Music Notes: August 25th, 2013

Fourteenth Sunday after Pentecost

Prelude

Three Settings of Liebster Jesu - J.S. Bach, Marcel Dupre, Michael Burkhardt

These three settings of this chorale all come from three different eras and three different composers, yet they are all based on the same compositional style.  

J.S. Bach, the arguable master of the chorale setting, has the most complex setting.  In addition to the three voice accompaniment, the chorale is played in a canon at the fifth in the right hand.  Organ registration allows this canon to be heard clearly.

Dupre's setting is the shortest and simplest.  It consists of three voices with the chorale in the soprano.  It doesn't even allow for a repeat in the first phrase, making the setting less than 20 or so seconds. 

Michael Burkhardt is a contemporary organ composer, but this composition is a throwback to the old style of chorale prelude composition.  Like Bach's setting, it has a voice in the pedal, left hand, and the chorale itself in the right hand.

Opening Hymn

Dearest Jesus, At Your Word

Tobias Clausnitzer is not a name we come across very often in the study of hymnody.  Living in the mid-17th century, he was appointed as a chaplain of the Swedish regiment in 1644 after his studies at the University of Leipzig.  Later in life, he was appointed first pastor at Weiden, where he remained until his death.

This hymn, like many other from the era, was translated by Catherine Winkworth.  It gives us a message of the spirit breaking through the night which has just passed, filling us with "light unclouded."  This brightness remains the focus of the hymn throughout stanza three, and then concludes with a modified Doxology for the final stanza.

Hymn of the Day

Lord, Keep Us Steadfast In Your Word

This is likely Martin Luther's second most known hymn in the ELW.  This is actually one of his earlier hymns, coming from the beginning years of the reformation.  This hymn tells us that we don't need to rely on anything visual or kinesthetic, but rather that faith will provide for all of our needs.  It calls for us to stand up against those who rely on things other than God alone for spiritual fulfillment.  If materialistic needs and desires are left to rule the world, Martin Luther expresses here that any foundation of faith would crumble (...bring to naught all (God) has done).  Instead, if we keep steadfast in the Word of God, he will lead us out of death to life.

Communion Hymns

Here Is Bread

This Communion song is by Graham Kendrick, who is a wonderful worship leader, writing hymns equally at home in both traditional and contemporary worship.  This is a very accessible melody in a gentle, swinging 4/4 meter, with a very straightforward text, showing us that throughout Communion and in our whole lives, God is always with us, watching over us and guiding us.

We Come To You For Healing Lord

Our bodies, minds, and souls all need some form of healing at some point, and through prayer, we can hope to receive it.  Herman Stuempfle, the long time leader of the Lutheran Theological Seminary in Gettysburg, penned this lovely hymn with the need for healing in mind.  The image of Christ as the great physician is referenced in stanza three, and gives thanks to all the physicians and nurses around that heal our wounds with their God given gifts and willingness to serve.


This text is set to the hymn tune MARTYRDOM, a rather common tune from late 18th century England.  It accompanies the Stuempfle text quite nicely, and as the end of stanza four says, we "trust that through our nights and days your grace will heal, sustain."

Closing Hymn

Rejoice, Ye Pure In Heart

About a year ago when the REJOICE service was reborn with that name, this was one of the songs (slightly modified) that kicked off the idea that anything old can be renewed and made to be appropriate in any style of worship.

Of course, it is still a wonderful traditional hymn as well.  The language is overtly praise-like, with wonderful proclamations of shouts and and voices sending forth the sturdy hymns of old.  Each stanza ends with the short, simple refrain, "Rejoice, give thanks, and sing!"

Postlude

Rejoice Ye Pure In Heart - Emma Lou Diemer

Emma Lou Diemer is known for writing organ compositions that are both very difficult and very bizarre.  This piece, while difficult, is actually one of her most "normal" pieces in terms of form, harmony, and compositional style.  

A perpetually moving motive in the manuals begins flowing on top of the tune in the pedal with a big reed.  The middle section goes into a chorale with a unique twist.  Rather than a supporting bass line, the bass line is actually the melody, in canon with the melody on the top.  The piece concludes the way it began, with fragments of the tune in augmentation, enhanced by scales and other flourishes in the hands.