Fourth Sunday After Epiphany
Over the next several weeks, we begin to see and experience the examples of Jesus' healing ministry. Previously, Jesus had just embarked on his regional travels from town to town. At his stop in Capernum, Jesus found a man in the synagogue with an unclean spirit. With some strong words, Jesus caused this evil spirit to be gone from the man, and the people watching were amazed that he could control spirits with just his voice. The words continued to spread about his ministries.
HYMNS AND SONGS
Cantad al Señor (O Sing To The Lord)(Opening Hymn- 7:45 AM, 9:00 AM)
This Brazilian folk tune is probably the most well known adaptation of traditional Latin American music used for hymnody. While not involved in the cultivation of this tune, we can primarily thank Pablo Sosa for the influx of Latin American hymnody and its use in mainstream American worship (see ELW 649 and 664 for examples of Sosa's work).
Interestingly in Latin American hymnody, you may find that some of the more joyful, jubilant texts are contained in minor modes. "O Sing To The Lord" is no exception. Though the tune is rooted firmly in E-minor, its arpeggiated quality and simple harmonic structure enhance the joyful quality of the text (derived from Psalm 98). In worship at the 9:00 AM service, this hymn will be accompanied exclusively by guitars, congas, trumpets, and other percussion in an authentic style. It will also be a part of our Rejoice: Worship Renewed service.
Hail To The Lord's Anointed (Hymn of the Day: 7:45 AM, 9:00 AM)
This strong German chorale was not one of the more popular ones among organ composers of the 17th century, but it still lends itself very well as a hymn tune. This is a song of praise that could have easily been sung by anyone whom Jesus performed a miracle on or for during the beginning of his journey. Each stanza carries a different feeling or mood throughout. The second is very action oriented, with Jesus traveling throughout the world, helping all the souls who are precious in his sight.
The third stanza is much more pastoral and existential, which is reflected in the imagery of Jesus' love coming down like showers on to the flowers which then bloom, and his righteousness coming down like a fountain from the hill to the valley.
The concluding stanza begins with a look back at the wise men, who brought their gifts to Jesus after following the star. It continues on to say that like them, all nations shall sing unceasing praise as Jesus continues to fulfill his ministry and build his kingdom without end.
Healer Of Our Every Ill (Communion Hymn: 7:45 AM, 9:00 AM)
This is a communal song of thanks and gratefulness from the community of faith to Jesus. As is evidnt in many of his songs, Marty Haugen has a wonderful gift with words and artfully crafts word and melody together into a beautiful modern day hymn.
Stanzas one and four both call upon the compassion of Jesus to use his knowledge of our conditions to grant us comfort and healing. Each stanza takes on a different theme of Jesus' ministry to both call upon and praise. Stanza one is that of comfort, two is vision and grace, three is kindness, and four is compassion. The refrain also features the characteristics of light, peace, and hope.
There Is A Balm In Gilead (Communion Hymn: 9:00 AM)
This spiritual has been brought to life by many of the greatest arrangers of African American spirituals past and present, including William Dawson, Harry T. Burleigh, and Moses Hogan. This morning, we sing it as a congregational hymn.
Like many spirituals, it is set in the first person, which calls to the personal, introspective, intimate nature of much of the language. It could very well be sung by the person whom Jesus heals after pulling the evil spirit out of him in the synagogue.
CHORAL ANTHEM
How Lovely Are Thy Messengers- Felix Mendelssohn (Offering- 9:00 AM)
Thanks to its lovely English translation, which is a paraphrase of Romans 10:15, this chorus by Felix Mendelssohn is by far the most excerpted portion of his oratorio St. Paul. Unfortunately, due to the larger mainstream successes of Mendelssohn's other oratorio, Elijah, as well as those by Handel and others, St. Paul is rarely performed in its entirety. This chorus is quite often performed by church choirs, however.
The standard form for a large portion of Mendelssohn's choruses is that he takes two contrasting melodic figures, presents them one at a time, and then combines them at the end. This chorus doesn't quite match that formula, but it does have two melodic figures, one being on the text "How lovely are thy messengers that preach us the gospel of peace," and the second being on the text "To all the nations has gone forth the sound of their words." Listen and hear how those two text fragments intertwine with each other throughout the piece.
INSTRUMENTAL MUSIC
Cantad al Señor (O Sing To The Lord)- Hart Morris (Bells Of Praise- Prelude- 7:45 AM, 9:00 AM)
This handbell piece based on our opening hymn uses a lot of malleting techniques in the bells surrounded by the tune in the upper bells. The malleting techniques include a tremolo sound which is very much indicative of a marimba, a percussion instrument used a lot in Latin American music. This piece also contains prevalent cross rhythms. The bells providing the rhythmic accompaniment frequently switch between 3/4 time and 6/8 time, whereas the melody is almost always in 3/4. All these elements add up to a very challenging, but very rewarding piece for Bells of Praise.
Toccata in E-minor- Johann Pachelbel (Postlude- 7:45 AM, 9:00 AM)
Like most Pachelbel Toccatas, this piece has a lot of florid passagework in the manuals over a pedal tone. Unlike several others, however, this one has a more imitative, contrapuntal nature to it, as opposed to scales in thirds, sixths, and tenths. Towards the end of the piece, the two voices imitate each other in sequence, before finally resolving in major and coming together at the conclusion.
Thursday, January 26, 2012
Thursday, January 19, 2012
Music Notes: January 22nd, 2012
3rd Sunday After Epiphany
We have come a long way since the birth of Jesus a couple of weeks ago. Jesus is now a young man, and he is beginning to expand his ministerial efforts. He approaches a group of fishermen and calls to them, "Follow me, and I will make you fishers of men." The fishermen immediately drop their nets and join Jesus in his ministry.
Mark's account of this story seems rather abrupt in its telling. It seems illogical to think that these men would look at Jesus, look at each other, shrug their shoulders, drop their nets and take off. I would think that it may have taken a little more convincing to persuade these men to leave the jobs and their families. Perhaps it was a slow fishing day and they were bored. Yes, I joke... but if it were true that it was that simple for the future disciples to join Jesus, I don't think the impact of Jesus' charisma and and his commitment can possibly be overstated.
As Jesus' ministry continues to take shape over the next few weeks in our lectionary, we will be singing a lot about discipleship and our own calls to ministry.
HYMNS AND SONGS
Rise, Shine, You People! (Opening hymn: 7:45 AM, 9:00 AM)
I have been wanting to program this wonderful hymn by Ronald Klug several times this entire Epiphany season. While it is appropriate throughout several seasons, beginning at Christmas and extending to Palm Sunday, Easter, and beyond, I felt that it was most appropriate this week at the unofficial start of Jesus' ministry.
In hymnody, we talk a lot about text matching with music. In the very first line of this hymn, we run into a problem. In the first line, the music indicates that the text accompanying it should be, "Rise, shine, you people, Christ the Lord has entered..." The music leaves a space for a lift here. But if the musical element is removed and the text is spoken, we see that the phrase in its entirety is "Rise, shine, you people, Christ the Lord has entered our human story." It's unfortunate that the music does not allow for this text to be completely reflected, but it is still evident and clear if some thought is put toward it.
Stanza three could very well be sung by the disciples to each other after they are recruited. The phrase "To all the world go out and tell the story of Jesus' glory," fits this description, but is also a call to our own discipleship.
Like a large number of other hymns, "Rise, Shine" closes with a Trinitarian statement. The Father sends his Son to save us, the Son brings light and freedom to give us, and the Spirit calls from every nation God's new creation. The one element that is open to interpretation here is what exactly the "new creation" is. Is it referring to Jesus? That may be the most obvious, but I would like to suggest that this "new creation" actually refers to the concept of discipleship. Notice the use of the verb "calls" in the previous line, "Tell how the Spirit calls from every nation..." From every nation, disciples are being called, and I do think without Jesus, the Son, there may not be any calls to discipleship at all, hence the "new creation."
You Have Come Down To The Lakeshore (Hymn of the Day: 7:45 AM, 9:00 AM)
Over the last several weeks, I have gained a renewed interest in Latin American hymnody. Even without my interest, this would still be an ideal hymn of the day for this Sunday in the lectionary. Both its original Spanish version and the translated version are in the first person, being sung by a disciple, as in the line, "On the sand I have abandoned my small boat, now with you I will seek other seas." It brings a sense of identity to the hymn that is very individualistic and powerful. Many hymns are written with a collective worship community in mind, using the words "we," "our," and others that indicate a large group of people or worshipers. By presenting this with an individual focused, it adds a new, personal dimension to a call to discipleship.
Textually, there isn't really that much that is open to interpretation. The translation by Madeleine Marshall, much like the original Spanish, is very straightforward and understandable. Again, this creates a very powerful way for every listener to identify with the words being sung and allowing them to feel a deeper call to discipleship that all of the future disciples faced.
Jesus Calls Us O'er The Tumult (Communion Hymn: 9:00 AM)
This is another hymn which serves as an important call to discipleship. Where the previous hymn puts the focus on the individual, this hymn by Cecil Alexander puts the focus back on to the community. At the conclusion of stanza one we hear the call clearly, "Christian, follow me."
St. Andrew, referred to in stanza two, was one of the fishermen which Jesus approached at the lake. We hear an account of that meeting in stanza two, demonstrating how he and all the disciples turned away from their homes, work, and families, all for Jesus' sake.
The remainder of the stanzas puts the focus back on to us. We are called to ignore vanity and false idols, and join in the love of Jesus through all our joys, sorrows, pain and toil, so that we may serve him to our highest abilities.
Let Us Talents And Tongues Employ (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
This fun hymn by Fred Kaan, set to a traditional Jamaican folk tune, puts the sharing of our gifts in the context of communion. Stanzas two and three are where the meat of the message is. At the Eucharist table, he teaches us to live, bless, and love in word and deed, to send us out into the world. Even though the world can be full of doubt and worry, Jesus gives us love to tell, read to share, and the power to spread the love and grace of God everywhere.
Though the Eucharist is a focus of this hymn, I feel that it has an equal place at a non-Eucharist service, such as this Sunday at 7:45. At the beginning of stanza three, we hear the message, "Jesus calls us in, sends us out bearing fruit in a world of doubt." Like all of our other hymns today, this is a wonderful way to leave the service and be sent out into the world.
INSTRUMENTAL MUSIC
Linstead Market- Mark Sedio (Prelude- 7:45 AM, 9:00 AM)
The name of this tune, Linstead Market, is named as such because the tune just sounds like something you would hear on the street or in the marketplace of a Jamaican neighborhood. This organ arrangement takes that to the next level, infusing this composition with Latin rhythms surrounding a straight forward statement of the tune.
Toccata on "Rise, Shine"- David Cherwien
The organ compositions by David Cherwien are known for, among other things, their extreme difficulty. His toccatas, in particular, are known for having an amazingly high level of virtuosity. While David wrote many of his toccatas with his own talent in mind, these compositions, if practiced, can be played by a lot of organists. It goes beyond virtuosity though, as this toccata does a wonderful job at expressing and depicting this text with its celebratory, victorious quality.
We have come a long way since the birth of Jesus a couple of weeks ago. Jesus is now a young man, and he is beginning to expand his ministerial efforts. He approaches a group of fishermen and calls to them, "Follow me, and I will make you fishers of men." The fishermen immediately drop their nets and join Jesus in his ministry.
Mark's account of this story seems rather abrupt in its telling. It seems illogical to think that these men would look at Jesus, look at each other, shrug their shoulders, drop their nets and take off. I would think that it may have taken a little more convincing to persuade these men to leave the jobs and their families. Perhaps it was a slow fishing day and they were bored. Yes, I joke... but if it were true that it was that simple for the future disciples to join Jesus, I don't think the impact of Jesus' charisma and and his commitment can possibly be overstated.
As Jesus' ministry continues to take shape over the next few weeks in our lectionary, we will be singing a lot about discipleship and our own calls to ministry.
HYMNS AND SONGS
Rise, Shine, You People! (Opening hymn: 7:45 AM, 9:00 AM)
I have been wanting to program this wonderful hymn by Ronald Klug several times this entire Epiphany season. While it is appropriate throughout several seasons, beginning at Christmas and extending to Palm Sunday, Easter, and beyond, I felt that it was most appropriate this week at the unofficial start of Jesus' ministry.
In hymnody, we talk a lot about text matching with music. In the very first line of this hymn, we run into a problem. In the first line, the music indicates that the text accompanying it should be, "Rise, shine, you people, Christ the Lord has entered..." The music leaves a space for a lift here. But if the musical element is removed and the text is spoken, we see that the phrase in its entirety is "Rise, shine, you people, Christ the Lord has entered our human story." It's unfortunate that the music does not allow for this text to be completely reflected, but it is still evident and clear if some thought is put toward it.
Stanza three could very well be sung by the disciples to each other after they are recruited. The phrase "To all the world go out and tell the story of Jesus' glory," fits this description, but is also a call to our own discipleship.
Like a large number of other hymns, "Rise, Shine" closes with a Trinitarian statement. The Father sends his Son to save us, the Son brings light and freedom to give us, and the Spirit calls from every nation God's new creation. The one element that is open to interpretation here is what exactly the "new creation" is. Is it referring to Jesus? That may be the most obvious, but I would like to suggest that this "new creation" actually refers to the concept of discipleship. Notice the use of the verb "calls" in the previous line, "Tell how the Spirit calls from every nation..." From every nation, disciples are being called, and I do think without Jesus, the Son, there may not be any calls to discipleship at all, hence the "new creation."
You Have Come Down To The Lakeshore (Hymn of the Day: 7:45 AM, 9:00 AM)
Over the last several weeks, I have gained a renewed interest in Latin American hymnody. Even without my interest, this would still be an ideal hymn of the day for this Sunday in the lectionary. Both its original Spanish version and the translated version are in the first person, being sung by a disciple, as in the line, "On the sand I have abandoned my small boat, now with you I will seek other seas." It brings a sense of identity to the hymn that is very individualistic and powerful. Many hymns are written with a collective worship community in mind, using the words "we," "our," and others that indicate a large group of people or worshipers. By presenting this with an individual focused, it adds a new, personal dimension to a call to discipleship.
Textually, there isn't really that much that is open to interpretation. The translation by Madeleine Marshall, much like the original Spanish, is very straightforward and understandable. Again, this creates a very powerful way for every listener to identify with the words being sung and allowing them to feel a deeper call to discipleship that all of the future disciples faced.
Jesus Calls Us O'er The Tumult (Communion Hymn: 9:00 AM)
This is another hymn which serves as an important call to discipleship. Where the previous hymn puts the focus on the individual, this hymn by Cecil Alexander puts the focus back on to the community. At the conclusion of stanza one we hear the call clearly, "Christian, follow me."
St. Andrew, referred to in stanza two, was one of the fishermen which Jesus approached at the lake. We hear an account of that meeting in stanza two, demonstrating how he and all the disciples turned away from their homes, work, and families, all for Jesus' sake.
The remainder of the stanzas puts the focus back on to us. We are called to ignore vanity and false idols, and join in the love of Jesus through all our joys, sorrows, pain and toil, so that we may serve him to our highest abilities.
Let Us Talents And Tongues Employ (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
This fun hymn by Fred Kaan, set to a traditional Jamaican folk tune, puts the sharing of our gifts in the context of communion. Stanzas two and three are where the meat of the message is. At the Eucharist table, he teaches us to live, bless, and love in word and deed, to send us out into the world. Even though the world can be full of doubt and worry, Jesus gives us love to tell, read to share, and the power to spread the love and grace of God everywhere.
Though the Eucharist is a focus of this hymn, I feel that it has an equal place at a non-Eucharist service, such as this Sunday at 7:45. At the beginning of stanza three, we hear the message, "Jesus calls us in, sends us out bearing fruit in a world of doubt." Like all of our other hymns today, this is a wonderful way to leave the service and be sent out into the world.
INSTRUMENTAL MUSIC
Linstead Market- Mark Sedio (Prelude- 7:45 AM, 9:00 AM)
The name of this tune, Linstead Market, is named as such because the tune just sounds like something you would hear on the street or in the marketplace of a Jamaican neighborhood. This organ arrangement takes that to the next level, infusing this composition with Latin rhythms surrounding a straight forward statement of the tune.
Toccata on "Rise, Shine"- David Cherwien
The organ compositions by David Cherwien are known for, among other things, their extreme difficulty. His toccatas, in particular, are known for having an amazingly high level of virtuosity. While David wrote many of his toccatas with his own talent in mind, these compositions, if practiced, can be played by a lot of organists. It goes beyond virtuosity though, as this toccata does a wonderful job at expressing and depicting this text with its celebratory, victorious quality.
Thursday, January 12, 2012
Music Notes: January 15th, 2012
Confession Of Peter
This week, we are taking a slight break from the Epiphany lectionary and instead focusing on the disciple Peter. In our Gospel reading this week, we bear witness to what is quite possibly the most pivotal moment in Peter's life. Jesus asks his disciples who they think the son of God is, and when he gets to Simon Peter, he says, "You are the Christ, the son of the living God (Matthew 16:16)." Jesus then declares that Peter is the Rock of Salvation, and he shall build his church on Peter, the cornerstone.
Christ Has Made The Sure Foundation (Opening Hymn: 7:45 AM, 9:00 AM)
While Jesus calls Simon Peter the Rock of his eventual church, most Christians would consider Jesus the cornerstone of theirs. While Peter was chosen by Jesus, Jesus was sent to us from God, binding us all together.
In stanza two, we, as a community, come together and call Christ to us into our church. In a way, the stanza almost describes the order of a church service. The first phrase has the congregation calling Jesus to come and join us in our worship. The second phrase asks Jesus to watch over us during our prayers of the day. Finally, in phrase three, we are asking for a benediction to be left with us.
Built On A Rock (Hymn Of The Day: 7:45 AM, 9:00 AM)
This striking, powerful text was written by the great Danish hymn writer, Nikolai Grundtvig. He sets a rather apocalyptic 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 man, but rather crafted with the divine help of God. Stanza three has a reference to Matthew 18:20, "Where two or three will seek his face, he in their midst will show his grace."
In the final stanza, 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."
The Church's One Foundation (Communion Hymn: 7:45 AM, Closing Hymn: 9:00 AM)
This is the closing hymn for all of our traditional worship services this week. The text was composed by Samuel John Stone (1839-1900) in in the 1860's, and has a high influence from our Gospel reading today. Throughout the hymn, the "church" is referred to in the feminine, symbolizing the union with Jesus, whom has built her up, provided the foundation, and enriched her for eternity by the shedding of his body and blood. The hymn also alludes briefly to the Apostle's Creed in stanza five. In line two, the phrase "mystic sweet communion" refers to the communion of saints from the creed. The saints themselves are referenced both in stanza three and in the final line of the hymn, "...that we like saints before us, may see you face to face." The strong tune, AURELIA, was composed by Samuel Sebastian Wesley (1810-1876), one of the most prolific hymn tune writers from the 19th century. He is the grandson of one of the founders of Methodism, Charles Wesley.
*******************
Just a quick word on Rejoice: Worship Renewed this week. Rather than focusing on Peter being the cornerstone of the church, I've chosen to focus on Peter as a disciple. The way that he was able to be a living reflection of Jesus and his ideology is reflected in the music this week. The songs, such as "Here I Am, Lord," and "Make Me A Servant," call us to follow in the example of Peter and be disciples for the world, going forth and spreading the word.
INSTRUMENTAL MUSIC
Partita on WESTMINSTER ABBEY- Richard Proulx (Prelude- 7:45 AM, 9:00 AM)
This short, four movement work by 20th century church musician Richard Proulx displays the tune for "Christ Has Made The Sure Foundation" and presents it in four different ways. The first movement uses the principals of the organ in a straightforward setting. The second is in an early baroque style with the tune being presented in a solo reed. The third is cast in a minor mode, typical of a partita. The final movement is a trumpet tune, cast here as a duet.
Built On A Rock- Wilbur Held (Postlude- 7:45 AM, 9:00 AM)
This setting of the Danish folk tune presents the strong tune in a rather straightforward fashion. The sense of a solid foundation is formed by the pervasive use of fourths throughout the piece. The fourth and fifth, of course, are the foundations of music. With the piece ending on a strong open fifth, it further emphasizes the message that the foundation of the church is solid and never to be toppled.
This week, we are taking a slight break from the Epiphany lectionary and instead focusing on the disciple Peter. In our Gospel reading this week, we bear witness to what is quite possibly the most pivotal moment in Peter's life. Jesus asks his disciples who they think the son of God is, and when he gets to Simon Peter, he says, "You are the Christ, the son of the living God (Matthew 16:16)." Jesus then declares that Peter is the Rock of Salvation, and he shall build his church on Peter, the cornerstone.
Christ Has Made The Sure Foundation (Opening Hymn: 7:45 AM, 9:00 AM)
While Jesus calls Simon Peter the Rock of his eventual church, most Christians would consider Jesus the cornerstone of theirs. While Peter was chosen by Jesus, Jesus was sent to us from God, binding us all together.
In stanza two, we, as a community, come together and call Christ to us into our church. In a way, the stanza almost describes the order of a church service. The first phrase has the congregation calling Jesus to come and join us in our worship. The second phrase asks Jesus to watch over us during our prayers of the day. Finally, in phrase three, we are asking for a benediction to be left with us.
Built On A Rock (Hymn Of The Day: 7:45 AM, 9:00 AM)
This striking, powerful text was written by the great Danish hymn writer, Nikolai Grundtvig. He sets a rather apocalyptic 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 man, but rather crafted with the divine help of God. Stanza three has a reference to Matthew 18:20, "Where two or three will seek his face, he in their midst will show his grace."
In the final stanza, 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."
The Church's One Foundation (Communion Hymn: 7:45 AM, Closing Hymn: 9:00 AM)
This is the closing hymn for all of our traditional worship services this week. The text was composed by Samuel John Stone (1839-1900) in in the 1860's, and has a high influence from our Gospel reading today. Throughout the hymn, the "church" is referred to in the feminine, symbolizing the union with Jesus, whom has built her up, provided the foundation, and enriched her for eternity by the shedding of his body and blood. The hymn also alludes briefly to the Apostle's Creed in stanza five. In line two, the phrase "mystic sweet communion" refers to the communion of saints from the creed. The saints themselves are referenced both in stanza three and in the final line of the hymn, "...that we like saints before us, may see you face to face." The strong tune, AURELIA, was composed by Samuel Sebastian Wesley (1810-1876), one of the most prolific hymn tune writers from the 19th century. He is the grandson of one of the founders of Methodism, Charles Wesley.
*******************
Just a quick word on Rejoice: Worship Renewed this week. Rather than focusing on Peter being the cornerstone of the church, I've chosen to focus on Peter as a disciple. The way that he was able to be a living reflection of Jesus and his ideology is reflected in the music this week. The songs, such as "Here I Am, Lord," and "Make Me A Servant," call us to follow in the example of Peter and be disciples for the world, going forth and spreading the word.
INSTRUMENTAL MUSIC
Partita on WESTMINSTER ABBEY- Richard Proulx (Prelude- 7:45 AM, 9:00 AM)
This short, four movement work by 20th century church musician Richard Proulx displays the tune for "Christ Has Made The Sure Foundation" and presents it in four different ways. The first movement uses the principals of the organ in a straightforward setting. The second is in an early baroque style with the tune being presented in a solo reed. The third is cast in a minor mode, typical of a partita. The final movement is a trumpet tune, cast here as a duet.
Built On A Rock- Wilbur Held (Postlude- 7:45 AM, 9:00 AM)
This setting of the Danish folk tune presents the strong tune in a rather straightforward fashion. The sense of a solid foundation is formed by the pervasive use of fourths throughout the piece. The fourth and fifth, of course, are the foundations of music. With the piece ending on a strong open fifth, it further emphasizes the message that the foundation of the church is solid and never to be toppled.
Thursday, January 5, 2012
Music Notes: January 8th, 2012
Baptism Of Our Lord
This week in the Lectionary we hear Mark's account of the Baptism of Jesus. In Mark's version of the story, as Jesus emerged from the water after being baptized, the clouds opened and the Spirit of the Lord descended on to Jesus like a dove, proclaiming that he is the the beloved Son of God, with whom he is well pleased.
This story is paralleled by the Creation story, which we hear the beginning of this Sunday. Our recreation and rebirth through baptism is an image of the account of Creation in Genesis, hence its inclusion.
HYMNS AND SONGS
Crashing Water At Creation (Opening Hymn- 7:45 AM, 9:00 AM)
This amazing hymn by Sylvia Dunstan takes water and through four adjectives, ties it to four important Biblical concepts.
"Crashing"- The crashing waters refer to the creation story, as the waters were born and the first to witness the new dawning day.
"Parting"- The parting waters of stanza two refer to Moses parting the Red Sea, creating a channel that allowed the Israelites to escape bondage.
"Cleansing"- Though Jesus is never specifically referred to in stanza three, it is clear that the water used here is for his baptism. The "one foretold" is certainly referencing Jesus, who reveals his glory to the world.
"Living"- I feel this concluding stanza is quite literal given it being part of a sacred hymn. While so much of the language in the hymnal is rooted in faith and belief, it is a fact that we need water to live. Whether it is literal water, or the river of goodness and life bestowed on to us by God, both are indispensable for our lives.
Songs Of Thankfulness And Praise (Hymn Of The Day)- 7:45 AM, 9:00 AM)
This is a wonderful "past, present, future" hymn for the stage we are at now in the Lectionary. It addresses birth (past) in stanza one ("...branch of royal David's stem in thy birth at Bethlehem."), baptism (present), in stanza two ("Manifest at Jordan's stream..."), and the future acts of Jesus in stanzas two and three (Wedding at Cana, overcoming sin, etc..).
A key word in this hymn in the word "manifest." It is sung ten total times, including the short refrain-like phrase, "God in flesh made manifest." The adjective meaning that Jesus was, at the time, the empirical, undeniable presence of God on earth. Throughout the hymn, the birth, baptism, and actions of Jesus are all made manifest as well.
The tune, named after the birthplace of Mozart and one of the largest cities in Austria (SALZBURG), was composed by Austrian composer Jakob Hintze. The harmonization we have in our ELW hymnal was created by J.S. Bach.
Mothering God, You Gave Me Birth (Communion Hymn: 9:00 AM)
This is one of the few hymns, especially in mainstream hymnals, that places the Holy Trinity in a female context. These beautiful words by Carolyn Jennings add credence that many of God's acts are in fact motherly in nature. In stanza one, God gives birth to us. In stanza two, Christ gives us his body and blood in the form of bread and wine, nourishing and sustaining us. Finally in stanza three, the Holy Spirit holds us close and watches over us that we may grow into a God-loving people. All of these acts are things that a mother would do for their child.
When Jesus Came To Jordan (Communion Hymn: 9:00 AM)
This hymn by English poet Fred Pratt Green is yet another that foreshadows what Jesus is to accomplish following his baptism. Stanza one shows us that he did not go to John to be baptized for his own sake, but rather to be able to eventually absolve us of all of our sins. This continues in stanza two, as the spirit descends like a dove and begins the age of grace.
The concluding stanza places the emphasis back to us, and asks that this very same Holy Spirit descend to us and give us strength, our lives direction, and lead us all the way to Pentecost.
Let All Things Now Living (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
As a continuation from our previous hymn in the Communion triptych, this poem by Katherine Davis about creation, thanksgiving, and guidance is set to the Welsh folk tune ASH GROVE. For such a joyful sounding tune, it is continually surprising to learn that Benjamin Britten set a poem about a man looking for his wife's grave site to this exact tune.
CHORAL ANTHEM
This Is My Beloved Son- Dan Uhl (Offering- 9:00 AM)
The text of this anthem is based on our Gospel reading for this Sunday. The anthem is in ABA form, with the two outer sections sharing the bulk of the Gospel text. These sections are in a pastoral 6/8 time, with a sounds-like-a-hymn-tune-but-actually-isn't melody. The second time it occurs, it is accompanied by a soaring flute melody in the organ, depicting the spirit coming down from heaven as a dove.
The middle section is in four parts, a capella, and calls upon that very spirit, in the form of a dove, to descend upon all of us, renew our Baptismal grace, and restore to us our salvation.
INSTRUMENTAL MUSIC
Improvisation on the Creation Story (Prelude- 7:45 AM, 9:00 AM)
The creation story lends itself so well to a musical interpretation. The dawning of time, creation of stars, land, sea, plants, animals, and everything else all can be depicted through musical means, which is what I will be doing for a prelude.
Improvisation on SALZBURG (Postlude, 7:45 AM, 9:00 AM)
This Austrian tune lends itself nicely to improvisation, due to having a primarily stepwise melody, a variety of harmonies between the four lines, and a homophonic texture which can result in many different styles of interpretation.
One last thing I would like to talk about today is the reformation of the 11:15 AM service. I initially brought the idea to worship board that this service needed its own identity. It felt a little out of place amongst the rest of the services here at St. Paul's, and I tasked them with coming up with a name for this service, which could then have an identity built around it.
The worship board came up with the name REJOICE: Worship Renewed. I think this was an excellent choice. I feel that the "renewal" of this service will be found in the music. Rather than trying to insist that every piece of music we use be from the year 2000 onward, I've focused on choosing music that is spirit-filled, depicts the scripture being preached, and reflects the spirit of the new service. For example, the closing song this Sunday is a text that was written 150 years ago (Rejoice, You Pure In Heart), but has been slightly re-written to give it a "renewed" sound. Anything old can be made new again, and I hope you enjoy the new direction of this service.
This week in the Lectionary we hear Mark's account of the Baptism of Jesus. In Mark's version of the story, as Jesus emerged from the water after being baptized, the clouds opened and the Spirit of the Lord descended on to Jesus like a dove, proclaiming that he is the the beloved Son of God, with whom he is well pleased.
This story is paralleled by the Creation story, which we hear the beginning of this Sunday. Our recreation and rebirth through baptism is an image of the account of Creation in Genesis, hence its inclusion.
HYMNS AND SONGS
Crashing Water At Creation (Opening Hymn- 7:45 AM, 9:00 AM)
This amazing hymn by Sylvia Dunstan takes water and through four adjectives, ties it to four important Biblical concepts.
"Crashing"- The crashing waters refer to the creation story, as the waters were born and the first to witness the new dawning day.
"Parting"- The parting waters of stanza two refer to Moses parting the Red Sea, creating a channel that allowed the Israelites to escape bondage.
"Cleansing"- Though Jesus is never specifically referred to in stanza three, it is clear that the water used here is for his baptism. The "one foretold" is certainly referencing Jesus, who reveals his glory to the world.
"Living"- I feel this concluding stanza is quite literal given it being part of a sacred hymn. While so much of the language in the hymnal is rooted in faith and belief, it is a fact that we need water to live. Whether it is literal water, or the river of goodness and life bestowed on to us by God, both are indispensable for our lives.
Songs Of Thankfulness And Praise (Hymn Of The Day)- 7:45 AM, 9:00 AM)
This is a wonderful "past, present, future" hymn for the stage we are at now in the Lectionary. It addresses birth (past) in stanza one ("...branch of royal David's stem in thy birth at Bethlehem."), baptism (present), in stanza two ("Manifest at Jordan's stream..."), and the future acts of Jesus in stanzas two and three (Wedding at Cana, overcoming sin, etc..).
A key word in this hymn in the word "manifest." It is sung ten total times, including the short refrain-like phrase, "God in flesh made manifest." The adjective meaning that Jesus was, at the time, the empirical, undeniable presence of God on earth. Throughout the hymn, the birth, baptism, and actions of Jesus are all made manifest as well.
The tune, named after the birthplace of Mozart and one of the largest cities in Austria (SALZBURG), was composed by Austrian composer Jakob Hintze. The harmonization we have in our ELW hymnal was created by J.S. Bach.
Mothering God, You Gave Me Birth (Communion Hymn: 9:00 AM)
This is one of the few hymns, especially in mainstream hymnals, that places the Holy Trinity in a female context. These beautiful words by Carolyn Jennings add credence that many of God's acts are in fact motherly in nature. In stanza one, God gives birth to us. In stanza two, Christ gives us his body and blood in the form of bread and wine, nourishing and sustaining us. Finally in stanza three, the Holy Spirit holds us close and watches over us that we may grow into a God-loving people. All of these acts are things that a mother would do for their child.
When Jesus Came To Jordan (Communion Hymn: 9:00 AM)
This hymn by English poet Fred Pratt Green is yet another that foreshadows what Jesus is to accomplish following his baptism. Stanza one shows us that he did not go to John to be baptized for his own sake, but rather to be able to eventually absolve us of all of our sins. This continues in stanza two, as the spirit descends like a dove and begins the age of grace.
The concluding stanza places the emphasis back to us, and asks that this very same Holy Spirit descend to us and give us strength, our lives direction, and lead us all the way to Pentecost.
Let All Things Now Living (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
As a continuation from our previous hymn in the Communion triptych, this poem by Katherine Davis about creation, thanksgiving, and guidance is set to the Welsh folk tune ASH GROVE. For such a joyful sounding tune, it is continually surprising to learn that Benjamin Britten set a poem about a man looking for his wife's grave site to this exact tune.
CHORAL ANTHEM
This Is My Beloved Son- Dan Uhl (Offering- 9:00 AM)
The text of this anthem is based on our Gospel reading for this Sunday. The anthem is in ABA form, with the two outer sections sharing the bulk of the Gospel text. These sections are in a pastoral 6/8 time, with a sounds-like-a-hymn-tune-but-actually-isn't melody. The second time it occurs, it is accompanied by a soaring flute melody in the organ, depicting the spirit coming down from heaven as a dove.
The middle section is in four parts, a capella, and calls upon that very spirit, in the form of a dove, to descend upon all of us, renew our Baptismal grace, and restore to us our salvation.
INSTRUMENTAL MUSIC
Improvisation on the Creation Story (Prelude- 7:45 AM, 9:00 AM)
The creation story lends itself so well to a musical interpretation. The dawning of time, creation of stars, land, sea, plants, animals, and everything else all can be depicted through musical means, which is what I will be doing for a prelude.
Improvisation on SALZBURG (Postlude, 7:45 AM, 9:00 AM)
This Austrian tune lends itself nicely to improvisation, due to having a primarily stepwise melody, a variety of harmonies between the four lines, and a homophonic texture which can result in many different styles of interpretation.
One last thing I would like to talk about today is the reformation of the 11:15 AM service. I initially brought the idea to worship board that this service needed its own identity. It felt a little out of place amongst the rest of the services here at St. Paul's, and I tasked them with coming up with a name for this service, which could then have an identity built around it.
The worship board came up with the name REJOICE: Worship Renewed. I think this was an excellent choice. I feel that the "renewal" of this service will be found in the music. Rather than trying to insist that every piece of music we use be from the year 2000 onward, I've focused on choosing music that is spirit-filled, depicts the scripture being preached, and reflects the spirit of the new service. For example, the closing song this Sunday is a text that was written 150 years ago (Rejoice, You Pure In Heart), but has been slightly re-written to give it a "renewed" sound. Anything old can be made new again, and I hope you enjoy the new direction of this service.
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