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!