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.
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