Music Notes: October 28th, 2012

Reformation/Confirmation Sunday

As I explained to Friends of the Lord at Wednesday's rehearsal, Reformation Sunday is kind of like the Fourth of July for Lutherans.  Then they asked why there were no fireworks, and I had to quickly back up and start again.  Instead of having BBQ and blowing off fireworks, we gather together not only as Lutherans, but as Christians, and sing A Mighty Fortress.

What a marvelous hymn that is!  Despite being intrinsically tied to Lutherans, it is now contained in virtually every denominational hymnal.  Since the ideals of the hymn have been embraced by Christians worldwide, does that change its meaning for us in the Lutheran church?  Maybe the idea of celebrating the Reformation is an antiquated notion.

I believe there are misconceptions about the Reformation as it stands today.  From the outside, it may seem like we are elevating ourselves (Lutherans) above other denominations.  The Reformation was, and continues to be, a wonderful, beautiful gift, and we who celebrate it the most can certainly be held accountable to live it to the fullest in our minds, hearts, and souls.

Really, what did the Reformation do for us?  It certainly created the protestant revolution, but I really believe that something would have come along eventually that would have done that very same thing anyway.  The Reformation broke down a lot of barriers, most notably the barrier that was "clergically" placed between us and God.  Luther created the Deutsche Messe in 1526 and his German Bible in 1534 (9 and 17 years after he wrote his 95 Theses), which brought the Word of God in the vernacular of the people.  The Catholics didn't figure that until until Vatican II closed in 1965!  Priests and other religious leaders were no longer simply the only vehicles for a lay person to experience God.  God filled the room, through every prayer and through every chorale that was so joyfully sung by the German people.

Reformation Sunday is a wonderful Sunday of unity and togetherness for Lutheran congregations everywhere.  Here at St. Paul's, we also celebrate the confirmations of 15 ninth graders this year.  By reaffirming their baptisms and getting confirmed, they are further welcomed and joined in this sense of unity.

PRELUDE

A Mighty Fortress- Helmut Walcha

Helmut Walcha, who died in 1991, was permanently blinded at age 19 after a vaccination of smallpox.  Despite the disability, he went on to become an outstanding organist and composer, even recording the complete works of J.S. Bach.  His compositions included four volumes of chorale preludes, from where this arrangement of A Mighty Fortress comes from.

The tune is presented in three different ways.  First, it is presented in canon between the highest voice and lowest voice in the organ.  Meanwhile, there are fragments of the tune presented in the middle.  Interestingly enough, the subject (A Mighty Fortress), is being imitated upon before it even appears.

OPENING HYMN

A Mighty Fortress Is Our God

The words and music of this "Reformation National Anthem" were composed by Martin Luther circa 1528, with the words being a paraphrase of Psalm 46 (also the psalm of the day for today).

In the ELW, you may notice that there are two versions of this hymn.  The one we usually sing is ELW 504, which is the isometric version created some time in the 19th century, due to the homophonic, 4-part harmony style of hymn singing that was beginning to take prominence thanks to the hymns and hymn tunes of Wesley, Watts, and others.  Luther's original version is actually ELW 503, which we will sing at the 9:00 AM service.  This "rhythmic" version was how it would have been sung from the 16th into the 18th century, in unison, usually unaccompanied, by the congregation.

HYMN OF THE DAY

How Firm A Foundation

As I have said in this blog in the past, How Firm A Foundation is a wonderful union of text and tune.  The early American tune is well supported by an inspiring, wonderful statement of faith.

The first stanza sets the tone for what is to come in the rest of the hymn.  The "firm foundation" is laid by our faith in the words of Jesus.  Stanzas two and three have Jesus speaking directly to us, saying that he will strengthen and guide us through trials and troubles.  Stanza four continues these words of Jesus, which brings life full circle, saying that even when we are grown and lived a full life, we will still be lambs in Jesus' flock.

OFFERING

A Living Sacrifice- Ralph Johnson (Friends of the Lord)

This text is actually the traditional Offertory text for Reformation Sunday.  Hearing it sung in the voices of Friends of the Lord puts a very interesting spin on it.  The text is as follows...

"I appeal to you, therefore, by the mercies of God, to present your bodies as a living sacrifice.  Do not be conformed to this world, but be transformed by the renewal of our minds, that you may prove what is the will of God."

It is indeed a very weighty text.  FOTL and I have discussed it a lot, and we have both come to a deeper understanding.  Musically, it is a very difficult challenge for them, but they have risen to the occasion of not only with the challenging melody, but also with singing for the organ for the first time with me.

COMMUNION HYMNS

Jesus Still Lead On (9:00 AM only)

Nikolaus Zinzendorf was a German religious and social reformer and bishop of the Moravian Church.  Like Martin Luther, he was very in tune with his feelings and had a unique social skill of conversation and discussion.

Despite being celebrated in the ELCA on May 10th, this Zinzendorf hymn fits beautifully today.  In many ways, confirmation is a start, or a continuation, of a wonderful journey where Jesus is our leader.  Musically, the hymn is tied together with a continual "short-short-long-long" rhythm.

Lord, Keep Us Steadfast In Your Word

This is likely Martin Luther's second most known hymn in the ELW.  This is actually one of his earlier hymns, coming from the beginning years of the reformation.  This hymn tells us that we don't need to rely on anything visual or kinesthetic, but rather that faith will provide for all of our needs.  It calls for us to stand up against those who rely on things other than God alone for spiritual fulfillment.  If materialistic needs and desires are left to rule the world, Martin Luther expresses here that any foundation of faith would crumble (...bring to naught all (God) has done).  Instead, if we keep steadfast in the Word of God, he will lead us out of death to life.

Built On A Rock The Church Doth Stand (9:00 AM only)

This striking, powerful text was written by the great Danish hymn writer, Nikolai Grundtvig.  He sets a rather apocalypic tone in the first stanza.  Though the entire world is crumbling and falling around us, the cornerstone of the church stands tall, and calls the young and old souls of those distressed which long for life everlasting.

The three interior stanzas describe the church building itself, how it was not made solely by the hands of us, but rather crafted with the divine help of God.  Stanza three has a reference to Matthew 18:30, "Where two or three will seek his face, he in their midst will show his grace."

In the final stanza (which we are singing as the closing hymn for worship), the bells are ringing at the start of worship, and people flock in droves to come hear the word of God.  The hymn concludes with an allusion to John 14:27, "My peace I leave with you, Amen."

POSTLUDE

A Mighty Fortress- Charles Ore

My organ teacher John Ferguson describes this piece as a "gas."  I thought it was a rather humorous description, so I went to seek it out for myself.  I discovered it was out of print, but later managed to miraculously find it in a large stack of single organ pieces for sale.  I quickly snatched it up and planned to play it this year for Reformation Sunday.

Rhythmically, it is very complex indeed, relying on syncopations and almost jazzy rhythms throughout.  When the pedal enters, it oscillates between the lowest and highest notes on the pedal board, creating a fascinating rhythmic effect as the tune is presented.

The middle section consists of motor rhythm ostinatos in the hands while the pedal takes over the tune.  After a short fanfare in the middle, the beginning section returns, this time with full organ, and it grows to a wonderful, fiery conclusion.

Music Notes: October 21st, 2012

A Community That Sings

I mentioned last week that I would dedicate this week's edition of Music Notes to our special service of hymnody, which I have titled "A Community That Sings."

Three weeks ago, I asked the Chancel Choir to fill out a small sheet with five (or so) of their favorite hymns from the ELW.  After receiving the results, I saw an incredible number of possibilities.  After crafting three different program ideas, the pastors decided that focusing on the communal aspects of congregational song would be the way to go.  In thinking of the idea of "A Community That Sings," I zeroed in on a petition that seemed to summarize the idea that I wanted to express with the worship.  The petition is...

As we gather, God calls us and shows us the way to serve his people.

Using that petition in combination with the Chancel Choir choices, I then crafted a four part service, with hymns that supported these petitions and show how we worship together as a community that sings.

As we gather...

In "As we gather..." we sing music that glorifies God, glorifies us as worshipers, and brings us together as a community.

When In Our Music God Is Glorified

This hymn is actually going to play a big part in my coffee hour talk several weeks from now.  While most people know this hymn to the tune ENGELBERG (as we sing it this weekend), the LBW (1978) actually dared to be different and published this text set to a much sweeter, more reflective tune.  This "alternate" tune is actually my preferred tune for the text, as it is presented with reverence and humility, but the C.V. Stanford tune we are singing this weekend is wonderfully celebratory and equally relevant and appropriate for the nature of the text.

Morning Has Broken

Each verse of this famous Eleanor Farjeon tune is in two parts.  The first lays out a scenario or situation that is surrounding us, and the second thanks God for these surroundings.  For example... "Morning has broken like the first morning; blackbird has spoken like the first bird." is the opening section of the first stanza.  Not only is it beautiful imagery, but it also references creation and Genesis.  It is followed by the thanks and praise, "Praise for the singing! Praise for the morning! Praise for them, springing fresh from the Word."

Earth and all Stars

This may be the most requested hymn on the Chancel Choir hymn sheets, so there was no way I couldn't include it.  This hymn was composed jointly by Herbert Brokering and David Johnson to celebrate the 75th anniversary of St. Olaf College.  There is reference to the stormy Minnesota weather ("Hail, wind, and rain!  Loud blowing snowstorm."), St. Olaf's music program (Trumpet, pipes, cymbals, harp, lute, lyre, cellos (also referencing Psalm 150)), builders and workers (limestone (most St. Olaf buildings were built out of the native limestone), beam, hammers, workers), and the students, teachers, and others that make up the community.

Though the hymn was written for a specific occasion at a specific place, it has a universal joy that can be celebrated anywhere.  It is particularly appropriate here in Waverly, where we have a college very similar in many ways to St. Olaf (minus the limestone!).  

...God calls us...

This second section focuses on the communal aspects of commitment and discipleship.  It also includes the primary scriptural components and the message of the day.

Drawn To The Light

This was on a very high number of hymn sheets that were filled out.  I was a little perplexed, since it isn't one of the more well known hymns in the hymnal.  Then I remembered that it was written by John Ylvisaker, and it made perfect sense (for those reading this that may not be familiar with St. Paul's, John is a long time member here).  

God calls us in many ways.  This hymn shows us that the light of God is an important guiding force in our lives.  Even though we are sitting in darkness looking for light, God calls us and draws us into his presence.  This light of God outshines our sun and all other light in the world, guiding us along the true path.  This text is accompanied by a tune that is singable and dance like, with a lovely lilt and harmonic twists in the refrain.

We Are Called

"Come, live in the light.  Shine with the joy and the love of the Lord!  We are called to be light for the kingdom, to live in the freedom of the city of God."  The juxtaposition of this hymn and the one before it is very interesting.  Initially I wanted them to be back to back, but hopefully having a scripture and message in between the two will not disturb the relationship that these two texts have.

The correlation is simple.  In the Ylvisaker hymn we are drawn to the light of God, and then in we are called, we are both invited to it and called to be the light ourselves, in order to show others the beauty it can give others just as it gave us.  The glorious third stanza tells us to sing of that great day when all will be one, which is a wonderful statement of unity and community, a community that sings.

...and shows us the way...

This third section is all about guidance and inspiration.  All of us mean well, but sometimes we need a little help along the right path.  These two hymns are meant to show how inspiring and meaningful God's path can be.

Lord, Take My Hand and Lead Me

The text and tune of this great German chorale are both very straightforward.  Perhaps that is the key to its popularity.  In addition, at this service the words will be printed in German as well as in English.  Congregation members can choose which language they wish to sing it in, potentially creating a beautiful, multi-lingual congregational song experience.  The global nature of song is very important.  It is something that virtually every culture has in common and can enjoy together.

Lord Jesus, You Shall Be My Song

We go from Germany to France, where we find this beautiful French virelai, a song composed by a group of nuns at the L'Arche Community in France.  

Founded in 1931, Les Petites Soeurs is an all-female religious congregation centered in France, which contains about 1300 members.  Its doors are always open to people searching for a place to belong, companionship, togetherness, and fellowship.  With that context in mind, it is quite easy to see how the words of this hymn were born.  As we travel through our lives, with every step we take, Jesus is right there with us.  Hopefully, these are words that we can take with us and hold close to us as we continue on our faith journeys.

... to serve his people.

This final section once again calls on commitment and discipleship themes, but also has a strong focus on social justice and community.  With these hymns, we are truly "A Community That Sings," and we can then rise and go out into the world being inspired and called to action by these words.

Let Streams Of Living Justice

This wonderful hymn was probably the second most common to be on the Chancel Choir lists.  This text calls for peace and justice to come to the earth, uniting us all as a people.  Stanza two contains possibly the only hymnal reference to knitting and looming, as we "weave our varied gifts together" and enroll us on the "loom of time" until our "thread of life is run."  What wonderful language!  God is then of course described as the "great weaver of our fabric."

God Of Grace And God Of Glory

If you were at the 7:45 AM service last week, you saw that the prayers of the people were incorporated with this hymn, and this week will be no different.  This well known hymn by Henry Emerson Fosdick is a great example of the power and grace of God being used against the evil in the world.  Though the more familiar text with this tune is probably "Guide Me Now, O Great Redeemer," this text has found a home with CWM RHONDDA, based on the popularity of Paul Manz's organ setting of this piece, incorporating fragments of the Hallelujah chorus (which I will play as the postlude for this service).  

Each stanza ends with a petition for strength and courage ("Grant us wisdom, grant us courage...").  Each of those statements is followed by a qualifier that applies to each of the stanzas that precede it.

Lift Every Voice and Sing

Another hymn that was hotly requested, it is also a hymn that revolved around one of my favorite, most inspirational moments in my year here at St. Paul's.  Though it will forever be tied with the Civil Rights Movement from the 1960's, this poem was actually composed in the year 1900 by james Weldon Johnson.

The language of this poem has not ever been updated from its original version (nor should it be!!), but some of the lines may require contextual references in the realm of the Afro-American spiritual.  The idea of the spiritual was born out of the time of slavery, struggle, turmoil, etc... but what was always and forever present was HOPE.  In the very first lines of Johnson's poem, he calls for us to sing until both earth and heaven ring with the harmonies of liberty.  Later in the stanza, he pulls the past and future together, referencing both the "dark past" and "hope [of] the present."  "Let us march on 'till victory is won," is certainly not a militaristic reference.  Rather, the "victory" he speaks of is the arrival of the promised land (see the old great Baptist hymn, "Victory in Jesus.")

For the slaves, the "chastening rod" mentioned at the start of stanza two was literal.  Johnson is writing in the context of his culture and history.  Slaves were literally exposed to beatings on a daily basis.  However, it can still apply to all of us.  We all have obstacles in our lives and adversity to overcome.  As stanza two continues though, we have hope offered again, where we will eventually arrive at a place where those before us have only dreamed of.  The road has been long and difficult, but we will eventually come to the point where we will all be standing together "where the white gleam of our bright star is cast."

The final stanza speaks of the God who brings us all along on the journey that we have been on.  The hymn closes with a prayer that despite we may stray from the presence of God, we will always find our way back and stay true to ourselves and our God.

Music Notes: October 14th, 2012

Before I start with Music Notes this week, I wanted to mention a special service that will be taking place here at 7:45 AM on Sunday.  Titled "A Community That Sings," it will feature hymns and songs hand picked by our Chancel Choir that feature the communal aspects of congregational song.  The service is divided into four sections, based on the petition "As we gather, God calls us and shows us the way to serve his people."  This special service will be repeated the following Sunday, October 21st, at 9:00 AM, and will be the subject of next week's edition of Music Notes.


20th Sunday After Pentecost

Over the last several lectionary weeks, Jesus has been teaching us about what is most valued in the eyes of God.  That is, children, marriage, family values, and others.  This week, he encounters a rich man who was in search of how to be rewarded with eternal life.  Despite claiming to have followed all the commandments his whole life, Jesus tells him that he needs to sell what he owns, give the money to the poor, and he will then have treasure in heaven.

This disappointed the man and confused the disciples who were watching.  Jesus then said one of his more famous phrases, "It is easier for a camel to go through the eye of the needle than for someone who is rich to enter the kingdom of God." (Mark 10:25)  He then assures his disciples that all of them, and anyone who has left their houses and families in his name, will be rewarded with eternal life.

PRELUDE

Be Thou My Vision- Katherine Jordahl Larsen (Bells of Praise)

Bells of Praise joins us again with the prelude this week.  In addition, Jennifer Wipperman will join them on flute for this beautiful duet based on the tune SLANE, most notably associated with the hymn Be Thou My Vision.

The percussive, yet lyrical nature of handbells correlate beautifully with the mellow, smooth sound of a flute.  While the flute plays primarily an ornamented version of the tune, the bells punctuate with traditional harmonies and interludes.  This piece also helps to continue helping the bell choir evolve, playing pieces that ask for more advanced techniques such as bell switching.  

OPENING HYMN

Be Thou My Vision

The lineage of this text traces back to Saint Dallan Forgaill, an early Irish poet from the 6th century.  This poem was not translated into English until 1905, where 7 years later, it was set into verse form in order to be set to the Irish folk tune SLANE.  The versification of the hymn combined two verses into one larger verse.  For example, the first two verses of the English translation are...

Be thou my vision O Lord of my heart

None other is aught but the King of the seven heavens.

Be thou my meditation by day and night.

May it be thou that I behold even in my sleep.

The versification of these two verses by Eleanor Hull are as follows (slightly altered in our ELW)...

Be thou my vision, O Lord of my heart,

Be all else naught to me, save that thou art;

Thou my best thought in the day and the night,

Both waking and sleeping, thy presence my light.

The Irish folk tune SLANE, like many other hymn tunes, had no religious connection until it was set to this text and placed in the English Hymnal.  "Slane" refers to Slane Hill, which is an important historical landmark in Irish history dating back to the 5th century.

HYMN OF THE DAY

God, Whose Giving Knows No Ending

This hymn is a commentary on the gifts God gives us, and our ways of attempting to thank and return these gifts.  The second line lists just a small example of these gifts... "nature's wonder, Jesus' wisdom, costly cross, grave's shattered door."  Due to these gifts, we then turn back to God, offering ourselves up, raising thankful songs and praise.

In stanza two, we interestingly take up a lot of responsibility, citing our skills and time as ways we are able to pick up and take over the goals of Jesus.  We still ask for God's help and guidance as we continue on, asking God to help us realize the potential in the talents that he has given us.

In the concluding stanza, we continue to see a mix of both thankfulness for our treasures and gifts received in order to do God's work, as well as a petition to "heed Christ's ageless call," as we go forth healing, teaching, and reclaiming, serving God by spreading God's love throughout the world.

CHORAL ANTHEM

Agnus Dei- William Byrd

Rather than singing the traditional "Lamb of God" from Setting Four of the ELW, the Chancel Choir will be singing a polyphonic Latin setting of the same text, composed by English composer William Byrd.

Like the traditional Lamb of God, it is a three part text.  The first two parts are identical, "Agnus Dei, qui tollis peccata mundi, miserere nobis."  "Lamb of God, who takes away the sins of the world, have mercy on us."  The third part keeps the same beginning, replacing the end with "dona nobis pacem" "grant us peace."  Additionally, each petition gradually grows in texture, beginning primarily with two voices, and then evolving to include three, and finally four full voices.

COMMUNION HYMNS

Take My Life, That I May Be

This quintessential Offertory hymn by the father/daughter duo of William and Frances Havergal shows us offering ourselves, our hands, our voices, our riches, our will, and our love to God.  It is the ultimate hymn of generosity and giving to God as thanks for everything we have.

It is an example of a trust and guidance being placed in God we wouldn't or shouldn't be willing to place in anyone else.  Through the language in this hymn, we are doing just as what Jesus instructed us to do, that is, give of our whole selves, our time, our money, and our possessions, to God.

When The Poor Ones


Through all the trouble in the world, there is comfort.  After all the war in the world, there can be peace.  With all the hatred in the world, there can be love abounding.  Through it all, God is constantly watching over us.  That is what this song is all about.  Set to a Latin American folk tune that is rhythmic and singable, it reminds us that God is certainly omniscient and omnipresent.

CLOSING HYMN

Let Justice Flow Like Streams

In three concise stanzas, Jane Parker Huber captures some very important themes of social justice and righteousness.  Huber, who died in 2008, was an important female figure in theology and hymnody throughout the late 20th century.  The justice and peace that pervades this hymn is clearly indicative of these inclusive beliefs.

POSTLUDE

Les Cloches (The Bells)- Nicolas Lebegue

Les Cloches is a beautiful example of early program music for the organ.  In this piece, the effect of the pealing and ringing of bells have been achieved so skillfully that they cannot be mistaken for anything else.

There is a very good chance that Louis Vierne's "Carillon de Westminster" might have very will been inspired by this piece.  While that piece is certainly indicative of the sound of bells, its technical difficulties make it inaccessible to all but the most skilled of performers.  On the other hand, this piece, which is constructed from the simplest diatonic material, suggests all the massive power and clashing of overtones of real bells, but is written in such a way that it is accessible to just about anyone.

Music Notes: October 7th, 2012

19th Sunday After Pentecost

This week's Gospel touches on two important themes.  The first is marriage, which is also touched on in at least one of the other readings.  For the second, Jesus continues his focus on the importance to children, telling his disciples "Let the little children come."


PRELUDE

Improvisation on All Are Welcome

In "All Are Welcome," Marty Haugen has fashioned a text and tune that is singable, culturally relevant, and for us at St. Paul's, very relevant to our current situation.  The tune is being used as the prelude in order to introduce it to the congregation before it is used as the opening hymn.


Some tunes of this length have melodic motives that repeat.  This tune is actually through composed, which means that nothing is repeated or brought back through the entire tune.  However, through the careful use of rhythmic motives and contour, Haugen has created a very singable, memorable melody.

OPENING HYMN

All Are Welcome

Everything I previously said about the prelude can also be applied here.  The opening half of the first line, "Let us build a house..." is obviously very crucial to us at St. Paul's as we approach our congregational vote.

Regardless of the outcome of said vote, the message of this hymn is crucial and important no matter what house of worship we are occupying.  We want love to dwell, a place where saints and children gather, built from faith and grace, where the love of Christ shall end divisions.   Each stanza goes through a different portion of the fourfold pattern of worship... stanza one is the gathering, stanza two focuses on the Word, stanza three on the meal, stanza four on the sending, and finally, stanza five as a strong conclusion.

CHORAL ANTHEM

The Greatest Gift Is Love- Mark Hayes (9:00 AM only- Chancel Choir)

Due to the connection to love and marriage found in our Gospel reading this week, I've chosen a paraphrase of the famous 1 Corinthians passage commonly used at weddings.  Mark Hayes' sensitive setting of this text for choir and organ featuring flowing lines and inventive harmonies that work to color the text.  The piece grows to a wonderful climax and concludes with a modulation into D major on a wonderful suspended chord where the altos wait until the final second to resolve.

HYMN OF THE DAY

O Christ Our Heart Compassionate (7:45 AM only)

Herman G. Stuempfle died in 2007.  He spent the majority of his career as president of the Lutheran Theological Seminary at Gettysburg.  After his retirement in 1989, he spent the rest of his life as a guest preacher, theologian, and hymn writer.

In "O Christ, Our Heart, Compassionate," Stuempfle touches on themes of justice, compassion, and peace.  The example Christ shows by his actions of bearing every human's pain and sin should be replicated by us.  To do so, Stuempfle begins by describing this syncing of God's heart with Jesus, instilling God in Christ.

In stanza three, we ask that our hearts be re-created so that they be passed to us from Christ, just as God passed his heart to Christ.  Finally, the concluding stanza once again talks about our servant church doing deeds of love that rise to heaven.

O Christ, Our Hope (9:00 AM only)

The original version of this hymn traces all the way back to the 8th century.  It was translated and brought into wider use in the mid 19th century, set to an early German chorale.

Similar to "O Christ Our Heart," it touches on the idea that Jesus accepted the burden of all of our sins and sacrificed himself for us.

The bulk of the message comes in stanza four.  As a result of Jesus breaking the bonds of death and ascending to heaven, our love should then be permeated by the love of God and serve the world for all of eternity.

OFFERING

Do, Lord!- John Ylvisaker (Cherub Choir- 9:00 AM only)

Our Cherub Choir (K-2) will sing in worship for the first time this Sunday.  Under the direction of Heidi Harms, they will sing "Do, Lord!" a John Ylvisaker paraphrase of Psalm 27.  Through singing, movements, and clapping, they will demonstrate the wonderful musical work they have done thus far in the year.

COMMUNION/CLOSING HYMN

Jesus Loves Me

This timeless text by Anna B. Warner (1820-1915) follows the ideals of how Jesus is a comforting presence for not only the children of the world, but for everyone.  The hymn was originally written as a poem to comfort a dying child, and in its full form, contains seven stanzas.  The stanzas referring directly to the illness of the child are generally omitted in most hymnals, that though our ELW hymnal doesn't, other hymnals use additional stanzas composed by other poets.

POSTLUDE

We All Believe In One True God- John Hirten

John K. Hirten, a contemporary American composer, is a prolific writer and setter of Lutheran Chorale melodies.  This chorale, by Martin Luther, is set to a paraphrase of the Apostle's Creed.  It can be found in our hymnal on ELW 411.

Hirten's setting is rather straightforward, but at the same time, contains a significant amount of harmonic interest through various clashes with the pedal points throughout the piece.