Easter Sunday
PRELUDE
This Glorious Day- Susan Geschke
Bells of Praise will kick us off this Sunday with a joyous original composition for handbells. While "This Glorious Day" could refer to any day, it seems particularly appropriate on Easter Morning, the most glorious day of this year.
This piece is based around a four phrase melodic motive which primarily outlines a C major triad. There is a B phrase as well that moves into the relative minor, growing through a popular harmonic sequence that leads back to C major. Use of martellato in the upper and lower bells help punctuate the melody as it is played. The final page of the piece is actually a snapshot of what came before it. It acts as a summary before the conclusion of a staccato unison C.
OPENING HYMN
Jesus Christ Has Risen Today
This hymn has become required repertoire
on Easter morning. Perhaps it is because of the
rampant use of the word "Alleluia," which has been forbidden from the
church lexicon for the last six weeks. Despite this being a rather
"long" hymn by most standards, the primary reason for that is that half
of the tune is taken up by Alleluias. The rest of the hymn is a joyful,
accessible celebration of the events of Easter morning. Each stanza
contains four lines with the rhyme scheme AABB. When read out loud with
no music, skipping the alleluias, it sounds rather pedestrian.
Interestingly enough, the "A" couplets in stanzas one and two refer to
the resurrection, and the "B" couplets look back at the passion. In the
final two stanzas, this organization is carefully reversed.
While the authors of both this text and tune are still relatively
unknown today, there is no question that they have created something
that will be truly immortal and everlasting.
HYMN OF THE DAY
Thine Is The Glory
Surrounding the refrain of, "Thine is the glory, risen conquering Son.
Endless is the victory thou o'er death has won!" is an extremely strong
message of hope and thankfulness. In stanza two, much like Mary and the
disciples experienced, the experience of being face to face with Jesus
is described. In gratefulness of this, we arise to sing hymns of praise
throughout the entire church.
Interestingly enough, both the composers of the words and music of this
hymn are well known, unlike our first one. The composer of the text was
Edmund Budry, who lived in the early 20th century as a Swiss minister
and author. The text was originally composed in French, and was later
translated into the English version we all know. The text was set to a
tune written over 150 years before by the great Baroque composer G.F.
Handel. The tune was excerpted from the oratorio Judas Maccabeus, and
today carries that title as its tune name. The tune is very march like,
comprising mainly of tonic and dominant harmonies.
OFFERING
It Is Well With My Soul- arr. Rene Clausen
This is one of the newest published pieces by Rene Clausen, noted composer and long time Director of Choral Activities at Concordia College in Moorhead, MN.
The piece travels through several key changes, rising higher and higher, signifying the resurrection. Stanza three is all about how the sacrifice of the crucifixion nails our sins to the cross so that we no longer have to bear them. Rising one final half step for the final stanza, a soprano descant soars above the hymn tune, bringing the whole piece to a conclusion with a classic "Amen" cadence.
COMMUNION HYMNS
Alleluia! Sing To Jesus
What separates this out from the plethora of other Easter hymns in the ELW is stanza three, which references the sacrament of communion. It is a brief allusion, but still an important one, given how communion is one of our most crucial ways of connecting Jesus and his sacrifice to us. It is referenced again at the end of stanza four at the conclusion, using the phrase "eucharistic feast."
Day Of Arising
This is a wonderful collaboration of one of the finest text writers and finest hymn tune composers of our time. Tune first... Carl Schalk hymn tunes are typically very flowing and legato with primarily quarter note, stepwise motion. That is primarily the case here. The tune has a "rising" characteristic though, first a fourth, then a fifth, then finally up a whole octave. This paints the text wonderfully. The tune also mirrors itself from the first half to the second half, with only the ending cadence differing. This instantly makes a possibly newer tune more accessible due to its repetition.
With the text, this hymn is all about seeing Christ in our lives, recognizing him as we take communion, walking along the road, and in other situations. We are assured of this promise in stanza three, where we hear that Christ is with us in the bread and wine. The hymn concludes with Christ giving us hope for the journey to come.
Hallelujah! Jesus Lives!
Another Easter text... this is one that is surprisingly straightforward. Up until stanza three, we are merely recounting parts of the story. Stanza three switches the scope to us, where we are being told directly that we await life eternal where we will be joined with Christ. The concluding stanza functions as a sort of Doxology, where our voices come together singing Glory to God for this Easter day.
POSTLUDE
Toccata from Symphony No. 5- Charles-Marie Widor
This is one of the most famous organ pieces played in the church, second possibly to Bach's Toccata and Fugue in D. Typically reserved for Easter morning, surely hundreds of organists across the country will be attempting this large and rather difficult organ showcase.
In terms of form, the piece is quite simple, based on a nine note melodic figure. As is typical of a toccata, the excitement comes not from the melody, but from the rhythm, as it contains constant sixteenth notes from the beginning to the final chords. This motor rhythm is punctuated by the prominent rhythmic motive, which if typed out, would sound something like... dat-dat, da-da-dat-dat, da-dat-dat, da-da-dat-dat... etc... if you say that, leaving the "da"s shorter than the "dat"s, you'll probably get it.
Harmonically the piece is very complex, heading through an amazing number of key areas before finally arriving back in F major for its recapitulation with the organ in its full glory.
Thursday, March 28, 2013
Thursday, March 21, 2013
Music Notes: March 24th, 2013
Palm Sunday
Palm Sunday is also known in a lot of places as Passion Sunday, since we usually tell the Gospel story of Jesus' last meal with his disciples, betrayal, trial, crucifixion, and burial. This is probably the only service throughout the year that takes such a dramatic turn in the middle of it. Beginning with the pomp and circumstance of the Palm Processional (and its corresponding Gospel reading) and ending while reflecting on the Passion Gospel is an enormous juxtaposition.
Most people consider the Passion Gospel the turning point, but I actually think it's the psalm for this Sunday. The middle verses of Psalm 31 are just shockingly verbose and blunt when it comes to an assessment of yourself. Combined with that is an antiphon sung by the Chancel Choir featuring the words of the commendation used in the Service of Christian Burial in the ELW, "Into your hands, O Lord, I commend my spirit."
PRELUDE
Finale from Symphony No. 4- Charles Marie Widor
I've used this as the Prelude on Palm Sunday for just about my entire career. C.M. Widor was known as a wonderful orchestrator at the organ, hence his largest output of organ works (9 total) being called Symphonies. With the resources of the organ and the Saint Sulpice cathedral, he could replicate just about any orchestral color in existence.
This finale to the 4th Organ Symphony, while not as well known as the famous toccata finale to the 5th Symphony, is a wonderful piece in its own right. It is centered around a 16 bar "refrain" with a sequential chord progression that comes back in a variety of keys. It seems to fit beautifully as music to accompany the Palm Processional that is about to take place.
CHORAL ANTHEM
Ride On In Majesty- W. Glen Darst
This choral anthem will precede the Processional hymn. Ride On In Majesty has been a standard Palm Sunday text for a long time (it is contained in our ELW). I've described this setting of it by W. Glen Darst as a "power anthem" from the 1950's, and it is truly that. It is old fashioned in the best of ways, with strong choral writing and a fantastically written organ part. Most intriguing is the third verse, featuring just the men, along with organ writing that is quite dissonant. This dissonance is necessary, as it reflects the text that Christ is riding on to "die."
OPENING HYMN
All Glory, Laud, and Honor
This hymn is the traditional response to the opening words of Palm Sunday, which include the telling of the Processional Gospel, where Jesus makes his triumphal entry. The refrain of the hymn comments on one of those opening sentences, which involve the phrase "Hosanna in the highest." The lips of children referred to in the refrain describe the children lining the road as Jesus approaches. This tradition manifests in our service with the reading of the opening sentences and Gospel by two members of the Friends of the Lord choir.
The verses summarize both the Processional Gospel as well as estimating how the people would act and react as Jesus enters. Verse one is a confirmation of the fulfillment of the prophecy that the son of David and the King of Israel will come, manifest in Jesus. Verse three discusses the palm processional itself, where palm leaves were waved in celebration of the arrival of Jesus.
HYMN OF THE DAY
Jesus, I Will Ponder Now
The first line of this is indicative as to why we are using it in this spot. This entire hymn, but particularly in the first stanza, is a preparation stanza/hymn for Holy Week.
The syntax and grammar structure of stanza three makes it difficult to understand. The point it is trying to make is that we are asking not only to just see the passion, but to actually understand why it is happening. Through the crucifixion, the sin that we experience and live with daily are forgiven.
The closing stanza has us making a pledge that we will not let this sacrifice go to waste. By living lives in service to God, the sacrifice that Jesus made for us will not be in vain.
OFFERING
I Praise The God Of Grace- Susan Powell (Friends of the Lord)
This piece was actually written by a friend of mine from college. This Horatio Bonar text has been set to a melody that is "child-like without being childish." The refrain, which is melodically driven, breaks into two parts at the end. Friends of the Lord never fails to amaze me with their ability to sing in two beautiful parts. They listen to each other, sing with beautiful tone, and the results are just lovely. I couldn't be prouder of them and how hard they work.
COMMUNION HYMNS
What Feast Of Love (7:45 AM only)
Delores Dufner penned this text to recognize both Holy Communion and to show the image of the Light of Christ coming into our realm. The exterior stanzas use imagery of bread and wine, and the interior second stanza is the light stanza. It is set to the old English tune GREENSLEEVES. Dufner, a nun of the Order of St. Benedict (hence the OSB usually listed after her name), is widely published as both a hymn writer and librettist.
Lord Who The Night You Were Betrayed
The first sentence of this hymn may be better explained by saying, "Lord, who did pray that all your church might be forever one, on the night you were betrayed." Similar to the Hymn of the Day, this hymn also instructs us to not forget the gift of sacrifice we were given. It does this all through the perspective of the Eucharist. Each stanza ends with the brief refrain, "Oh may we all one bread, one body be through this blest sacrament of unity."
The unity theme carries into the fourth stanza, which makes clear that even when the sacrament of Communion ceases, we will all be one due to its unifying character.
Thee We Adore, O Hidden Savior
This is one of my favorite chants in the ELW. The text as we have it now is paraphrased from the original text by Thomas Aquinas. Aquinas (1225-1274) was an Italian priest, and was an extremely influential figure in both theology and philosophy. Most notably, Thomas believed strongly in the existence of God, and published a pamphlet of 5 reasons why. These reasons, explained simply, were, 1. The motion of the universe, 2. Causation (first cause), 3. Existence of the necessary and unnecessary, 4. Gradation, and 5. The ordered tendencies of nature.
The principal characteristics of this text are those of adoration and awe. We are in awe in the thought of this sacrifice and the Eucharist, and in one of the most poignant lines, we ask God to "increase our faith and love that we may know the hope and peace which from our presence flow."
CLOSING HYMN
Go To Dark Gethsemane
While the title of this hymn seems to indicate a mere retelling of Jesus' and the disciple's pilgrimage to the mountain of Gethsemane, it actually runs much deeper.
Each stanza describes a scene leading towards and including the death of Jesus. The conclusion of each stanza features something that we can learn in the example of Jesus. In stanza one, he goes to Gethsemane to pray, therefore we "learn from Jesus Christ to pray." Stanza two vividly describes the punishment and flogging, from which we "learn from Christ to bear the cross." The crucifixion takes place in stanza three, where we "learn from Jesus Christ to die." Finally, the conclusion foreshadows the resurrection, where our Savior will "teach us so to rise."
The music for this hymn is a good example of the contrast between the German style and this later English style. While the writing of both hymns is homophonic, that is, in four parts, this tune has very even, square, predictable phrases, which are more accessible to a wider range of singers, hence its popularity in the 19th century when the growing trend was to put the song back into the voice of the people.
POSTLUDE
Lamb of God- arr. F. Melius Christiansen
Last year, the Chancel Choir sang this as the postlude to Palm Sunday. This year, rather than it being sung, the choral will be played on the organ using a paraphrase of F. Melius Christiansen's famous choral setting. This choral sets us up beautifully to enter Holy Week.
Palm Sunday is also known in a lot of places as Passion Sunday, since we usually tell the Gospel story of Jesus' last meal with his disciples, betrayal, trial, crucifixion, and burial. This is probably the only service throughout the year that takes such a dramatic turn in the middle of it. Beginning with the pomp and circumstance of the Palm Processional (and its corresponding Gospel reading) and ending while reflecting on the Passion Gospel is an enormous juxtaposition.
Most people consider the Passion Gospel the turning point, but I actually think it's the psalm for this Sunday. The middle verses of Psalm 31 are just shockingly verbose and blunt when it comes to an assessment of yourself. Combined with that is an antiphon sung by the Chancel Choir featuring the words of the commendation used in the Service of Christian Burial in the ELW, "Into your hands, O Lord, I commend my spirit."
PRELUDE
Finale from Symphony No. 4- Charles Marie Widor
I've used this as the Prelude on Palm Sunday for just about my entire career. C.M. Widor was known as a wonderful orchestrator at the organ, hence his largest output of organ works (9 total) being called Symphonies. With the resources of the organ and the Saint Sulpice cathedral, he could replicate just about any orchestral color in existence.
This finale to the 4th Organ Symphony, while not as well known as the famous toccata finale to the 5th Symphony, is a wonderful piece in its own right. It is centered around a 16 bar "refrain" with a sequential chord progression that comes back in a variety of keys. It seems to fit beautifully as music to accompany the Palm Processional that is about to take place.
CHORAL ANTHEM
Ride On In Majesty- W. Glen Darst
This choral anthem will precede the Processional hymn. Ride On In Majesty has been a standard Palm Sunday text for a long time (it is contained in our ELW). I've described this setting of it by W. Glen Darst as a "power anthem" from the 1950's, and it is truly that. It is old fashioned in the best of ways, with strong choral writing and a fantastically written organ part. Most intriguing is the third verse, featuring just the men, along with organ writing that is quite dissonant. This dissonance is necessary, as it reflects the text that Christ is riding on to "die."
OPENING HYMN
All Glory, Laud, and Honor
This hymn is the traditional response to the opening words of Palm Sunday, which include the telling of the Processional Gospel, where Jesus makes his triumphal entry. The refrain of the hymn comments on one of those opening sentences, which involve the phrase "Hosanna in the highest." The lips of children referred to in the refrain describe the children lining the road as Jesus approaches. This tradition manifests in our service with the reading of the opening sentences and Gospel by two members of the Friends of the Lord choir.
The verses summarize both the Processional Gospel as well as estimating how the people would act and react as Jesus enters. Verse one is a confirmation of the fulfillment of the prophecy that the son of David and the King of Israel will come, manifest in Jesus. Verse three discusses the palm processional itself, where palm leaves were waved in celebration of the arrival of Jesus.
HYMN OF THE DAY
Jesus, I Will Ponder Now
The first line of this is indicative as to why we are using it in this spot. This entire hymn, but particularly in the first stanza, is a preparation stanza/hymn for Holy Week.
The syntax and grammar structure of stanza three makes it difficult to understand. The point it is trying to make is that we are asking not only to just see the passion, but to actually understand why it is happening. Through the crucifixion, the sin that we experience and live with daily are forgiven.
The closing stanza has us making a pledge that we will not let this sacrifice go to waste. By living lives in service to God, the sacrifice that Jesus made for us will not be in vain.
OFFERING
I Praise The God Of Grace- Susan Powell (Friends of the Lord)
This piece was actually written by a friend of mine from college. This Horatio Bonar text has been set to a melody that is "child-like without being childish." The refrain, which is melodically driven, breaks into two parts at the end. Friends of the Lord never fails to amaze me with their ability to sing in two beautiful parts. They listen to each other, sing with beautiful tone, and the results are just lovely. I couldn't be prouder of them and how hard they work.
COMMUNION HYMNS
What Feast Of Love (7:45 AM only)
Delores Dufner penned this text to recognize both Holy Communion and to show the image of the Light of Christ coming into our realm. The exterior stanzas use imagery of bread and wine, and the interior second stanza is the light stanza. It is set to the old English tune GREENSLEEVES. Dufner, a nun of the Order of St. Benedict (hence the OSB usually listed after her name), is widely published as both a hymn writer and librettist.
Lord Who The Night You Were Betrayed
The first sentence of this hymn may be better explained by saying, "Lord, who did pray that all your church might be forever one, on the night you were betrayed." Similar to the Hymn of the Day, this hymn also instructs us to not forget the gift of sacrifice we were given. It does this all through the perspective of the Eucharist. Each stanza ends with the brief refrain, "Oh may we all one bread, one body be through this blest sacrament of unity."
The unity theme carries into the fourth stanza, which makes clear that even when the sacrament of Communion ceases, we will all be one due to its unifying character.
Thee We Adore, O Hidden Savior
This is one of my favorite chants in the ELW. The text as we have it now is paraphrased from the original text by Thomas Aquinas. Aquinas (1225-1274) was an Italian priest, and was an extremely influential figure in both theology and philosophy. Most notably, Thomas believed strongly in the existence of God, and published a pamphlet of 5 reasons why. These reasons, explained simply, were, 1. The motion of the universe, 2. Causation (first cause), 3. Existence of the necessary and unnecessary, 4. Gradation, and 5. The ordered tendencies of nature.
The principal characteristics of this text are those of adoration and awe. We are in awe in the thought of this sacrifice and the Eucharist, and in one of the most poignant lines, we ask God to "increase our faith and love that we may know the hope and peace which from our presence flow."
CLOSING HYMN
Go To Dark Gethsemane
While the title of this hymn seems to indicate a mere retelling of Jesus' and the disciple's pilgrimage to the mountain of Gethsemane, it actually runs much deeper.
Each stanza describes a scene leading towards and including the death of Jesus. The conclusion of each stanza features something that we can learn in the example of Jesus. In stanza one, he goes to Gethsemane to pray, therefore we "learn from Jesus Christ to pray." Stanza two vividly describes the punishment and flogging, from which we "learn from Christ to bear the cross." The crucifixion takes place in stanza three, where we "learn from Jesus Christ to die." Finally, the conclusion foreshadows the resurrection, where our Savior will "teach us so to rise."
The music for this hymn is a good example of the contrast between the German style and this later English style. While the writing of both hymns is homophonic, that is, in four parts, this tune has very even, square, predictable phrases, which are more accessible to a wider range of singers, hence its popularity in the 19th century when the growing trend was to put the song back into the voice of the people.
POSTLUDE
Lamb of God- arr. F. Melius Christiansen
Last year, the Chancel Choir sang this as the postlude to Palm Sunday. This year, rather than it being sung, the choral will be played on the organ using a paraphrase of F. Melius Christiansen's famous choral setting. This choral sets us up beautifully to enter Holy Week.
Thursday, March 14, 2013
Music Notes: March 17th, 2013
Fifth Sunday Of Lent
God shows limitless generosity towards us as his servants. In being witnesses to God, it is our calling to use God's gifts of generosity in order to share the good news and encourage ourselves and others to give back to God. Pastor Sandberg's stewardship message this Sunday focuses around the idea of giving as a witness to God. By sharing our examples of good faith and giving, we can spread this good news and inspire others to share as well.
PRELUDE
Sonatina- G.F. Handel (Bethany Frantsen, piano)
I don't know exactly what piece Bethany is playing this weekend, but in general, Handel keyboard works (of which there aren't too many) tend to be similar in form to a Bach invention. They are typically imitative, but in contrast to Bach, Handel's imitation is typically harmonically based, rather than melodically or motive-based.
It will also likely be in two parts. Sonatina simply means "little sonata." Most sonatas (the genre) are written in what is called "sonata form." While too complex to explain here, it is a three part form. In a sonatina, you'll typically only hear the first section of a full sonata form, divided into two parts.
OPENING HYMN
Lord, Speak To Us That We May Speak
The title of this hymn summarizes this Sunday's message beautifully. God already has spoken to us and it's up to us now to answer the call and be witnesses to speak to others.
Each stanza echoes this sentiment of being a witness to God. God speaks to us so that we may speak, leads us so we may lead, teaches us so we may teach, and fills us so that we may fill. Each of these concepts is expanded on throughout each respective stanza.
Composer Robert Schumann may not be known to most as a hymn tune writer, and that is because he isn't. This tune, titled CANONBURY, actually originated as the fourth piece in his set of "Night Pieces," op. 43. It was transitioned to a hymn tune and is very effective as such, with an ABAC form.
HYMN OF THE DAY
What Wondrous Love Is This
This text and tune is quite possibly the most well known example from the Southern Harmony shape note song book. The hymn as a whole is likely the hymn most associated with the early frontier worship tradition.
The form of the text is identical in each stanza. The early idea of each stanza is repeated several times at the beginning, and the sentence is then expanded upon through the second half. For example, it's not just, "What wondrous love is this?" as a question. It is, "What wondrous love is this that caused the Lord of bliss to bear the dreadful curse for my soul?" Each stanza can be boiled down to one succinct question or statement.
"When I was sinking down beneath God's righteous frown, Christ laid aside his crown for my soul.
"To God and to the Lamb, who is the great I AM, while millions join the theme, I will sing."
"And when from death I'm free, I'll sing God's love for me, and through eternity I'll sing on."
As you can see, the wondrous love that was questioned and commented on in stanza one is answered during stanza four through our redemption.
OFFERING
A Lenten Meditation- Douglas Wagner
This piece is a brilliant example of simplicity of composition. Mr. Wagner takes one plainchant melody and crafts it into an anthem, using the melody in a variety of ways so that it sounds different each time. Stanza one is a straightforward rendition of the chant to this original text. Verse two continues the chant in the men's voices decorated with the women singing "ah" on an open fifth.
Verse three first puts it into the soprano voice, while harmonizing below, again with a lot of open, hallow harmonies. Continuing on, the piece takes an interesting turn. The chant goes into what is called "augmentation" (each note is twice as long), on the words "Brighten all our heavenward way." We hear the bells of heaven ring in the organ as this is sung in canon by both voices.
The piece concludes gently with both the standard and augmented versions simultaneously, ending with the one line refrain, "Hear us, Holy Jesus."
COMMUNION HYMN
Alas, And Did My Savior Bleed (7:45 AM only)
Isaac Watts penned this penitential Lenten hymn right about in the middle of his career. Unlike his many, many psalm paraphrases, Watts' original compositions were known to be very accessible and understandable by all worshipers, then and now.
As we read through this poetry, it almost sounds like he's contemplating on the idea of sacrifice and crucifixion in his own mind. When it's read, you almost forget that it is poetry. The closing stanza calls back to the theme of the day. With such a wonderful gift given to us, we should do nothing less than to give back all that we have.
POSTLUDE
Toccata in G minor- Johann Pachelbel
I've written a lot about Pachelbel toccatas before. The easiest way to describe them is a long line of florid, scalar writing over a pedal point.
This G minor toccata is no different, with the exception that the writing in the hands is a little more contrapuntal as opposed to free and florid. Minor keys tend to allow more freedom in harmonic variety, and here is no exception. The piece builds to a typical Pachelbel-ian conclusion, complete with ornaments and excitement in the cadence.
God shows limitless generosity towards us as his servants. In being witnesses to God, it is our calling to use God's gifts of generosity in order to share the good news and encourage ourselves and others to give back to God. Pastor Sandberg's stewardship message this Sunday focuses around the idea of giving as a witness to God. By sharing our examples of good faith and giving, we can spread this good news and inspire others to share as well.
PRELUDE
Sonatina- G.F. Handel (Bethany Frantsen, piano)
I don't know exactly what piece Bethany is playing this weekend, but in general, Handel keyboard works (of which there aren't too many) tend to be similar in form to a Bach invention. They are typically imitative, but in contrast to Bach, Handel's imitation is typically harmonically based, rather than melodically or motive-based.
It will also likely be in two parts. Sonatina simply means "little sonata." Most sonatas (the genre) are written in what is called "sonata form." While too complex to explain here, it is a three part form. In a sonatina, you'll typically only hear the first section of a full sonata form, divided into two parts.
OPENING HYMN
Lord, Speak To Us That We May Speak
The title of this hymn summarizes this Sunday's message beautifully. God already has spoken to us and it's up to us now to answer the call and be witnesses to speak to others.
Each stanza echoes this sentiment of being a witness to God. God speaks to us so that we may speak, leads us so we may lead, teaches us so we may teach, and fills us so that we may fill. Each of these concepts is expanded on throughout each respective stanza.
Composer Robert Schumann may not be known to most as a hymn tune writer, and that is because he isn't. This tune, titled CANONBURY, actually originated as the fourth piece in his set of "Night Pieces," op. 43. It was transitioned to a hymn tune and is very effective as such, with an ABAC form.
HYMN OF THE DAY
What Wondrous Love Is This
This text and tune is quite possibly the most well known example from the Southern Harmony shape note song book. The hymn as a whole is likely the hymn most associated with the early frontier worship tradition.
The form of the text is identical in each stanza. The early idea of each stanza is repeated several times at the beginning, and the sentence is then expanded upon through the second half. For example, it's not just, "What wondrous love is this?" as a question. It is, "What wondrous love is this that caused the Lord of bliss to bear the dreadful curse for my soul?" Each stanza can be boiled down to one succinct question or statement.
"When I was sinking down beneath God's righteous frown, Christ laid aside his crown for my soul.
"To God and to the Lamb, who is the great I AM, while millions join the theme, I will sing."
"And when from death I'm free, I'll sing God's love for me, and through eternity I'll sing on."
As you can see, the wondrous love that was questioned and commented on in stanza one is answered during stanza four through our redemption.
OFFERING
A Lenten Meditation- Douglas Wagner
This piece is a brilliant example of simplicity of composition. Mr. Wagner takes one plainchant melody and crafts it into an anthem, using the melody in a variety of ways so that it sounds different each time. Stanza one is a straightforward rendition of the chant to this original text. Verse two continues the chant in the men's voices decorated with the women singing "ah" on an open fifth.
Verse three first puts it into the soprano voice, while harmonizing below, again with a lot of open, hallow harmonies. Continuing on, the piece takes an interesting turn. The chant goes into what is called "augmentation" (each note is twice as long), on the words "Brighten all our heavenward way." We hear the bells of heaven ring in the organ as this is sung in canon by both voices.
The piece concludes gently with both the standard and augmented versions simultaneously, ending with the one line refrain, "Hear us, Holy Jesus."
COMMUNION HYMN
Alas, And Did My Savior Bleed (7:45 AM only)
Isaac Watts penned this penitential Lenten hymn right about in the middle of his career. Unlike his many, many psalm paraphrases, Watts' original compositions were known to be very accessible and understandable by all worshipers, then and now.
As we read through this poetry, it almost sounds like he's contemplating on the idea of sacrifice and crucifixion in his own mind. When it's read, you almost forget that it is poetry. The closing stanza calls back to the theme of the day. With such a wonderful gift given to us, we should do nothing less than to give back all that we have.
POSTLUDE
Toccata in G minor- Johann Pachelbel
I've written a lot about Pachelbel toccatas before. The easiest way to describe them is a long line of florid, scalar writing over a pedal point.
This G minor toccata is no different, with the exception that the writing in the hands is a little more contrapuntal as opposed to free and florid. Minor keys tend to allow more freedom in harmonic variety, and here is no exception. The piece builds to a typical Pachelbel-ian conclusion, complete with ornaments and excitement in the cadence.
Thursday, March 7, 2013
Music Notes: March 10th, 2013
Fourth Sunday of Lent
This weekend, we continue Pastor Sandberg's stewardship sermon series through Lent.
Why do we give? As we've explored, there are many reasons, but one of the primary reasons is love, love for each other, our church, and God. Giving is an act of love. Just as God so loved the world that he gave his only begotten Son for us, we in turn can give all that we have and all that we offer back to God and his mission.
This weekend is also Lutheran Schools week. We are blessed to have Lisa Alexander, who has worked tirelessly coordinating all the volunteer readers, worship leaders, and musicians in order to fill all the necessary spots for worship this weekend.
Given all these wonderful students playing such a variety of music across all four services, I couldn't possibly write about it all, so this week's edition of Music Notes will focus only on the hymns for worship.
OPENING HYMN
Joyful, Joyful, We Adore Thee
There is always room for joy even in Lent. Even more so than joy are the themes of love 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
God Loved The World
The first stanza paraphrases one of the most well known, quotable scriptures in the entire Bible. If asked to quote one scripture, a lot of people would cite John 3:16, thanks to its important message and existence in mainstream society.
Each subsequent stanza supports and expands on this scripture. Stanza two emphasizes Christ as the chief cornerstone of the church, and stanza three follows up on the second half of the scripture, making clear that Jesus rescued us from death.
Like many hymns in our ELW, this one concludes with a Trinitarian statement of the Father, Son, and Holy Spirit.
COMMUNION HYMNS
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.
What A Fellowship, What A Joy Divine
This is a wonderful hymn that we have used frequently in the past. Everything I have said in the past about the history and lineage of this hymn of course still applies.
I have gone back and forth on the best way to perform this hymn. Most tend to do it at a rather brisk, joyful tempo. I was always an advocate of a more contemplative, slower rendition, but I certainly see the positives of both. I'm not sure how it will come out this Sunday. Perhaps we will find a happy medium!
CLOSING HYMN
Jesus Loves Me
If you ask anyone, whether they go to church or not, to name any five hymns in the world, there is a good chance "Jesus Loves Me" will be one of them. The original hymn by Anna Warner was comprised of seven stanzas, three main ones which are still used today. The poem originally comes from a novel titled Say and Seal, and was adapted to a tune by American musician William Bradbury. The hymn was reportedly first sung to a sick, dying child. This hymn has gone on to become widely used with children.
Of course, this is also a beautiful manifestation of our message for Sunday. It is a wonderful recognition that we understand the love that God has given to us and for us. Only be recognizing that can we begin to comprehend the power and love we can have for God and each other.
This weekend, we continue Pastor Sandberg's stewardship sermon series through Lent.
Why do we give? As we've explored, there are many reasons, but one of the primary reasons is love, love for each other, our church, and God. Giving is an act of love. Just as God so loved the world that he gave his only begotten Son for us, we in turn can give all that we have and all that we offer back to God and his mission.
This weekend is also Lutheran Schools week. We are blessed to have Lisa Alexander, who has worked tirelessly coordinating all the volunteer readers, worship leaders, and musicians in order to fill all the necessary spots for worship this weekend.
Given all these wonderful students playing such a variety of music across all four services, I couldn't possibly write about it all, so this week's edition of Music Notes will focus only on the hymns for worship.
OPENING HYMN
Joyful, Joyful, We Adore Thee
There is always room for joy even in Lent. Even more so than joy are the themes of love 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
God Loved The World
The first stanza paraphrases one of the most well known, quotable scriptures in the entire Bible. If asked to quote one scripture, a lot of people would cite John 3:16, thanks to its important message and existence in mainstream society.
Each subsequent stanza supports and expands on this scripture. Stanza two emphasizes Christ as the chief cornerstone of the church, and stanza three follows up on the second half of the scripture, making clear that Jesus rescued us from death.
Like many hymns in our ELW, this one concludes with a Trinitarian statement of the Father, Son, and Holy Spirit.
COMMUNION HYMNS
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.
What A Fellowship, What A Joy Divine
This is a wonderful hymn that we have used frequently in the past. Everything I have said in the past about the history and lineage of this hymn of course still applies.
I have gone back and forth on the best way to perform this hymn. Most tend to do it at a rather brisk, joyful tempo. I was always an advocate of a more contemplative, slower rendition, but I certainly see the positives of both. I'm not sure how it will come out this Sunday. Perhaps we will find a happy medium!
CLOSING HYMN
Jesus Loves Me
If you ask anyone, whether they go to church or not, to name any five hymns in the world, there is a good chance "Jesus Loves Me" will be one of them. The original hymn by Anna Warner was comprised of seven stanzas, three main ones which are still used today. The poem originally comes from a novel titled Say and Seal, and was adapted to a tune by American musician William Bradbury. The hymn was reportedly first sung to a sick, dying child. This hymn has gone on to become widely used with children.
Of course, this is also a beautiful manifestation of our message for Sunday. It is a wonderful recognition that we understand the love that God has given to us and for us. Only be recognizing that can we begin to comprehend the power and love we can have for God and each other.
Friday, March 1, 2013
Music Notes: March 3rd, 2013
Third Sunday of Lent
This weekend, Pastor Sandberg is discussing the concept of giving as an act of obedience towards God. Obedience is difficult to define in this context, and Pastor Sandberg and I talked about it a lot. We came to the conclusion that in this case, we are invited by God to our obedience. God is not a dictator in this case, ordering us to be obedient, but rather opening himself up to us, inviting us to be obedient. In Martin Luther's Small Catechism, he begins by describing each explanation with the phrase, "We should fear and love God..." Though I'm sure that "fear" meant something different than we may perceive it today, it can still be applicable if we perceive it as having respect for God, his Son, and the sacrifice made for us. Obedience is a small price to pay for that gift.
Our music this week puts an emphasis on discipleship, devotion, and community as we worship and commune together in obedience to God.
PRELUDE
Sheep May Safely Graze- J.S. Bach, arr. Sharon Elery Rogers (Bells of Praise)
The source of this piece is an aria from Bach's Cantata, BWV 208. The English title of the soprano aria is "Sheep May Safely Graze," but the music of this lovely aria has taken on a fame of its own.
Its form is identical to an even more famous aria, "Jesu, Joy of Man's Desiring." The piece is based around a ritornello with a distinctive rhythmic motive. After those 8 bars, the actual tune enters in the mid to upper bells. This melody continues to interweave through the texture as it goes into the B section. The opening is recapitulated at the end (as usual), and the piece ends with a distinctive Bach cadence.
OPENING HYMN
Lord, You Give The Great Commission
When I explored the idea of obedience, one of the first concepts that came to mind was a commission from God. Each stanza talks about a specific aspect of God's commission... v. 1- compassion, v. 2- Baptism, v. 3- communion, v. 4- love and stewardship, v. 5- assurance.
Each of these verses is ended with a brief refrain: "With the spirit's gifts empower us for the work of ministry." This is all set to the tune ABBOT'S LEIGH, an 8787D triple time tune. The key to the success of this tune is to think of it in one. If it is sung in three, it drags significantly and removes all of the life from it.
HYMN OF THE DAY
Let Us Ever Walk With Jesus
This hymn and its translation does an admirable job of trying to put us in Jesus' footsteps. Each stanza begins with a petition to put us in a position Jesus was in... "Let us ever walk..." "Let us suffer here..." "Let us gladly die..." and "Let us also live..." Following Jesus' example in a literal way is not healthy or even possible.
There are certain lines in this hymn that just exemplify what I think the meaning of obedience is here. "...let us do our Savior's bidding," "...we are your own living members; where you live, there we shall be..." and "Jesus, let me faithful be..." are all statements of obedience and devotion.
OFFERING
Ave Verum Corpus- W.A. Mozart (Chancel Choir)
Awhile back, the website Choralnet had discussion about a "perfect" piece of choral music. Does such a thing exist? Whether it exists or not, Mozart's Ave Verum Corpus was at the top of a lot of lists. In only 46 measures, Mozart has crafted a work of profound beauty, with an attention to this Latin text that is truly Heaven-sent.
The text describes the body of Jesus, born of the virgin Mary, which suffered and was sacrificed on the cross for us. His side was pierced, and blood flowed. This action should be for us a foretaste of our own deaths.
By using certain melodic and harmonic motives, Mozart paints this text beautifully on such words as "sanguine" (blood), and "mortis" (death).
I don't personally believe in the earthly existence of "perfection," but this piece certainly comes close.
COMMUNION HYMN
All Who Hunger, Gather Gladly
I've talked a lot about Sylvia Dunstan on this blog as being one of the finest hymn writers of the 20th century. She died of cancer at the age of 38, which was obviously far too soon, but thankfully we were left with a wonderful legacy.
This hymn is all about our unity as a congregation. We come from far and wide, whether it be from restlessness, wilderness, or loneliness, to celebrate Communion together. We who were all lost and scattered gather around the communion table.
CLOSING HYMN
Jesus, Keep Me Near The Cross
We don't sing enough Fanny Crosby hymns. While some of her hymns are criticized as being overly sentimental or "mushy," she has also produced dozens that are inspirational and uplifting.
Even in this Lenten hymn, we are inspired to experience the glory of God in the shadow of the cross. We've all been in the position that we hear in stanza two. It is a wonderful example of how the light and love of God can shine on us and bring us back to a better place in our lives.
POSTLUDE
Prelude in F Major- Dietrich Buxtehude
After hearing Wartburg student Colleen play the music of Nicolaus Bruhns last week, I was inspired to play one of his contemporaries, Dietrich Buxtehude. Buxtehude's output was much larger than that of Bruhns, and at times, the rhythmic motives and harmonic progressions rival that of Bach in their complexity and intrigue.
This F major Prelude has an intriguing time signature change, moving from duple to triple meter for a brief section in the middle. The texture changes as well, becoming more homophonic, or chordal. It returns to duple meter at its conclusion. The conclusion may seem sudden, but that may be because the fugue which follows this prelude is not being played this morning.
This weekend, Pastor Sandberg is discussing the concept of giving as an act of obedience towards God. Obedience is difficult to define in this context, and Pastor Sandberg and I talked about it a lot. We came to the conclusion that in this case, we are invited by God to our obedience. God is not a dictator in this case, ordering us to be obedient, but rather opening himself up to us, inviting us to be obedient. In Martin Luther's Small Catechism, he begins by describing each explanation with the phrase, "We should fear and love God..." Though I'm sure that "fear" meant something different than we may perceive it today, it can still be applicable if we perceive it as having respect for God, his Son, and the sacrifice made for us. Obedience is a small price to pay for that gift.
Our music this week puts an emphasis on discipleship, devotion, and community as we worship and commune together in obedience to God.
PRELUDE
Sheep May Safely Graze- J.S. Bach, arr. Sharon Elery Rogers (Bells of Praise)
The source of this piece is an aria from Bach's Cantata, BWV 208. The English title of the soprano aria is "Sheep May Safely Graze," but the music of this lovely aria has taken on a fame of its own.
Its form is identical to an even more famous aria, "Jesu, Joy of Man's Desiring." The piece is based around a ritornello with a distinctive rhythmic motive. After those 8 bars, the actual tune enters in the mid to upper bells. This melody continues to interweave through the texture as it goes into the B section. The opening is recapitulated at the end (as usual), and the piece ends with a distinctive Bach cadence.
OPENING HYMN
Lord, You Give The Great Commission
When I explored the idea of obedience, one of the first concepts that came to mind was a commission from God. Each stanza talks about a specific aspect of God's commission... v. 1- compassion, v. 2- Baptism, v. 3- communion, v. 4- love and stewardship, v. 5- assurance.
Each of these verses is ended with a brief refrain: "With the spirit's gifts empower us for the work of ministry." This is all set to the tune ABBOT'S LEIGH, an 8787D triple time tune. The key to the success of this tune is to think of it in one. If it is sung in three, it drags significantly and removes all of the life from it.
HYMN OF THE DAY
Let Us Ever Walk With Jesus
This hymn and its translation does an admirable job of trying to put us in Jesus' footsteps. Each stanza begins with a petition to put us in a position Jesus was in... "Let us ever walk..." "Let us suffer here..." "Let us gladly die..." and "Let us also live..." Following Jesus' example in a literal way is not healthy or even possible.
There are certain lines in this hymn that just exemplify what I think the meaning of obedience is here. "...let us do our Savior's bidding," "...we are your own living members; where you live, there we shall be..." and "Jesus, let me faithful be..." are all statements of obedience and devotion.
OFFERING
Ave Verum Corpus- W.A. Mozart (Chancel Choir)
Awhile back, the website Choralnet had discussion about a "perfect" piece of choral music. Does such a thing exist? Whether it exists or not, Mozart's Ave Verum Corpus was at the top of a lot of lists. In only 46 measures, Mozart has crafted a work of profound beauty, with an attention to this Latin text that is truly Heaven-sent.
The text describes the body of Jesus, born of the virgin Mary, which suffered and was sacrificed on the cross for us. His side was pierced, and blood flowed. This action should be for us a foretaste of our own deaths.
By using certain melodic and harmonic motives, Mozart paints this text beautifully on such words as "sanguine" (blood), and "mortis" (death).
I don't personally believe in the earthly existence of "perfection," but this piece certainly comes close.
COMMUNION HYMN
All Who Hunger, Gather Gladly
I've talked a lot about Sylvia Dunstan on this blog as being one of the finest hymn writers of the 20th century. She died of cancer at the age of 38, which was obviously far too soon, but thankfully we were left with a wonderful legacy.
This hymn is all about our unity as a congregation. We come from far and wide, whether it be from restlessness, wilderness, or loneliness, to celebrate Communion together. We who were all lost and scattered gather around the communion table.
CLOSING HYMN
Jesus, Keep Me Near The Cross
We don't sing enough Fanny Crosby hymns. While some of her hymns are criticized as being overly sentimental or "mushy," she has also produced dozens that are inspirational and uplifting.
Even in this Lenten hymn, we are inspired to experience the glory of God in the shadow of the cross. We've all been in the position that we hear in stanza two. It is a wonderful example of how the light and love of God can shine on us and bring us back to a better place in our lives.
POSTLUDE
Prelude in F Major- Dietrich Buxtehude
After hearing Wartburg student Colleen play the music of Nicolaus Bruhns last week, I was inspired to play one of his contemporaries, Dietrich Buxtehude. Buxtehude's output was much larger than that of Bruhns, and at times, the rhythmic motives and harmonic progressions rival that of Bach in their complexity and intrigue.
This F major Prelude has an intriguing time signature change, moving from duple to triple meter for a brief section in the middle. The texture changes as well, becoming more homophonic, or chordal. It returns to duple meter at its conclusion. The conclusion may seem sudden, but that may be because the fugue which follows this prelude is not being played this morning.
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