Fifth Sunday After Easter
This weekend we have a celebration of our vocations. What are we called to do with our lives. For some people, this is a solid foundation that governs their lives. For others, it is unfortunately a source of stress, whether it be for lack of satisfaction, or inability to find what they are truly meant for in this world.
Regardless, every vocation has its place, and we will be celebrating those this weekend, when worshipers will be asked to bring something representing their work to place at the nearly completed ark. We have a wide variety of vocations as a part of our church community, and they will all be recognized.
PRELUDE
Jesus Calls Us O'er The Tumult (From Gospel Preludes, Book 3)- William Bolcom
William Bolcom composed four books of Gospel Preludes in the first half of the 20th century. These varied pieces are all based on early American hymn tunes, and offer some of the most inventive and unique organ writing ever to be heard.
Book 3, from which Jesus Calls Us O'er The Tumult comes, is actually one of his simplest ones in terms of form and structure. The tune is clearly heard as a solo, underneath a slow, lilting accompaniment, with a lot of motion in the pedal. The piece is cast in F# major, which is a rather uncommon key for the organ. It creates sonorities that just aren't heard that often, and explores new tonal structures throughout. Of all of Bolcom's settings, this one most closely resembles a "traditional" organ piece.
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
You Have Come Down To The Lakeshore
This hymn is normally used as a call to discipleship. Taken a step further, all of these futures disciples are being called to a vocation. This vocation is one of the most important to ever exist. These original twelve disciples have spawned countless others, and live on today as our cardinals and archbishops called by the Pope.
Earlier I mentioned those who may not be fully engaged with or fulfilled by their current vocations. I think those people are looking for a "lakeshore" moment. What a wonderful experience it must have been for the future disciples who may not have been fully satisfied with their careers as fishermen. They needed someone to find them and show them what they were truly meant to do with their lives. I would say it worked out pretty well for them.
COMMUNION HYMNS
Jesus Calls Us O'er The Tumult
This is another hymn which serves as an important call to discipleship.
Where the previous hymn puts the focus on the individual, this hymn by
Cecil Alexander puts the focus back on to the community. At the
conclusion of stanza one we hear the call clearly, "Christian, follow
me."
St. Andrew, referred to in stanza two, was one of the fishermen which
Jesus approached at the lake. We hear an account of that meeting in
stanza two, demonstrating how he and all the disciples turned away from
their homes, work, and families, all for Jesus' sake.
The remainder of the stanzas puts the focus back on to us. We are
called to ignore vanity and false idols, and join in the love of Jesus
through all our joys, sorrows, pain and toil, so that we may serve him
to our highest abilities.
We Place Upon Your Table Lord
The bread and wine, the "tokens of our daily work," are expanded upon here. Stanza one explains what these are, but it is not until stanza two that we hear about just how special these things are. "Within these simple things there lie the height and depth of human life." Thanks to this gift from communion, we are given a refreshing renewal of life, and strength to go on to our vocations during the week.
CLOSING HYMN
Holy Spirit, Ever Dwelling
The composer of this hymn, Timothy Rees, was a Bishop of Llandalf in England. He was actually the first Anglican see from Wales to be appointed to such a position.
In addition to his responsibilities there, he also composed several hymns, the one which we sing today is likely his most well known.
As a cap to our music and worship today, this hymn sends the Holy Spirit with us as we depart worship. As the first hymn hearkened back to our saints, this hymn does as well at its conclusion, "Holy Spirit, ever binding age to age and soul to soul, in communion never ending, you we worship and extol."
POSTLUDE
Blessed Assurance (from Gospel Preludes, Book 3)- William Bolcom
The three preludes from book 3 are actually meant to be performed back to back to back. The first one is the prelude today and has a definitive ending on its own. This second one actually transitions directly into the third, but there is a nice stopping point near the middle. The opening section of this boisterous prelude is very interesting rhythmically. While the hymn "Blessed Assurance" is cast in triple time with rhythm based on three's, Bolcom's setting actually puts it into duple. Despite this, it still has a "swing" to it. Dissonant grace notes and a rollicking bass line add a wonderful dimension to this great tune.
Thursday, April 25, 2013
Thursday, April 18, 2013
Music Notes: April 21st, 2013
4th Sunday of Easter
This is the Sunday I always associate with Shepherd's Sunday, as Psalm 23 is usually the featured psalm on the 4th Sunday of Easter. This year, with Building Vision, Sparking Mission, things are a little bit different. While I will miss having to decide which version of "The Lord Is My Shepherd," will be sung, I think I'll be okay!
This week is actually going to focus on a portion of Isaiah 55. In the latter half of the book of Isaiah, the new creation God talks about throughout the Bible has been fulfilled. This concept is the focus of this service, and has driven music selection.
PRELUDE
Partita on ST. ANNE- Paul Manz
Several movements from Paul Manz's partita on O God Our Help In Ages Past will be featured here. Manz, one of the forerunners in church music and hymn playing in the 20th century, has crafted a creative, imaginative setting, with each movement of the Partita representing a different stanza of the hymn. The first is for the stanza beginning, "Before the hills in order stood," which is a serene depiction of a world of nothingness. Sparse harmonies decorate the thin texture as the tune slowly unfolds.
The second to be played, based on the stanza, "Time, like an ever rolling stream..." paints the text through the use of a moving bass line that represents the stream. It is also in triple meter, which enhances both the idea of the music moving forward and the pastoral nature of a river.
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
Light Dawns on a Weary World
Rev. Mark Anderson (St. Paul's member) always tells me exactly what he thinks. No sugar coating, no punches pulled. That's what I love about the man. (I also know he reads this blog regularly, which is why I'm mentioning this.)
About a year or so ago, Light Dawns on a Weary World was the Hymn of the Day one Sunday. Mark came to me after church that day and said, "Nick, I hate that hymn." With a slight smile on my face, I expected him to cite something musical about it... it went too high... there wasn't anywhere to breathe... something like that. Instead, he said that trees don't actually clap their hands... hills and mountains don't sing. I chuckled and we went back and forth a bit.
I know he was being a bit tongue-in-cheek, and I don't want to assume whether or not Rev. Anderson was in full on joke mode or whether his "gripes" were 100% serious. However, the images described in the refrain of this lovely hymn by Mary Louise Bringle are both Biblically based and beautifully poetic. The idea is that God gives a refreshing and renewing light to the world. Not only does it refresh the physical world, but it also entails themes of social justice. A refreshed, renewed world begets a refreshed, renewed people, ready to do God's work.
COMMUNION HYMN
You Satisfy The Hungry Heart
I knew I'd get a shepherd hymn in here!! Actually, it's only mentioned in passing at the beginning of the first stanza. In a larger scope, it is a hymn of thanksgiving for the bread of life that refreshes us.
The hymn tune is titled BICENTENNIAL, and was written collaboratively by Omar Westendorf and Robert Kreutz. Hence the tune name, it was composed for the United States Bicentennial worship at the Washington National Cathedral in 1976.
CLOSING HYMN
On Our Way Rejoicing
This can likely be put into the category of 19th century revival hymn. Its use of mostly tonic and dominant harmonies are very indicative of the mid-1800's style.
The title of the hymn really does a wonderful job at summarizing the hymn in its entirety. There are overtones of Easter still in the second line of the first stanza ("Christ our Lord has conquered"). The entire first stanza is actually quite Christ-centered, whereas the second becomes a Trinitarian statement of faith and thanksgiving. The penultimate line of the refrain, "as we forward move," seems especially appropriate at this particular time.
POSTLUDE
Chorale on ST. ANNE- C. Hubert H. Parry
Hubert Parry, an English cathedral composer from around the turn of the century, is less known for his organ works, but the few that there are are absolutely wonderful. His pinnacle work is likely this chorale based on the tune for O God Our Help In Ages Past.
Surprisingly, the actual chorale is quite difficult to discern in the context of the whole piece. Only the first phrase is heard in a straightforward way, and it is done so using a technique called augmentation, where the melody is stretched along very long notes, each lasting two measures. The entire piece is filled with sequences and other harmonic devices that reference the original tune though, so all is not lost.
The following several pages of standard English-style harmonies and textures, the final two pages erupt in a wonderful fantasy as the piece grows to a satisfying conclusion.
This is the Sunday I always associate with Shepherd's Sunday, as Psalm 23 is usually the featured psalm on the 4th Sunday of Easter. This year, with Building Vision, Sparking Mission, things are a little bit different. While I will miss having to decide which version of "The Lord Is My Shepherd," will be sung, I think I'll be okay!
This week is actually going to focus on a portion of Isaiah 55. In the latter half of the book of Isaiah, the new creation God talks about throughout the Bible has been fulfilled. This concept is the focus of this service, and has driven music selection.
PRELUDE
Partita on ST. ANNE- Paul Manz
Several movements from Paul Manz's partita on O God Our Help In Ages Past will be featured here. Manz, one of the forerunners in church music and hymn playing in the 20th century, has crafted a creative, imaginative setting, with each movement of the Partita representing a different stanza of the hymn. The first is for the stanza beginning, "Before the hills in order stood," which is a serene depiction of a world of nothingness. Sparse harmonies decorate the thin texture as the tune slowly unfolds.
The second to be played, based on the stanza, "Time, like an ever rolling stream..." paints the text through the use of a moving bass line that represents the stream. It is also in triple meter, which enhances both the idea of the music moving forward and the pastoral nature of a river.
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
Light Dawns on a Weary World
Rev. Mark Anderson (St. Paul's member) always tells me exactly what he thinks. No sugar coating, no punches pulled. That's what I love about the man. (I also know he reads this blog regularly, which is why I'm mentioning this.)
About a year or so ago, Light Dawns on a Weary World was the Hymn of the Day one Sunday. Mark came to me after church that day and said, "Nick, I hate that hymn." With a slight smile on my face, I expected him to cite something musical about it... it went too high... there wasn't anywhere to breathe... something like that. Instead, he said that trees don't actually clap their hands... hills and mountains don't sing. I chuckled and we went back and forth a bit.
I know he was being a bit tongue-in-cheek, and I don't want to assume whether or not Rev. Anderson was in full on joke mode or whether his "gripes" were 100% serious. However, the images described in the refrain of this lovely hymn by Mary Louise Bringle are both Biblically based and beautifully poetic. The idea is that God gives a refreshing and renewing light to the world. Not only does it refresh the physical world, but it also entails themes of social justice. A refreshed, renewed world begets a refreshed, renewed people, ready to do God's work.
COMMUNION HYMN
You Satisfy The Hungry Heart
I knew I'd get a shepherd hymn in here!! Actually, it's only mentioned in passing at the beginning of the first stanza. In a larger scope, it is a hymn of thanksgiving for the bread of life that refreshes us.
The hymn tune is titled BICENTENNIAL, and was written collaboratively by Omar Westendorf and Robert Kreutz. Hence the tune name, it was composed for the United States Bicentennial worship at the Washington National Cathedral in 1976.
CLOSING HYMN
On Our Way Rejoicing
This can likely be put into the category of 19th century revival hymn. Its use of mostly tonic and dominant harmonies are very indicative of the mid-1800's style.
The title of the hymn really does a wonderful job at summarizing the hymn in its entirety. There are overtones of Easter still in the second line of the first stanza ("Christ our Lord has conquered"). The entire first stanza is actually quite Christ-centered, whereas the second becomes a Trinitarian statement of faith and thanksgiving. The penultimate line of the refrain, "as we forward move," seems especially appropriate at this particular time.
POSTLUDE
Chorale on ST. ANNE- C. Hubert H. Parry
Hubert Parry, an English cathedral composer from around the turn of the century, is less known for his organ works, but the few that there are are absolutely wonderful. His pinnacle work is likely this chorale based on the tune for O God Our Help In Ages Past.
Surprisingly, the actual chorale is quite difficult to discern in the context of the whole piece. Only the first phrase is heard in a straightforward way, and it is done so using a technique called augmentation, where the melody is stretched along very long notes, each lasting two measures. The entire piece is filled with sequences and other harmonic devices that reference the original tune though, so all is not lost.
The following several pages of standard English-style harmonies and textures, the final two pages erupt in a wonderful fantasy as the piece grows to a satisfying conclusion.
Saturday, April 13, 2013
My Apologies
It is currently Saturday morning, and it just occurred to me as I walked into church this morning that I never blogged this week. I was involved with RICE day and other activities at Wartburg on both Thursday and Friday, and it completely skipped my mind. I apologize, and Music Notes will return next week with a shiny new addition!
Thursday, April 4, 2013
Music Notes: April 7th, 2013
Second Sunday of Easter
From now until Pentecost, not only are we celebrating the Sundays after Easter, but the next phase of the Building Vision - Sparking Mission is also beginning. There are a large number of committees and groups who have already planned several wonderful presentations and worship ideas for the coming weeks.
This week, we will hear how a parallel forms with God's covenant with Noah and the Gospel of John this week. God regrets creating humanity and decides to start over. He leaves a sign of a rainbow that God will follow the option of love and forgiveness, which is manifest in Jesus' death and resurrection.
PRELUDE
Alleluia! Jesus Is Risen- Keith Kolander
Traveling through many key areas, this dance-like interpretation of David Johnson's tune (that I will discuss later) exudes the joy and triumph of this wonderful Brokering text.
The piece is in three parts, cast in ABA format (ie. the first and final parts are similar). Fragments of the tune are heard in the pedal with a syncopated ostinato rhythm in the hands. The B section is relegated to a solo reed with the tune heard in a more straightforward fashion. The piece concludes as it began, concluding with a glorious poly-tonal chord.
OPENING HYMN
Alleluia! Jesus Is Risen
Until his death in 2009, Dr. Herbert Brokering was a much loved, active contributor to both theological studies and the music ministry of the church. A graduate of Wartburg College, he established a memorial fund at the college that still exists today.
The story behind this hymn "Alleluia! Jesus Is Risen" is both interesting and extremely simple. Dr. Brokering and St. Olaf graduate David Johnson were asked to collaborate on a hymn for the celebration of the 75th anniversary of St. Olaf College. Their result was "Earth and All Stars," an exciting, joyful hymn with ties to Psalms 98 and 150, while inculding tips of the cap to academia.
The results of this collaboration were obviously meaningful to the St. Olaf community, but there was a question of the widespread use and acceptance of this hymn in the future. To counter this, Dr. Brokering created an original, Easter-based text that could be used with Johnson's excellent tune and be more suitable for church-wide use. As is evident by the text, it is a joyful expression and reaction to the Easter story, focusing mainly on the celebration and pleasant consequences of the action itself.
HYMN OF THE DAY
O Christ Our Hope
The original version of this hymn traces all the way back to the 8th century. It was translated and brought into wider use in the mid 19th century, set to an early German chorale.
The bulk of the message comes in stanza four. As a result of Jesus breaking the bonds of death and ascending to heaven, our love should then be permeated by the love of God and serve the world for all of eternity.
OFFERING
Three Songs sung by the Cherub Choir
Our Cherub Choir director, Heidi Harms has prepared the young voices to sing three songs for us this weekend. Don't be surprised if the congregation is asked to sing along on one of them as well!
COMMUNION HYMN
That Easter Day With Joy Was Bright
Stanza one of this ancient 5th century text summarizes the events of Easter morning within one tiny sentence. The great thing about the tune PUER NOBIS is that its succinct nature allows for a text which is equally succinct and understandable.
Stanza two, for example, is a brief statement of faith and commitment that Christians all over the world could pray every day. One can imagine that the disciples said the same thing once they saw their resurrected Lord. Stanza three is a similar statement of faith.
Something interesting happens in the rhyme scheme of stanza four. In the first three stanzas, the rhyme scheme is a simple AABB. If you attempt to apply this formula to stanza four, you'll end up rhyming the word "give" with the word "alive." Obviously give and live rhyme when pronounced a certain way, but with a long "I" sound, it clearly ruins the scheme. This happens a lot when 19th century Englishmen either compose or translate a given hymn. Perhaps the word "alive" was pronounced differently in that time.
I already mentioned the tune, PUER NOBIS. It was adapted as a hymn by Michael Praetorius, who was a prolific composer of renaissance dance music. As such, I envision this tune much as a renaissance dance, with a joyful, lilting rhythm.
CLOSING HYMN
Christ Is Alive, Let Christians Sing
Personally, this happens to be my favorite Easter hymn (also appropriate for Advent). This was written in the late 1960's by Brian Wren, author of hundreds of hymns and one of the most powerful voices in 20th century hymnody. Unlike some of our previous hymns in this Easter season, Christ Is Alive takes the peril and triumph of Jesus and puts it in a context of our world today. For example, in stanza two we see that Christ is no longer bound to the stories of ancient years, but by the power of resurrection, we see him among us here and now, touching every place and time.
Other examples are in stanzas three and four, where we see that despite factors like wealth and race divide us, Christ reaches through hatred and turmoil and shows us the way to love and peace.
This extraordinary text is suitable only for the greatest of tunes, and the tune TRURO fits that bill very well. Set in four distinct parts, this tune is majrestic, triumphant, and most importantly, singable. It is symmetrical in nature, with the first phrase rising a whole octave and ending with the octave going down.
POSTLUDE
Christ Is Alive - J. Wayne Kerr
This arrangement of the TRURO tune is in the style of a Baroque march. This style is characterized most notably by a dotted eighth-sixteenth rhythm, a circle of fifths harmonic structure, and a moving, active bass line.
The tune presents itself in a solo trumpet in its entirety, and also fragments of it are within in the ritornello itself. Like most marches arranged for the organ, it grows to a large conclusion with one final statement of the tune for the finish.
From now until Pentecost, not only are we celebrating the Sundays after Easter, but the next phase of the Building Vision - Sparking Mission is also beginning. There are a large number of committees and groups who have already planned several wonderful presentations and worship ideas for the coming weeks.
This week, we will hear how a parallel forms with God's covenant with Noah and the Gospel of John this week. God regrets creating humanity and decides to start over. He leaves a sign of a rainbow that God will follow the option of love and forgiveness, which is manifest in Jesus' death and resurrection.
PRELUDE
Alleluia! Jesus Is Risen- Keith Kolander
Traveling through many key areas, this dance-like interpretation of David Johnson's tune (that I will discuss later) exudes the joy and triumph of this wonderful Brokering text.
The piece is in three parts, cast in ABA format (ie. the first and final parts are similar). Fragments of the tune are heard in the pedal with a syncopated ostinato rhythm in the hands. The B section is relegated to a solo reed with the tune heard in a more straightforward fashion. The piece concludes as it began, concluding with a glorious poly-tonal chord.
OPENING HYMN
Alleluia! Jesus Is Risen
Until his death in 2009, Dr. Herbert Brokering was a much loved, active contributor to both theological studies and the music ministry of the church. A graduate of Wartburg College, he established a memorial fund at the college that still exists today.
The story behind this hymn "Alleluia! Jesus Is Risen" is both interesting and extremely simple. Dr. Brokering and St. Olaf graduate David Johnson were asked to collaborate on a hymn for the celebration of the 75th anniversary of St. Olaf College. Their result was "Earth and All Stars," an exciting, joyful hymn with ties to Psalms 98 and 150, while inculding tips of the cap to academia.
The results of this collaboration were obviously meaningful to the St. Olaf community, but there was a question of the widespread use and acceptance of this hymn in the future. To counter this, Dr. Brokering created an original, Easter-based text that could be used with Johnson's excellent tune and be more suitable for church-wide use. As is evident by the text, it is a joyful expression and reaction to the Easter story, focusing mainly on the celebration and pleasant consequences of the action itself.
HYMN OF THE DAY
O Christ Our Hope
The original version of this hymn traces all the way back to the 8th century. It was translated and brought into wider use in the mid 19th century, set to an early German chorale.
The bulk of the message comes in stanza four. As a result of Jesus breaking the bonds of death and ascending to heaven, our love should then be permeated by the love of God and serve the world for all of eternity.
OFFERING
Three Songs sung by the Cherub Choir
Our Cherub Choir director, Heidi Harms has prepared the young voices to sing three songs for us this weekend. Don't be surprised if the congregation is asked to sing along on one of them as well!
COMMUNION HYMN
That Easter Day With Joy Was Bright
Stanza one of this ancient 5th century text summarizes the events of Easter morning within one tiny sentence. The great thing about the tune PUER NOBIS is that its succinct nature allows for a text which is equally succinct and understandable.
Stanza two, for example, is a brief statement of faith and commitment that Christians all over the world could pray every day. One can imagine that the disciples said the same thing once they saw their resurrected Lord. Stanza three is a similar statement of faith.
Something interesting happens in the rhyme scheme of stanza four. In the first three stanzas, the rhyme scheme is a simple AABB. If you attempt to apply this formula to stanza four, you'll end up rhyming the word "give" with the word "alive." Obviously give and live rhyme when pronounced a certain way, but with a long "I" sound, it clearly ruins the scheme. This happens a lot when 19th century Englishmen either compose or translate a given hymn. Perhaps the word "alive" was pronounced differently in that time.
I already mentioned the tune, PUER NOBIS. It was adapted as a hymn by Michael Praetorius, who was a prolific composer of renaissance dance music. As such, I envision this tune much as a renaissance dance, with a joyful, lilting rhythm.
CLOSING HYMN
Christ Is Alive, Let Christians Sing
Personally, this happens to be my favorite Easter hymn (also appropriate for Advent). This was written in the late 1960's by Brian Wren, author of hundreds of hymns and one of the most powerful voices in 20th century hymnody. Unlike some of our previous hymns in this Easter season, Christ Is Alive takes the peril and triumph of Jesus and puts it in a context of our world today. For example, in stanza two we see that Christ is no longer bound to the stories of ancient years, but by the power of resurrection, we see him among us here and now, touching every place and time.
Other examples are in stanzas three and four, where we see that despite factors like wealth and race divide us, Christ reaches through hatred and turmoil and shows us the way to love and peace.
This extraordinary text is suitable only for the greatest of tunes, and the tune TRURO fits that bill very well. Set in four distinct parts, this tune is majrestic, triumphant, and most importantly, singable. It is symmetrical in nature, with the first phrase rising a whole octave and ending with the octave going down.
POSTLUDE
Christ Is Alive - J. Wayne Kerr
This arrangement of the TRURO tune is in the style of a Baroque march. This style is characterized most notably by a dotted eighth-sixteenth rhythm, a circle of fifths harmonic structure, and a moving, active bass line.
The tune presents itself in a solo trumpet in its entirety, and also fragments of it are within in the ritornello itself. Like most marches arranged for the organ, it grows to a large conclusion with one final statement of the tune for the finish.
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