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.
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