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.
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