Music Notes: September 15, 2013

Seventeenth Sunday after Pentecost

Prelude

Amazing Grace - Philip Gehring

The Amazing Grace hymn tune composed by William Walker, titled NEW BRITAIN, is so iconic that just about every church-goer, casual or diligent, should be able to sing this tune on command.  It is simple in the sense that it is four square phrases with a clear rise and fall in its contour and consistent in that each measure is a half note followed by either a quarter or two eighth notes.

With such a recognizable tune, a composer has to take extra effort to get their arrangement to stand out.  Philip Gehring's effort here stands out in the sense that you're never sure which area of the organ the tune appears in.  Just as you think you're hearing it in the lower register, a reed in the manuals will budge in and take over.  There's a dissonance throughout that calls to attention the phrase "I once was lost..." and creates a powerfully contemplative message.

Opening Hymn

Immortal, Invisible

I have always had a love/hate relationship with this hymn.  On one hand, I absolutely love the tune and how singable it is.  On the other, I've always had difficulty with this text.  It took me a long time to embrace the idea that God was "inaccessible, hid from our eyes."  I always struggled with this, feeling that the idea of God, despite the lack of an empirical presence, should be accessible to anyone.

Despite this concept being Biblically based (1 Timothy: 1-17 "To the King of the ages, immortal, invisible, only God, be honor and glory forever and ever, Amen.") I feel that this accessibility, or lack thereof, is rooted in our own minds.  Is the light experienced at the Transfiguration really a light that we could all experience, see through, be accessible to our eyes?  That's a question that can likely never be answered.

It wasn't until I read a passage from Exodus that I started to make sense of this concept.  Through that passage, I realized that even though we all may desire to lay our eyes on God at some point, there's really no reason to.  Faith should be able to overcome all and provide all the justification we need.

Hymn Of The Day

Amazing Grace

The iconic text and tune were composed by John Newton and published in 1779.  Its message is that of redemption, in that any Christian, regardless of his sins, can be saved through God. 

The hymn itself is John Newton's very personal conversion story.  Growing up without any religious conviction, he was eventually forced into service for the Royal Navy and became a slave trader.  Newton was one of the most vulgar, profane men of his time.  Stories abound of him using the most disgusting language existing, while even managing to invent new words and phrases that were even more offensive.

While at sea, his ship was involved in a severe storm which severely crippled the ship and took most of the crew.  In responding to his own efforts to keep the ship afloat, Newton was reported to have said, "If this will not do, then God have mercy upon us!"  Weeks later, the ship and its starving crew arrived in Ireland.  His conversion wasn't immediate, but over the years he gradually softened his vulgar ways and became a very fine hymn writer, publishing over 70 hymns in his life. 

Offering

Amazing Grace - arr. Nick Klemetson

This was one of the first compositions that I set to paper about five years ago.  It was initially intended to be a part of my Masters recital, but I ended up leaving it for a different setting of Amazing Grace. 

While it may seem repetitive to have this as the Hymn of the Day and sung here, there's more to this setting than just Amazing Grace itself.  It uses two other tunes and texts.  The first is Precious Lord, Take My Hand, and the second is a Charles Wesley text not in our hymnal titled "O God, I Stretch My Hands To Thee," set to the hymn tune MARTYRDOM. 

These three texts and tunes co-mingle together, creating a journey of faith from being "lost" to becoming "found."  The texts play off each other and respond to each other, and the choir has worked very hard in making these tunes distinctive, yet not overwhelming, even when they are sung simultaneously.

Closing Hymn

Praise the Lord, Rise Up Rejoicing

In reading through this text, it was pretty clear to me that it was composed in the 20th century, and not from the same era as the tune comes from.  The second person narrative, the Eucharist declaring the final victory, and going forth in the spirit are all subtle clues to this.  Together with the joyful German tune, its message of praise for the Eucharist declaring the final victory ring true at the end of our service.

Postlude

All Glory Be To God On High - J.S. Bach

Bach set quite a few chorales several times, and this particular one contains at least three settings.  It was one of the most popular chorales in its day.  This setting features the chorale in the soprano with active voices below it, dancing around and through each other, making this a short but joyous setting.

Music Notes: September 8th, 2013

ELCA 25th Anniversary Weekend

Prelude

Hymn to Joy - Paul Manz

One of Paul Manz's favorite compositional techniques is the use of ritornello.  A ritornello is a short refrain-like motive that is usually returned to throughout a composition.  In this case, the ritornello is characterized by a dotted rhythmic figure and a walking bass line.  The tune is played in the tenor range, and is presented without elaboration, so as to be easily heard.

Opening Hymn

Joyful, Joyful, We Adore Thee

This has been a traditional starter for us on the first Sunday after Labor Day.  Joy and love are the themes that pervade this lovely 18th century text by Henry van Dyke.  We see this in the very first line, "... Lord of love."

Stanza two shows us nothing but reasons to give.  The wonderful world around us... all the gifts we have been given.  All the wonders of the world, time and space, give us reasons to share what we have been so graciously given.

The final stanza recaps this idea of a giving God ("Thou art giving and forgiving...").  The hymn concludes as it begins, with a prayer to God to teach us how to love each other.

Hymn of the Day

I Want To Walk As A Child Of The Light

As Jesus was enveloped and overtaken by light at the Transfiguration, this hymn is our petition that we too embrace this light in order to follow Jesus.  No matter which way our congregation decides to go forward through the vote on Sunday morning, we should always remember to walk as a child of the light.
Kathleen Thomerson, recently retired from Mt. Olive Lutheran Church in Austin, TX, has created a lovely bit of prose, that despite having no rhyme scheme, is wonderfully singable to its chant-like melody.  As stanza three carries more of an Advent theme, it will be omitted at this service, but the first two verses comment nicely on the themes that envelop the 25th Anniversary of the ELCA.  As we move forward to 25 more years and beyond, may the light of Christ shine in our hearts.

Offering

Baptized and Set Free - Cathy Skogen-Soldner

Chancel Choir returns this Sunday with this lovely hymn that expresses our thanksgiving for baptism on this Sunday when we are both celebrating the 25th anniversary as well as introducing new members to our congregation.
The first three stanzas of the hymn do a wonderful job at illustrating the actual Baptism rite as well as what it means for us.  The cleansing waters stifle the powers of sin, and Jesus opens the door for us to a whole new life of salvation and thankfulness.
On the fourth stanza, the entire congregation will join as we all display our love and gratefulness for our baptisms.

Communion Hymns

Draw Us In The Spirit's Tether

Stanza one of this stunning text derives itself from Matthew 18:20... "Where two or three are gathered, God is also there."  There is also a passing reference to the healing power of Jesus' clothing, such as the woman who laid her hands upon his robe was healed.

Stanza two ties the Last Supper to the way we take Communion today in remembrance of that.  As the disciples were offered bread and wine by Jesus, we continue to be offered that same body and blood today weekly, and it brings us together closer as a community.

Much like Thomas and the rest of the disciples bore witness to the risen Christ, resulting in them being more faithful than ever as disciples, the closing stanza of this hymn inspires us to act as these disciples did and encourage us to live ever more strongly in the name of Christ.

Remember and Rejoice

There are some hymns that use the first stanza again at the end, not as a refrain or a reprise, but rather an affirmation of the message.  This is one of those hymns.  The second stanza reinforces the mark of Christ that we have on our foreheads.  As important as that is, the message from the third stanza is even more applicable to our worship this week as we embark on our congregational vote.  No matter the outcome, we need to remember to come together as a community in Christ and move forward.

Closing Hymn

Lift Every Voice and Sing

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.")

 

Even though we aren't singing the second stanza today, it is still important to reference.  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.

Postlude

Hymn To Joy - Wayne Wold

Wayne Wold is well known in the church/organ world for creating a large quantity of liturgical organ music for organists of all ability levels.  This large fantasy on Joyful, Joyful We Adore Thee has a very tight structure, comprising of five parts and a coda.

 

Much like the ritornello technique used in Manz's seting, it is also used brilliantly during this joyous postlude.  Interestingly enough, the HYMN TO JOY tune is never really presented in full, but the chord progression and general feeling of the ritornello indicate that the hymn tune was the source material.  The most obvious use of the tune is near the conclusion, as the trumpets blare out the third motive of the melody.

Labor Day Weekend Hiatus

Music Notes will be taking a one week hiatus for Labor Day weekend.

Music Notes: August 25th, 2013

Fourteenth Sunday after Pentecost

Prelude

Three Settings of Liebster Jesu - J.S. Bach, Marcel Dupre, Michael Burkhardt

These three settings of this chorale all come from three different eras and three different composers, yet they are all based on the same compositional style.  

J.S. Bach, the arguable master of the chorale setting, has the most complex setting.  In addition to the three voice accompaniment, the chorale is played in a canon at the fifth in the right hand.  Organ registration allows this canon to be heard clearly.

Dupre's setting is the shortest and simplest.  It consists of three voices with the chorale in the soprano.  It doesn't even allow for a repeat in the first phrase, making the setting less than 20 or so seconds. 

Michael Burkhardt is a contemporary organ composer, but this composition is a throwback to the old style of chorale prelude composition.  Like Bach's setting, it has a voice in the pedal, left hand, and the chorale itself in the right hand.

Opening Hymn

Dearest Jesus, At Your Word

Tobias Clausnitzer is not a name we come across very often in the study of hymnody.  Living in the mid-17th century, he was appointed as a chaplain of the Swedish regiment in 1644 after his studies at the University of Leipzig.  Later in life, he was appointed first pastor at Weiden, where he remained until his death.

This hymn, like many other from the era, was translated by Catherine Winkworth.  It gives us a message of the spirit breaking through the night which has just passed, filling us with "light unclouded."  This brightness remains the focus of the hymn throughout stanza three, and then concludes with a modified Doxology for the final stanza.

Hymn of the Day

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.

Communion Hymns

Here Is Bread

This Communion song is by Graham Kendrick, who is a wonderful worship leader, writing hymns equally at home in both traditional and contemporary worship.  This is a very accessible melody in a gentle, swinging 4/4 meter, with a very straightforward text, showing us that throughout Communion and in our whole lives, God is always with us, watching over us and guiding us.

We Come To You For Healing Lord

Our bodies, minds, and souls all need some form of healing at some point, and through prayer, we can hope to receive it.  Herman Stuempfle, the long time leader of the Lutheran Theological Seminary in Gettysburg, penned this lovely hymn with the need for healing in mind.  The image of Christ as the great physician is referenced in stanza three, and gives thanks to all the physicians and nurses around that heal our wounds with their God given gifts and willingness to serve.


This text is set to the hymn tune MARTYRDOM, a rather common tune from late 18th century England.  It accompanies the Stuempfle text quite nicely, and as the end of stanza four says, we "trust that through our nights and days your grace will heal, sustain."

Closing Hymn

Rejoice, Ye Pure In Heart

About a year ago when the REJOICE service was reborn with that name, this was one of the songs (slightly modified) that kicked off the idea that anything old can be renewed and made to be appropriate in any style of worship.

Of course, it is still a wonderful traditional hymn as well.  The language is overtly praise-like, with wonderful proclamations of shouts and and voices sending forth the sturdy hymns of old.  Each stanza ends with the short, simple refrain, "Rejoice, give thanks, and sing!"

Postlude

Rejoice Ye Pure In Heart - Emma Lou Diemer

Emma Lou Diemer is known for writing organ compositions that are both very difficult and very bizarre.  This piece, while difficult, is actually one of her most "normal" pieces in terms of form, harmony, and compositional style.  

A perpetually moving motive in the manuals begins flowing on top of the tune in the pedal with a big reed.  The middle section goes into a chorale with a unique twist.  Rather than a supporting bass line, the bass line is actually the melody, in canon with the melody on the top.  The piece concludes the way it began, with fragments of the tune in augmentation, enhanced by scales and other flourishes in the hands.

Music Notes: August 18th, 2013

Thirteenth Sunday after Pentecost

Prelude

Ebenezer - J. Wayne Kerr

Sometimes, organ pieces based on hymn tunes don't have precise titles.  They are usually just named after the hymn tune that they are based on.  That is the case with both the prelude and postlude today, basedon the hymn tune of our opening and closing hymn (same hymn with divided stanzas).  

This setting has a ritornello that runs throughout.  A ritornello is a short, repetitive refrain that reoccurs throughout the piece.  In the case of most hymn tune organ compositions, it is the tune itself that breaks up the ritornello.  Here, that is certainly the case, and the tune is ornamented upon using mordents and additional elaborations of the melody.  

An interesting facet of this tune is its unusual meter of 12/8.  This composition, in 4/2 time, makes the tune sound as though it is based on triplets, creating a duple/triple contrast between the ritornello and the tune statement.

Opening Hymn

Through the Night of Doubt and Sorrow vv. 1-3

As our primary scripture this week is Exodus 3:15, this hymn describes the start of a long journey similar to the one that Moses takes throughout the book of Exodus.

This is a tricky one.  The exterior stanzas are simple enough... they are the story of a group of people treading forward through their journey towards a destination, "the end of toil and gloom."  The middle stanzas, however, I found very difficult to interpret. The "light of God's own presence" at the beginning of stanza two refers to the Pillar of Fire from the Book of Exodus, which guided them through day and night (Exodus 13:21-22).  The hymn continually mentions "one."  What this "one" is is definitely up for interpretation, and I would love to hear thoughts from anyone on what that "one" might be.

Stanza four will be reserved as the closing hymn this Sunday, which sends us out on our own journey.

Hymn of the Day

Bless God, O Now, The Journey

This hymn encapsulates the message for the day; like Moses, Peter, and Jesus Christ before us, we are all on a journey of faith.  We call come upon opposition from barriers that may or may not want to hold us back.  

Sylvia Dunstan (1955-1993) details the struggles of this journey through her first two stanzas.  We journey through noise, silence, giving, and taking.  Through deserts, water, and mountains, we travel until we find the road that faith is built upon.  In stanza three, we are joined by the "divine, eternal lover" who meets us and guides us solidly along the path, not just when we need it, but always.  We can all empathize with Moses here, bound with a task that he feels is insurmountable.  Through the strength and support of the great I AM, we can all travel down our road of faith and arrive at the promised land.

Offering

Where Your Treasure Is - Marty Haugen

Don and Kris Meyer will be providing this lovely Marty Haugen song for the offering this weekend.  Accompanied by Don's guitar, Don and Kris always inspire and uplift the congregation with their wonderful gifts.

Communion Hymns

Around You, O Lord Jesus

This is a beautifully simplistic poem based around the idea of joining Jesus at the Holy table of Communion.  We hear the invitation of Jesus and gratefully accept it.  This invitation brings us closer to Jesus and into his loving heart from where we will never depart.

This tune, despite coming from a Dutch psalmbook dating from c. 1570, actually sounds much more like it was written in the mid to late 19th century.  The melody has a beautiful lilt and is supremely singable.

For The Bread Which You Have Broken

Much like the first hymn, this communion text is wonderfully simplistic.  We are thankful and grateful for bread, wine, and the words of God.  The promise of love, the gift of peace, and the call to heaven from God embrace and guide our lives.  We are connected from generation to generation by those who came before us and who will still come.  We pray that the ties that bind us together be unbreakable.  

The tune comes from the Gross Catolisch Gesangbuch (Large Cathloic Songbook).  This was compiled by David Gregor Corner in 1625 (and subsequent editions), and contained almost 200 tunes.

Closing Hymn

Through The Night Of Doubt and Sorrow v. 4

The opening concludes here.  We go onward as sisters and brothers, with the power of the cross as our aid and assurance.

Postlude

Ebenezer - Sam Batt Owens

Sam Batt Owens enjoyed a long career as an organist, composer, and church musician, before passing away in 1998.  This setting of EBENEZER also contains a ritornello, though its form is quite different.  The pedal plays a walking bass line, while the right hand and left hand play a contrary motion motive.  These motives are surrounded by the tune, and again, the duple/triple contrast is emphasized.  

Music Notes: August 11, 2013

Twelfth Sunday After Pentecost

Prelude

Fugue in D minor - Johann Pachelbel

Everyone who reads this blog or attends St. Paul's knows I have an affinity for the organ music of Pachelbel.  This fugue, sometimes called the "Chromatic Fugue," is one of his most popular works for the organ.  The nick name derives from the fugue subject itself.  Beginning on a D, the subject moves downward chromatically.  As is standard fugal practice in this compositional period, it is answered a fifth above.  The composition unfolds as a standard four voice fugue would, and concludes with a Picardy (major) third.

Opening Hymn

Awake My Soul, and With The Sun

The opening measures of this hymn tune may be confused with a different tune, titled CANONBURY (see ELW 676).  While the opening measures are similar, the tune quickly takes a wonderfully colorful turn, moving into the dominant key area.  

Textually, this is a wonderful morning prayer.  God has kept us safe through the night and refreshed us as we slept.  The second half of stanza two paraphrases the conclusion of the evening prayer, "... if I should die before I wake, I pray the Lord my soul to take."  After we renew our vows to God, we ask for guidance for this day and the days to come.  As many prayers do, this prayer ends with the Doxology.

Hymn of the Day

Have No Fear, Little Flock

We sang this a couple weeks ago as a Communion Hymn, and I was wonderfully pleased with how it went.  Abraham and Sarah were part of this flock.  Isaac and his descendants all are.  We are their descendants, all part of the same flock watched over by God.  The text here is derived from Luke 12:32, which is part of our Gospel text for the day.  

Musically, this tune is made unique by the sixteenth/eighth note pattern as a part of the first, second, and last phrases.  This figure is commonly used to color certain words or help create special effects, as it does here on the word "little."  

Offering

The God Of Abram (and Sarah) Praise - arr. NDK

The Summer Choir this week will share this hymn of praise and appreciation to our subjects this week, Abraham and Sarah.  The Rev. Laurie King, a Presbyterian pastor in Miami, FL, has composed an additional stanza that focuses on Sarah.  The additional stanza states that the laughter of Sarah stills our strife, and that God's promises are sure, that we are called to do God's will.

It doesn't take too much creativity to take a hymn from being a standard rendition to making it something more appropriate for a choral setting.  The first two stanzas lend themselves nicely to being sung by the men, then the women.  The third stanza has an opportunity for a canon over the first two measures, and the final verse uses a descant for the upper voices that soars over the tune.  

Communion Hymns

Soul, Adorn Yourself With Gladness

This is one of the most theologically complex hymns in our entire hymnal.  If we could sum it up with one line, I would probably choose line three from the first stanza, "Bless the one whose grace unbounded this amazing banquet founded."

Unity, eagerness, joy, and peace are all common themes throughout the stanzas.  The metaphor of a bride meeting her husband exists throughout the second stanza.  In the third, the sense of wonder through the miracle of communion almost overcomes the writer, calling it a "glorious consolation" and labeling the Bread of Life as "boundless."

Lord, Take My Hand And Lead Me

The text and tune of this German chorale are both rather straightforward, and are meant to guide us through all facets of our lives.  As many of us embarked from various life stages to others (I for one, just went through the whole "first-time homebuyer" experience), we could probably hear the “tempest rage,” at certain points.  If we allow the hand of God, the “Rock of Ages” to protect us throughout our lives, then nothing will impede us.  Surely Abraham and Sarah must have thought this as well as God promised the covenant to them.

Closing Hymn

How Great Thou Art

This hymn easily finds its way into most people's top 10 lists, hence why it is very popular at funerals.  The final two stanzas of text do have some allusions to the funeral rite, but they certainly don't have to be tied to it.  Even though the time doesn't quite match up, the idea behind the text could easily have been said by Sarah as she and Abraham accepted God's covenant.  

Postlude

Fugue in D Major - Johann Pachelbel

Contrasting with the chromatic nature of the fugue in the prelude, this fugue by Pachelbel is based on a longer, sequential melodic pattern.  This is one of his longer fugue subjects and longer fugues overall.  As the subject moves from voice to voice, it is supported by a great deal of suspensions that all move downwards.  

Music Notes: August 4, 2013

Eleventh Sunday after Pentecost

Prelude

Romance from Concerto No. 2 - Henryk Wieniawski

Dr. Daniel Kaplunas, director of the Wartburg Community Symphony, will be joining us this week to provide both Prelude and Offertory music.  

In addition to being a medical doctor, Wieniawski, born in Poland in 1835, was also an accomplished violinist.  While not large, his compositional output contains several very important works for the violin, including two concertos.  Dr. Kaplunas will be playing the second movement of his D minor concerto here.

Titled "Romance," it contains a harmonically based melody which travels through a variety of keys, typical of late Romantic style music.  At the climax, the violin reaches the highest reaches of its range, with the orchestral reduction playing the same melody from the beginning.  This is a beautiful, touching example of a late Romantic-era slow movement.

Opening Hymn

All People That On Earth Do Dwell

This month in worship we are taking a look at the theme of resurrection.  This William Kethe text describes some of what we might see, hear, and experience as we journey to heaven.  Stanza three in particular appears to be a bit of an instruction manual on how to enter the pearly gates.  The standard question asked by a lot of us during life, "Why?" is asked and answered simply in stanza four; the Lord our God is good and is mercy is forever sure.

This old text is set to an equally old tune.  Normally associated with the Doxology, Kethe's tune, based on Psalm 100, is actually the text that led to the name of Louis Bourgeois' hymn tune OLD HUNDREDTH.  

Hymn of the Day

How Small Our Span of Life

After passing away in 2007, the world lost a wonderful preacher, theologian, and hymn writer in Herman G. Stuempfle.  This hymn is a fantastic example of his work.  Here we see an expansive text contrasting the length of our lives with the eternity of God.  The language in stanza two of time and space is wonderfully evocative.  These two spans of time are crossed by Christ when he left the infinite span of heaven to come to Earth and redeem our mortal lives.  The concluding stanza thanks God for the guiding pathway he gives each of us.

Offering 

Le cygne (The Swan) - Camille Saint-Saens

This is an extracted movement from Saint-Saens Carnival of the Animals.  Set in 6/4 time, it features a langishing melody underneath a constant accompaniment of flowing, broken chords.  While originally written with cello providing the melody, it will be played up an octave by Dr. Kaplunas on the violin.

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.

We Praise You, O God

God is not only with us, but has gone all the way back through previous generations to Abram and Sarah and beyond.  Stanza two of this lovely text by Julia Cory demonstrates that is isn't just us to has to travel through trials and temptations, but also our forefathers and mothers.  The concluding stanza is purely a statement of faith and gratefulness that through any future trials and temptations, God will always be there with us.

Closing Hymn

Lord, Dismiss Us With Your Blessing

The title of this tune, SICILIAN MARINER’S HYMN, is a little misleading.  While the tune is rumored to come from Sicilia, the hymn that it was originally associated with is actually Roman Catholic, from around the 10th or 11th century.  The tune actually seems to have inspired Charles Tindley’s civil rights anthem, “We Shall Overcome.” 

This hymn is intended for use as a recessional, as we are dismissed from worship and giving thanks for the Gospel’s joyful sound.

Postlude

Fantasy on OLD HUNDREDTH - Piet Post

This composition from 1966 by Dutch composer Piet Post is in a standard ABA format.  The A sections feature the tune played as a chorale in the right hand, but each phrase is presented in a different key.  The dotted rhythm bass line assists in the harmonic changes.

The B section has the tune in open fifths, and in between each phrase, the melody is presented again in what is called diminution, that is the same melody, only with a quicker, shorter rhythm.

The piece concludes with a reprise of the A section and a short coda where the opening phrase returns using the open fifths, growing to a G major conclusion.

Music Notes: July 21st, 2013

Prelude

The Church Of Christ In Every Age- J. Bert Carlson

In addition to being retired pastor, J. Bert Carlson has worn many hats in his career, such as director of music, piano teacher, tenor soloist, conductor, author, and co-founder of the Chicago Oratorio Society.  Several of his works are included in the Augsburg Organ Library, including this one.

This is one of his more shocking settings in terms of the harmonic structure.  The tune is present throughout, and the jarring harmonic contrast, bordering on poly-tonal, create a lot of excitement.

Opening Hymn

How Clear Is Our Vocation, Lord

This lovely modern hymn by British composer Fred Pratt Green explores the work we do, the vigor with which we do it, and the hardships dealt with through the journey.  God gives us strength and energy as we go through the good times (stanza one), and the hard (stanza two).

Stanza three is a very interesting theological statement.  We aren't the only ones with burdens.  The ones who came before us also dealt with hardships, and what we have learned from them influence our lives today.  Despite this, there seems to be a bit of an accusation in this stanza, accusing us of "the casual way we wear your name."  By "obscur(ing with our) faults," we both minimize and forget what those who came before us have done.

All is not lost.  By living our lives in a God-like fashion and staying strong to our convictions, we are honoring those saints, ourselves, and the Son of God who was sacrificed for us so we may live.

Hymn of the Day

The Church Of Christ In Every Age

In many ways, this hymn is about the work we do and how we do it.  As the time continues to pass from generation to generation, our mission may change in part, but generally we work to praise God, support each other, and look towards a bright future while never forgetting about our heritage.

Stanzas two and three are great examples of a statement and response grouping.  Stanza two reminds us of the problems that exist and that we have to deal with.  Throughout the world and in our neighborhoods, people are crying out for help, shelter, and food.  Stanza three answers by calling the servant church to arise to address these problems just as Christ has.

As I have mentioned on this blog before, stanza four has a striking reference to the malaria epidemic ("cure the fever in our blood").  The hymn concludes with a declamatory statement clarifying and strengthening our position on the mission we have to serve.

Communion Hymns

O Christ, What Can It Mean For Us

The key line in this hymn for us this Sunday comes from stanza three... "O Christ, in workplace, church, and home, let none to power cling; for still, through us, you come to serve..."

What Christ's sacrifice means for us is that we are able to give our thanks to God and live out our mission not just for an hour on Sunday, but through our entire lives.  This wonderful Delores Dufner text encapsulates that.

O Christ, Your Heart Compassionate

If we needed more convincing as to the worthiness of Christ's sacrifice, it can be found in Herman Steumpfle's four-stanza call to mission and discipleship.

Stuempfle was a long time pastor in both Pennsylvania and Maryland, as well as being Professor of Preaching and Worship at Lutheran Theological Seminary.  In addition to his inclusion in most of the major denominational hymnals, there are several hymnals dedicated solely to his works.

Closing Hymn

We All Are One In Mission

Frequently throughout the Gospels, Jesus calls his disciples to embark on a mission of spreading the news of repentance and forgiveness.  This call to discipleship is passed on to us, and we profess the news of this "single great commission" through the singing of this hymn.

Rusty Edwards is a rather well known minister and hymn writer, still as active today as he has been his entire career.  After receiving his M.Div from Luther Seminary in 1985, he went on to earn a doctorate in theology from Notre Dame, and now serves as senior pastor at Christ Lutheran Church is Moline, Illinois.

Not only is this hymn appropriate for the mission that we are called to act on by Christ, but it could also be tied to the malaria mission of St. Paul's (also seen in the Hymn of the Day today).  This hymn contains a wonderfully unifying message in the middle of stanza two.  Pastor Edwards states, "Our ministries are different, our purpose is the same: to touch the lives of others with God's surprising grace, so every folk and nation may feel God's warm embrace."  Whether it is working to eradicate malaria or any other goal the church strives to reach, it is all done in the name of God through ourselves and our work.

Postlude

Toccata in Seven

As the title indicates, this is a toccata in 7/8 time.  Generally, a toccata involves a very active rhythmic structure.  Many toccatas for church performance are based on a hymn tune, but this was a free standing composition by Rutter, suitable for both church and concert use.

Set in a three part ABA form, the middle section, with it's slower chords and dialogue between manuals and pedals are surrounded by a rhythmic pattern with clear, square phrases.  Characteristic of the English style of composition, this work features a good deal of modulation, pan-diatonicism (two keys at once), and colorful harmonies.

Reminder: Music Notes will not be published next week due to me being on vacation (aka. unpacking).

Music Notes: July 14th, 2013

Eighth Sunday after Pentecost

Prelude

Children of the Heavenly Father - arr. John Ferguson

Many of you know that John Ferguson is my original organ teacher and mentor.  Most of my hymn playing and anything else I do on the organ was and is inspired by him.  

Compared to other masters of congregational song and hymn festivals (Paul Manz, David Cherwien, et al...) his output for solo organ is not as large, but this piece is particular truly encapsulates his style.  The first time I read through it, I noticed how natural it felt to play due to me being so influenced by his style.  The planing triads on top of the tune in a solo 4' flute in the pedal just comes second nature to me due to my training.

Opening Hymn

O God, Our Help In Ages Past

Isaac Watts' famous paraphrase of Psalm 90 takes center stage here.  Watts, the "father of English hymnody," actually composed a complete metrical, poetic psalter, but this is by far his most famous effort.

The concept here is that of an everlasting, ever living God who created all things, oversees all things, and renews all things (help in ages past, hope for years to come).  Multiple stanzas talk about the concept of creation, specifically the two that are being depicted in the prelude.  While the creation aspects are important, they are a means to an end.  The true message here is that God is omnipotent, omnipresent, and will be with us through all our trials, adventures, and tasks as we move forward.

Hymn of the Day

Holy Spirit, Truth Divine

One common structure for composing a hymn is to start each stanza with the same phrase, only changing one small adjective.  Each of these adjectives are then expanded upon in the rest of the verse.  This is evident right away in the conclusion of the first line.  Truth dawns, love glows, power fortifies, and peace stills.  The final stanza, with the word "right," is a little difficult to understand.  "King within my conscience reign," refers to the piece of the Holy Spirit that is inside of all of us.  

Interestingly enough, the word "reign" interrupts the rhyme scheme.  The text author, Samuel Longfellow, was born in 1819 in Portland, Maine.  In the far Northest US at the time, an English accent would likely still predominate, even as late as 1850.  Said with such an accent, the word "reign" would likely be closer to "rine," which would of course rhyme with di-"vine."  Details like this are very important when an anomoly in a hymn is detected.

Offering

Here I Am, Lord - arr. Jack Schrader (Summer Choir)

Many people have arranged this much loved hymn by Dan Schutte.  These three verses are expertly crafted into an arrangement that paints the text (for example, the piano part on the word "stars") beautifully.  Three part mixed arrangements (two women's parts, one men's), are very difficult to write.  Most of the time, the voicing doesn't work correctly and the men's part ends up being too high.  That is not the case here though.  The optionally written bass part only supports it and is an excellent addition when it is able to be added.

Communion Hymns

Children of the Heavenly Father

With hymns such as "Children of the Heavenly Father," Lina Sandell has placed herself into the hearts of Christian worshipers young and old, creating one 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.

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.

Closing Hymn

My Hope Is Built On Nothing Less

This hymn was composed by Edward Mote (1797-1874), a cabinet maker by trade, who later became a pastor in Sussex.  The hymn was actually inspired by a different scripture entirely, from Jesus' parable of the wise and foolish builders, which describes two men, one who built their house on rock, and the other on sand.  When the rains came, the house on the rock survived, but the house in the sand sunk.  Christ is used as a metaphor for this lesson.

Most of the time at St. Paul's, we sing this hymn to the tune MELITA (Eternal Father, Strong to Save).  On the same page is this text attached to a different tune.  William Bradbury composed this tune, as well as the tune to Jesus Loves Me.  Interestingly enough, both of those tunes share similar characteristics (2 identical phrases in the verse, and a refrain).  I find this tune, with its simple, straightforward harmonies, to be much more appropriate for the "solid" nature of this text.

Postlude

Improvisation on the Eighth Psalm Tone - Everett Titcomb

The "eighth psalm tone" is not from the ELW, but rather from the English Hymnal, 1906.  Psalm singing in the Episcopal tradition is different than what we do; it is longer and more complex.  Everett Titcomb, noted English composer, has created a wonderful, expansive setting based on a sixteen note pattern.  The piece travels through several keys and registrations before arriving at a glorious ending.

Music Notes: July 7, 2013

Seventh Sunday After Pentecost

Adagio on the Star Spangled Banner - John Knowles Paine

Seeing as it is Fourth of July weekend, I thought it would be fun to play a few movements of John Knowles Paine's large concert piece on the Star Spangled Banner.  Paine was one of the first American composers to achieve success in large scale orchestral music (Amy Beach, who was discussed a couple weeks ago, was another).

The Adagio is the third movement, and it puts the melody in the pedal underneath a pastoral-esque, contrapuntal string texture.  The melody has some slight alterations, and I'm not too sure why.  Regardless, the melody we all know is clearly present and audible.

Opening Hymn

Earth And All Stars

This hymn was composed jointly by Herbert Brokering and David Johnson to celebrate the 75th anniversary of St. Olaf College.  There's 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!).  

In honor of Independence Day, I usually attempt to incorporate a certain familiar American tune into this hymn.  While the circumstances normally in place will not be here this week (choir), I will still try my best to make it work!

Hymn Of The Day

Immortal, Invisible

I have always had a love/hate relationship with this hymn.  On one hand, I absolutely love the tune and how singable it is.  On the other, I've always had difficulty with this text.  It took me a long time to embrace the idea that God was "inaccessible, hid from our eyes."  I always struggled with this, feeling that the idea of God, despite the lack of an empirical presence, should be accessible to anyone.

Despite this concept being Biblically based (1 Timothy: 1-17 "To the King of the ages, immortal, invisible, only God, be honor and glory forever and ever, Amen.") I feel that this accessibility, or lack thereof, is rooted in our own minds.  Is the light experienced at the Transfiguration really a light that we could all experience, see through, be accessible to our eyes?  That's a question that can likely never be answered.

It wasn't until I read a passage from Exodus that I started to make sense of this concept.  Through that passage, I realized that even though we all may desire to lay our eyes on God at some point, there's really no reason to.  Faith should be able to overcome all and provide all the justification we need.

Communion Hymns

The Son Of God, O Christ

Earlier, our hymn of the day cast an old text into a brand new tune.  This hymn takes a new text by Edward Blumenfield and  set to a slightly older early 20th century tune.  Though it was composed in the 20th century, this tune carries many of the characteristics of 19th century hymn tune writing.  The melody itself is a little on the uninteresting side, but combining it with a beautiful four part harmony makes the tune come alive.

The first two stanzas of this hymn start in the past, where Jesus' recruitment of his disciples formed the basis of Christianity.  Fast forward to our time, where Christ dares us to follow boldly in his name and continue the work throughout the world.

Blest Be The Tie That Binds

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.

Closing Hymn

This Is My Song

Part two of the tryptych is a combined text from two twentieth century poets, Lloyd Stone (st. 1-2) and Georgia Harkness (st. 3).  This is probably the most well-known "national" hymn that doesn't necessarily declare an allegiance to a specific country.  Rather, it is an ecumenical (if you will) prayer for unity within and among nations of the world.  Stanza two sums up the aura of the hymn perfectly...

My country's skies are bluer than the ocean,
and sunlight beams on cloverleaf and pine,
(sounds rather pompous so far, yes?)
BUT other lands have sunlight too, and clover,
and skies are ev'rywhere as blue as mine.
So hear my song, O God of all the nations,
a song of peace for their land and for mine.

It is set to the tune FINLANDIA, originally a chorale from symphonic poem of the same title by Finnish composer Jean Sibelius.  Though that was where it originated, this tune has become so attached to this text that it is nearly impossible now to separate the two.

Postlude

Fugue on the Star Spangled Banner - John Knowles Paine

This fugue is based on the first phrase of the Star Spangled Banner.  After the initial two measures, a long stretch of eighth notes fill out the rest of the subject.  The fugue is a pretty standard four voice texture, with three in the hands and one in the pedal.  

A unique and intriguing musical moment happens at the end.  A harmonic sequence travels down chromatically and eventually arrives at a large pedal cadenza, which proceeds to ascend and descend, lowering a half step each time.  It eventually arrives at a long pedal trill, which leads to a complete statement of the melody as a coda to the entire piece.

Music Notes: June 30, 2013

Prelude

Plainsong Preludes, no. 1 - Alec Rowley

Alec Rowley has definitely become one of my favorite composers for organ.  It is difficult to describe what makes his compositions so intriguing.  Without delving too far into it, his unique take on harmonic practices of early 20th century England are truly unique and wonderful, resulting in colorful, beautiful melodic and harmonic moments.

Another characteristic of Rowley's is that he travels through a variety of keys with his thematic structures.  While the piece begins and ends in G major, it also travels through Eb major and C major on its way.  

The plainsong that it is based on, titled "Resurgam," consists of only five notes.  With this minimilistic motive, it is able to be repeated in a variety of ways, in inversion, backwards, augmentation (twice as slow), diminution (twice as fast), and a variety of other ways.  This all blends together beautifully in a piece that is quintessentially Rowley.

Opening Hymn

Come, Gracious Spirit, Heavenly Dove

This wonderful German folk tune is paired with a slightly newer (though still from the 18th century) Pentecost text which requests that the Holy Spirit be our guardian throughout our lives.  The clean, discernable four part structure of the melody suits the AABB rhyme scheme of the text perfectly.

There is very little open to interpretation in this text.  The poetry is beautifully set and accessible to all.  

Hymn of the Day

Will You Come and Follow Me (The Summons)

John Bell (b. 1949), is one of the most well known and well respected ministers from the Iona Community out of Scotland.  Founded in 1938, the Iona Community is an ecumenical group of Christians from all denominations who are particularly involved in peace and justice causes throughout the world.  Outside of the community, The Summons may be John Bell's best known hymn, though his output within the community is very prolific.

The Summons is set to a traditional Scottish folk tune known as KELVINGROVE.  For the first four stanzas, The Summons is told from the point of view of Jesus, asking all of us (his disciples) if he calls our name, will we follow him?  Will we travel to unknown regions?  Will we show love and kindness to the world?  Will we use our faith to do our work?  Possibly the most profound question asked is at the beginning of stanza 4: "Will you love the YOU you hide if I but call your name?"  This is open to a lot of interpretation, but I feel that here, we are being challenged to explore and question our own faults... things about ourselves that we may not always be proud of.  They are still a part of us, and while we may like to keep them hidden deep away, we need to come to a true acceptance and understanding of them before we can fully be people of God.

In the closing stanza, the voice shifts to that of our own.  We respond to Jesus by taking up our cross and following him into the world wherever he goes.

Communion Hymns

God, Who Stretched The Spangled Heavens

This wonderful 20th century hymn, much like a similar one by Herb Brokering, Earth and all Stars, probes a very unique situation in the 20th century.  The second stanza references the splitting of the atom... "...probed the secrets of the atom, yielding unimagined power, facing us with life's destruction or our most trumphant hour."  The atom has certainly destroyed the lives of many.  Has it lead us to our most triumphant hour also?  It has certainly yielded many good things as well.

This is outside the point.  The point here is that the writer, Catherine Cameron, Herb Brokering, and others, such as Ruth Duck, Brian Wren, et. al., work to create hymnody that is relevant to our time and our society, which in turn gives us texts that are relatable to us.

Come To Me, All Pilgrims Thirsty

Though most of the hymn doesn't refer specifically to Eucharist, the stanza two line, "Drink the cup of life I offer; at this table be my guest," was certainly written with Communion in mind.  Stanza six again makes a direct reference to the capacity of Jesus to comfort children, "Come to me, abandoned, orphaned; lonely ways no longer roam."  The composer, Delores Dufner (b. 1939), continues to write hymns to this day.  She has published over 150 hymns.  It is set to the well-known Sacred Harp tune, BEACH SPRING.

Closing Hymn

Praise And Thanks and Adoration

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

Festal Flourish - Gordon Jacob

Gordon Jacob, well known for his Toccatas and other incidental music for organ, provides this joyous piece  for us.  With a trumpet fanfare that begins and periodically punctuates the piece, it also contains various other motives throughout that are mainly based on harmonic sequences.  The second time, a pedal line is added that creates a wonderful new dynamic to the chords.  The piece concludes with ascending triads over a suspended Bb in the treble.