1st Sunday of Advent
I can't help but feel like the Gospel readings for the four weeks of Advent in the year C Lectionary are slightly disjointed. Despite all coming from Luke, the first weekend features a rather general, yet still inspirational text describing *something* descending from the clouds and fulfilling the role as our savior and helper. The following two weeks come from Luke 3, where we hear two vignettes from the life of John the Baptist, and finally, the fourth week has the familiar and much loved story of the annunciation, where Mary is bestowed with the news of the virgin birth of the Savior.
While the Gospel reading is easy to focus on throughout the Lectionary, for me, Advent is the time where the most inspirational, moving scriptures are found in the Old Testament and Epistles. This week, we hear a short excerpt from Jeremiah... which says that the days are surely coming when the Lord will fulfill the promises made to the house of Israel. This seminal Advent text is a beautiful, haunting way to begin the season.
PRELUDE
Wachet Auf, BWV 645- J.S. Bach
This may be Bach's second most recognizable, familiar organ piece, behind only the Toccata and Fugue in D. The difference in the two is that the Toccata is a stand-alone organ piece, where this piece is an organ arrangement of a movement from Bach's Cantata BWV 140. While the original version is scored for strings, continuo, and the choral tenor section, the organ arrangement takes shape as a trio sonata-esque form. Rather than having three independent, original melodic lines, the third line is based on the chorale tune of our opening hymn.
While most people are able to instantly hum the opening ritornello, that is most definitely not the melody. The melody is of course contained in the tenor reed. When you hear it, compare it to the opening hymn and you'll see the correlation.
OPENING HYMN
Wake, Awake, for Night Is Flying
I've always been skeptical of this hymn as a congregational song. Despite its history in the Lutheran church and its use in many major choral works, it is rather difficult to perform congregationally due to its length, translation, and rhythmic complexities.
Like other hymns in the lexicon, this one describes the relationship between a bridegroom (Jesus) and a bride (the church). The hymn calls for us to awake and prepare for the coming of Christ at the conclusion of Advent.
Despite the hymn being rather difficult to sing, I'm told it is a tradition here to kick off the Advent season with it, so it is being included here.
CHORAL ANTHEM
Thou Shalt Know Him- Mark Sirett
This anthem is a charming miniature by one of Canada's leading choral musicians, Mark Sirett. The text is anonymous, but tells us that we shall know of the coming of Jesus not by any commotion, clanging of drums or otherwise, but rather the holy harmony that his presence grants in our lives. The striking change in the music on the words "holy harmony" is a beautiful example of text painting.
HYMN OF THE DAY
The King Shall Come
An important metaphor for Advent is that of night, where the evening is manifest in Advent, and the dawning of the new morning is Christmas at the Holy birth. This hymn touches on those evening themes in its opening line, "The King shall come when morning dawns and light triumphant breaks."
While most stanzas are rather self explanatory, stanza two is a bizarrely paradoxical stanza. "Not as of old a little child to bear and fight and die," seems to refer to Christmas of the previous year, where a child was born, grew up, and was eventually crucified. The second half, "... but crowned with glory like the sun that lights the morning sky," when combined with the first half, seems to indicate that we should celebrate the birth of Jesus not as someone who is born to die, but rather someone born to return as our King.
COMMUNION HYMN
Lord, Enthroned In Heavenly Splendor (7:45 AM only)
This hymn from around the turn of the century by George H. Bourn ties together two common hymnal themes, one being the life of Christ, and the other Holy Communion. Each stanza touches on a portion of Christ's life, while the inner and outer stanzas proclaim this great life that now is manifest in our bread and wine at Communion.
The tune, BRYN CALFARIA, is a strong minor tune made up of three phrases. The first two are identical notes and rhythms, while the third is extended, growing to its climax using the word "Alleluia."
CLOSING HYMN
Awake, O Sleeper, Rise From Death
In the opening line here, I don't believe the hymn writer implies that sleep and death are one in the same. In 19th century poetry, death was often referred to in the context of sin, a dark place, depression, or other anomalies that keep us from being happy or at our best. The opening here implies that we should muster our strength and courage and rise out of our dark places so that the light of Christ can envelop us.
Light is, of course, another important Advent theme. While this hymn isn't necessarily an Advent text, the theme of light is an important one throughout the text. It is also a beautiful example of making a new text instantly accessible by setting it to an old, familiar tune, in this case AZMON, known most commonly to "O For A Thousand Tongues To Sing."
POSTLUDE
Wachet Auf- Wayne Wold
This is a movement from a larger work based on this chorale tune. It is tied together with a descending chromatic motive in the pedals with the tune present throughout the top voice. The chromaticism, combined with a predominantly 5/4 time signature throughout, creates a unique, colorful modern take on the chorale tune.
Thursday, November 29, 2012
Sunday, November 25, 2012
Thanksgiving Hiatus
You may have noticed that there was no new blog this week. Music notes took a Thanksgiving week hiatus, but will return next week to kick off Advent and Liturgical Year C!
Thursday, November 15, 2012
Music Notes: November 18th, 2012
25th Sunday After Pentecost
Last week was our first experiment of truncated music notes. That being said, they were only about a half page less than normal when I made the print copy. This week, I think we can keep it under two pages.
One reason for that is that we are having a very special guest this week. Four student musicians from Wartburg College will be joining us this week at the 9:00 AM service, providing string quartet music. They'll be playing at the prelude, offering, and postlude, and while I know what they are playing, I really don't know much about the arrangements, so I will not be commenting on them. In addition, our Bells of Praise choir will be playing at both the 7:45 AM and 9:00 AM services this week.
The Gospel this week from Mark 13 is a rather interesting reflection before Christ the King Sunday. In Mark 13, Jesus foretells the trials that were going to be upon them from the world. There would be impostors and other threats to their faith, but Jesus tells them to not be alarmed. We have to go through these trials and tribulations, but we know that Jesus will guide us safe on to the other side. The music this week focuses not on the trials, but rather the feeling of faith and comfort that we can take in this promise.
PRELUDE
Reflections on Endless Song- Michael Ryan (Bells of Praise)
Even though the string quartet will be at the 9:00 service, the bells will still play there as well, as this piece is a partner piece to the opening hymn. While the hymnal version we have of this hymn (My Life Flows On In Endless Song) is actually in 4/4, this arrangement for handbells is actually in 3/4. The melody is in the top bells quite a bit, but it switches registration for a significant portion, putting the melody in the middle-lower bells. It has been quite a challenge for Bells of Praise to make that melody clear, but they have done a wonderful job.
OPENING HYMN
My Life Flows On In Endless Song
In addition to being a hymn writer, Robert Lowry, perhaps best known for his hymn Shall We Gather At The River, was also a professor of literature and a Baptist minister. While this hymn was written in the 1870's, it wasn't used very frequently until the 1980's when it was recorded by several well known Catholic church musicians including Marty Haugen and David Haas. The refrain as we find it today was not originally the refrain, but rather stanza two. The recording by Haugen and Haas made use of it as a refrain, and it has caught on in the new generation of print hymnals.
HYMN OF THE DAY
It Is Well With My Soul
This lovely Spafford/Bliss compilation was composed right around the same time as "How Can I Keep From Singing." As such, it contains many similar melodic, harmonic, and textual characteristics.
There was a rather large controversy surrounding the beginning of the third stanza when the ELW came out. Note the difference between the two versions...
Original:
"My sin, oh the bliss of this glorious thought, my sin, not in part, but the whole is nailed to the cross..."
Alternate (in the ELW):
"He lives, oh the bliss of this glorious thought, my sin, not in part, but the whole is nailed to the cross..."
I am not entirely sure why this change was made, but the only possible reason I can think of was that too many people were misinterpreting the text, thinking their sins were the "glorious thought" that was being discussed. That is a terrible misrepresentation of what this verse is about. The "glorious thought" being referenced is the thought of our sin being nailed to the cross. By adding "he lives" to the beginning rather than "my sin," it creates a concession that just doesn't seem to make sense. Of course Jesus lives. We know that. But by changing it, it completely negates what the original message of the hymn was trying to say, which is a feeling of gratefulness we feel by having our sins forgiven through Jesus' ultimate sacrifice.
Despite that unfortunate change, it is still a beautiful combination of text and tune.
COMMUNION HYMN
My Lord, What A Morning (7:45 AM only)
Like many African American spirituals, this lovely example focuses on end time. The three verses reference three elements (trumpets sounding, sinners crying, and Christians shouting) that are characteristic for the return and resurrection of Christ. Given the lives that slaves had to live, there is really no surprise as to why many of their greatest songs focus on the promised land beyond our world.
CLOSING HYMN
Soon and Very Soon
Like the previous, this African American spiritual has a similar focus. Most spirituals focus first on the present, and then on the future where there will be no more crying, tears, or pain. Despite the lives they lived, there was always hope in the spirituals, always a path to follow, and always a Hallelujah to sing.
The Sunday School kids will also be joining us at the 9:00 AM service to sing this spiritual along with us, which will lead us right into Christ the King Sunday! Thanks to Kris Meyer, Tammy Richards, and others for helping to rearrange that.
Last week was our first experiment of truncated music notes. That being said, they were only about a half page less than normal when I made the print copy. This week, I think we can keep it under two pages.
One reason for that is that we are having a very special guest this week. Four student musicians from Wartburg College will be joining us this week at the 9:00 AM service, providing string quartet music. They'll be playing at the prelude, offering, and postlude, and while I know what they are playing, I really don't know much about the arrangements, so I will not be commenting on them. In addition, our Bells of Praise choir will be playing at both the 7:45 AM and 9:00 AM services this week.
The Gospel this week from Mark 13 is a rather interesting reflection before Christ the King Sunday. In Mark 13, Jesus foretells the trials that were going to be upon them from the world. There would be impostors and other threats to their faith, but Jesus tells them to not be alarmed. We have to go through these trials and tribulations, but we know that Jesus will guide us safe on to the other side. The music this week focuses not on the trials, but rather the feeling of faith and comfort that we can take in this promise.
PRELUDE
Reflections on Endless Song- Michael Ryan (Bells of Praise)
Even though the string quartet will be at the 9:00 service, the bells will still play there as well, as this piece is a partner piece to the opening hymn. While the hymnal version we have of this hymn (My Life Flows On In Endless Song) is actually in 4/4, this arrangement for handbells is actually in 3/4. The melody is in the top bells quite a bit, but it switches registration for a significant portion, putting the melody in the middle-lower bells. It has been quite a challenge for Bells of Praise to make that melody clear, but they have done a wonderful job.
OPENING HYMN
My Life Flows On In Endless Song
In addition to being a hymn writer, Robert Lowry, perhaps best known for his hymn Shall We Gather At The River, was also a professor of literature and a Baptist minister. While this hymn was written in the 1870's, it wasn't used very frequently until the 1980's when it was recorded by several well known Catholic church musicians including Marty Haugen and David Haas. The refrain as we find it today was not originally the refrain, but rather stanza two. The recording by Haugen and Haas made use of it as a refrain, and it has caught on in the new generation of print hymnals.
HYMN OF THE DAY
It Is Well With My Soul
This lovely Spafford/Bliss compilation was composed right around the same time as "How Can I Keep From Singing." As such, it contains many similar melodic, harmonic, and textual characteristics.
There was a rather large controversy surrounding the beginning of the third stanza when the ELW came out. Note the difference between the two versions...
Original:
"My sin, oh the bliss of this glorious thought, my sin, not in part, but the whole is nailed to the cross..."
Alternate (in the ELW):
"He lives, oh the bliss of this glorious thought, my sin, not in part, but the whole is nailed to the cross..."
I am not entirely sure why this change was made, but the only possible reason I can think of was that too many people were misinterpreting the text, thinking their sins were the "glorious thought" that was being discussed. That is a terrible misrepresentation of what this verse is about. The "glorious thought" being referenced is the thought of our sin being nailed to the cross. By adding "he lives" to the beginning rather than "my sin," it creates a concession that just doesn't seem to make sense. Of course Jesus lives. We know that. But by changing it, it completely negates what the original message of the hymn was trying to say, which is a feeling of gratefulness we feel by having our sins forgiven through Jesus' ultimate sacrifice.
Despite that unfortunate change, it is still a beautiful combination of text and tune.
COMMUNION HYMN
My Lord, What A Morning (7:45 AM only)
Like many African American spirituals, this lovely example focuses on end time. The three verses reference three elements (trumpets sounding, sinners crying, and Christians shouting) that are characteristic for the return and resurrection of Christ. Given the lives that slaves had to live, there is really no surprise as to why many of their greatest songs focus on the promised land beyond our world.
CLOSING HYMN
Soon and Very Soon
Like the previous, this African American spiritual has a similar focus. Most spirituals focus first on the present, and then on the future where there will be no more crying, tears, or pain. Despite the lives they lived, there was always hope in the spirituals, always a path to follow, and always a Hallelujah to sing.
The Sunday School kids will also be joining us at the 9:00 AM service to sing this spiritual along with us, which will lead us right into Christ the King Sunday! Thanks to Kris Meyer, Tammy Richards, and others for helping to rearrange that.
Thursday, November 8, 2012
Music Notes: November 11th, 2012
24th Sunday After Pentecost
First of all, I would like to apologize for the length of last week's blog. I was very excited for the weekend's worship services, and despite not even writing about every piece of music that was included, I definitely set a Music Notes length record. Due to this, some people have requested that the blog be more brief. So this week, I will work hard on my brevity and keeping things succinct.
Before that though, something that cannot be kept brief is my thanks and gratefulness to all of those who were involved in making this weekend's worship services a success. The All Saints Vigil Saturday evening was a beautiful, moving experience, and Sunday morning with the Wartburg Choir was nothing short of extraordinary. I am eternally grateful for this wonderful community and all those who volunteered to make this weekend as special and as meaningful as it was.
In this weekend's Gospel reading, we hear the story of the widow, who at the treasury gave merely two cents, which was everything she had. Jesus then proclaimed that many wealthy fortunate people had given abundantly to the treasury, but this woman gave out of her poverty and gave all that she had to live on. This was the greatest sacrifice of all.
In addition to this, this is also the weekend of Thankoffering 2012, which is organized yearly by the Women of the ELCA.
PRELUDE
Two Preludes on HYFYRDOL- Paul Manz, Timothy Flynn
The HYFYRDOL tune, which is the tune for our Hymn of the Day today, is one of the more versatile tunes we have in our hymnal. Both of these preludes are brief, dance like settings. The Manz uses a ritornello technique (which is similar to a refrain) throughout, and the Flynn setting contains a motor rhythm in the right hand, with the tune in the pedal.
OPENING HYMN
For The Fruit Of All Creation
This hymn was selected as part of the Women of the ELCA Thankoffering this week. The author, Fred Pratt Green, was a British Methodist pastor and hymn writer. This hymn spans a wide scope, going from the simplest of gifts to the some of the most profound, meaningful thoughts present in hymnody ("wonders that astound us" and "truths that still confound us"). The tune, AR HYD Y NOS, is a Welsh folk tune that is instantly recognizable by most congregational singers.
HYMN OF THE DAY
Lord Of Glory, You Have Bought Us
Due to the length of this hymn tune, it allows for a lot of theology to be inserted into any hymn that is set to it. In stanza one alone, we hear a wonderful metaphor on how Christ's sacrificial gift to us is then manifest in us as we freely give of ourselves. The subsequent stanzas expand on our portion of this, preaching a message of stewardship and devotion to God and the Church.
OFFERING
Take My Life That I May Be- arr. Mark Sedio (School Choir)
The School Choir offers this lovely setting of the Frances Havergal hymn this week. This hymn expands on the ideas of generosity and stewardship that have been established, as here we offer up our own lives, just as Christ did, for the will of God.
This newer tune, arranged here by Mark Sedio, is supplemented by the choir with appropriate instruments.
CHORAL ANTHEM
In The Singing- arr. John Helgen
This week, Chancel Choir offers this beautiful arrangement by John Helgen. A St. Olaf alum, he remains an active church musician and composer. Particularly striking is the conclusion of this arrangement, which has the choir singing on "ah" and "ooh" vowels as the tune continues on in the organ. The piece ends with some very evocative harmonies.
COMMUNION HYMNS
We Come To The Hungry Feast (9:00 AM only)
Ray Makeever, while never quite reaching the fame of Marty Haugen, writes in a very similar style. This hymn in particular could be mistaken for one of Haugen's. It's a hymn that continually points to our "hunger" being satisfied, but also reminds us that we will never be permanently or fully satisfied, so we must continue to come back to the table.
Day By Day (9:00 AM only)
Loyal readers of this blog know that this is one of my favorite hymns. Carolina Sandell Berg, notable for her other well known hymns such as "Thy Holy Wings" and "Children of the Heavenly Father," has crafted a wonderful gem here. Anyone who ever embarks on a journey of faith needs these words to guide them along their ways.
CLOSING HYMN
Voices Raised To You
This was originally the opening hymn for this service, but due to the Thankoffering hymn being inserted, it was moved to this equally appropriate spot. It is yet another example of a fine hymn of stewardship and giving of ourselves. But beyond that, it extends gratefully into the realm of thanks and praise for God, as indicated by the question asked at the beginning of the last stanza, "How can any praise we offer measure all the thanks we owe?"
POSTLUDE
Interpretation on HYFYRDOL- David Cherwien
With the HYFRYDOL tune being in 3/4, and this organ piece being in 6/8, it provides a fascinating framework for the entire piece. For the entirety of the tune, you will hear the hymn tune juxtaposed against the 6/8 accompaniment, creating a dazzling texture.
*********************
As always, feedback is welcome on the new, shorter format!
First of all, I would like to apologize for the length of last week's blog. I was very excited for the weekend's worship services, and despite not even writing about every piece of music that was included, I definitely set a Music Notes length record. Due to this, some people have requested that the blog be more brief. So this week, I will work hard on my brevity and keeping things succinct.
Before that though, something that cannot be kept brief is my thanks and gratefulness to all of those who were involved in making this weekend's worship services a success. The All Saints Vigil Saturday evening was a beautiful, moving experience, and Sunday morning with the Wartburg Choir was nothing short of extraordinary. I am eternally grateful for this wonderful community and all those who volunteered to make this weekend as special and as meaningful as it was.
In this weekend's Gospel reading, we hear the story of the widow, who at the treasury gave merely two cents, which was everything she had. Jesus then proclaimed that many wealthy fortunate people had given abundantly to the treasury, but this woman gave out of her poverty and gave all that she had to live on. This was the greatest sacrifice of all.
In addition to this, this is also the weekend of Thankoffering 2012, which is organized yearly by the Women of the ELCA.
PRELUDE
Two Preludes on HYFYRDOL- Paul Manz, Timothy Flynn
The HYFYRDOL tune, which is the tune for our Hymn of the Day today, is one of the more versatile tunes we have in our hymnal. Both of these preludes are brief, dance like settings. The Manz uses a ritornello technique (which is similar to a refrain) throughout, and the Flynn setting contains a motor rhythm in the right hand, with the tune in the pedal.
OPENING HYMN
For The Fruit Of All Creation
This hymn was selected as part of the Women of the ELCA Thankoffering this week. The author, Fred Pratt Green, was a British Methodist pastor and hymn writer. This hymn spans a wide scope, going from the simplest of gifts to the some of the most profound, meaningful thoughts present in hymnody ("wonders that astound us" and "truths that still confound us"). The tune, AR HYD Y NOS, is a Welsh folk tune that is instantly recognizable by most congregational singers.
HYMN OF THE DAY
Lord Of Glory, You Have Bought Us
Due to the length of this hymn tune, it allows for a lot of theology to be inserted into any hymn that is set to it. In stanza one alone, we hear a wonderful metaphor on how Christ's sacrificial gift to us is then manifest in us as we freely give of ourselves. The subsequent stanzas expand on our portion of this, preaching a message of stewardship and devotion to God and the Church.
OFFERING
Take My Life That I May Be- arr. Mark Sedio (School Choir)
The School Choir offers this lovely setting of the Frances Havergal hymn this week. This hymn expands on the ideas of generosity and stewardship that have been established, as here we offer up our own lives, just as Christ did, for the will of God.
This newer tune, arranged here by Mark Sedio, is supplemented by the choir with appropriate instruments.
CHORAL ANTHEM
In The Singing- arr. John Helgen
This week, Chancel Choir offers this beautiful arrangement by John Helgen. A St. Olaf alum, he remains an active church musician and composer. Particularly striking is the conclusion of this arrangement, which has the choir singing on "ah" and "ooh" vowels as the tune continues on in the organ. The piece ends with some very evocative harmonies.
COMMUNION HYMNS
We Come To The Hungry Feast (9:00 AM only)
Ray Makeever, while never quite reaching the fame of Marty Haugen, writes in a very similar style. This hymn in particular could be mistaken for one of Haugen's. It's a hymn that continually points to our "hunger" being satisfied, but also reminds us that we will never be permanently or fully satisfied, so we must continue to come back to the table.
Day By Day (9:00 AM only)
Loyal readers of this blog know that this is one of my favorite hymns. Carolina Sandell Berg, notable for her other well known hymns such as "Thy Holy Wings" and "Children of the Heavenly Father," has crafted a wonderful gem here. Anyone who ever embarks on a journey of faith needs these words to guide them along their ways.
CLOSING HYMN
Voices Raised To You
This was originally the opening hymn for this service, but due to the Thankoffering hymn being inserted, it was moved to this equally appropriate spot. It is yet another example of a fine hymn of stewardship and giving of ourselves. But beyond that, it extends gratefully into the realm of thanks and praise for God, as indicated by the question asked at the beginning of the last stanza, "How can any praise we offer measure all the thanks we owe?"
POSTLUDE
Interpretation on HYFYRDOL- David Cherwien
With the HYFRYDOL tune being in 3/4, and this organ piece being in 6/8, it provides a fascinating framework for the entire piece. For the entirety of the tune, you will hear the hymn tune juxtaposed against the 6/8 accompaniment, creating a dazzling texture.
*********************
As always, feedback is welcome on the new, shorter format!
Thursday, November 1, 2012
Music Notes: November 3rd/4th, 2012
All Saints Weekend
I couldn't help but notice that today (Thursday) is actually All Saints Day proper. Tonight we have our dress rehearsal for the All Saints Vigil on Saturday evening. It is appropriate that we sing this wonderful music tonight, not for a congregation or an audience, but for the Saints themselves. They are always with us and watching over us, and Saturday evening is our gift to them, as well as our opportunity to reflect and remember their presence in our lives.
As you should probably know by now, this is a very special weekend here at St. Paul's. In recognition of All Saints weekend, we are featuring a two part worship event over two days. Saturday evening, as previously mentioned, will be a service of reflection and remembrance featuring the St. Paul's Lutheran Church Chancel Choir and guest musicians from Wartburg College. Through selected readings, hymns, and affirming our baptisms, this service is meant to draw us closer to those who have gone from us.
For part two on Sunday morning, we will be joined by Dr. Lee Nelson and the Wartburg Choir for a celebration of Holy Communion, as well as celebrating the lives of those who we remembered and mourned for last night.
I don't believe I have looked more forward to a weekend here in my over a year at St. Paul's than I have for this weekend. I hope you will all be joining us for a wonderful weekend of worship. In Music Notes this week, I am going to combine both Saturday and Sunday services and discuss selections of both of them here.
PRELUDE
Psalm Preludes, op. 32, nos. 1 and 2- Herbert Howells
Howells wrote two sets of psalm preludes, each piece being a tone poem based on a particular psalm verse. The Saturday evening prelude is based on Psalm 37:11- "The lowly shall possess the land. They will delight in abundance of peace." The one for Sunday morning is no. 1, which comes from Psalm 34:6- "The poor man cried, and the Lord heard him and saved him out of all his troubles." The Saturday night prelude in particular has one of the most gorgeous endings in the organ repertoire.
Both of these settings are wonderfully expansive and evocative. Both start quietly with a certain motive and grow and expand to employ the full reaches of the organ, while developing and maintaining those same motives. The third of this set is similar in style and is based on Psalm 23:4, a piece I use a lot during the Easter season.
HYMNS (Saturday evening)
Christ, Mighty Savior
This hymn might be new to many in attendance tonight. No. 560 in the ELW, it has long been one of my favorite evening hymns. The first stanza depicts Christ as a beautiful, sonorous light giving radiance to the sunlight and glittering adornment to the stars. Stanza two is a stunning depiction of the twilight. The sun sets (mirror of daybreak), and choirs of stars appear to hallow the nightfall.
Stanza three puts the focus on us in the church, as we sing to the glory of God during evening worship. Stanza four is a prayer that we be forgiven for our offences, be granted strength for our hearts and rest for our bodies.
Stanza five is the first moment in this service where I get a lump in my throat. "Though bodies slumber, hearts shall keep our vigil, forever resting in the peace of Jesus, in light or darkness worshiping our Savior now and forever." It is the first time we directly acknowledge those who have departed from us, and brings us into a feeling of reflection.
Baptized and Set Free
This hymn was introduced to me this summer, and it quickly found a place in my heart as one of my favorites (an arrangement for choir and organ is in the works!). This Saturday it will be a response to our affirmation of baptism, and will be led from the piano.
The structure of this is so amazing. As much as I love John's Borning Cry (we're using it at this service!), it charts a very specific path through birth, growing up, adulthood, marriage, and death. What this hymn does that is so unique and wonderful is that by stanza four, it brings us all together no matter what point we are at in life or what age we are. Stanza one starts with our baptism itself as by being washed with water, we are freed from sin and shown the glorious fountain. In stanzas two and three, we are nourished by food and water as we grow, being able to live through the support and love of an ever gracious God.
Finally in stanza four, we all come together... men, women, young, old, as we join in this wonderful song of thanksgiving, being set free by our baptisms.
O Christ The Same
This glorious hymn has been used several times since I have been here. I believe it is inspired by Hebrews 13:8 (Jesus Christ is the same yesterday, today, and forever.) which will be read immediately before the singing of it.
It is one of the few hymns in the hymnal that actually goes to a completely different key area for the middle two phrases. The key message in this hymn comes from the last line of each each stanza...
"We bring our thanks for all our yesterdays."
"We bring our thanks for this the present hour."
"We bring our thanks for all that is to be."
You Are Mine/I Was There To Hear Your Borning Cry- arr. Nick Klemetson
This is a combination of two much loved hymns. The congregation and most of the Chancel Choir will be singing You Are Mine, with a quartet singing John Ylvisaker's timeless hymn. Both of these hymns are sung from the same perspective (God/Jesus), so they naturally go together. With some slight modifications to both melodies, they meld together beautifully. For congregation members, just be aware that there is an extra measure of rest following the first phrase of You Are Mine (which I will indicate during the introduction and with my hand at the piano).
HYMNS (Sunday morning)
Ye Watchers and Ye Holy Ones
The Wartburg Choir will introduce this wonderful tune with bell ringing and a series of Alleluias. Stanza three is the primary reason for this hymn's inclusion in our All Saints celebration. We call for our souls in endless rest to respond, along with patriarchs and prophets of the past. In addition, they are joined by the twelve apostles, martyrs, and of course, all of our saints triumphant.
For All The Saints
As closely bonded as this text and tune are, it wasn't always that way. This processional hymn for All Saints was originally set to a tune titled SARUM by Joseph Barnby (this tune was much more pedantic, very similar to the tune MARYTON (see ELW 818).
Thankfully, English composer Ralph Vaughan Williams composed this tune in the mid 1900's to be included in the English Hymnal 1906. It was then later published in other hymnals and has become one of the greatest tunes of the 20th century. The tune, SINE NOMINE (literally "without a name") was a departure from other English tunes of the time. Most tunes were written in four part harmony and instructed to be performed that way. SINE NOMINE was meant to be sung primarily in unison, though Vaughan Williams did include a harmonization for the interior stanzas. The original eleven stanzas has been trimmed to eight for the ELW, and we will sing them all this morning.
O Day Full Of Grace (v. 5)
I couldn't help but notice that today (Thursday) is actually All Saints Day proper. Tonight we have our dress rehearsal for the All Saints Vigil on Saturday evening. It is appropriate that we sing this wonderful music tonight, not for a congregation or an audience, but for the Saints themselves. They are always with us and watching over us, and Saturday evening is our gift to them, as well as our opportunity to reflect and remember their presence in our lives.
As you should probably know by now, this is a very special weekend here at St. Paul's. In recognition of All Saints weekend, we are featuring a two part worship event over two days. Saturday evening, as previously mentioned, will be a service of reflection and remembrance featuring the St. Paul's Lutheran Church Chancel Choir and guest musicians from Wartburg College. Through selected readings, hymns, and affirming our baptisms, this service is meant to draw us closer to those who have gone from us.
For part two on Sunday morning, we will be joined by Dr. Lee Nelson and the Wartburg Choir for a celebration of Holy Communion, as well as celebrating the lives of those who we remembered and mourned for last night.
I don't believe I have looked more forward to a weekend here in my over a year at St. Paul's than I have for this weekend. I hope you will all be joining us for a wonderful weekend of worship. In Music Notes this week, I am going to combine both Saturday and Sunday services and discuss selections of both of them here.
PRELUDE
Psalm Preludes, op. 32, nos. 1 and 2- Herbert Howells
Howells wrote two sets of psalm preludes, each piece being a tone poem based on a particular psalm verse. The Saturday evening prelude is based on Psalm 37:11- "The lowly shall possess the land. They will delight in abundance of peace." The one for Sunday morning is no. 1, which comes from Psalm 34:6- "The poor man cried, and the Lord heard him and saved him out of all his troubles." The Saturday night prelude in particular has one of the most gorgeous endings in the organ repertoire.
Both of these settings are wonderfully expansive and evocative. Both start quietly with a certain motive and grow and expand to employ the full reaches of the organ, while developing and maintaining those same motives. The third of this set is similar in style and is based on Psalm 23:4, a piece I use a lot during the Easter season.
HYMNS (Saturday evening)
Christ, Mighty Savior
This hymn might be new to many in attendance tonight. No. 560 in the ELW, it has long been one of my favorite evening hymns. The first stanza depicts Christ as a beautiful, sonorous light giving radiance to the sunlight and glittering adornment to the stars. Stanza two is a stunning depiction of the twilight. The sun sets (mirror of daybreak), and choirs of stars appear to hallow the nightfall.
Stanza three puts the focus on us in the church, as we sing to the glory of God during evening worship. Stanza four is a prayer that we be forgiven for our offences, be granted strength for our hearts and rest for our bodies.
Stanza five is the first moment in this service where I get a lump in my throat. "Though bodies slumber, hearts shall keep our vigil, forever resting in the peace of Jesus, in light or darkness worshiping our Savior now and forever." It is the first time we directly acknowledge those who have departed from us, and brings us into a feeling of reflection.
Baptized and Set Free
This hymn was introduced to me this summer, and it quickly found a place in my heart as one of my favorites (an arrangement for choir and organ is in the works!). This Saturday it will be a response to our affirmation of baptism, and will be led from the piano.
The structure of this is so amazing. As much as I love John's Borning Cry (we're using it at this service!), it charts a very specific path through birth, growing up, adulthood, marriage, and death. What this hymn does that is so unique and wonderful is that by stanza four, it brings us all together no matter what point we are at in life or what age we are. Stanza one starts with our baptism itself as by being washed with water, we are freed from sin and shown the glorious fountain. In stanzas two and three, we are nourished by food and water as we grow, being able to live through the support and love of an ever gracious God.
Finally in stanza four, we all come together... men, women, young, old, as we join in this wonderful song of thanksgiving, being set free by our baptisms.
O Christ The Same
This glorious hymn has been used several times since I have been here. I believe it is inspired by Hebrews 13:8 (Jesus Christ is the same yesterday, today, and forever.) which will be read immediately before the singing of it.
It is one of the few hymns in the hymnal that actually goes to a completely different key area for the middle two phrases. The key message in this hymn comes from the last line of each each stanza...
"We bring our thanks for all our yesterdays."
"We bring our thanks for this the present hour."
"We bring our thanks for all that is to be."
You Are Mine/I Was There To Hear Your Borning Cry- arr. Nick Klemetson
This is a combination of two much loved hymns. The congregation and most of the Chancel Choir will be singing You Are Mine, with a quartet singing John Ylvisaker's timeless hymn. Both of these hymns are sung from the same perspective (God/Jesus), so they naturally go together. With some slight modifications to both melodies, they meld together beautifully. For congregation members, just be aware that there is an extra measure of rest following the first phrase of You Are Mine (which I will indicate during the introduction and with my hand at the piano).
HYMNS (Sunday morning)
Ye Watchers and Ye Holy Ones
The Wartburg Choir will introduce this wonderful tune with bell ringing and a series of Alleluias. Stanza three is the primary reason for this hymn's inclusion in our All Saints celebration. We call for our souls in endless rest to respond, along with patriarchs and prophets of the past. In addition, they are joined by the twelve apostles, martyrs, and of course, all of our saints triumphant.
For All The Saints
As closely bonded as this text and tune are, it wasn't always that way. This processional hymn for All Saints was originally set to a tune titled SARUM by Joseph Barnby (this tune was much more pedantic, very similar to the tune MARYTON (see ELW 818).
Thankfully, English composer Ralph Vaughan Williams composed this tune in the mid 1900's to be included in the English Hymnal 1906. It was then later published in other hymnals and has become one of the greatest tunes of the 20th century. The tune, SINE NOMINE (literally "without a name") was a departure from other English tunes of the time. Most tunes were written in four part harmony and instructed to be performed that way. SINE NOMINE was meant to be sung primarily in unison, though Vaughan Williams did include a harmonization for the interior stanzas. The original eleven stanzas has been trimmed to eight for the ELW, and we will sing them all this morning.
O Day Full Of Grace (v. 5)
"When we on that final journey go that Christ is for us preparing, we'll gather in song, our hearts aglow, all joy of the heavens sharing, and there we will join God's endless praise, with angels and saints adoring."
I really don't think much else needs to be said than the words themselves to describe our sending hymn.
CHORAL ANTHEMS (Saturday evening)
Selig Sind (from Ein Deutsches Requiem)- Johannes Brahms
The beautiful first movement of the Brahms Requiem will be sung Saturday night while the congregation is lighting candles to remember those who have departed.
The choir has done an absolutely fantastic job learning this very difficult piece. It contains primarily two musical ideas. The first is based on a constant pulse on a low note for the text "Blessed are they that mourn, for they shall be comforted." The second section picks up a bit in tempo for the text "Those who sow in tears shall reap in joy." The mini phrases in each part climax on a high note on the word "freuden" which means "joy."
The Church's One Foundation- John Ferguson
This functions as the "hymn of the day" on Saturday evening, and has both congregational and choral components. John Ferguson's arrangement does a fantastic job of bringing this text to the forefront, particularly the three interior stanzas.
Stanzas three and four are especially effective. Stanza three, which is congregational, features an extremely dissonant, exciting organ part, where harmonic clashes and cluster chords symbolize the "schims rent asunder" and "heresies distressed" in the text. Additionally, one of the trumpet parts is displaced by several measures, creating even more of a disjunct feeling.
As this stanza concludes, it mellows. The cry of "How long?" in the third stanza is continued in the women's voices, as they sing these words repeatedly in three-part, parallel triads. The voices come together in a brilliant example of text painting on the line "She waits for peace forevermore."
The final stanza and its descant cannot really be described in words. You'll just have to hear it for yourself, but, don't be surprised if you close your eyes and see those "saints before us" standing around and amongst you.
The Kontakion- Rupert Lang
When I plan programs, it is usually a single piece or hymn that gives birth to an idea, and in the case of Saturday's program, Rupert Lang's Kontakion was the piece. "Give rest unto your servants..." is how the congregational antiphon begins.
The piece slowly develops, climaxing on a stunning set of "alleluias" based on the antiphon melody. Following the choral coda, the choir will then recess in silence and darkness, leaving only the candles that were lit at the beginning of the service on the altar.
CHORAL ANTHEMS (Sunday morning)
As I mentioned, we are wonderfully blessed to have the Wartburg Choir joining us this Sunday morning. In addition to the psalm refrain and a special choral hymn introduction I have prepared for them, they are also offering three anthems.
Gaudete- arr. Steven Sametz
If you are familiar with the medieval carol "Gaudete," you might be wondering, "Why is Wartburg Choir singing a carol about the birth of Christ on All Saints Sunday?"
Well, if you think about it, the birth of Christ made everything we do and everyone we celebrate possible. Thanks to the birth of Christ, it enabled us, our baptisms, our confirmations, our faith development, and finally our deaths, where we then join Christ and all the saints triumphant.
This carol has been arranged for choir many times, and the Wartburg Choir is offering one of the more difficult settings in existence. The carol, being a renaissance dance, is already quite complex rhythmically, but is made even more so by the arranger's strategic lengthening and shortening of certain phrases. When these rhythmic complexities are spread across four parts (and more), it makes it an incredible choral feat to pull off. The piece ends with the carol on parallel fifths, extending the sopranos all the way up to a high C.
O Day Full Of Grace- arr. F. Melius Christiansen
Thanks to the works and efforts of F. Melius Christiansen, nearly all of the other Lutheran choral programs are now in existence. Edwin Liemohn, an early conductor of the Wartburg Choir, was of course mentored and taught by FMC (several of his arrangements reflect that).
O Day Full Of Grace is, in my humble opinion, the finest of all the Christiansen arrangements. No finer musical representation of a sunrise can be found than in the first two verses of this hymn. For the final verse, it breaks into Christiansen's characteristic style of placing the cantus firmus in the men's voices, or the "pedals (F. Melius was an organist, after all)." Meanwhile, the four part women's texture is very polyphonic and serves to decorate the wonderful text where the world awakes with life and spirit.
Roll Jordan, Roll- Stacey V. Gibbs
For their third piece, the choir will offer Detroit-based composer Stacey Gibbs' arrangement of Roll Jordan Roll. Due to my lack of knowledge on this piece, I will refrain from commenting on it, but it will lead brilliantly into the communion hymn "On Stormy Jordan's Banks I Stand (Bound for the Promised Land)."
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Can you believe that's not even EVERYTHING this weekend? We are truly blessed with such a wonderful community of faith that is able to come together and offer such an inspiring weekend of worship. I hope you will all join us this weekend for All Saints!
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