Music Notes: September 16, 2012

16th Sunday After Pentecost

This week marks yet another critical moment in Jesus’ ministry of discipleship.  For the first time in the Gospels, we hear the disciple Peter refer to Jesus as the Messiah.  The other disciples first say that he may be Elijah, John The Baptist, or another prophet.  Peter takes the next step and says without hesitation, “You are the Messiah (meaning “the anointed one”).” 

With his announcement of this, Jesus tells him and his disciples that they are to tell no one, and he begins to explain of the suffering that he will need to endure as the Messiah.  Peter rejected this and stood up to Jesus in front of the disciples.  Jesus responded in kind, calling Peter “Satan” and telling him that he was thinking of only earthly things, and not the divine.  He then brought the crowd in with the disciples, challenging them that if they wanted to follow him, they should do so by taking up their own crosses. 

PRELUDE

Ricercar in C- Johann Pachelbel

The origin of the term “Ricercar” is rather complex and involved.  It can mean several things depending on the time period and country of origin of the composer. 

In its simplest terms, a ricercar is a predecessor of what would become a fugue, that is, a motive, or melody, that is imitated and repeated throughout a longer work. 

Pachelbel’s Ricercar has just these characteristics, set in a three part form.  The first two parts are symmetrical in nature, with the first motive ascending chromatically, and the second motive descending.  The third section contains a subject that is much brisker and brighter, while at the same time superimposing fragments from the first two sections.

OPENING HYMN
 
Lift High The Cross
For as high of quality as this text and tune has, it is surprisingly under-used in the Lutheran Church.  The use of this hymn is much more prevalent in the Presbyterian, Catholic, and Anglican/Epsicopalian churches.  George Kitchin, the author of the text, was raised and trained in the Anglican Church of England, and later went on to become the Dean of the Durham Cathedral in Durham, England.

The title of the hymn, “Lift High The Cross,” is a direct allusion to Jesus’ command to take up their crosses and follow him.  Unlike other hymns that deal with this subject, Lift High The Cross comes off as a triumphant march of praise and joy.  The acknowledgment of the suffering of Jesus is present here in stanza three, which is a stark contrast from what Peter initially said.  Ultimately, the singer of this hymn is at peace with, and fully understands the idea of discipleship and is grateful for the opportunity to have it.

HYMN OF THE DAY

In Christ Called To Baptize

The tune of this hymn is more commonly known as the tune to “Immortal, Invisible, God Only Wise.”  This tune, a Welsh traditional tune, translates well to other possible texts, including this text by Ruth Duck.  This is a fine example of setting a new text to an older, well known, well established tune, a practice used by a new hymnal edited and compiled by James Abbington of Emory University, titled “New Wine, Old Wineskins.” 

The first three verses of this hymn mention and discuss three important aspects of Jesus’ ministry and our calling as Christians.  Through baptism, we share in Christ’s death and are reborn, giving thanks with each of our breaths.  Through communion, although we are all individuals, we share in one bread and one table proclaiming Christ as the head of that table and the origin of the meal.  Finally, through witness, of both Christ and each other, we are able to offer our lives to give with compassion for all of God’s people.

The closing stanza calls for unification of us as Christians, and asks God to equip us with the proper tools and faith to better serve Christ.

OFFERING

Softly and Tenderly- arr. Will Connor (Heidi Harms, vocalist)

Softly and Tenderly comes from a group of hymns I call, “Old time goodies.”  These are those hymns generally written in America from anywhere from 1850-1920.  Back when I was in Atlanta, I would play a Vespers service every week at a local retirement home.  Every week I would pick songs for them, and generally, if it wasn’t an “Old time goodie,” they wouldn’t want to sing it.  Through doing that, it allowed me to arrive at a particular affinity for this music.

This particular arrangement is rather straight forward when it comes to the vocal part.  The text, of course, revolves around going home to Jesus and following him.  Of note is the piano part, which is both contemplative, yet very complex when it comes to imitation and design.

COMMUNION HYMN

What A Fellowship, What A Joy Divine (7:45 AM only)

This is a wonderful hymn that we have used frequently in the past.  Everything I have said in the past about the history and lineage of this hymn of course still applies.  What has come into question during past usages of this hymn is the tempo of it.  Another “Old time goodie,” its standard way of performing it is rather brisk, with a beat that moves along quite quickly.  I however, prefer to perform it a little more slowly and contemplatively, allowing the words and the lines to settle and absorb. 
For this particular Sunday, I’ve decided to go back to a more traditional rendition, which will be done at the 7:45 AM service.

CLOSING HYMN

The Spirit Sends Us Forth To Serve (7:45 AM only)

As a close to the 7:45 service, we will be doing stanza one of this hymn by Delores Dufner.  After hearing the message of discipleship and following of Jesus, this hymn calls us to go and serve in Jesus’ name, bringing glad tidings to the poor and proclaiming God’s favor to the world.

Praise And Thanks And Adoration (9:00 AM only)

The closing hymn at 9:00 AM is another example of a new text being set to an older tune, although even this “new” text was written in the late 17th century.  The tune, the German dance FREU DICH SEHR, dates from the mid 16th century, and is likely even older. 

This text is a hymn of praise and thanksgiving.  Like other hymns, the true intention of this one is contained not in the title, but rather in the second line, where we are giving thanks for God choosing “to serve creation.”  The second half of stanza one is a petition that Jesus guide our ways along his and follow his footsteps.  Stanza two continues and concludes this thought, as our faith is renewed due to all of Jesus’ life and actions.

POSTLUDE

Fugue in C Major- Johann Pachelbel

Where the prelude is a rather primitive example of Pachelbel’s imitative style, this three voice fugue is quite a bit more advanced.  Played exclusively on the manuals, it would be suitable for performance on other keyboard instruments as well. 

The subject is a rather long sequence of notes, beginning with a long note followed by a series of sequential 16th notes.  Despite being only three voices, the complexity of the counterpoint makes it sound like much more.