Music Notes: June 2nd, 2013

2^nd Sunday after Pentecost

Prelude

Three Settings of Praise to the Lord – David Dahl, Mark Sedio, and Max Reger

There are many short organ pieces on familiar tunes out there that deserve to be heard, but many of them are too short to be sustained on their own.  One of my favorite practices is to take three shorter settings and combine them together in one piece.  It is very interesting to hear how three different composers from three different time periods and backgrounds interpret a particular tune or chorale.

David Dahl was the long time university organist at Pacific Lutheran University.  He also serves as Director of Music at Christ Church, Episcopal in Tacoma Washington.  Used at the beginning of the set, it could also function as an extended introduction to the hymn.

The second, longer setting is by Mark Sedio, who is Cantor for Music at Central Lutheran Church in Minneapolis, alternates between time signatures, creating a dance-like texture using creative organ registrations. 

The final setting by German composer Max Reger is a straightforward, canonical setting (between soprano and pedal), which brings a joyous conclusion to the prelude and an uplifting start to the service.

Opening Hymn

Praise to the Lord

Praise to the Lord comes from the second generation of German chorales, the first being those of Martin Luther and his contemporaries in the mid 16th century.  This came nearly a century later from the pen of Joachim Neander.  Interestingly enough, Neander was associated with the Reformed Calvinist church, which was not known with a strong history of congregational song like the Lutheran church was becoming known for.

The translation of the hymn that most hymnals now contain is that of German poet Catherine Winkworth.  Winkworth takes some significant liberties with the text, particularly in the first verse.  Where the original Neander third line says, "Kommet zu Hauf! Psalter und Harfe, wacht auf!", Winkworth changes this to "Let all who hear, now to this temple draw near."  Even one with no knowledge of German be able to tell that the reference to both psaltery and harp were removed.  Though Winkworth likely altered the text to conform to the cultural standards of the time (the notion of psaltery and harp was very indicative of Renaissance German theology, whereas in the 19th century, the idea of Christian "health" was of utmost importance), it is unfortunate that such a colorful, powerful image of the heavens praising God was removed.

Hymn of the Day

Jesus Shall Reign

I have talked a lot about the “Father of English Hymnody,” Isaac Watts multiple times in this blog.  The most important thing to remember about Watts’ contributions to hymnody are his psalm paraphrases.  This hymn is a paraphrase of Psalm 72, and it ties beautifully with John Hatton’s tune, titled DUKE STREET.  Watts’ characteristic use of language is prevalent here.  It is rather simple to explain the concept of the omnipotence of God, but only Watts could say, “His kingdom stretch from shore to shore till moons shall wax and wane no more.” 

Stanza three really puts the emphasis on the international church, describing the “people and realms of every tongue.”  Not only does the stanza touch on the whole world, but also those of every age, citing the “infant voices.”  As we continue into stanza four, we hear the impacts of Jesus ministries on prisoners, weary, and all who have a void in their lives.

The final stanza brings all of these varied people together to bring “peculiar honors to (their) King.”  Peculiar, in this case, means special, different, specific, etc… something above and beyond the normal contributions.

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

O For A Thousand Tongues To Sing

Charles Wesley will forever be known as one of the primary founders of Methodism.  Despite being an exquisite preacher and hymn writer, Wesley had a struggle with his faith around the middle of his life.  After overcoming that, he wrote this hymn a year later as a recognition of his renewal of faith.

Originally it was 18 stanzas, and was published as such in every Methodist resource up until 1983.  The version we have is arranged as follows... our stanzas 1-3 were originally stanzas 7-9, stanza 4 was originally stanza 11, stanza 5 was originally stanza 13, and the closing stanza in the ELW was actually the opening stanza in the original hymn. 

Postlude

Praise to the Lord – Paul Manz

Manz’s take on the LOBE DEN HERREN chorale is a wonderful, march-like tune with the chorale presented clearly in the trumpet of the organ.  Supporting the trumpet is a walking bass line complete with harmonies that, while aren’t shocking, are certainly a different direction than the traditional harmony would be.  While the word “improvisation” is used a lot to describe a piece that was already written down, I could easily see this being something Paul made up on a Sunday morning and then later attempted to write down.  It is very representative of the Manz style.

Music Notes: May 26th, 2013

Trinity Sunday

Before I start, I would just like to acknowledge the wonderful contributions of our choirs and other music ensembles this year.  With the season now over, I'll never forget the way three of our choirs came together last week in order to lead the hymn, Gracious Spirit, Heed Our Pleading, as part of our vibrant Pentecost service.  Thank you SO MUCH choirs, and I'll see you next year!

While last Sunday was primarily a celebration of the Holy Spirit, this Sunday will incorporate the Father and the Son, which creates the Holy Trinity.  The Trinity can be quite a puzzling concept for people to wrap their heads around.  Is it one?  Is it three?  It's both (I think), but it certainly is a mystery of the Christian faith.  There is only one God, but it is in three persons.  Each person is God, but they are distinct from one another in their origins.  The Father created all, the Son was holy begotten, and the Spirit moves us forward.  The music this week will guide us through these Trinitarian figures, featuring some of the most iconic and well known hymns in the repertoire.

Prelude (7:45 AM only)

Theme and Variations on Holy, Holy, Holy

Piet Post is a bit of a journey man Dutch composer.  He has had a long and rather successful career, but his music, especially in America, is not very well known.  

This theme and variations on the hymn tune NICAEA definitely deserves to be heard though.  The opening measures are striking, featuring the tune harmonized with parallel fifths.

The variations are quite inventive.  One features descending arpeggios with the tune on top.  The adagio variation has a pulsing bass line going throughout along with a wide variety of harmonic colors.  Yet another is a two voice invention, with the theme traveling from voice to voice.

Prelude (9:00 AM)

Prelude and Sarabanda from Suite no. 2- J.S. Bach

 

Bach's cello suites are examples of some of his most brilliant work.  Bach is likely most well known for his mastery of contrapuntal composition, which makes these cello compositions that much more brilliant.  With only one melodic line to work with, these pieces are nonetheless wonderfully artistic and inventive.

Of note here is the sarabande.  A dance from the 15th-16th century, its key features are a triple meter with an emphasis on beat two, as well as a slower tempo characterized by a large amount of ornamentation.

Opening Hymn

Holy, Holy, Holy

This hymn will be preceded by a thanksgiving for Baptism, shown on our new projectors.  Holy, Holy, Holy is traditionally known as the quintessential Trinitarian hymn, but interestingly enough, the hymn doesn't even follow a traditional Trinitarian structure, as many of our other hymns will today.

Despite not having a Trinitarian structure, it was composed by Reginald Heber for Trinity Sunday.  The three statements of "holy" are a direct reference to the mass ordinary text Sanctus, Sanctus, Sanctus, (which we sing every week during the Communion liturgy).  They also reference Isaiah 6:1-5, where the six-winged seraphim approach and proclaim the first lines of the Sanctus.

About fifty years after its composition, John Dykes wrote the tune now exclusively used for this hymn.  It was named NICAEA, after the famed Council of Nicaea in the year 325, which was an ecumenical gathering of Christians arranged by Roman Emperor Constantine I.  In addition to coming to a consensus on the Holy Trinity, they also established the first portion of what became to be known as the Nicene Creed, and set the formula for determining the date of Easter.

Hymn Of The Day

Come Join The Dance Of Trinity

"Energizing" is a word that I would use to describe the unity of the Father, Son, and Holy Spirit.  It is thus rather appropriate for the interweaving of these three elements to be in the form of a dance.  The whole idea behind the opening of this hymn is that the joining of the three aspects of the Trinity in a cohesive dance brought form to the universe.  

Stanza two makes a quick shift and brings the human aspect to the Trinity.  The "face of Trinity" is of course Jesus, and the hymn contrasts his newborn face in Bethlehem with the bloody face at the crucifixion.  It also makes the point that the Trinity is meant for the human aspect of us, and when it becomes confined through death, God (the first element) comes and rolls away the metaphorical stone, enabling us to rejoin the dance.

The third stanza references the holy Spirit aspects of the Trinity.  It looks back to Pentecost as a celebration of the Holy Spirit enabling people to tell the story of the Savior's name.  The third line is very interesting… "We know the yoke of sin and death, our necks have worn it smooth."  I believe this is referring to the entire journey we just took through Lent.  But once we are free of this yoke, we are free to move and able to share this good news with the world.

Like most Trinitarian hymns, this one concludes as it started, with a recapitulation of the first stanza, sharing many similar characteristics and messages.

Communion Hymns

Creating God, Your Fingers Trace

In addition to celebrating the Trinity, we are taking time to remember and pray for the residents of Moore, OK, as well as those closer to home who may be experiencing flood waters.  

This hymn gives thanks to a God that is creating (Father), redeeming (Son), and sustaining (Holy Spirit).  Stanza two calls back to the Thanksgiving for Baptism at the beginning of the service ("let water's fragile blend with air"), and stanza three uses the familiar Pentecost image of a dove coming down to earth.

In closing, we hear that we are all family, and calls for us to be touched by grace until we are all brought together to praise God.

If You But Trust In God To Guide You

Despite its clumsy modernizing, replacing the words "thou" and "thee" with "you," this remains one of the great hymns of hope that we have in the hymnal.  Georg new mark penned both the text as well as the chorale (a rarity for such a successful work) in the mid-17th century. 

Stanza one alone is such an uplifting promise of faith and hope.  Going on, we hear the message that there is no gain in stress or trouble as long as we are in our Savior's keeping. 

From beginning to end, this hymn contains enough hope and guidance to sustain us all the way through any hard times.  Throughout all of the pain and turmoil we go through, we can always take comfort that we can rest in God's word and good will as long as we sing, pray, and keep God's word unswerving.

Closing Hymns

Holy God, We Praise Your Name

Though it isn't directly alluded to in the 'by-line' of the hymnal, this text is a translation and paraphrase of the Te Deum chant.  The Te Deum laudamus  is an ancient hymn of praise for the church, used primarily in the daily offices of the Catholic Church.  More specifically, it is used at Matins, which is the service of Morning prayer from the canonical hours.  While the text is also associated with a standard plainchant, only the text is used here; the tune is original, coming from the Katholisches Gesangbuch (Catholic Songbook), published in Vienna in 1774.

There are two elements of this text that I would like to bring to the forefront.  The first is the concluding stanza, where the primary Trinitarian message is contained.  It says that though the names come in three parts, they are in essence one element, an "undivided God" that we worship and adore on bended knee, embracing the holy mystery of the Trinity.

The second doesn't necessarily relate to the Trinity itself, but rather to the entire field and future of church music.  The conclusion of stanza three states, "And from morn to set of sun, through the church the song goes on."  This is a message that I hold very close to my heart, and it gives me hope and motivation to ensure that the words and music of the church will be everlasting and never ending.

America The Beautiful

In honor of our veterans on this Memorial Day weekend, we will celebrate their lives and contributions to our freedom with this hymn.  The poem was composed by Catherine Lee Bates, and despite the song not really being a "church" song, it was combined with a tune composed by church organist and choirmaster Samuel Ward.  Ward had originally written the music for a different hymn, but was combined with the Bates Poem and titled "America the Beautiful." 

The original version differs quite significantly from the version we have today.  For instance, here is the current opening stanza, followed by the original one…

Current:
O beautiful, for spacious skies,
for amber waves of grain.
For purple mountain majesties
Above the fruited plain!
America! America!
God shed His grace on thee,
And crown thy good with brotherhood,
from sea to shining sea.

Original:
O beautiful for halcyon skies,
For amber waves of grain,
For purple mountain majesties
Above the enameled plain.
America! America!
God shed His grace on thee,
Till souls wax fair as earth and air
And music-hearted sea!

As you can see, the original version contains a lot of antiquated, albeit very colorful language. 

Most important here is stanza two, where the heroes we celebrate are glorified in this stanza. 

Postlude

Finale on Holy, Holy, Holy- Piet Post

The large theme and variations began at the beginning of the service concludes here.  This final movement doesn't really have a distinct form.  It is at times imitative, other times homophonic, and other times much like a fantasy, traveling through a variety of key areas.  The piece concludes with a strong scalar ascension upwards to the final chords.

Music Notes: May 19th, 2013

Pentecost Sunday

In these 50 days since Easter, each week that has gone by has brought us closer to the building of our Ark and the conclusion of the first phase of our Capital Campaign.  On Pentecost Sunday, we remember and celebrate the coming of the Holy Spirit to the earth.  In recognition and celebration of this occasion, the 9:00 AM and REJOICE worship services will be starting outdoors, with the congregation representing the Wind of Pentecost entering the church and encountering those choosing to stay inside.

Opening Hymn

God Of Tempest, God Of Whirlwind

At the 9:00 AM service, this hymn will function as a quiet introduction to the Pentecost rite before the outside wind enters.  Herman Stuempfle penned this hymn as an epic, energetic entrance to Pentecost.  Using words like “tempest,” “purge,” “burning,” “thunder,” and other powerful verbs and adjectives, it brings the fiery, lively nature of Pentecost to life.

Musically, the tune CWM RHONDDA comes from John Hughes, a composer and church musician of Welsh origin.  The syllabic underlay is the common 8787877.  The final 877 are sometimes broken down as 4477, with the fours and the sevens being the same words.  In Stuempfle’s hymn, only the sevens share the same text. 

Also characteristic is that the third sub-phrase repeats the first, and the fourth is developed from the second, in this case rising to a high D.  The second half switches to the dominant harmony, which is climaxed by a rising arpeggio on a dominant seventh chord.  All these characteristics create a strong tune that is easily singable and very much enjoyed.

Pentecost Hymn

Gracious Spirit, Heed Our Pleading

Following the Pentecost Processional, all the choirs will surround the church and lead in the singing of this wonderful Swahili hymn.  This is a hymn of renewal that the Holy Spirit gives us.  Verses two and three will be sung by the children, as those words (“Come to teach us, come to nourish…”) are particularly appropriate to be heard from voices of that age.  The congregation will enter strongly on the refrain of verse three, and the closing stanzas will be sung joyfully by the entire congregation.

In order to perform this hymn as authentically as possible, it will be sung a capella being accompanied only by a djembe.

Hymn of the Day

All Are Welcome

The last time we sang this hymn, we were nearing a congregational vote in which we were deciding whether or not to begin a capital campaign.  It is only appropriate that we sing it again today on Commitment Sunday to bring our journey full circle.

As we move forward, the message of this hymn is crucial and important.  We want love to dwell, a place where saints and children gather, built from faith and grace, where the love of Christ shall end divisions.  Each stanza goes through a different portion of the fourfold pattern of worship, stanza one is the gathering, stanza two focuses on the word, stanza three on the meal, stanza four on the sending, and finally, stanza five as a strong conclusion.

Communion Hymns

For The Fruit Of All Creation

This hymn of thanksgiving was penned by Fred Pratt Green (1903-2000), who was a British Methodist pastor and hymn writer.  While a majority of his most famous texts appear in the United Methodist Hymnal from 1989, we were lucky enough to have this lovely hymn spill over into the ELW.

While the majority of this hymn is thanking God for the gifts (nature or otherwise) that we have received from God, there are some very profound thoughts that close this hymn and our worship this Sunday.  “For the wonders that astound us, for the truths that still confound us, most of all that love has found us, thanks be to God.”  Wow.  How true, yet how interesting it is to be thankful for things that are either too large or too awe-inspiring to comprehend.

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.

At the conclusion of Communion today, this hymn sends the Holy Spirit with us as we prepare to depart worship, with the line “Holy spirit, ever binding age to age and soul to soul, in communion never ending, you we worship and extol.”

Closing Hymn

Let All Things Now Living

If I were to play this tune for someone, it’s likely that they would describe it as “joyful,” or some other synonym of it.  What is fascinating is that this tune was made famous by Benjamin Britten in his setting of the poem called “The Ash Grove,” which is about a husband wandering through a meadow.  The poem unfolds to the end, where a revelation at the end of the song reveals that he is walking to his wife’s grave.

This hymn text by Katherine Davis is anything but sad.  This is a joyful hymn of thanks to the creator of all things.  God fashioned, made, and protected us, and still guides us to this day.  Stanza one also contains several Biblical references, including a reference to the pillar of fire in Exodus 12, guiding us along our way.  Our Pentecost service concludes with the line, “…with glad adoration a song let us raise ‘till all things now living unite in Thanksgiving to God in the highest hosanna and praise!”

Postlude

Fanfare on CWM RHONDDA – Paul Manz

Of all of Paul Manz’s wonderful organ improvisations, this one is likely the most well known and celebrated.  Quoting the Hallelujah Chorus from Handel’s Messiah, it is a standard ritornello from with the tune displayed in its entirety throughout the piece.  The improvisation concludes with a final, glorious statement of the closing line of the hymn tune.

Music Notes: May 12th, 2013

Sixth Sunday After Easter

On this Mother’s Day weekend, we will hear the story of one of the most celebrated mothers in the Bible.  Normally heard at Advent, the Song of Mary, also known as the Magnificat, is Mary’s song of appreciation towards God who was willing to bless her with the miraculous gift of a virgin birth. 

Additionally, we have more to celebrate this weekend, when we will recognize the graduating seniors of the congregation, where we will show a slide show featuring the graduates along with the  mothers who have raised them, thereby celebrating both.

Prelude

Mothering God – Carolyn Jennings, arr. Wayne Wold

Both the prelude and postlude this morning are based on hymn tunes by female composers.  This tune, used in the ELW as part of hymn no. 835, “Mothering God,” is arranged here as an organ trio by Wayne Wold.  The organ trio goes back many centuries to the Baroque period where counterpoint was the most popular method of composition.  A trio involves three independent musical lines played in the right hand, left hand, and feet respectively.  Traditionally, each line has its own distinctive sound, so they can be easily distinguished from each other.  This can create difficulties in registration, since not only must the combinations be unique, but they also have to mesh together in a musical way.

This particular trio has an introduction, coda, and two separate iterations of the tune, each done in a different hand.  They also modulate in between from D major to B major.

Opening Hymn

Oh, Worship the King

This hymn is all about God as protector, guider, and redeemer.  In stanza one, God is directly referred to as "shield and defender.”  In stanza two, we reflect on the greatness of God's creation.  The "changeless decree," as it is called, refers to the ever-present, never changing creation story which we continue to see all around us today.  Stanza four represents our need for God.   We are certainly a frail and feeble people, and it will take us receiving the strength of God to carry out his mission both throughout our capital campaign and through the world.

Hymn of the Day

For All The Faithful Women

This is a hymn that celebrates and glorifies women and their history in the Bible.  As the first stanza says, “They served with strength and gladness in tasks your wisdom gave.”  While the hymn recalls the stories of women from both the Old Testament (Miriam, Hannah, and Ruth) and the New Testament (The Woman at the Well, Mary Magdalene, Dorcas, Eunice, and Lois), we will focus on the one stanza that references Mary, as well as one other involving two hard working women, Martha and her sister, also named Mary.  It will close with a general stanza glorifying the Trinity as well as past, present, and future saints as we all strive to do the will of God.

Communion Hymns (9:00 AM only)

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.

Lord Take My Hand And Lead Me

This was selected primarily for two reasons, both for our continued journey through the Capital Campaign as well as for our seniors as they embark on a new journey in their lives. 

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 high school to college, 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.

Closing Hymn (7:45 AM only)

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 10^th or 11^th 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.

Choral Benediction

May The Peace Of God- Keith Getty and Stuart Townend, arr. NDK

This lovely song is a perfect message for the high school youth as they begin the next stage of their lives.  It is a promise that the peace of God will travel with them as they give praise to Christ eternal for his glorious reign.

The arrangement is a pretty standard SAB voicing, with an accessible piano part beneath it. 

Postlude

O Praise The Gracious Power – Carol Doran, arr. Wayne Wold

This is the third movement of a longer work based on this hymn tune by Carol Doran.  The arrangement uses the entire reaches of the organ.  It starts with an oscillating figure in the hands with the pedal in the bass, but quickly expands to feature fragments of the tune in both the top hand and the organ pedals.  As the piece concludes, it heads through a chromatic figure which quickly oscillates between the hands, ending with a proclamatory statement of the opening line of the tune in the pedals.

Music Notes: May 5th, 2013

Sixth Sunday After Easter

Rainbow.  ROYGBIV.  Pot of gold?  A lot of ideas or images come up when we think of a rainbow.  For us at St. Paul's this week, we will hear and see signs of these rainbows through the words and tasks of our Sunday School and Saints Alive children.  They will introduce a song that has become a "theme song" for our Capital Campaign written by Director of  Youth and Family Ministry Paul Frantsen called "Catch A Spark," and will also share a "Rainbow Liturgy" with us.

Along with this rainbow celebration, the music, inspired by the story of the Syrophoenician woman who challenged God for the sake of her daughter, involves feelings of peace and comfort.

PRELUDE

Abide With Me- arr. Cathy Moklebust (Bells of Praise)

The Bells of Praise will be featured in their final performance of the year this Sunday, setting the stage for worship with an arrangement of this wonderful William Monk hymn of comfort and compassion.

Minnesota composer Cathy Moklebust is one of the most prolific writers of hand bell music in the United States.  She has a unique gift of making even the simplest handbell arrangement sound complex, instilling a feeling of confidence and security in handbell choirs everywhere.

Not to say that her arrangement of Abide With Me is easy.  It certainly is not, but it is composed in such a way, through the reusing of a rhythmic motive throughout, that creates a wonderful, thick bell texture which emphasizes and clarifies the hymn tune.  The use of the big, low hand chimes and malleted upper bells create a wonderfully unique sound.

CHORAL ANTHEM

Prayer For Peace- David Cherwien

This 2 part arrangement of David Cherwien's hymn tune OLIVER was written for the 2003 Conference on Liturgy at Mt. Olive Lutheran Church in Minneapolis.  The tune shares many characteristics of tunes by Carl Schalk.  The flowing quarter notes make a very singable line, as well as help to accentuate the text.

The two part structure is explored in the latter two stanzas.  In stanza two, the men take the melody with the women providing the counter-melody.  In the closing stanza, the alto and bass voices handle the melody with a descant in the sopranos and tenors.  Each stanza ends with the short refrain, "Bring peace, O God, bring peace again."

OPENING HYMN

What Is This Place

This hymn will connect directly out of the choral anthem at the 9:00 AM service, and is also a favorite of Pastor Schneider.  The idea of a mere building that comes alive with the spirit of God and its congregants has proven itself to provide a rather profound, moving hymn.

Textually, the hymn acknowledges both the word and the sacrament of the church.  The word is remembered and spoken in the walls of the church, and the "free, redeeming word" of God lives and flows through the church.  In stanza three, the hymn acknowledges the sacrament of Eucharist as well.  Again, this gift is received inside the four walls of the church, and the justice and peace of God is handed out to us as we depart.

Musically, this is a joyful, sprightly homophonic chorale.  Unlike the German chorales of its day, there is far less interior movement and counterpoint.  Rather, the harmonies stay quite simple, employing only one secondary dominant (4th measure from the end).  The melody is in three parts, with the first two parts being identical, and the third extended section leading to the final cadence.

HYMN OF THE DAY

Lord Of All Hopefulness (7:45 AM only)

One of my favorite structures of hymn writing is found in this hymn.  Each of the four stanzas has an identical structure, with each stanza going through a different portion of the day, asking God to be with us and give us a characteristic that corresponds with that time of day.

On our waking, we ask for bliss at the break of the day.  During the work day, we ask for strength at mid-day.  The correlation is beautiful in stanza three... home is where the heart is and where our loved ones are, so we ask for God's love as we arrive home.  Finally, the closing stanza asks for peace as we lay down to sleep and close our eyes.

You Are The Light Of The World (9:00 AM only)

Our Sunday School and Saints Alive kids will help to lead this charming kids song at the 9:00 service. The song by Cathy Pino is a popular one amongst the kids here, and talks about Jesus shining in our hearts, for he is the light of the world, a city on a hill, and the candle in the dark.  The song puts those descriptions on to us, so we can shine where we are just as Jesus shines in our hearts.

OFFERING

Catch A Spark- Paul Frantsen

Rachel Nelson, director of Saints Alive, initially asked me if I would write a "theme song" for the kids for use in the Capital Campaign.  I write music more for bigger people than the little ones, so I instead suggested Paul, our Youth and Family Director, who has a lot of experience with leading and facilitating children's song.

He came up with an absolutely fantastic song, with the refrain, "Catch a spark and activate your faith in God."  It correlates beautifully with the "Building Vision - Sparking Mission" theme of the Capital Campaign.  The children sing it with a great enthusiasm and vigor, complete with actions to enhance the words.

COMMUNION HYMN

Savior, Like A Shepherd Lead Us

While there are many paraphrases of Psalm 23 in the ELW and elsewhere, this is actually not one of them despite its use of shepherd imagery.  What this is is a hymn of comfort and peace for us as we take Communion.  Each stanza ends with a refrain beginning with "Blessed Jesus..."

Musically, this hymn is wonderfully characteristic of the 19th century style of hymn writing.  Homophonic (meaning all four voice parts aligned on each beat), with an accessible, repetitive melody, characteristics that maximize the singability of a tune.

CLOSING HYMN

To Be Your Presence

Just as Jesus showed his "compassion and listening" to his disciples and those needing healing, this hymn shows us that it is our mission to show the face of compassion and the ear of listening to our society.  We're called to feed the poor, shelter the homeless, to be the hands of justice, uphold what is right, and to do all these things in the name of Christ.

The tune by Charles Villiers Stanford is one of the most singable and enjoyable tunes in the hymnal.  With its ambiguous ending, it can either lead directly into the next stanza or be an ending in itself.  To keep the involvement of children in the service, they will process through the aisles with streamers as we depart worship.

POSTLUDE

Toccata in C Major- Johann Pachelbel

This was actually the first "real" organ piece I ever learned.  As far as Pachelbel toccatas go, this one is about as straightforward as it gets.  You will hear florid, complex passage work among the two hands, dancing on top of a foundation of a solid pedal note (appropriately called a "pedal" tone.)