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.