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.