4th Sunday Of Easter
This week is unofficially known as Good Shepherd Sunday. In addition to the 23rd Psalm, in the Gospel reading we hear Jesus recalling the same scripture. Jesus proclaims himself as the shepherd that guides and watches over his sheep. He is willing to lay down his life for his flock, and by his actions, he is able to overcome death for them. Our music this week comments on multiple aspects of this scripture.
HYMNS AND SONGS
Alleluia, Sing To Jesus (Opening Hymn- 7:45 AM, 9:00 AM)
The redemption provided by Jesus for all of us is alluded to at the end of stanza one with the line "Jesus out of every nation has redeemed us by his blood." The second stanza is one of the more intriguing, and uses a device that is difficult for a sung line to give credence to, and that is a question. Making it more difficult is the use of the tune HYFYRDOL, which is a long, winding tune. It stretches the text significantly, making long sentences difficult to engage with while the tune is being sung. Nevertheless, stanza two ends with an interesting question... "Though the cloud from sight received [Jesus] when the forty days were o'er, shall our hearts forget his promise: "I am with you ever more"?"
This, of course, is the closing statement to the Gospel of Matthew, where Jesus says, "Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you; and lo, I am with you always, to the close of the age." (Matthew 28:19-20). This question is a reminder, or perhaps even a warning to us, that we should never forget Jesus' ultimate sacrifice for us in his crucifixion.
Very few hymns do what this one does in the concluding stanza. Stanza five repeats the words of stanza one verbatim. It is a message that bears repeating however, the kingly nature of the first line, overcoming death in the second, and finally concluding with the words of the angels once again restating our redemption through the blood of Jesus.
My Shepherd You Supply My Need (Hymn of the Day- 7:45 AM, 9:00 AM)
Little needs to be said about the text here. As I have said in Music Notes previously, English hymnist Isaac Watts spent a large portion of his career creating psalm paraphrases. His paraphrase of Psalm 23 is given here, and is a very fitting interpretation of the original psalm. Cast in the second person, it creates a beautiful sense of intimacy and prayer.
Like other famous hymn tunes from the early North American tradition, RESIGNATION was composed and published in the 1835 edition of Southern Harmony, compiled by William Walton. Much like the well known tune BEACH SPRING, this particular tune is cast in four lines, with the from AABA, ie. the first, second, and fourth lines are the same. The form combined with being cast in a pentatonic mode make these early American tunes a joy to sing.
Have No Fear, Little Flock (Communion Hymn- 9:00 AM)
This hymn is based on one verse from Luke 12. Verse 32 says, "Fear not, little flock, for it is your Father's good pleasure to give you the kingdom." Stanza one is a paraphrase of this exact verse. Each subsequent verse is a similar commentary, based on love, praise, healing, and thankfulness.
The tune here is rather interesting. It is known for its characteristic sixteenth-dotted eighth note rhythm. This rhythm, found in the first two full measures as well as the final measure, works beautifully on the word "little" as in stanzas one and two. However, in subsequent stanzas, it creates a rather jarring syllabic effect on the words "high a-" and "raise to." It is a classic problem that just shows how difficult it is to write a text and tune that compliment each other throughout every stanza.
You Satisfy The Hungry Heart (Communion Hymn- 7:45 AM, 9:00 AM)
Stanza one of this hymn ties it together with our message for the week. Just as the shepherd calls his sheep and they know his voice, we follow the Lord when we hear him call our names.
This hymn was written collaboratively by Omer Westendorf and Robert Kreutz. The name of its tune, BICENTENNIAL, should give you a clue as to the reason for its composition. It was premiered in 1976 at the Washington National Cathedral at the Bicentennial National Service.
Praise The Lord, Rise Up Rejoicing (Communion Hymn- 9:00 AM)
In reading through this text, it was pretty clear to me that it was composed in the 20th century, and not from the same era as the tune comes from. The second person narrative, the Eucharist declaring the final victory, and going forth in the spirit are all subtle clues to this. Together with the joyful German tune, its message of praise for the Eucharist declaring the final victory ring true at the end of our service.
CHORAL ANTHEM
The Lord Is My Shepherd- Thomas Matthews (Psalm- 9:00 AM)
Replacing our normal psalm tone this week is a beautiful paraphrase of Psalm 23 set by Thomas Matthews. Set from the King James version, this Matthews setting is very characteristic of the mid-20th century Anglican style. Cast in three parts, it depicts the text beautifully, such as on the line "Yea, though I walk through the valley of the shadow of death." The piece closes with an amazing climax on the line, "And I will dwell in the house of the Lord forever."
INSTRUMENTAL MUSIC
Psalm Prelude, op. 32 no. 3- Herbert Howells (Prelude- 7:45 AM, 9:00 AM)
Herbert Howells, a well known 20th century composer of organ and church music, composed two sets of three "psalm preludes." Rather than being based on the entire psalm, these preludes draw their material from one verse. This prelude is Psalm 23, verse 4, "Though I walk through the valley of the shadow of death, I will fear no evil." The constant drone in the music is in fact the footsteps of the person walking. As the piece grows, it reaches a glorious C major climax, before finally returning to where it began.
HYFYRDOL- Ralph Vaughan Williams (Postlude- 7:45 AM, 9:00 AM)
While Vaughan Williams isn't necessarily known for his organ music, it was a rather significant part of his output. After all, he was instrumental in the creation of the English Hymnal 1906, where many of his hymn arrangements were included (such as SINE NOMINE (For All The Saints)).
This setting of HYFYRDOL features the straight forward presentation of the tune with a three part flowing structure underneath. At the conclusion of the tune, the flowing counterpoint expands to four, five, and all the way to eight voices before finally reaching its conclusion.
Thursday, April 26, 2012
Thursday, April 19, 2012
Music Notes: April 22nd, 2012
3rd Sunday of Easter
We are celebrating two important occasions in our services this week. First, in the third Sunday after Easter, we continue to recognize the resurrection of Jesus and the reactions of those whom he touches. This week, Jesus shares a meal with his disciples, and he describes his suffering, death, resurrection, and the meaning behind them as shown in the scriptures.
Interestingly enough, these two elements comprise the bulk of our Sunday morning services as seen in the fourfold pattern of worship that we follow: Gathering, Word, Meal, and Sending.
This Sunday, we are also recognizing World Malaria Day. St. Paul's has a strong commitment to the neutralization and elimination of malaria, and we will be taking time to acknowledge St. Paul's contributions.
HYMNS AND SONGS
With High Delight Let Us Unite (Opening Hymn- 7:45 AM, 9:00 AM)
Who is "us?" It could very well be us in the congregation. We are certainly grateful for the risen Christ setting us free forever. It could also be the disciples. Amongst the confusion and doubt that filled Thomas and the other disciples last week, they are beginning to come to the realization that their leader has returned and is there to guide them.
Despite the German sounding name Georg Vetter, the composer of this hymn was actually born in and spent most of his life in Prague, with the birth name Jiri Strejc. Mr. Strejc was a long-time minister at a church in Moravia, and spent the majority of his career advancing and advocating for the singing of vernacular language hymns in the church. While we see no direct descent of his influence in our psalmody today, his contributions to psalmody in Eastern Europe should certainly not be ignored.
In fact, this hymn is a very loose paraphrase of Psalm 138. Translated most of the time as "Sing Praise To God Who Reigns Above," in our ELW it bears a new translation made in the 20th century. The tune is a traditional tune from the Bohemian Brethren's Church Chants. He adapted the tune from his direct paraphrase of Psalm 138 in his psalter.
We All Are In One Mission (Hymn of the Day- 7:45 AM, 9:00 AM)
Near the end of the Gospel reading for this Sunday, Jesus calls his disciples to embark on a mission of spreading the news of repentance and forgiveness. This call to discipleship is passed on to us, and we profess the news of this "single great commission" through the singing of this hymn.
Rusty Edwards is a rather well known minister and hymn writer, still as active today as he has been his entire career. After receiving his M.Div from Luther Seminary in 1985, he went on to earn a doctorate in theology from Notre Dame, and now serves as senior pastor at Christ Lutheran Church is Moline, Illinois.
Not only is this hymn appropriate for the mission that we are called to act on by Christ, but it could also be tied to the malaria mission of St. Paul's. This hymn contains a wonderfully unifying message in the middle of stanza two. Pastor Edwards states, "Our ministries are different, our purpose is the same: to touch the lives of others with God's surprising grace, so every folk and nation may feel God's warm embrace." Whether it is working to eradicate malaria or any other goal the church strives to reach, it is all done in the name of God.
Will You Let Me Be Your Servant (Communion Hymn- 7:45 AM, 9:00 AM)
Much like our Hymn of the Day, this is another late 20th century hymn of servanthood and mission. Unlike "We All Are One In Mission," which is a strong text that proclaims the unity and togetherness of our congregation as Christians, this hymn, while still employing themes of unity, is ultimately a prayer for strength and guidance that we may be able to guide ourselves and each other on the paths of servanthood.
The Church Of Christ In Every Age (Communion Hymn- 9:00 AM)
Continuing on the theme of unity, this hymn brings together the entire world together. Whether it is across the world or merely across the street, there are victims of injustice crying out for food, shelter, and cures for afflictions (such as malaria).
Stanza three contains a partial solution to these problems. The servant church, a caring church that longs to be a partner in Christ's sacrifice, seeks to rise to the occasion and serve their community with all their hearts, minds and souls.
Stanza four in particular brings a lot of close attention to the plight of malaria sufferers. Malaria, of course, is a blood transferred disease; stanza four mentions the blood of Christ, which was shed for our sake, and asks for it to cure the fever in our blood (appropriately, a high fever is a common symptom of malaria).
CHORAL ANTHEM
We Who Once Were Dead (Communion Anthem- 9:00 AM)
For a large portion of the spring, I have been working with the Chancel Choir on the concept of hymnal literacy. I always say that the ELW is the Bible for the church choir (this is true in more than one way, given how many hymns are based on scripture), and we continue to delve deeper into lesser known hymnody, particularly the ones that are new to our now only 7 year old hymnal.
Much like our opening hymn today, this could easily be heard through the voices of the disciples. The "dead" that they are referring to is not at all their physical death, but rather the death of Jesus manifest in their souls. Through the resurrection of Jesus, the disciples found that piece of life inside of all of them that was missing, and they recognize his gifts to them
Of the remaining stanzas, some are sung directly to Jesus (vv. 2, 4, 6) and others are more reflective of the sacrifice he made (vv. 3, 5). The stanzas are divided up amongst the men and the women, as well as varied in their dynamics.
Three South African Freedom Songs (Offering- 9:00 AM)
Friends of The Lord will be joining us for the final time of the year this week in worship. All of these songs grew out of the apartheid tradition of South Africa. When prisoners were contained, all they had to keep themselves united as a people were songs. These songs should not only fill us with peace and joy, but they should also draw attention to the struggles that the continent of Africa still goes through today.
The three songs that Friends of the Lord will be singing are, "Freedom is Coming," a song that has become closely tied with the defeat of apartheid, "Singabahambayo," a song being sung by a group about the embark on an important journey of mission (think disciples), and finally "Haleluya! Pelo tsa rona!," a heart filled thanksgiving to Jesus for the gift of the Eucharist.
Friends of the Lord learned these songs in the traditional style of learning by rote, that is without music. Their eyes have never seen the music for these songs, and they've done a wonderful job at quickly picking up the pronunciation and meaning of the South African language.
INSTRUMENTAL MUSIC
Nos. IV and V from Kleine Praeludien- Hermann Schroeder (Prelude- 7:45 AM, 9:00 AM)
No. VI from Kleine Praeludien- Hermann Schroeder (Postlude- 7:45 AM, 9:00 AM)
Hermann Schroeder (1904-1984) was a German composer and Catholic church musician. Being both German and from the 20th century, his compositional style is born out of the late romantic German style of the great composers such as Gustav Mahler (who was actually Austrian) and Richard Wagner.
His Six Short Preludes are wonderful pieces with a lot of color and variety. Schroeder's compositions are strong in counterpoint, with extended tonalities delving mainly into half step motion. No. IV is in the style of a Polish mazurka, with the three four rhythm and light jaunt. No. V is a three part invention cast in C minor. The work is neo-Baroque, that is, it uses an old style of composition (invention) with a new harmonic style and contrapuntal motion. Finally, No. VI is a three part piece, set in an ABA form. The A sections contain rapidly moving thirds with a lot of the aforementioned half step motions and harmonies. The B section contains a good deal of counterpoint and imitation through a variety of key areas.
We are celebrating two important occasions in our services this week. First, in the third Sunday after Easter, we continue to recognize the resurrection of Jesus and the reactions of those whom he touches. This week, Jesus shares a meal with his disciples, and he describes his suffering, death, resurrection, and the meaning behind them as shown in the scriptures.
Interestingly enough, these two elements comprise the bulk of our Sunday morning services as seen in the fourfold pattern of worship that we follow: Gathering, Word, Meal, and Sending.
This Sunday, we are also recognizing World Malaria Day. St. Paul's has a strong commitment to the neutralization and elimination of malaria, and we will be taking time to acknowledge St. Paul's contributions.
HYMNS AND SONGS
With High Delight Let Us Unite (Opening Hymn- 7:45 AM, 9:00 AM)
Who is "us?" It could very well be us in the congregation. We are certainly grateful for the risen Christ setting us free forever. It could also be the disciples. Amongst the confusion and doubt that filled Thomas and the other disciples last week, they are beginning to come to the realization that their leader has returned and is there to guide them.
Despite the German sounding name Georg Vetter, the composer of this hymn was actually born in and spent most of his life in Prague, with the birth name Jiri Strejc. Mr. Strejc was a long-time minister at a church in Moravia, and spent the majority of his career advancing and advocating for the singing of vernacular language hymns in the church. While we see no direct descent of his influence in our psalmody today, his contributions to psalmody in Eastern Europe should certainly not be ignored.
In fact, this hymn is a very loose paraphrase of Psalm 138. Translated most of the time as "Sing Praise To God Who Reigns Above," in our ELW it bears a new translation made in the 20th century. The tune is a traditional tune from the Bohemian Brethren's Church Chants. He adapted the tune from his direct paraphrase of Psalm 138 in his psalter.
We All Are In One Mission (Hymn of the Day- 7:45 AM, 9:00 AM)
Near the end of the Gospel reading for this Sunday, Jesus calls his disciples to embark on a mission of spreading the news of repentance and forgiveness. This call to discipleship is passed on to us, and we profess the news of this "single great commission" through the singing of this hymn.
Rusty Edwards is a rather well known minister and hymn writer, still as active today as he has been his entire career. After receiving his M.Div from Luther Seminary in 1985, he went on to earn a doctorate in theology from Notre Dame, and now serves as senior pastor at Christ Lutheran Church is Moline, Illinois.
Not only is this hymn appropriate for the mission that we are called to act on by Christ, but it could also be tied to the malaria mission of St. Paul's. This hymn contains a wonderfully unifying message in the middle of stanza two. Pastor Edwards states, "Our ministries are different, our purpose is the same: to touch the lives of others with God's surprising grace, so every folk and nation may feel God's warm embrace." Whether it is working to eradicate malaria or any other goal the church strives to reach, it is all done in the name of God.
Will You Let Me Be Your Servant (Communion Hymn- 7:45 AM, 9:00 AM)
Much like our Hymn of the Day, this is another late 20th century hymn of servanthood and mission. Unlike "We All Are One In Mission," which is a strong text that proclaims the unity and togetherness of our congregation as Christians, this hymn, while still employing themes of unity, is ultimately a prayer for strength and guidance that we may be able to guide ourselves and each other on the paths of servanthood.
The Church Of Christ In Every Age (Communion Hymn- 9:00 AM)
Continuing on the theme of unity, this hymn brings together the entire world together. Whether it is across the world or merely across the street, there are victims of injustice crying out for food, shelter, and cures for afflictions (such as malaria).
Stanza three contains a partial solution to these problems. The servant church, a caring church that longs to be a partner in Christ's sacrifice, seeks to rise to the occasion and serve their community with all their hearts, minds and souls.
Stanza four in particular brings a lot of close attention to the plight of malaria sufferers. Malaria, of course, is a blood transferred disease; stanza four mentions the blood of Christ, which was shed for our sake, and asks for it to cure the fever in our blood (appropriately, a high fever is a common symptom of malaria).
CHORAL ANTHEM
We Who Once Were Dead (Communion Anthem- 9:00 AM)
For a large portion of the spring, I have been working with the Chancel Choir on the concept of hymnal literacy. I always say that the ELW is the Bible for the church choir (this is true in more than one way, given how many hymns are based on scripture), and we continue to delve deeper into lesser known hymnody, particularly the ones that are new to our now only 7 year old hymnal.
Much like our opening hymn today, this could easily be heard through the voices of the disciples. The "dead" that they are referring to is not at all their physical death, but rather the death of Jesus manifest in their souls. Through the resurrection of Jesus, the disciples found that piece of life inside of all of them that was missing, and they recognize his gifts to them
Of the remaining stanzas, some are sung directly to Jesus (vv. 2, 4, 6) and others are more reflective of the sacrifice he made (vv. 3, 5). The stanzas are divided up amongst the men and the women, as well as varied in their dynamics.
Three South African Freedom Songs (Offering- 9:00 AM)
Friends of The Lord will be joining us for the final time of the year this week in worship. All of these songs grew out of the apartheid tradition of South Africa. When prisoners were contained, all they had to keep themselves united as a people were songs. These songs should not only fill us with peace and joy, but they should also draw attention to the struggles that the continent of Africa still goes through today.
The three songs that Friends of the Lord will be singing are, "Freedom is Coming," a song that has become closely tied with the defeat of apartheid, "Singabahambayo," a song being sung by a group about the embark on an important journey of mission (think disciples), and finally "Haleluya! Pelo tsa rona!," a heart filled thanksgiving to Jesus for the gift of the Eucharist.
Friends of the Lord learned these songs in the traditional style of learning by rote, that is without music. Their eyes have never seen the music for these songs, and they've done a wonderful job at quickly picking up the pronunciation and meaning of the South African language.
INSTRUMENTAL MUSIC
Nos. IV and V from Kleine Praeludien- Hermann Schroeder (Prelude- 7:45 AM, 9:00 AM)
No. VI from Kleine Praeludien- Hermann Schroeder (Postlude- 7:45 AM, 9:00 AM)
Hermann Schroeder (1904-1984) was a German composer and Catholic church musician. Being both German and from the 20th century, his compositional style is born out of the late romantic German style of the great composers such as Gustav Mahler (who was actually Austrian) and Richard Wagner.
His Six Short Preludes are wonderful pieces with a lot of color and variety. Schroeder's compositions are strong in counterpoint, with extended tonalities delving mainly into half step motion. No. IV is in the style of a Polish mazurka, with the three four rhythm and light jaunt. No. V is a three part invention cast in C minor. The work is neo-Baroque, that is, it uses an old style of composition (invention) with a new harmonic style and contrapuntal motion. Finally, No. VI is a three part piece, set in an ABA form. The A sections contain rapidly moving thirds with a lot of the aforementioned half step motions and harmonies. The B section contains a good deal of counterpoint and imitation through a variety of key areas.
Thursday, April 12, 2012
Music Notes: April 15th, 2012
Second Sunday of Easter
Following the resurrection of the Savior of the world, joy had filled the world. Accompanying this joy was surprise, confusion, and in the case of Thomas, doubt. For in order for Thomas to accept that it was truly Jesus back from the dead, he would need to see the wounds in his hands, feet, and sides. Jesus grants the request and Thomas is convinced. Jesus then states that blessed are those who need not to see him and still believe.
HYMNS AND SONGS
That Easter Day With Joy Was Bright (Opening Hymn- 7:45 AM, 9:00 AM)
Stanza one of this ancient 5th century text summarizes the events of Easter morning within one tidy sentence. The great thing about the tune PUER NOBIS is that its succinct nature allows for a text which which is equally succinct and understandable.
Stanza two, for example, is a brief statement of faith and commitment that Christians all over the world could pray every day. One can imagine that the disciples said the same thing once they saw their resurrected Lord. Stanza three is a similar statement of faith.
Something interesting happens in the rhyme scheme of stanza four. In the first three stanzas, the rhyme scheme is a simple AABB. If you attempt to apply this formula to stanza four, you'll end up rhyming the word "give" with the word "alive." Obviously give and live rhyme when pronounced a certain way, but with a long "I" sound, it clearly ruins the scheme. This happens a lot when 19th century Englishmen either compose or translate a given hymn. Perhaps the word "alive" was pronounced differently in that time.
I already mentioned the tune, PUER NOBIS. It was adapted as a hymn by Michael Praetorius, who was a prolific composer of renaissance dance music. As such, I envision this tune much as a renaissance dance, with a joyful, lilting rhythm.
Behold, How Pleasant (Psalm- 7:45 AM, 9:00 AM)
Rather than doing a traditional chanting of a hymn this week, I thought it would be nice to switch it up and sing a joyful hymn instead.
Pablo Sosa is generally considered the father of Latin hymnody in America and the world over. Miren que Bueno is is Sosa's paraphrase of the first three verses of Psalm 133. Accompanying it is a characteristic Latin tune, complete with a jaunty, dance-like bass line. The addition of one or two authentic instruments makes the hymn really come alive. In Sosa's paraphrase, each of the verses use imagery from the psalm to describe the togetherness of God's people.
Alleluia! Christ Is Arisen (Hymn of the Day- 7:45 AM, 9:00 AM)
Keeping with the Latin theme, we have this incredible hymn of praise from Spanish composer Luis Bojos. Composed in 1974, this hymn is finally getting some recognition after being included in many of the newer hymnals.
Much like the first hymn today, the first three stanzas summarize what happened on Easter morning. The fourth addresses Doubting Thomas, who "won't believe unless (he) see(s)." Interestingly enough, the Thomas story doesn't really resolve itself. I feel like there should have been an extra stanza to provide resolution, but alas, this is still a remarkably joyous, praise filled hymn.
As joyous as it is, it is all the more ironic that it is cast in a minor key. While there are some exceptions, such as "Behold How Pleasant," some of the most joyous, enthusiastic tunes to come out of the Latin tradition are cast in minor keys. With the style of music, harmonic structure, and instruments used, the style is a perfect example of how minor keys need not to sound melancholy.
Blessing and Honor (Closing Hymn- 7:45 AM, Communion Hymn 9:00 AM)
This is one of those hymns where the full extent of the thought is not revealed in the title, but rather in line three of the first stanza. "Blessing and honor and glory and power, wisdom and riches and strength ever more, be to the Lamb who our battle has won." Those are certainly a lot of characteristics to be attributed to Jesus from us, but should there be any less?
To be completely honest, the Easter message throughout hymnody can eventually become diluted. So many of them have similar messages, and Blessing and Honor is no exception. You have earth and nature praising God (stanza two), our prayers ascending as the Lord descends (stanza three), and finally the contrast between dying and pain with rising and immortality (stanza four).
Draw Us In The Spirit's Tether (Communion Hymn- 9:00 AM)
Stanza one of this stunning text derives itself from Matthew 18:20... "Where two or three are gathered, God is also there." There is also a passing reference to the healing power of Jesus' clothing, such as the woman who laid her hands upon his robe was healed.
Stanza two ties the Last Supper to the way we take Communion today in remembrance of that. As the disciples were offered bread and wine by Jesus, we continue to be offered that same body and blood today weekly, and it brings us together closer as a community.
Much like Thomas and the rest of the disciples bore witness to the risen Christ, resulting in them being more faithful than ever as disciples, the closing stanza of this hymn inspires us to act as these disciples did and encourage us to live ever more strongly in the name of Christ.
INSTRUMENTAL MUSIC
Air and Canon on UNION SEMINARY- James Biery (Prelude- 7:45 AM, 9:00 AM)
James Biery was formerly Director of Music at the enormous Cathedral of St. Paul, in downtown St. Paul, MN. He has since moved on to Grosse Pointe Presbyterian Church in Michigan, where he continues to compose both choir and organ music. This solo organ version of the tune for "Draw Us In Thy Spirit's Tether" is brilliantly composed, casting it in two different voices as a canon in two different keys. Surrounding the primary middle section are two mirrored sections using fragments of the tune through florid counterpoint.
Toccata in C- Johann Pachelbel (Postlude- 7:45 AM, 9:00 AM)
This was actually the first "real" organ piece I ever learned. As far as Pachelbel toccatas go, this one is about as straightforward as it gets. You will hear florid, complex passage work among the two hands, dancing on top of a foundational pedal tone.
Following the resurrection of the Savior of the world, joy had filled the world. Accompanying this joy was surprise, confusion, and in the case of Thomas, doubt. For in order for Thomas to accept that it was truly Jesus back from the dead, he would need to see the wounds in his hands, feet, and sides. Jesus grants the request and Thomas is convinced. Jesus then states that blessed are those who need not to see him and still believe.
HYMNS AND SONGS
That Easter Day With Joy Was Bright (Opening Hymn- 7:45 AM, 9:00 AM)
Stanza one of this ancient 5th century text summarizes the events of Easter morning within one tidy sentence. The great thing about the tune PUER NOBIS is that its succinct nature allows for a text which which is equally succinct and understandable.
Stanza two, for example, is a brief statement of faith and commitment that Christians all over the world could pray every day. One can imagine that the disciples said the same thing once they saw their resurrected Lord. Stanza three is a similar statement of faith.
Something interesting happens in the rhyme scheme of stanza four. In the first three stanzas, the rhyme scheme is a simple AABB. If you attempt to apply this formula to stanza four, you'll end up rhyming the word "give" with the word "alive." Obviously give and live rhyme when pronounced a certain way, but with a long "I" sound, it clearly ruins the scheme. This happens a lot when 19th century Englishmen either compose or translate a given hymn. Perhaps the word "alive" was pronounced differently in that time.
I already mentioned the tune, PUER NOBIS. It was adapted as a hymn by Michael Praetorius, who was a prolific composer of renaissance dance music. As such, I envision this tune much as a renaissance dance, with a joyful, lilting rhythm.
Behold, How Pleasant (Psalm- 7:45 AM, 9:00 AM)
Rather than doing a traditional chanting of a hymn this week, I thought it would be nice to switch it up and sing a joyful hymn instead.
Pablo Sosa is generally considered the father of Latin hymnody in America and the world over. Miren que Bueno is is Sosa's paraphrase of the first three verses of Psalm 133. Accompanying it is a characteristic Latin tune, complete with a jaunty, dance-like bass line. The addition of one or two authentic instruments makes the hymn really come alive. In Sosa's paraphrase, each of the verses use imagery from the psalm to describe the togetherness of God's people.
Alleluia! Christ Is Arisen (Hymn of the Day- 7:45 AM, 9:00 AM)
Keeping with the Latin theme, we have this incredible hymn of praise from Spanish composer Luis Bojos. Composed in 1974, this hymn is finally getting some recognition after being included in many of the newer hymnals.
Much like the first hymn today, the first three stanzas summarize what happened on Easter morning. The fourth addresses Doubting Thomas, who "won't believe unless (he) see(s)." Interestingly enough, the Thomas story doesn't really resolve itself. I feel like there should have been an extra stanza to provide resolution, but alas, this is still a remarkably joyous, praise filled hymn.
As joyous as it is, it is all the more ironic that it is cast in a minor key. While there are some exceptions, such as "Behold How Pleasant," some of the most joyous, enthusiastic tunes to come out of the Latin tradition are cast in minor keys. With the style of music, harmonic structure, and instruments used, the style is a perfect example of how minor keys need not to sound melancholy.
Blessing and Honor (Closing Hymn- 7:45 AM, Communion Hymn 9:00 AM)
This is one of those hymns where the full extent of the thought is not revealed in the title, but rather in line three of the first stanza. "Blessing and honor and glory and power, wisdom and riches and strength ever more, be to the Lamb who our battle has won." Those are certainly a lot of characteristics to be attributed to Jesus from us, but should there be any less?
To be completely honest, the Easter message throughout hymnody can eventually become diluted. So many of them have similar messages, and Blessing and Honor is no exception. You have earth and nature praising God (stanza two), our prayers ascending as the Lord descends (stanza three), and finally the contrast between dying and pain with rising and immortality (stanza four).
Draw Us In The Spirit's Tether (Communion Hymn- 9:00 AM)
Stanza one of this stunning text derives itself from Matthew 18:20... "Where two or three are gathered, God is also there." There is also a passing reference to the healing power of Jesus' clothing, such as the woman who laid her hands upon his robe was healed.
Stanza two ties the Last Supper to the way we take Communion today in remembrance of that. As the disciples were offered bread and wine by Jesus, we continue to be offered that same body and blood today weekly, and it brings us together closer as a community.
Much like Thomas and the rest of the disciples bore witness to the risen Christ, resulting in them being more faithful than ever as disciples, the closing stanza of this hymn inspires us to act as these disciples did and encourage us to live ever more strongly in the name of Christ.
INSTRUMENTAL MUSIC
Air and Canon on UNION SEMINARY- James Biery (Prelude- 7:45 AM, 9:00 AM)
James Biery was formerly Director of Music at the enormous Cathedral of St. Paul, in downtown St. Paul, MN. He has since moved on to Grosse Pointe Presbyterian Church in Michigan, where he continues to compose both choir and organ music. This solo organ version of the tune for "Draw Us In Thy Spirit's Tether" is brilliantly composed, casting it in two different voices as a canon in two different keys. Surrounding the primary middle section are two mirrored sections using fragments of the tune through florid counterpoint.
Toccata in C- Johann Pachelbel (Postlude- 7:45 AM, 9:00 AM)
This was actually the first "real" organ piece I ever learned. As far as Pachelbel toccatas go, this one is about as straightforward as it gets. You will hear florid, complex passage work among the two hands, dancing on top of a foundational pedal tone.
Thursday, April 5, 2012
Music Notes: April 8th, 2012
Easter Sunday
As I discussed with Chancel Choir Wednesday night, Easter is arguably the most important Sunday in the church year. It sounds like I'm stating the obvious when I say that, but when you really think of the grand scope of the occasion and the implications of it, both in the story of the Lectionary and the amount of people that arrive inside the four walls of this church on no other Sunday beside this one.
This is my fifth Easter as an employed Director of Music in the church. It is my first here at St. Paul's. In those five years across several denominations, I've learned several of the "rules" that are required for a successful Easter morning. The goal that I have continually worked towards for Easter morning is to not only satisfy the people that are there but one time a year (which is required), but to also feed the souls of those who are there every week who seek not only the Easter standards, but something deep and original to the Easter day. Throughout Music Notes today, I'll try to describe the balance that I have hoped to achieve.
HYMNS AND SONGS
Jesus Christ Has Risen Today (Opening Hymn- 7:00 AM, 9:00 AM)
Of course, this is the Easter standard of Easter standards, and interestingly enough, I really rebelled against doing it initially. While it is easy to think that I simply did that because I didn't want to use something so "popular," that really wasn't true. My initial rejection of it was based on purely musical reasons. First, as an organist, it is one of the most difficult hymns in the repertoire to play. It requires a lot of dexterity in the pedals, and it is very contrapuntal in nature. Secondly, it's not the easiest hymn to sing either. The third line of the melody reaches the high E, which is the absolute top note that should be contained in a hymn tune. Not only does it reach this top note, but it does so in one of the most uncomfortable ways possible, with it happening at the conclusion of a line when singers have expelled most of their breath.
All of these shortfalls aside, this hymn has become required repertoire on Easter morning for better or worse. Perhaps it is because of the rampant use of the word "Alleluia," which has been forbidden from the church lexicon for the last six weeks. Despite this being a rather "long" hymn by most standards, the primary reason for that is that half of the tune is taken up by Alleluias. The rest of the hymn is a joyful, accessible celebration of the events of Easter morning. Each stanza contains four lines with the rhyme scheme AABB. When read out loud with no music, skipping the alleluias, it sounds rather pedestrian. Interestingly enough, the "A" couplets in stanzas one and two refer to the resurrection, and the "B" couplets look back at the passion. In the final two stanzas, this organization is carefully reversed.
While the authors of both this text and tune are still relatively unknown today, there is no question that they have created something that will be truly immortal and everlasting.
Thine Is The Glory (Hymn of the Day- 7:00 AM, 9:00 AM)
By contrast to the first hymn, Thine Is The Glory, while still popular, contains what I believe to be a much deeper and more profound realization of the events of the Resurrection. Surrounding the refrain of, "Thine is the glory, risen conquering Son. Endless is the victory thou o'er death has won!" is an extremely strong message of hope and thankfulness. In stanza two, much like Mary and the disciples experienced, the experience of being face to face with Jesus is described. In gratefulness of this, we arise to sing hymns of praise throughout the entire church.
Interestingly enough, both the composers of the words and music of this hymn are well known, unlike our first one. The composer of the text was Edmund Budry, who lived in the early 20th century as a Swiss minister and author. The text was originally composed in French, and was later translated into the English version we all know. The text was set to a tune written over 150 years before by the great Baroque composer G.F. Handel. The tune was excerpted from the oratorio Judas Maccabeus, and today carries that title as its tune name. The tune is very march like, comprising mainly of tonic and dominant harmonies.
The Strife Is O'er, The Battle Done (Communion Hymn- 9:00 AM)
Once again, the word Alleluia permeates this entire hymn, comprising both the refrain and the conclusion of each stanza. The text of this hymn, though anonymous, contains countless references to scripture. For instance, in stanza one, the "victory of life" refers to the conflict between Jesus and the Devil referenced in Matthew 12:29. Stanza three is derived from the prophesies and realization of his own death through the gospels of Matthew, Mark, and Luke. In the concluding stanza, the "stripes" referred to are a reference to Isaiah 53:4-5.
This joyful tune that accompanies the text is arranged from a renaissance dance by G.P. da Palestrina, one of the masters of sacred music in the renaissance.
At The Lamb's High Feast We Sing (Communion Hymn- 7:45 AM, 9:00 AM)
This is a wonderful example of a communion hymn to be used on Easter. As we gather at the table of the Lord, we eat, drink, and celebrate the victory of Christ over death. We are washed clean in the blood spilled from the side on the cross.
With this focus on blood, verses two through four have more of an emphasis on the paschal blood, which gave birth to our wine, drowns the enemies, and accompanies the body of Christ in the form of our bread.
The final four stanzas focus mainly on the victory of resurrection. Like many of our other hymns today, this primarily focuses on victory, triumph, and power, with the implications that all of these have on us.
Christ Is Alive Let Christians Sing (Communion Hymn: 7:45 AM, 9:00 AM)
Personally, this happens to be my favorite Easter hymn (also appropriate for Advent). This was written in the late 1960's by Brian Wren, author of hundreds of hymns and one of the most powerful voices in 20th century hymnody. Unlike some of our previous hymns this Easter morning, Christ Is Alive takes the peril and triumph of Jesus and puts it in a context of our world today. For example, in stanza two we see that Christ is no longer bound to the stories of ancient years, but by the power of resurrection, we see him among us here and now, touching every place and time.
Other examples are in stanzas three and four, where we that despite factors like wealth and race divide us, Christ reaches through hatred and turmoil and shows us the way to love and peace.
This extraordinary text is suitable only for the greatest of tunes, and the tune TRURO fits that bill very well. Set in four distinct parts, this tune is majestic, triumphant, and most importantly, singable. It is symmetrical in nature, with the first phrase rising a whole octave and ending with the octave going down. What a wonderful conclusion to our Easter worship.
CHORAL ANTHEMS
Easter Morning, arr. Paul Christiansen (Prelude- 9:00 AM)
Paul Christiansen gives us a beautiful setting of the story where Mary and the disciples first see the resurrected Jesus, and he says "Peace be unto you." The narrative sections are composed in a very straightforward, recitative-like style, allowing the words to come to the forefront. A solo voice introduces the words of Jesus, and the entire choir enters homophonically with those famous words from John's Gospel. The piece ends as it started, with Mary telling the disciples that they had seen the Lord. This piece will lead directly to...
Christians To The Paschal Victim (Prelude, 9:00 AM)
This chant is nearing it's 1000th birthday. Generally being attributed to Wipo of Burgundy, composed in around 1050, it is one of the oldest pieces of music in our hymnal.
Verse one of the chant focuses primarily on the sacrifices exchanged, first by Jesus on the cross, and into our offerings and thanks for said sacrifice.
Verse two comprises another summary of the previous piece, where Mary and the disciples see the Lord resurrected, and the angels attest that he has risen to heaven.
The concluding stanza celebrates the new life we have obtained by the glory of the resurrection. This chant will be accompanied by the ringing of hand bells that additionally signify the splendor of the resurrection.
Easter Anthem- William Billings (Offering- 9:00 AM)
William Billings is widely regarded as the father of American choral music. Many of his songs and arrangements are still sung at Sacred Harp gatherings around the country. Not a trained musician, Billings' music was bold, harsh, and even his sacred music had large political, nationalistic overtones.
Easter Anthem is almost composed in the style of a Handelian chorus, only sung a capella. The colorful language and clever voicing all serves to glorify the message of the day, "The Lord has ris'n indeed! Hallelujah!"
INSTRUMENTAL MUSIC
Apparition de l'Église éternelle (Apparition of the Eternal Church)- Olivier Messiaen (Prelude- 7:00 AM, 9:00 AM)
Olivier Messiaen set a lot of standards in the early 20th century with his creative composition, particularly when writing for the organ. While known primarily for his secular compositions, his sacred pieces have a unique ability to portray their intended meanings.
In Apparition of the Eternal Church, we see a wonderful vision of the resurrection and ascension of Christ. Messiaen was noted as a sufferer of synesthesia, a disease which causes various senses of the brain to cross over each other. In Messiaen's case, he was able to see music in the form of colors. He described each chord and sonority having its own color. In particular, he described C major as being "bright white." This is evident in this piece, where it climaxes on a glorious C major chord in the highest reaches of the organ.
Christ is Alive!- David Cherwien (Postlude- 7:45 AM, 9:00 AM)
This is a brief, three part piece by the noted composer and church musician David Cherwien. Dr. Cherwien has expressed the fabulous tune TRURO in three different ways. The first is in a characteristic toccata-like presentation, with the tune in the pedals underneath rapid passagework in the hands. The second section is the longest, and features almost a fugue-like structure that travels through many unexpected keys. The final section is a triumphant, straightforward statement of the tune featuring alternate harmonies and a glorious ending that descends across the entire pedal board reminiscent of the finale to Vierne's first Organ Symphony.
****************
What a glorious morning of music we have here at St. Paul's. My hope is that everyone who attends will depart filled with the spirit of the resurrected Lord!
As I discussed with Chancel Choir Wednesday night, Easter is arguably the most important Sunday in the church year. It sounds like I'm stating the obvious when I say that, but when you really think of the grand scope of the occasion and the implications of it, both in the story of the Lectionary and the amount of people that arrive inside the four walls of this church on no other Sunday beside this one.
This is my fifth Easter as an employed Director of Music in the church. It is my first here at St. Paul's. In those five years across several denominations, I've learned several of the "rules" that are required for a successful Easter morning. The goal that I have continually worked towards for Easter morning is to not only satisfy the people that are there but one time a year (which is required), but to also feed the souls of those who are there every week who seek not only the Easter standards, but something deep and original to the Easter day. Throughout Music Notes today, I'll try to describe the balance that I have hoped to achieve.
HYMNS AND SONGS
Jesus Christ Has Risen Today (Opening Hymn- 7:00 AM, 9:00 AM)
Of course, this is the Easter standard of Easter standards, and interestingly enough, I really rebelled against doing it initially. While it is easy to think that I simply did that because I didn't want to use something so "popular," that really wasn't true. My initial rejection of it was based on purely musical reasons. First, as an organist, it is one of the most difficult hymns in the repertoire to play. It requires a lot of dexterity in the pedals, and it is very contrapuntal in nature. Secondly, it's not the easiest hymn to sing either. The third line of the melody reaches the high E, which is the absolute top note that should be contained in a hymn tune. Not only does it reach this top note, but it does so in one of the most uncomfortable ways possible, with it happening at the conclusion of a line when singers have expelled most of their breath.
All of these shortfalls aside, this hymn has become required repertoire on Easter morning for better or worse. Perhaps it is because of the rampant use of the word "Alleluia," which has been forbidden from the church lexicon for the last six weeks. Despite this being a rather "long" hymn by most standards, the primary reason for that is that half of the tune is taken up by Alleluias. The rest of the hymn is a joyful, accessible celebration of the events of Easter morning. Each stanza contains four lines with the rhyme scheme AABB. When read out loud with no music, skipping the alleluias, it sounds rather pedestrian. Interestingly enough, the "A" couplets in stanzas one and two refer to the resurrection, and the "B" couplets look back at the passion. In the final two stanzas, this organization is carefully reversed.
While the authors of both this text and tune are still relatively unknown today, there is no question that they have created something that will be truly immortal and everlasting.
Thine Is The Glory (Hymn of the Day- 7:00 AM, 9:00 AM)
By contrast to the first hymn, Thine Is The Glory, while still popular, contains what I believe to be a much deeper and more profound realization of the events of the Resurrection. Surrounding the refrain of, "Thine is the glory, risen conquering Son. Endless is the victory thou o'er death has won!" is an extremely strong message of hope and thankfulness. In stanza two, much like Mary and the disciples experienced, the experience of being face to face with Jesus is described. In gratefulness of this, we arise to sing hymns of praise throughout the entire church.
Interestingly enough, both the composers of the words and music of this hymn are well known, unlike our first one. The composer of the text was Edmund Budry, who lived in the early 20th century as a Swiss minister and author. The text was originally composed in French, and was later translated into the English version we all know. The text was set to a tune written over 150 years before by the great Baroque composer G.F. Handel. The tune was excerpted from the oratorio Judas Maccabeus, and today carries that title as its tune name. The tune is very march like, comprising mainly of tonic and dominant harmonies.
The Strife Is O'er, The Battle Done (Communion Hymn- 9:00 AM)
Once again, the word Alleluia permeates this entire hymn, comprising both the refrain and the conclusion of each stanza. The text of this hymn, though anonymous, contains countless references to scripture. For instance, in stanza one, the "victory of life" refers to the conflict between Jesus and the Devil referenced in Matthew 12:29. Stanza three is derived from the prophesies and realization of his own death through the gospels of Matthew, Mark, and Luke. In the concluding stanza, the "stripes" referred to are a reference to Isaiah 53:4-5.
This joyful tune that accompanies the text is arranged from a renaissance dance by G.P. da Palestrina, one of the masters of sacred music in the renaissance.
At The Lamb's High Feast We Sing (Communion Hymn- 7:45 AM, 9:00 AM)
This is a wonderful example of a communion hymn to be used on Easter. As we gather at the table of the Lord, we eat, drink, and celebrate the victory of Christ over death. We are washed clean in the blood spilled from the side on the cross.
With this focus on blood, verses two through four have more of an emphasis on the paschal blood, which gave birth to our wine, drowns the enemies, and accompanies the body of Christ in the form of our bread.
The final four stanzas focus mainly on the victory of resurrection. Like many of our other hymns today, this primarily focuses on victory, triumph, and power, with the implications that all of these have on us.
Christ Is Alive Let Christians Sing (Communion Hymn: 7:45 AM, 9:00 AM)
Personally, this happens to be my favorite Easter hymn (also appropriate for Advent). This was written in the late 1960's by Brian Wren, author of hundreds of hymns and one of the most powerful voices in 20th century hymnody. Unlike some of our previous hymns this Easter morning, Christ Is Alive takes the peril and triumph of Jesus and puts it in a context of our world today. For example, in stanza two we see that Christ is no longer bound to the stories of ancient years, but by the power of resurrection, we see him among us here and now, touching every place and time.
Other examples are in stanzas three and four, where we that despite factors like wealth and race divide us, Christ reaches through hatred and turmoil and shows us the way to love and peace.
This extraordinary text is suitable only for the greatest of tunes, and the tune TRURO fits that bill very well. Set in four distinct parts, this tune is majestic, triumphant, and most importantly, singable. It is symmetrical in nature, with the first phrase rising a whole octave and ending with the octave going down. What a wonderful conclusion to our Easter worship.
CHORAL ANTHEMS
Easter Morning, arr. Paul Christiansen (Prelude- 9:00 AM)
Paul Christiansen gives us a beautiful setting of the story where Mary and the disciples first see the resurrected Jesus, and he says "Peace be unto you." The narrative sections are composed in a very straightforward, recitative-like style, allowing the words to come to the forefront. A solo voice introduces the words of Jesus, and the entire choir enters homophonically with those famous words from John's Gospel. The piece ends as it started, with Mary telling the disciples that they had seen the Lord. This piece will lead directly to...
Christians To The Paschal Victim (Prelude, 9:00 AM)
This chant is nearing it's 1000th birthday. Generally being attributed to Wipo of Burgundy, composed in around 1050, it is one of the oldest pieces of music in our hymnal.
Verse one of the chant focuses primarily on the sacrifices exchanged, first by Jesus on the cross, and into our offerings and thanks for said sacrifice.
Verse two comprises another summary of the previous piece, where Mary and the disciples see the Lord resurrected, and the angels attest that he has risen to heaven.
The concluding stanza celebrates the new life we have obtained by the glory of the resurrection. This chant will be accompanied by the ringing of hand bells that additionally signify the splendor of the resurrection.
Easter Anthem- William Billings (Offering- 9:00 AM)
William Billings is widely regarded as the father of American choral music. Many of his songs and arrangements are still sung at Sacred Harp gatherings around the country. Not a trained musician, Billings' music was bold, harsh, and even his sacred music had large political, nationalistic overtones.
Easter Anthem is almost composed in the style of a Handelian chorus, only sung a capella. The colorful language and clever voicing all serves to glorify the message of the day, "The Lord has ris'n indeed! Hallelujah!"
INSTRUMENTAL MUSIC
Apparition de l'Église éternelle (Apparition of the Eternal Church)- Olivier Messiaen (Prelude- 7:00 AM, 9:00 AM)
Olivier Messiaen set a lot of standards in the early 20th century with his creative composition, particularly when writing for the organ. While known primarily for his secular compositions, his sacred pieces have a unique ability to portray their intended meanings.
In Apparition of the Eternal Church, we see a wonderful vision of the resurrection and ascension of Christ. Messiaen was noted as a sufferer of synesthesia, a disease which causes various senses of the brain to cross over each other. In Messiaen's case, he was able to see music in the form of colors. He described each chord and sonority having its own color. In particular, he described C major as being "bright white." This is evident in this piece, where it climaxes on a glorious C major chord in the highest reaches of the organ.
Christ is Alive!- David Cherwien (Postlude- 7:45 AM, 9:00 AM)
This is a brief, three part piece by the noted composer and church musician David Cherwien. Dr. Cherwien has expressed the fabulous tune TRURO in three different ways. The first is in a characteristic toccata-like presentation, with the tune in the pedals underneath rapid passagework in the hands. The second section is the longest, and features almost a fugue-like structure that travels through many unexpected keys. The final section is a triumphant, straightforward statement of the tune featuring alternate harmonies and a glorious ending that descends across the entire pedal board reminiscent of the finale to Vierne's first Organ Symphony.
****************
What a glorious morning of music we have here at St. Paul's. My hope is that everyone who attends will depart filled with the spirit of the resurrected Lord!
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