in the 19th century, due to the homophonic, 4-part harmony style of hymn singing that was beginning to take prominence thanks to the hymns and hymn tunes of Wesley, Watts, and others.  Luther's original version is actually ELW 503.  This "rhythmic" version was how it would have been sung from the 16th into the 18th century, in unison, usually unaccompanied, by the congregation.  While we will  not be singing it this way this Sunday unfortunately, you will hear it on the organ interpretation of stanza 3.

The arrangement you will hear including brass and handbells was composed especially for this occasion.  A special thanks goes to all those players for making that possible.

Lord Jesus, You Shall Be My Song (Hymn of the Day- 9:00 AM)

Confirmation is one of the most important steps of our journeys of faith.  Today at St. Paul's, several of our youth will be taking that step.  This hymn was chosen in honor of them.

Founded in 1931, Les Petites Soeurs (The Little Sisters) is an all-female religious congregation centered in France, which contains about 1300 members.  Its doors are always open to people searching for a place to belong, companionship, togetherness, and fellowship.  With that context in mind, it is quite easy to see how the words of this hymn were born.  As we travel through our lives, with every step we take, Jesus is right there with us.  Hopefully, these are words that the young men and women being confirmed today can take with them and hold close to them as they continue on their faith journey.

Jesus, Still Lead On (Communion Hymn- 7:45 AM, 9:00 AM)

This hymn serves an important purpose for us this week.  Not only is it specifically for our confirmands here this week, but it is in response to our final reading from the semi-continuous series of readings.  After taking the reigns of the Israelites following Moses' death, Joshua is now charged with the task of leading the Israelites to the Promised Land.  This hymn is a triumphant statement of discipleship and commitment to Jesus as he continues to lead us toward that very same promised land.

Holy God, We Praise Your Name (Hymn of the Day- 7:45 AM, Closing Hymn- 9:00 AM)

These four verses are Clarence Walworth's paraphrase of the Te Deum, an early Christian hymn of praise.  Though it has fallen out of use in most churches these days, it is still regularly used in Catholic services and daily prayer rites as the conclusion to the Matins service (in morning prayer).  In some ways, we will be singing this hymn at a spot originally intended!

The original Te Deum text is as follows.  If you compare it to the hymn we sing, you will see many similarities...

We praise thee, O God: we acknowledge Thee to be the Lord.
All the earth doth worship Thee, the Father everlasting.
To Thee all Angels cry aloud: the Heavens and all the powers therein.
To Thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy: Lord God of Sabaoth;
Heaven and earth are full of the Majesty of Thy Glory.
The glorious company of the Apostles praise Thee.
The godly fellowship of the Prophets praise Thee.
The noble army of Martyrs praise Thee.
The holy Church throughout all the world doth acknowledge Thee;
The Father of an infinite Majesty;
Thine honourable, true, and only Son; 

Also the Holy Ghost: the Comforter. 

Thou art the King of Glory, O Christ.
Thou art the everlasting  Son of the Father.
When Thou tookest upon Thee to deliver man: Thou didst not abhor the Virgin's womb.
When Thou hadst overcome the sharpness of death, Thou didst open the Kingdom of Heaven to all believers.
Thou sittest at the right hand of God in the glory of the Father.
We believe that Thou shalt come to be our Judge.
We therefore pray Thee, help Thy servants whom Thou hast redeemed with Thy precious blood. 

Make them to be numbered with Thy Saints in glory everlasting. 

O Lord, save Thy people: and bless Thine heritage.
Govern them and lift them up for ever.
Day by day we magnify Thee; and we worship Thy Name, ever world without end.
Vouchsafe, O Lord, to keep us this day without sin.
O Lord, have mercy upon us.
O Lord, let Thy mercy lighten upon us: as our trust is in Thee. 

O Lord, in Thee have I trusted: let me never be confounded.

The hymn is actually a paraphrase of section 1, which is sub-titled "Praise to the Trinity."  One of the most profound line in the paraphrase is at the conclusion of stanza three, which says, "And from morn 'till set of sun, through the church the song goes on."  This single line gives me so much hope for the future of congregational song, and as long as I have anything to say about it, the song certainly will go on.

How Great Is Our God (Opening Song- 11:15 AM)

This strong ballad is from Chris Tomlin's album "Arriving" from 2004.  As could be obvious by its title, it speaks to the greatness of God and his presence in our lives.  A good majority of examples of this style of song have rhythms that are not easily sung by a congregation.  This song manages to tread that line very well, producing rhythms that are singable, yet still interesting.  They all feel very natural and come off the tongue very well.

Come, All You People (Praise Song- 11:15 AM)

This hymn and its translation are an interesting clash of cultures.  Alexander Gondo, a native of Zimbabwe, composed this hymn and tune in his native tongue, but the version we have in the ELW was actually translated by I-to Loh, who is easily this generation's most important figure in the advancement of Asian hymnody in the West and throughout the world.  

Lead Me, Guide Me (Scripture Song- 11:15 AM)

This great spiritual by Doris Akers comments nicely on our reading from Joshua.  This could easily be the prayer Joshua offered to God for help along this journey.  We all come to the realization eventually that we cannot do it by ourselves.  We are weak and we need God's strength and power.  We are lost, and if we take the hand of God, we will be guided to the promised land.

Thy Word (Offering Song- 11:15 AM)

As I mentioned before, the Reformation is rooted in the Word of God.  This song by Amy Grant takes that Word and uses it as a metaphor for our guiding light.  

In The Singing (Communion Song- 11:15 AM)

This song describes the presence of Jesus in our communion meal in a variety of different ways.  In the singing, silence, hands expectant, blessing, breaking, etc... Jesus is present throughout the entire Eucharist rite.

Lord, Reign in Me (Closing Song- 11:15 AM)

I know I've said this multiple times so far, but this day, this Reformation day, is all about the Word of God entering our hearts directly, without the need of an intermediary.  This song by Brenton Brown takes it a step further even.  While God always is present through the mountain streams and sunsets, the song requests that the one other thing that we need to make us complete is the complete presence of God in our own hearts and souls.  

CHORAL ANTHEM 

Bound For The Promised Land, arr. Mack Wilberg (Following scripture- 9:00 AM)

While this hymn is widely known as a joyous setting in a major key found in most hymnals, in this setting, Mack Wilberg casts the tune in the minor mode, creating a much different feeling, while still maintaining the joy and excitement of the moment.  The four-hands piano accompaniment adds to this joy, and the entire piece culminates in a glorious climax at the conclusion.

INSTRUMENTAL MUSIC

A Mighty Fortress Is Our God, arr. Arnold Sherman (Offering- 9:00 AM)

This arrangement for handbells and organ supports the joyous quality of this tune.  The organ and handbells alternate in playing the tune and being accompaniment.  While there is a modulation in this tune, it interestingly modulates downward for the conclusion of the piece, something that rarely is effective.  It is here, however, and the piece grows to a lovely conclusion.

Fantasy on EIN FESTE BURG- Helmut Walcha (Prelude- 7:45 AM, 9:00 AM)

This stunning organ piece features the "A Mighty Fortress" tune in both the upper organ voice and the pedal in canon.  They take turns in alternating who goes first, and the third voice is largely originally composed, but also contains fragments of the tune.

Toccata on GROSSER GOTT- Flor Peeters  (Postlude- 7:45 AM, 9:00 AM)

Flor Peeters was a prolific Flemish composer and organist.  Until his death in 1986, he would regularly give recitals, masterclasses, and composed over 100 organ pieces.  This arrangement of our closing hymn is a rather standard toccata format, with the tune presented in the pedals underneath florid, chordal passagework in the hands.

MUSIC RECOMMENDATIONS

1. Bach: Cantatas, BWV 79, 80, 192, 50- Bach Collegium Leipzig


This excellent selection of Bach cantatas features BWV 80, Ein Feste Burg ist Unsrer Gott, which you may recognize as the German name for A Mighty Fortress.  This cantata is one of Bach's largest and grandest, featuring 6 movements with a large orchestra and chorus required for an effective performance.

2. Arriving- Chris Tomlin


This is Chris Tomlin's aforementioned album from 2004, featuring the track "How Great Is Our God," which we will sing at the 11:15 service this week.

3. Peeters: Organ Music

While it doesn't contain the piece I am playing this morning, this is a large collection of the organ works by Flor Peeters, many of which demonstrate his flare for the Flemish style of composition.

Music Notes: October 23rd, 2011

This week, we finally reach the end of the journey of Moses and the Israelites.  After continuing to lead his people and preach the word of God for years and years, he was taken by God to Mount Nebo, and was shown the land that God swore to Abraham, Isaac, Jacob, and all his descendants.  Moses then died on that mountain top, at the age of 120.  According to Deuteronomy 34:7, his eyes were still bright and his youth was still there.  After Moses' departure, the people wept for thirty days and then looked towards Joshua, who was blessed by Moses by the laying of his hands upon him.  It then became Joshua's call to lead the people as they continued their journey towards the Promised Land.  Ultimately, it would be Joshua, not Moses, who would finally achieve this goal (more on that next week).

HYMNS AND SONGS

The God Of Abraham Praise (Opening Hymn: 7:45 AM, 9:00 AM)

The story behind this hymn is one of the most historically rich tales that comes out of the hymnal.  The version that we have was created by Thomas Olivers in 1770.  It is based on a 14th century text called the "Yigdal," which translates from Hebrew as "Magnify."  It is a Jewish hymn used as both a morning and evening ritual, based off the 13 Articles of Faith (essentially the Jewish Creed).  The thirteen articles are as follows...

1.     Exalted be the Living God and praised, He exists - unbounded by time is His existence;

2.     He is One - and there is no unity like His Oneness - Inscrutable and infinite is His Oneness;

3.     He has no semblance of a body nor is He corporeal - nor has His holiness any comparison;

4.     He preceded every being that was created - the First, and nothing precedes His precedence;

5.     Behold! He is Master of the universe to every creature - He demonstrates His greatness and His sovereignty;

6.     He granted His flow of prophecy - to His treasured, splendid people;

7.     In Israel, none like Moses arose again - a prophet who perceived His vision clearly;

8.     God gave His people a Torah of truth - by means of His prophet, the most trusted of His household;

9.     God will never amend nor exchange His law - for any other one, for all eternity;

10. He scrutinizes and knows our hiddenmost secrets - He perceives a matter's outcome at its inception;

11. He recompenses man with kindness according to his deed - He places evil on the wicked according to his wickedness;

12. By the End of Days He will send our Messiah - to redeem those longing for His final salvation;

13. God will revive the dead in His abundant kindness - Blessed forever is His praised Name.

 If you compare these with the text we have in the hymnal, you'll see that it is not a straight paraphrase, but rather the poem was inspired by them.  Moses is referenced in number six, in fact, that is a direct quote from Deuteronomy 34:10.  In the hymn, stanzas three through six are in the voice of Moses.  We will be singing stanzas four and six this Sunday, which consist of Moses' passage into heaven, as well as his vision of the Promised Land that Joshua has been called to lead his people towards.  In stanza eight, which we will also be singing, we again see Moses reacting to his joining into heaven, where he will give endless praise to God for all of eternity.

The tune we have today in the ELW is listed as being titled as YIGDAL, after the source of the original text.  Most hymnals call this tune LEONI, as it was brought to prominence by the German hazzan (Jewish cantor) Myer Leon (who often went by the stage name Michael Leoni).  The actual source of the melody is unknown, but is believed to have come from at least the 17th century, if not earlier.

This is a remarkable statement of faith.  If time were not an issue, we would sing all eight stanzas, but since it is, I have trimmed it to four, keeping the most relevant ones for this specific Sunday.

O Christ The Same (Hymn of the Day: 9:00 AM)

We go from one of the greatest older poems in the hymnal to what I hope will become one of the greatest new hymns to lead us through the next era of hymn writing.  Timothy Dudley-Smith, a retired bishop of the Church of England, is much more well known across the pond as a hymn writer, but several of his poems have made it across the ocean and into the mainstream, including "He Comes To Us As One Unknown (see ELW 737)."

"O Christ The Same" is symbolic of God as a universal being, always present and always among us.  In, stanza one, he is "through all our story's pages," "unchanging still amid the passing years," and "the source of all creation," who "spread the skies, and set the stars ablaze."

Stanza two discusses the person that everyone thinks of when they hear Christ, which is Jesus himself.  In a very powerful metaphor, Smith compares our secrets and pains to the marks of the body of Christ at the crucifixion.

A very important theme of this hymn is that of "past, present, future."  You will see, in the closing line of each stanza... "we bring our thanks for 1) all our yesterdays. 2) this the present hour. and 3) all that is to be."

The tune is by American composer, cantor, and Hymn Society mainstay Carl Schalk.  This tune is very characteristic of his style, a flowing, step-wise melody, not constrained by a time signature or meter.  Interestingly, this is the only hymn in the hymnal, that I can recall, that has a modulation (key change) in the middle.   Brief theory lesson alert !!!... starting in D major, the tune uses what is called a "pivot tone" or "common tone" in order to change the key to F major. The note A is the common tone between the keys... it is the 5th scale degree in D major and the 3rd in F major (Beethoven was well known for using common tone modulations in the middle and later portions of his career).  After staying happily in F major for a few lines, it uses the exact same common tone to head on back to D major to conclude the tune (theory lesson over).  

My Shepherd, You Supply My Need (Hymn of the Day: 7:45 AM, Communion Hymn: 9:00 AM)

I envision the next two hymns as being two possibilities for what Moses may have been thinking as he died and crossed over to heaven.  They are both cast in the first person, and I feel they could certainly be envisioned as prayers of Moses.

A couple of weeks ago, I talked about Isaac Watts (the father of English hymnody), who was known for two main types of hymns, one of which was a complete psalter of paraphrases from the book of Psalms.  This hymn is Watts' paraphrase of Psalm 23.  Of all of the Psalm 23 paraphrases in the hymnal, I feel that this one captures the best balance between text and tune.  The tune here is RESIGNATION, which is an early American traditional tune which was born out of the Sacred Harp tradition.

Day By Day (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)

Though the words to this poem were written over 120 years ago, this is a prayer that is still relevant and worthwhile today, and I feel that it would have been very meaningful for Moses on top of the mountain as well.  Anyone that embarks on a journey this wrought with potential peril needs to hear these words.  There is really nothing I can add to further clarify and enlighten this poem, so I think I will just include the entire third stanza below, and hope that this can be a verse you may some day choose to commit to memory and pray to yourself during times of trial.

Oh what joy to know that you are near me
when my burdens grow too great to bear;
Oh, what joy to know that you will hear me
when I come, O Lord, to you in prayer.
Day by day, no matter what betide me,
you will hold me ever in your hand.
Savior, with your presence here to guide me,

I will reach at last the promised land.     

I Love You, Lord (Opening Song- 11:15 AM)

I am envisioning the 11:15 AM service as almost a funeral for Moses.  His story has been an integral part of our worship for many weeks now, and I feel it is fitting that we sing some songs, either to Moses or for Moses, all in the honor of God.

"I Love You, Lord" is a very short text with a simple message, "I love you, Lord, and I lift my voice to worship you."  Moses said things similar to this his whole life, and even though he and God would sometimes argue and disagree, there was definitely a mutual love between the two.

You Are Holy (Praise Song- 11:15 AM)

This "Swedish praise song" by Per Harling has become a standard in both traditional and contemporary worship.  It is in a verse and refrain format, with a general text speaking of the greatness of God and the presence within the Eucharist.  Both halves can be sung simultaneously, which is a rare feat in the hymnal.

O Lord, Now Let Your Servant (Scripture Song- 11:15 AM)

The first verse of this text is commonly known as both the Nunc Dimittis and the Song (or Canticle) of Simeon.  It comes from Luke 2:29-32.  Simeon was a devout follower of God, who was told by the Holy Ghost that he would not die until he saw the Savior.  When Jesus was born and brought to the temple in Jerusalem, Simeon saw him, took him into his arms, and said the words that became this song, as he knew that this was the Savior that he had been waiting to see.

As the general theme of this Sunday is Christ through all the ages, these words can be equally applied to Moses as he crosses over to heaven.  The second verse, composed in the 19th century by Ernest E. Ryden, applies to all  of us.  When the time comes, we'll be able to join Moses, Simeon, and all others with the Saints in glory.

Taste and See (Communion Song- 11:15 AM)

This song by Catholic James E. Moore is based off of Psalm 34:8, "Taste and see that the Lord is good."  The verses, with original texts, are set in a very syllabic style, and thus are best to be sung by a soloist, with all of the congregation joining in on the refrain as we share the Eucharist together.

Still, My Soul, Be Still (Closing Song- 11:15 AM)

No matter what happens in the world, God is always with us.  That's the general message of this song, written by the team of Keith Getty and Stuart Townend.  Though things are constantly changing around us, and the world is in turmoil, we can always trust in God and not be shaken.  Musically, we are ending on a calmer note this week, which I think is appropriate for the nature of this service.  

SPECIAL MUSIC

He That Keepeth Israel- Adolphe Schossler (Offering- 7:45 AM, 9:00 AM)

Stephanie sings this text this week, which has been set in a variety of ways by many composers over the years.  The source is Psalm 121:4, and is drawn from that whether it is Moses, Joshua, or all the other watchers over Israel, God is the ultimate watcher over everybody, and he neither slumbers nor sleeps.

INSTRUMENTAL MUSIC

Interlude on RESIGNATION- Gilbert Martin (Prelude- 7:45 AM, 9:00 AM)

This setting of the early American hymn tune travels through several keys and several textural changes.  Through most of the piece, the tune is supplemented by a pulsing 1-2 rhythm underneath.  

Toccata on LEONI- Gordon Young (Postlude- 7:45 AM, 9:00 AM)

Gordon Young has certainly found a niche in writing modern day toccatas based on famous hymn tunes.  Like many of his others, this toccata on LEONI features a rapid figuration in the right hand, supplemented by statements of the tune in the left and and pedal.  The piece grows to a conclusion and culminates with a glorious picardy third cadence.

Unfortunately, my linking to Amazon.com doesn't appear to be working this week, so I will digress from the music recommendations for this week only.  I hope you enjoy the music this week as we continue building towards the week after, REFORMATION SUNDAY!