The new liturgical year starts this weekend with the first Sunday of Advent. Not only do we begin our journey towards Christmas Eve and the birth of Christ, but we also embark on a new series of readings, which allow for new possibilities of music and exploration of other areas of the hymnal.
As a new liturgical year begins, I'd also like to announce a slight change I will be making to Music Notes. Due to time, resources, and effort required, I will no longer be including every piece of 11:15 AM service music in Music Notes. While currently, the majority of the content of this blog ends up being for the 9:00 AM service, I actually spend the majority of time on researching, writing, and learning more about the 11:15 AM music. While it is a worthwhile endeavor for me, I don't feel like it is a completely efficient use of my time when I spend hours researching it only to yield a paragraph of info that is shorter than this current paragraph. So unless there is a piece that I feel that I can really write something worthwhile and profound on, I will be omitting the majority of them from this point forward.
I want to emphasize that in absolutely no way do I consider that music to be "below" any of the music at the 9:00 AM service. It is simply a decision based on two things. First, my knowledge of that repertoire is more limited than that of the traditional hymnal, and secondly, being written more recently, there simply isn't as much interesting history, tidbits, or fun facts to be found about them. In general, the music is more easily understandable and more straightforward, requiring less explanation from me.
I would love to hear your feedback on this. If there is enough negative feedback from this decision, I would be more than happy to begin including them again.
HYMNS AND SONGS
The King Shall Come (Opening Hymn- 7:45 AM, 9:00 AM)
This first hymn of the Advent season certainly looks forward to the coming of Christ, but also references the previous week's celebration of Christ The King Sunday. In a sense, this hymn both looks forward and looks back. Christ isn't just the King of Kings on one Sunday of the year, it is celebrated every Sunday, whether we are awaiting the coming or are celebrating his baptism, arrival, or resurrection.
The King Shall Come foreshadows all of the major events in Christ's life, while still remaining relevant with its closing line, "Come quickly, King of kings." Its tune, CONSOLATION, is an early-American hymn tune from the Kentucky Harmony tune book, published in 1816. While "Sacred Harp" is generally considered the most well known shape note song book, Kentucky Harmony was the first major one to be published, including over 140 tunes, most of which were in four part shape note style.
Rejoice, Rejoice Believers (Hymn of the Day- 7:45 AM, 9:00 AM)
This hymn is based largely on the Parable of the 10 Virgins from Matthew 25. In the parable, 10 women go out to await the arrival of the bride groom. They all bring their lamps, but only five of them bring oil for them. When the bride groom approaches, the five with no oil ask to borrow from the five that did, but there was not enough for both. As the five with no oil scampered off to try and find some, the bride groom arrived, entered the party with the five who brought oil, and shut the door. When the other five had returned, they were denied entrance to the party.
Where the five virgins with oil were prepared for the arrival of the bride groom, we should also be prepared for the arrival of Christ in the church and in our lives. The advent connection of this lovely hymn is made in stanza four, "Our hope and expectation, O Jesus, now appear; arise, O Sun so longed for, o'er this benighted sphere."
The tune is a traditional Swedish folk tune, in a familar AABA format, meaning lines one, two, and four are identical musically, with only the third line leading to a secondary dominant and half cadence.
My Lord, What a Morning (Communion Hymn- 9:00 AM)
For the celebration of Eucharist today, I've created a little triptych of hymns about light. Light is an extremely important element of the Advent season. This first selection is all about the dawn. This African-American spiritual preaches the rising of a sun over a new and glorious future. The "nations underground" of course refer to all the slaves who were in desperate need for the sun to rise in their life.
Light Dawns on a Weary World (Communion Hymn- 9:00 AM)
As the sun rises, we feel the promised day of justice, the feast of plenty, and the green of Eden come into our world. This entire hymn describes the coming alive of nature, and our reactions to the light coming forth to the world. Mary Louise Bringle, professor of philosophy and religious studies at Brevard college, penned this hymn in 2002. It is a wonderful example of a modern day hymn packed with theology, imagery, and a beautiful Advent message.
Christ, Be Our Light (Communion Hymn- 9:00 AM)
The third element of this Triptych is similar to the second. The primary difference is that "Christ, Be Our Light" is, as evident by its title, Christ-centered. On this first Sunday of Advent, our world is in darkness. We are waiting for truth, peace, and hope in the world. We are waiting for the glorious light of Christ to approach us and eventually arrive on Christmas morning. The first four stanzas of this hymn all follow the same formula. We are longing for something, and we then learn how the coming of Christ will deliver it. The final stanza puts the focus back on us, being servants to each other in the example of Christ's teaching, and let it be a sign of the kingdom to come.
Hark! A Thrilling Voice Is Sounding (Closing Hymn- 7:45 AM)
The translation of this ancient 17th century Latin hymn is set in the voice of the people, hearing a voice delivering the Advent message of Christ's coming. In stanza two, we once again see a reference to Christ as the sun, dawning over the world and shining upon the morning skies. In stanza three, we see a source to our confession of sins, as Christ comes from heaven with pardon and we flock for forgiveness. The hymn concludes with a doxological trinitarian statement, uniting Father, Son, and Holy Spirit.
INSTRUMENTAL MUSIC
Benedictus- Alec Rowley (Prelude- 7:45 AM, 9:00 AM)
This expansive organ piece by English choirmaster Alec Rowley is mainly harmonically based, featuring a rising harmonic progression through a wide variety of keys. Beginning in E major, it quickly moves to G major, repeating the sequence. As the piece unfolds, the organ opens up to a glorious climax, finally settling in C major with the "melody" (really just a set of broken arpeggios), voiced differently in the lower krummhorn. The piece concludes with a characteristic bVI, bVII, I progression, characteristic of the English school of composition (if you're curious, I'll explain what that means later!).
Entrada on Rejoice, Rejoice Believers- David Lasky (Postlude- 7:45 AM, 9:00 AM)
This brief piece is based on the Swedish folk tune from our hymn of the day. Surrounding a rather straightforward statement of the tune is a joyous trumpet fanfare, often stretching to some unusual, far-reaching key areas. Some of those progressions will be implemented into my organ introduction to the hymn as well.
CHORAL ANTHEM
Keep Your Lamps- arr. André Thomas (Offering- 9:00 AM)
Dr. Thomas is Director of Choral Activities at Florida State University, and is a well known composer and arranger of African-American spirituals. His setting of Keep Your Lamps is one of his most popular, and is based upon the Gospel of Matthew 25:1-13. The middle section, "Children don't be weary, 'till your work is done," of course references the ten virgins, who end up sleeping during the time prior to the arrival of the bridegroom. The second verse, "Christian journey soon be over, the time is drawin' nigh" connects us once again to Advent and the eventual coming of Christ.
Saturday, November 26, 2011
Wednesday, November 23, 2011
Music Notes: November 23rd, 2011
Thanksgiving Eve
Welcome to a special edition of Music Notes! Our Thanksgiving Eve service is this evening, and it is chock full of wonderful, praise-filled music that deserved its own entry this week.
HYMNS AND SONGS
Litany Of The Saints (Opening Processional)
This Litany essentially combines many facets of what you would find in a traditional liturgy. The first line contains the framework for the Kyrie, which is normally sung to open the service. Basic principles of the Old and New Testaments are covered, as is the birth and life of Christ, the Creed, and the principles of baptism, which we are celebrating tonight. The entire litany is sung in a call and response style, with the congregation responding to the petitions of the cantor.
Now Thank We All Our God (Opening Hymn)
Few hymns identify with Thanksgiving more than this timeless text, with a translation by Catherine Winkworth. In Germany, it is actually the national song of thanksgiving, and the very first line (in its original language) is one of the most easily deciphered by a non-German speaking crowd... "Nun Danket alle Gott, mit Herzen, Mund, und Händen (Now thank we all our God, with hearts and hands and voices)." The first line of stanza two feels like a wonderful table grace, and stanza three, like many other theology-packed hymns, contains a Trinitarian reference.
The tune, originally attributed to Johann Cruger, has been used in a variety of ways since the 17th century. Its original version can be seen by looking at ELW 839, and was used in a similar form by J.S. Bach in at least two of his cantatas. In 1840, Felix Mendelssohn established the now common harmonization of the tune when he included it in his Symphony No. 2.
O Day Full Of Grace
This beautiful Scandinavian hymn has a special place in my heart, especially the alternate text we are singing tonight. The entire hymn depicts the creation, blossoming, and flourishing of the world. The stanza one line, "Bring light from our God that we may be abundant with joy this season" is a beautiful testament to Thanksgiving.
Stanza two begins the true narrative of the story. Never before in text or tune has a sunrise been so beautifully depicted. This sunrise is, of course, the light brought to us thanks to the birth of Christ ("...when God in our flesh was given"). Christ brightened the dawn with light and power, spread over the darkest heavens, rose over the world, and drove all the gloom from our hearts.
The world bursts into life in stanzas three and four. Trees, birds, and all of nature bursts into song, celebrating the wonderful bounty we have all been blessed with.
Beautiful Savior (Communion Hymn)
This Silesian folk tune is another that is much loved among Lutherans, especially in this part of the country, where Lutheran college grads spent four years and countless alumni gatherings singing F. Melius Christiansen's lovely setting.
The region of Silesia no longer exists, but most of it is occupied by what is now Poland. Unfortunately, there is little information on the origin of this hymn, nor who first translated it into English. The structure is symmetrical in that the interior and exterior stanzas are hymns of praise to the creator, and the interior stanzas proclaim said creation, by describing the meadows, woodlands, stars, and tying them to Jesus, who is said to shine fairer and brighter than all of these things.
For The Fruit Of All Creation (Communion Hymn)
Fred Pratt Green's lovely 20th century hymn is a beautiful example of a hymn of thanksgiving. The first and third stanzas both use the conclusion, "Thanks be to God," as a conclusion to each petition. The conclusion of the final stanza is one of the more profound, thought provoking phrases in the hymnal... "For the wonders that astound us, for the truths that still confound us, most of all, that love has found us, thanks be to God."
Let All Things Now Living (Communion Hymn)
Concluding our triptych of Thanksgiving Folk tunes is ASH GROVE, the tune made famous by Benjamin Britten. It is interesting that such a joyful, cheerful hymn tune was once set to the poem of a man visiting his recently deceased wife's grave.
This text by Katherine Davis is anything but sad. This is a joyful hymn of thanks, again, to the creator of all things. God fashioned, made, and protected us, and still guides us to this day. Stanza one also contains several Biblical references, including a reference to the pillar of fire in Exodus 12, guiding us along our way. Our Thanksgiving service concludes with the line, "...with glad adoration a song let us raise 'till all things now living unite in Thanksgiving to God in the highest hosanna and praise!"
INSTRUMENTAL MUSIC
SCHÖNSTER HERR JESU- Gerre Hancock
The title of this arrangement of Beautiful Savior is the German word of the first line of the hymn, "Fairest Lord Jesus." The organ setting is in two sections with a coda. Each section begins with a rising and descending dissonant figure, followed by two full statements of the tune. The first statement is more straightforward, soloed out with a running accompaniment, while the second setting is fuller, with mixtures, reeds, and grows to the coda. The pieces concludes where it starts, with the first two bars of the tune being stated in the pedal.
Gerre Hancock is one of the most respected and well-known improvisers on the organ in the country. His compositional output is quite large, and is one of the leaders of the 20th century evolution of the hymn festival.
N.B.- Unless I can change it in time, I believe the title of this piece in the bulletin is an error. It may be listed as "Herzliebster Jesu," which actually references the hymn "Ah, Holy Jesus." Management regrets this error. :) I got my German adjectives twisted around.
Toccata on NUN DANKET ALLE GOTT- Egil Hovland
This is one of Norwegian composer Egil Hovland's most boisterous, energetic pieces. The tune of "Now Thank We All Our God" in canon between the very top voice and the pedal, surrounded by a complex series of arpeggios and chordal flourishes. The piece grows to a sometimes dissonant, but always glorious conclusion.
I sincerely hope you enjoy and are fulfilled by our Thanksgiving Eve service today. Stay tuned for this week's normal edition of Music Notes some time Friday as we begin the liturgical year by celebrating Advent.
Welcome to a special edition of Music Notes! Our Thanksgiving Eve service is this evening, and it is chock full of wonderful, praise-filled music that deserved its own entry this week.
HYMNS AND SONGS
Litany Of The Saints (Opening Processional)
This Litany essentially combines many facets of what you would find in a traditional liturgy. The first line contains the framework for the Kyrie, which is normally sung to open the service. Basic principles of the Old and New Testaments are covered, as is the birth and life of Christ, the Creed, and the principles of baptism, which we are celebrating tonight. The entire litany is sung in a call and response style, with the congregation responding to the petitions of the cantor.
Now Thank We All Our God (Opening Hymn)
Few hymns identify with Thanksgiving more than this timeless text, with a translation by Catherine Winkworth. In Germany, it is actually the national song of thanksgiving, and the very first line (in its original language) is one of the most easily deciphered by a non-German speaking crowd... "Nun Danket alle Gott, mit Herzen, Mund, und Händen (Now thank we all our God, with hearts and hands and voices)." The first line of stanza two feels like a wonderful table grace, and stanza three, like many other theology-packed hymns, contains a Trinitarian reference.
The tune, originally attributed to Johann Cruger, has been used in a variety of ways since the 17th century. Its original version can be seen by looking at ELW 839, and was used in a similar form by J.S. Bach in at least two of his cantatas. In 1840, Felix Mendelssohn established the now common harmonization of the tune when he included it in his Symphony No. 2.
O Day Full Of Grace
This beautiful Scandinavian hymn has a special place in my heart, especially the alternate text we are singing tonight. The entire hymn depicts the creation, blossoming, and flourishing of the world. The stanza one line, "Bring light from our God that we may be abundant with joy this season" is a beautiful testament to Thanksgiving.
Stanza two begins the true narrative of the story. Never before in text or tune has a sunrise been so beautifully depicted. This sunrise is, of course, the light brought to us thanks to the birth of Christ ("...when God in our flesh was given"). Christ brightened the dawn with light and power, spread over the darkest heavens, rose over the world, and drove all the gloom from our hearts.
The world bursts into life in stanzas three and four. Trees, birds, and all of nature bursts into song, celebrating the wonderful bounty we have all been blessed with.
Beautiful Savior (Communion Hymn)
This Silesian folk tune is another that is much loved among Lutherans, especially in this part of the country, where Lutheran college grads spent four years and countless alumni gatherings singing F. Melius Christiansen's lovely setting.
The region of Silesia no longer exists, but most of it is occupied by what is now Poland. Unfortunately, there is little information on the origin of this hymn, nor who first translated it into English. The structure is symmetrical in that the interior and exterior stanzas are hymns of praise to the creator, and the interior stanzas proclaim said creation, by describing the meadows, woodlands, stars, and tying them to Jesus, who is said to shine fairer and brighter than all of these things.
For The Fruit Of All Creation (Communion Hymn)
Fred Pratt Green's lovely 20th century hymn is a beautiful example of a hymn of thanksgiving. The first and third stanzas both use the conclusion, "Thanks be to God," as a conclusion to each petition. The conclusion of the final stanza is one of the more profound, thought provoking phrases in the hymnal... "For the wonders that astound us, for the truths that still confound us, most of all, that love has found us, thanks be to God."
Let All Things Now Living (Communion Hymn)
Concluding our triptych of Thanksgiving Folk tunes is ASH GROVE, the tune made famous by Benjamin Britten. It is interesting that such a joyful, cheerful hymn tune was once set to the poem of a man visiting his recently deceased wife's grave.
This text by Katherine Davis is anything but sad. This is a joyful hymn of thanks, again, to the creator of all things. God fashioned, made, and protected us, and still guides us to this day. Stanza one also contains several Biblical references, including a reference to the pillar of fire in Exodus 12, guiding us along our way. Our Thanksgiving service concludes with the line, "...with glad adoration a song let us raise 'till all things now living unite in Thanksgiving to God in the highest hosanna and praise!"
INSTRUMENTAL MUSIC
SCHÖNSTER HERR JESU- Gerre Hancock
The title of this arrangement of Beautiful Savior is the German word of the first line of the hymn, "Fairest Lord Jesus." The organ setting is in two sections with a coda. Each section begins with a rising and descending dissonant figure, followed by two full statements of the tune. The first statement is more straightforward, soloed out with a running accompaniment, while the second setting is fuller, with mixtures, reeds, and grows to the coda. The pieces concludes where it starts, with the first two bars of the tune being stated in the pedal.
Gerre Hancock is one of the most respected and well-known improvisers on the organ in the country. His compositional output is quite large, and is one of the leaders of the 20th century evolution of the hymn festival.
N.B.- Unless I can change it in time, I believe the title of this piece in the bulletin is an error. It may be listed as "Herzliebster Jesu," which actually references the hymn "Ah, Holy Jesus." Management regrets this error. :) I got my German adjectives twisted around.
Toccata on NUN DANKET ALLE GOTT- Egil Hovland
This is one of Norwegian composer Egil Hovland's most boisterous, energetic pieces. The tune of "Now Thank We All Our God" in canon between the very top voice and the pedal, surrounded by a complex series of arpeggios and chordal flourishes. The piece grows to a sometimes dissonant, but always glorious conclusion.
I sincerely hope you enjoy and are fulfilled by our Thanksgiving Eve service today. Stay tuned for this week's normal edition of Music Notes some time Friday as we begin the liturgical year by celebrating Advent.
Thursday, November 17, 2011
Music Notes: November 20th, 2011
Christ The King Sunday
This is the final Sunday of the Liturgical Year. The Reign of Christ is celebrated and he is crowned the King of all glory. The Kingship of Jesus is referenced at several points in the Bible (1 Timothy 1:17, John 1:49, Matthew 27:11, Revelation 1:5), and the feat of Christ the King generally serves as a close of the liturgical year across all major western denominations of Christianity.
The amount of music that is appropriate for Christ the King is extremely large and varied. I have spent a lot of my first fall here at St. Paul's doing some "innovative" (ie. risky) things, and they have been, for the most part, very well received. For Christ the King Sunday this year, I have decided to pretty much do all the old standards that have been around for years, with hopefully a new, exciting spin on them.
HYMNS AND SONGS
Crown Him With Many Crowns (Opening Hymn: 7:45 AM, 9:00 AM)
When most people think of hymnody for Christ the King Sunday, this is most likely the first one that pops into people's minds. Initially, this hymn was a collaboration between two English poets, Matthew Bridges, and Godfrey Thring. The collaboration was not direct, but rather Thring wrote his stanzas in response to Bridges', fearing that Bridges' stanzas may have been viewed as too Catholic (the evidence of Catholic doctrine is rather noticeable, particularly in ELW stanza two, which has been slightly altered from the original version). In our five stanza ELW version, only stanza four is Thring's... the rest are Bridges' original version, slightly altered.
The tune, by English composer George Elvey, was composed to accompany this specific text. The closing three lines of this five line tune contain one of the most glorious, upward sequences in the hymnal repertoire, climaxing on the high D at the start of the last line.
Several stanzas of the hymn almost make commentaries on other Biblical moments, and show how those situations are either impacted by Christ's Kingdom, or how they would react to them. A reference to the "root sprouting from the stump of Jesse" is hinted at in stanza two. Stanza three discusses the angels in the sky being overwhelmed with the amazing royal power of Christ. Could these angels be the same ones that danced and sang "Holy, holy, holy" in Isaiah 6? Stanza four references the resurrection and how it leads to the Kingdom.
Oh... stanza five. One of my favorite stanzas in all of hymnody, this is. From the "potentate of time" (referring to the most powerful being to exist past, present, and future), to the "creator of the rolling spheres," (the universe), it is the definition of creative use of language.
This hymn will be accompanied by our wonderful St. Paul's Brass Quartet, as well as the Bells of Praise.
Lo, He Comes With Clouds Descending (Hymn of the Day: 9:00 AM)
The may be the least known hymn we are doing this morning, especially inside of our four walls. (Methodists sing this every year!). Charles Wesley is certainly the father of Methodist hymnody, though of all of his hymns, this is one that can certainly break down any and all denominational barriers.
Stanza one is representative of the coronation itself. All the saints that have come and gone before and after join in a refrain of "Alleluia! Christ the Lord returns to reign!" Stanza two is referencing the second coming, and the redemption and healing that accompanies it. "All the saints this world rejected" I feel is a line that could be easily misinterpreted. I think that "this world" is the subject of the sentence, and it refers to the world of sin and Satan. It could be re-stated as "This (is the) world (of sin) that (was) rejected (by) all the saints." It is open to interpretation, however, so I'd be interested in hearing any others.
Stanza three, while not doxological or Trinitarian in nature, certainly has that same feeling, ending with the emphatic statement of faith, "Thou shalt reign and thou alone."
At The Name of Jesus (Hymn of the Day- 7:45 AM, Communion Hymn- 9:00 AM)
This is a very interesting hymn of praise. On one hand, the text is a rather straight forward poem where we worship and bow in adoration of the King. Stanza two touches on birth, and three touches on the suffering and death.
Of primary interest here is the tune. KING'S WESTON, by British composer Ralph Vaughan Williams, is one of the most under-utilized and under-appreciated hymn tunes in the repertoire. I find it amazing that a hymn of praise and adoration can be so effective with a tune cast in the minor mode. More specifically, the tune is in the Dorian mode, which means a minor scale with the sixth scale degree raised (as evident by the B-natural at the end of the third line).
All Hail The Power of Jesus' Name (Communion Hymn- 7:45 AM, 9:00 AM)
When you open the hymnal and look at this on paper, you may be surprised at how little content there actually is. With only two lines in each stanza, the entire hymn is composed of twelve lines. Much like the closing stanza of Crown Him With Many Crowns, the language of this hymn is extremely elevated and colorful. Here's a little dictionary...
Prostrate- standing or bowing in awe, adoration, or worship
Diadem- a crown or royal title
Terrestrial ball- referring to the Earth
Contrasting from KINGS WESTON, this tune, CORONATION, is as triumphant and joyful as they come.
Lord, Reign In Me (Opening Song- 11:15 AM)
A couple of our songs at 11:15 AM this week are songs that we have done in weeks past. We did Brenton Brown's wonderful song, Lord, Reign in Me, a couple of weeks ago. Just as Christ's physical reign is celebrated here on Christ the King, this song speaks of Jesus reigning over all our lives in edition to that of the earth.
Soon and Very Soon (Praise Song- 11:15 AM)
As far as African American spirituals go, this is one of the most joyful and emphatic ones there is. Many spirituals come from a very dark place. The trials and tribulations of the people led to a lot of turmoil and apparent hopefulness in their songs. Underneath all of that pain though, there is always some type of hope or alleluia.
This song, musically, is extremely joyful, though in the words, there is still the reminder of what is being dealt with on earth. The spiritual proclaims that there will be no more crying or dying, and it's only a matter of time before we all head off to meet the King.
Open Our Eyes, Lord (Scripture Song: 11:15 AM)
A few weeks when we did this song, we did it a little more uptempo. This week, we'll do it as I believe it was intended from the beginning, as more of a ballad.
He Is Exalted (Communion Song: 11:15 AM)
The repetitive, simple nature of this Twila Paris song is perfect for during Communion. "He is exalted, the King is exalted on high," pretty much sums up the message this Sunday in one succinct sentence.
Majesty (Sending Song: 11:15 AM)
"Jesus who died, now glorified, King of all Kings!"
Again, this pretty much sums up the message of this Sunday right here. It's also a celebration of yet another liturgical year ending. There are so many stories and so much theology that we learn about each year, some of it annual, more of it unfamiliar. We can take the opportunity to use this wonderful Gospel song as a chance to rejoice that the year is ending and another Advent is nearly upon us.
CHORAL ANTHEM
Climb To The Top of the Highest Mountain (Offering: 9:00 AM)
One thing that is really being emphasized on this Christ the King Sunday from our Gospel reading is Jesus, in his role as King, is also the Good Shepherd, guiding his flock through all the trials and tribulations. A line at the end of this anthem demonstrates that, "He will feed his flock like a shepherd. He will carry the lamb in his arm." This lovely piece by Carolyn Jennings is mostly used during the Advent season (it will be in the Advent festival on the 14th), but I feel it is equally appropriate on this Christ the King Sunday as well.
INSTRUMENTAL MUSIC
Crown Him With Many Crowns- arr. Cathy Moklebust (Prelude- 7:45 AM, 9:00 AM)
This arrangement for the Bells of Praise uses a lot of extended techniques. It is book ended by sections with a lot of rhythmic excitement and harmonic modulations, augmented by martellato techniques in the bells. They surround two playthroughs of the tune DIADEMATA, the first of which is rather straightforward, and the second being very elaborate and augmented with a running bass line, and triplet rhythms.
Toccata on CORONATION- Tim Fields (Postlude- 7:45 AM, 9:00 AM)
This expansive toccata is the finale to Tim Fields' Suite on the hymn All Hail the Power of Jesus' Name. Like most modern day toccatas, it contains rapid 16th note figurations in the hands with the tune being presented in the pedal.
And thus ends another Liturgical year. Next week we start the first Sunday of Advent, and we'll have a whole new section of the hymnal to explore! This is a big December for us, and I'm really looking forward to it. In addition, next week we will have our mid-week Thanksgiving service, so look for a special edition blog detailing that service as well.
This is the final Sunday of the Liturgical Year. The Reign of Christ is celebrated and he is crowned the King of all glory. The Kingship of Jesus is referenced at several points in the Bible (1 Timothy 1:17, John 1:49, Matthew 27:11, Revelation 1:5), and the feat of Christ the King generally serves as a close of the liturgical year across all major western denominations of Christianity.
The amount of music that is appropriate for Christ the King is extremely large and varied. I have spent a lot of my first fall here at St. Paul's doing some "innovative" (ie. risky) things, and they have been, for the most part, very well received. For Christ the King Sunday this year, I have decided to pretty much do all the old standards that have been around for years, with hopefully a new, exciting spin on them.
HYMNS AND SONGS
Crown Him With Many Crowns (Opening Hymn: 7:45 AM, 9:00 AM)
When most people think of hymnody for Christ the King Sunday, this is most likely the first one that pops into people's minds. Initially, this hymn was a collaboration between two English poets, Matthew Bridges, and Godfrey Thring. The collaboration was not direct, but rather Thring wrote his stanzas in response to Bridges', fearing that Bridges' stanzas may have been viewed as too Catholic (the evidence of Catholic doctrine is rather noticeable, particularly in ELW stanza two, which has been slightly altered from the original version). In our five stanza ELW version, only stanza four is Thring's... the rest are Bridges' original version, slightly altered.
The tune, by English composer George Elvey, was composed to accompany this specific text. The closing three lines of this five line tune contain one of the most glorious, upward sequences in the hymnal repertoire, climaxing on the high D at the start of the last line.
Several stanzas of the hymn almost make commentaries on other Biblical moments, and show how those situations are either impacted by Christ's Kingdom, or how they would react to them. A reference to the "root sprouting from the stump of Jesse" is hinted at in stanza two. Stanza three discusses the angels in the sky being overwhelmed with the amazing royal power of Christ. Could these angels be the same ones that danced and sang "Holy, holy, holy" in Isaiah 6? Stanza four references the resurrection and how it leads to the Kingdom.
Oh... stanza five. One of my favorite stanzas in all of hymnody, this is. From the "potentate of time" (referring to the most powerful being to exist past, present, and future), to the "creator of the rolling spheres," (the universe), it is the definition of creative use of language.
This hymn will be accompanied by our wonderful St. Paul's Brass Quartet, as well as the Bells of Praise.
Lo, He Comes With Clouds Descending (Hymn of the Day: 9:00 AM)
The may be the least known hymn we are doing this morning, especially inside of our four walls. (Methodists sing this every year!). Charles Wesley is certainly the father of Methodist hymnody, though of all of his hymns, this is one that can certainly break down any and all denominational barriers.
Stanza one is representative of the coronation itself. All the saints that have come and gone before and after join in a refrain of "Alleluia! Christ the Lord returns to reign!" Stanza two is referencing the second coming, and the redemption and healing that accompanies it. "All the saints this world rejected" I feel is a line that could be easily misinterpreted. I think that "this world" is the subject of the sentence, and it refers to the world of sin and Satan. It could be re-stated as "This (is the) world (of sin) that (was) rejected (by) all the saints." It is open to interpretation, however, so I'd be interested in hearing any others.
Stanza three, while not doxological or Trinitarian in nature, certainly has that same feeling, ending with the emphatic statement of faith, "Thou shalt reign and thou alone."
At The Name of Jesus (Hymn of the Day- 7:45 AM, Communion Hymn- 9:00 AM)
This is a very interesting hymn of praise. On one hand, the text is a rather straight forward poem where we worship and bow in adoration of the King. Stanza two touches on birth, and three touches on the suffering and death.
Of primary interest here is the tune. KING'S WESTON, by British composer Ralph Vaughan Williams, is one of the most under-utilized and under-appreciated hymn tunes in the repertoire. I find it amazing that a hymn of praise and adoration can be so effective with a tune cast in the minor mode. More specifically, the tune is in the Dorian mode, which means a minor scale with the sixth scale degree raised (as evident by the B-natural at the end of the third line).
All Hail The Power of Jesus' Name (Communion Hymn- 7:45 AM, 9:00 AM)
When you open the hymnal and look at this on paper, you may be surprised at how little content there actually is. With only two lines in each stanza, the entire hymn is composed of twelve lines. Much like the closing stanza of Crown Him With Many Crowns, the language of this hymn is extremely elevated and colorful. Here's a little dictionary...
Prostrate- standing or bowing in awe, adoration, or worship
Diadem- a crown or royal title
Terrestrial ball- referring to the Earth
Contrasting from KINGS WESTON, this tune, CORONATION, is as triumphant and joyful as they come.
Lord, Reign In Me (Opening Song- 11:15 AM)
A couple of our songs at 11:15 AM this week are songs that we have done in weeks past. We did Brenton Brown's wonderful song, Lord, Reign in Me, a couple of weeks ago. Just as Christ's physical reign is celebrated here on Christ the King, this song speaks of Jesus reigning over all our lives in edition to that of the earth.
Soon and Very Soon (Praise Song- 11:15 AM)
As far as African American spirituals go, this is one of the most joyful and emphatic ones there is. Many spirituals come from a very dark place. The trials and tribulations of the people led to a lot of turmoil and apparent hopefulness in their songs. Underneath all of that pain though, there is always some type of hope or alleluia.
This song, musically, is extremely joyful, though in the words, there is still the reminder of what is being dealt with on earth. The spiritual proclaims that there will be no more crying or dying, and it's only a matter of time before we all head off to meet the King.
Open Our Eyes, Lord (Scripture Song: 11:15 AM)
A few weeks when we did this song, we did it a little more uptempo. This week, we'll do it as I believe it was intended from the beginning, as more of a ballad.
He Is Exalted (Communion Song: 11:15 AM)
The repetitive, simple nature of this Twila Paris song is perfect for during Communion. "He is exalted, the King is exalted on high," pretty much sums up the message this Sunday in one succinct sentence.
Majesty (Sending Song: 11:15 AM)
"Jesus who died, now glorified, King of all Kings!"
Again, this pretty much sums up the message of this Sunday right here. It's also a celebration of yet another liturgical year ending. There are so many stories and so much theology that we learn about each year, some of it annual, more of it unfamiliar. We can take the opportunity to use this wonderful Gospel song as a chance to rejoice that the year is ending and another Advent is nearly upon us.
CHORAL ANTHEM
Climb To The Top of the Highest Mountain (Offering: 9:00 AM)
One thing that is really being emphasized on this Christ the King Sunday from our Gospel reading is Jesus, in his role as King, is also the Good Shepherd, guiding his flock through all the trials and tribulations. A line at the end of this anthem demonstrates that, "He will feed his flock like a shepherd. He will carry the lamb in his arm." This lovely piece by Carolyn Jennings is mostly used during the Advent season (it will be in the Advent festival on the 14th), but I feel it is equally appropriate on this Christ the King Sunday as well.
INSTRUMENTAL MUSIC
Crown Him With Many Crowns- arr. Cathy Moklebust (Prelude- 7:45 AM, 9:00 AM)
This arrangement for the Bells of Praise uses a lot of extended techniques. It is book ended by sections with a lot of rhythmic excitement and harmonic modulations, augmented by martellato techniques in the bells. They surround two playthroughs of the tune DIADEMATA, the first of which is rather straightforward, and the second being very elaborate and augmented with a running bass line, and triplet rhythms.
Toccata on CORONATION- Tim Fields (Postlude- 7:45 AM, 9:00 AM)
This expansive toccata is the finale to Tim Fields' Suite on the hymn All Hail the Power of Jesus' Name. Like most modern day toccatas, it contains rapid 16th note figurations in the hands with the tune being presented in the pedal.
And thus ends another Liturgical year. Next week we start the first Sunday of Advent, and we'll have a whole new section of the hymnal to explore! This is a big December for us, and I'm really looking forward to it. In addition, next week we will have our mid-week Thanksgiving service, so look for a special edition blog detailing that service as well.
Thursday, November 10, 2011
Music Notes: November 13th, 2011
First of all, I wanted to say a big thank you to the congregation of St. Paul's for all the wonderful feedback I've received for the last two weeks. The Chancel Choir has worked extremely hard these last two weeks on their music, and it is wonderful for them and me to hear that all the work they put in is enhancing worship.
23rd Sunday After Pentecost
This Sunday, we hear the parable of the talents from Matthew 25. A wealthy landowner leaves three of his servants each with different values of money, one with 5 talents (a large unit of money/property), one with 2, and one with just 1. Upon his return, he learns that the servants with which whom he has left the 5 and 2 talents have taken that money and doubled it, whereas the person with just the 1 talent had taken and buried it, gaining nothing. The first two servants were rewarded, and the third was punished.
Through this parable, we are called to use our gifts from God in ways that will benefit us and the world. They should not be frittered away or wasted.
HYMNS AND SONGS
Voices Raised To You (Opening Hymn- 9:00 AM)
This hymn by widely-known 20th century poet Herman Stuempfle takes the using of our times and talents and puts them into a Trinitarian perspective. Stanza one serves as an introduction, tuning our voices to sing songs of praise to God as thanks for all of our gifts.
Stanzas two through four comprise the Trinitarian message of this hymn. Following the standard pattern of Father-Son-Holy spirit, each stanza represents the gifts that each of these elements gives us, and the ways that we can take those gifts and use them to give back.
Stanza five begins with a question, "How can any praise we offer measure all the thanks we owe?" It's a fair question. The gifts we have been given are so grand in scale, that it may seem that there is nothing we can do to ever express our gratefulness for them. As the hymn concludes, the song of praise we have just sung is one of those examples of thanks.
As Saints of Old (Opening Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
By the title of this hymn, it seems like this may have been a more appropriate choice on All Saints Sunday last week. As stanza one unfolds however, we see that it's really a reflection on how the gifts given in the past can be teaching tools for how we can use our gifts today, whether they come from "farm, market, shop, home, mind, heart, or soul."
Stanzas two and three continue in this same mold. I think stanza three as a whole says it all...
"In gratitude and humble trust we bring our best today to serve your cause and share your love with all along life's way. O God, who gave yourself to us in Jesus Christ your Son, teach us to give ourselves each day until life's work is done."
Lord Of Light (Hymn of the Day: 7:45 AM, 9:00 AM)
By now, we should be starting to see a theme in our music today. Once again, this lovely hymn by Howell Lewis discusses ways in which we can share our God-given gifts with God and the world at large.
Different than before however, this hymn is more of a prayer for God to give us the power to use the talents he has given us. It is a bit of a long path through the logic and theology of it, but at the same time, the message is clear. Line two of stanza one lays it out quite concisely, "...use our talents in your kingdom as the servants of your grace."
Stanzas three and four depart slightly from the "using of gifts" message to something a little more abstract. Stanza four, in fact, is a giant sentence explaining reasons that the will of God be done on earth, as it says in the refrain.
Let Us Talents and Tongues Employ (Communion Hymn: 9:00 AM)
This fun hymn by Fred Kaan, set to a traditional Jamaican folk tune, puts the sharing of our gifts in the context of communion. Stanzas two and three are where the meat of the message is. At the Eucharist table, he teaches us to live, bless, and love in word and deed, to send us out into the world. Even though the world can be full of doubt and worry, Jesus gives us love to tell, read to share, and the power to spread the love and grace of God everywhere.
Lord, Speak To Us, That We May Speak (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
Frances Havergal is a well-known hymn writer from the mid 19th century. While she might be most known for the hymn "Take My Life and Let It Be (a version of which is being sung at the 11:15 AM service this Sunday)."
The tune, credited to Robert Schumann, is actually derived from a piano piece. After a long and complex set of variations, this chorale leads to a gentle conclusion to the piece. With its singable melody and accessible, yet interesting, harmony, it adapts itself beautifully as a hymn tune.
When The Poor Ones (Opening Song: 11:15 AM)
Through all the trouble in the world, there is comfort. After all the war in the world, there can be peace. With all the hatred in the world, there can be love abounding. Through it all, God is constantly watching over us. That's what this song is all about. Set to a Latin American folk tune that is somewhat challenging but still singable, it reminds us that God is certainly omniscient and omnipresent.
Take My Life That I May Be (Praise Song: 11:15 AM)
As mentioned earlier, Frances Havergal penned this hymn in the 1860's, but I can't imagine that she imagined that it would ever be set to a global tune such as this. Like much of our other music today, this hymn is all about giving our whole selves to God so that he can give us the gifts to do his will.
Make Me A Servant (Scripture Song: 11:15 AM)
This gentle, eloquent tune is a direct prayer to God with a message of the day in mind. Many hymns express the idea of God making us a servant, but none possibly do it more directly than this simple poem.
INSTRUMENTAL MUSIC
Prelude and Fugue in E minor- Johann Pachelbel (Prelude: 7:45 AM, 9:00 AM)
While Pachelbel was more prevalent in the areas of Toccatas and Ciaconnas, he had a rather large output of preludes and fugues as well. The prelude here, in fact, is very similar in terms of harmonic progression as several of his other shorter pieces. The fugue, while not as complex as some of J.S. Bach's later offerings, contains a nice contour with an intriguing development towards the middle section.
Toccata in F major- Johann Pachelbel (Postlude: 7:45 AM, 9:00 AM)
Most Pachelbel toccatas begin with a flourish figuration in the hands, and are followed by systematic, scalar passages over a pedal point. This toccata is no different, but unlike most of the others, the pedal points are longer, change more often, and the scalar passagework is significantly more complex.
MUSIC RECOMMENDATIONS
Once again, the Amazon Associate links appear to be down, but hopefully they will be fixed by next week. Christ the King Sunday will be celebrated, and there is an enormous spectrum of wonderful music associated with that Sunday.
23rd Sunday After Pentecost
This Sunday, we hear the parable of the talents from Matthew 25. A wealthy landowner leaves three of his servants each with different values of money, one with 5 talents (a large unit of money/property), one with 2, and one with just 1. Upon his return, he learns that the servants with which whom he has left the 5 and 2 talents have taken that money and doubled it, whereas the person with just the 1 talent had taken and buried it, gaining nothing. The first two servants were rewarded, and the third was punished.
Through this parable, we are called to use our gifts from God in ways that will benefit us and the world. They should not be frittered away or wasted.
HYMNS AND SONGS
Voices Raised To You (Opening Hymn- 9:00 AM)
This hymn by widely-known 20th century poet Herman Stuempfle takes the using of our times and talents and puts them into a Trinitarian perspective. Stanza one serves as an introduction, tuning our voices to sing songs of praise to God as thanks for all of our gifts.
Stanzas two through four comprise the Trinitarian message of this hymn. Following the standard pattern of Father-Son-Holy spirit, each stanza represents the gifts that each of these elements gives us, and the ways that we can take those gifts and use them to give back.
Stanza five begins with a question, "How can any praise we offer measure all the thanks we owe?" It's a fair question. The gifts we have been given are so grand in scale, that it may seem that there is nothing we can do to ever express our gratefulness for them. As the hymn concludes, the song of praise we have just sung is one of those examples of thanks.
As Saints of Old (Opening Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
By the title of this hymn, it seems like this may have been a more appropriate choice on All Saints Sunday last week. As stanza one unfolds however, we see that it's really a reflection on how the gifts given in the past can be teaching tools for how we can use our gifts today, whether they come from "farm, market, shop, home, mind, heart, or soul."
Stanzas two and three continue in this same mold. I think stanza three as a whole says it all...
"In gratitude and humble trust we bring our best today to serve your cause and share your love with all along life's way. O God, who gave yourself to us in Jesus Christ your Son, teach us to give ourselves each day until life's work is done."
Lord Of Light (Hymn of the Day: 7:45 AM, 9:00 AM)
By now, we should be starting to see a theme in our music today. Once again, this lovely hymn by Howell Lewis discusses ways in which we can share our God-given gifts with God and the world at large.
Different than before however, this hymn is more of a prayer for God to give us the power to use the talents he has given us. It is a bit of a long path through the logic and theology of it, but at the same time, the message is clear. Line two of stanza one lays it out quite concisely, "...use our talents in your kingdom as the servants of your grace."
Stanzas three and four depart slightly from the "using of gifts" message to something a little more abstract. Stanza four, in fact, is a giant sentence explaining reasons that the will of God be done on earth, as it says in the refrain.
Let Us Talents and Tongues Employ (Communion Hymn: 9:00 AM)
This fun hymn by Fred Kaan, set to a traditional Jamaican folk tune, puts the sharing of our gifts in the context of communion. Stanzas two and three are where the meat of the message is. At the Eucharist table, he teaches us to live, bless, and love in word and deed, to send us out into the world. Even though the world can be full of doubt and worry, Jesus gives us love to tell, read to share, and the power to spread the love and grace of God everywhere.
Lord, Speak To Us, That We May Speak (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
Frances Havergal is a well-known hymn writer from the mid 19th century. While she might be most known for the hymn "Take My Life and Let It Be (a version of which is being sung at the 11:15 AM service this Sunday)."
The tune, credited to Robert Schumann, is actually derived from a piano piece. After a long and complex set of variations, this chorale leads to a gentle conclusion to the piece. With its singable melody and accessible, yet interesting, harmony, it adapts itself beautifully as a hymn tune.
When The Poor Ones (Opening Song: 11:15 AM)
Through all the trouble in the world, there is comfort. After all the war in the world, there can be peace. With all the hatred in the world, there can be love abounding. Through it all, God is constantly watching over us. That's what this song is all about. Set to a Latin American folk tune that is somewhat challenging but still singable, it reminds us that God is certainly omniscient and omnipresent.
Take My Life That I May Be (Praise Song: 11:15 AM)
As mentioned earlier, Frances Havergal penned this hymn in the 1860's, but I can't imagine that she imagined that it would ever be set to a global tune such as this. Like much of our other music today, this hymn is all about giving our whole selves to God so that he can give us the gifts to do his will.
Make Me A Servant (Scripture Song: 11:15 AM)
This gentle, eloquent tune is a direct prayer to God with a message of the day in mind. Many hymns express the idea of God making us a servant, but none possibly do it more directly than this simple poem.
INSTRUMENTAL MUSIC
Prelude and Fugue in E minor- Johann Pachelbel (Prelude: 7:45 AM, 9:00 AM)
While Pachelbel was more prevalent in the areas of Toccatas and Ciaconnas, he had a rather large output of preludes and fugues as well. The prelude here, in fact, is very similar in terms of harmonic progression as several of his other shorter pieces. The fugue, while not as complex as some of J.S. Bach's later offerings, contains a nice contour with an intriguing development towards the middle section.
Toccata in F major- Johann Pachelbel (Postlude: 7:45 AM, 9:00 AM)
Most Pachelbel toccatas begin with a flourish figuration in the hands, and are followed by systematic, scalar passages over a pedal point. This toccata is no different, but unlike most of the others, the pedal points are longer, change more often, and the scalar passagework is significantly more complex.
MUSIC RECOMMENDATIONS
Once again, the Amazon Associate links appear to be down, but hopefully they will be fixed by next week. Christ the King Sunday will be celebrated, and there is an enormous spectrum of wonderful music associated with that Sunday.
Thursday, November 3, 2011
Music Notes: November 6th, 2011
All Saints Sunday
Following the hectic and fulfilling Reformation/Confirmation Sunday here at St. Paul's, we have another Sunday that has a great deal of liturgical significance. The day of All Saints itself is on November 1st, and is a commemoration for all those who have reached the Promised Land of Heaven. Traditionally, congregations gather on the Sunday following to remember and reflect on those members of the congregation that have departed.
In our Gospel reading this week, we will hear from Matthew 5, where before the Sermon on the Mount, Jesus introduces the Beatitudes, which are a series of "Blessed are... for..." statements that are a unique set of Christian ideals. Along with the themes of All Saints, the Beatitudes will be the source of most of our music this week.
HYMNS AND SONGS
Shall We Gather At The River (Opening hymn- 7:30 AM, 9:00 AM)
This much loved Christian hymn was composed by American song writer Robert Lowry in 1864 (Lowry is also well known for his hymn, "How Can I Keep From Singing," as well as several others).
The four stanza structure follows a clear pattern. Stanza one asks the question, "Shall we gather at the river?" The refrain answers this question. Stanza two describes the edge of the river, where all the people will gather together and worship "all the happy golden day." In stanza three, we get a glimpse ahead to the future, and imagine the robe and crown we receive. Finally in stanza four after those glorious thoughts, we come slightly back to reality looking forward, as we reflect on the knowledge that we will all soon arrive.
Please note the particularly special use of the organ during this hymn should you be joining us on Sunday morning.
Blest Are They (Hymn of the Day- 7:45 AM, 9:00 AM, Opening Song, 11:15 AM)
This modern hymn by David Haas is a direct paraphrase of the Beatitudes. Stanzas one through four are taken directly from verses 3-9 of the Gospel lesson, but Haas puts extra emphasis on Matthew 5:11, which unlike the rest of the Beatitudes, shows Jesus almost apologizing directly to his followers, with a promise that they will receive the Kingdom of God. "Blest are you who suffer hate, all because of me. Rejoice, be glad, yours is the kingdom, shine for all to see."
The nature of this tune, and its style, lends itself equally to both styles of worship here at St. Paul's, hence its use at both services.
Softly and Tenderly (Communion Hymn- 9:00 AM, Communion Song, 11:15 AM)
Will Thompson's much loved 19th century hymn is a direct message from us to those who have gone before us. In the refrain, Jesus tells his followers, "Come home, come home, you who are weary, come home." For those who have already gone, as well as those who remain, we can take comfort in the words of stanza three: "Oh, for the wonderful love he has promised, promised for you and for me. Though we have sinned, he has mercy and pardon, pardon for you and for me."
For All The Saints (Communion Hymn- 7:45 AM, 9:00 AM)
For All The Saints was written as a processional hymn for use on the Festival of All Saints in the Anglican church in the 1860's. Originally set to a different tune, it eventually found a home set to English composer Ralph Vaughan Williams' tune SINE NOMINE (literally "without a name").
Different than most English tunes of the time, the majority of the hymn is sung in unison, with only the interior stanzas (3-5) designated to be sung in harmony.
The interior stanzas are also where the majority of the theology starts. The "communion" referred to at the beginning of the third stanza is the "communion of saints" that is mentioned in the Creed. At the conclusion of the stanza, it mentions that though we struggle and they shine, we are all one in Christ.
Several stanzas are rather militaristic in nature, and stanza four is one of them. It is not a typical war... rather it references the book of Revelation and the "war" (ie. struggle, or journey) to pass through purgatory into the valley of the saints.
Stanzas five and six are a beautiful unit. In stanza five, those seeking rest are arriving at their destination. Those destined to arrive are basking in the calm of the realization that they have made it. In stanza six, there is a veritable explosion of joy and triumph, as the saints arise and the King of Glory passes. To close, stanza seven is somewhat of a doxology, wrapping everything up as the Saints are joined with all in heaven.
Open Our Eyes, Lord (Praise Song- 11:15 AM)
This song is normally presented as a ballad, but this Sunday, we're envisioning it more as an uptempo song of praise. We are asking for our eyes to be opened as we cross over into the promised land.
How Deep The Father's Love For Us (Scripture Song- 11:15 AM)
As we gather on this All Saints Sunday, it is important to never forget the gift that was given to us by Jesus, who in many ways is the ultimate saint. At the end of stanza one, it even says "As wounds which mar the chosen one bring many saints to glory." Thanks to Jesus' sacrifice, we all have the blessing of the Kingdom of Heaven waiting for us when we pass on.
Come, Bless The Lord (Offering Song- 11:15 AM)
This is John Ylvisaker's paraphrase of Psalm 34, which is traditionally the psalm sung on All Saints Sunday. Musically, it is set to the popular and well-known English folk tune O WALY WALY, which creates a singable, memorable psalm setting.
O When The Saints Go Marching In (Closing Song- 11:15 AM)
This much loved African American spiritual was a mainstay of blues and jazz artists in the early 20th century, such as Louis Armstrong. It also strongly ties to the Dixie style of music from Louisiana. Like other African American spirituals, it has a very simple, accessible message, that of hoping to join the saints one day on their journey to the promised land.
CHORAL ANTHEMS
Nearer, My God, To Thee (Choral Anthem- 9:00 AM)
The title of this piece is derived from the famous hymn of the same name, along with its accompanying hymn tune, BETHANY. Around that framework is a Latin text which accentuates and enlightens the original hymn tune text. The Latin partially translates to "At the moment of death, my strength is from heaven." Set in a 7/8 meter for the majority of the piece, it creates an exciting drive towards heaven, particularly on the word "Excelsior (higher)." As the voices rise on that word, it moves us further and further to heaven.
Medley Of The Saints (Friends of the Lord- 9:00 AM)
The Friends of the Lord choir this week sings a combination of two of the more popular African American spirituals. The tunes are "This Train Is Bound For Glory," and "Oh When The Saints Are Marching In." The choir has learned about two musical techniques in learning this piece. The first is "canon" where one part of the choir echoes the other as they sing. The other is "quodlibet," where two different songs can be combined together and sung at the same time.
INSTRUMENTAL MUSIC
Psalm Prelude, op. 32 #1- Herbert Howells (Prelude- 7:45 AM, 9:00 AM)
Herbert Howells wrote six Psalm Preludes in the early 20th century. Each expansive organ work features one verse of a psalm. This piece is based on Psalm 34:6- "I called in my affliction, and the Lord heard me, and saved me from all my troubles." The piece is based around one main melodic motive, which grows to an enormous climax on the organ.
MUSIC RECOMMENDATIONS
1. Herbert Howells: The St. Paul's Service and Other Music
This is one of my favorite albums in my library. Not only does it feature all three of Howells' Psalm Preludes, op. 32 (the first of which I am playing Sunday), but it also contains a plethora of Howell's choral music as well.
2. Nonstop - BYU Vocal Point
This CD contains the original arrangement of Nearer My God To Thee that the Chancel Choir is singing, as well as other offerings from the all male a capella group. Vocal Point is also featured this year on NBC's show, The Sing Off.
Following the hectic and fulfilling Reformation/Confirmation Sunday here at St. Paul's, we have another Sunday that has a great deal of liturgical significance. The day of All Saints itself is on November 1st, and is a commemoration for all those who have reached the Promised Land of Heaven. Traditionally, congregations gather on the Sunday following to remember and reflect on those members of the congregation that have departed.
In our Gospel reading this week, we will hear from Matthew 5, where before the Sermon on the Mount, Jesus introduces the Beatitudes, which are a series of "Blessed are... for..." statements that are a unique set of Christian ideals. Along with the themes of All Saints, the Beatitudes will be the source of most of our music this week.
HYMNS AND SONGS
Shall We Gather At The River (Opening hymn- 7:30 AM, 9:00 AM)
This much loved Christian hymn was composed by American song writer Robert Lowry in 1864 (Lowry is also well known for his hymn, "How Can I Keep From Singing," as well as several others).
The four stanza structure follows a clear pattern. Stanza one asks the question, "Shall we gather at the river?" The refrain answers this question. Stanza two describes the edge of the river, where all the people will gather together and worship "all the happy golden day." In stanza three, we get a glimpse ahead to the future, and imagine the robe and crown we receive. Finally in stanza four after those glorious thoughts, we come slightly back to reality looking forward, as we reflect on the knowledge that we will all soon arrive.
Please note the particularly special use of the organ during this hymn should you be joining us on Sunday morning.
Blest Are They (Hymn of the Day- 7:45 AM, 9:00 AM, Opening Song, 11:15 AM)
This modern hymn by David Haas is a direct paraphrase of the Beatitudes. Stanzas one through four are taken directly from verses 3-9 of the Gospel lesson, but Haas puts extra emphasis on Matthew 5:11, which unlike the rest of the Beatitudes, shows Jesus almost apologizing directly to his followers, with a promise that they will receive the Kingdom of God. "Blest are you who suffer hate, all because of me. Rejoice, be glad, yours is the kingdom, shine for all to see."
The nature of this tune, and its style, lends itself equally to both styles of worship here at St. Paul's, hence its use at both services.
Softly and Tenderly (Communion Hymn- 9:00 AM, Communion Song, 11:15 AM)
Will Thompson's much loved 19th century hymn is a direct message from us to those who have gone before us. In the refrain, Jesus tells his followers, "Come home, come home, you who are weary, come home." For those who have already gone, as well as those who remain, we can take comfort in the words of stanza three: "Oh, for the wonderful love he has promised, promised for you and for me. Though we have sinned, he has mercy and pardon, pardon for you and for me."
For All The Saints (Communion Hymn- 7:45 AM, 9:00 AM)
For All The Saints was written as a processional hymn for use on the Festival of All Saints in the Anglican church in the 1860's. Originally set to a different tune, it eventually found a home set to English composer Ralph Vaughan Williams' tune SINE NOMINE (literally "without a name").
Different than most English tunes of the time, the majority of the hymn is sung in unison, with only the interior stanzas (3-5) designated to be sung in harmony.
The interior stanzas are also where the majority of the theology starts. The "communion" referred to at the beginning of the third stanza is the "communion of saints" that is mentioned in the Creed. At the conclusion of the stanza, it mentions that though we struggle and they shine, we are all one in Christ.
Several stanzas are rather militaristic in nature, and stanza four is one of them. It is not a typical war... rather it references the book of Revelation and the "war" (ie. struggle, or journey) to pass through purgatory into the valley of the saints.
Stanzas five and six are a beautiful unit. In stanza five, those seeking rest are arriving at their destination. Those destined to arrive are basking in the calm of the realization that they have made it. In stanza six, there is a veritable explosion of joy and triumph, as the saints arise and the King of Glory passes. To close, stanza seven is somewhat of a doxology, wrapping everything up as the Saints are joined with all in heaven.
Open Our Eyes, Lord (Praise Song- 11:15 AM)
This song is normally presented as a ballad, but this Sunday, we're envisioning it more as an uptempo song of praise. We are asking for our eyes to be opened as we cross over into the promised land.
How Deep The Father's Love For Us (Scripture Song- 11:15 AM)
As we gather on this All Saints Sunday, it is important to never forget the gift that was given to us by Jesus, who in many ways is the ultimate saint. At the end of stanza one, it even says "As wounds which mar the chosen one bring many saints to glory." Thanks to Jesus' sacrifice, we all have the blessing of the Kingdom of Heaven waiting for us when we pass on.
Come, Bless The Lord (Offering Song- 11:15 AM)
This is John Ylvisaker's paraphrase of Psalm 34, which is traditionally the psalm sung on All Saints Sunday. Musically, it is set to the popular and well-known English folk tune O WALY WALY, which creates a singable, memorable psalm setting.
O When The Saints Go Marching In (Closing Song- 11:15 AM)
This much loved African American spiritual was a mainstay of blues and jazz artists in the early 20th century, such as Louis Armstrong. It also strongly ties to the Dixie style of music from Louisiana. Like other African American spirituals, it has a very simple, accessible message, that of hoping to join the saints one day on their journey to the promised land.
CHORAL ANTHEMS
Nearer, My God, To Thee (Choral Anthem- 9:00 AM)
The title of this piece is derived from the famous hymn of the same name, along with its accompanying hymn tune, BETHANY. Around that framework is a Latin text which accentuates and enlightens the original hymn tune text. The Latin partially translates to "At the moment of death, my strength is from heaven." Set in a 7/8 meter for the majority of the piece, it creates an exciting drive towards heaven, particularly on the word "Excelsior (higher)." As the voices rise on that word, it moves us further and further to heaven.
Medley Of The Saints (Friends of the Lord- 9:00 AM)
The Friends of the Lord choir this week sings a combination of two of the more popular African American spirituals. The tunes are "This Train Is Bound For Glory," and "Oh When The Saints Are Marching In." The choir has learned about two musical techniques in learning this piece. The first is "canon" where one part of the choir echoes the other as they sing. The other is "quodlibet," where two different songs can be combined together and sung at the same time.
INSTRUMENTAL MUSIC
Psalm Prelude, op. 32 #1- Herbert Howells (Prelude- 7:45 AM, 9:00 AM)
Herbert Howells wrote six Psalm Preludes in the early 20th century. Each expansive organ work features one verse of a psalm. This piece is based on Psalm 34:6- "I called in my affliction, and the Lord heard me, and saved me from all my troubles." The piece is based around one main melodic motive, which grows to an enormous climax on the organ.
MUSIC RECOMMENDATIONS
1. Herbert Howells: The St. Paul's Service and Other Music
This is one of my favorite albums in my library. Not only does it feature all three of Howells' Psalm Preludes, op. 32 (the first of which I am playing Sunday), but it also contains a plethora of Howell's choral music as well.
2. Nonstop - BYU Vocal Point
This CD contains the original arrangement of Nearer My God To Thee that the Chancel Choir is singing, as well as other offerings from the all male a capella group. Vocal Point is also featured this year on NBC's show, The Sing Off.
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