Music Notes: December 23rd, 2012

Fourth Sunday of Advent

A common myth in Advent lore is that the third Sunday of Advent is associated with the virgin Mary.  When the Advent candles are displayed each year, the third one is pink in many sets.  Many people, and even many churches associated that pink candle with Mary.

There are literally dozens of possibilities and historical anecdotes that explain the pink candle, but the one that seems to stand up the firmest is actually tied to the Catholic church and the Lenten tradition.  When the whole idea of "church year" and "seasons" started to take form, Lent was really the only season at the time, signified by the color purple.  Despite the Lenten season being used as a time for reflection and preparation for the crucifixion and death of Jesus, there are still overtones of joy, which foreshadow the resurrection and return.  This joy was manifest in the color pink.  During Lent, this was acknowledged on the third Sunday, where priests would sometimes wear pink vestments, and even the Pope would distribute pink roses to certain citizens. 

As the church year continued to evolve, the seven Sundays of Lent were the model that was used to base the similar four Sundays of Advent.  Like the third Sunday of Lent was associated with pink, so was the third Sunday of Advent.

The first clue that Advent 3 isn't associated with Mary is that the seminal Mary story from Luke 1: 39-55 is the scripture associated with Advent 4 in the New Revised Common Lectionary.  This is the story we celebrate this Sunday, and that we also celebrated on Wednesday night as a part of "Joy From Heaven To Earth Come Down."

PRELUDE

Magnificat noni toni - Dietrich Buxtehude

Let's get the simple thing out of the way first.  "Noni toni", meaning "ninth tone," describes the psalm tone that this Magnificat setting would have been sung with.  That is not to be confused with a mode, or a scale on which a piece, or tone, or melody is based.  Where we normally think of just major and minor scales, there are actually scales based on each note of a base major scale.  If you think of the seven white notes in each scale on a piano, starting with C, you have Aeolian (traditional major scale), Dorian (minor scale with a raised sixth degree), Phrygian (minor scale with a lowered second), Lydian (major scale with a raised fourth), Mixolydian (major scale with a lowered seventh), Ionian (a natural minor scale), and the mysterious Locrian mode (which some argue isn't a true mode at all since it doesn't contain a perfect fifth, and its tonic triad creates a dissonance).

In using these modes for composition, it creates a unique sound that is sometimes difficult to wrap one's ear around initially, but these modes transcend our modern ears and give music written before 1700 that mysterious, unknown quality.  The Dorian mode is minor at its core, but the raised sixth degree gives it a glimmer of hope.  Sounds a lot like Advent, I think. 

That was quite a digression.  I also said that was the easy thing to explain.  Maybe that only applies to me, because as I have studied the church modes and psalm tones for years, they come as second nature to me.  Perhaps non musical people have their eyes crossed in confusion at this point, and that's okay.  The mystery for me in Buxtehude's Magnificat settings is why are they called Magnificats?  If I didn't know the title of it, there's nothing in the piece that would indicate a Magnificat setting on the surface.  There isn't any obvious tone painting or "feminine" characteristics in the music.

After doing a fair amount of research, it turns out that Buxtehude's Magnificat settings were intended to be used in alternation with a choir chanting the Magnificat text, which in ancient church tradition, is done every evening at Vespers, or evening prayer.  The Magnificat setting on the ninth (psalm) tone would be sung by a choir in alternation with the organ playing these brief settings.  This is similar in concept to J.S. Bach's chorale settings, where at times each phrase of a chorale would be broken up by a short interlude or flourish of organ color.  The composition does in fact match the ninth psalm tone (which begins with a minor third up and down).  It also explains why most of Buxtehude's Magnificat settings are multiple movements.  This Sunday we will hear just the first movement of Buxtehude's Magnificat on the Ninth Psalm Tone (noni toni). 

OPENING HYMN

O Come, O Come, Emmanuel

This hymn as we know it today is a translation of the metrical setting of the O Antiphons.  Regardless of the language they are presented in today, each starts with the word "O."  Traditionally, they are sung on each day of the week in the seven days before Christmas.  Since we don't go to church that often, we'll have to settle selecting the more impactful, hopeful stanzas as we gather the day before Christmas Eve.

HYMN OF THE DAY

Canticle Of The Turning 

Over the last twenty years, this paraphrase of the Magnificat has become most people's first choice for expressing the Song of Mary in a congregational setting.  As you trace the Magnificat itself, you can see how it is interpreted in the paraphrase.  Each stanza has its own character, whether it be the innocence of Mary, the changing of the world, or the comfort we take in a world of strife.

The tune has a very intriguing history.  The original song, "Star of County Down," is an Irish folk song that tells an intriguing story that we don't really need to go in to here.  The tune is almost identical to the English tune KINGSFOLD, which has been made famous by many composers, most notably Ralph Vaughan Williams.  Though there doesn't appear to be any scholarly evidence of it, I can't imagine that these two tunes didn't derive from the same source.

COMMUNION HYMNS

Come Thou Long Expected Jesus

Charles Wesley, father of Methodism, penned this beautiful Advent hymn in the mid-18th century.  It is one of Wesley's only Advent hymns that survives in our ELW.

Though the text is universal throughout various hymnals, the tune is commonly different.  We usually associate a hymn with the first tune we hear it with.  For me, I first associated this text with the tune HYFYRDOL (Love Divine, All Loves Excelling) from the Presbyterian Hymnal.  In the ELW, it is set to the tune JEFFERSON, which originated in the early American Southern Harmony hymnal.  These tunes are extremely different, yet they both compliment this text in different ways, particularly on the third line of the JEFFERSON tune.  The phrase reaches its peak on the words "Israel's strength and consolation," which is very dramatic.

Savior Of The Nations, Come

These two hymns during Communion contain a very similar message.   The original form of this text is attributed to Ambrose of Milan, but was "modernized" by Martin Luther during the reformation and set to a German chorale.  The imagery of this text really doesn't need an explanation... the text and translation themselves do it enough justice.  Evocative lines such as "mystic breath of God," which gives birth to the Savior, or the first line of stanza four describing the pipeline from God to us and back, or the fifth which foreshadows the birth capture the idea of God arriving at earth better than just about anything imaginable.

CLOSING HYMN

Joy To The World

It is a long standing debate of whether this hymn should be an Advent hymn or Christmas hymn.  I personally think this paraphrase of Psalm 98 by the "father of English hymnody" Isaac Watts is truly an Advent hymn.  The entire first stanza is a stanza of preparation; we are getting the earth ready for the Lord to come.  The remaining three stanzas aren't really specific to Christmas or Advent, but rather general stanzas of praise for Jesus.

Whether you feel this belongs in the Advent or Christmas sections, we're doing it in a position that bridges the gap between Advent and Christmas.

POSTLUDE

Savior Of The Nations, Come - J.S. Bach

Bach wrote several settings of this chorale for organ. This setting uses the first eight notes of the chorale tune and turns it into a four voice fugue, imitating and repeating the subject throughout.  Scholastically, it may be more of an invention, since there aren't really any periods of development or expansion on the subject.  Either way, it is a fine example of Bach's short form fugal writing based on a chorale tune.

Music Notes: December 16th, 2012

Third Sunday of Advent

Our Gospel lesson for the Third Sunday of Advent continues where last week's left off.  In talking to the crowd, John the Baptist heralds the One who will be coming soon.  People were confounded and asked a lot of questions.  John warned them all that they should be generous, rich in integrity, and honorable to those around them.  He then baptized them with water, proclaiming the good news that their Messiah would soon be arriving.

PRELUDE

Prelude from "Suite for Organ, op. 50" - Robert Below

The tone of this piece throughout is one of mystery and expectation, just like Advent.  This opening section of the work spends a good majority of the time oscillating between two chords.  It expands significantly in the middle, but never really settles into a tonal center.  As the piece concludes, we hear a fragment of the plainsong Conditor Alme Siderum (Creator of the Stars of Night).  

OPENING HYMN

Fling Wide The Door

Many Advent hymns, both in and out of the ELW, talk of preparation for the coming of Christ.  The choral anthem Two Kings by Joseph Clokey describes the preparation of the banquet hall for the arrival of Mary and Joseph to Bethlehem.  This hymn is in a similar vein, as the doors and gates are opened so the King of Glory may enter.  Stanzas one through three could be just as appropriate for Christ the King Sunday.  The Advent message comes in stanza four.  I joked with Stephanie the other night about how if a hymn has the word "come" in it, and that "come" relates to Jesus in some way, it could be an Advent hymn.  In most cases, it's actually true!

This tune is a delightful, dance like German tune (one of the few that actually dances!) from the 18th century. I think it's interesting that they included a four part harmonization in the hymnal, since this tune is much more effective when sung strongly in unison.

HYMN OF THE DAY

On Jordan's Banks The Baptist's Cry

The PUER NOBIS tune (written even earlier than our previous one) is wonderful for shorter texts like this one.  Each stanza contains two short phrases, some of which are complete sentences, and others which make up one sentence each stanza.  

The text, which is sourced from our Gospel reading for the day, tells the story of John the Baptist announcing the coming of the Lord.  Stanza two even references the baptismal covenant he promises ("Then cleansed be every life from sin..."), as well as a reference to Isaiah 40, where we make straight the crooked paths.  The closing stanza contains when of the few Advent-Trinitarian statements in the hymnal, as the coming Son joins the ever present Father and Holy Spirit.

COMMUNION HYMN

Around You, O Lord Jesus (7:45 AM Only)

We moved from Germany to Austria, and now we head to Denmark where this tune came from.  Though the tune is of Danish origin, the text comes from poet Frans Mikael Franzen, who is of Finnish and Swedish origin.  He is most known for the Advent hymn we sang last week, "Prepare the Royal Highway."  

Unlike "On Jordan's Banks..." which generally ends each stanza with a complete thought, stanzas one and two of this hymn are a continuous thread of thankfulness and acknowledgement of the Communion rite.  The third stanza concludes with a petition of discipleship and gratefulness that we will show Jesus for the rest of our lives.

CLOSING HYMN

Hark, the Glad Sound

We continue our journey through Europe where we end in jolly ol' England with the team of Doddridge and Haweis.  Despite collaborating on several hymns, "Hark The Glad Sound" is the only one that survived to make it into our ELW hymnal.  The text and tune are uniquely appropriate for each other.  The opening four notes are a wonderful statement of excitement, as is the anticipatory nature of the ascending sequence throughout the second half of the tune.

POSTLUDE

Scherzo and Dance from "Suite for Organ, op. 50"- Robert Below

Despite being called "Scherzo," it doesn't really have the characteristics of a standard scherzo.  A scherzo is traditionally a very fast dance in 3/4 time.  Normally this 3/4 is at such a quick tempo that it actually sounds like each measure is its own beat, usually grouped into four measures which sound like four big beats.

This movement of the suite actually goes through an amazing number of time signature changes, usually revolving around mixed meters (5/8, 7/8, etc...).  The piece concludes in grand style with a freely composed chorale repeated three times.

Music Notes: December 9th, 2012

2nd Sunday of Advent

I am going to continue to work on my brevity in Music Notes again this week.  We'll see if we can keep it to under two printed pages.

The primary message in our Advent scriptures this week is "prepare the way."  We hear it in Malachi, the Canticle of Zechariah (Luke 1:68-79), and the Gospel reading later in Luke.  The music reflects this, featuring the great preparatory Advent hymn "Prepare the Royal Highway" as well as a paraphrase of the Zechariah canticle in the form of "Blessed Be The God Of Israel."

PRELUDE

3 Settings of Comfort, Comfort- Flor Peeters, Gerald Near, and Egil Hovland

These three short settings all interpret this dance like tune from the Genevan Psalter (1551) in different ways.  Flemish composer and organist Flor Peeters offers the most straightforward setting, with Brahms-ian echoes of the tune sounding on different areas of the organ.  Near's setting is the most expansive, using a canonical motive interspersed with the tune throughout.  Finally, Hovland's setting is the shortest and most intriguing, using only two musical lines over a perpetual pedal point.  One line plays the tune with no alterations, while the other decorates and colors the tune while using fragments from it.  It is quite striking to hear what Hovland accomplishes with a minimum of material.


OPENING HYMN

Blessed Be The God of Israel

Carl Daw created this paraphrase of the Canticle of Zechariah, set to the tune FOREST GREEN.  The paraphrase is very effective in that it is able to shorten the scripture while still maintaining, and in many ways, enhancing the meaning of it.  The beginning of the third stanza contains the words "prepare the way," which is the primary Advent message for this Sunday.

HYMN OF THE DAY

Prepare the Royal Highway

The combination of this text and this Swedish folk tune created one of the more charming combinations in the hymnal.  The celebratory text with the dance like tune meld together wonderfully.  The scriptural references here are plentiful, quoting not only our Luke 3 Gospel reading this Sunday, but also portions of all the other Gospels as well as Psalm 24.  There's even a reference to the fulfillment of the prophesy referenced in Zechariah in the refrain, "Hosanna to the Lord for he fulfills God's Word."  Thanks to stanza two, this hymn is even appropriate for Palm Sunday. 

OFFERING

And The Glory of the Lord (Messiah)- G.F. Handel

While the Chancel Choir will be doing this with strings and harpsichord at the Advent Festival, we've decided to do it here as well accompanied by the organ.  This short chorale happens near the beginning of the work, and is preceded by a tenor solo on the text "Every valley shall be exalted."  Like many of Handel's works in 3/4, there is a prevalent use of hemiola throughout.  As that is difficult to explain on paper, come find me and ask if you are curious!

COMMUNION HYMNS (9:00 AM only)

Comfort, Comfort, Now My People

The primary source of this hymn is the first several verses of Isaiah 40 (which will also play a large part of the Advent Festival).  As mentioned previously, the tune is sourced from the Genevan Psalter from 1551.

What Feast Of Love

Delores Dufner penned this text to recognize both Holy Communion and to show the image of the Light of Christ coming to earth.  The exterior stanzas use imagery of bread and wine, and the interior second stanza is the light stanza.  It is set to the old English tune GREENSLEEVES.  Dufner, a nun of the Order of St. Benedict (hence the OSB usually listed after her name), is widely published as both a hymn writer and librettist.

O Lord How Shall I Meet You

Paul Gerhardt is one of the most prolific hymn writers to come out of the Reformation.  Nearly a dozen of his several hundred hymns still survive today in the ELW alone.  While most Advent hymns have some aspect of anticipation in them, none may have more than this one.  For the first several stanzas, we struggle to understand why we are even worthy of seeing the descended Lord when he comes.  Though the first two lines of the concluding stanza contain some rather strong language, I think the ultimate goal of it is that we can see just how holy and wonderful the coming Christ is.

CLOSING HYMN

There's a Voice In The Wilderness Crying

This service just wouldn't be complete without hearing about preparing the way for God one more time!  This mid-20th century tune has many characteristics of 19th century tune writing, complete with a primarily diatonic, step-wise melody, with cadences in the dominant twice.

There is a very crucial phrase that continues from stanza two to stanza three.  The word "But" at the beginning of the third stanza is a very important clue for this.  At the conclusion of the second stanza, we speak the realization that we are all to fall and perish like flowers, but at the beginning of the third, we hear that the Word of the Lord will last forever.

POSTLUDE

Prepare the Royal Highway- Paul Manz

Much like his well known improvisation on "God of Grace and God of Glory," Paul Manz's improvisation on this hymn implores a ritornello structure surrounded by statements of the tune in the tenor range of the trumpet.  Our St. Paul's organ trumpet is just strong enough to proclaim the tune with the grandeur that the piece calls for.

Music Notes: December 2nd, 2012

1st Sunday of Advent

I can't help but feel like the Gospel readings for the four weeks of Advent in the year C Lectionary are slightly disjointed.   Despite all coming from Luke, the first weekend features a rather general, yet still inspirational text describing *something* descending from the clouds and fulfilling the role as our savior and helper.  The following two weeks come from Luke 3, where we hear two vignettes from the life of John the Baptist, and finally, the fourth week has the familiar and much loved story of the annunciation, where Mary is bestowed with the news of the virgin birth of the Savior.

While the Gospel reading is easy to focus on throughout the Lectionary, for me, Advent is the time where the most inspirational, moving scriptures are found in the Old Testament and Epistles.  This week, we hear a short excerpt from Jeremiah... which says that the days are surely coming when the Lord will fulfill the promises made to the house of Israel.  This seminal Advent text is a beautiful, haunting way to begin the season.

 PRELUDE

Wachet Auf, BWV 645- J.S. Bach

This may be Bach's second most recognizable, familiar organ piece, behind only the Toccata and Fugue in D.  The difference in the two is that the Toccata is a stand-alone organ piece, where this piece is an organ arrangement of a movement from Bach's Cantata BWV 140.  While the original version is scored for strings, continuo, and the choral tenor section, the organ arrangement takes shape as a trio sonata-esque form.  Rather than having three independent, original melodic lines, the third line is based on the chorale tune of our opening hymn.

While most people are able to instantly hum the opening ritornello, that is most definitely not the melody.  The melody is of course contained in the tenor reed.  When you hear it, compare it to the opening hymn and you'll see the correlation.

OPENING HYMN

Wake, Awake, for Night Is Flying

I've always been skeptical of this hymn as a congregational song.  Despite its history in the Lutheran church and its use in many major choral works, it is rather difficult to perform congregationally due to its length, translation, and rhythmic complexities.

Like other hymns in the lexicon, this one describes the relationship between a bridegroom (Jesus) and a bride (the church).  The hymn calls for us to awake and prepare for the coming of Christ at the conclusion of Advent.

Despite the hymn being rather difficult to sing, I'm told it is a tradition here to kick off the Advent season with it, so it is being included here.

CHORAL ANTHEM

Thou Shalt Know Him- Mark Sirett

This anthem is a charming miniature by one of Canada's leading choral musicians, Mark Sirett.  The text is anonymous, but tells us that we shall know of the coming of Jesus not by any commotion, clanging of drums or otherwise, but rather the holy harmony that his presence grants in our lives.  The striking change in the music on the words "holy harmony" is a beautiful example of text painting.

HYMN OF THE DAY

The King Shall Come

An important metaphor for Advent is that of night, where the evening is manifest in Advent, and the dawning of the new morning is Christmas at the Holy birth.  This hymn touches on those evening themes in its opening line, "The King shall come when morning dawns and light triumphant breaks."

While most stanzas are rather self explanatory, stanza two is a bizarrely paradoxical stanza.  "Not as of old a little child to bear and fight and die," seems to refer to Christmas of the previous year, where a child was born, grew up, and was eventually crucified.  The second half, "... but crowned with glory like the sun that lights the morning sky," when combined with the first half, seems to indicate that we should celebrate the birth of Jesus not as someone who is born to die, but rather someone born to return as our King. 

COMMUNION HYMN

Lord,  Enthroned In Heavenly Splendor (7:45 AM only)

This hymn from around the turn of the century by George H. Bourn ties together two common hymnal themes, one being the life of Christ, and the other Holy Communion.  Each stanza touches on a portion of Christ's life, while the inner and outer stanzas proclaim this great life that now is manifest in our bread and wine at Communion.

The tune, BRYN CALFARIA, is a strong minor tune made up of three phrases.  The first two are identical notes and rhythms, while the third is extended, growing to its climax using the word "Alleluia."

CLOSING HYMN

Awake, O Sleeper, Rise From Death

In the opening line here, I don't believe the hymn writer implies that sleep and death are one in the same.  In 19th century poetry, death was often referred to in the context of sin, a dark place, depression, or other anomalies that keep us from being happy or at our best.  The opening here implies that we should muster our strength and courage and rise out of our dark places so that the light of Christ can envelop us.

Light is, of course, another important Advent theme.  While this hymn isn't necessarily an Advent text, the theme of light is an important one throughout the text.  It is also a beautiful example of making a new text instantly accessible by setting it to an old, familiar tune, in this case AZMON, known most commonly to "O For A Thousand Tongues To Sing."

POSTLUDE

Wachet Auf- Wayne Wold

This is a movement from a larger work based on this chorale tune.  It is tied together with a descending chromatic motive in the pedals with the tune present throughout the top voice.  The chromaticism, combined with a predominantly 5/4 time signature throughout, creates a unique, colorful modern take on the chorale tune.

Thanksgiving Hiatus

You may have noticed that there was no new blog this week.  Music notes took a Thanksgiving week hiatus, but will return next week to kick off Advent and Liturgical Year C!

Music Notes: November 18th, 2012

25th Sunday After Pentecost

Last week was our first experiment of truncated music notes.  That being said, they were only about a half page less than normal when I made the print copy.  This week, I think we can keep it under two pages.

One reason for that is that we are having a very special guest this week.  Four student musicians from Wartburg College will be joining us this week at the 9:00 AM service, providing string quartet music.  They'll be playing at the prelude, offering, and postlude, and while I know what they are playing, I really don't know much about the arrangements, so I will not be commenting on them.  In addition, our Bells of Praise choir will be playing at both the 7:45 AM and 9:00 AM services this week.

The Gospel this week from Mark 13 is a rather interesting reflection before Christ the King Sunday.  In Mark 13, Jesus foretells the trials that were going to be upon them from the world.  There would be impostors and other threats to their faith, but Jesus tells them to not be alarmed.  We have to go through these trials and tribulations, but we know that Jesus will guide us safe on to the other side.  The music this week focuses not on the trials, but rather the feeling of faith and comfort that we can take in this promise.

PRELUDE

Reflections on Endless Song- Michael Ryan (Bells of Praise)

Even though the string quartet will be at the 9:00 service, the bells will still play there as well, as this piece is a partner piece to the opening hymn.  While the hymnal version we have of this hymn (My Life Flows On In Endless Song) is actually in 4/4, this arrangement for handbells is actually in 3/4.  The melody is in the top bells quite a bit, but it switches registration for a significant portion, putting the melody in the middle-lower bells.  It has been quite a challenge for Bells of Praise to make that melody clear, but they have done a wonderful job.

OPENING HYMN

My Life Flows On In Endless Song

In addition to being a hymn writer, Robert Lowry, perhaps best known for his hymn Shall We Gather At The River, was also a professor of literature and a Baptist minister.  While this hymn was written in the 1870's, it wasn't used very frequently until the 1980's when it was recorded by several well known Catholic church musicians including Marty Haugen and David Haas.  The refrain as we find it today was not originally the refrain, but rather stanza two.  The recording by Haugen and Haas made use of it as a refrain, and it has caught on in the new generation of print hymnals.

HYMN OF THE DAY

It Is Well With My Soul

This lovely Spafford/Bliss compilation was composed right around the same time as "How Can I Keep From Singing."  As such, it contains many similar melodic, harmonic, and textual characteristics.

There was a rather large controversy surrounding the beginning of the third stanza when the ELW came out.  Note the difference between the two versions...

Original:

"My sin, oh the bliss of this glorious thought, my sin, not in part, but the whole is nailed to the cross..."

Alternate (in the ELW):

"He lives, oh the bliss of this glorious thought, my sin, not in part, but the whole is nailed to the cross..."

I am not entirely sure why this change was made, but the only possible reason I can think of was that too many people were misinterpreting the text, thinking their sins were the "glorious thought" that was being discussed.  That is a terrible misrepresentation of what this verse is about.  The "glorious thought" being referenced is the thought of our sin being nailed to the cross.  By adding "he lives" to the beginning rather than "my sin," it creates a concession that just doesn't seem to make sense.  Of course Jesus lives.  We know that.  But by changing it, it completely negates what the original message of the hymn was trying to say, which is a feeling of gratefulness we feel by having our sins forgiven through Jesus' ultimate sacrifice.

Despite that unfortunate change, it is still a beautiful combination of text and tune.

COMMUNION HYMN

My Lord, What A Morning (7:45 AM only)

Like many African American spirituals, this lovely example focuses on end time.  The three verses reference three elements (trumpets sounding, sinners crying, and Christians shouting) that are characteristic for the return and resurrection of Christ.  Given the lives that slaves had to live, there is really no surprise as to why many of their greatest songs focus on the promised land beyond our world.

CLOSING HYMN

Soon and Very Soon

Like the previous, this African American spiritual has a similar focus.  Most spirituals focus first on the present, and then on the future where there will be no more crying, tears, or pain.  Despite the lives they lived, there was always hope in the spirituals, always a path to follow, and always a Hallelujah to sing.

The Sunday School kids will also be joining us at the 9:00 AM service to sing this spiritual along with us, which will lead us right into Christ the King Sunday!  Thanks to Kris Meyer, Tammy Richards, and others for helping to rearrange that.

Music Notes: November 11th, 2012

24th Sunday After Pentecost

First of all, I would like to apologize for the length of last week's blog.  I was very excited for the weekend's worship services, and despite not even writing about every piece of music that was included, I definitely set a Music Notes length record.  Due to this, some people have requested that the blog be more brief.  So this week, I will work hard on my brevity and keeping things succinct.

Before that though, something that cannot be kept brief is my thanks and gratefulness to all of those who were involved in making this weekend's worship services a success.  The All Saints Vigil Saturday evening was a beautiful, moving experience, and Sunday morning with the Wartburg Choir was nothing short of extraordinary.  I am eternally grateful for this wonderful community and all those who volunteered to make this weekend as special and as meaningful as it was.

In this weekend's Gospel reading, we hear the story of the widow, who at the treasury gave merely two cents, which was everything she had.  Jesus then proclaimed that many wealthy fortunate people had given abundantly to the treasury, but this woman gave out of her poverty and gave all that she had to live on.  This was the greatest sacrifice of all.

In addition to this, this is also the weekend of Thankoffering 2012, which is organized yearly by the Women of the ELCA.

PRELUDE

Two Preludes on HYFYRDOL- Paul Manz, Timothy Flynn

The HYFYRDOL tune, which is the tune for our Hymn of the Day today, is one of the more versatile tunes we have in our hymnal.  Both of these preludes are brief, dance like settings.  The Manz uses a ritornello technique (which is similar to a refrain) throughout, and the Flynn setting contains a motor rhythm in the right hand, with the tune in the pedal.

OPENING HYMN

For The Fruit Of All Creation

This hymn was selected as part of the Women of the ELCA Thankoffering this week.  The author, Fred Pratt Green, was a British Methodist pastor and hymn writer.  This hymn spans a wide scope, going from the simplest of gifts to the some of the most profound, meaningful thoughts present in hymnody ("wonders that astound us" and "truths that still confound us").  The tune, AR HYD Y NOS, is a Welsh folk tune that is instantly recognizable by most congregational singers.

HYMN OF THE DAY

Lord Of Glory, You Have Bought Us

Due to the length of this hymn tune, it allows for a lot of theology to be inserted into any hymn that is set to it.  In stanza one alone, we hear a wonderful metaphor on how Christ's sacrificial gift to us is then manifest in us as we freely give of ourselves.  The subsequent stanzas expand on our portion of this, preaching a message of stewardship and devotion to God and the Church.

OFFERING

Take My Life That I May Be- arr. Mark Sedio (School Choir)

The School Choir offers this lovely setting of the Frances Havergal hymn this week.  This hymn expands on the ideas of generosity and stewardship that have been established, as here we offer up our own lives, just as Christ did, for the will of God.

This newer tune, arranged here by Mark Sedio, is supplemented by the choir with appropriate instruments.

CHORAL ANTHEM

In The Singing- arr. John Helgen

This week, Chancel Choir offers this beautiful arrangement by John Helgen.  A St. Olaf alum, he remains an active church musician and composer.  Particularly striking is the conclusion of this arrangement, which has the choir singing on "ah" and "ooh" vowels as the tune continues on in the organ.  The piece ends with some very evocative harmonies.

COMMUNION HYMNS

We Come To The Hungry Feast (9:00 AM only)

Ray Makeever, while never quite reaching the fame of Marty Haugen, writes in a very similar style.  This hymn in particular could be mistaken for one of Haugen's.  It's a hymn that continually points to our "hunger" being satisfied, but also reminds us that we will never be permanently or fully satisfied, so we must continue to come back to the table.

Day By Day (9:00 AM only)

Loyal readers of this blog know that this is one of my favorite hymns.  Carolina Sandell Berg, notable for her other well known hymns such as "Thy Holy Wings" and "Children of the Heavenly Father," has crafted a wonderful gem here.  Anyone who ever embarks on a journey of faith needs these words to guide them along their ways.

CLOSING HYMN

Voices Raised To You 

This was originally the opening hymn for this service, but due to the Thankoffering hymn being inserted, it was moved to this equally appropriate spot.  It is yet another example of a fine hymn of stewardship and giving of ourselves.  But beyond that, it extends gratefully into the realm of thanks and praise for God, as indicated by the question asked at the beginning of the last stanza, "How can any praise we offer measure all the thanks we owe?"

POSTLUDE

Interpretation on HYFYRDOL- David Cherwien

With the HYFRYDOL tune being in 3/4, and this organ piece being in 6/8, it provides a fascinating framework for the entire piece.  For the entirety of the tune, you will hear the hymn tune juxtaposed against the 6/8 accompaniment, creating a dazzling texture.

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As always, feedback is welcome on the new, shorter format!

Music Notes: November 3rd/4th, 2012

All Saints Weekend

I couldn't help but notice that today (Thursday) is actually All Saints Day proper.  Tonight we have our dress rehearsal for the All Saints Vigil on Saturday evening.  It is appropriate that we sing this wonderful music tonight, not for a congregation or an audience, but for the Saints themselves.  They are always with us and watching over us, and Saturday evening is our gift to them, as well as our opportunity to reflect and remember their presence in our lives.

As you should probably know by now, this is a very special weekend here at St. Paul's.  In recognition of All Saints weekend, we are featuring a two part worship event over two days.  Saturday evening, as previously mentioned, will be a service of reflection and remembrance featuring the St. Paul's Lutheran Church Chancel Choir and guest musicians from Wartburg College.  Through selected readings, hymns, and affirming our baptisms, this service is meant to draw us closer to those who have gone from us.

For part two on Sunday morning, we will be joined by Dr. Lee Nelson and the Wartburg Choir for a celebration of Holy Communion, as well as celebrating the lives of those who we remembered and mourned for last night.

I don't believe I have looked more forward to a weekend here in my over a year at St. Paul's than I have for this weekend.  I hope you will all be joining us for a wonderful weekend of worship.  In Music Notes this week, I am going to combine both Saturday and Sunday services and discuss selections of both of them here.

PRELUDE

Psalm Preludes, op. 32, nos. 1 and 2- Herbert Howells

Howells wrote two sets of psalm preludes, each piece being a tone poem based on a particular psalm verse. The Saturday evening prelude is based on Psalm 37:11- "The lowly shall possess the land.  They will delight in abundance of peace."  The one for Sunday morning is no. 1, which comes from Psalm 34:6- "The poor man cried, and the Lord heard him and saved him out of all his troubles."  The Saturday night prelude in particular has one of the most gorgeous endings in the organ repertoire.

Both of these settings are wonderfully expansive and evocative.  Both start quietly with a certain motive and grow and expand to employ the full reaches of the organ, while developing and maintaining those same motives.  The third of this set is similar in style and is based on Psalm 23:4, a piece I use a lot during the Easter season.

HYMNS (Saturday evening)

Christ, Mighty Savior 

This hymn might be new to many in attendance tonight.  No. 560 in the ELW, it has long been one of my favorite evening hymns.  The first stanza depicts Christ as a beautiful, sonorous light giving radiance to the sunlight and glittering adornment to the stars.  Stanza two is a stunning depiction of the twilight.  The sun sets (mirror of daybreak), and choirs of stars appear to hallow the nightfall.

Stanza three puts the focus on us in the church, as we sing to the glory of God during evening worship.  Stanza four is a prayer that we be forgiven for our offences, be granted strength for our hearts and rest for our bodies.

Stanza five is the first moment in this service where I get a lump in my throat.  "Though bodies slumber, hearts shall keep our vigil, forever resting in the peace of Jesus, in light or darkness worshiping our Savior now and forever."  It is the first time we directly acknowledge those who have departed from us, and brings us into a feeling of reflection.

Baptized and Set Free 

This hymn was introduced to me this summer, and it quickly found a place in my heart as one of my favorites (an arrangement for choir and organ is in the works!).  This Saturday it will be a response to our affirmation of baptism, and will be led from the piano.

The structure of this is so amazing.  As much as I love John's Borning Cry (we're using it at this service!), it charts a very specific path through birth, growing up, adulthood, marriage, and death.  What this hymn does that is so unique and wonderful is that by stanza four, it brings us all together no matter what point we are at in life or what age we are.  Stanza one starts with our baptism itself as by being washed with water, we are freed from sin and shown the glorious fountain.  In stanzas two and three, we are nourished by food and water as we grow, being able to live through the support and love of an ever gracious God.

Finally in stanza four, we all come together... men, women, young, old, as we join in this wonderful song of thanksgiving, being set free by our baptisms.

O Christ The Same

This glorious hymn has been used several times since I have been here.  I believe it is inspired by Hebrews 13:8 (Jesus Christ is the same yesterday, today, and forever.) which will be read immediately before the singing of it.

It is one of the few hymns in the hymnal that actually goes to a completely different key area for the middle two phrases.  The key message in this hymn comes from the last line of each each stanza...

"We bring our thanks for all our yesterdays."
"We bring our thanks for this the present hour."
"We bring our thanks for all that is to be."

You Are Mine/I Was There To Hear Your Borning Cry- arr. Nick Klemetson

This is a combination of two much loved hymns.  The congregation and most of the Chancel Choir will be singing You Are Mine, with a quartet singing John Ylvisaker's timeless hymn.  Both of these hymns are sung from the same perspective (God/Jesus), so they naturally go together.  With some slight modifications to both melodies, they meld together beautifully.  For congregation members, just be aware that there is an extra measure of rest following the first phrase of You Are Mine (which I will indicate during the introduction and with my hand at the piano).

HYMNS (Sunday morning)

Ye Watchers and Ye Holy Ones

The Wartburg Choir will introduce this wonderful tune with bell ringing and a series of Alleluias.  Stanza three is the primary reason for this hymn's inclusion in our All Saints celebration.  We call for our souls in endless rest to respond, along with patriarchs and prophets of the past.  In addition, they are joined by the twelve apostles, martyrs, and of course, all of our saints triumphant.

For All The Saints

As closely bonded as this text and tune are, it wasn't always that way.  This processional hymn for All Saints was originally set to a tune titled SARUM by Joseph Barnby (this tune was much more pedantic, very similar to the tune MARYTON (see ELW 818).

Thankfully, English composer Ralph Vaughan Williams composed this tune in the mid 1900's to be included in the English Hymnal 1906.  It was then later published in other hymnals and has become one of the greatest tunes of the 20th century. The tune, SINE NOMINE (literally "without a name") was a departure from other English tunes of the time.  Most tunes were written in four part harmony and instructed to be performed that way.  SINE NOMINE was meant to be sung primarily in unison, though Vaughan Williams did include a harmonization for the interior stanzas.  The original eleven stanzas has been trimmed to eight for the ELW, and we will sing them all this morning.

O Day Full Of Grace (v. 5)

"When we on that final journey go that Christ is for us preparing, we'll gather in song, our hearts aglow, all joy of the heavens sharing, and there we will join God's endless praise, with angels and saints adoring."

I really don't think much else needs to be said than the words themselves to describe our sending hymn.

CHORAL ANTHEMS (Saturday evening)

Selig Sind (from Ein Deutsches Requiem)- Johannes Brahms

The beautiful first movement of the Brahms Requiem will be sung Saturday night while the congregation is lighting candles to remember those who have departed.  

The choir has done an absolutely fantastic job learning this very difficult piece.  It contains primarily two musical ideas.  The first is based on a constant pulse on a low note for the text "Blessed are they that mourn, for they shall be comforted."  The second section picks up a bit in tempo for the text "Those who sow in tears shall reap in joy."  The mini phrases in each part climax on a high note on the word "freuden" which means "joy."

The Church's One Foundation- John Ferguson

This functions as the "hymn of the day" on Saturday evening, and has both congregational and choral components.  John Ferguson's arrangement does a fantastic job of bringing this text to the forefront, particularly the three interior stanzas.

Stanzas three and four are especially effective.  Stanza three, which is congregational, features an extremely dissonant, exciting organ part, where harmonic clashes and cluster chords symbolize the "schims rent asunder" and "heresies distressed" in the text.  Additionally, one of the trumpet parts is displaced by several measures, creating even more of a disjunct feeling.

As this stanza concludes, it mellows.  The cry of "How long?" in the third stanza is continued in the women's voices, as they sing these words repeatedly in three-part, parallel triads.  The voices come together in a brilliant example of text painting on the line "She waits for peace forevermore."  

The final stanza and its descant cannot really be described in words.  You'll just have to hear it for yourself, but, don't be surprised if you close your eyes and see those "saints before us" standing around and amongst you.

The Kontakion- Rupert Lang

When I plan programs, it is usually a single piece or hymn that gives birth to an idea, and in the case of Saturday's program, Rupert Lang's Kontakion was the piece.  "Give rest unto your servants..." is how the congregational antiphon begins.

The piece slowly develops, climaxing on a stunning set of "alleluias" based on the antiphon melody.  Following the choral coda, the choir will then recess in silence and darkness, leaving only the candles that were lit at the beginning of the service on the altar.

CHORAL ANTHEMS (Sunday morning)

As I mentioned, we are wonderfully blessed to have the Wartburg Choir joining us this Sunday morning.  In addition to the psalm refrain and a special choral hymn introduction I have prepared for them, they are also offering three anthems.

Gaudete- arr. Steven Sametz

If you are familiar with the medieval carol "Gaudete," you might be wondering, "Why is Wartburg Choir singing a carol about the birth of Christ on All Saints Sunday?"

Well, if you think about it, the birth of Christ made everything we do and everyone we celebrate possible.  Thanks to the birth of Christ, it enabled us, our baptisms, our confirmations, our faith development, and finally our deaths, where we then join Christ and all the saints triumphant.

This carol has been arranged for choir many times, and the Wartburg Choir is offering one of the more difficult settings in existence.  The carol, being a renaissance dance, is already quite complex rhythmically, but is made even more so by the arranger's strategic lengthening and shortening of certain phrases.  When these rhythmic complexities are spread across four parts (and more), it makes it an incredible choral feat to pull off.  The piece ends with the carol on parallel fifths, extending the sopranos all the way up to a high C.

O Day Full Of Grace- arr. F. Melius Christiansen

Thanks to the works and efforts of F. Melius Christiansen, nearly all of the other Lutheran choral programs are now in existence.  Edwin Liemohn, an early conductor of the Wartburg Choir, was of course mentored and taught by FMC (several of his arrangements reflect that).  

O Day Full Of Grace is, in my humble opinion, the finest of all the Christiansen arrangements.  No finer musical representation of a sunrise can be found than in the first two verses of this hymn.  For the final verse, it breaks into Christiansen's characteristic style of placing the cantus firmus in the men's voices, or the "pedals (F. Melius was an organist, after all)."  Meanwhile, the four part women's texture is very polyphonic and serves to decorate the wonderful text where the world awakes with life and spirit.

Roll Jordan, Roll- Stacey V. Gibbs

For their third piece, the choir will offer Detroit-based composer Stacey Gibbs' arrangement of Roll Jordan Roll.  Due to my lack of knowledge on this piece, I will refrain from commenting on it, but it will lead brilliantly into the communion hymn "On Stormy Jordan's Banks I Stand (Bound for the Promised Land)."

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Can you believe that's not even EVERYTHING this weekend?  We are truly blessed with such a wonderful community of faith that is able to come together and offer such an inspiring weekend of worship.  I hope you will all join us this weekend for All Saints!

  

Music Notes: October 28th, 2012

Reformation/Confirmation Sunday

As I explained to Friends of the Lord at Wednesday's rehearsal, Reformation Sunday is kind of like the Fourth of July for Lutherans.  Then they asked why there were no fireworks, and I had to quickly back up and start again.  Instead of having BBQ and blowing off fireworks, we gather together not only as Lutherans, but as Christians, and sing A Mighty Fortress.

What a marvelous hymn that is!  Despite being intrinsically tied to Lutherans, it is now contained in virtually every denominational hymnal.  Since the ideals of the hymn have been embraced by Christians worldwide, does that change its meaning for us in the Lutheran church?  Maybe the idea of celebrating the Reformation is an antiquated notion.

I believe there are misconceptions about the Reformation as it stands today.  From the outside, it may seem like we are 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 for us?  It certainly created the protestant revolution, but I really believe that something would have come along eventually that would have done that very same thing anyway.  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 95 Theses), which brought the Word of God in the vernacular of the people.  The Catholics didn't figure that until 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.

Reformation Sunday is a wonderful Sunday of unity and togetherness for Lutheran congregations everywhere.  Here at St. Paul's, we also celebrate the confirmations of 15 ninth graders this year.  By reaffirming their baptisms and getting confirmed, they are further welcomed and joined in this sense of unity.

PRELUDE

A Mighty Fortress- Helmut Walcha

Helmut Walcha, who died in 1991, was permanently blinded at age 19 after a vaccination of smallpox.  Despite the disability, he went on to become an outstanding organist and composer, even recording the complete works of J.S. Bach.  His compositions included four volumes of chorale preludes, from where this arrangement of A Mighty Fortress comes from.

The tune is presented in three different ways.  First, it is presented in canon between the highest voice and lowest voice in the organ.  Meanwhile, there are fragments of the tune presented in the middle.  Interestingly enough, the subject (A Mighty Fortress), is being imitated upon before it even appears.

OPENING HYMN

A Mighty Fortress Is Our God

The words and music of this "Reformation National Anthem" were composed by Martin Luther circa 1528, with the words being a paraphrase of Psalm 46 (also the psalm of the day for today).

In the ELW, you may notice that there are two versions of this hymn.  The one we usually sing 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, which we will sing at the 9:00 AM service.  This "rhythmic" version was how it would have been sung from the 16th into the 18th century, in unison, usually unaccompanied, by the congregation.

HYMN OF THE DAY

How Firm A Foundation

As I have said in this blog in the past, How Firm A Foundation is a wonderful union of text and tune.  The early American tune is well supported by an inspiring, wonderful statement of faith.

The first stanza sets the tone for what is to come in the rest of the hymn.  The "firm foundation" is laid by our faith in the words of Jesus.  Stanzas two and three have Jesus speaking directly to us, saying that he will strengthen and guide us through trials and troubles.  Stanza four continues these words of Jesus, which brings life full circle, saying that even when we are grown and lived a full life, we will still be lambs in Jesus' flock.

OFFERING

A Living Sacrifice- Ralph Johnson (Friends of the Lord)

This text is actually the traditional Offertory text for Reformation Sunday.  Hearing it sung in the voices of Friends of the Lord puts a very interesting spin on it.  The text is as follows...

"I appeal to you, therefore, by the mercies of God, to present your bodies as a living sacrifice.  Do not be conformed to this world, but be transformed by the renewal of our minds, that you may prove what is the will of God."

It is indeed a very weighty text.  FOTL and I have discussed it a lot, and we have both come to a deeper understanding.  Musically, it is a very difficult challenge for them, but they have risen to the occasion of not only with the challenging melody, but also with singing for the organ for the first time with me.

COMMUNION HYMNS

Jesus Still Lead On (9:00 AM only)

Nikolaus Zinzendorf was a German religious and social reformer and bishop of the Moravian Church.  Like Martin Luther, he was very in tune with his feelings and had a unique social skill of conversation and discussion.

Despite being celebrated in the ELCA on May 10th, this Zinzendorf hymn fits beautifully today.  In many ways, confirmation is a start, or a continuation, of a wonderful journey where Jesus is our leader.  Musically, the hymn is tied together with a continual "short-short-long-long" rhythm.

Lord, Keep Us Steadfast In Your Word

This is likely Martin Luther's second most known hymn in the ELW.  This is actually one of his earlier hymns, coming from the beginning years of the reformation.  This hymn tells us that we don't need to rely on anything visual or kinesthetic, but rather that faith will provide for all of 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.

Built On A Rock The Church Doth Stand (9:00 AM only)

This striking, powerful text was written by the great Danish hymn writer, Nikolai Grundtvig.  He sets a rather apocalypic tone in the first stanza.  Though the entire world is crumbling and falling around us, the cornerstone of the church stands tall, and calls the young and old souls of those distressed which long for life everlasting.

The three interior stanzas describe the church building itself, how it was not made solely by the hands of us, but rather crafted with the divine help of God.  Stanza three has a reference to Matthew 18:30, "Where two or three will seek his face, he in their midst will show his grace."

In the final stanza (which we are singing as the closing hymn for worship), the bells are ringing at the start of worship, and people flock in droves to come hear the word of God.  The hymn concludes with an allusion to John 14:27, "My peace I leave with you, Amen."

POSTLUDE

A Mighty Fortress- Charles Ore

My organ teacher John Ferguson describes this piece as a "gas."  I thought it was a rather humorous description, so I went to seek it out for myself.  I discovered it was out of print, but later managed to miraculously find it in a large stack of single organ pieces for sale.  I quickly snatched it up and planned to play it this year for Reformation Sunday.

Rhythmically, it is very complex indeed, relying on syncopations and almost jazzy rhythms throughout.  When the pedal enters, it oscillates between the lowest and highest notes on the pedal board, creating a fascinating rhythmic effect as the tune is presented.

The middle section consists of motor rhythm ostinatos in the hands while the pedal takes over the tune.  After a short fanfare in the middle, the beginning section returns, this time with full organ, and it grows to a wonderful, fiery conclusion.

Music Notes: October 21st, 2012

A Community That Sings

I mentioned last week that I would dedicate this week's edition of Music Notes to our special service of hymnody, which I have titled "A Community That Sings."

Three weeks ago, I asked the Chancel Choir to fill out a small sheet with five (or so) of their favorite hymns from the ELW.  After receiving the results, I saw an incredible number of possibilities.  After crafting three different program ideas, the pastors decided that focusing on the communal aspects of congregational song would be the way to go.  In thinking of the idea of "A Community That Sings," I zeroed in on a petition that seemed to summarize the idea that I wanted to express with the worship.  The petition is...

As we gather, God calls us and shows us the way to serve his people.

Using that petition in combination with the Chancel Choir choices, I then crafted a four part service, with hymns that supported these petitions and show how we worship together as a community that sings.

As we gather...

In "As we gather..." we sing music that glorifies God, glorifies us as worshipers, and brings us together as a community.

When In Our Music God Is Glorified

This hymn is actually going to play a big part in my coffee hour talk several weeks from now.  While most people know this hymn to the tune ENGELBERG (as we sing it this weekend), the LBW (1978) actually dared to be different and published this text set to a much sweeter, more reflective tune.  This "alternate" tune is actually my preferred tune for the text, as it is presented with reverence and humility, but the C.V. Stanford tune we are singing this weekend is wonderfully celebratory and equally relevant and appropriate for the nature of the text.

Morning Has Broken

Each verse of this famous Eleanor Farjeon tune is in two parts.  The first lays out a scenario or situation that is surrounding us, and the second thanks God for these surroundings.  For example... "Morning has broken like the first morning; blackbird has spoken like the first bird." is the opening section of the first stanza.  Not only is it beautiful imagery, but it also references creation and Genesis.  It is followed by the thanks and praise, "Praise for the singing! Praise for the morning! Praise for them, springing fresh from the Word."

Earth and all Stars

This may be the most requested hymn on the Chancel Choir hymn sheets, so there was no way I couldn't include it.  This hymn was composed jointly by Herbert Brokering and David Johnson to celebrate the 75th anniversary of St. Olaf College.  There is reference to the stormy Minnesota weather ("Hail, wind, and rain!  Loud blowing snowstorm."), St. Olaf's music program (Trumpet, pipes, cymbals, harp, lute, lyre, cellos (also referencing Psalm 150)), builders and workers (limestone (most St. Olaf buildings were built out of the native limestone), beam, hammers, workers), and the students, teachers, and others that make up the community.

Though the hymn was written for a specific occasion at a specific place, it has a universal joy that can be celebrated anywhere.  It is particularly appropriate here in Waverly, where we have a college very similar in many ways to St. Olaf (minus the limestone!).  

...God calls us...

This second section focuses on the communal aspects of commitment and discipleship.  It also includes the primary scriptural components and the message of the day.

Drawn To The Light

This was on a very high number of hymn sheets that were filled out.  I was a little perplexed, since it isn't one of the more well known hymns in the hymnal.  Then I remembered that it was written by John Ylvisaker, and it made perfect sense (for those reading this that may not be familiar with St. Paul's, John is a long time member here).  

God calls us in many ways.  This hymn shows us that the light of God is an important guiding force in our lives.  Even though we are sitting in darkness looking for light, God calls us and draws us into his presence.  This light of God outshines our sun and all other light in the world, guiding us along the true path.  This text is accompanied by a tune that is singable and dance like, with a lovely lilt and harmonic twists in the refrain.

We Are Called

"Come, live in the light.  Shine with the joy and the love of the Lord!  We are called to be light for the kingdom, to live in the freedom of the city of God."  The juxtaposition of this hymn and the one before it is very interesting.  Initially I wanted them to be back to back, but hopefully having a scripture and message in between the two will not disturb the relationship that these two texts have.

The correlation is simple.  In the Ylvisaker hymn we are drawn to the light of God, and then in we are called, we are both invited to it and called to be the light ourselves, in order to show others the beauty it can give others just as it gave us.  The glorious third stanza tells us to sing of that great day when all will be one, which is a wonderful statement of unity and community, a community that sings.

...and shows us the way...

This third section is all about guidance and inspiration.  All of us mean well, but sometimes we need a little help along the right path.  These two hymns are meant to show how inspiring and meaningful God's path can be.

Lord, Take My Hand and Lead Me

The text and tune of this great German chorale are both very straightforward.  Perhaps that is the key to its popularity.  In addition, at this service the words will be printed in German as well as in English.  Congregation members can choose which language they wish to sing it in, potentially creating a beautiful, multi-lingual congregational song experience.  The global nature of song is very important.  It is something that virtually every culture has in common and can enjoy together.

Lord Jesus, You Shall Be My Song

We go from Germany to France, where we find this beautiful French virelai, a song composed by a group of nuns at the L'Arche Community in France.  

Founded in 1931, Les Petites Soeurs 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 we can take with us and hold close to us as we continue on our faith journeys.

... to serve his people.

This final section once again calls on commitment and discipleship themes, but also has a strong focus on social justice and community.  With these hymns, we are truly "A Community That Sings," and we can then rise and go out into the world being inspired and called to action by these words.

Let Streams Of Living Justice

This wonderful hymn was probably the second most common to be on the Chancel Choir lists.  This text calls for peace and justice to come to the earth, uniting us all as a people.  Stanza two contains possibly the only hymnal reference to knitting and looming, as we "weave our varied gifts together" and enroll us on the "loom of time" until our "thread of life is run."  What wonderful language!  God is then of course described as the "great weaver of our fabric."

God Of Grace And God Of Glory

If you were at the 7:45 AM service last week, you saw that the prayers of the people were incorporated with this hymn, and this week will be no different.  This well known hymn by Henry Emerson Fosdick is a great example of the power and grace of God being used against the evil in the world.  Though the more familiar text with this tune is probably "Guide Me Now, O Great Redeemer," this text has found a home with CWM RHONDDA, based on the popularity of Paul Manz's organ setting of this piece, incorporating fragments of the Hallelujah chorus (which I will play as the postlude for this service).  

Each stanza ends with a petition for strength and courage ("Grant us wisdom, grant us courage...").  Each of those statements is followed by a qualifier that applies to each of the stanzas that precede it.

Lift Every Voice and Sing

Another hymn that was hotly requested, it is also a hymn that revolved around one of my favorite, most inspirational moments in my year here at St. Paul's.  Though it will forever be tied with the Civil Rights Movement from the 1960's, this poem was actually composed in the year 1900 by james Weldon Johnson.

The language of this poem has not ever been updated from its original version (nor should it be!!), but some of the lines may require contextual references in the realm of the Afro-American spiritual.  The idea of the spiritual was born out of the time of slavery, struggle, turmoil, etc... but what was always and forever present was HOPE.  In the very first lines of Johnson's poem, he calls for us to sing until both earth and heaven ring with the harmonies of liberty.  Later in the stanza, he pulls the past and future together, referencing both the "dark past" and "hope [of] the present."  "Let us march on 'till victory is won," is certainly not a militaristic reference.  Rather, the "victory" he speaks of is the arrival of the promised land (see the old great Baptist hymn, "Victory in Jesus.")

For the slaves, the "chastening rod" mentioned at the start of stanza two was literal.  Johnson is writing in the context of his culture and history.  Slaves were literally exposed to beatings on a daily basis.  However, it can still apply to all of us.  We all have obstacles in our lives and adversity to overcome.  As stanza two continues though, we have hope offered again, where we will eventually arrive at a place where those before us have only dreamed of.  The road has been long and difficult, but we will eventually come to the point where we will all be standing together "where the white gleam of our bright star is cast."

The final stanza speaks of the God who brings us all along on the journey that we have been on.  The hymn closes with a prayer that despite we may stray from the presence of God, we will always find our way back and stay true to ourselves and our God.

Music Notes: October 14th, 2012

Before I start with Music Notes this week, I wanted to mention a special service that will be taking place here at 7:45 AM on Sunday.  Titled "A Community That Sings," it will feature hymns and songs hand picked by our Chancel Choir that feature the communal aspects of congregational song.  The service is divided into four sections, based on the petition "As we gather, God calls us and shows us the way to serve his people."  This special service will be repeated the following Sunday, October 21st, at 9:00 AM, and will be the subject of next week's edition of Music Notes.


20th Sunday After Pentecost

Over the last several lectionary weeks, Jesus has been teaching us about what is most valued in the eyes of God.  That is, children, marriage, family values, and others.  This week, he encounters a rich man who was in search of how to be rewarded with eternal life.  Despite claiming to have followed all the commandments his whole life, Jesus tells him that he needs to sell what he owns, give the money to the poor, and he will then have treasure in heaven.

This disappointed the man and confused the disciples who were watching.  Jesus then said one of his more famous phrases, "It is easier for a camel to go through the eye of the needle than for someone who is rich to enter the kingdom of God." (Mark 10:25)  He then assures his disciples that all of them, and anyone who has left their houses and families in his name, will be rewarded with eternal life.

PRELUDE

Be Thou My Vision- Katherine Jordahl Larsen (Bells of Praise)

Bells of Praise joins us again with the prelude this week.  In addition, Jennifer Wipperman will join them on flute for this beautiful duet based on the tune SLANE, most notably associated with the hymn Be Thou My Vision.

The percussive, yet lyrical nature of handbells correlate beautifully with the mellow, smooth sound of a flute.  While the flute plays primarily an ornamented version of the tune, the bells punctuate with traditional harmonies and interludes.  This piece also helps to continue helping the bell choir evolve, playing pieces that ask for more advanced techniques such as bell switching.  

OPENING HYMN

Be Thou My Vision

The lineage of this text traces back to Saint Dallan Forgaill, an early Irish poet from the 6th century.  This poem was not translated into English until 1905, where 7 years later, it was set into verse form in order to be set to the Irish folk tune SLANE.  The versification of the hymn combined two verses into one larger verse.  For example, the first two verses of the English translation are...

Be thou my vision O Lord of my heart

None other is aught but the King of the seven heavens.

Be thou my meditation by day and night.

May it be thou that I behold even in my sleep.

The versification of these two verses by Eleanor Hull are as follows (slightly altered in our ELW)...

Be thou my vision, O Lord of my heart,

Be all else naught to me, save that thou art;

Thou my best thought in the day and the night,

Both waking and sleeping, thy presence my light.

The Irish folk tune SLANE, like many other hymn tunes, had no religious connection until it was set to this text and placed in the English Hymnal.  "Slane" refers to Slane Hill, which is an important historical landmark in Irish history dating back to the 5th century.

HYMN OF THE DAY

God, Whose Giving Knows No Ending

This hymn is a commentary on the gifts God gives us, and our ways of attempting to thank and return these gifts.  The second line lists just a small example of these gifts... "nature's wonder, Jesus' wisdom, costly cross, grave's shattered door."  Due to these gifts, we then turn back to God, offering ourselves up, raising thankful songs and praise.

In stanza two, we interestingly take up a lot of responsibility, citing our skills and time as ways we are able to pick up and take over the goals of Jesus.  We still ask for God's help and guidance as we continue on, asking God to help us realize the potential in the talents that he has given us.

In the concluding stanza, we continue to see a mix of both thankfulness for our treasures and gifts received in order to do God's work, as well as a petition to "heed Christ's ageless call," as we go forth healing, teaching, and reclaiming, serving God by spreading God's love throughout the world.

CHORAL ANTHEM

Agnus Dei- William Byrd

Rather than singing the traditional "Lamb of God" from Setting Four of the ELW, the Chancel Choir will be singing a polyphonic Latin setting of the same text, composed by English composer William Byrd.

Like the traditional Lamb of God, it is a three part text.  The first two parts are identical, "Agnus Dei, qui tollis peccata mundi, miserere nobis."  "Lamb of God, who takes away the sins of the world, have mercy on us."  The third part keeps the same beginning, replacing the end with "dona nobis pacem" "grant us peace."  Additionally, each petition gradually grows in texture, beginning primarily with two voices, and then evolving to include three, and finally four full voices.

COMMUNION HYMNS

Take My Life, That I May Be

This quintessential Offertory hymn by the father/daughter duo of William and Frances Havergal shows us offering ourselves, our hands, our voices, our riches, our will, and our love to God.  It is the ultimate hymn of generosity and giving to God as thanks for everything we have.

It is an example of a trust and guidance being placed in God we wouldn't or shouldn't be willing to place in anyone else.  Through the language in this hymn, we are doing just as what Jesus instructed us to do, that is, give of our whole selves, our time, our money, and our possessions, to God.

When The Poor Ones


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 is what this song is all about.  Set to a Latin American folk tune that is rhythmic and singable, it reminds us that God is certainly omniscient and omnipresent.

CLOSING HYMN

Let Justice Flow Like Streams

In three concise stanzas, Jane Parker Huber captures some very important themes of social justice and righteousness.  Huber, who died in 2008, was an important female figure in theology and hymnody throughout the late 20th century.  The justice and peace that pervades this hymn is clearly indicative of these inclusive beliefs.

POSTLUDE

Les Cloches (The Bells)- Nicolas Lebegue

Les Cloches is a beautiful example of early program music for the organ.  In this piece, the effect of the pealing and ringing of bells have been achieved so skillfully that they cannot be mistaken for anything else.

There is a very good chance that Louis Vierne's "Carillon de Westminster" might have very will been inspired by this piece.  While that piece is certainly indicative of the sound of bells, its technical difficulties make it inaccessible to all but the most skilled of performers.  On the other hand, this piece, which is constructed from the simplest diatonic material, suggests all the massive power and clashing of overtones of real bells, but is written in such a way that it is accessible to just about anyone.

Music Notes: October 7th, 2012

19th Sunday After Pentecost

This week's Gospel touches on two important themes.  The first is marriage, which is also touched on in at least one of the other readings.  For the second, Jesus continues his focus on the importance to children, telling his disciples "Let the little children come."


PRELUDE

Improvisation on All Are Welcome

In "All Are Welcome," Marty Haugen has fashioned a text and tune that is singable, culturally relevant, and for us at St. Paul's, very relevant to our current situation.  The tune is being used as the prelude in order to introduce it to the congregation before it is used as the opening hymn.


Some tunes of this length have melodic motives that repeat.  This tune is actually through composed, which means that nothing is repeated or brought back through the entire tune.  However, through the careful use of rhythmic motives and contour, Haugen has created a very singable, memorable melody.

OPENING HYMN

All Are Welcome

Everything I previously said about the prelude can also be applied here.  The opening half of the first line, "Let us build a house..." is obviously very crucial to us at St. Paul's as we approach our congregational vote.

Regardless of the outcome of said vote, the message of this hymn is crucial and important no matter what house of worship we are occupying.  We want love to dwell, a place where saints and children gather, built from faith and grace, where the love of Christ shall end divisions.   Each stanza goes through a different portion of the fourfold pattern of worship... stanza one is the gathering, stanza two focuses on the Word, stanza three on the meal, stanza four on the sending, and finally, stanza five as a strong conclusion.

CHORAL ANTHEM

The Greatest Gift Is Love- Mark Hayes (9:00 AM only- Chancel Choir)

Due to the connection to love and marriage found in our Gospel reading this week, I've chosen a paraphrase of the famous 1 Corinthians passage commonly used at weddings.  Mark Hayes' sensitive setting of this text for choir and organ featuring flowing lines and inventive harmonies that work to color the text.  The piece grows to a wonderful climax and concludes with a modulation into D major on a wonderful suspended chord where the altos wait until the final second to resolve.

HYMN OF THE DAY

O Christ Our Heart Compassionate (7:45 AM only)

Herman G. Stuempfle died in 2007.  He spent the majority of his career as president of the Lutheran Theological Seminary at Gettysburg.  After his retirement in 1989, he spent the rest of his life as a guest preacher, theologian, and hymn writer.

In "O Christ, Our Heart, Compassionate," Stuempfle touches on themes of justice, compassion, and peace.  The example Christ shows by his actions of bearing every human's pain and sin should be replicated by us.  To do so, Stuempfle begins by describing this syncing of God's heart with Jesus, instilling God in Christ.

In stanza three, we ask that our hearts be re-created so that they be passed to us from Christ, just as God passed his heart to Christ.  Finally, the concluding stanza once again talks about our servant church doing deeds of love that rise to heaven.

O Christ, Our Hope (9:00 AM only)

The original version of this hymn traces all the way back to the 8th century.  It was translated and brought into wider use in the mid 19th century, set to an early German chorale.

Similar to "O Christ Our Heart," it touches on the idea that Jesus accepted the burden of all of our sins and sacrificed himself for us.

The bulk of the message comes in stanza four.  As a result of Jesus breaking the bonds of death and ascending to heaven, our love should then be permeated by the love of God and serve the world for all of eternity.

OFFERING

Do, Lord!- John Ylvisaker (Cherub Choir- 9:00 AM only)

Our Cherub Choir (K-2) will sing in worship for the first time this Sunday.  Under the direction of Heidi Harms, they will sing "Do, Lord!" a John Ylvisaker paraphrase of Psalm 27.  Through singing, movements, and clapping, they will demonstrate the wonderful musical work they have done thus far in the year.

COMMUNION/CLOSING HYMN

Jesus Loves Me

This timeless text by Anna B. Warner (1820-1915) follows the ideals of how Jesus is a comforting presence for not only the children of the world, but for everyone.  The hymn was originally written as a poem to comfort a dying child, and in its full form, contains seven stanzas.  The stanzas referring directly to the illness of the child are generally omitted in most hymnals, that though our ELW hymnal doesn't, other hymnals use additional stanzas composed by other poets.

POSTLUDE

We All Believe In One True God- John Hirten

John K. Hirten, a contemporary American composer, is a prolific writer and setter of Lutheran Chorale melodies.  This chorale, by Martin Luther, is set to a paraphrase of the Apostle's Creed.  It can be found in our hymnal on ELW 411.

Hirten's setting is rather straightforward, but at the same time, contains a significant amount of harmonic interest through various clashes with the pedal points throughout the piece.

Music Notes: September 30th, 2012

18th Sunday After Pentecost (140th Anniversary)

Special events continue this week at St. Paul's.  After last week's scintillating worship with the Wartburg College Ritterchor, this week we celebrate our 140th Anniversary of St. Paul's Lutheran Church.

The worship service is centered around three hymns which will be discussed throughout the blog.  These three hymns trace the chronology of hymnody in the church from the mid 20th century all the way until today.  In addition, our Bells Of Praise choir will be making their debut this Sunday playing the prelude as well as accompanying the chanting of the psalm.

PRELUDE

Carillon Celebration- Douglas E. Wagner

Bells Of Praise, with a few new faces, begin their season with this joyous piece by noted church musician and arranger Douglas Wagner.  While only using three octaves, the music is arranged so that the full extent of the choir is used to great effect.  Lush harmonies which would sound out of place on the organ or another instrument, settle in nicely in the mid range of the bells, creating a lot of color while not overwhelming in the slightest with dissonance.

The piece is in ABA format.  The A sections contain the thick, sonorous chords previously mentioned, interposed with melodic call and response sections between the lower and higher bells.  The B section, with its sudden, abrupt shift into 3/4 time, sets itself apart through its syncopations and use of hemiola (a simple musical device that is easy to explain but difficult to write down.  Ask me if you are curious!).  The piece includes several specialized hand bell techniques, including a "swing" technique where the bells are swung behind the body, and an effect called martellato, where the bells are rung against the surface of the table, creating a sound similar to a marimba or xylophone.

OPENING HYMN

Praise To The Lord, The Almighty

Praise to the Lord comes from the second generation of German chorales, the first being those of Martin Luther and his contemporaries in the mid 16th century.  This came nearly a century later from the pen of Joachim Neander.  Interestingly enough, Neander was associated with the Reformed Calvinist church, which was not known with a strong history of congregational song like the Lutheran church was becoming known for.

The translation of the hymn that most hymnals now contain is that of German poet Catherine Winkworth.  Winkworth takes some significant liberties with the text, particularly in the first verse.  Where the original Neander third line says, "Kommet zu Hauf! Psalter und Harfe, wacht auf!", Winkworth changes this to "Let all who hear, now to this temple draw near."  Even one with no knowledge of German be able to tell that the reference to both psaltery and harp were removed.  Though Winkworth likely altered the text to conform to the cultural standards of the time (the notion of psaltery and harp was very indicative of Renaissance German theology, whereas in the 19th century, the idea of Christian "health" was of utmost importance), it is unfortunate that such a colorful, powerful image of the heavens praising God was removed.

Initially, the plan for this Sunday was to sing an arrangement of this hymn by Paul Bunjes.  Bunjes, who died in 1998, was an active church musician throughout the midwest, especially in Chicago.  His connection to St. Paul's was that he helped consult, design, and build our Zimmer organ in the late 70's.  His arrangement of the hymn was actually written in 1959, and used a more literal translation of Neander's original text.  While it is no longer being used for this Sunday, the organ accompaniment to the hymn will be in the spirit and feel of Bunjes' arrangement.

HYMN OF THE DAY

O Miracle Of Grace

15 years ago, James Fritschel was commissioned by the Droste family of St. Paul's to compose a large, festive piece for the 125th Anniversary of St. Paul's.  The centerpiece of that arrangement, which featured, organ, handbells, adult choir, youth choir, and other elements, was this hymn, of which Fritschel composed the tune.  

Each verse of the hymn references an act of Jesus throughout his life, calling it a miracle.  Whether it is cleansing a soul, giving sight to the blind, hearing to the deaf, releasing a fetttered tongue, or renewing our souls so that we may consecrate them to the Lord, this hymn celebrates these miracles that were done in Jesus' life that we celebrate today.

Due to the structure of the text and the number of syllables each line contains, you'll see the syllabic structure is 6 6 8 4, meaning of the four lines, the  first two have six syllables, the third has eight, and the fourth has four.  The only tune in our ELW hymnal that even comes close to this meter is the tune LEONI (also known as YIGDAL), which is the tune for "The God Of Abraham Praise (see ELW 831)."  However, the LEONI tune is actually 6 6 8 4 D, meaning it is exactly twice as long as the "O Miracle Of Grace" tune.  The text, combined with a unique tune composed by Fritschel for St. Paul's, makes this a very special gift to the congregation.

COMMUNION HYMNS

O God Our Help In Ages Past (9:00 only)

This Isaac Watts paraphrase of Psalm 90 is a wonderful reflection on the past, present, and future of the church.  There is no greater example of this than in the first line of the hymn, "O God, our help in ages past, our hope for years to come."  Not only does this line begin the hymn, but it also begins the closing stanza, creating a beautiful sense of symmetry and a circular form.

In between, most of the stanzas reflect on the past.  The use of past tense language ("your saints have  dwelt secure," "Before the hills in order stood..." etc...) reflect this.  One of the more interesting images reflects on the omniscience and omnipresence of God, being that a thousand ages for us are but a mere evening for God.  

As Saints Of Old

In a community like Waverly which has a strong history of being a farm community, I thought this hymn would be a very worthwhile addition to the anniversary service.  In the very first stanza, we hear how just as those from previous generations harvested their goods for the benefit of the community, we now do the same thing today.

It extends beyond farming.  In the closing two stanzas, we hear how all of us can give what we can offer for the good of the world.  The church of Christ is calling us to do so, and is a fine foreshadow to the closing hymn today.

Open Now Thy Gates Of Beauty

This is yet another Winkworth translation from the late 17th century.  This is a hymn that can typically be used at the opening of worship, but it is also appropriate for communion time (see stanza two discussion later).

The opening stanza concludes with a wonderful petition, "O how blessed is this place, filled with solace, light, and grace."  Stanza two begins with language that could easily be used as one approaches the communion table, "Gracious God, I come before thee; come thou also unto me."  As we continue, stanza three references the previous hymn, where we hear a metaphor for the planting and growing of fruit, where our soul brings forth precious fruit and guides us along God's pathway.  The hymn concludes with yet another communion reference, calling it the "fountain of life," claiming it the balm for all our woes.

CLOSING HYMN

The Church Of Christ In Every Age

Our opening hymn was (originally) an arrangement from the 1950's of Praise To The Lord arranged by a person who played a huge part in designing our organ.  The Hymn of the Day was composed by a former director of the Wartburg Choir, who was commissioned by St. Paul's to to compose this hymn for the 125th anniversary of the church.

For the closing hymn, my summer project was to create an arrangement specifically for the 140th Anniversary of St. Paul's.  In choosing a text, The Church Of Christ In Every Age instantly rose to the top, as it is very indicative of of generational worship.  Unfortunately, due to time constraints, the opening choral dialog and choral stanzas will not be used, but I wanted to include here the text that I composed to open the anthem...

"Welcome to this place, where love and faith are found.

Where worshipers can find a place to gather.

The church of Christ, through every age and generation,

continues to grow, celebrating the glory of God."

The first, third, and fifth stanzas of the arrangement will be sung to close worship this Sunday, featuring my newly composed organ accompaniment to those stanzas as well as a choral descant and closing 'Amen' to conclude the arrangement.

POSTLUDE

Toccata from Symphony No. 5- Charles Marie Widor

This monumental organ piece is a standard for church organists far and wide.  Typically reserved for Easter morning, I felt the scope and importance of the 140th Anniversary would be an appropriate use of the piece.

Just like the prelude, it is also in a clear ABA form.  Like you would expect from a typical toccata, the motor rhythm throughout both hands is prevalent throughout, supported by a solid stepwise pattern in the bass.  The B section consists of a lot of the similar motives from the A section, but it travels through many major and minor tonalities, just as the development section of a Sonata form would.  

Obviously this piece was designed to take advantage of the massive organ at Saint Sulpice, where Widor was organist.  Despite our organ being much smaller, the piece is actually quite effective on our organ as well.