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!  

Music Notes: October 16th, 2011

Moses and God had a little bit of an argument last week.  Moses was really able to talk God down from unleashing his wrath on the Israelites because they made a Golden Calf to worship as an empirical representation of God.  


This week, Moses has a bit of a bone to pick.  He feels that God has burdened him with this responsibility for leading the Israelites, but that he is not getting the support from God that he felt he was promised.  Eugene Peterson's translation of this passage from The Message Bible gives a lot of clarity to the conversation...


************

Moses said to God, "Look, you tell me, 'Lead this people,' but you don't let me know whom you're going to send with me. You tell me, 'I know you well and you are special to me.' If I am so special to you, let me in on your plans. That way, I will continue being special to you. Don't forget, this is your people, your responsibility."

God said, "My presence will go with you. I'll see the journey to the end."

Moses said, "If your presence doesn't take the lead here, call this trip off right now. How else will it be known that you're with me in this, with me and your people? Are you traveling with us or not? How else will we know that we're special, I and your people, among all other people on this planet Earth?"

God said to Moses: "All right. Just as you say; this also I will do, for I know you well and you are special to me. I know you by name."

Moses said, "Please. Let me see your Glory."

God said, "I will make my Goodness pass right in front of you; I'll call out the name, God, right before you. I'll treat well whomever I want to treat well and I'll be kind to whomever I want to be kind."

God continued, "But you may not see my face. No one can see me and live."

God said, "Look, here is a place right beside me. Put yourself on this rock. When my Glory passes by, I'll put you in the cleft of the rock and cover you with my hand until I've passed by. Then I'll take my hand away and you'll see my back. But you won't see my face."

***********


The line that usually gets extracted and interpreted here is "I'll treat well whomever I want to treat well," which, in the NSRV translation says, "I will be gracious to whom I will be gracious.  In addition, this passage is intriguing in its language of whether or not God is represented in human form.  Moses wants to speak with God face to face, but God will not allow it.  According to God, no human can look upon God and live.  At the end of the reading, God allows Moses to see his back, but not his face.


HYMNS AND SONGS


Immortal, Invisible, God Only Wise (Opening Hymn: 7:45 AM, 9:00 AM)


I never really understood the message of this hymn until reading this Exodus passage.  I was always skeptical of the idea that the vision of God was "inaccessible" to us.  Ultimately though, as much as many of us desire to lay our eyes on God for whatever reason, whether it be for justification, assurance, or even curiosity, it shouldn't be necessary.  Faith should be able to overcome all and provide all of the justification we need.  The Israelites wanted to see God, so they made a golden calf.  God clearly wasn't happy with this, and we shouldn't make the same mistake.  This hymn is a tribute to a God that is perpetually providing, comforting, and defending us, despite being hidden amongst the splendor of light.


All My Hope On God Is Founded (Hymn of the Day- 7:45 AM, 9:00 AM)


This is another hymn contrasting the splendor and majesty of God along with the mystery surrounding God's aura.  Lines such as "Who through change and chance will guide me, only good and only true," contrast with lines such as, "God unknown, from thy throne, call my heart to be thine own."  


The music for this hymn was composed by Herbert Howells, one of the greatest composers of English cathedral music in the early 20th century.  In 1935, his son Michael died very suddenly from polio and meningitis.  Several of Howells' works came out of this tragedy, most notably his Hymnus Paradisi.  This hymn tune, named MICHAEL, after his son, was extracted and now finds a home here.  It is characteristically Howells, with lots of harmonic color and a complex, yet very singable tune.


Great Is Thy Faithfulness (Communion Hymn: 7:45 AM, Closing Hymn: 9:00 AM)


Unlike many hymns that take years and years to compose the poem, music, and finally be published, Great Is Thy Faithfulness took less than a year to go from preliminary thought to publication.  Thomas Chisolm composed this poem in 1923, describing the faithfulness of God through his (and by extension, our) life/lives.  He sent the completed poem to composer William Runyan who set it to music and it was published shortly afterwards by Hope Publishing Company.  Thanks to exposure from various church groups, the Moody Bible Institute, and televangelist Billy Graham, Great Is Thy Faithfulness has gone on to become one of the most beloved hymns in the repertoire.


Beautiful Savior (All My Days) (Opening Song- 11:15 AM)


This song by Stuart Townend takes two phrases from two famous sources (Beautiful Savior, of course, from the hymn "Fairest Lord Jesus," and Wonderful Counselor being from the Book of Isaiah, made famous in Handel's Messiah), and uses them as a framework for a reflection of these two ideas.  The point of view is switched between verse and refrain, where the verse is sung in the first person, "I will sing this song of gladness," or "I long to be where the praise is never ending," and the refrain is in the second person addressing God, "You're the way, the truth, the life," or "You're the risen one, heaven's champion."  It is reflection, testimonial, prayer, and a song of praise all in one.


Stand in the Congregation (Praise Song- 11:15 AM)


This joyful song by Bill Batstone is all about the encouraging of intergenerational, interdenominational, and international worship.  Worshipers of all ages and nations can enjoy the message delivered here ("Let the children of your salvation..." "Let the people of every nation...").  I know that sometimes we sit during this portion of the service, but we obviously have to stand for this one!


Cry Of My Heart (Scripture Song- 11:15 AM)


I feel like this song incapsulates all that Moses wants from God.  This is Moses' testimonial to God, his promise.  In our scripture reading this Sunday, Moses needs a sign of faith from God.  He said what he did to try and get it, but I feel like he could have sung this song as well.  Not only is it his testimonial, but it's ours as well.  You notice in verse two... we sing, "Open my eyes so I can see the wonderful things that you do."  We don't need to see God himself, but it is important to recognize his good works in the world.


You, Lord (Offering Song- 11:15 AM)


This is our second Handt Hanson song in as many weeks.  He has a great gift for writing both words and music that can widely appeal to many styles of worship, which is what he did at Prince of Peace in Burnsville, MN for years.  Much like in our previous songs, this professes the love and gratefulness that we have for God, and in addition, describes the offering that we give back.


Seed, Scattered and Sown (Communion Song- 11:15 AM)


The refrain of this song describes the path of the bread from the seed to the plant to the bread as the living bread of God, and the path of the wine from the vine, to the fruit to the living cup.  Written by Dan Feitman in 1987, this is a rarely sung, but beautiful testimony to the Living bread and cup of the Holy Eucharist.


Thanks Be To You (Closing Song- 11:15 AM)


Many of you may recognize this as the post communion canticle from the liturgy "Now The Feast and Celebration," by Marty Haugen.  This liturgy was originally written for the Holden community, and many pieces of it can be extracted and used independently, including the Kyrie, Song of Thanksgiving, and this piece we're singing this morning.    This is a joyful, spiritual ending to our worship this morning.


INSTRUMENTAL MUSIC


Two Fugues by Johann Pachelbel (Prelude and Postlude- 7:45 AM, 9:00 AM)


The fugue for the prelude is in D minor, recognizable by the descending theme of the fugue which can be heard in all voices.  Like many of Pachelbel's slower organ works, there is a large variety of harmonic twists and turns, which are really ahead of the time.  The postlude is in C major, and has an unusually long subject comprised of mainly 8th and 16th notes.  


MUSIC RECOMMENDATIONS


1. Howells: Choral Music- Wells Cathedral Choir


This is my only recommendation this week, but it is an outstanding one.  Minus the Requiem and the Hymnus Paradisi, this CD contains most of Herbert Howells output as a choral composer.  There are services, hymns, and anthems for all portions of the church year. 

Music Notes: October 9th, 2011

Oh those Israelites.  One week ago in our Exodus reading, we saw Moses receive the laws for the people handed down directly from God, The Ten Commandments.  Of these commandments, one of the first listed was that there should be no graven images made of God, but to worship God alone, sight unseen.  Moses spent 40 days and nights on Mt. Sinai, but while he was up there, he was told by God that the Israelites had done just that.  They had made a calf out of gold, and worshiped it as a visual representation of their God.  This did not make God happy, to say the least, and while Moses was upset too, he was able to talk God out of unleashing his wrath on the people.

If you continue reading ahead past the reading for this Sunday, you will find that when Moses reaches the bottom of the mountain and sees with his own eyes what his people are doing, he too gets extremely upset.  He breaks the tablets that the commandments are on, melted down the golden calf, ground it to powder, put it into water, and made the Israelites drink it (I don't know why, but I find that funny!).  At least he was able to get God to at least temporarily sheathe his sword of justice.

HYMNS AND SONGS

Word of God, Come Down On Earth (Opening hymn- 7:45 AM, 9:00 AM)

We certainly don't want to make the same mistake the Israelites make.  I feel the words of this hymn are a much more appropriate reception for the eventual coming of the Ten Commandments to the Israelites themselves.  Rather than cast a graven image of God, we can rejoice in the words God has given us, which James Quinn, a Scottish Jesuit priest, express nicely in this hymn.  Father Quinn passed away in April of 2010, and this is one of his most well known texts.  The Word of God is depicted in so many ways... "living rain," "Word made flesh," Word eternal," Word of truth," and "Word of life," are just a few of them.

This chorale, LIEBSTER JESU, is not very typical of the German chorales of its time.  Chorales from the mid 17th Century were typically highly rhythmic, energetic, dance-like tunes that were  meant to be sung strongly in unison.  This tune feels like it comes from the 19th century.  Its melodic contour is almost completely step-wise, and its harmonization in the ELW is very singable and well written.  Singing in harmony is certainly encouraged on this beautiful chorale.

O God, Our Help In Ages Past (Hymn of the Day- 7:45 AM, 9:00 AM)

Isaac Watts, along with Charles Wesley, was one of the most powerful influences in modern hymn writing to come out of the 18th century.  He is commonly known as the "Father of English Hymnody," and that is certainly no overstatement.  An enormous amount of his 750+ hymns remain in common usage today, and have been translated into dozens of languages for use all over the world (10 of his hymns are in the ELW).  His hymns typically fall into one of two categories.  The first is a highly personal, intimate style of poetry that accomplishes the feat of breaking down the barrier that all-too-often exists between poet and singer (see: When I Survey the Wondrous Cross).  The second is Watts' book of psalm paraphrases, where he was able to place the already poetic psalms into a very accessible common meter in the vernacular of the people.

O God, Our Help In Ages Past falls into the second group, and is a paraphrase of Psalm 90.  It was originally a part of the collection called The Psalms of David Imitated in the Language of the New Testament, published originally in 1619.  In it, Watts set all of the Psalms in this accessible poetry minus twelve of them, which he called "unsuitable for Christian usage (interesting!!)."

Accompanying it is a strong 18th century tune that was very characteristic of the music of its time.  The simplicity of the two square phrases, homophonic structure, and strong melody allow the text to shine through.    The tune by William Croft has been used widely throughout other works.  It was used by Handel in several anthems, and many musicologists believe that Bach's great Fugue in E-flat Major was based on this hymn tune as well, though it could have very well been a coincidence that both melodies happen to start with similar intervals.

Now We Join in Celebration (Communion Hymn- 9:00 AM)

This hymn, set to the beautiful Johann Cruger chorale, is a response to the Words of Institution.  Jesus invites us to the table to share in a meal, and in response, "Now we join in celebration at the Savior's invitation."  This is a fabulous example of a new hymn set to an old tune, which gives instant recognition and understanding to the text that may not be as accessible if it were set to its own new tune.

Textually, the poem continually makes reference to our togetherness as a community and family within the church, all thanks to the sacrifices of Jesus.

Lord, Keep Us Steadfast In Your Word (Communion Hymn- 9:00 AM, Closing Hymn- 7:45 AM)

Oh boy, another German chorale!  This is one of the earlier examples from the beginning years of the Reformation, and one of several hymn texts by Martin Luther that is still in common usage.  Similarly to our opening hymn, Lord, Keep Us Steadfast In Your Word relies not on anything visual or kinesthetic, but rather faith in a God that provides for all our needs.  It calls for us to stand up against those who rely on things other than God alone for spiritual fulfillment.  If materialistic needs and desires are left to rule the world, Martin Luther expresses here that any foundation of faith would crumble (...bring to naught all (God) has done).  Instead, if we keep steadfast in the Word of God, he will lead us out of death to life.

Better Is One Day (Opening Song- 11:15 AM)

The Israelites, while not necessarily being aware of it at the time, were breaking a serious rule in God's eyes.  We all do it. In today's world, it is becoming increasingly more difficult to live a Godly life and also always hold fast and true to all of God's commandments.

This song of praise by Matt Redman is a good reminder of what should be keeping us on our track.  Whenever we start to wane from the path, we just have to think to ourselves, "One day in the Kingdom of God is better than thousands elsewhere."

I Will Call Upon The Lord (Praise Song- 11:15 AM)

This song, having just passed its 30th anniversary, is much loved by congregations, church camps, youth gatherings, and anywhere where there is a need for a rhythmic, exciting, easy-to-sing tune.  Continuing with the theme of the day, it's important to exalt God as he is, not to try and create something that represents God here.  Only by praying to God alone will we be saved from our enemies.

Good Soil (Scripture Song- 11:15 AM)

During his time at Prince of Peace Lutheran Church in Burnsville, MN, Handt Hanson penned many songs that are suitable for any style of worship service, including Good Soil.  At the risk of repeating myself, this song calls for us to open our hearts and be receptive to the Word of God which is always being passed on to us.  Set in a two part structure, the second portion asks for strength and help from God continually keep us on the right path ("When my heart is lost, lead me on your way").

We Come To The Hungry Feast (Communion Song- 11:15 AM)

Though our hunger for the Eucharist is satisfied each week, there are many hungers in our lives that still remain.  We're hungry for peace, and we're hungry to see the hunger of others satisfied.  As stanza three of this hymn says, "...and knowing, though we eat our fill, the hunger will stay with us...".  This song is a call to all of us that we should always remember and pray for those in the world that may not be as fortunate as many others.

Let The Earth Resound (Closing Song- 11:15 AM)

In Better Is One Day, we reflected on how wonderful it must be in the Kingdom of God.  This song is all about actually going there and experiencing it.  The song-writing team of Stuart Townend and Keith Getty are collaborating with the goal of providing truly "contemporary hymns," that is, poetry that is rich in theology and depth, but with a modern musical sound.  This is a genre that is sorely lacking in the church music of today.  Most of the Getty/Townend hymns reflect on the life of Jesus, and this one is no different (see stanza two).  As the hymn reaches its climax, we are all brought together as one with Christ, and standing together, we finally get to meet the gaze of God (something Moses and the Israelites were never given the privilege to do), joining in a song of ceaseless praise.

CHORAL ANTHEMS

I Sing The Greatness of Our God- Fred Bock (Offering- 9:00 AM)

This is another text by Isaac Watts, and it falls in the first category of his output, and speaks in the first person to the glory of God.  The anthem is based on the hymn tune ELLACOMBE (see ELW 722).  While the tune is presented fully during stanza two, it is also heard in fragments throughout the entire anthem.  Modulations, unexpected cadences, and common tone shifts of key all add to the excitement and driving force of this piece.  A joyful organ accompaniment rounds out the presentation.

Small Deeds- John Horman (Offering- 11:15 AM)

The Friends of the Lord choir will be joining us at 11:15 AM this week to share with us their offering.  The students involved in the Saints Alive! program here at St. Paul's have been spending the last several weeks learning about the story of the Widow's Offering.  Though she didn't have much and wasn't required to give anything, she gave all that she had (two small copper coins) to the church.

Friends of the Lord will be singing a song reflecting this spirit, that even the smallest of deeds carries a great amount of weight.  Through the verses, you will hear the children comparing the deeds of Moses (shepherding the Israelites), Noah (building an ark), and Hannah (giving her child to the will of God in exchange for allowing her to have a baby), to the small deeds that they can bring to the world.

INSTRUMENTAL MUSIC

Settings of ERHALT UNS, HERR (Prelude and Postlude- 7:45 AM, 9:00 AM)

These two organ settings of Lord, Keep Us Steadfast In Your Word will book-end our services this week.  The first, by Anton Wilhelm Leopold, is a rather straightforward setting that tosses the chorale tune between the hands and the pedal.  The second, by David Johnson, is a much larger, complex settting, using a motive that permeates throughout the work and surrounds the chorale tune.  As the piece comes to a close, if you listen carefully, you'll hear the chorale being presented twice.  It will be in the top line of the right hand being played at a faster tempo, and simultaneously it will be in the pedal reeds in a much slower tempo.

MUSIC RECOMMENDATIONS

1. Bach Organ Favorites- E. Power Biggs, organ


This is a wonderful MP3 collection of some of Bach's most well known and well loved organ works.  Included is the "St. Anne" fugue that I mentioned earlier, as well as Bach's setting of the chorale used for our first Communion hymn this week.

2.  The Psalms and Hymns of Isaac Watts- ed. George Burder


This book is a complete collection of the works for the church from Isaac Watts.  You may recognize many contained within, and there will be others that you have never seen before.  This book is a must-own for anyone interested in hymnology.

3.   Complete New English Hymnal Vol. 13- Sheffield Cathedral Choir


This is an album for anyone that likes straight-forward, out-of-the-hymnal renditions of hymns, recorded beautifully, clearly, and carefully by one of the fine English cathedral choirs.  O God, Our Help in Ages Past is included here, as well are many, many others.  Some you may not recognize at all, and others you may see the texts, but it would be set to a completely different tune.  These are taken from the English Anglican hymnal, where some of the tunes that are commonly known in America may not be included here.  Regardless, what impresses me about this recording the most is the care they took in balancing the choral and organ sound.  It's beautiful.

4.  The Ten Commandments (Two-Disc Special Edition)


We've dedicated our last month to sharing this story, so I thought I might as well include Cecil B. Demille's depiction of the book of Exodus in this mammoth four hour motion picture.  Whether you like this telling of the story or not, it can't be denied that it is extremely powerful in its interpretation.