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.
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