First of all, I would like to thank everyone who attended the Advent festival Wednesday evening. It meant so much to see a full room of people, and I hope everyone left fulfilled and moved by the experience.
Fourth Sunday of Advent
This week is the final Sunday of Advent before Christmas Eve. We are blessed to hear the wonderful story of the angel Gabriel being sent by God to the virgin Mary, announcing that she will conceive and give birth to a son, and name him Jesus. He will be called the son of the most high, and the Lord God will give him the throne of his ancestor David, where his kingdom will have no end.
This is one of the Gospel's main turning points. The birth of Jesus has been hinted at through prophesies throughout the Old Testament, but this is one of the first times an angel is sent directly from God to announce that Jesus is on his way, and will be brought into the world by a meek, lowly maiden.
HYMNS AND SONGS
Gospel Reading: Luke 1: 26-45- arr. John Ferguson (Gospel Reading: 7:45 AM, 9:00 AM, 11:15 AM)
What, you say? The Gospel reading is being presented musically this week? Why yes! My mentor and organ teacher, John Ferguson, created this setting of the prelude to the Magnificat a few years ago, and it brings the story of the angel Gabriel meeting Mary to life like few other things have. Set for narrator, trumpet, and organ, all three elements work with each other to create a cohesive whole. You'll notice how the organ and trumpet both emphasize the importance of the text, particularly in the portion where the child leaps in the womb of Elizabeth.
Dr. Ferguson also composed a setting of the actual Magnificat text for choir, organ, and trumpet, but in lieu of that, the reading will transition directly to a hymn...
Canticle of the Turning (Hymn of Praise: 7:45 AM, 9:00 AM, 11:15 AM)
This text by Rory Cooney is a direct paraphrase of the Magnificat. Otherwise known as Mary's Song, the Magnificat is the song sung by Mary after being told by Elizabeth that both she and the fruit of her womb have been blessed by God. It is one of the most widely used texts throughout music history. J.S. Bach, Antonio Vivaldi, Heinrich Schuetz, and countless others have created settings of this text, ranging in length from three minutes to over an hour.
The rhyme scheme of Cooney's setting is outstanding. I think the best way to describe it is AABCCB. For example, the first two lines, "My soul cries OUT with a joyful SHOUT, that the God of my heart is GREAT. And my spirit SINGS of the wondrous THINGS, that you bring to the ones who WAIT," show just how complex the rhyme scheme is and how brilliant of a setting we have.
Musically, it is set to a version of a traditional Irish folk tune. Here called STAR OF COUNTY DOWN, it is derived from the same tune as the more widely used tune KINGSFOLD (see ELW 251, coincidentally, also a setting of the Magnificat). Though there are several minute differences between the tunes, the main difference is the addition of a refrain in the hymn we sing on Sunday.
The Angel Gabriel From Heaven Came (Hymn of the Day: 7:45 AM, 9:00 AM)
Unfortunately, the hymnal contents dedicated to the angel Gabriel are far too limited, but luckily, one of the only hymns dedicated to the angel himself happens to be one of the finest moldings of text and tune in the ELW. While I wouldn't necessarily call this a paraphrase of Luke 1: 26-45, it follows a similar pattern and creates a beautiful narrative.
In stanza one, Gabriel is described vividly as having "wings as drifted snow" and "eyes as flame." Stanza one concludes with Gabriel introducing himself to Mary. Stanza two picks up right where one left off, concluding with the great proclamation that her son shall in fact be Emmanuel.
Stanza three switches the emphasis to Mary herself. Astounded by this news, she bows her head and accepts this responsibility, while also pledging her allegiance to God forever. The concluding stanza foreshadows Christmas Eve, the wonderful time when we will celebrate the coming of Mary's son. At the announcement of the birth, Christians throughout the world should always remember the mother Mary.
The tune accompanying this beautiful text is an old dance carol from the Basque region of southern France. Though traditionally very dance like in character, I believe that a more modest, reverent rendition is more appropriate for this text.
Savior Of The Nations Come (Communion Hymn: 7:45 AM, Closing Hymn: 9:00 AM)
This is a mystical, magical Advent text. Though widely known throughout many hymnals, the ELW version is the only one I am aware of that contains several stanzas by Martin Luther. The translation is slightly altered as well. Many of the standard ideas and representations of Jesus as both human and divine are present in these stanzas. Stanza two, for instance, tells us that Jesus was born not from flesh, but from the mystic breath of God. Stanza three echoes the sentiment, describing Jesus as "very God and Mary's son..." Stanza five again foreshadows Christmas, looking forward to the manger, shining bright with the newborn light of Jesus. The concluding stanza is a trinitarian doxology, binding God, Jesus, and Holy Spirit in one.
INSTRUMENTAL MUSIC
Nun komm, der Heiden Heiland (Prelude and Postlude- 7:45 AM, 9:00 AM)
The prelude and postlude this week are two settings of the chorale from Savior of the Nations Come.
The prelude, by William Albright, may seem quite shocking at first. Chord clusters accentuate behind a statement of the chorale in a pedal reed. Where this piece shines is in its structure and how that relates to the Advent season. In between each line of the chorale there is a period where the manuals sound by themselves. The length of these interludes decreases as the piece goes on, which represents the Advent season progressing as we get closer and closer to Christmas Eve. Also important to note is the ending. The final line of the choral is played, but then stops on the penultimate note of the tune, creating a sense of incompleteness. This creates an especially dramatic Advent picture.
The postlude, composed by Hugo Distler, is one portion of a larger group of chorales. The tune is partially presented in the left hand of the organ, while the right hand is playing florid counterpoint, supported by the bass notes playing harmony.
No comments:
Post a Comment