Fourth Sunday After Pentecost
Prelude
Ricercar in C - Johann Pachelbel
This three part piece is one of the more unique in Pachelbel's output. While most renaissance/baroque forms are based on dance, the ricercar is unique to instrumental music. The word ricercar means to search out, and in the case of a composition, it is searching for a certain mode, or key, to be placed in.
The Pachelbel Ricercar begins with an ascending minor third. This indicates a minor key area, but the following note ascends another half step, immediately creating ambiguity in the mode. The first third of the piece unfolds like a four voice fugue, using the ascending chromatic theme as the subject.
The second third is identical to the first. The only difference is that the subject descends chromatically instead of ascending, creating a mirror of the first half.
The final third picks up considerably, combining both the ascending and descending chromatic themes with a more active, descending eighth note sequence. The piece finally concludes with a resolution on a C major cadence, ending the ambiguity with the final chord.
Opening Hymn
Come Thou Fount Of Every Blessing
Anyone who reads Music Notes regularly knows that I think of this hymn as more of a hymn of praise, rather than something meditative or contemplative. My evidence is right in the first stanza, "Streams of mercy, never ceasing, call for songs of loudest praise."
This hymn has been oft criticized as being archaic or antiquated, due to its use of words like "ebenezer," "hither," and "fetter," among others. There have been many revisions that have been done to this hymn over the years, but none of them have stuck. There is something that rings so true with this passionate text that no alteration or change is able to capture. That's why, despite the continued evolution of hymnody, this text has remained tried and true.
Hymn Of The Day
There's A Wideness In God's Mercy
This is an example of an early North American frontier tune with a later composed text by British theologian Frederick William Faber. The contrast between the American tune and British vernacular are clearly evident. The tune features a largely pentatonic melody (minus the B-flats in mm. 3, 7, and 15) and an AABA'* form, common for the time. The text contains characteristically British language such as "kindly judgement given," "magnify its strictness with a zeal," and "greater good because of evil, larger mercy through the fall."
The bulk of the theology is in stanza three, which speaks of the limitless, grand nature of the love of God. The love of God is so wide and far reaching, our minds cannot even fathom its range. The heart of the Eternal is so kind and wonderful that it was willing to sacrifice God's only son for all of us. Unfortunately, we as humans, having human limits, can sometimes dilute this glorious love by putting our own limits on it, and "magnify(ing) its strictness" in a way that God would never endorse or support.
Ultimately, thanks to Jesus sacrifice, we owe everything we have to him and are able to rejoice in the greater good brought on by the evil of others. Through this, our love and faith in God is strengthened and we live lives of thanksgiving through the goodness of the Lord.
* AABA' (A, A, B, A prime)- refers to the first two and final lines being (nearly) identical. The reason for the "prime" on the final A line is the different beginning, which is actually identical to B. It could be called B' as well. Other early American tunes use this form, such as HOLY MANNA.
Communion Hymns
O Jesus, Joy Of Loving Hearts
This poem, one of our oldest in the hymnal, was actually penned by Bernard of Clairvaux. Bernard, one of the earliest reformers of Cisterian monks, was an extremely spiritual person, who emphasized the importance of Lectio Divina.
In this translated first stanza, it is clear that Bernard put Jesus first. His opinion on the importance of the Holy Communion is emphasized in stanza two, and the spiritual importance we place in him is showed in stanza three. The hymn concludes with a prayer that Jesus remain with us through our lives and he sheds his Holy light throughout the world.
My Faith Looks Up To Thee
In stark contrast to our hymn of the day tune, which can be sung beautifully in unison, the tune to this hymn, titled OLIVET, almost requires harmonization for it to be a moving experience. The trend in the late 18th and early 19th centuries was for more hymn tunes to be set homophonically, with more straightforward harmonies, to lend themselves to four part singing. There is not much to this melody by itself, but when harmonized, it becomes something truly beautiful.
The text of this hymn asks for redemption, grace, and guidance. Connecting with the hymn of the day, Jesus is at the right hand of God, and this is our prayer to him to continue watching over us, as we see in the final line, "O bear me safe above, a ransomed soul!"
Closing Hymn
Praise The Lord, Rise Up Rejoicing
In reading through this text, it was pretty clear to me that it was composed in the 20th century, and not from the same era as the tune comes from. The second person narrative, the Eucharist declaring the final victory, and going forth in the spirit are all subtle clues to this. Together with the joyful German tune, its message of praise for the Eucharist declaring the final victory ring true at the end of our service.
Postlude
Now Thank We All Our God - Egil Hovland
Rachel Schulz, the bride for the wedding at St. Paul's this weekend, chose this as her recessional. It is one of my favorite pieces for organ, so I thought I would use it again on Sunday (incidentally, it was also the recessional for my wedding!).
Form wise, the piece is quite simple. It consists of four main parts, which each feature a different part of the chorale tune. These portions of the tune are broken up with a unique, fantasia-like figure that ascends and descends beautifully.
Following the four sections, the piece concludes with a coda featuring the rising and falling motive that permeates the earlier sections. It continues to grow in intensity until the final chord.
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