Palm/Passion Sunday
I'll say this right away... as tempting as it would be to throw some kind of April Fool's joke into this week's blog, I've decided against it given the solemnity of this week's worship service. So I assure you that every tidbit of information that follows is 100% true.
Some people call this Sunday "Palm Sunday," others call it "Passion Sunday." Really, both names are correct, because both aspects are celebrated. How you describe it is really indicative of which portion of the service you probably enjoy. What is amazing about this service is how it gradually switches through the entire first half from a feeling of celebration and joy to a sense of sorrow, lament, and ultimately, the beginning of Holy Week, our most solemn week of the year. It is also one of the only weeks of the year when a scripture takes the place of a sermon.
HYMNS AND SONGS
All Glory, Laud, and Honor (Opening Hymn- 7:45 AM, 9:00 AM)
This hymn is the traditional response to the opening words of Palm Sunday, which include the telling of the Processional Gospel, where Jesus makes his triumphal entry. The refrain of the hymn comments on one of those opening sentences, which involve the phrase "Hosanna in the highest." The lips of children referred to in the refrain describe the children lining the road as Jesus approaches. This tradition manifests in our service with the reading of the opening sentences and Gospel by two members of the Friends of the Lord choir.
The verses summarize both the Processional Gospel as well as estimating how the people would act and react as Jesus enters. Verse one is a confirmation of the fulfillment of the prophecy that the son of David and the King of Israel will come, manifest in Jesus. Verse three discusses the palm processional itself, where palm leaves were waved in celebration of the arrival of Jesus.
This hymn will feature Bells Of Praise playing both a processional introduction, as well as accompanying the hymn throughout. The sound of the bells will add to the festive, rustic nature of the triumphal entry.
A Lamb Goes Uncomplaining Forth (Hymn of the Day- 9:00 AM)
The course of this service drastically changes from the time between our opening hymn and this hymn at both the 7:45 AM and 9:00 AM service. At 9:00 AM, we will be singing this German chorale led by the Chancel Choir. It is a very profound reaction to the Passion Gospel that we will have just heard, which is summed up nicely in the first line, "A lamb goes uncomplaining forth to save a world of sinners."
Paul Gerhardt, the author of this text, is possibly the most prolific and well known composer of poetry and hymn texts that are still used today. Characteristic of his texts and the corresponding tunes, this hymn is rather long and wandering to our perspective, but the majority of hymns in the 17th century German Lutheran church were in this style. I encourage you to dig deep into the striking, colorful nature of this beautiful text. In fact, it is almost a sermon in itself, with its descriptive language and profound realization of the Passion Gospel. A couple of the many, many examples of reflection are, from stanza three, "O wondrous love! O loving might! To right what mortals cannot right, the Son was sent from heaven," and from stanza four we find the realization that we arrive at with the knowledge gained that by the sacrifice of Jesus, we should no longer fear pain or death.
My Song Is Love Unknown (Hymn of the Day- 7:45 AM, Communion Hymn- 9:00 AM)
This hymn text, despite being written around the same time as the Gerhardt text, has a much more modern feel to it. It also presents a reflection on the Passion Gospel from a slightly different perspective. Stanza one initially casts a feeling of self doubt in the eye of the singer, asking "Who am I, that for my sake, my Lord should take frail flesh and die?" Unfortunately, this question is never answered by the hymn writer.
Stanza three sums up beautifully the contrast between the beginning of this service and the end. The first two lines comment on the joy of the triumphal entry, contrasting with the harsh word "Crucify," uttered by many of the same people who were rejoicing only days earlier.
Another question is asked in stanza four. What has Jesus done in order to illicit this anger and hatred? The scriptures themselves answer these questions partially, so instead, the hymn goes on to describe that he was crucified despite all of his healing and ministry to the people. Stanza five contrasts the will of the crowd to release a murderer and to condemn Jesus. Despite being betrayed, he did not complain and went willingly off to be punished, knowing all along that it was the ultimate sacrifice for the rest of humanity.
Go To Dark Gethsemane (Communion Hymn- 7:45 AM, 9:00 AM)
While the title of this hymn seems to indicate a mere retelling of Jesus' and the disciple's pilgrimage to the mountain of Gethsemane, it actually runs much deeper.
Each stanza describes a scene leading towards and including the death of Jesus. The conclusion of each stanza features something that we can learn in the example of Jesus. In stanza one, he goes to Gethsemane to pray, therefore we "learn from Jesus Christ to pray." Stanza two vividly describes the punishment and flogging, from which we "learn from Christ to bear the cross." The crucifixion takes place in stanza three, where we "learn from Jesus Christ to die." Finally, the conclusion foreshadows the resurrection, where our Savior will "teach us so to rise."
The music for this hymn is a good example of the contrast between the German style and this later English style. While the writing of both hymns is homophonic, that is, in four parts, this tune has very even, square, predictable phrases, which are more accessible to a wider range of singers, hence its popularity in the 19th century when the growing trend was to put the song back into the voice of the people.
CHORAL ANTHEM
Lamb Of God- arr. F. Melius Christiansen (Postlude- 7:45 AM, 9:00 AM)
Despite being presented at both services, it will be played in two different ways. The 9:00 AM service will feature the Chancel Choir singing this beautiful arrangement of the chorale O Lamm Gottes by F. Melius Christiansen. As those familiar with the Lutheran Choral Tradition knows, the mission of F. Melius Christiansen was to bring back the traditional Lutheran chorales to the forefront in the early 20th century. His dozens of elaborate choral arrangements allowed his newly formed St. Olaf Choir to reinvigorate the popularity of these tunes. His setting of Lamb of God is one of the most straightforward, and by being so, one of the most profound that he has created. As the postlude, it will allow us to enter Holy Week with his sacrifice at the forefront.
At 7:45 AM, I will be realizing my own organ version of the same arrangement.
INSTRUMENTAL MUSIC
Finale from Symphony no. 4, op. 13- Charles Marie Widor (Prelude- 7:45 AM, 9:00 AM)
Charles Marie Widor was the greatest French organist of his time. His ten compositions which he titled "Organ Symphonies," were composed to take advantage of the new timbres found in the newly built French organs of the times. The symphonies are typically cast in 5-7 smaller movements, usually featuring a title that you might find in many baroque suites or dances, such as march, minuet, toccata, and others.
This movement is the finale of the Symphony no. 4, and I am sure that you will agree, upon hearing it, that it is a wonderfully exciting, and very fitting piece of music to be used to portray the triumphal entry.
I personally cannot wait to experience my first Palm Sunday, Holy Week, and finally Easter morning here at St. Paul's. I hope you will all enjoy and be fulfilled through all of the wonderful music to be presented this week and beyond.
Thursday, March 29, 2012
Thursday, March 22, 2012
Music Notes: March 25th, 2012
Fifth Sunday of Lent
In drawing closer and closer to the death and resurrection of Jesus, this week we see an account of the final Passover festival in which he takes part in. From the Gospel of John, chapter 20, Jesus compares the tragedy of his death to a seed planted in the ground. Where a seed is just a seed, a death is just a death. But that seed will eventually sprout and bear much fruit, just as his death will lead to his resurrection and the salvation for all.
We are honored to have the Wartburg Chapel Choir joining us in worship this week. In addition to their two anthems, they will be leading the rest of the 9:00 AM service as well, so we would love to see you this weekend to enjoy this special treat in worship.
HYMNS AND SONGS
I Love To Tell The Story (Opening Hymn- 7:45 AM)
Katherine Hankey, an English poet, was born in London in 1834. Among her most popular poems is an expansive, two part poem about the story of Jesus. From the second part of that poem, titled "The Story Told," was born this hymn as we know it today, "I Love To Tell The Story."
In the Anglican church at the time, there was very little, if any, congregational music. The music mostly took form in chant or psalm singing. Hankey was among the group of reformists that sought to put the Word of God into the voices of the people. "I Love To Tell The Story" was one of the first hymns of this reformed tradition (soon to become Methodist), that was not written by someone named Watts or Wesley.
There is little to discuss in this text. It is written in a very accessible, common style, which was the goal of the music in this movement. The music matches suit, featuring a harmonic, four-part structure based around tonic and dominant harmonies. The endearing simplicity of this text and tune (composed by German-American church musician William Fischer), has led to its enduring legacy, and its inclusion still in all modern hymnals, despite its antiquated style.
O God, Beyond All Praising (Opening Hymn, 9:00 AM)
The bulk of the theology in this great 20th century hymn is contained in stanza two. It recalls the message of the Gospel story, where the flower of earthly splendor is destined to die and give itself up to the Lord. But out of that, hidden from all of us, the "eternal seed is sown," and grows into the garden of heaven. Through that death and rebirth, we are all set free and given the final victory.
This timeless tune is drawn from one of the greatest symphonic works of 19th century, The Planets by Gustav Holst. More specifically, the tune comes from the B section of Jupiter. In context, it almost sounds like a theme song from a western, one of the epic moments where a cowboy is crossing a large expanse of desert with a small ranch on the horizon. As a hymn tune though, it has a noble, regal quality, which brings a splendor and grandeur to just about any text it is set to.
Restore In Us, O God (Hymn of the Day- 7:45 AM, 9:00 AM)
Our hymn of the day today is written by Carl Daw, former president of the Hymn Society of the United States and Canada. Generally, his language in hymnody describes the impact that God has on the world. A good deal of his hymns are set in the corporate, congregational voice, and this one is no different, hence the title, "Restore in us, O God."
Set in the common meter of 6686 with one syllable per note, it creates a very short, succinct hymn. Each stanza has a direct focus. The first is love and renewal, second is power and rebirth, third is baptism and conquering death, and the final one is fulfillment of the covenant of Abraham, which has been a consistent Lenten theme this year.
As The Grains Of Wheat (Communion Hymn- 9:00 AM)
Sticking with the theme of grain being a metaphor, this brief piece of liturgical music by Marty Haugen (from the Now The Feast And Celebration liturgy) explains how just as the grains of wheat are gathered from the world into our Communion bread, we, as a community, are gathered into one together in the name of Christ (the phrase "gathered into one" even gave birth to an entire Catholic hymnal).
Seed That On Earth Is Dying (Communion Hymn- 9:00 AM)
We sang this hymn on the first Sunday of Lent, and we will be reprising it this weekend. Its very first line encapsulates the primary message of the Sunday's Gospel, "Seed that on earth is dying, rises to bear much fruit." This is precisely the point Jesus makes in his statement. At the same time, it echoes the sentiment of "As the Grains..." as it goes on to describe the grapes that are crushed turn into the wine we share. It's a fine hybrid of both the ideas of the words of Christ and the Eucharist.
On What Has Now Been Sown (Closing Hymn- 7:45 AM)
This hymn is a perfect ending to a service with this Gospel, as it calls us to essentially sow our own seeds and take them out into the world to share the goodness that has sprouted. These wonderful, inspiring words were written by John Newton, who also wrote another hymn that *a few* people know, which happens to go by the name "Amazing Grace, How Sweet The Sound."
The text is set to DARWALL'S 148TH, composed by John Darwall, an English clergyman and hymnodist. You may think that because of the name, that he wrote at least 148 tunes, but in fact, it has the number 148 because the original text was a paraphrase of Psalm 148 (Rejoice, the Lord is King). This tune has one of the greatest closing lines in all of hymnody, ascending over an octave in steps for a glorious conclusion.
CHORAL ANTHEMS
The Wartburg Chapel Choir will be presenting two anthems. At the offering, they will sing Dr. Black's setting of John Ylvisaker's song, Shine Like The Sun. During communion they will present Howard Helvey's setting of Psalm 139, "Lord, Thou Hast Searched Me Out and Known Me." Both selections will be accompanied by Wartburg's Symphony conductor, Dr. Daniel Kaplunas. I cannot express by gratefulness enough to Dr. Black and her students for sharing their talents here at St. Paul's this weekend.
INSTRUMENTAL MUSIC
I Love To Tell The Story- Emma Lou Diemer (Prelude- 7:45 AM)
Emma Lou Diemer, professor emeritus of composition at the University of California: Santa Barbara, is known for her fusion of tonal melodies with contemporary harmonic techniques in her sacred organ compositions. This arrangement of Katherine Hankey's tune is no exception. The melody is presented clearly and succinctly in both the soprano and tenor ranges, but is surrounded by harmonies that are simultaneously beautiful, surprising, and puzzling. The piece is rounded out by a constant pizzicato figure in the pedals, which creates a very rustic, southern vibe.
Prelude on THAXTED- Robert Bucklee Farley (Prelude- 9:00 AM)
This work using the Gustav Holst tune is both similar and different to the Emma Lou Diemer setting to the Hankey tune. On one hand it contains a straight forward rendition of the tune in multiple registers of the organ, but instead of the crunchy harmonies, this setting contains an endless river of 16th notes accompanying the tune.
Toccata in G minor- Johann Pachelbel (Postlude- 7:45 AM, 9:00 AM)
Most Pachelbel toccatas follow a standard formula, containing rapid figurations in the hands over long pedal tones in the feet. This G minor toccata contains these features, but rather than using florid, free counterpoint, the figures in the hands take on more of an imitative character. The harmony is also more varied, traveling all the way to the major VI key area of E-flat major (theory geeks know what I mean, ha ha!). It finally resolves at the end with a picardy third (G major), for an uplifting ending.
Don't forget, this is our final week of standard Lenten Sundays. Next week is Palm Sunday, where Holy Week begins and we reach ever closer to the resurrection.
In drawing closer and closer to the death and resurrection of Jesus, this week we see an account of the final Passover festival in which he takes part in. From the Gospel of John, chapter 20, Jesus compares the tragedy of his death to a seed planted in the ground. Where a seed is just a seed, a death is just a death. But that seed will eventually sprout and bear much fruit, just as his death will lead to his resurrection and the salvation for all.
We are honored to have the Wartburg Chapel Choir joining us in worship this week. In addition to their two anthems, they will be leading the rest of the 9:00 AM service as well, so we would love to see you this weekend to enjoy this special treat in worship.
HYMNS AND SONGS
I Love To Tell The Story (Opening Hymn- 7:45 AM)
Katherine Hankey, an English poet, was born in London in 1834. Among her most popular poems is an expansive, two part poem about the story of Jesus. From the second part of that poem, titled "The Story Told," was born this hymn as we know it today, "I Love To Tell The Story."
In the Anglican church at the time, there was very little, if any, congregational music. The music mostly took form in chant or psalm singing. Hankey was among the group of reformists that sought to put the Word of God into the voices of the people. "I Love To Tell The Story" was one of the first hymns of this reformed tradition (soon to become Methodist), that was not written by someone named Watts or Wesley.
There is little to discuss in this text. It is written in a very accessible, common style, which was the goal of the music in this movement. The music matches suit, featuring a harmonic, four-part structure based around tonic and dominant harmonies. The endearing simplicity of this text and tune (composed by German-American church musician William Fischer), has led to its enduring legacy, and its inclusion still in all modern hymnals, despite its antiquated style.
O God, Beyond All Praising (Opening Hymn, 9:00 AM)
The bulk of the theology in this great 20th century hymn is contained in stanza two. It recalls the message of the Gospel story, where the flower of earthly splendor is destined to die and give itself up to the Lord. But out of that, hidden from all of us, the "eternal seed is sown," and grows into the garden of heaven. Through that death and rebirth, we are all set free and given the final victory.
This timeless tune is drawn from one of the greatest symphonic works of 19th century, The Planets by Gustav Holst. More specifically, the tune comes from the B section of Jupiter. In context, it almost sounds like a theme song from a western, one of the epic moments where a cowboy is crossing a large expanse of desert with a small ranch on the horizon. As a hymn tune though, it has a noble, regal quality, which brings a splendor and grandeur to just about any text it is set to.
Restore In Us, O God (Hymn of the Day- 7:45 AM, 9:00 AM)
Our hymn of the day today is written by Carl Daw, former president of the Hymn Society of the United States and Canada. Generally, his language in hymnody describes the impact that God has on the world. A good deal of his hymns are set in the corporate, congregational voice, and this one is no different, hence the title, "Restore in us, O God."
Set in the common meter of 6686 with one syllable per note, it creates a very short, succinct hymn. Each stanza has a direct focus. The first is love and renewal, second is power and rebirth, third is baptism and conquering death, and the final one is fulfillment of the covenant of Abraham, which has been a consistent Lenten theme this year.
As The Grains Of Wheat (Communion Hymn- 9:00 AM)
Sticking with the theme of grain being a metaphor, this brief piece of liturgical music by Marty Haugen (from the Now The Feast And Celebration liturgy) explains how just as the grains of wheat are gathered from the world into our Communion bread, we, as a community, are gathered into one together in the name of Christ (the phrase "gathered into one" even gave birth to an entire Catholic hymnal).
Seed That On Earth Is Dying (Communion Hymn- 9:00 AM)
We sang this hymn on the first Sunday of Lent, and we will be reprising it this weekend. Its very first line encapsulates the primary message of the Sunday's Gospel, "Seed that on earth is dying, rises to bear much fruit." This is precisely the point Jesus makes in his statement. At the same time, it echoes the sentiment of "As the Grains..." as it goes on to describe the grapes that are crushed turn into the wine we share. It's a fine hybrid of both the ideas of the words of Christ and the Eucharist.
On What Has Now Been Sown (Closing Hymn- 7:45 AM)
This hymn is a perfect ending to a service with this Gospel, as it calls us to essentially sow our own seeds and take them out into the world to share the goodness that has sprouted. These wonderful, inspiring words were written by John Newton, who also wrote another hymn that *a few* people know, which happens to go by the name "Amazing Grace, How Sweet The Sound."
The text is set to DARWALL'S 148TH, composed by John Darwall, an English clergyman and hymnodist. You may think that because of the name, that he wrote at least 148 tunes, but in fact, it has the number 148 because the original text was a paraphrase of Psalm 148 (Rejoice, the Lord is King). This tune has one of the greatest closing lines in all of hymnody, ascending over an octave in steps for a glorious conclusion.
CHORAL ANTHEMS
The Wartburg Chapel Choir will be presenting two anthems. At the offering, they will sing Dr. Black's setting of John Ylvisaker's song, Shine Like The Sun. During communion they will present Howard Helvey's setting of Psalm 139, "Lord, Thou Hast Searched Me Out and Known Me." Both selections will be accompanied by Wartburg's Symphony conductor, Dr. Daniel Kaplunas. I cannot express by gratefulness enough to Dr. Black and her students for sharing their talents here at St. Paul's this weekend.
INSTRUMENTAL MUSIC
I Love To Tell The Story- Emma Lou Diemer (Prelude- 7:45 AM)
Emma Lou Diemer, professor emeritus of composition at the University of California: Santa Barbara, is known for her fusion of tonal melodies with contemporary harmonic techniques in her sacred organ compositions. This arrangement of Katherine Hankey's tune is no exception. The melody is presented clearly and succinctly in both the soprano and tenor ranges, but is surrounded by harmonies that are simultaneously beautiful, surprising, and puzzling. The piece is rounded out by a constant pizzicato figure in the pedals, which creates a very rustic, southern vibe.
Prelude on THAXTED- Robert Bucklee Farley (Prelude- 9:00 AM)
This work using the Gustav Holst tune is both similar and different to the Emma Lou Diemer setting to the Hankey tune. On one hand it contains a straight forward rendition of the tune in multiple registers of the organ, but instead of the crunchy harmonies, this setting contains an endless river of 16th notes accompanying the tune.
Toccata in G minor- Johann Pachelbel (Postlude- 7:45 AM, 9:00 AM)
Most Pachelbel toccatas follow a standard formula, containing rapid figurations in the hands over long pedal tones in the feet. This G minor toccata contains these features, but rather than using florid, free counterpoint, the figures in the hands take on more of an imitative character. The harmony is also more varied, traveling all the way to the major VI key area of E-flat major (theory geeks know what I mean, ha ha!). It finally resolves at the end with a picardy third (G major), for an uplifting ending.
Don't forget, this is our final week of standard Lenten Sundays. Next week is Palm Sunday, where Holy Week begins and we reach ever closer to the resurrection.
Thursday, March 15, 2012
Music Notes: March 18th, 2012
Fourth Sunday Of Lent
Before we start this week, I wanted to talk about something new that I'll be doing for the future with Music Notes. I have the big bulletin board near the parish hall that I barely ever use. Some of you may have noticed last week that I put excerpts of the blog on to the board. I will continue to do that in future weeks, while slightly altering the form of it. I hope that this will help the blog to reach a larger audience who may not know of its existence yet, and to allow people to refresh themselves on the musical information before entering worship. So, keep an eye on the bulletin board!
This week, our Gospel reading takes us to one of the most recognizable, widely known Gospel readings in the entire Bible. The scripture surrounding the Gospel of John 3:16 tells of the ultimate sacrifice of a father, who's love for the world and its inhabitants caused him to make the ultimate sacrifice of giving up his son for the benefit of all. "For God so loved the world, that he gave his only begotten son, that who so believes in him will have everlasting life."
The themes of love, mercy, and sacrifice are most prevalent in our scriptures and music for this week.
HYMNS AND SONGS
There's a Wideness In God's Mercy (Opening Hymn- 7:45 AM, 9:00 AM)
This is an example of an early North American frontier tune with a later composed text by British theologian Frederick William Faber. The contrast between the American tune and British vernacular are clearly evident. The tune features a largely pentatonic melody (minus the B-flats in mm. 3, 7, and 15) and an AABA'* form, common for the time. The text contains characteristically British language such as "kindly judgement given," "magnify its strictness with a zeal," and "greater good because of evil, larger mercy through the fall."
The bulk of the theology applicable to us this week is in stanza three, which speaks of the limitless, grand nature of the love of God. The love of God is so wide and far reaching, our minds cannot even fathom its range. The heart of the Eternal is so kind and wonderful that it was willing to sacrifice God's only son for all of us. Unfortunately, we as humans, having human limits, can sometimes dilute this glorious love by putting our own limits on it, and "magnify(ing) its strictness" in a way that God would never endorse or support.
Ultimately, thanks to Jesus sacrifice, we owe everything we have to him and are able to rejoice in the greater good brought on by the evil of others. Through this, our love and faith in God is strengthened and we live lives of thanksgiving through the goodness of the Lord.
* AABA' (A, A, B, A prime)- refers to the first two and final lines being (nearly) identical. The reason for the "prime" on the final A line is the different beginning, which is actually identical to B. It could be called B' as well. Other early American tunes use this form, such as HOLY MANNA.
God Loved The World (Hymn of the Day- 7:45 AM, 9:00 AM)
Stanza one of this hymn is a direct paraphrase of the John 3:16 scripture. Each stanza following is either a commentary on this scripture, or a result that we can benefit from due to the sacrifice, concluded by a trinitarian statement of faith.
In stanza two, we hear a fine summation of the results of this sacrifice. By suffering death, Jesus creates a cornerstone of faith, which we are absorbed into by confiding and believing in him.
The hymn writer changes the voice is stanzas three and four and begins speaking directly to us. Drawing from the scripture, the truths revealed in stanza two are applied even further to us, describing that if we are ill and near to death, the truth that Jesus will rescue us from death is yet another cornerstone of our faith, as stated in the Apostle's Creed, "... the resurrection of the body and the life everlasting." Stanza four has a baptismal reference as its conclusion, telling us that through are baptism, we are prepared to receive the full benefit of Jesus' sacrifice.
What Wondrous Love Is This (Communion Hymn- 7:45 AM, Closing Hymn- 9:00 AM)
Much like our opening hymn today, this tune is possibly the most well known example from the Southern Harmony shape note song book. Unlike our opening hymn which only used a tune from the early American tradition, this text is also born out of that tradition, and is most likely the hymn most associated with the early frontier worship tradition.
The form of the text is identical in each stanza. The early idea of each stanza is repeated several times at the beginning, and the sentence is then expanded upon through the second half. For example, it's not just, "What wondrous love is this?" as a question. It is, "What wondrous love is this that caused the Lord of bliss to bear the dreadful curse for my soul?" Each stanza can be boiled down to one succinct question or statement. These are the three remaining statements...
"When I was sinking down beneath God's righteous frown, Christlaid aside his crown for my soul."
"To God and to the Lamb, who is the great I AM, while millions join the theme, I will sing."
"And when from death I'm free, I'll sing God's love for me, and through eternity I'll sing on."
As you can see, the wondrous love that was questioned and commented on in stanza one is answered on stanza four through our redemption.
CHORAL ANTHEM
God So Loved The World- John Stainer (Choral Anthem (before Gospel)- 9:00 AM)
This a capella chorus is the most frequently excerpted portion of a larger oratorio called The Crucifixion by John Stainer. Scored for SATB choir, tenor and bass soloists, and organ, The Crucifixion was completed in 1887 and tells the story of the Passion beginning with the journey to Gethsemane and concluding with the crucifixion and commentary on it. Though the work was initially popular, it was received negatively by critics and even Stainer himself dismissed the work as "rubbish." Despite the negativity, it is still frequently performed today due to its accessibility and power.
God So Loved The World is the ninth movement of the oratorio and uses just the SATB chorus. It's English harmony and voicing is very prevalent and portrays the text beautifully, particularly towards the end of the work on the words "everlasting life."
INSTRUMENTAL MUSIC
Prelude on ROCKINGHAM OLD- Robert Bucklee Farley (Prelude- 7:45 AM, 9:00 AM)
This prelude is rather straight forward and lets the tune shine through. Presented simply in a reed stop on the organ, the tune is supported by romantic harmonies that, while traditional, are strikingly different than the hymnal harmonization, which allows for a new take on an old tune.
Improvisation on Wondrous Love (with PICARDY)- Paul Manz (Postlude- 7:45 AM, 9:00 AM)
Paul Manz will forever be remembered as one of the finest service players, improvisers, and composers that church music was privileged to have in the 20th century. In his 91 years on earth, he left a legacy that is truly unmatched by all but a very select few.
Of everything that Paul Manz was known for, he may be most remembered for his tremendous organ improvisations. He began writing some of them down and published them as compositions titled simply "Improvisations." Over 100 are now available across many volumes.
According to the title, this improvisation is focused on the hymn "What Wondrous Love Is This." However, you initially hear a completely different tune entirely. The tune PICARDY is commonly associated with the hymn "Let All Mortal Flesh Keep Silence." Only after several measures does the Wondrous Love tune appear, quietly, in cluster form underneath, while the PICARDY tune continues. Careful attention and awareness is required to truly hear it.
That's it for this week. Thank you to all of you who are attending Holden Evening Prayer on Wednesday evening. I hope you are finding it fulfilling!
Before we start this week, I wanted to talk about something new that I'll be doing for the future with Music Notes. I have the big bulletin board near the parish hall that I barely ever use. Some of you may have noticed last week that I put excerpts of the blog on to the board. I will continue to do that in future weeks, while slightly altering the form of it. I hope that this will help the blog to reach a larger audience who may not know of its existence yet, and to allow people to refresh themselves on the musical information before entering worship. So, keep an eye on the bulletin board!
This week, our Gospel reading takes us to one of the most recognizable, widely known Gospel readings in the entire Bible. The scripture surrounding the Gospel of John 3:16 tells of the ultimate sacrifice of a father, who's love for the world and its inhabitants caused him to make the ultimate sacrifice of giving up his son for the benefit of all. "For God so loved the world, that he gave his only begotten son, that who so believes in him will have everlasting life."
The themes of love, mercy, and sacrifice are most prevalent in our scriptures and music for this week.
HYMNS AND SONGS
There's a Wideness In God's Mercy (Opening Hymn- 7:45 AM, 9:00 AM)
This is an example of an early North American frontier tune with a later composed text by British theologian Frederick William Faber. The contrast between the American tune and British vernacular are clearly evident. The tune features a largely pentatonic melody (minus the B-flats in mm. 3, 7, and 15) and an AABA'* form, common for the time. The text contains characteristically British language such as "kindly judgement given," "magnify its strictness with a zeal," and "greater good because of evil, larger mercy through the fall."
The bulk of the theology applicable to us this week is in stanza three, which speaks of the limitless, grand nature of the love of God. The love of God is so wide and far reaching, our minds cannot even fathom its range. The heart of the Eternal is so kind and wonderful that it was willing to sacrifice God's only son for all of us. Unfortunately, we as humans, having human limits, can sometimes dilute this glorious love by putting our own limits on it, and "magnify(ing) its strictness" in a way that God would never endorse or support.
Ultimately, thanks to Jesus sacrifice, we owe everything we have to him and are able to rejoice in the greater good brought on by the evil of others. Through this, our love and faith in God is strengthened and we live lives of thanksgiving through the goodness of the Lord.
* AABA' (A, A, B, A prime)- refers to the first two and final lines being (nearly) identical. The reason for the "prime" on the final A line is the different beginning, which is actually identical to B. It could be called B' as well. Other early American tunes use this form, such as HOLY MANNA.
God Loved The World (Hymn of the Day- 7:45 AM, 9:00 AM)
Stanza one of this hymn is a direct paraphrase of the John 3:16 scripture. Each stanza following is either a commentary on this scripture, or a result that we can benefit from due to the sacrifice, concluded by a trinitarian statement of faith.
In stanza two, we hear a fine summation of the results of this sacrifice. By suffering death, Jesus creates a cornerstone of faith, which we are absorbed into by confiding and believing in him.
The hymn writer changes the voice is stanzas three and four and begins speaking directly to us. Drawing from the scripture, the truths revealed in stanza two are applied even further to us, describing that if we are ill and near to death, the truth that Jesus will rescue us from death is yet another cornerstone of our faith, as stated in the Apostle's Creed, "... the resurrection of the body and the life everlasting." Stanza four has a baptismal reference as its conclusion, telling us that through are baptism, we are prepared to receive the full benefit of Jesus' sacrifice.
What Wondrous Love Is This (Communion Hymn- 7:45 AM, Closing Hymn- 9:00 AM)
Much like our opening hymn today, this tune is possibly the most well known example from the Southern Harmony shape note song book. Unlike our opening hymn which only used a tune from the early American tradition, this text is also born out of that tradition, and is most likely the hymn most associated with the early frontier worship tradition.
The form of the text is identical in each stanza. The early idea of each stanza is repeated several times at the beginning, and the sentence is then expanded upon through the second half. For example, it's not just, "What wondrous love is this?" as a question. It is, "What wondrous love is this that caused the Lord of bliss to bear the dreadful curse for my soul?" Each stanza can be boiled down to one succinct question or statement. These are the three remaining statements...
"When I was sinking down beneath God's righteous frown, Christlaid aside his crown for my soul."
"To God and to the Lamb, who is the great I AM, while millions join the theme, I will sing."
"And when from death I'm free, I'll sing God's love for me, and through eternity I'll sing on."
As you can see, the wondrous love that was questioned and commented on in stanza one is answered on stanza four through our redemption.
CHORAL ANTHEM
God So Loved The World- John Stainer (Choral Anthem (before Gospel)- 9:00 AM)
This a capella chorus is the most frequently excerpted portion of a larger oratorio called The Crucifixion by John Stainer. Scored for SATB choir, tenor and bass soloists, and organ, The Crucifixion was completed in 1887 and tells the story of the Passion beginning with the journey to Gethsemane and concluding with the crucifixion and commentary on it. Though the work was initially popular, it was received negatively by critics and even Stainer himself dismissed the work as "rubbish." Despite the negativity, it is still frequently performed today due to its accessibility and power.
God So Loved The World is the ninth movement of the oratorio and uses just the SATB chorus. It's English harmony and voicing is very prevalent and portrays the text beautifully, particularly towards the end of the work on the words "everlasting life."
INSTRUMENTAL MUSIC
Prelude on ROCKINGHAM OLD- Robert Bucklee Farley (Prelude- 7:45 AM, 9:00 AM)
This prelude is rather straight forward and lets the tune shine through. Presented simply in a reed stop on the organ, the tune is supported by romantic harmonies that, while traditional, are strikingly different than the hymnal harmonization, which allows for a new take on an old tune.
Improvisation on Wondrous Love (with PICARDY)- Paul Manz (Postlude- 7:45 AM, 9:00 AM)
Paul Manz will forever be remembered as one of the finest service players, improvisers, and composers that church music was privileged to have in the 20th century. In his 91 years on earth, he left a legacy that is truly unmatched by all but a very select few.
Of everything that Paul Manz was known for, he may be most remembered for his tremendous organ improvisations. He began writing some of them down and published them as compositions titled simply "Improvisations." Over 100 are now available across many volumes.
According to the title, this improvisation is focused on the hymn "What Wondrous Love Is This." However, you initially hear a completely different tune entirely. The tune PICARDY is commonly associated with the hymn "Let All Mortal Flesh Keep Silence." Only after several measures does the Wondrous Love tune appear, quietly, in cluster form underneath, while the PICARDY tune continues. Careful attention and awareness is required to truly hear it.
That's it for this week. Thank you to all of you who are attending Holden Evening Prayer on Wednesday evening. I hope you are finding it fulfilling!
Thursday, March 8, 2012
Music Notes: March 11th, 2012
3rd Sunday Of Lent
This Sunday, we hear the scripture of Jesus in the temple, showcasing a rather angry side of himself. He was enraged when he saw his temple being used as a marketplace, with sheep, cattle, and doves being sold. He created a "whip of cords" and preceded to drive all the merchants out of the area. When the officials protested and asked what authority he had, he declared that they should destroy the temple which took 46 years to build, and he would then raise it up in three days.
This is an interesting scripture that doesn't really lend itself too well to choosing hymnody. There's very little in the repertoire that references this exact scripture, so in order to choose music, I have to go beyond to what I call my second and third levels. Rather than looking directly at the scripture, in this case I look towards the characteristics of the primary characters on display. Here, Jesus is showcasing his power, confidence, obedience, and his steadfast resolve in the Word of God. The music then derives from those characteristics.
HYMNS AND SONGS
God of Grace and God of Glory (Opening Hymn- 7:45 AM, 9:00 AM)
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.
The "hosts of evil" spoken of in stanza two could easily be the merchants in the temple. Though not inherently evil people, using the temple for financial gain was certainly evil in the eyes of Jesus. The talk of evil is picked back up in stanza four with the opening line, "Save us from weak resignation to the evils we deplore."
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.
Holy God, Holy and Glorious (Hymn of the Day- 7:45 AM, 9:00 AM)
Our hymn of the day this Sunday is ELW 637: Holy God, Holy and Glorious. Each stanza touches upon a certain characteristic of God manifest in Jesus, beginning with glory, heading through power, beauty, and wisdom, and ending with “living.”
Each stanza concludes with the line, “… and we behold your ________” with the blank being filled with one of the five words from above. The ultimate message of the hymn is a portrayal of the fragile, weak, delicate nature of Jesus’ human body contrasted with his divine nature, power, and influence.
In stanza one, glory, the hymn writer Susan Briehl reminds us of this glory despite being amongst us in our human time. If one weren’t looking, they may not know whether or not Jesus was standing right next to them on a street or at a gathering. Yet despite this “normal” human appearance, we still delight in the glory.
In the power stanza, we are reminded that despite the glorious divine power that Jesus obtains, he still bends in weakness to us and acts as a servant. We still behold his glory though he offers himself to us as an empty vessel.
Despite the portrayal of Jesus’ beauty in stanza three, we are reminded that he was despised, scorned, and rejected by his betrayers and punishers, was flogged, and finally crucified. Ironically, this symbol of violence and hatred has now become Christianity’s symbol of hope and beauty.
The wisdom of Jesus is something that a lot of people relied on during his lifetime, and through the Gospel parables, this wisdom is passed on to all of us. In the hymn, Briehl contrasts this wisdom by choosing “the way of folly” in his crucifixion. If any of us offer ourselves up for such a brutal punishment, it may be viewed as a foolish act, but it was the divine wisdom of Jesus that resulted in the ultimate sacrifice that saved humanity.
There can be no greater contrast than that between life and death. While theoretically possible, it is difficult to find a gray area between living and dying. In the final living stanza, we see the contrast between the “life that never ends” and “dying for your friends,” which as a result, we now behold Jesus’ living.
Lord, Keep Us Steadfast In Your Word (Communion Hymn- 9:00 AM)
In the context of the scripture this week, the text of this great German chorale is a statement by us as a congregation that promises that we will keep steadfast in the word while not repeating the sins of the past. We will resist the temptation of sin and debauchery, keeping close to us the knowledge of all that God has done for us and will continue to do as long as we keep him close.
In stanza two, we see evidence of Jesus defending the sanctity of the Holy Church (through his actions in this Gospel). By doing so, he gives us the hope and motivation to sing the eternal praise of the church of God.
O That The Lord Would Guide My Ways (Closing Hymn- 7:45 AM, Communion Hymn, 9:00 AM)
Just as the previous hymn calls us to stay steadfast in the Word of God, this one asks for guidance to stay on the road. The first stanza begs a bigger question... what exactly is the will of God? Maybe a better question to start with is, is there a TRUE will of God? All we have to really go on is the scriptures and materials that derive from scriptures, such as hymns. Unfortunately, this hymn doesn't really answer that question, nor does it shed any light on an answer, but it does provide a good amount of encouragement and motivation.
Particularly striking is the confession in stanza three that our soul is in fact apt to stray, and that we keep a stricter watch over ourselves. Should we happen to stray, we can only hope that the reliability and steadfast love of God will guide us back to the path.
CHORAL ANTHEM
By The Babylonian Rivers, arr. Richard Erickson (Offering- 9:00 AM)
This anthem is a paraphrase of the first verses of Psalm 137. Rather than focus on this week, it is a story of a more over-arching Lenten journey. It grows to a glorious climax on the word "resurrection," which is a wonderful foreshadowing for what is to come.
INSTRUMENTAL MUSIC
Before talking about my postlude this week, I wanted to mention that due to this being Lutheran Schools Week, we have a great deal of participation from many current and former St. Paul's school students. While as of this writing I don't know the official final line up, I can tell you that you will be hearing violinists, vocalists, a flute quintet, and our own Friends of the Lord choir singing, so it should be a great weekend!
Erhalt uns, Herr- J.S. Bach (Postlude- 7:45 AM, 9:00 AM)
This is one of my favorite Bach chorale preludes. Rather than being a traditional "prelude," it's more of an extended, imitative work (short of being a fugue) with the tune being presented in fragments in the manuals and in its entirety in the pedals. It's a glorious, expansive statement of faith in the word of God.
This Sunday, we hear the scripture of Jesus in the temple, showcasing a rather angry side of himself. He was enraged when he saw his temple being used as a marketplace, with sheep, cattle, and doves being sold. He created a "whip of cords" and preceded to drive all the merchants out of the area. When the officials protested and asked what authority he had, he declared that they should destroy the temple which took 46 years to build, and he would then raise it up in three days.
This is an interesting scripture that doesn't really lend itself too well to choosing hymnody. There's very little in the repertoire that references this exact scripture, so in order to choose music, I have to go beyond to what I call my second and third levels. Rather than looking directly at the scripture, in this case I look towards the characteristics of the primary characters on display. Here, Jesus is showcasing his power, confidence, obedience, and his steadfast resolve in the Word of God. The music then derives from those characteristics.
HYMNS AND SONGS
God of Grace and God of Glory (Opening Hymn- 7:45 AM, 9:00 AM)
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.
The "hosts of evil" spoken of in stanza two could easily be the merchants in the temple. Though not inherently evil people, using the temple for financial gain was certainly evil in the eyes of Jesus. The talk of evil is picked back up in stanza four with the opening line, "Save us from weak resignation to the evils we deplore."
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.
Holy God, Holy and Glorious (Hymn of the Day- 7:45 AM, 9:00 AM)
Our hymn of the day this Sunday is ELW 637: Holy God, Holy and Glorious. Each stanza touches upon a certain characteristic of God manifest in Jesus, beginning with glory, heading through power, beauty, and wisdom, and ending with “living.”
Each stanza concludes with the line, “… and we behold your ________” with the blank being filled with one of the five words from above. The ultimate message of the hymn is a portrayal of the fragile, weak, delicate nature of Jesus’ human body contrasted with his divine nature, power, and influence.
In stanza one, glory, the hymn writer Susan Briehl reminds us of this glory despite being amongst us in our human time. If one weren’t looking, they may not know whether or not Jesus was standing right next to them on a street or at a gathering. Yet despite this “normal” human appearance, we still delight in the glory.
In the power stanza, we are reminded that despite the glorious divine power that Jesus obtains, he still bends in weakness to us and acts as a servant. We still behold his glory though he offers himself to us as an empty vessel.
Despite the portrayal of Jesus’ beauty in stanza three, we are reminded that he was despised, scorned, and rejected by his betrayers and punishers, was flogged, and finally crucified. Ironically, this symbol of violence and hatred has now become Christianity’s symbol of hope and beauty.
The wisdom of Jesus is something that a lot of people relied on during his lifetime, and through the Gospel parables, this wisdom is passed on to all of us. In the hymn, Briehl contrasts this wisdom by choosing “the way of folly” in his crucifixion. If any of us offer ourselves up for such a brutal punishment, it may be viewed as a foolish act, but it was the divine wisdom of Jesus that resulted in the ultimate sacrifice that saved humanity.
There can be no greater contrast than that between life and death. While theoretically possible, it is difficult to find a gray area between living and dying. In the final living stanza, we see the contrast between the “life that never ends” and “dying for your friends,” which as a result, we now behold Jesus’ living.
Lord, Keep Us Steadfast In Your Word (Communion Hymn- 9:00 AM)
In the context of the scripture this week, the text of this great German chorale is a statement by us as a congregation that promises that we will keep steadfast in the word while not repeating the sins of the past. We will resist the temptation of sin and debauchery, keeping close to us the knowledge of all that God has done for us and will continue to do as long as we keep him close.
In stanza two, we see evidence of Jesus defending the sanctity of the Holy Church (through his actions in this Gospel). By doing so, he gives us the hope and motivation to sing the eternal praise of the church of God.
O That The Lord Would Guide My Ways (Closing Hymn- 7:45 AM, Communion Hymn, 9:00 AM)
Just as the previous hymn calls us to stay steadfast in the Word of God, this one asks for guidance to stay on the road. The first stanza begs a bigger question... what exactly is the will of God? Maybe a better question to start with is, is there a TRUE will of God? All we have to really go on is the scriptures and materials that derive from scriptures, such as hymns. Unfortunately, this hymn doesn't really answer that question, nor does it shed any light on an answer, but it does provide a good amount of encouragement and motivation.
Particularly striking is the confession in stanza three that our soul is in fact apt to stray, and that we keep a stricter watch over ourselves. Should we happen to stray, we can only hope that the reliability and steadfast love of God will guide us back to the path.
CHORAL ANTHEM
By The Babylonian Rivers, arr. Richard Erickson (Offering- 9:00 AM)
This anthem is a paraphrase of the first verses of Psalm 137. Rather than focus on this week, it is a story of a more over-arching Lenten journey. It grows to a glorious climax on the word "resurrection," which is a wonderful foreshadowing for what is to come.
INSTRUMENTAL MUSIC
Before talking about my postlude this week, I wanted to mention that due to this being Lutheran Schools Week, we have a great deal of participation from many current and former St. Paul's school students. While as of this writing I don't know the official final line up, I can tell you that you will be hearing violinists, vocalists, a flute quintet, and our own Friends of the Lord choir singing, so it should be a great weekend!
Erhalt uns, Herr- J.S. Bach (Postlude- 7:45 AM, 9:00 AM)
This is one of my favorite Bach chorale preludes. Rather than being a traditional "prelude," it's more of an extended, imitative work (short of being a fugue) with the tune being presented in fragments in the manuals and in its entirety in the pedals. It's a glorious, expansive statement of faith in the word of God.
Thursday, March 1, 2012
Music Notes: March 4th, 2012
2nd Sunday Of Lent
As we continue our journey in Lent, we hear two important stories in the history and evolution of the faith story. First, from the book of Genesis, we hear the story of Abraham and Sarah, where God promises them the fulfillment of a covenant of faith in the coming years. Fast forward to the time of Jesus (who is the fulfillment of the covenant), where he continues the call of discipleship, telling his followers to take up their crosses and follow him while forgetting the past.
HYMNS AND SONGS
The God Of Abraham Praise (Opening Hymn- 7:45 AM, 9:00 AM)
Rather than singing this in the normal spot of the opening hymn, this week we are singing this as a response to the Genesis reading. I recall us singing this a couple of months ago as we were hearing the story of Moses leading his people on their exodus from Pharoah. Several of the eight stanzas cover quite a few of the themes of that story.
The stanzas that we are singing this weekend refer more specifically to the fulfillment of the covenant of Abraham. For instance, in stanza three, we see that the grace of God will guide us through all our days and that through the blood of Jesus, we will ultimately be saved.
The tune we have today in the ELW is listed as being titled as YIGDAL, after the source of the original text. Most hymnals call this tune LEONI, as it was brought to prominence by the German hazzan (Jewish cantor) Myer Leon (who often went by the stage name Michael Leoni). The actual source of the melody is unknown, but is believed to have come from at least the 17th century, if not earlier.
Take Up Your Cross, the Savior Said (Hymn of the Day- 7:45 AM, 9:00 AM)
The message of this hymn is a very direct reaction to and commentary on our Gospel story. The title of the hymn is a direct paraphrase of Mark 8: 34-35, with Christ telling us to take up our cross if we are to be his disciples.
The rest of the stanzas comment on this scripture, and they do so in a very interesting way. If you read the stanzas, take note of the point of view of the words. It is as though the hymn writer is speaking directly to us, and through his words he is reinforcing the scripture and the words of Jesus.
It is very rare for a hymn to be written in this style. Many critics feel that the word of God is definitive enough, and a hymn should serve the purpose of enlightening and showcasing that word. While the hymn writer uses the platform to preach a sermon, in a way, it still captures the essence of Christ's word very effectively.
In The Cross of Christ I Glory (Communion Hymn- 7:45 AM, Closing Hymn- 9:00 AM)
By taking up our cross and following Christ, it will allow us to further celebrate and be grateful in the sacrifice that he makes for us. It is a constant beacon of reassurance. As it says in stanza two, whenever the woes of life and fears overtake us or our hopes vanish, the cross will never forsake us, as it makes the sunlight shine with that much more luster.
This text was already well established before the ELW tune RATHBUN was written. Ithamar Conkey (great name!) was a choir director and organist in Norwich, CT in the mid-19th century. As the story goes, it was Sunday morning, and he was dealing with a problem that every church choir director has to deal with at some point in their careers. Poor Mr. Conkey only had one of this church choir sopranos show up that morning. As he sat, depressed and frustrated, he listened to a Lenten message about Christ on the cross. The text of this hymn (to a different tune) was the hymn which followed the sermon. Filled with inspiration from both the sermon and the words of the hymn, he sought out to compose a new tune for this text, and it is the tune we have today. He named the tune RATHBUN, after a certain Mrs. Rathbun, who just happened to be that one soprano that showed up that morning. If that isn't motivation to always come to church choir, I don't know what is!!!
CHORAL ANTHEM
Sicut Cervus- G.P. da Palestrina (Offering- 9:00 AM)
Palestrina is widely regarded as one of the greatest composers of sacred choral music in history. As the legend goes, his Missa Papae Marcelli is allegedly the work that saved the use of polyphony in the church. Pope Marcellus and other church officials were concerned with the growing trend of polyphony in music, and were afraid that the music would eventually start to obscure the text. Palestrina wrote a beautiful mass setting using polyphony, and the pope was unbelievably moved by it, thus saving polyphony for church music.
This story hasn't actually stood up through history as being accurate, but the essence of it is rooted in the truth of the time.
Sicut Cervus is one of Palestrina's most well known motets, only one in over 300 total. Its Latin text is a direct translation of the first verse of Psalm 42, "As the deer longs for the streams of water, so longs my soul for you, O God." Its style is very reflective of Palestrina, featuring a gentle, mellow counterpoint that has evolved into what most academics consider the "Palestrina style." It is the basis of renaissance counterpoint classes throughout academia.
The climax of this piece comes on the Latin words "anima mea," or "my soul." The Chancel Choir has worked unbelievably hard on this piece, and we hope that you are as fulfilled and blessed by it as we have been.
INSTRUMENTAL MUSIC
Fugue in D minor- Johann Pachelbel (Prelude- 7:45 AM, 9:00 AM)
This fugue by Pachelbel is rather small in form, and contains a subject that becomes more and more appropriate as we continue to drive into lent. Its most striking feature is a five note chromatic descending motive, symbolizing us falling deeper and deeper into the darkness.
Toccata on RATHBUN- David Cherwien (Postlude- 7:45 AM, 9:00 AM)
While this is traditionally a Lenten hymn, the hope and brightness that it provides is reflected in this virtuosic toccata by David Cherwien. While the tune begins in the pedal, in the middle section it transfers up to the top voice, traveling through several key areas before finally returning to Bb major for the glorious conclusion.
As we continue our journey in Lent, we hear two important stories in the history and evolution of the faith story. First, from the book of Genesis, we hear the story of Abraham and Sarah, where God promises them the fulfillment of a covenant of faith in the coming years. Fast forward to the time of Jesus (who is the fulfillment of the covenant), where he continues the call of discipleship, telling his followers to take up their crosses and follow him while forgetting the past.
HYMNS AND SONGS
The God Of Abraham Praise (Opening Hymn- 7:45 AM, 9:00 AM)
Rather than singing this in the normal spot of the opening hymn, this week we are singing this as a response to the Genesis reading. I recall us singing this a couple of months ago as we were hearing the story of Moses leading his people on their exodus from Pharoah. Several of the eight stanzas cover quite a few of the themes of that story.
The stanzas that we are singing this weekend refer more specifically to the fulfillment of the covenant of Abraham. For instance, in stanza three, we see that the grace of God will guide us through all our days and that through the blood of Jesus, we will ultimately be saved.
The tune we have today in the ELW is listed as being titled as YIGDAL, after the source of the original text. Most hymnals call this tune LEONI, as it was brought to prominence by the German hazzan (Jewish cantor) Myer Leon (who often went by the stage name Michael Leoni). The actual source of the melody is unknown, but is believed to have come from at least the 17th century, if not earlier.
Take Up Your Cross, the Savior Said (Hymn of the Day- 7:45 AM, 9:00 AM)
The message of this hymn is a very direct reaction to and commentary on our Gospel story. The title of the hymn is a direct paraphrase of Mark 8: 34-35, with Christ telling us to take up our cross if we are to be his disciples.
The rest of the stanzas comment on this scripture, and they do so in a very interesting way. If you read the stanzas, take note of the point of view of the words. It is as though the hymn writer is speaking directly to us, and through his words he is reinforcing the scripture and the words of Jesus.
It is very rare for a hymn to be written in this style. Many critics feel that the word of God is definitive enough, and a hymn should serve the purpose of enlightening and showcasing that word. While the hymn writer uses the platform to preach a sermon, in a way, it still captures the essence of Christ's word very effectively.
In The Cross of Christ I Glory (Communion Hymn- 7:45 AM, Closing Hymn- 9:00 AM)
By taking up our cross and following Christ, it will allow us to further celebrate and be grateful in the sacrifice that he makes for us. It is a constant beacon of reassurance. As it says in stanza two, whenever the woes of life and fears overtake us or our hopes vanish, the cross will never forsake us, as it makes the sunlight shine with that much more luster.
This text was already well established before the ELW tune RATHBUN was written. Ithamar Conkey (great name!) was a choir director and organist in Norwich, CT in the mid-19th century. As the story goes, it was Sunday morning, and he was dealing with a problem that every church choir director has to deal with at some point in their careers. Poor Mr. Conkey only had one of this church choir sopranos show up that morning. As he sat, depressed and frustrated, he listened to a Lenten message about Christ on the cross. The text of this hymn (to a different tune) was the hymn which followed the sermon. Filled with inspiration from both the sermon and the words of the hymn, he sought out to compose a new tune for this text, and it is the tune we have today. He named the tune RATHBUN, after a certain Mrs. Rathbun, who just happened to be that one soprano that showed up that morning. If that isn't motivation to always come to church choir, I don't know what is!!!
CHORAL ANTHEM
Sicut Cervus- G.P. da Palestrina (Offering- 9:00 AM)
Palestrina is widely regarded as one of the greatest composers of sacred choral music in history. As the legend goes, his Missa Papae Marcelli is allegedly the work that saved the use of polyphony in the church. Pope Marcellus and other church officials were concerned with the growing trend of polyphony in music, and were afraid that the music would eventually start to obscure the text. Palestrina wrote a beautiful mass setting using polyphony, and the pope was unbelievably moved by it, thus saving polyphony for church music.
This story hasn't actually stood up through history as being accurate, but the essence of it is rooted in the truth of the time.
Sicut Cervus is one of Palestrina's most well known motets, only one in over 300 total. Its Latin text is a direct translation of the first verse of Psalm 42, "As the deer longs for the streams of water, so longs my soul for you, O God." Its style is very reflective of Palestrina, featuring a gentle, mellow counterpoint that has evolved into what most academics consider the "Palestrina style." It is the basis of renaissance counterpoint classes throughout academia.
The climax of this piece comes on the Latin words "anima mea," or "my soul." The Chancel Choir has worked unbelievably hard on this piece, and we hope that you are as fulfilled and blessed by it as we have been.
INSTRUMENTAL MUSIC
Fugue in D minor- Johann Pachelbel (Prelude- 7:45 AM, 9:00 AM)
This fugue by Pachelbel is rather small in form, and contains a subject that becomes more and more appropriate as we continue to drive into lent. Its most striking feature is a five note chromatic descending motive, symbolizing us falling deeper and deeper into the darkness.
Toccata on RATHBUN- David Cherwien (Postlude- 7:45 AM, 9:00 AM)
While this is traditionally a Lenten hymn, the hope and brightness that it provides is reflected in this virtuosic toccata by David Cherwien. While the tune begins in the pedal, in the middle section it transfers up to the top voice, traveling through several key areas before finally returning to Bb major for the glorious conclusion.
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