Music Notes: October 2nd, 2011

Over the last two weeks, God gave the Israelites first food, then water.  This week, he hands down to Moses the laws they should live their lives by, The Ten Commandments.  Our music this week reflects on these Words of God and the power and influence that God's Word has over us today.

HYMNS AND SONGS

Here I Am, Lord (Opening Hymn- 7:45 AM, 9:00 AM. Opening Song- 11:15 AM)

Daniel Schutte composed this hymn for the Catholic Church in 1981 as a response to Vatican II.  It quickly rose in popularity and now resides in nearly every denominational hymnal.  Similar to John Ylvisaker's song from last week, "Water From The Rock," the verses and refrain are set in different voices.  The verses are set in the voice of God.  God notices our trials and tribulations, and promises to "make (our) darkness bright," "break (our) hearts of stone," and "give (us) hearts of love."  At the end of each verse, he asks "Whom shall I send?" to which we as a people respond, "Here I Am, Lord."

In the context of our hearing of the Exodus story, it could very easily be Moses whom God is looking for, as God needed someone to lead the Israelites out of exile.  Moses stepped forward, and though the task was, and continues to be, extremely daunting, he is holding fast and strong as a leader to his people who desperately need it.

I questioned long and hard about whether or not I would play this on organ or piano this week.  I finally settled on piano.  It works just fine on the organ, but I feel the style and the mood I like to play it in is more idiomatic to the piano in this case.

O Word of God Incarnate (Hymn of the Day: 7:45 AM, 9:00 AM)

This hymn uses light as a metaphor for the Word of God, guiding us through our lives.  The second line of stanza one uses past/present tense very effectively in the words, "O Truth unchanged, unchanging..."  The Word of God is as solid and assured today just as it has been for thousands of years and will continue to be in the future.

The entirety of stanza two could be referring directly to the Ten Commandments themselves.  I would be surprised if that is what English Bishop William How (1823-1897, most notable for his hymn "For All The Saints") had in mind when he penned it, but it could certainly be interpreted in that way.

The metaphor of light continues in stanza three, where we ask God to turn our church into a lamp, which may guide God's pilgrims of the past (the Israelites) and present (all of us), through the darkness and into the light and love of God.

Thine The Amen (Communion Hymn: 7:45 AM, Closing Hymn: 9:00 AM)

This text by Lutheran pastor and hymn writer Herb Brokering is one of the most intriguing poems in the hymnal.  It is very much written in a "stream of consciousness" style; it has no punctuation, and it continually cycles through various things we are thankful and grateful for.  One of the most intriguing phrases in the poem is the second half of the first line of stanza four, "Thine the wonder full surprise."  Obviously, when that is sung, it simply sounds like "wonderful surprise," which would have been perfectly appropriate.  Since there is no punctuation in the poem at all, I am only guessing here, but if a comma is placed between wonder and full (Thine the wonder, full surprise), it may be a little clearer to interpret.  As I said though, it is very much dependent on stream of consciousness.  Where the hymn intentionally lacks in organization and structure, it makes up for it in pure spirit, thankfulness, and outright praise.  It is almost as though we are speaking in tongues.

The tune accompanying this by Carl Schalk is extremely appropriate for the characteristics of the text.  Moving almost constantly on step-wise eighth notes, the music allows the text to just roll off the tongue.  In the final line of the hymn, the music goes all the way up the scale and beyond, which paints the text of stanzas one, two, and four very beautifully.

Forever (Praise Song- 11:15 AM)

This wonderfully spiritual song by Chris Tomlin pretty much says it all in the title, and moreso, in the chorus.  God is FOREVER with us, FOREVER strong, and FOREVER faithful.  Our readings, Bible, music, etc... span 5000+ years, and whether you're a creationist or not, our universe that we live in has existed for as much as 14 billion years.  That is just a speck in the unfathomable pool of time that is FOREVER.  Just as infinity is a concept that can be difficult for our powerful, albeit small, brains to grasp, the concept of forever is equally so.  However, it is comforting to know that for however long forever will go on, the love of God will always be with us for generations to come.

Build Us Up, Lord (Scripture Song- 11:15 AM)

"Build us up, Lord.  Set in our lives a strong foundation.  Lead us to do your holy will; form and shape your new creation."

God did exactly that by handing us down our rules to live by.  Of course, none of us are perfect.  Thankfully, God cares about us enough to guide us and show us how to live righteous, faithful lives.

Musically, this song is set in kind of a "pseudo-gospel" style.  While not truly a gospel song, syncopations and harmonic structures are borrowed from the gospel style, creating a very effective, singable melody for this text.

All That We Have (Offering Song- 11:15 AM)

I cannot believe I never found this song before about two weeks ago.  That's what I LOVE so much about music... there is so much of it out there that I could live three lifetimes and there would still be music out there to be discovered.

This song by Gary Ault is a true song of offering.  Every week, it seems, the scripture has something from God that we need, and this week we may have received one of the most important things of all... God's rules to live by.  Verse two is absolutely wonderful, and ties into the idea from earlier of "forever."  I'd like to include all of verse two here...

Sometimes the road may be lonesome,
often we may lose our way.
Take courage and always remember,
love isn't just for a day.

God is always with us, and we give him all that we have... time, talents, abilities, to the best of our abilities.  God deserves no less.

You Satisfy The Hungry Heart (Communion Song: 11:15 AM)

This hymn was actually written in 1976 to commemorate the Bicentennial of the U.S.  It was sung during Communion at the Washington National Cathedral at the Bicentennial National Service.  I think stanza five sums it up nicely... "You give yourself to us, O Lord; then selfless let us be, to serve each other in your name in truth and charity."

Majesty (Closing Song: 11:15 AM)

Now THIS is a gospel song!!!!  Whether it is God, Jesus, Holy Spirit, they are all three in one and one from three.  "Kingdom authority flows from this throne unto his own..." whether it's the Ten Commandments or any other word of God, we can be thankful that God's presence is always with us, and in turn, we should glorify God in return.

CHORAL ANTHEM

If Ye Love Me- Thomas Tallis (Offering: 9:00 AM)

Though the source material for this Tudor anthem (John 14:15-17) actually refers to a different set of commandments (Jesus talking with his disciples), I feel it applies to the Ten Commandments as well, and that God would wish the same as a response to his rules.

Thomas Tallis is widely considered the father of English Renaissance music, spending over half of his life as one of the court musicians in the Chapel Royal, under monarchs Henry VIII and Elizabeth I, among others.  The piece is very characteristic of Tallis' style.  It alternates between homophonic, chordal writing, with simple counterpoint breaking up the texture.  Occasionally, the voices come together to emphasize particular snippets of the text ("...may bide with you forever,") and the piece concludes with a major triad, a characteristic English "sweet third" that was a trend started by John Dunstable in the 14th century.  Until then, most music would end on open 5th's or octaves, which was theoretically "correct," at the time.

INSTRUMENTAL MUSIC

Here I Am, Lord, arr. Arnold Sherman (Prelude: 7:45 AM, 9:00 AM)

Bells Of Praise joins us for the first time this fall to offer this handbell arrangements of our opening hymn this week.  Arnold Sherman's setting is rather straightforward, but by varying the registrations, dynamics, and textures through the bells, as well as including hand chimes, he gives each verse its own characteristic sound and feeling.

Toccata in C Major- Johann Pachelbel (Postlude: 7:45 AM, 9:00 AM)

This was actually the first "real" organ piece I ever learned.  As far as Pachelbel toccatas go, this one is about as straightforward as it gets.  You will hear florid, complex passage work among the two hands, dancing on top of a foundation of a solid pedal note (appropriately called a "pedal tone.)

MUSIC RECOMMENDATIONS


1.  The Noise We Make- Chris Tomlin


Chris Tomlin's praise album from 2001 not only includes Forever, but other Tomlin favorites such as The Wonderful Cross, Be Glorified, and the title track, The Noise We Make.

2.  Tallis: Complete English Anthems- Peter Phillips, The Tallis Scholars


This disc is the definitive edition of the anthems of Thomas Tallis, sung by one of the best renaissance/baroque choirs in the world.  If Ye Love Me is on here, as well as several tunes that you may recognize.  The "Tunes For Archbishop Parker's Psalter," contains both the tune that is now known as "Tallis' Canon" (see ELW 565) and the tune that was made famous by Ralph Vaughan Williams in his 1910 composition, "Fantasy on a Theme by Thomas Tallis."  Speaking of which...

3.  Vaughan Williams: Fantasies; The Lark Ascending; Five Variants- Academy of St. Martin in the Fields, Sir Neville Mariner


... I might as well include that piece as well.  Enjoy!!  There is a lot of goodness on this album, presented by one of the finest orchestras in the world.

Music Notes: September 25, 2011

Our saga of the Israelites continues this week.  Previously, they were all hungry, and getting pretty darn frustrated with their leader, Moses, who like everyone else, couldn't seem to find any food.  Moses prayed to God, and was provided enough bread to sustain all of the Israelites.

As they continued to travel, the problem then became that they had nothing to drink.  The rivers were all dried up.  Again, they blamed Moses, asking why they brought them all out to be parched to death, rather than staying and having water provided to them.  Moses again prayed to God, frustratingly pleading that his people were about to stone him.  God instructed Moses to strike a rock that he stood on with his staff, where water would then pour out.  Moses did so, and the faith of the people in him was restored again.

HYMNS AND SONGS


Wade in the Water (Opening Hymn: 7:45 AM, 9:00 AM, Opening Song: 11:15 AM)

This African-American spiritual will open all of our worship services this morning.  Like many traditional spirituals, the author of Wade in the Water is unknown, but has a distinct lineage all the way back to the time of slavery.  It comes from two sources in the Bible; the verses come primarily from the Exodus story of Moses leading his people, and the refrain, "Wade in the water, children, God is gonna trouble the water," comes from the Gospel of John.  John 5:4 says: "...for an angel of the Lord went down at certain seasons into the pool, and troubled the water; whoever stepped in first after the troubling of the water was healed of whatever disease he had."

Like many other traditional African-American spirituals, this song is widely rumored and suspected to be a code for fugitive slaves attempting to make their escape.  "Wade in the water" would supposedly indicate to a slave to stay towards the rivers and streams, that way the slave master's blood hound wouldn't be able to track them.  Stories like this have never been substantiated, but it is definitely an interesting coincidence at the least.

Our Father, We Have Wandered (Hymn of the Day: 5:30 PM, 7:45 AM, 9:00 AM)

This is a song being sung by a people in exile.  Lost, alone, and confused, they come to a realization that God has been and will always be with them.  This is their anthem following that realization.  Much like the Israelites, who have occasionally wandered from God out of frustration and anger, all of us have probably wandered from God at some point, but we can rest in the confidence that God will never abandon us, and even though we may stray temporarily from time to time, God will always welcome us back into the flock.

This hymn is a perfect example of a new text set to an old tune.  This chorale, which is most commonly set to the Paul Gerhardt text "O Sacred Head Now Wounded," was written by Hans Leo Hassler in the late 16th century.  It was brought into the main stream of Lutheran church music by J.S. Bach, due to its use in the Christmas Oratorio, and St. Matthew Passion, not to mention his organ chorale preludes and his harmonization of the chorale, which survives in our hymnal.  It may be the only chorale in the hymnal that I prefer in its isometric version (see ELW 351) rather than its original, rhythmic version (see ELW 352).

If You But Trust In God To Guide You (Communion Hymn: 5:30 PM, 9:00 AM)

The Israelites have clearly gone through "trying days."  They "carried the cross" 1500 years before Jesus did for all humankind.  For them and us, this is a hymn of assurance and promise.  As dark and as worrying as life can be, the four stanzas of this hymn clearly lay out exactly why we should trust in God throughout all our days.

Despite this hymn being written 450 years ago, both the original text and the composite translation we currently have is one of the clearest, most straightforward messages there is in the hymnal.  Georg Neumark, the German poet and hymn-writer, penned this in 1641.  He was actually educated in law and was a tutor for awhile, but he devoted most of his later life to poetry and music.  This is certainly his most well-known hymn, and was used famously in Bach's cantata of the same name, Wer nur den lieben Gott läßt walten (If you but permit God to prevail), BWV 93.  In the style of Bach, Felix Mendelssohn also wrote a shorter Cantata based on this chorale.


Many and Great, O God (Communion Hymn: 9:00 AM)


This hymn, textually, is an all-round example of the creative power of God in the first stanza, and the receiving of the love of God and gifts of the Eucharist in stanza two.  Just like God created water out of a rock for Moses, he also created the heavens, earth, skies, mountains, and rivers.  The faith of the people is restored here, and we realize that God has the power and willingness to grant us "eternal life with (God)."  


The tune here is not one that you may have heard in the main stream.  Last week we sang a Chinese folk song (or faux-folk song, to be more accurate), and here we have a traditional tune from the Dakota tribe.  The melody is very singable, and accompanied by organ drones and a hand drum, it creates a very effective hymn when combined with this text.


O Bread of Life From Heaven (Communion Hymn: 9:00 AM)


In stanza two of the previous hymn, we ask that God grant us Communion.  This hymn is the fruition of that request.  We receive bread and wine from heaven given for all the world.  The second phrase, "O food to pilgrims given, O manna from above," is a reference to the Israelites receiving the gift of bread last week in the Exodus story.  


Once again, this tune is a German chorale (our third of the weekend!) which was also made famous by J.S. Bach.  His harmonization is in our hymnal.  The chorale was composed by Heinrich Issac around the turn of the 15th century.


What God Ordains is Good Indeed (Closing Hymn: 7:45 AM)


This wonderful hymn of praise by Samuel Rodigast is nearly the polar opposite of our hymn of the day.  Here, the faith of the people is rock solid and sure; God provides everything we need, and everything God provides is the very best thing for us.  Confusion and doubt are still always present, such as in stanza three, but the text clearly indicates that the steadfast love of God for us and us for God will be enough to guide us through anything.


Come Thou Fount of Every Blessing (Praise Song: 11:15 AM)


Hmm... interesting choice, yes?  It's one of the most loved traditional hymns at our contemporary service this week.  The text itself is absolutely timeless.  The entire poem makes unbelievable sense when read in the context of the peril of the Israelites looking for water.  The traditional tune NETTLETON, while very much at home in the confines of the organ keyboard and pedals, is extremely versatile and can be played in a variety of musical styles.  Most contemporary versions of this are very slow and mellow, with usually just an acoustic guitar and two voices singing in harmony.  I think of this text more as a hymn of praise... ("While the hope of endless glory fills my heart with joy and love," for example) so I'm going to let it all out here, and really let it sing.  Piano, drums, kids... and hopefully you'll hear this wonderful hymn anew.


Water From The Rock (Scripture Song: 11:15 AM)


This is going to be a really fun one.  Many of John Ylvisaker's songs in his Borning Cry hymnal are based on Psalms and Canticles.  We sang one this Wednesday at Saint's Alive worship based on Psalm 16, and this one tells the story of Exodus 17, which corresponds with our scripture of the day this Sunday.  This song is in call-and-response format... the voice of the Israelites is in the congregation repeating "Water from the rock," and the voice of God is in the upper voice, which will be sung by a soloist.  It's a wonderful call and response song, and I really hope you all enjoy it.


Bring Forth the Kingdom (Offering Song: 11:15 AM)


Here we have yet another fine offering from Marty Haugen.  This is also a call and response song, albeit a little different in structure.  Verse four especially is applicable to the Israelites and their saga this week.  After receiving the food last week, and water this week, one would hope that they would certainly think of themselves as a "blessed and pilgrim people."


Here Is Bread (Communion Song: 11:15 AM)


Last week, we sang "The Trumpets Sound, The Angels Sing," which was an upbeat, rhythmic, dance-like tune by Graham Kendrick.  This Communion song is also by Graham Kendrick, but it couldn't be any different musically.  This is a very accessible melody in a gentle, swinging 4/4 meter, with a very straightforward text, showing us that throughout Communion and in our whole lives, God is always with us, watching over us and guiding us.


Hallelujah!  We Sing Your Praises (Closing Song: 11:15 AM)


A few weeks ago we sang Siyahamba! (We Are Marching in the Light of God), and this song is from the very same source... a collection of freedom songs from South Africa.  The first stanza is a response to Communion, and the second is a call to discipleship, calling us to go out into the world and to "tell to all the joyful gospel."  Much like Siyahamba!, a joyful melody and syncopations make this a joy to sing.


OTHER VOCAL MUSIC


Every Valley Shall Be Exalted- John Ness Beck (Offering: 7:45 AM)


Many people may know this text from Handel's oratorio "Messiah," but this week Kara Groen will offer this text in a solo vocal arrangement by John Ness Beck.  The text, which originates from Isaiah 40, speaks highly of God's creative power in the world, causing valleys to be lifted, mountains to be made low, the crooked to be straight, and the rough places plain, whereupon the glory of the Lord would be revealed.


Consider the Lilies- Natalie Sleeth (Offering: 9:00 AM)


The Friends of the Lord choir will be joining us this week, presenting us this lovely unison anthem by Natalie Sleeth, based on the story from Matthew 6:28-29: "Consider the lilies of the field, how they grow.  They neither toil nor spin, yet not even King Solomon in all his glory was arrayed as one of these."  In the Saints Alive curriculum, the children have been learning about the widow's mite, and how a woman with virtually nothing, who was not required to give anything of her own, still gave from the kindness of her heart everything she could spare.  She is certainly one of the lilies that Jesus spoke of in the parable... she is someone who was forged and shaped through the love of God into one of God's greatest, most willing servants.


INSTRUMENTAL MUSIC


Prelude op. 28, no. 15 in D-flat Major "Raindrop"- Frederic Chopin (Prelude: 7:45 AM, 9:00 AM)


Chopin is considered by many to be one of the greatest composers of piano music of all time.  His output for piano includes 27 etudes, 3 sonatas, 25+ waltzes, 4 scherzos, 4 ballades, 19 nocturnes, 3 piano concertos, and a variety of other works, including a set of 24 preludes, from which I will be playing no. 15.  The "raindrop" prelude, as it has come to be known, is named as such due to the nearly constant 8th note A-flat/G-sharp that permeates the entire piece.  I can just imagine water dripping out of a rock with the drops syncing up exactly with the music.


Two Settings of HERZLICH TUT MICH VERLANGEN- Max Reger and J.C. Bach (Postlude: 7:45 AM, 9:00 AM)


These are two organ settings of this Hassler chorale that we sang as the hymn of the day.  The Reger is a rather straightforward setting, while still containing some of his characteristic chromaticism and dissonance which was characteristic of late German compositional style at the time.  Rewinding a few centuries, the second is a setting by Johann Christian Bach, who was the youngest son of J.S. Bach.  As he was only 15 when his father died, he did not inherit many of the compositional characteristics of his father, but rather was immersed in the "galant" style of composition which was rapidly gaining popularity throughout Germany and Austria.  This setting is also very straightforward, and contradictory to what I just said, does share a lot of style features that would be found in earlier baroque organ chorale preludes.


MUSIC RECOMMENDATIONS 


1.  Bach: Cantatas, BWV 91-93- Helmuth Rilling


This is a CD of three cantatas, performed by Helmuth Rilling and the Bach Collegium Stuttgart (my personal favorite Bach ensemble).  The third cantata, BWV 93, features the chorale "If You But Trust in God To Guide You," which was one of our communion hymns today.

2.  Mendelssohn, Felix: Wer Nur Den Lieben Gott Lasst Walten / Kyrie In C Minor / Sinfonia No. 3 (Leipzig Gewandhaus Choir, Meyer)


If neither Bach nor physical CD's is your cup of tea, then this CD contains the very same chorale set by Felix Mendelssohn in a digital download album.  Mendelssohn's version is slightly shorter than Bach's, but was certainly influenced by his as you will hear.

3.  Chopin: Waltzes; 4 Scherzos; 26 Preludes- Vladimir Ashkenazy


This double CD set contains a very large portion of Chopin's output, played by my personal favorite Chopin interpreter (though not everyone's!).  I feel Ashkenazy really brings a lot of great spirit and joy to Chopin's works.  He does not over-sentimentalize them, and they are very artistic and beautiful without being to over-the-top.  Other good Chopin pianists are Idil Biret, Arthur Rubenstein, and Yundi Li (though I don't believe he has recorded the preludes).

Music Notes: September 18, 2011

Hello again!  Before we dig into the music for this week, I wanted to share a word or two about last Sunday, September 11th.  Simply put, I am going to remember that Sunday for a long, long time.  The Chancel Choir made their wonderful season debut in singing John Ferguson's arrangement of "Joyful, Joyful," and the combination of the telling of the triumphal story of the Israelites combined with our remembrance of 9/11/2001 was something very special.  And the conclusion of the 11:15 service... a packed house joining and singing "Lift Every Voice and Sing," was something that I will never forget.  The spontaneous applause and Amen's! that rang out were clear indications that the Holy Spirit was shining down on us, and it is a moment that I will treasure for the rest of my life.

As comforting and fun as it is to look back on that, we have to look forward as well.  After the Israelites escaped from slavery, they were lost.  Hungry.  Weak.  Confused.  They were confused that God would grant them freedom, but would then have them all starve.  The Israelites were beginning to turn on Moses... saying they would have rather remained as slaves and have a meal to eat each day than to be lost in the wilderness starving to death, despite having their freedom.  God then spoke and said that he would rain bread from Heaven, feeding the Israelites and sustaining them through the tough times.

In our Gospel reading, we hear the parable of Jesus telling the story of an employer promising his employees a denarius for working in his vineyard.  Later in the day, the employer sees men standing idle.  He asks them why they are doing nothing, and they reply that no one has hired them.  The employer instructs them to begin working, and when the end of the day comes, he pays all the men a denarius.  The workers who had been laboring all day were upset by this, but the employer clearly explains that he paid them exactly what he promised at the beginning, and that it is no business of theirs what he decides to pay anyone else.  

Our music this week consists mainly of thanksgiving to God for giving the Israelites, and by extension, all of us, the gift of food to nourish our bodies.

HYMNS AND SONGS

The Trumpets Sound, The Angels Sing (Opening Hymn- 5:30 PM, 7:45 AM, 9:00 AM, Praise Song- 11:15 AM)

This joyful tune and text by Graham Kendrick are suitable for both traditional and contemporary worship, hence their use at both services this week.  The beginning of stanza two really rings true this week... "Tables are laden with good things; oh, taste the peace and joy he brings."  Musically, this tune is very easy to sing, despite all of its complexities.  Though the entire tune is in 4/4, there are three different patterns that can be found.  Your standard 4/4 pattern (1 and 2 and 3 and 4 and) can be found in some of the measures, but others are broken up into three bigger, un-even beats (1 and-a 2 and-a 3 &).  Going a step further, there are measures that consist of quarter note triplets, which are best counted in two (1-trip-let 2-trip-let).

Sounds complicated, I know.  But when sung, it rolls off the tongue in a natural, fluid way, and creates an infectious rhythm that will have you tapping your toes all day!

For The Fruit of All Creation (Hymn of the Day- 5:30 PM, 7:45 AM, Scripture Song, 11:15 PM)

This hymn of thanksgiving was penned by Fred Pratt Green (1903-2000), who was a British Methodist pastor and hymn writer.  While a majority of his most famous texts appear in the United Methodist Hymnal, we were lucky enough to have this lovely hymn spill over into the ELW.  While the majority of the hymn is thanking God for the gifts we have received (and the beginning of stanza two references the Gospel beautifully, "In the just reward of labor, God's will is done."), there are some very profound thoughts that close the hymn.  "For the wonders that astound us, for the truths that still confound us..."  Wow.  How true, yet how interesting it is to be thankful for things that are either too large or too awe-inspiring to comprehend.

Golden Breaks the Dawn (Hymn of the Day- 9:00 AM)

It is not often we sing a Chinese folk song in worship.  This beautiful hymn talks about the dawning of a new day and the power it holds for us to do good in the world.  We ask God for strength, to live justly, act kindly, and serve with truth.  In the closing stanza, we ask for a few simple things... daily bread (like that which was given to the Israelites), bright skies, gladness in our hearts, and the power to resist evil.  The hymn concludes with the words "till the day is done," which takes us all the way from dawn until dusk.

Musically, this will be led with just flute accompaniment, provided by Jennifer Wipperman.  Being a Chinese folk song, it's not necessarily idiomatic to the organ.  Accompanied simply by flute (mimicking a Chinese wind instrument), makes the tune much more authentic.

Lord, Whose Love in Humble Service (Communion Hymn- 5:30 PM, Closing Hymn: 9:00 AM)

Here the gifts that we are given by God are shown in parallel with the gift that Christ gave to all of us, dying for all our sins so that we may have eternal life.  As we depart on this Sunday, we ask for God, the God who "...in deep compassion, healed the sick and freed the soul," to "send us power and make us whole," so that we can go out and do good works to our community at large.  The Israelites needed comfort, care, compassion, someone to watch over them.  Many people in our world today need that.  The closing stanza implores us to depart from the sanctuary into the world and do good things, so that all of the beneficiaries may experience the love and mercy of God.

This Holy Place and Glory Be To God (Opening Song and Offering Song- 11:15 AM)

This duo of tunes by John Ylvisaker are the first set of two groups we're singing at the 11:15 AM service this week.  The first, "This Holy Place," will open worship this week.  As we gather together, this song reminds us that God's presence is always and forever around us, and that the angels are singing not just here, but throughout the entire universe.  In "Glory Be To God," we are grateful to the God "who made everything we need," the bread that we eat, the air that we breathe, and the water that we drink.

Speak O Lord and Spirit of Heaven (Communion Song and Closing Song- 11:15 AM)

The second of our duos today comes from yet another duo, the hymn writing team of Keith Getty and Stuart Townend.  Getty and Townend have dedicated themselves to writing hymns that are rich in theology and deep in meaning, cast in a contemporary style that is appealing to all.

Speak O Lord is a very interesting text... one that can be used pretty much anywhere throughout a worship service.  We are using it as preparation for the Eucharist (Speak O Lord as we come to you to receive the food...), but can also be used for preparation for the sermon (...food of our Holy Word), or as a closing song, (And by faith we'll walk as you walk with us).  The overall message is that of both preparation and reaction to the Word of God.

Closing our worship this week is Spirit of Heaven, also by Getty and Townend.  While this song would be particularly appropriate around the feast of Pentecost, I feel it is certainly applicable to any general occasion.  Similar to the ending of the traditional services this week, this song asks for the love and guidance of Christ to come down on to us so we can go out into the world and accomplish the good works.  Importantly, this song does not neglect our shortcomings ("Breathe your forgiveness when darkness falls and my heart is heavy with sin,"), and acknowledges that though God is guiding our way, we are often prone to stumbling.  As long as we keep our faith, God will light our pathway through our lives.

CHORAL ANTHEM


Whoever Will Be Great Among You- Ron Nelson


The text of this anthem picks up where our Gospel reading left off.  Matthew 20:26-28 consists of three couplets of text.  "Whoever will be great among you, must be called your servants, and whoever will be first among you must be a slave of all," is sung by the baritones throughout.  "For the son of man came not to be served, but to serve," is sung by the altos, and the third couplet, "And to give his lift as a ransom for many," is sung by the sopranos.  Each of these phrases is sung to its own independent line.  You will hear them separately in the beginning, and they will join together as we reach the conclusion.  Completing the musical picture is Don Meyer guiding us beautifully on his classical guitar.

INSTRUMENTAL MUSIC

The Feast Is Ready- Aaron David Miller (Prelude: 7:45 AM, 9:00 AM)

Aaron David Miller is organist and music director at House of Hope Presbyterian Church in St. Paul, MN.  His organ output is very large and very versatile.  This arrangement takes the catchy tune and rhythms of our opening hymn and lays them through a three part structure.  The opening and closing segments feature snippets from the hymn tune cast in a slightly different rhythmic foundation.  The middle section consists of an ostinato pattern in the bass which travels through the keys of G minor, C# minor, and C minor, before finally arriving back in G major for the conclusion.

Improvisation on BEACH SPRING (Postlude: 7:45 AM, 9:00 AM)

Thanks to its flexible harmonies, pentatonic melody, and its versatility of line, the tune BEACH SPRING is a very appropriate choice for an improvisation.  As it is an improvisation, I'm not entirely sure what I'll be doing yet, but the tune is so beautiful, I can't imagine it will be anything avant garde.  At least I hope not... :)

MUSIC RECOMMENDATIONS

1. In Christ Alone- Keith and Kristyn Getty


This nice collection features a handful of songs by the Irish husband and wife duo, 1/2 of which, along with Stuart Townend was featured heavily in our 11:15 service today.

2. Celebration! Boe Memorial Chapel- John Ferguson and the St. Olaf Cantorei


This double disc set was recorded on the weekend that the new organ in Boe Memorial Chapel was dedicated.  Disc one features a hymn festival led by the St. Olaf Cantorei, featuring "Golden Breaks the Dawn," our Hymn of the Day, and disc two is an organ recital done by St. Olaf faculty member Catherine Rodland, as well as a demonstration of the organ by Dr. Ferguson.

I cannot wait to see everyone again this Sunday!  Until then, have a blessed end of the week.

Music Notes: September 11, 2011

I am just unbelievably full of life today!  Chancel Choir met for the first time last night, and it was absolutely phenomenal.  I am very blessed to be here and to be able to work with such a dedicated, talented group.  They were open, willing, and ready to rehearse and consistently responded amazingly well.

In addition to my Chancel Choir high, I'm extremely excited for the music this weekend.  We are taking a two fold approach to worship this week; everything from the opening hymn until the hymn of the day will be Lectionary based.  In Exodus this week, we hear the climax of the Exodus story where God hands Moses the power to part the Red Sea and he leads his people to safety.

Following the hymn of the day, we will be changing gears just a little bit and recognizing the ten-year anniversary of September 11th.  What was possibly the most tragic day in our recent history has led to a new sense of unity, togetherness, community, and peace among us as a society, and we will be recognizing and celebrating that new-found sense of community through prayer and song.

HYMNS AND SONGS


Joyful, Joyful We Adore Thee (Opening hymn: 7:45 AM, 9:00 AM)

This glorious hymn by Henry van Dyke sets the mood perfectly for our worship this week.  In certain ways, this hymn encapsulates both feelings of the Exodus story and 9/11.  Through the line, "Melt the clouds of sin and sadness, drive the gloom of doubt away," we can hear both the Israelites crying for freedom, as well as envision that cloud of smoke hovering over Ground Zero that took days and days to clear.  The "light of day" that we ask God to fill us with is the hope for the future that applies to the present, past, and future.  The second stanza features images of signs of the world (and the universe) calling us to give praise to God.  Whether it is the field, forest, mountain, meadow, sea, chanting bird, or flowing fountain, all of nature calls us to sing God's praises.  The closing line of the final stanza, "Teach us how to love each other," is something that we always need to be reminded of.  In an ideal world, compassion and community should always be present in our lives.

At 9:00 AM this weekend, we will be having the season debut of our Chancel Choir, and they will be leading this hymn at the service using the choral setting by John Ferguson.  We will also be joined by the unofficially-named "St. Paul's Brass Quartet," and Dr. Karen Black, organist at Wartburg College, for this hymn.

O Worship The King (Hymn of the Day: 7:45 AM, 9:00 AM)

This hymn is all about God as protector, guider, and redeemer.  In stanza one, God is directly referred to as "shield and defender," which he certainly was for Moses and the Israelites.  In stanza two, we reflect on the greatness of God's creation.  The "changeless decree," as it is called, refers to the ever-present, never changing creation story which we continue to see all around us today.  I feel that stanza four can be interpreted to refer to the "children of dust" as the Israelites themselves (in reality, it is more general than that). They were certainly a frail and feeble people, and it took Moses receiving the strength of God to stand up for himself and his people to lead them to freedom.

O Day of Peace (Communion Hymn: 9:00 AM)

This Carl Daw text is the first hymn of what I am calling the "Triptych in Rememberance of 9/11."  Carl Daw (b. 1944) is the former president of the Hymn Society of the United States and Canada, and this is possibly his most well known hymn text.  Stanza one is a plea for peace that, though it was written in 1982, is amazingly relevant today.  It is followed by a stanza that reveals the results of peace being achieved, which comes as a paraphrase from the Book of Isaiah 11:6, where all enemies come together, led by the baby Jesus, as was prophesied by Isaiah.  The text to the hymn is short, so I'll include both stanzas here...

O Day of Peace, that dimly shines, through our hopes and prayers and dreams.
Guide us to justice, truth and love, delivered from our selfish schemes.
May swords of hate fall from our hands, our hearts from envy find release,
'till by God's grace our warring world shall see Christ's promised reign of peace.

Then shall the wolf dwell with the lamb, nor shall the fierce devour the small;
As beasts and cattle calmly graze, a little child shall lead them all.
Then enemies shall learn to love, all creatures find their true accord;
the hope of peace shall be fulfilled, for all the earth shall know the Lord.

This hopeful, beautiful text is set to the hymn tune JERUSALEM by Hubert Parry, most famously set to the poem, "And Did Those Feet Of Ancient Time."  This poem and tune are traditionally used as the closing of the BBC Proms each September, and was also used at the Royal Wedding this past April.  Used in the context of "O Day of Peace," the tune takes on a more contemplative character, which shows what a versatile work of art it really is.

This Is My Song (Closing hymn: 5:30 PM, 7:45 AM, Communion hymn: 9:00 AM)

Part two of the tryptych is a combined text from two twentieth century poets, Lloyd Stone (st. 1-2) and Georgia Harkness (st. 3).  This is probably the most well-known "national" hymn that doesn't necessarily declare an allegiance to a specific country.  Rather, it is an ecumenical (if you will) prayer for unity within and among nations of the world.  Stanza two sums up the aura of the hymn perfectly...

My country's skies are bluer than the ocean,
and sunlight beams on cloverleaf and pine,
(sounds rather pompous so far, yes?)
BUT other lands have sunlight too, and clover,
and skies are ev'rywhere as blue as mine.
So hear my song, O God of all the nations,
a song of peace for their land and for mine.

It is set to the tune FINLANDIA, originally a chorale from symphonic poem of the same title by Finnish composer Jean Sibelius.  Though that was where it originated, this tune has become so attached to this text that it is nearly impossible now to separate the two.

Lift Every Voice and Sing (Communion Hymn: 9:00 AM, Closing Song, 11:15 AM)

Though it will forever be tied with the Civil Rights Movement from the 1960's, this poem was actually composed in the year 1900 by James Weldon Johnson.  While Johnson would go on to become one of the first civil rights activists (joining the NAACP 8 years after its inception), at the time he was principal of the segregated Stanton School in Jacksonville, FL.  He composed the poem to welcome Booker T. Washington to the school as an honored speaker on February 14, 1900, for a celebration of Lincoln's birthday.  It was set to music four years later by his brother, J. Rosamond Johnson, and went on to become the "Negro National Anthem," rising again to prominence in the 1960's.  It now finds a place in most major denominational hymnals, as a song that reaches across lines of race, creed, and ethnicity, to foster a community of togetherness and peace throughout.

The language of this poem has not ever been updated from its original version (nor should it be!!), but some of the lines may require contextual references in the realm of the Afro-American Spiritual.  The idea of the spiritual was born out of the time of slavery, struggle, turmoil, etc... but what was always and forever present was HOPE.  In the very first lines of Johnson's poem, he calls for us to sing until both earth and heaven ring with the harmonies of liberty.  Later in the stanza, he pulls the past and future together, referencing both the "dark past" and "hope [of] the present."  "Let us march on 'till victory is won," is certainly not a militaristic reference.  Rather, the "victory" he speaks of is the arrival at the promised land (see the old great Baptist hymn, "Victory in Jesus."

For the slaves, the "chastening rod" mentioned at the start of stanza two was literal.  Johnson is writing in the context of his culture and history.  Slaves were literally exposed to beatings on a daily basis.  However, it can still apply to all of us.  We all have obstacles in our lives and adversity to overcome.  As stanza two continues though, we have hope offered again, where we will eventually arrive at a place where those before us have only dreamed of.  The road has been long and difficult, but we will eventually come to the point where we will all be standing together "where the white gleam of our bright star is cast."

The final stanza hearkens back to the opening hymn and hymn of the day today, as they speak of the God who brings us all along on the journey that we have been on.  The hymn closes with a prayer that despite we may stray from the presence of God, we will always find our way back and stay true to ourselves and our God.

Lord, I Lift Your Name on High (Opening Song: 11:15 AM)


This song by Rick Founds was written in 1989 and has been a standard in praise repertoire ever since.  "You came from heaven to earth to show the way," refers specifically to Jesus and the incarnation, but any time we have a prayer answered or a window opened in our lives, it is as though God is coming down and guiding us on our way.

We Are Marching In The Light of God (Praise Song: 11:15 AM)

"Siyahamba" is probably the most famous from a series of South African freedom songs that have gained popularity among American congregations.  After the Israelites cross the river and are free from the grasp of Pharoah, it's easy to imagine them singing a song very similar to this as they begin their new lives of freedom.  The light of God shows them the way and guides them to new lands of prosperity, just as it does for us.

Awesome God (Scripture Song; 11:15 AM)

It definitely takes an awesome God to give a mortal man the power to part a sea of water so his people can cross it.  In this chorus, Rich Mullins captures that idea in very few words.  Due to its length, we'll be singing this song both before and after the reading of the Exodus story.

Give Me Jesus (Offering; 11:15 AM)

Like most other African American spirituals, the origins of Give Me Jesus are unknown.  Most spirituals were created, in some form or another, spontaneously.  Essentially, its essence is that of a long prayer, asking for Jesus to be present with us throughout our lives.  "In the morning when I rise," is a metaphor for birth, "Dark midnight" refers to the dark times in all our lives, and the other three are self-explanatory.  The final line inspires some interesting thoughts... "You may have all the rest, give me Jesus."  The question that begs is, who is "you?"  Is it society as a whole?  Is it all non-Christians?  Is it whichever individual we choose to think of?  It could be all of those.  The important part is that we, as individuals and corporately, are asking for Jesus to be present in our lives.  This will be sung in a call-and-response fashion with the congregation.

INSTRUMENTAL MUSIC


Chant de Paix (Song of Peace)- Jean Langlais (Prelude- 7:45 AM, 9:00 AM)

It seems only Langlais (one of the finest composers of organ music in the 20th century) knows what he was envisioning when he composed this work in the 1920's.  The music certainly gives off a tranquil, peaceful vibe.   Semi-cluster chords in the manuals are surrounded by a haunting, swirling melody that travels through the pedals and manuals.  It is certainly music that is open to interpretation, and I encourage you to listen closely and draw your own conclusions.

Chorale Prelude on "Abide With Me"- William Bolcolm (Offering- 7:45 AM, 9:00 AM)

William Bolcolm is well known in the organ world for his set of 12 "Gospel Preludes," that use a lot of extended organ techniques and creative composition to create some beautiful interpretations.  However, this work, based on the hymn tune EVENTIDE, is not at all characteristic of Bolcolm's music.  Here we have one statement of the tune, surrounded by a serene, gentle, rolling accompaniment in the hand and pedal.  Bolcolm wrote this in tribute to his father in the year 1970, and we can certainly use this as a time to reflect on all the lives lost 10 years ago on September 11th.  Ten years later, we can rest more easily knowing that they are all in a better place presently.

Hymn to Joy- Wayne Wold (Postlude- 7:45 AM, 9:00 AM)

Wayne Wold is well known in the church/organ world for creating a large quantity of liturgical organ music for organists of all ability levels.  This large fantasy on Joyful, Joyful We Adore Thee has a very tight structure, comprising of five parts and a coda.  All parts hint at the hymn tune, but not until the end does a large portion of the tune reveal itself.

MUSIC RECOMMENDATIONS


1. Sibelius: Finlandia / Tone Poems- Paavo Berglund/Philharmonia Orchestra


This is your chance to hear the hymn tune FINLANDIA in its original form.  When you first hear this track, you may wonder when you will hear it.  The beginning of the work is quite shocking.  About halfway through, however, the chorale begins and the work moves to its glorious conclusion.

2. Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra- Herbert van Karajan


Another hymn tune in its original form is contained here in Beethoven's 9th Symphony.  The final movement contains the "Joyful, Joyful..." hymn tune, set to some very different words.  This recording with Karajan and the Berlin Philharmonic is one of my personal favorites.

This is just a wonderful week for music this week, and I am really looking forward to sharing it with all of you.  I hope you find the music as inspiring to listen to and sing and it was for me to choose and prepare it!

Music Notes: September 4, 2011

We're finally in September, but as I'm writing this, the temperature is about 90 degrees and still climbing!  It brings back memories of my move-in day here in Waverly.


This week in our semi-continuous reading, we hear the story of the Passover.  God orders Moses and Aaron that they should report to their people to take a year old lamb, slaughter it, and coat the doors of their houses with the fresh blood of the lamb.  For when God passes over that evening, those with blood on their door will be spared the plague that is coming to Egypt.


In our Gospel reading, Jesus shares some simple principles about life and how the church should gather together and show individuals why they need to repent.  Jesus promises that whenever two or three gather in his name, he will be there among them.  It was and still is a very powerful, hopeful promise.


HYMNS AND SONGS


We Sing To You, O God (Opening hymn: 5:30 PM, 7:45 AM, 9:00 AM)


This hymn is a bit of a recollection of the lessons we have been hearing the previous weeks.  Stanza one briefly makes reference to God as the "Rock who gave us birth" (see Deuteronomy 32:18, and Exodus 4:22).  Stanza two describes our journey's of faith from the perspectives of the Israelites who were on a pilgrimage through the desert for years and years.  God sheltered them and protected them on their journey, and he does the same for us today.  The closing two stanzas are both statements of praise, in which God is referred to as an eagle, guiding us toward the sun, enabling us to bring good to the world.  


The tune, LOVE UNKNOWN, composed by John Ireland, is sadly underused in our repertoire.  It alternates between a 3 and 2 meter, but the melodic contours are very singable and fit this wonderful text extremely well.


Christ Jesus Lay In Death's Strong Bands (Hymn of the Day: 5:30 PM, 7:45 AM, 9:00 AM)


You may be wondering why we are using what is traditionally an Easter hymn here on the first week of September.  The answer is contained in stanza three, which makes a strong reference to the passover in the third line... "See, his blood now marks our door; faith points to it; death passes o'er, and Satan cannot harm us."  While this hymn describes the death and resurrection of Christ, it doesn't necessarily dwell on it.  The main focus is more on the goodness we receive from Christ as he sits at God's right hand in heaven.  As a Lutheran church, we also have a duty to keep this hymn in our repertoire.  We may still do A Mighty Fortress yearly, but other hymns by the great reformer Martin Luther are in a bit of danger.  These Lutheran chorale tunes are the stronghold of the Lutheran musical heritage, and it is critical that they continue to be sung regularly.


With rare exceptions, these chorale tunes should be sung briskly and strongly, in unison.  Hymnals at the time of Martin Luther all the way to the 19th century rarely contained harmonization.  It was customary for the congregation to rise up and with one voice sing the praises of God.  I'm very glad that the ELW hymnal committee elected to not include harmonizations for most of these chorale tunes.


My Faith Looks Up To Thee (Communion hymn: 5:30 PM, 7:45 AM)


In stark contrast to our hymn of the day tune, the tune to this hymn, titled OLIVET, almost requires harmonization for it to be a moving experience.  The trend in the late 18th and early 19th centuries was for more hymn tunes to be set homophonically, with more straightforward harmonies, to lend themselves to four part singing.  There is not much to this melody by itself, but when harmonized, it becomes something truly beautiful.  


The text of this hymn asks for redemption, grace, and guidance.  Connecting with the hymn of the day, Jesus is at the right hand of God, and this is our prayer to him to continue watching over us, as we see in the final line, "O bear me safe above, a ransomed soul!"  


God Be With You 'Till We Meet Again (Closing Hymn: 5:30 PM)


This lovely benediction has been loved by congregations across all denominations for over a century.  As is the previous hymn, it lends itself extremely well to harmonization, to the point of almost requiring it.  The verses contain numerous references to God's protection of us, such as "the shepherd's care," "holy wings," and "unfailing arms."  If you attend this service and are reading this, please note that we will only be singing the refrain on the final time, after the three verses.


Evening and Morning (Closing Hymn: 9:00 AM)


And... we're back to the Germans!!  Though Paul Gerhardt is known for many great Lutheran hymns such as "O Sacred Head Now Wounded," and "If God, My Lord, Be For Me," Evening and Morning is a hymn that is rarely sung.  The final two stanzas hearken towards our Gospel reading today.  As Jesus said, "Whatever you bind on earth will be bound in heaven," this hymn makes the same promise, such as at the conclusion of stanza three, "Joys e'er increasing and peace never ceasing: these shall I treasure and share in full measure when in your mansions you grant me a place."  The tune, which in English means, "The Golden Sun," is in a dance-like double meter, filled with sequences, joyful rhythms, and despite several tonal forays into the dominant key, remains very singable.


Better Is One Day (Opening Song: 10:30 AM)


The majority of our songs at the 10:30 AM service actually correspond with our Gospel reading.  Where Jesus gives us instructions and advice on what we should do to enter the Kingdom of heaven, this song is all about the glories and wonders contained within, and how we would rather spend just one day in the house of God than thousands elsewhere.  This song, written by Matt Redman, is also the title track of his album, "Better Is One Day."


Gather Us In (Praise Song: 10:30 AM)


The scriptural references in this song are too many to count.  Overall though, this bouncy tune and text by Marty Haugen captures the essence of our Gospel reading this morning.  As we all come together to worship, young and old, blind and lame, rich and haughty, proud and strong, we call come together to do God's work in the world.  


Under The Blood (Scripture Song: 10:30 AM)


Martin J. Nystrom is a name that a lot of people who study worship and praise music have heard before.  Unfortunately, before I found this song, I was not one of those people.  This is the first song (that I know of) that I have ever found by Mr. Nystrom, and I certainly hope I find more in the future.  The poem is simple, yet very profound, and sums up the spirit of the festival of Passover extremely well.  As he says in the second line, "No power of darkness could ever withstand the force of the blood sacrifice."  The similarities between this tune and Marty Haugen's tune for Gather Us In are actually quite shocking.  Both in 6/8 time, they are both in A-major, and they both travel harmonically to C major for the second line of text!  Both tunes capture the spirits of their relative texts very well.


Take My Life and Let It Be (Offering song: 10:30 AM)


What a wonderful musical update to this beautiful 19th century text!  Set in a Latin-american samba style by Mark Sedio, this version of "Take My Life..." is an absolute blast to sing.  The text is slightly altered so it fits in a verse-refrain style (the worship team will be singing the verses), and all of the musical syncopations that look rather confusing on paper actually roll off the tongue very naturally.  It's very difficult to sing this incorrectly!  The poem is actually a response to the Gospel reading, in that when Jesus calls the church to assist wrongdoers in finding the way, this text almost flips it around, and we say that we are open and willing to be directed by God in any way he wishes to do so.


One Bread, One Body (Communion song: 10:30 AM)


The theme of John Foley's rather simple text and tune is that of unity.  Whether we are jews, gentiles, servants, free, women, men, anything... we become one body through the body and blood of Christ.  


Soon and Very Soon (Closing song: 10:30 AM)


The great gospel musician Andrae Crouch (b. 1945) gives us this rousing tune to close our worship this week.  Jesus instructs us to do the mission of the church... go out and make disciples of all the world.  Warn people that they should repent.  For when we do so, we will all have a seat in the Kingdom of heaven.  This gospel song is our response to that.  It won't be long now, because soon and very soon, we are goin' to see the King!


Gospel music can often be misinterpreted and downright butchered by some musicians that may not be familiar with the performance practice.  Nine times out of ten, you'll hear this gospel song performed too quickly.  If it is rushed through, the syncopations lose all of their power and effectiveness.  So don't be in a hurry on this one.  Sit back on the beat, and let each word take its time coming out.  I know we want to hurry to the Kingdom, but we'll all get there eventually anyway, so we might as well enjoy our time here as long as we have it.  No rush!


INSTRUMENTAL MUSIC


Improvisation on LOVE UNKNOWN (Prelude: 5:30 PM, 7:45 AM, 9:00 AM)


John Ireland (1879-1962), while not necessarily belonging to the mainstream of 20th century English composers (ie. Vaughan Williams, Britten), was certainly a successful composer.  He wrote many works for both the church and concert stage, but unfortunately, this was his only hymn tune.  I say unfortunately, because it is such a good one!  It was originally written for the hymn "My Song is Love Unknown," (see ELW 343), but has been adapted for the text we are singing today.  This improvisatory prelude is simply to introduce the tune before the service and give everyone a chance to hear it, so it will hopefully be very familiar when it comes time to sing it.


Chorale Prelude on "Christ Lag in Todesbanden"- Marcel Dupre (Offering: 5:30 PM, 7:45 AM, 9:00 AM)


French composer Marcel Dupre seems to be an odd choice to set nearly 80 German chorale tunes, but he did just that.  Dupre's settings, while not on the scale of Bach or Buxtehude, are straightforward and very profound in nature.  This arrangement features the tune in one manual with a staggered eighth note accompaniment alternating between the left hand and pedal.  


"Christ Lag in Todesbanden"- Johann Pachelbel (Postlude: 5:30 PM, 7:45 AM, 9:00 AM)


Yes, Pachelbel again!  I was originally going to play Bach's famous setting of this chorale, but after checking out Pachelbel's on a whim, I decided to switch.  Where Bach's setting is rather straightforward with the chorale in the soprano, Pachelbel's setting is broader and grander.  It is set in two parts, the first consisting of a fughetta-like arrangement of the tune which connects right into the second part, a strong declaration of the full tune in the pedal with 16th note figurations in the hands.   


MUSIC RECOMMENDATIONS


1. Greater love hath no man (feat. John Ireland) from "The English Anthem Collection, vol. II"


This is John Ireland's great choral anthem, Greater Love Hath No Man, featuring biblical references including Canticles 8, St John 15, I Peter 2, I Corinthians 6; and Romans 12.  This piece itself, set for SATB choir and organ, is brilliant enough, but this entire album contains two discs of some of the greatest music to come out of the British Isles in the 19th and 20th centuries.  This is one that is not to be missed.


2. Pachelbel: Organ Works Vol.1 


I thought I'd finally include a CD of Pachelbel organ music.  While this particular album doesn't include the setting of Christ Lag I'm playing this week, it does have the Prelude in D-minor that I played as the postlude last week.


3. Bach: Cantatas, BWV 4-6 - Helmuth Rilling


As we may all know, J.S. Bach wrote a full cantata for nearly every week of the church year while he was cantor at St. Thomas Church in Leipzig.  His Cantata, BWV 4, Christ Lag In Todesbanden, is based on the chorale that was our hymn of the day today.  The Stuttgart Bach Ensemble is led masterfully by Helmuth Rilling, who is arguably the premier interpreter of Bach today.


3. Definitive Greatest Hits- Andrae Crouch  



This three disc set contains all of Crouch's greatest hits, including Soon and Very Soon, which can be found on disc 3.  This set is a veritable time capsule of one of the first mainstream Gospel artists.


As always, feedback is appreciated on all of my writings!  I appreciate you all taking time to read, and it's great to hear your comments on Sunday morning!