Trinity Sunday
Last Sunday we celebrated the Feast of Pentecost, where the Holy Spirit originally descended on the Apostles of Christ. While we frequently hear from both Father and Son throughout all of scripture, the Holy Spirit makes far fewer appearances. The idea of the Trinity, however, is everywhere: in scripture, hymnody, liturgy, prayer, etc... Some theologians even argue that the Holy Trinity should not be given its dedicated Sunday, since it is so present in so many other elements of worship as well as the triune God being present in the sacraments.
Interestingly enough, the word "Trinity" never appears in the Bible. As I mentioned, it is perpetually present throughout scripture. In our Gospel reading this Sunday, Nicodemus comes to Jesus in the middle of the night and asks him some very important questions. Jesus explains that he was born from above, from water, and the Spirit. He also explains how the Spirit blows like the wind wherever it chooses. Our music this week attempts to clarify and express this energizing unity of Father, Son, and Holy Spirit.
HYMNS AND SONGS
Come Join The Dance Of Trinity (Opening Hymn- 9:00 AM)
"Energizing" was a word I used to describe the unity of Father, Son, and Holy Spirit. It is thus rather appropriate for the interweaving of these three elements to be in the form of a dance. The whole idea behind the opening of this hymn is that the joining of the three aspects of the Trinity in a cohesive dance brought form to the universe.
Stanza two makes a quick shift and brings the human aspect to the Trinity. The "face of Trinity" is of course Jesus, and the hymn contrasts his newborn face in Bethlehem with the bloody face at the crucifixion. It also makes the point that the Trinity is meant for the human aspect of us, and when it becomes confined through death, God (the first element) comes and rolls away the metaphorical stone, enabling us to rejoin the dance.
The third stanza references the Holy Spirit aspects of the Trinity. It looks back to Pentecost as a celebration of the Holy Spirit enabling people to tell the story of the Savior's name. The third line is very interesting... "We know the yoke of sin and death, our necks have worn it smooth." I believe this is referring to the entire journey through Lent. But once we are free of this yoke, we are free to move and able to share this good news with the world.
Like most Trinitarian hymns, this one concludes as it started, with a recapitulation of the first stanza, sharing many similar characteristics and messages.
Holy God, We Praise Your Name (Hymn of the Day- 9:00 AM)
Though it isn't directly alluded to in the "by-line" of the hymnal, this text is a translation and paraphrase of the Te Deum chant. The Te Deum laudamus is an ancient hymn of praise for the church, used primarily in the daily offices of the Catholic Church. More specifically, it is used at Matins, which is the service of Morning Prayer from the canonical hours (most Lutherans aren't familiar with those!!). While the text also is associated with a standard plainchant, only the text is used here; the tune is original, coming from the Katholisches Gasangbuch (Catholic songbook), published in Vienna in 1774.
There are two elements of this text that I would like to bring to the forefront. The first is the concluding stanza, where the primary Trinitarian message is contained. It says that though the names come in three parts, they are in essence one element, an "undivided God" that we worship and adore on bended knee, embracing the holy mystery of the Trinity.
The second doesn't necessarily relate to the Trinity itself, but rather to the entire field and future of church music. The conclusion of stanza three states, "And from morn to set of sun, through the church the song goes on." This is a message that I hold very close to my heart, and it gives me hope and motivation to ensure that the words and music of the church will be everlasting and never ending.
Holy, Holy, Holy, Lord God Almighty (Communion Hymn- 9:00 AM)
Unlike the rest of our hymns today, "Holy, Holy, Holy" was specifically written by Reginald Heber for Trinity Sunday. The three "holy"s are a direct reference to the mass ordinary text Sanctus, Sanctus, Sanctus, (which we sing every week during the Communion liturgy). They also reference Isaiah 6: 1-5, where the six-winged seraphim approach and proclaim the first lines of the Sanctus.
About fifty years after its composition, John Dykes wrote the tune now exclusively used for this hymn. It was named NICAEA, after the famed Council of Nicaea in the year 325, which was an ecumenical gathering of Christians arranged by Roman Emperor Constantine I. In addition to coming to a consensus on the Holy Trinity, they also established the first portion of what became to be known as the Nicene Creed, and set the formula for determining the date of Easter.
Mothering God, You Gave Me Birth (Communion Hymn- 9:00 AM)
This is one of the few hymns, especially in mainstream hymnals, that places the Holy Trinity in a female context. These beautiful words by Carolyn Jennings add credence that many of God's acts are in fact motherly in nature. In stanza one, God gives birth to us. In stanza two, Christ gives us his body and blood in the form of bread and wine, nourishing and sustaining us. Finally in stanza three, the Holy spirit holds us close and watches over us that we may grow into a God-loving people. All of these acts are things that a mother would do for their child.
Rise, O Church, Like Christ Arisen (Communion Hymn- 9:00 AM)
This post-Communion themed hymn is kind of in two part theologically. Composed in 1997 by a pair of Twin Cities-based church musicians, the bulk of the hymn consists of being sent out into the world after Communion, where "service (will be) our true vocation." At the conclusion of the hymn, separated by a pair of alleluias, is a Trinitarian statement spread across the first three verses. God is represented as "the wonder of our days," Christ is "our present, past, and goal," and the Spirit is the "grace by whom we live."
Through all of our music today, we see that the Holy Trinity is something that has life and vibrancy. God himself gave birth to life, Jesus was in fact alive, and Holy Spirit is portrayed a moving, living entity, going through the wind, water, and fire. The concluding line of this hymn contributes to this idea of life, with the phrase, "Rise, O church, a living faith."
INSTRUMENTAL MUSIC
Le Mystère de la Sainte Trinité- Olivier Messiaen (Prelude- 9:00 AM)
This piece by Messiaen translates as "The Mystery of the Holy Trinity" and comes from a larger set of pieces titled Les corps Glorieux (The Glorious Bodies). The piece has three voices (naturally), and each voice repeats its own melody three times (again, naturally). Since each phrase is a different length, they overlap with each other and start and stop at different times. For the record, the lowest voice in the pedals represents God, the middle voice (also the most prominent) represents Jesus, and the top voice (the fastest and most agile), represents the Holy Spirit.
Toccata on GROSSER GOTT- Flor Peeters (Postlude- 9:00 AM)
GROSSER GOTT is the German name of the tune that is now associated with the hymn "Holy God, We Praise Your Name." As is typical with many toccatas based on hymn tunes, the tune itself is presented in the pedal while the hands play rapid figurations over the top. In this case, the figuration is sixteenth notes, with the right hand playing the first, second, and fourth chord while the left hand plays the third as a chromatic chord, adding color and brilliance to the texture.
Thursday, May 31, 2012
Thursday, May 24, 2012
Music Notes: May 27th, 2012
Day of Pentecost
HYMNS AND SONGS
O Holy Spirit, Root of Life (Opening Hymn- 7:45 AM)
Pentecost texts are some of the oldest in the world. Hildegard of Bingen (1098(?)-1179) is significant for being not only one of the earliest, commonly known mainstream composers, but even more so that she was easily the most famous female composer working before 1600. Jean Janzen reworked one of Hildegard's many poems into this Pentecost text. One can still see influences of Hildegard's original text in the paraphrase, due to the nature imagery, metaphor, and strong descriptors that were characteristic of Hildegard's works.
The tune is only a little newer than the text, as it came into widespread sacred use in the late 16th century through the adaptation by Michael Praetorious. PUER NOBIS has gone on to become one of the most singable renaissance dance tunes in current use.
Gracious Spirit, Heed Our Pleading (Opening Hymn- 9:00 AM)
I touched on this briefly in my introduction. More specifically, this hymn was written as a hymn of unity in 1965, signifying the unification of Evangelical Lutheran Churches into one Church in Tanzania. Though the hymn was written for a specific occasion, it contains petitions that are applicable to the whole church at virtually any time.
Stanza one, for example, calls for our rebirth through the Holy Spirit. Through this rebirth, the hymn asks for strength and continual growth in stanza two. Stanzas three and four are very much based in academics. Our graduating seniors could and should take these words to heart, praying to God that their thinking and speaking in future academic endeavors be done with a Christ-like humility and compassion.
The tune was chosen by William Niwagila for his text, and comes from a Ugandan community. Interestingly enough, our four part harmonization in the ELW was created by Swedish composer Egil Hovland. Though a bit outside of what we normally see from him, it's a perfect harmony for four part singing, which we will sing a capella in worship this Sunday.
Spirit Of Gentleness (Hymn of the Day- 7:45 AM, 9:00 AM)
Pentecost normally conjures up the images of fire, a dramatic overtaking of the body by the Holy Spirit. As I mentioned, it could be a dramatic, shocking encounter. "Spirit of Gentleness," as you may guess by the title, focuses on the calmer aspects of the Holy Spirit. In the refrain, we hear a similar petition to that in the opening hymn. The Holy Spirit stirs us from placidness and gives us new life.
Each stanza places a significant event from Christian history into the concept of the Holy Spirit, indicating that it is an omniscient, omnipresent entity. Stanza one has themes of creation, two centers on the peril of Moses and the Israelites, three is Christ-focused, spanning from birth to death and beyond, and the concluding stanza finishes the hymn by quoting several scriptures related to the Day of Pentecost. The hymn is wonderfully crafted, and equally suited for either organ or piano leadership.
God Of Tempest, God Of Whirlwind (Communion Hymn- 7:45 AM)
By contrast to the Hymn of the Day, "God of Tempest, God of Whirlwind" depicts Pentecost as that dramatic, tempestuous event that we all associate with. With words like "tempest," "whirlwind," "blazing," "burning," "earthquake," and "thunder," there's no question in how this text depicts Pentecost.
This Herman Stuempfle hymn does a very similar thing to our opening hymn; it uses the Holy Spirit as a catalyst to send us out into the world and do good. It calls for us to branch out from our "sheltered comfort" and encourages us to do good not just inside the four walls of the church, but in the world at large. When we shake loose our lethargy and break the chains of sin, it enables us to set ourselves free in order to heal the earth.
This strong text is accompanied by an equally strong tune. The 19th century Welsh tune CWM RHONNDA is most commonly associated with the hymn "God of Grace and God Of Glory," but is equally appropriate for this strong Pentecostal text.
Now The Silence (Communion Hymn- 9:00 AM)
In the past, I've mentioned "Thine The Amen, Thine The Praise" as being a "stream of consciousness" hymn. There may a central idea, but its contents are seemingly randomized and thought up on the fly as though someone were just rambling. "Now the Silence" by Jerry Vajda has similar characteristics with the central theme of the Eucharist. It starts with the prayers of intercession, words of institution, the Eucharist itself, the combining of the elements inside us (compared to a wedding), concluding with one of the more obscure and profound Trinitarian statements.
The tune is both characteristic and unique for Carl Schalk. Schalk tunes are typically comprised of flowing quarter notes and modulating melodies. This tune modulates, but instead is comprised of quarter/eighth note couplets. Taken at a certain tempo, the tune certainly has a "drinking song" quality to it, but the appropriate tempo is slower, in order to enhance the clarity of this intriguing text.
Spirit of God, Descend Upon My Heart (Communion Hymn- 9:00 AM)
What an intriguing set of verses this is. Particularly stanza two... it may be one of the most humble, respectful requests for God's guidance I've ever come across. We ask for God to make himself known, but we want to make sure that he doesn't work too hard to do so. We don't need prophets, the rending of the veil of clay, or angel visitors to take the dimness of our souls away, but rather just the Love of God, which we always have.
The tune here is about as characteristic as a 19th century hymn tune can be. Homophonic structure, square phrases, and characteristic harmonic movement makes this arrangement a classic example of late classical, early romantic part writing.
Now To The Holy Spirit Let Us Pray (Communion Hymn- 9:00 AM)
While not known very well by most worshipers, this Martin Luther leise translation may be one of his most famous going all the way back to the 16th century. Only the first stanza is attributed to Luther, the rest were compiled from other unknown sources.
In characteristic Luther style, the words are joyful, uplifting, and catechetical. They are set to a German tune arranged by Johann Walter, a prolific writer of chorales in the 16th century. While the third and fourth lines may be initially difficult to negotiate, it has a wonderful, dance-like quality and affirms the sending, committal nature of the text.
CHORAL ANTHEM
Gracious Spirit, Dwell With Me- K. Lee Scott (Offering- 9:00 AM)
Several composers have set this text and tune combination, but K. Lee Scott's setting is probably the most well known and widely performed. This is likely due to its deceptive simplicity, it's singable, two part structure, and accessible organ part.
The piece follows the standard unison, women, men formula, with the final stanza being cast in a two part canon. Several facets of this piece use the text and music cohesively to great effect. The lowered seventh in the organ part on the word "tenderly," do in fact create a very tender sound. In addition, the aforementioned two part canon comes together to unison on the text "'Gainst all weapons hell can wield be thou my strength and shield," a very powerful petition.
INSTRUMENTAL MUSIC
Veni Creator Spiritus- Libby Larsen (Prelude- 7:45 AM, 9:00 AM)
This is one of my favorite organ pieces. Libby Larsen, Minnesota composer, has crafted this plainchant into a beautiful organ prelude. At a contrast to the smoothly moving plainchant are the sixteenth note passages over the top. The quietly moving scales and arpeggios throughout the piece are evocative of the Holy Spirit. The composition and organization of the piece are custom made for the organ, and is a beautiful representation of the instrument.
Three Choral Preludes on Pentecost Hymns- J.S. Bach (Postlude- 7:45 AM, 9:00 AM)
The first two of these preludes are based on Veni, Sancte Spiritus (or Veni Creator Spiritus) which was transformed by Martin Luther into Komm, Schopfer Gott. The first is a canon tune with the melody in the soprano and bass respectively, and the second is in more of a toccata style, with the tune in the pedal underneath a florid running counterpoint.
The final piece is a fughetta based on NUN BITTEN WIR (Now To The Holy Spirit). The piece will be performed twice, once as written, and again with baroque ornamentation and enhancements.
The colorful, exciting story of the first Pentecost will be
told again this Sunday. Some may be
hearing it for the first time. Others
may have heard it many times, but there is a good chance they might pick up on
something they have never heard before. The
reading from Acts where the worshipers speak in tongues is intriguing,
dramatic, and certainly shocking for those who were present.
How would we react to the Holy Spirit enveloping us? Would we fall in a heap and begin babbling
incoherently? It is certainly a violent,
emotional reaction.
Interestingly enough, the Gospel reading for this Sunday is
quite a bit more reserved. Where he hear
of the direct presence of the Holy Spirit in Acts, in the Gospel we hear Jesus
merely telling of the Holy Spirit which would soon be sent. While it is coming and not in fact here,
Jesus certainly elevates its importance, where he says, “I still have many
things to say to you, but you cannot bear them now. When the spirit of truth comes, he will guide
you into all the truth.”
It’s certainly mysterious and thought provoking. Has this prophecy, as it were, been fulfilled
yet? Has the Holy Spirit guided us to
the truth yet? How will we know when it
happens? People claim all the time that
they have been visited by the Holy Spirit. They give their own prophesies,
their own messages, their own warnings.
The majority of times, these people are shunned by society.
It’s an interesting paradox that isn’t exactly fit to be
discussed here. However, it can be
difficult to refute the feeling one feels of the Holy Spirit when singing in
church. The feeling of dozens or
hundreds of voices joining together in song is described as spirit-filled by
many worshipers. In the last 10 years,
and particularly with the birth of the ELW hymnal, we have been blessed with
music of many languages and cultures.
Our opening hymn this week, Gracious Spirit, Heed Our Pleading, was
originally Swahili, a Bantu language spoken from Kenya to Mozambique. Though we are not singing the original Swahili
this Sunday, the characteristics of the language and culture are alive in the
music from the same source.
This recent emergence of world music could easily be the
result of new energy brought on by the Holy Spirit. It is impossible to tell whether the changing
culture of church tradition is a fad not meant to last, or in fact the influx
of a new energy inspiring us to move in new directions.
Jesus promised us answers, but gave us no details of the
arrival of them. But we do know that he
has promised to send us the Holy Spirit for guidance. And he promised the spirit would be united
with himself and the Holy Father, forming the Trinity which we will celebrate
next week on Holy Trinity Sunday.
HYMNS AND SONGS
O Holy Spirit, Root of Life (Opening Hymn- 7:45 AM)
Pentecost texts are some of the oldest in the world. Hildegard of Bingen (1098(?)-1179) is significant for being not only one of the earliest, commonly known mainstream composers, but even more so that she was easily the most famous female composer working before 1600. Jean Janzen reworked one of Hildegard's many poems into this Pentecost text. One can still see influences of Hildegard's original text in the paraphrase, due to the nature imagery, metaphor, and strong descriptors that were characteristic of Hildegard's works.
The tune is only a little newer than the text, as it came into widespread sacred use in the late 16th century through the adaptation by Michael Praetorious. PUER NOBIS has gone on to become one of the most singable renaissance dance tunes in current use.
Gracious Spirit, Heed Our Pleading (Opening Hymn- 9:00 AM)
I touched on this briefly in my introduction. More specifically, this hymn was written as a hymn of unity in 1965, signifying the unification of Evangelical Lutheran Churches into one Church in Tanzania. Though the hymn was written for a specific occasion, it contains petitions that are applicable to the whole church at virtually any time.
Stanza one, for example, calls for our rebirth through the Holy Spirit. Through this rebirth, the hymn asks for strength and continual growth in stanza two. Stanzas three and four are very much based in academics. Our graduating seniors could and should take these words to heart, praying to God that their thinking and speaking in future academic endeavors be done with a Christ-like humility and compassion.
The tune was chosen by William Niwagila for his text, and comes from a Ugandan community. Interestingly enough, our four part harmonization in the ELW was created by Swedish composer Egil Hovland. Though a bit outside of what we normally see from him, it's a perfect harmony for four part singing, which we will sing a capella in worship this Sunday.
Spirit Of Gentleness (Hymn of the Day- 7:45 AM, 9:00 AM)
Pentecost normally conjures up the images of fire, a dramatic overtaking of the body by the Holy Spirit. As I mentioned, it could be a dramatic, shocking encounter. "Spirit of Gentleness," as you may guess by the title, focuses on the calmer aspects of the Holy Spirit. In the refrain, we hear a similar petition to that in the opening hymn. The Holy Spirit stirs us from placidness and gives us new life.
Each stanza places a significant event from Christian history into the concept of the Holy Spirit, indicating that it is an omniscient, omnipresent entity. Stanza one has themes of creation, two centers on the peril of Moses and the Israelites, three is Christ-focused, spanning from birth to death and beyond, and the concluding stanza finishes the hymn by quoting several scriptures related to the Day of Pentecost. The hymn is wonderfully crafted, and equally suited for either organ or piano leadership.
God Of Tempest, God Of Whirlwind (Communion Hymn- 7:45 AM)
By contrast to the Hymn of the Day, "God of Tempest, God of Whirlwind" depicts Pentecost as that dramatic, tempestuous event that we all associate with. With words like "tempest," "whirlwind," "blazing," "burning," "earthquake," and "thunder," there's no question in how this text depicts Pentecost.
This Herman Stuempfle hymn does a very similar thing to our opening hymn; it uses the Holy Spirit as a catalyst to send us out into the world and do good. It calls for us to branch out from our "sheltered comfort" and encourages us to do good not just inside the four walls of the church, but in the world at large. When we shake loose our lethargy and break the chains of sin, it enables us to set ourselves free in order to heal the earth.
This strong text is accompanied by an equally strong tune. The 19th century Welsh tune CWM RHONNDA is most commonly associated with the hymn "God of Grace and God Of Glory," but is equally appropriate for this strong Pentecostal text.
Now The Silence (Communion Hymn- 9:00 AM)
In the past, I've mentioned "Thine The Amen, Thine The Praise" as being a "stream of consciousness" hymn. There may a central idea, but its contents are seemingly randomized and thought up on the fly as though someone were just rambling. "Now the Silence" by Jerry Vajda has similar characteristics with the central theme of the Eucharist. It starts with the prayers of intercession, words of institution, the Eucharist itself, the combining of the elements inside us (compared to a wedding), concluding with one of the more obscure and profound Trinitarian statements.
The tune is both characteristic and unique for Carl Schalk. Schalk tunes are typically comprised of flowing quarter notes and modulating melodies. This tune modulates, but instead is comprised of quarter/eighth note couplets. Taken at a certain tempo, the tune certainly has a "drinking song" quality to it, but the appropriate tempo is slower, in order to enhance the clarity of this intriguing text.
Spirit of God, Descend Upon My Heart (Communion Hymn- 9:00 AM)
What an intriguing set of verses this is. Particularly stanza two... it may be one of the most humble, respectful requests for God's guidance I've ever come across. We ask for God to make himself known, but we want to make sure that he doesn't work too hard to do so. We don't need prophets, the rending of the veil of clay, or angel visitors to take the dimness of our souls away, but rather just the Love of God, which we always have.
The tune here is about as characteristic as a 19th century hymn tune can be. Homophonic structure, square phrases, and characteristic harmonic movement makes this arrangement a classic example of late classical, early romantic part writing.
Now To The Holy Spirit Let Us Pray (Communion Hymn- 9:00 AM)
While not known very well by most worshipers, this Martin Luther leise translation may be one of his most famous going all the way back to the 16th century. Only the first stanza is attributed to Luther, the rest were compiled from other unknown sources.
In characteristic Luther style, the words are joyful, uplifting, and catechetical. They are set to a German tune arranged by Johann Walter, a prolific writer of chorales in the 16th century. While the third and fourth lines may be initially difficult to negotiate, it has a wonderful, dance-like quality and affirms the sending, committal nature of the text.
CHORAL ANTHEM
Gracious Spirit, Dwell With Me- K. Lee Scott (Offering- 9:00 AM)
Several composers have set this text and tune combination, but K. Lee Scott's setting is probably the most well known and widely performed. This is likely due to its deceptive simplicity, it's singable, two part structure, and accessible organ part.
The piece follows the standard unison, women, men formula, with the final stanza being cast in a two part canon. Several facets of this piece use the text and music cohesively to great effect. The lowered seventh in the organ part on the word "tenderly," do in fact create a very tender sound. In addition, the aforementioned two part canon comes together to unison on the text "'Gainst all weapons hell can wield be thou my strength and shield," a very powerful petition.
INSTRUMENTAL MUSIC
Veni Creator Spiritus- Libby Larsen (Prelude- 7:45 AM, 9:00 AM)
This is one of my favorite organ pieces. Libby Larsen, Minnesota composer, has crafted this plainchant into a beautiful organ prelude. At a contrast to the smoothly moving plainchant are the sixteenth note passages over the top. The quietly moving scales and arpeggios throughout the piece are evocative of the Holy Spirit. The composition and organization of the piece are custom made for the organ, and is a beautiful representation of the instrument.
Three Choral Preludes on Pentecost Hymns- J.S. Bach (Postlude- 7:45 AM, 9:00 AM)
The first two of these preludes are based on Veni, Sancte Spiritus (or Veni Creator Spiritus) which was transformed by Martin Luther into Komm, Schopfer Gott. The first is a canon tune with the melody in the soprano and bass respectively, and the second is in more of a toccata style, with the tune in the pedal underneath a florid running counterpoint.
The final piece is a fughetta based on NUN BITTEN WIR (Now To The Holy Spirit). The piece will be performed twice, once as written, and again with baroque ornamentation and enhancements.
Thursday, May 17, 2012
Music Notes: May 20th, 2012
Seventh Sunday Of Easter
In our Gospel reading this week, we again see a flashback to Jesus before his arrest. The Gospel presents a rare, intimate look at Jesus' words. Rather than speaking to his disciples, this reading is a prayer which Jesus shares directly with God. The prayer can be summed up with verse ten: "All mine are yours, and yours are mine, and I have been glorified in them."
Near the end of the prayer, Jesus asks the Holy Father to watch over his disciples, just as he has watched over him. This transitions nicely into another important event we are celebrating today, which is the recognition of our graduating seniors. As such, much of our music today is on this theme as well, with texts that will inspire and uplift our seniors, filled with messages that will send them into the world with confidence and faith in the Lord.
HYMNS AND SONGS
O Holy Spirit, Enter In (Opening Hymn: 7:45 AM, 9:00 AM)
While most people will associate the Philip Nicolai tune WIE SCHÖN LEUCHTET with his original text, "O Morning Star, How Fair And Bright," this text, which was composed about 100 years later, is equally suitable and adaptable to the German chorale.
Relating to the Holy Spirit, one might think that this text is more suitable for next week when we celebrate the feast of Pentecost. As is the case with many hymns however, the true meaning is not found in the first line, but rather in what follows. "O Holy Spirit, enter in, and in our hearts your work begin, and make our hearts your dwelling."
At its core, this hymn is doing what Jesus did in his prayer. It asks God to reveal himself in us so that through the strength, we can go out into the world and do God's good work. Stanza two, in particular, is appropriate for our grads. It hearkens Phillipians 4:13- "I can do all things through Christ who strengthens me."
You Are Mine (Hymn Of The Day: 7:45 AM, 9:00 AM)
While the music of David Haas may be familiar to those who attend St. Paul's REJOICE service, many of his songs are equally suitable for "traditional" worship as well. "You Are Mine," is likely his most well known ELW hymn.
Like several of John Ylvisaker's songs, Haas takes a bold step and puts the words and speech of God on to the page. When sung by the congregation, it creates a wonderful dichotomy of the people being both the receiver and the surrogate deliverer of the message. The message could very well be God's response to Jesus' prayer in our Gospel reading. Through David Hass's words, we see that God is always with us, and we should not be afraid, for he has called us each by name, and we are his. Few hymns can be accepted as both being individual and corporate, but this is equally applicable to both "me" and "us."
Let Us Break Bread Together (Communion Hymn: 9:00 AM)
Like other African American spirituals, this song is largely associated with the Underground Railroad, and will forever entail the ideals of community, fellowship, support, and togetherness as they escaped from the bonds of slavery. Scripturally based on Acts 2:42, it contains some of the most important characteristics of African American spirituals. Most notably, the repetitive structure of the stanzas and the sense of reverence, respect, and what I call "despondent joy" (being down but having hope), are present here.
Like other songs from this tradition, there is no known author or composer of this song. More than likely, it was probably sung spontaneously by someone on the road or in a field, and spread from there, changing and morphing until it became part of the lexicon. Interestingly, it is possibly the only spiritual that directly references the Eucharist. Most slaves, if they attended church at all, typically attended a Protestant church, where the Eucharist wasn't usually celebrated in the early to mid 19th century.
Children Of The Heavenly Father (Communion Hymn: 7:45 AM, 9:00 AM)
With hymns such as "Children of the Heavenly Father," and "Day By Day," Lina Sandell has placed herself into the hearts of Christian worshipers young and old, creating two of the most timeless, relatable texts in all of hymnody.
Though Sandell penned these texts, they may not have been successful and widely known if it weren't for the Swedish troubador Oskar Ahnfelt. He traveled through both Sweden and Norway with a 10-string guitar, singing Sandell's hymns and sharing his ministries. He was even endorsed by Swedish King Karl XV, who declared that these songs should be shared throughout the entire kingdom. He later assisted in the publishing of Sandell's texts, which paved the way for them to be included in hymnals throughout the world.
How Clear Is Our Vocation, Lord (Communion Hymn: 9:00 AM)
Fred Pratt Green, who died in 2000, was a British Methodist hymn writer and theologian. Many of his hymns address social issues and themes, and this one is no different. Like much of our other music today, this hymn is directed towards our graduating seniors. The hymn asks them and all of us to live according to the Word of God, which is the "vocation" spoken of in the first line.
Stanza two warns us of the consequences if we forget or cease to follow this Word. Should we become overwhelmed with the daily struggles of life, we need only to look after our inner spiritual life to help us through the troubling times.
The concluding stanza brings the true message of the hymn to the forefront again, solidifying the need to follow God's will and example through all of life.
CHORAL ANTHEM
With A Voice Of Singing- Kenneth Jennings (Offering- 9:00 AM)
This text is perhaps best known in the setting by Martin Shaw. It has been performed by church choirs nationwide for years and years, and is the standard of the repertoire. This text, based on Isaiah 48:20, was later set by Kenneth Jennings. In a three part ABA format, the beginning and ending portions are set to the title text. Its shifting time signatures and wide voicings serve to demonstrate the joy of the text. The middle section, set in the style of a plainchant, uses the text of the doxology.
INSTRUMENTAL MUSIC
Prelude and Fugue in D- Franz Xaver Murschhauser (Prelude- 7:45 AM, 9:00 AM)
Murschhauser is not nearly as well known as two of his contemporaries, Johann Pachelbel and J.S. Bach. And while his impact on music history is not as large, he still holds a valid place in time. A skilled organist, his main area of interest was in the study of music theory, of which he was decidedly "old-school." His two treatises, published in the late 17th century, hold strongly to musical ideals of the past, while choosing not to embrace the new Italian style of soaring melody and opera-style composition.
The Prelude and Fugue in D is decidedly old fashioned, but as to be expected, is very well crafted and laid out in organized, logical patterns.
Toccata in F- Franz Xaver Murschhauser (Postlude- 7:45 AM, 9:00 AM)
Much like his Prelude and Fugue, this Toccata is very organized and clean. Unlike some of Pachelbel's toccatas, this toccata is organized more around harmonic structure and ornamented phrases, rather than florid counterpoint over a pedal tone. The music of Murschhauser has a wonderful amount of potential, and I am very happy to have discovered it.
In our Gospel reading this week, we again see a flashback to Jesus before his arrest. The Gospel presents a rare, intimate look at Jesus' words. Rather than speaking to his disciples, this reading is a prayer which Jesus shares directly with God. The prayer can be summed up with verse ten: "All mine are yours, and yours are mine, and I have been glorified in them."
Near the end of the prayer, Jesus asks the Holy Father to watch over his disciples, just as he has watched over him. This transitions nicely into another important event we are celebrating today, which is the recognition of our graduating seniors. As such, much of our music today is on this theme as well, with texts that will inspire and uplift our seniors, filled with messages that will send them into the world with confidence and faith in the Lord.
HYMNS AND SONGS
O Holy Spirit, Enter In (Opening Hymn: 7:45 AM, 9:00 AM)
While most people will associate the Philip Nicolai tune WIE SCHÖN LEUCHTET with his original text, "O Morning Star, How Fair And Bright," this text, which was composed about 100 years later, is equally suitable and adaptable to the German chorale.
Relating to the Holy Spirit, one might think that this text is more suitable for next week when we celebrate the feast of Pentecost. As is the case with many hymns however, the true meaning is not found in the first line, but rather in what follows. "O Holy Spirit, enter in, and in our hearts your work begin, and make our hearts your dwelling."
At its core, this hymn is doing what Jesus did in his prayer. It asks God to reveal himself in us so that through the strength, we can go out into the world and do God's good work. Stanza two, in particular, is appropriate for our grads. It hearkens Phillipians 4:13- "I can do all things through Christ who strengthens me."
You Are Mine (Hymn Of The Day: 7:45 AM, 9:00 AM)
While the music of David Haas may be familiar to those who attend St. Paul's REJOICE service, many of his songs are equally suitable for "traditional" worship as well. "You Are Mine," is likely his most well known ELW hymn.
Like several of John Ylvisaker's songs, Haas takes a bold step and puts the words and speech of God on to the page. When sung by the congregation, it creates a wonderful dichotomy of the people being both the receiver and the surrogate deliverer of the message. The message could very well be God's response to Jesus' prayer in our Gospel reading. Through David Hass's words, we see that God is always with us, and we should not be afraid, for he has called us each by name, and we are his. Few hymns can be accepted as both being individual and corporate, but this is equally applicable to both "me" and "us."
Let Us Break Bread Together (Communion Hymn: 9:00 AM)
Like other African American spirituals, this song is largely associated with the Underground Railroad, and will forever entail the ideals of community, fellowship, support, and togetherness as they escaped from the bonds of slavery. Scripturally based on Acts 2:42, it contains some of the most important characteristics of African American spirituals. Most notably, the repetitive structure of the stanzas and the sense of reverence, respect, and what I call "despondent joy" (being down but having hope), are present here.
Like other songs from this tradition, there is no known author or composer of this song. More than likely, it was probably sung spontaneously by someone on the road or in a field, and spread from there, changing and morphing until it became part of the lexicon. Interestingly, it is possibly the only spiritual that directly references the Eucharist. Most slaves, if they attended church at all, typically attended a Protestant church, where the Eucharist wasn't usually celebrated in the early to mid 19th century.
Children Of The Heavenly Father (Communion Hymn: 7:45 AM, 9:00 AM)
With hymns such as "Children of the Heavenly Father," and "Day By Day," Lina Sandell has placed herself into the hearts of Christian worshipers young and old, creating two of the most timeless, relatable texts in all of hymnody.
Though Sandell penned these texts, they may not have been successful and widely known if it weren't for the Swedish troubador Oskar Ahnfelt. He traveled through both Sweden and Norway with a 10-string guitar, singing Sandell's hymns and sharing his ministries. He was even endorsed by Swedish King Karl XV, who declared that these songs should be shared throughout the entire kingdom. He later assisted in the publishing of Sandell's texts, which paved the way for them to be included in hymnals throughout the world.
How Clear Is Our Vocation, Lord (Communion Hymn: 9:00 AM)
Fred Pratt Green, who died in 2000, was a British Methodist hymn writer and theologian. Many of his hymns address social issues and themes, and this one is no different. Like much of our other music today, this hymn is directed towards our graduating seniors. The hymn asks them and all of us to live according to the Word of God, which is the "vocation" spoken of in the first line.
Stanza two warns us of the consequences if we forget or cease to follow this Word. Should we become overwhelmed with the daily struggles of life, we need only to look after our inner spiritual life to help us through the troubling times.
The concluding stanza brings the true message of the hymn to the forefront again, solidifying the need to follow God's will and example through all of life.
CHORAL ANTHEM
With A Voice Of Singing- Kenneth Jennings (Offering- 9:00 AM)
This text is perhaps best known in the setting by Martin Shaw. It has been performed by church choirs nationwide for years and years, and is the standard of the repertoire. This text, based on Isaiah 48:20, was later set by Kenneth Jennings. In a three part ABA format, the beginning and ending portions are set to the title text. Its shifting time signatures and wide voicings serve to demonstrate the joy of the text. The middle section, set in the style of a plainchant, uses the text of the doxology.
INSTRUMENTAL MUSIC
Prelude and Fugue in D- Franz Xaver Murschhauser (Prelude- 7:45 AM, 9:00 AM)
Murschhauser is not nearly as well known as two of his contemporaries, Johann Pachelbel and J.S. Bach. And while his impact on music history is not as large, he still holds a valid place in time. A skilled organist, his main area of interest was in the study of music theory, of which he was decidedly "old-school." His two treatises, published in the late 17th century, hold strongly to musical ideals of the past, while choosing not to embrace the new Italian style of soaring melody and opera-style composition.
The Prelude and Fugue in D is decidedly old fashioned, but as to be expected, is very well crafted and laid out in organized, logical patterns.
Toccata in F- Franz Xaver Murschhauser (Postlude- 7:45 AM, 9:00 AM)
Much like his Prelude and Fugue, this Toccata is very organized and clean. Unlike some of Pachelbel's toccatas, this toccata is organized more around harmonic structure and ornamented phrases, rather than florid counterpoint over a pedal tone. The music of Murschhauser has a wonderful amount of potential, and I am very happy to have discovered it.
Thursday, May 10, 2012
Music Notes: May 13th, 2012
Sixth Sunday Of Easter
First of all, Happy Mother's Day to all the mothers out there, including my own! We are going up to see her immediately after church. Her health has not been good lately, and any prayers towards her would be very much appreciated.
This week, the lectionary continues to look back on events that occurred before Easter. The night before Jesus is arrested, he gives a powerful, love-based speech to his disciples, which include the famous line, "Love one another as I have loved you."
Love is such a powerful emotion. It fits beautifully for this Sunday; a love of a mother for her child is rarely surpassed in this world. God is frequently referred to as "father," throughout history, but also has motherly characteristics as well. Carolyn Jennings points several of these characteristics out in her beautiful hymn, "Mothering God, You Gave Me Birth (see ELW 735)." Our music this Sunday comments on these feelings of love and faith, all while still rejoicing in the resurrection.
HYMNS AND SONGS
Now All The Vault Of Heaven Resounds (Opening Hymn: 7:45 AM, 9:00 AM)
Set to the glorious tune LASST UNS ERFREUEN is this wonderful, triumphant Easter text. The love of God is evident in the first line as the vault of heaven resounds "in praise of love that still abounds." Jesus' sacrifice to crucifixion was truly the ultimate act of love, for one must love another, all of us, with a depth that is incomprehensible in order to sacrifice themselves in such a manner.
In stanza three, the hymn writer puts a request in our voices for just a sliver of love that Jesus had, and through his triumph, may we truly feel the love of God in our hearts throughout our day. The hymn concludes with a Trinitarian statement of faith and thanksgiving for the resurrection.
Where True Charity and Love Abide (Hymn of the Day: 9:00 AM)
Ubi caritas et amor, Deus ibi est. This brief Latin phrase, which originated during the 9th century, has an incredibly important history through the words and music of the church. Its first line is roughly translated, "Where (there is) charity and love, God is there." In its purest form, it is traditionally used as an antiphon on Maundy Thursday. How appropriate, as it reflects on the love Jesus showed for his disciples while washing their feet.
While the Ubi Caritas has been set by many choral composers, the most well-known setting is by French composer Maurice Durufle. Durufle's setting uses both the refrain and first verse, set to the Gregorian chant.
What we sing this morning is very similar. This chant, cast in the 6th of the plainsong modes, contains mainly stepwise motion and is beautifully singable. While the English translation is not as elegant as the original Latin, the deficiencies in the syllabic underlay can be overlooked due to the beauty of its words.
Our wonderful St. Paul's Chancel Choir will lead this hymn by singing the refrain in the original tongue, with the congregation joining on the English verses.
Blest Be The Tie That Binds (Hymn of the Day- 7:45 AM, Communion Hymn- 9:00 AM)
If you are a frequent partaker in the theater, you may know that this hymn plays a very crucial part in Thornton Wilder's Pulitzer Prize winning play, Our Town. The words certainly are reflective of a small community with close ties.
John Fawcett, the author of this text, was a British pastor and theologian. The story behind this hymn is both interesting and inspiring. Pastor Fawcett was a much loved pastor in the very small English town of Wainsgate. He had a growing family and his meager salary was hardly sufficient for supporting them. In 1772 he received a call to one of the largest Baptist churches in London, and chose to accept. However, the reaction to his leaving was so strong and fervent that he elected to stay. In commemoration of this, he crafted this hymn, whose first stanza reads,
"Blest be the tie that binds our hearts in Christian love. The unity of heart and mind is like to that above." It has gone on to become one of the paramount hymns of Christian love and unity.
What A Friend We Have In Jesus (Communion Hymn: 9:00 AM)
Appropriate for this Mother's Day Sunday, Joseph Scriven composed this poem for his mother when he was separated from her after leaving his native Ireland for Canada. It was later published anonymously, and Scriven did not receive acknowledgment for it until six years before his death (25 years after he composed it).
The Lutheran church was hesitant to adopt this hymn for their hymnal in the early 20th century. In the Handbook to the Lutheran Hymnal, composed in 1941, it was said that in spite of this hymn being too sentimental or in the gospel style, its popularity remains strong and deserves a place in modern hymnals.
Jesus Loves Me (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
If you ask anyone, whether they go to church or not, to name any five hymns in the world, there is a good chance "Jesus Loves Me" will be one of them. The original hymn by Anna Warner was comprised of seven stanzas, three main ones which are still used today. The poem originally comes from a novel titled Say and Seal, and was adapted to a tune by American musician William Bradbury. The hymn was reportedly first sung to a sick, dying child. This hymn has gone on to become widely used with children.
Of course, this is also a beautiful manifestation of our Gospel reading. For us, it is a recognition that we understand the love that God has given to us and for us. Only by recognizing that can we begin to comprehend the power of love we can have for God and each other.
CHORAL ANTHEM
Thine The Amen, Thine The Praise- Carl Schalk (Offering: 9:00 AM)
I've spoken of "stream of consciousness" hymns before, and this is another fine example of one. By "stream of consciousness," I mean a flood of theological concepts and ideas that unfurl as a seemingly endless river of statements. Through five stanzas, this hymn certainly embodies that.
The arrangement is a standard of Carl Schalk, with the verses sung by the women, men, in harmony, in unison, and with a descant. Accompanying with the "stream of consciousness" idea, the organ accompaniment never really stops or "breathes," which supports the idea that this style of texts truly never begins or ends, but is continually flowing through us.
INSTRUMENTAL MUSIC
Aria- Paul Manz, arr. Jeffrey Honore (Bells of Praise; Prelude: 7:45 AM, 9:00 AM)
Paul Manz will forever be known as one of the most loved, most talented leaders of congregational song we have ever been blessed with. Most of his organ music was hymn-based in the form of improvisations, but his Aria in C minor has risen through the ranks and become one of his most loved pieces.
This handbell arrangement by Jeffrey Honore captures the essence of the organ piece quite well. While there is the inability to vary registration with the bells, they contain their own percussive quality which suits the forward motion of the piece quite well.
Joy and Elation- Cynthia Dobrinski (Bells of Praise; Postlude: 7:45 AM, 9:00 AM)
This original piece by Cynthia Dobrinski is a wonderful showpiece for handbells. It's rhythmic, exciting, and very catchy, and includes several extended handbell techniques, including...
Martellato- where the bell is struck against the table cushion, creating a "knocking" sound. There is a also a "martellato lift" technique where the bell is lifted up immediately afterward, causing the sound to continue ringing.
Echo- when the bell is rung and then lightly touched to the edge of the cushion
Ring-Touch- Similar to an echo, but the bell is instead touched to the shoulder. This can be performed more quickly.
Swing- When a bell is swung from the front of the body to the back, and then back to the front. Creates a "wah-wah" sound.
First of all, Happy Mother's Day to all the mothers out there, including my own! We are going up to see her immediately after church. Her health has not been good lately, and any prayers towards her would be very much appreciated.
This week, the lectionary continues to look back on events that occurred before Easter. The night before Jesus is arrested, he gives a powerful, love-based speech to his disciples, which include the famous line, "Love one another as I have loved you."
Love is such a powerful emotion. It fits beautifully for this Sunday; a love of a mother for her child is rarely surpassed in this world. God is frequently referred to as "father," throughout history, but also has motherly characteristics as well. Carolyn Jennings points several of these characteristics out in her beautiful hymn, "Mothering God, You Gave Me Birth (see ELW 735)." Our music this Sunday comments on these feelings of love and faith, all while still rejoicing in the resurrection.
HYMNS AND SONGS
Now All The Vault Of Heaven Resounds (Opening Hymn: 7:45 AM, 9:00 AM)
Set to the glorious tune LASST UNS ERFREUEN is this wonderful, triumphant Easter text. The love of God is evident in the first line as the vault of heaven resounds "in praise of love that still abounds." Jesus' sacrifice to crucifixion was truly the ultimate act of love, for one must love another, all of us, with a depth that is incomprehensible in order to sacrifice themselves in such a manner.
In stanza three, the hymn writer puts a request in our voices for just a sliver of love that Jesus had, and through his triumph, may we truly feel the love of God in our hearts throughout our day. The hymn concludes with a Trinitarian statement of faith and thanksgiving for the resurrection.
Where True Charity and Love Abide (Hymn of the Day: 9:00 AM)
Ubi caritas et amor, Deus ibi est. This brief Latin phrase, which originated during the 9th century, has an incredibly important history through the words and music of the church. Its first line is roughly translated, "Where (there is) charity and love, God is there." In its purest form, it is traditionally used as an antiphon on Maundy Thursday. How appropriate, as it reflects on the love Jesus showed for his disciples while washing their feet.
While the Ubi Caritas has been set by many choral composers, the most well-known setting is by French composer Maurice Durufle. Durufle's setting uses both the refrain and first verse, set to the Gregorian chant.
What we sing this morning is very similar. This chant, cast in the 6th of the plainsong modes, contains mainly stepwise motion and is beautifully singable. While the English translation is not as elegant as the original Latin, the deficiencies in the syllabic underlay can be overlooked due to the beauty of its words.
Our wonderful St. Paul's Chancel Choir will lead this hymn by singing the refrain in the original tongue, with the congregation joining on the English verses.
Blest Be The Tie That Binds (Hymn of the Day- 7:45 AM, Communion Hymn- 9:00 AM)
If you are a frequent partaker in the theater, you may know that this hymn plays a very crucial part in Thornton Wilder's Pulitzer Prize winning play, Our Town. The words certainly are reflective of a small community with close ties.
John Fawcett, the author of this text, was a British pastor and theologian. The story behind this hymn is both interesting and inspiring. Pastor Fawcett was a much loved pastor in the very small English town of Wainsgate. He had a growing family and his meager salary was hardly sufficient for supporting them. In 1772 he received a call to one of the largest Baptist churches in London, and chose to accept. However, the reaction to his leaving was so strong and fervent that he elected to stay. In commemoration of this, he crafted this hymn, whose first stanza reads,
"Blest be the tie that binds our hearts in Christian love. The unity of heart and mind is like to that above." It has gone on to become one of the paramount hymns of Christian love and unity.
What A Friend We Have In Jesus (Communion Hymn: 9:00 AM)
Appropriate for this Mother's Day Sunday, Joseph Scriven composed this poem for his mother when he was separated from her after leaving his native Ireland for Canada. It was later published anonymously, and Scriven did not receive acknowledgment for it until six years before his death (25 years after he composed it).
The Lutheran church was hesitant to adopt this hymn for their hymnal in the early 20th century. In the Handbook to the Lutheran Hymnal, composed in 1941, it was said that in spite of this hymn being too sentimental or in the gospel style, its popularity remains strong and deserves a place in modern hymnals.
Jesus Loves Me (Closing Hymn: 7:45 AM, Communion Hymn: 9:00 AM)
If you ask anyone, whether they go to church or not, to name any five hymns in the world, there is a good chance "Jesus Loves Me" will be one of them. The original hymn by Anna Warner was comprised of seven stanzas, three main ones which are still used today. The poem originally comes from a novel titled Say and Seal, and was adapted to a tune by American musician William Bradbury. The hymn was reportedly first sung to a sick, dying child. This hymn has gone on to become widely used with children.
Of course, this is also a beautiful manifestation of our Gospel reading. For us, it is a recognition that we understand the love that God has given to us and for us. Only by recognizing that can we begin to comprehend the power of love we can have for God and each other.
CHORAL ANTHEM
Thine The Amen, Thine The Praise- Carl Schalk (Offering: 9:00 AM)
I've spoken of "stream of consciousness" hymns before, and this is another fine example of one. By "stream of consciousness," I mean a flood of theological concepts and ideas that unfurl as a seemingly endless river of statements. Through five stanzas, this hymn certainly embodies that.
The arrangement is a standard of Carl Schalk, with the verses sung by the women, men, in harmony, in unison, and with a descant. Accompanying with the "stream of consciousness" idea, the organ accompaniment never really stops or "breathes," which supports the idea that this style of texts truly never begins or ends, but is continually flowing through us.
INSTRUMENTAL MUSIC
Aria- Paul Manz, arr. Jeffrey Honore (Bells of Praise; Prelude: 7:45 AM, 9:00 AM)
Paul Manz will forever be known as one of the most loved, most talented leaders of congregational song we have ever been blessed with. Most of his organ music was hymn-based in the form of improvisations, but his Aria in C minor has risen through the ranks and become one of his most loved pieces.
This handbell arrangement by Jeffrey Honore captures the essence of the organ piece quite well. While there is the inability to vary registration with the bells, they contain their own percussive quality which suits the forward motion of the piece quite well.
Joy and Elation- Cynthia Dobrinski (Bells of Praise; Postlude: 7:45 AM, 9:00 AM)
This original piece by Cynthia Dobrinski is a wonderful showpiece for handbells. It's rhythmic, exciting, and very catchy, and includes several extended handbell techniques, including...
Martellato- where the bell is struck against the table cushion, creating a "knocking" sound. There is a also a "martellato lift" technique where the bell is lifted up immediately afterward, causing the sound to continue ringing.
Echo- when the bell is rung and then lightly touched to the edge of the cushion
Ring-Touch- Similar to an echo, but the bell is instead touched to the shoulder. This can be performed more quickly.
Swing- When a bell is swung from the front of the body to the back, and then back to the front. Creates a "wah-wah" sound.
Thursday, May 3, 2012
Music Notes: May 6th, 2012
Fifth Sunday Of Easter
In case you haven't noticed by now, the post-Easter Lectionary has been recalling stories and memories of Jesus before his arrest and crucifixion. Looking at these stories in a post-Resurrection context sheds an interesting new light on them.
This week, we hear Jesus compare himself to a vineyard. He describes himself as the vine, with God as the vine grower. Just as God prunes the branches in order for them to bear more fruit, the words of Jesus have cleansed the disciples, enabling them to grow and flourish just as he has. By not abiding in Jesus, it is though they are the pruned branch, which then dies and is burned.
Also of importance this week is the reading from the Epistles. 1 John 15 tells us that the love of the world exists because God loved us first. As such, we cannot claim to love God while hating other humans. Therefore, we should all love each other as God has loved, and continues to love us.
HYMNS AND SONGS
Alleluia! Jesus Is Risen (Opening hymn- 7:45 AM, 9:00 AM)
Until his death in 2009, Dr. Herbert Brokering was a much loved, active contributor to both theological studies and the music ministry of the church. A graduate of Wartburg College, he established a memorial fund at the college that still exists today.
The story behind this hymn "Alleluia! Jesus is Risen" is both interesting and extremely simple. Dr. Brokering and St. Olaf graduate David Johnson were asked to collaborate on a hymn for the celebration of the 75th anniversary of St. Olaf College. Their result was "Earth And All Stars," an exciting, joyful hymn with ties to Psalms 98 and 150, while including tips of the cap to academia (including the much loved but oft criticized phrase "loud boiling test tubes").
The results of this collaboration were obviously meaningful to the St. Olaf community, but there was a question of the widespread use and acceptance of this hymn in the future. To counter this, Dr. Brokering created an original, Easter-based text that could be used with Johnson's excellent tune and be more suitable for church-wide use.
As is evident by the text, it is a joyful expression and reaction to the Easter story, focusing mainly on the celebration and pleasant consequences of the action itself. Our Gospel for the weekend is alluded to in stanza three, claiming that the resurrection of Jesus, and the promise of salvation is the "gift of the future now flowing in me."
We Know That Christ Is Raised (Hymn of the Day- 7:45 AM, 9:00 AM)
Much like EARTH AND ALL STARS, Charles Stanford's tune ENGELBERG has been used for a variety of texts throughout the years. English theologian John Geyer composed these stanzas in 1967 with the intention of setting them to ENGELBERG.
This hymn was created as a reaction to, of all things, artificial insemination. Geyer was among many who rallied against the idea of "test tube babies," (n.b.- I never thought I would use the words "test tube" twice in one blog!!), and created this hymn to demonstrate the principle alluded to in Romans 6, where the apostle Paul teaches us that we are united with Christ through baptism and the resurrection. Geyer further shares his opinion on the test tubes in stanza four, where he begins, "A new creation comes to life and grows as Christ's new body takes on flesh and blood."
For The Fruit Of All Creation (Communion Hymn- 7:45 AM)
This 20th century hymn by English hymnologist and theologian Fred Pratt Green touches on our Gospel metaphor of growing vines and expands it, creating a stewardship emphasis based in thanks for all the plants and flowers of the world.
This message of thanks is summed up in an amazing closing to this hymn. The conclusion to stanza three says, "For the wonders that astound us, for the truths that still confound us, most of all, that love has found us, thanks be to God." This love is the love spoken of in 1 John, the love that God shared with us that now is encouraged to share with one another.
Abide, O Dearest Jesus (Closing Hymn- 9:00 AM)
There are many "moods" to close a worship service with. One of the most common ones is the feeling that this hymn leaves you with, that is, a sense of calling for God's presence to remain with us as we depart for the world.
The word abide is widely used throughout hymnology. It is so frequently used that sometimes we don't even think of the meaning for it. On the surface, it is actually quite simple. It simply calls for Jesus to remain, stay, or continue along with us wherever we go. Stanza four reflects a real life manifestation of our Gospel reading, where the love of God is portrayed through us, with grace and wisdom growing in us daily through the word of God.
INSTRUMENTAL MUSIC
Christ Arose!- John Ferguson (Prelude- 7:45 AM, 9:00 AM)
The source of this organ piece is a hymn that is not included in our ELW hymnal, though it can be found in several other Lutheran resources, including This Far By Faith. Up From The Grave He Arose (also known as Lo, In The Grave He Lay), was composed by Robert Lowry in the mid 19th century.
John Ferguson's arrangement of this joyful Easter hymn begins very melancholy. Open fifths in both hands, signifying an emptiness, are played with the tune quietly (almost inaudibly) sounding in the pedal. Gradually the hymn grows until the refrain arrives in a joyful triumph of Christ over the grave.
EARTH AND ALL STARS- Keith Kolander (Postlude- 7:45 AM, 9:00 AM)
Traveling through many key areas, this dance-like interpretation of David Johnson's tune exudes the joy and triumph of the wonderful Brokering text.
The piece is in three parts, cast in ABA format (ie. the first and final parts are similar). Fragments of the tune are heard in the pedal with a syncopated ostinato rhythm in the hands. The B section is relegated to a solo reed with the tune heard in a more straight forward fashion. The piece concludes as it began, concluding with a glorious poly-tonal chord.
In case you haven't noticed by now, the post-Easter Lectionary has been recalling stories and memories of Jesus before his arrest and crucifixion. Looking at these stories in a post-Resurrection context sheds an interesting new light on them.
This week, we hear Jesus compare himself to a vineyard. He describes himself as the vine, with God as the vine grower. Just as God prunes the branches in order for them to bear more fruit, the words of Jesus have cleansed the disciples, enabling them to grow and flourish just as he has. By not abiding in Jesus, it is though they are the pruned branch, which then dies and is burned.
Also of importance this week is the reading from the Epistles. 1 John 15 tells us that the love of the world exists because God loved us first. As such, we cannot claim to love God while hating other humans. Therefore, we should all love each other as God has loved, and continues to love us.
HYMNS AND SONGS
Alleluia! Jesus Is Risen (Opening hymn- 7:45 AM, 9:00 AM)
Until his death in 2009, Dr. Herbert Brokering was a much loved, active contributor to both theological studies and the music ministry of the church. A graduate of Wartburg College, he established a memorial fund at the college that still exists today.
The story behind this hymn "Alleluia! Jesus is Risen" is both interesting and extremely simple. Dr. Brokering and St. Olaf graduate David Johnson were asked to collaborate on a hymn for the celebration of the 75th anniversary of St. Olaf College. Their result was "Earth And All Stars," an exciting, joyful hymn with ties to Psalms 98 and 150, while including tips of the cap to academia (including the much loved but oft criticized phrase "loud boiling test tubes").
The results of this collaboration were obviously meaningful to the St. Olaf community, but there was a question of the widespread use and acceptance of this hymn in the future. To counter this, Dr. Brokering created an original, Easter-based text that could be used with Johnson's excellent tune and be more suitable for church-wide use.
As is evident by the text, it is a joyful expression and reaction to the Easter story, focusing mainly on the celebration and pleasant consequences of the action itself. Our Gospel for the weekend is alluded to in stanza three, claiming that the resurrection of Jesus, and the promise of salvation is the "gift of the future now flowing in me."
We Know That Christ Is Raised (Hymn of the Day- 7:45 AM, 9:00 AM)
Much like EARTH AND ALL STARS, Charles Stanford's tune ENGELBERG has been used for a variety of texts throughout the years. English theologian John Geyer composed these stanzas in 1967 with the intention of setting them to ENGELBERG.
This hymn was created as a reaction to, of all things, artificial insemination. Geyer was among many who rallied against the idea of "test tube babies," (n.b.- I never thought I would use the words "test tube" twice in one blog!!), and created this hymn to demonstrate the principle alluded to in Romans 6, where the apostle Paul teaches us that we are united with Christ through baptism and the resurrection. Geyer further shares his opinion on the test tubes in stanza four, where he begins, "A new creation comes to life and grows as Christ's new body takes on flesh and blood."
For The Fruit Of All Creation (Communion Hymn- 7:45 AM)
This 20th century hymn by English hymnologist and theologian Fred Pratt Green touches on our Gospel metaphor of growing vines and expands it, creating a stewardship emphasis based in thanks for all the plants and flowers of the world.
This message of thanks is summed up in an amazing closing to this hymn. The conclusion to stanza three says, "For the wonders that astound us, for the truths that still confound us, most of all, that love has found us, thanks be to God." This love is the love spoken of in 1 John, the love that God shared with us that now is encouraged to share with one another.
Abide, O Dearest Jesus (Closing Hymn- 9:00 AM)
There are many "moods" to close a worship service with. One of the most common ones is the feeling that this hymn leaves you with, that is, a sense of calling for God's presence to remain with us as we depart for the world.
The word abide is widely used throughout hymnology. It is so frequently used that sometimes we don't even think of the meaning for it. On the surface, it is actually quite simple. It simply calls for Jesus to remain, stay, or continue along with us wherever we go. Stanza four reflects a real life manifestation of our Gospel reading, where the love of God is portrayed through us, with grace and wisdom growing in us daily through the word of God.
INSTRUMENTAL MUSIC
Christ Arose!- John Ferguson (Prelude- 7:45 AM, 9:00 AM)
The source of this organ piece is a hymn that is not included in our ELW hymnal, though it can be found in several other Lutheran resources, including This Far By Faith. Up From The Grave He Arose (also known as Lo, In The Grave He Lay), was composed by Robert Lowry in the mid 19th century.
John Ferguson's arrangement of this joyful Easter hymn begins very melancholy. Open fifths in both hands, signifying an emptiness, are played with the tune quietly (almost inaudibly) sounding in the pedal. Gradually the hymn grows until the refrain arrives in a joyful triumph of Christ over the grave.
EARTH AND ALL STARS- Keith Kolander (Postlude- 7:45 AM, 9:00 AM)
Traveling through many key areas, this dance-like interpretation of David Johnson's tune exudes the joy and triumph of the wonderful Brokering text.
The piece is in three parts, cast in ABA format (ie. the first and final parts are similar). Fragments of the tune are heard in the pedal with a syncopated ostinato rhythm in the hands. The B section is relegated to a solo reed with the tune heard in a more straight forward fashion. The piece concludes as it began, concluding with a glorious poly-tonal chord.
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