Gaudete Sunday (Advent III) affords us the opportunity to shift from a purely Advent focus in our liturgy and music, to music and liturgy with a more Christmas-y tone. Like many congregations we strive to maintain the solemnity of Advent for the first two Sundays, but begin to lean toward Christmas by the third Sunday of the season. Thus it is that we will begin utilizing Christmas songs this week in worship.
FirstLight will begin with a prelude of live instrumental music provided by our Youth Handbell Ensemble. They will perform a joyful setting of “Go tell it on the mountain,” with Melissa Corbett on flute. We will also sing that carol, plus “Good Christian friends rejoice” and “Jesus, name above all names” as our opening song set. Many folks don’t realize that Nadia Hearn wrote two stanzas to this familiar praise chorus. The second especially has lyrics that suit the Advent season. We will repeat our usage of the Korean prayer song “Come now O Prince of peace,” and the Iona Community canticle “Glory and gratitude and praise.” For our closing song we will be singing the modern carol “To a maid engaged to Joseph.” The prophets will sing a beautiful new setting of “Come thou long-expected Jesus” by Taylor Davis at the offering. A new melody paired with this old text by Charles Wesley make this an incredibly captivating anthem.
The youth ringers will also perform their “Go tell it…” arrangement at 11 AM. The Tune Weavers, our resident men’s quartet, will sing Mark Lowry’s “Mary did you know” at the offering. The organ postlude will be from JSB’s Orgelbuchlein, “Lord Christ, thou only Son of God.” Service music will include the Taize song “Prepare the way of the Lord,” the Korean “Come now…” and “King of kings and Lord of lords.” The musical highlight of the service will be the presentation of Conrad Susa’s “A Christmas Garland. A Christmas carol medley, the works features several familiar carols in exciting new arrangements and harmonies. For those who might be curious, yes, the “We three kings” setting is in an odd meter: 7/8! Congregational hymns will include "Angels from the realms of glory" (Regent Square), "To a maid engaged to Joseph" (Annunciation) and "Lo, how a rose e'er blooming" (Es ist ein ros').
Thursday, December 13, 2007
Wednesday, December 12, 2007
Why a Pink Candle?
Most folks quickly spot the odd candle in the Advent Wreath. Three violet candles and a white one (for Christmas Eve and Day), and that strange pink one. What is that all about?
In the earliest stages of developing the liturgical calendar, Advent was a somewhat longer season of 40 days duration, prior to Christmas. In this fact and in its penitential tone Advent was very much like Lent. To break up the solemnity of the season, and to remind the people of the joy to come, a mid-season liturgical respite as it were, was included. On this day the readings, in both Lent and Advent, have a slightly more hopeful and anticipatory tone to them. Other liturgical elements reflected this quality of joy.
Advent was ultimately shortened to 4 weeks, but for many traditions, the “mid-season stretch” was maintained on the third Sunday. In many liturgies the opening word of worship on this Sunday was “Gaudete,” Latin for “rejoice.” The whole Introit statement is based on Philippians 4.4: “Rejoice in the Lord always; again I say, rejoice! The Lord is near.” In many traditions even today, this passage from Philippians is the appointed Epistle reading for the Third Sunday of Advent.
In keeping with the shift in tone from sobriety to this joy-filled day, other aspects of worship were also skewed slightly. In places that the organ was silent during Advent it might be used on this day. In churches where the liturgical color for Advent was violet, it might be relieved by shifting to rose or pink on this day. Thus, the change in color for the third candle of the Advent wreath. (Impress your friends at work when talking about your church’s Advent observance: use “rose” to describe the color; you’ll be ever-so liturgically correct!)
As with many other aspects of liturgical tradition, there are plenty of misunderstandings of the rose candle for Advent III. While oftentimes charming, they are usually misguided attempts to re-interpret the tradition in a “non-Catholic” way. There is no need for this. And the deeper significance of the tradition is shrouded. Who ought not embrace the notion of a bit of joy during the observance of the season of Advent? No one, of course!
Note this also: many folks take great care to "interpret" the candles of the Advent wreath. We give them lots of names or have them "stand for" many different ideals or virtues. Keep in mind that the wreath and its candles are nothing more (and nothing less) than a means of keeping time through the season. It may be just a little quaint, and not really necessary, to name the candles. In the ages before folks were ruled by calendars and clocks, the candles helped the people in the pews know where they were in liturgical time. Many Protestants these days call them the candles of "hope, joy, love and peace." Nice enough, but not accurate historically, and not needful at all. In fact, this year in our congregation the candles are really nameless! The candles are be lit by various characters in our faith history (Isaiah, John the Baptist, the angel who spoke to Joseph, and the angel who spoke to the shepherds). So for our use we might call the candles by the name of the person lighting them each week. But even that is not needed. They are time keepers. Nothing else is really needed.
Armed with this little bit of history, you can joyfully appreciate the use of the rose candle in the Advent wreath, and celebrate with liturgical Christians everywhere the fact that Advent is hastening on.
Monday, December 10, 2007
Church-Wide Caroling 2007
It was downright balmy for this time of year, but our intrepid singers braved the elements (fog) for an evening of caroling around Black Mountain. We had 8 large groups with more than 70 folks (Ginny S. says it was more nearly 100; who am I to argue?!!)involved. We returned from our adventures (some involving poo and a hike across an overgrown field!) to some tasty soup. Thanks to Charlotte S. and her committee for feeding us afterward. Thanks to Jennifer R. for lining up the visits and the routes. Paul S. was our photographer; here is a link to some photos of the evening. The best things happen with lots of involvement. This event used the talents of our musicians, our education folks, our relationship with PHFC, our Nurture Committee and administrative staff. It was a great time.
Music for the Season
Here are the worship music plans, in broad strokes, for the next few weeks:
December 16
Chancel Choir presents “A Christmas garland” by Conrad Susa. Accompanied by organ, piano and harp. Tune Weavers will sing “Mary did you know” at the offering. Youth Handbells will perform “Go tell it on the mountain" at both services as the prelude. The Prophets of Praise will be singing a setting of “Come thou long-expected Jesus."
December 23
Chancel choir will sing “My soul magnifies the Lord” by Aaron Garber. Tune Weavers will sing “Rise up shepherd and follow.”
December 24
400PM Primary Choir will sing “Huron Carol;” Aerie singers will sing “Mary had a baby.”
730 PM Chancel Choir will sing Rutter’s “Nativity Carol.”
December 30
One service at 10 AM this day. Ginny Soll preaching, Carla Sperry guest musician. Susan Banzhoff, vocal soloist.
January 6
Adult Handbells will ring “From a distant home” at 11 AM and the choir will sing Brubeck’s “God’s love made visible.”
Check the calendar link on this page for up-to-date rehearsal plans; there are plenty of alterations in the next few weeks!
Rehearsals resume a normal schedule beginning January 7.
December 16
Chancel Choir presents “A Christmas garland” by Conrad Susa. Accompanied by organ, piano and harp. Tune Weavers will sing “Mary did you know” at the offering. Youth Handbells will perform “Go tell it on the mountain" at both services as the prelude. The Prophets of Praise will be singing a setting of “Come thou long-expected Jesus."
December 23
Chancel choir will sing “My soul magnifies the Lord” by Aaron Garber. Tune Weavers will sing “Rise up shepherd and follow.”
December 24
400PM Primary Choir will sing “Huron Carol;” Aerie singers will sing “Mary had a baby.”
730 PM Chancel Choir will sing Rutter’s “Nativity Carol.”
December 30
One service at 10 AM this day. Ginny Soll preaching, Carla Sperry guest musician. Susan Banzhoff, vocal soloist.
January 6
Adult Handbells will ring “From a distant home” at 11 AM and the choir will sing Brubeck’s “God’s love made visible.”
Check the calendar link on this page for up-to-date rehearsal plans; there are plenty of alterations in the next few weeks!
Rehearsals resume a normal schedule beginning January 7.
Saturday, December 8, 2007
Music for Worship December 9, 2007
In keeping with a more contemplative tone for worship at FirstLight during Advent, we will begin worship with a single song this week, “Prepare the way of the Lord,” a Taize piece. We will use the Korean song, “Come now, O Prince of peace” at the confession. With Donna Marie Todd giving the sermon, there are a couple of “bonus” music selections this week: we will hear “Shall we gather at the river” during the proclamation; and at the offering we will sing the gospel song “Down to the river to pray.” We will be using the Iona song “Glory and gratitude and praise” as our Doxology. Our closing song will be the jaunty “The King of glory comes.”
At both services our focus in worship this week is the call of John the Baptist to repentance and change. Olivia T. and Kaitlyn D. will light the Advent wreath for us. Donna Marie’s story-sermon will help us wrestle with the meaning of baptism and hospitality.
Service music at 11 AM will include the Taize “Prepare the way…,” the Korean “Come Now…” the Iona “Glory…,” and as last week “King of kings and Lord of lords.” Congregational hymns will include “Lift up your heads, ye mighty gates” (Truro), On Jordan’s banks the Baptist’s cry” (Winchester New), and “Watchman, tell us of the night” (Aberystwyth). Our own Keithie Knowles will play two pieces for us, Max Reger’s “Marie Wiegenlied” (The Virgin’s Slumber Song) and Ralph Vaughan Williams’ “Greensleeves” in beautiful arrangements for violin and organ. The organ postlude will be a festive setting of Truro by Wilbur Held. The choir anthem is Anna Laura Page’s “Creation will be at peace.” We will be performing the anthem with handbell accompaniment, and with a boy soprano (Matt. B.) taking some of the melody at the beginning and end. It promises to be a stunning musical offering.
At both services our focus in worship this week is the call of John the Baptist to repentance and change. Olivia T. and Kaitlyn D. will light the Advent wreath for us. Donna Marie’s story-sermon will help us wrestle with the meaning of baptism and hospitality.
Service music at 11 AM will include the Taize “Prepare the way…,” the Korean “Come Now…” the Iona “Glory…,” and as last week “King of kings and Lord of lords.” Congregational hymns will include “Lift up your heads, ye mighty gates” (Truro), On Jordan’s banks the Baptist’s cry” (Winchester New), and “Watchman, tell us of the night” (Aberystwyth). Our own Keithie Knowles will play two pieces for us, Max Reger’s “Marie Wiegenlied” (The Virgin’s Slumber Song) and Ralph Vaughan Williams’ “Greensleeves” in beautiful arrangements for violin and organ. The organ postlude will be a festive setting of Truro by Wilbur Held. The choir anthem is Anna Laura Page’s “Creation will be at peace.” We will be performing the anthem with handbell accompaniment, and with a boy soprano (Matt. B.) taking some of the melody at the beginning and end. It promises to be a stunning musical offering.
Tuesday, December 4, 2007
Special Worship Events
This Sunday December 9 we will welcome Donna Marie Todd, story-teller, who will present the proclamation at both services, in the form of a story-sermon. A story-sermon is a style of preaching in which narrative is the primary means of conveying the message of a given scriptural text. The listener will be struck foremost by a sense of hearing a wonderful story; upon reflection during and afterward, however, fuller meaning emerges as the listener reflects on the story and its characters. This is a powerful means of conveying the message of our faith, and Donna Marie Todd is one of the finest practitioners of this preaching style in the US. (That she was recently selected to edit the journal of Biblical story-tellers is ample proof of this.)
Donna Marie will be using the lectionary readings for this Sunday (Isaiah 11.1-10 and Matthew 3.1-12) as the basis for a story about a man preparing to meet his Maker and a congregation struggling to learn the true meaning of initiation into the faith and hospitality. A musician also, Donna Marie has woven into this story-sermon participation by worship music leaders in the form of the songs "Shall we gather at the river" and "Down to the river to pray." The message is such that even some children who usually depart for extended session during worship may wish to remain to hear the story this week.
On December 16 the Adult Choir will present a special musical offering, A Christmas Garland, by Conrad Susa. This extended work is a medley of Christmas carols, some familiar some new. For this performance the choir will be accompanied by organ (our own Carla Sperry), piano (local resident Adele Holevas) and harp (newcomer Jilliona Bailey). The choir is excited to bring this message of the birth of the Prince of Peace in song.
Donna Marie will be using the lectionary readings for this Sunday (Isaiah 11.1-10 and Matthew 3.1-12) as the basis for a story about a man preparing to meet his Maker and a congregation struggling to learn the true meaning of initiation into the faith and hospitality. A musician also, Donna Marie has woven into this story-sermon participation by worship music leaders in the form of the songs "Shall we gather at the river" and "Down to the river to pray." The message is such that even some children who usually depart for extended session during worship may wish to remain to hear the story this week.
On December 16 the Adult Choir will present a special musical offering, A Christmas Garland, by Conrad Susa. This extended work is a medley of Christmas carols, some familiar some new. For this performance the choir will be accompanied by organ (our own Carla Sperry), piano (local resident Adele Holevas) and harp (newcomer Jilliona Bailey). The choir is excited to bring this message of the birth of the Prince of Peace in song.
Sunday, December 2, 2007
Worship Music: Advent I 2007
It was the week that was: I missed a day at the beginning of the week with a stomach ailment. I was over it pretty quickly, but I was playing catch up the rest of the week. So instead of a preview of the music from this morning, here's a review!
To help us set a contemplative tone for Advent, FirstLight did away with our usual sung music set at the beginning of worship. We opened worship with a dramatic reading of the genealogy of Jesus from Matthew 1. Clay H. did a super job of naming the names, and was ably assisted by Barbara F. and Annie H. The reading proceeded through the names, but paused at the mention of each of the women in the history: Tamar, Rahab, Ruth and Mary. These phenomenal women had hard lives (read about in Genesis 24, Joshua 2, Ruth and Matthew 2), and thereby epitomized for the worship planners the “troubling times” we are seeking to plumb during this season. The reading was accompanied by equally mesmerizing drumming by Andy G. We explored the notion that through the troubled lives of these women, God was yet at work, bringing about our salvation in the birth of Jesus the Messiah. (Here's a shout out to Deke in Roanoke, VA and Eric W in A'ville who in various ways helped me create this element of worship.) We used the Korean worship song, “Come Now, O Prince of Peace” as the first song for worship, to set a contemplative tone for the reading. The Gateway youth did a sacred dance as our response to forgiveness following the confession. Caroline P. had done a wonderful job choreographing this piece, and coaching the dancers; it truly stirred the soul in just the right way! For our Advent wreath ceremony this year, we are using characters from the Bible to light the candle. Today Heather P. and Lizzie W. conveyed to us the message and meaning of the prophecy of Isaiah. Following the proclamation, the Prophets introduced us to the song “He is our peace,” which suited the message and season quite well. Instead of one of our more familiar Doxologies, we began using today the Iona song, “Glory and gratitude and praise,” a decidedly upbeat and exuberant song for our worship. During communion we sang the Taize song “Eat this bread,” with the soloists taking the verses. Finally we ended the service with the ever-popular “King of kings and Lord of Lords.” We were counting on high-energy participation from the crowd on that song, and we got it! Cecil J. wanted to shake Perrin T.'s hand after worship, but was worried his might get singed from Perrin, because of the heat he generated playing the last song! We ran late, as we hoped we wouldn’t but knew we would, but no one seemed to care. The spirit in worship today was a beautiful thing. Music, message, youth and adults and a powerful sense of the presence of the Spirit made for a wonderful service.
At 11 AM worship began with a word of appreciation from Sandee H. regarding her ministry in Columbia, SC. BMPCNC gave a sizable chunk of change to that ministry earlier in the fall. Sandy and some of the kids were in town for the weekend, and visited with us to say thanks, and to let us see what that ministry is all about. They brought the house down with the "Jubilee Creed;" you guys ROCK!!! The adult handbells rendered a mighty fine performance of Cynthia Dobrinski’s setting of “Lo how a rose e’er blooming.” Libby B. filled out the arrangement by playing the flute part. It was a sublime beginning to worship. We used the same dramatic reading of the Matthean genealogy at this service, this time with Ken S., Jr., Betsy M. and Annie H. covering the speaking parts, and Andy G. again on drum. We used the Korean song at this service also, and enjoyed Heather and Lizzie as wreath lighters at 11 also. At the readings David S. soared through a great performance of “Comfort Ye” and “Every Valley” from “Messiah.” The vocal flourishes helped us appreciate the good news of the comfort provided in the coming of the Messiah. At the offering the choir blew us away with a gutsy rendition of “And the glory of the Lord” also from Messiah. There was a decided thaw amongst the “frozen chosen” as shouts of “amen!” and applause rang out on the last chord! We used the Iona “Glory and gratitude and praise” at this service also, a rousing statement for the congregation to sing in response to the choir’s offering and in response to a stirring of the Spirit in our midst. Congregational hymns at this service included “O come, O come Emmanuel” (Veni Emmanuel) and Come, thou long-expected Jesus” (Hyfrydol). The choir sent us out the shouts of “King of kings and Lord of Lords” in our heads; it didn’t have quite the gusto as at FirstLight, but I’m betting by next week, the whole congregation will thrill to singing us home with that song! The organ postlude was supposed to have been Ralph Vaughan Williams setting of ‘Hyfrydol.” The music must have gotten lost in the move; we enjoyed a festive improvisation on that tune instead!
What a breadth of music today. We had global worship music (The Korean song); we had music in the modern contemplative tradition (Taize and Iona); we had a contemporary ballad, and a rousing contemporary chorus. You had to attend 11 AM to get the complete picture but we continued with an ancient chant melody (O Come, O Come Emmanuel), classic English hymnody, the best of bell ringing, and the classics ably represented by the venerable Mr. Handel. Add the Jubilee Creed and we had rap no less! It was one of those days that makes it difficult for me to go to sleep: so many, many memorable tunes and images running through my head, and my heart filled in thanksgiving for the musicians and other worship leaders who brought it together for our worshiping congregation. Somebody say "Amen!"
To help us set a contemplative tone for Advent, FirstLight did away with our usual sung music set at the beginning of worship. We opened worship with a dramatic reading of the genealogy of Jesus from Matthew 1. Clay H. did a super job of naming the names, and was ably assisted by Barbara F. and Annie H. The reading proceeded through the names, but paused at the mention of each of the women in the history: Tamar, Rahab, Ruth and Mary. These phenomenal women had hard lives (read about in Genesis 24, Joshua 2, Ruth and Matthew 2), and thereby epitomized for the worship planners the “troubling times” we are seeking to plumb during this season. The reading was accompanied by equally mesmerizing drumming by Andy G. We explored the notion that through the troubled lives of these women, God was yet at work, bringing about our salvation in the birth of Jesus the Messiah. (Here's a shout out to Deke in Roanoke, VA and Eric W in A'ville who in various ways helped me create this element of worship.) We used the Korean worship song, “Come Now, O Prince of Peace” as the first song for worship, to set a contemplative tone for the reading. The Gateway youth did a sacred dance as our response to forgiveness following the confession. Caroline P. had done a wonderful job choreographing this piece, and coaching the dancers; it truly stirred the soul in just the right way! For our Advent wreath ceremony this year, we are using characters from the Bible to light the candle. Today Heather P. and Lizzie W. conveyed to us the message and meaning of the prophecy of Isaiah. Following the proclamation, the Prophets introduced us to the song “He is our peace,” which suited the message and season quite well. Instead of one of our more familiar Doxologies, we began using today the Iona song, “Glory and gratitude and praise,” a decidedly upbeat and exuberant song for our worship. During communion we sang the Taize song “Eat this bread,” with the soloists taking the verses. Finally we ended the service with the ever-popular “King of kings and Lord of Lords.” We were counting on high-energy participation from the crowd on that song, and we got it! Cecil J. wanted to shake Perrin T.'s hand after worship, but was worried his might get singed from Perrin, because of the heat he generated playing the last song! We ran late, as we hoped we wouldn’t but knew we would, but no one seemed to care. The spirit in worship today was a beautiful thing. Music, message, youth and adults and a powerful sense of the presence of the Spirit made for a wonderful service.
At 11 AM worship began with a word of appreciation from Sandee H. regarding her ministry in Columbia, SC. BMPCNC gave a sizable chunk of change to that ministry earlier in the fall. Sandy and some of the kids were in town for the weekend, and visited with us to say thanks, and to let us see what that ministry is all about. They brought the house down with the "Jubilee Creed;" you guys ROCK!!! The adult handbells rendered a mighty fine performance of Cynthia Dobrinski’s setting of “Lo how a rose e’er blooming.” Libby B. filled out the arrangement by playing the flute part. It was a sublime beginning to worship. We used the same dramatic reading of the Matthean genealogy at this service, this time with Ken S., Jr., Betsy M. and Annie H. covering the speaking parts, and Andy G. again on drum. We used the Korean song at this service also, and enjoyed Heather and Lizzie as wreath lighters at 11 also. At the readings David S. soared through a great performance of “Comfort Ye” and “Every Valley” from “Messiah.” The vocal flourishes helped us appreciate the good news of the comfort provided in the coming of the Messiah. At the offering the choir blew us away with a gutsy rendition of “And the glory of the Lord” also from Messiah. There was a decided thaw amongst the “frozen chosen” as shouts of “amen!” and applause rang out on the last chord! We used the Iona “Glory and gratitude and praise” at this service also, a rousing statement for the congregation to sing in response to the choir’s offering and in response to a stirring of the Spirit in our midst. Congregational hymns at this service included “O come, O come Emmanuel” (Veni Emmanuel) and Come, thou long-expected Jesus” (Hyfrydol). The choir sent us out the shouts of “King of kings and Lord of Lords” in our heads; it didn’t have quite the gusto as at FirstLight, but I’m betting by next week, the whole congregation will thrill to singing us home with that song! The organ postlude was supposed to have been Ralph Vaughan Williams setting of ‘Hyfrydol.” The music must have gotten lost in the move; we enjoyed a festive improvisation on that tune instead!
What a breadth of music today. We had global worship music (The Korean song); we had music in the modern contemplative tradition (Taize and Iona); we had a contemporary ballad, and a rousing contemporary chorus. You had to attend 11 AM to get the complete picture but we continued with an ancient chant melody (O Come, O Come Emmanuel), classic English hymnody, the best of bell ringing, and the classics ably represented by the venerable Mr. Handel. Add the Jubilee Creed and we had rap no less! It was one of those days that makes it difficult for me to go to sleep: so many, many memorable tunes and images running through my head, and my heart filled in thanksgiving for the musicians and other worship leaders who brought it together for our worshiping congregation. Somebody say "Amen!"
Thursday, November 29, 2007
Vesting The Lord's House (Advent 2007)
Our church was a bee hive of activity today as we vested the narthex and sanctuary for the season of our Lord's nativity. Small Moravian stars were hung throughout the nave earlier this week, but today the largest star was hung at the crossing. It's quite dramatic, and it was pretty dramatic watching it being swung into place! Several dedicated women placed the Advent candle stand and wreath, the crismon tree, and various wreaths, flowers and other items in the narthex and sanctuary. Finally, with two performances coming up in the next week, Lucy D. was busy organizing handbells (she even polished a few smudged bells). It was an exciting day to see the transformation, but also to see and be part of the expression of devotion these many persons made today. We all will be blessed, and our Lord honored, by their efforts.
I know more than one of the folks I snapped today was bemused I was taking their picture. One asked, "What do you plan to do with that photograph?" I'm not sure she believed me when I told her I was going to post that one and several others on the web (for all, gasp, to see)! Yet, here they are!
Thursday, November 15, 2007
Worship music November 18
The week in worship we will be welcoming Harry and Debbie Horne, PC(USA) missionaries in Peru. First appointed as missionaries in Grand Cayman Island and Guatemala, the Hornes have been in Peru since 2004, teaching at the Lima college of the Universidad Biblica Latinoamericana (UBL). Here is a bit of bio on them.
Congregational song at FirstLight this week will feature a couple of oldies-but-goodies: “Be still for the presence of the Lord,” and Michael W. Smith’s “How majestic is your name" (is that song really 26 years old!?!?). Also in the opening set we will sing two currently popular songs, “We fall down” (ask Caroline P. what the rest of the title is!!) and “That’s why we praise him.” Other music will include the Caribbean “Halle, halle,” Harry Smith’s classic “Give Thanks,” and Richard Gillard’s “The Servant Song.” The Prophets will be introducing us to a fantastic new song, “With all of my heart.” The song itself has been around a while, but it’s new to us; with a cool beat, we are certain you will enjoy it, and want to turn it quickly into a congregational song!
Hymns at 11 AM will include “Rejoice ye pure in heart” (Marion), “As those of old their firstfruits brought” (Forest Green) and “We give thee but thine own” (Schumann). The choir will lead us with the Cameroon worship song, “Praise the Lord;” (try and listen without tapping or shaking something, or without singing along!) the standard Greatorex “Gloria Patri,” and the familiar two-fold Dresden “Amen.” The anthem will be Jack Noble White’s “First Song of Isaiah,” written about here. Caroline P. and others of the Prophets of Praise and a couple of bell ringers will accompany the choir. Instrumental music for worship will include the Adult Handbell ensemble ringing Tim Waugh’s “Come Thankful People,” a medley of Thanksgiving tunes, and at the organ a bit of French baroque music at the offering and Sigfried Karg-Elert’s timeless setting of “Now Thank We All Our God.” Here’s a clip on the organ at Trinity Church, Boston, a nice, large instrument in a wonderful acoustical setting; wish the poster had given us the performers name!
Congregational song at FirstLight this week will feature a couple of oldies-but-goodies: “Be still for the presence of the Lord,” and Michael W. Smith’s “How majestic is your name" (is that song really 26 years old!?!?). Also in the opening set we will sing two currently popular songs, “We fall down” (ask Caroline P. what the rest of the title is!!) and “That’s why we praise him.” Other music will include the Caribbean “Halle, halle,” Harry Smith’s classic “Give Thanks,” and Richard Gillard’s “The Servant Song.” The Prophets will be introducing us to a fantastic new song, “With all of my heart.” The song itself has been around a while, but it’s new to us; with a cool beat, we are certain you will enjoy it, and want to turn it quickly into a congregational song!
Hymns at 11 AM will include “Rejoice ye pure in heart” (Marion), “As those of old their firstfruits brought” (Forest Green) and “We give thee but thine own” (Schumann). The choir will lead us with the Cameroon worship song, “Praise the Lord;” (try and listen without tapping or shaking something, or without singing along!) the standard Greatorex “Gloria Patri,” and the familiar two-fold Dresden “Amen.” The anthem will be Jack Noble White’s “First Song of Isaiah,” written about here. Caroline P. and others of the Prophets of Praise and a couple of bell ringers will accompany the choir. Instrumental music for worship will include the Adult Handbell ensemble ringing Tim Waugh’s “Come Thankful People,” a medley of Thanksgiving tunes, and at the organ a bit of French baroque music at the offering and Sigfried Karg-Elert’s timeless setting of “Now Thank We All Our God.” Here’s a clip on the organ at Trinity Church, Boston, a nice, large instrument in a wonderful acoustical setting; wish the poster had given us the performers name!
Friday, November 9, 2007
Preparing for Advent
Those who know better may appreciate the pun. If Advent is a season of preparation (it is), it may seem kind of redundant to prepare for it. Yet, it seems a good idea this year.
Worship planners at BMPCNC are organizing the worship for Advent-Christmas-Epiphany around a theme. In conjunction with the lectionary readings for the Sundays of the season, we are using a theme, generated from a general sense of the readings, to help guide our worship plans.
Our theme for this season will be: Fear Not: Words of Peace in Troubling Times. Reading through the various lections for the Advent season espeically, one is struck by how fraught with trouble were the times before and during the era of Jesus' birth. Isaiah wrote to a people trapped in exile. Mary, an unwed mother, was due to birth the Messiah. Roman hegemony stood on the neck of the people of Palestine. Those were indeed troubling times. And yet it was the moment which God appointed as the right time for the birth of the Savior. Isaiah proclaims a marvelous word of hopefulness to the people in exile. The angels appear to Mary and to Joseph to reassure them that God is in control.
We also live in fearful times. The war on terrorism drags on. Poverty, issues of the environment and financial instability are very much on people's minds. These are troubling times for us. From a global level all the way down to a very personal level, each of us no doubt can identify troubling aspects of our lives. And during the Advent season, we hear again a word of grace, "Fear not." What a wonderful word of hope to which to cling!
In practical terms our utilization of this theme will help your worship leaders more than anything. It will provide a framework within which we can develop preaching plans, rehearse musical offerings and orient our visual and dramtic arts for the season. We believe this theme truly captures a sense of our current life situation, while at the same time offers a profound word of hope for each of us. Our desire is that our use of this theme will provide a unique cohesiveness to our worship, which will in turn deepen your faith as we journey through the Nativity Cycle of worship this winter.
Worship planners at BMPCNC are organizing the worship for Advent-Christmas-Epiphany around a theme. In conjunction with the lectionary readings for the Sundays of the season, we are using a theme, generated from a general sense of the readings, to help guide our worship plans.
Our theme for this season will be: Fear Not: Words of Peace in Troubling Times. Reading through the various lections for the Advent season espeically, one is struck by how fraught with trouble were the times before and during the era of Jesus' birth. Isaiah wrote to a people trapped in exile. Mary, an unwed mother, was due to birth the Messiah. Roman hegemony stood on the neck of the people of Palestine. Those were indeed troubling times. And yet it was the moment which God appointed as the right time for the birth of the Savior. Isaiah proclaims a marvelous word of hopefulness to the people in exile. The angels appear to Mary and to Joseph to reassure them that God is in control.
We also live in fearful times. The war on terrorism drags on. Poverty, issues of the environment and financial instability are very much on people's minds. These are troubling times for us. From a global level all the way down to a very personal level, each of us no doubt can identify troubling aspects of our lives. And during the Advent season, we hear again a word of grace, "Fear not." What a wonderful word of hope to which to cling!
In practical terms our utilization of this theme will help your worship leaders more than anything. It will provide a framework within which we can develop preaching plans, rehearse musical offerings and orient our visual and dramtic arts for the season. We believe this theme truly captures a sense of our current life situation, while at the same time offers a profound word of hope for each of us. Our desire is that our use of this theme will provide a unique cohesiveness to our worship, which will in turn deepen your faith as we journey through the Nativity Cycle of worship this winter.
Thursday, November 8, 2007
A New Presbyterian Hymnal
In 2006 the 217th General Assembly of the PC(USA) approved a recommendation for the Presbyterian Publishing Corporation to produce, in conjunction with the Office of Theology and Worship, a new hymnal to be available by 2014.
In October the PPC announced that David Eicher will be the Editor of the new hymnal. A Presbyterian elder, Eicher brings to the project estimable credentials. It appears he will be a fine leader for the project. One wishes the PPC site was more current so we could provide a link to the complete press release.
However not everyone in the denomination sees the need for a new hymnal. Here is a report on some of the conversation surrounding the prospect.
Black Mountain PC(USA) has been using the Presbyterian Hymnal (1990) for quite some time, though many still refer to it as "the new hymnal." We also have in the pews the supplement, "Sing the Faith," which is in actuality the United Methodist "The Faith We Sing" with a blue "Presbyterian" cover. The congregation here has used these books faithfully. "Sing the Faith" is a key resource for music at FirstLight especially.
Has the time come (in 2014) for a new hymnal? Most folks in the know recommend that denominational hymnals change every 20-25 years based on changing tastes in musical preference and in order to capture new developments in hymnology. Plenty of folks have issues with language- and music-related aspects of both our current hymnal and "Sing the Faith." We can hope that the new editorial board will listen carefully to the faithful users of the hymnal as they move forward in development of this vital part of our corporate worship.
In October the PPC announced that David Eicher will be the Editor of the new hymnal. A Presbyterian elder, Eicher brings to the project estimable credentials. It appears he will be a fine leader for the project. One wishes the PPC site was more current so we could provide a link to the complete press release.
However not everyone in the denomination sees the need for a new hymnal. Here is a report on some of the conversation surrounding the prospect.
Black Mountain PC(USA) has been using the Presbyterian Hymnal (1990) for quite some time, though many still refer to it as "the new hymnal." We also have in the pews the supplement, "Sing the Faith," which is in actuality the United Methodist "The Faith We Sing" with a blue "Presbyterian" cover. The congregation here has used these books faithfully. "Sing the Faith" is a key resource for music at FirstLight especially.
Has the time come (in 2014) for a new hymnal? Most folks in the know recommend that denominational hymnals change every 20-25 years based on changing tastes in musical preference and in order to capture new developments in hymnology. Plenty of folks have issues with language- and music-related aspects of both our current hymnal and "Sing the Faith." We can hope that the new editorial board will listen carefully to the faithful users of the hymnal as they move forward in development of this vital part of our corporate worship.
Worship Music for 11 November 2007
This week we welcome the Aerie Singers, the older children’s choir from our Logos program. These children are in grades 3-4-5. They will sing “Cantad al Senor,” a Brazilian worship song and “God of The Sparrow, God of the Whale” by Carl Schalk. The visual arts component of Gateways (youth Sunday School), Visual Impact, studied this hymn and its theology last term. As they sought to express their understandings of the text, they created mini-banners about 18 inches square. We will have these placed in the worship spaces this week, as the children sing the song. The appellation Aerie Singers is brand new. This week no one around church knew what this group of musicians had ever been called before. Our resident fount of wisdom Carla S. was not present for the conversations, so she may know better. But this is a new name for this group of kids. Whatcha think?
Congregation song at FirstLight this week will include Kurt Nystrom’s “As the deer,” “I will call upon the Lord,” “My life is in you,” and David Ruiz’ “You are worthy of my praise.” In the absence of our usual (and much-beloved) singers (Caroline P. and Connie S.) we welcome Donna Marie Todd to lead congregational song. Other songs for worship will include the jaunty “Halle, halle,” and Dennis Jernigan’s “You are my all in all.” Here’s a link to a nice music video of that song.
Hymns at 11 AM will include “Our God, our help in ages past” (St. Anne); “Live into hope” (Truro); and “Take up your cross, the Savior said” (Bourbon). How’s that for a tune name?!? Here’s a little information on the tune (scroll down a bit to find the relevant material). The Aerie Singers will sing the Introit and at the Time with Children; other worship music will include “Halle, halle,” and George Tomer’s “God be with you till we meet again.” The choir will be singing Mark Patterson’s setting of text from Habakkuk, “The Lord is my strength.” This is a lovely anthem with shimmeringly close harmonies that have the basses on their toes (and the other sections also for that matter)! Organ music will include John Benke’s setting of “Magdalen” (an alternative tune for the text “My hope is built on nothing less), JSB’s “In dich hab ich gehoffet Herr” (from the Orgelbuchlein) and Healy Willan’s short setting of St. Anne. Here is a wee bit of information about John Stainer’s tune “Magdalen” also known as “Rest.”
Congregation song at FirstLight this week will include Kurt Nystrom’s “As the deer,” “I will call upon the Lord,” “My life is in you,” and David Ruiz’ “You are worthy of my praise.” In the absence of our usual (and much-beloved) singers (Caroline P. and Connie S.) we welcome Donna Marie Todd to lead congregational song. Other songs for worship will include the jaunty “Halle, halle,” and Dennis Jernigan’s “You are my all in all.” Here’s a link to a nice music video of that song.
Hymns at 11 AM will include “Our God, our help in ages past” (St. Anne); “Live into hope” (Truro); and “Take up your cross, the Savior said” (Bourbon). How’s that for a tune name?!? Here’s a little information on the tune (scroll down a bit to find the relevant material). The Aerie Singers will sing the Introit and at the Time with Children; other worship music will include “Halle, halle,” and George Tomer’s “God be with you till we meet again.” The choir will be singing Mark Patterson’s setting of text from Habakkuk, “The Lord is my strength.” This is a lovely anthem with shimmeringly close harmonies that have the basses on their toes (and the other sections also for that matter)! Organ music will include John Benke’s setting of “Magdalen” (an alternative tune for the text “My hope is built on nothing less), JSB’s “In dich hab ich gehoffet Herr” (from the Orgelbuchlein) and Healy Willan’s short setting of St. Anne. Here is a wee bit of information about John Stainer’s tune “Magdalen” also known as “Rest.”
Tuesday, October 30, 2007
They shall be known by...
How do we want to be known? As music leaders in the church, what do we want to leave folks with when they hear us? Or what do we want to have as the primary characteristic of our music-making?
I think we all want to be known for well-performed music. I’d much rather be known as one who can keep both hands playing in the same key. I would rather be known as the director of a choir which can stay on pitch, which sings correct notes and rhythms. I’d like to be known as a fantastic improviser at the organ. I’d like to be known as one who can work with musicians of all ages. And more than that, I would like to be known as a music leader who helps church musicians sing not only the notes and rhythms, but most importantly the message of the music.
You guys probably want to be known as singers who don’t stick out vocally, but blend harmoniously with the ensemble. Or as instrumentalists that stay on the beat, that help the congregation feel the music inside and in that sense the stirring of the Spirit. I can tell that many of you want to be known as faithful, reliable ministry participants. And for all these things I am extremely grateful.
But is that it? No. We as church musicians, lay and professional, must also be known by our relationships, by the fellowship we keep. Not merely with whom we associate, but the manner in which we relate to one another in the music ministry, and how we relate to our congregation and our community.
This is a plea for us all to remember that music-making in the church is great, but it’s not our end. Our end is the relationships we forge and foster in our communion of music. By this I mean not only the friendships we have in rehearsal with other musicians, but our relationship with the congregation as pastoral worship leaders, and the relationships we foster within the congregation as we model compassion and mutual forbearance, and most importantly, the relationship we foster between an individual listening to our message and the God whom we adore. When we gather to practice, it’s good to be focused, but it’s also good to be sensitive to one another. In the midst of trying to get music ready every week, I know I am not always able to slow rehearsals down enough to allow time for sharing and concern and compassion to take first chair. But I am re-committing myself to do what I can to facilitate that. I would like to ask for your resolve to do the same: to take feel the pulse of your comrades in the music ministry and find out how they are and how they are feeling. Not just your “buds” but the folks you don’t know all that well also. When we sing and play for worship it's good to strive for accuracy and precision. But more importantly it is vital the we communicate so that persons hearing us are drawn not to the music but to the Musician, our Creator, our Redeemer and the abiding presence of the Spirit.
For some reason, as I am writing, this poem springs to mind. I’m not sure I’ve adequately made the connection, but perhaps you can connect the dots for yourself.
'Thou shalt know him when he comes
Not by any din of drums
Nor by the vantage of his airs
Nor by anything he wears
Neither by his crown
Nor his gown.
For his presence known shall be
By the holy harmony
That his coming makes in thee.'
In closing I remind myself and all of us engaged in music-making in the church to continue to strive for musical perfection. Anything less than that striving is not faithful to our calling to an awesome, infinite, creative, extravagant God. But more importantly, and in the midst of our music-making, we ought to keep before us these words from St. John, “This is how everyone will recognize that you are my disciples - when they see the love you have for each other." (13.35, The Message).
Have a good week, my friends!
I think we all want to be known for well-performed music. I’d much rather be known as one who can keep both hands playing in the same key. I would rather be known as the director of a choir which can stay on pitch, which sings correct notes and rhythms. I’d like to be known as a fantastic improviser at the organ. I’d like to be known as one who can work with musicians of all ages. And more than that, I would like to be known as a music leader who helps church musicians sing not only the notes and rhythms, but most importantly the message of the music.
You guys probably want to be known as singers who don’t stick out vocally, but blend harmoniously with the ensemble. Or as instrumentalists that stay on the beat, that help the congregation feel the music inside and in that sense the stirring of the Spirit. I can tell that many of you want to be known as faithful, reliable ministry participants. And for all these things I am extremely grateful.
But is that it? No. We as church musicians, lay and professional, must also be known by our relationships, by the fellowship we keep. Not merely with whom we associate, but the manner in which we relate to one another in the music ministry, and how we relate to our congregation and our community.
This is a plea for us all to remember that music-making in the church is great, but it’s not our end. Our end is the relationships we forge and foster in our communion of music. By this I mean not only the friendships we have in rehearsal with other musicians, but our relationship with the congregation as pastoral worship leaders, and the relationships we foster within the congregation as we model compassion and mutual forbearance, and most importantly, the relationship we foster between an individual listening to our message and the God whom we adore. When we gather to practice, it’s good to be focused, but it’s also good to be sensitive to one another. In the midst of trying to get music ready every week, I know I am not always able to slow rehearsals down enough to allow time for sharing and concern and compassion to take first chair. But I am re-committing myself to do what I can to facilitate that. I would like to ask for your resolve to do the same: to take feel the pulse of your comrades in the music ministry and find out how they are and how they are feeling. Not just your “buds” but the folks you don’t know all that well also. When we sing and play for worship it's good to strive for accuracy and precision. But more importantly it is vital the we communicate so that persons hearing us are drawn not to the music but to the Musician, our Creator, our Redeemer and the abiding presence of the Spirit.
For some reason, as I am writing, this poem springs to mind. I’m not sure I’ve adequately made the connection, but perhaps you can connect the dots for yourself.
'Thou shalt know him when he comes
Not by any din of drums
Nor by the vantage of his airs
Nor by anything he wears
Neither by his crown
Nor his gown.
For his presence known shall be
By the holy harmony
That his coming makes in thee.'
In closing I remind myself and all of us engaged in music-making in the church to continue to strive for musical perfection. Anything less than that striving is not faithful to our calling to an awesome, infinite, creative, extravagant God. But more importantly, and in the midst of our music-making, we ought to keep before us these words from St. John, “This is how everyone will recognize that you are my disciples - when they see the love you have for each other." (13.35, The Message).
Have a good week, my friends!
Thursday, October 25, 2007
Review: Torgerson, An Architecture of Immanence
No one doubts the seismic shifts that have taken place in how we understand worship in the late-20th and early-21st centuries. What varies is how to discuss these shifts intelligently, dispassionately and in a manner that fosters forward momentum in the conversation rather than digressions into petty pet peeves. In "An Architecture of Immanence: Architecture for worship and ministry today" (Eerdmans, ISBN 0802832091) Mark A. Torgerson has made a profound contribution to the conversation and given a helpful paradigm upon which to begin at least one aspect of the conversation.
At its simplest the paradigm or paradox at hand is the notion of God's transcendence or other-ness over and against God's nearness. God's holiness and the fact that God created everything-that-is sets God wholly in another realm, utterly beyond the grasp of humanity. That is countered by God's nearness, most dramatically expressed in the incarnation through Jesus the Christ. Torgerson's basic premise is that whereas prior to the mid-20th century the church emphasized God's transcendence, in more recent years the church has come to find increased meaning and relevance in the notion of God's nearness and one-ness with humanity. For the purposes of this book, church architecture is the lens through which this theological shift is explored.
I have long been fascinated and captivated by church architecture and hoped to find many, many pretty pictures of churches in this book. In that regard I was sorely disappointed. What I found was an incredibly engaging discussion of a theological precept, with church architecture serving to illustrate the point. Because, Torgerson notes, architecture influences the activities it contains, in this case worship and Christian education and service, I was immediately drawn into the discussion. I believe the paradox of transcendence/immanence is quite valid and feel that understanding how that pendulum is swinging can help interpret a great deal about current trends not only in architecture, but in worship and in worship music. Torgorseon would probably say he was writing a book about changing trends in church architecture, using the lens of a theological precept to focus the discussion. Either way, this is a thoroughly engaging discussion for theologian, architect, artist and indeed any person of faith.
The thing with paradoxes is that each pole relies upon the other for its ultimate expression. One cannot understand immanence without the context of its opposite, transcendence. As the church goes too far toward one or the other poles, it looses part of its identity and part of its authority or relevance. Thus, where transcendence predominates how the church designs its buildings, people are swallowed up (literally) and feel irrelevant and separated from their faith. And yet, where immanence plays too great a role, the awesome nature of God is shrouded and people can lose a sense of their need for God and their own salvation.
Torgerson pulls from many sources related to architecture to help define the way architecture depicts the theological shift. He explores the work of several key architects of the last century to show how their work embodies the shift toward a theology of immanence. I learned a great deal about the modern architecture movement and what we must now be experiencing as post-modernism in church design. But most enticing for me was his exploration of worship and liturgical documents from Roman Catholic and Protestant traditions that help articulate the shifting trends.
All this being said, I think Torgerson believes we are about to reach the end of the arc of this swing of the pendulum. He believes that architecture of immanence has served its purpose to pull the church away from a predilection for transcendence. He sees more signs now that churches are seeking to work their way back toward the center in architecture and more generally in worship.
Torgerson concludes with a few select guidelines for the future of church architecture. These same guidelines I think can be interpolated to serve as guidelines for the future of worship in general.
1) a value for common Christian witness and an attention to beauty
2) the importance of sustainable church design (and awareness of the world and our faith as
a global presence)
3) the importance of maintaining a unique testimony and public presence
A couple of questions began gnawing at me as I neared the end of the book. What does the architecture and decor of Black Mountain Presbyterian Church say about us as a congregation; and more importantly is that what we want to say to those who visit and worship here? And more poin
tedly: most of us would notice immediately if we went to a friends house for dinner and saw that there had been no changes in decor or furnishings for 50 years. People in the market for a new home expect that changes and improvements have been made over the life of the home unless it's new construction; we would be nervous if we didn't notice anything "re-done" since initial construction. Couldn't we same the same about a church? Ours is a beautiful sanctuary and facility, in a decidedly mid-century modern architectural style. Very recently a couple of pews were removed and floor space added to the chancel area; yet recent worship services have shown the lay musicians at least that space is limited and flexibility for function nearly non-existent. We have installed a new table, font and Christ candle. How well, though, are the same space configuration, same color, same wood, same windows serving us 50-plus years after construction, and how well do those convey to a guest? Some things to ponder; please leave a comment.
At its simplest the paradigm or paradox at hand is the notion of God's transcendence or other-ness over and against God's nearness. God's holiness and the fact that God created everything-that-is sets God wholly in another realm, utterly beyond the grasp of humanity. That is countered by God's nearness, most dramatically expressed in the incarnation through Jesus the Christ. Torgerson's basic premise is that whereas prior to the mid-20th century the church emphasized God's transcendence, in more recent years the church has come to find increased meaning and relevance in the notion of God's nearness and one-ness with humanity. For the purposes of this book, church architecture is the lens through which this theological shift is explored.
I have long been fascinated and captivated by church architecture and hoped to find many, many pretty pictures of churches in this book. In that regard I was sorely disappointed. What I found was an incredibly engaging discussion of a theological precept, with church architecture serving to illustrate the point. Because, Torgerson notes, architecture influences the activities it contains, in this case worship and Christian education and service, I was immediately drawn into the discussion. I believe the paradox of transcendence/immanence is quite valid and feel that understanding how that pendulum is swinging can help interpret a great deal about current trends not only in architecture, but in worship and in worship music. Torgorseon would probably say he was writing a book about changing trends in church architecture, using the lens of a theological precept to focus the discussion. Either way, this is a thoroughly engaging discussion for theologian, architect, artist and indeed any person of faith.
The thing with paradoxes is that each pole relies upon the other for its ultimate expression. One cannot understand immanence without the context of its opposite, transcendence. As the church goes too far toward one or the other poles, it looses part of its identity and part of its authority or relevance. Thus, where transcendence predominates how the church designs its buildings, people are swallowed up (literally) and feel irrelevant and separated from their faith. And yet, where immanence plays too great a role, the awesome nature of God is shrouded and people can lose a sense of their need for God and their own salvation.
Torgerson pulls from many sources related to architecture to help define the way architecture depicts the theological shift. He explores the work of several key architects of the last century to show how their work embodies the shift toward a theology of immanence. I learned a great deal about the modern architecture movement and what we must now be experiencing as post-modernism in church design. But most enticing for me was his exploration of worship and liturgical documents from Roman Catholic and Protestant traditions that help articulate the shifting trends.
All this being said, I think Torgerson believes we are about to reach the end of the arc of this swing of the pendulum. He believes that architecture of immanence has served its purpose to pull the church away from a predilection for transcendence. He sees more signs now that churches are seeking to work their way back toward the center in architecture and more generally in worship.
Torgerson concludes with a few select guidelines for the future of church architecture. These same guidelines I think can be interpolated to serve as guidelines for the future of worship in general.
1) a value for common Christian witness and an attention to beauty
2) the importance of sustainable church design (and awareness of the world and our faith as
a global presence)
3) the importance of maintaining a unique testimony and public presence
A couple of questions began gnawing at me as I neared the end of the book. What does the architecture and decor of Black Mountain Presbyterian Church say about us as a congregation; and more importantly is that what we want to say to those who visit and worship here? And more poin
tedly: most of us would notice immediately if we went to a friends house for dinner and saw that there had been no changes in decor or furnishings for 50 years. People in the market for a new home expect that changes and improvements have been made over the life of the home unless it's new construction; we would be nervous if we didn't notice anything "re-done" since initial construction. Couldn't we same the same about a church? Ours is a beautiful sanctuary and facility, in a decidedly mid-century modern architectural style. Very recently a couple of pews were removed and floor space added to the chancel area; yet recent worship services have shown the lay musicians at least that space is limited and flexibility for function nearly non-existent. We have installed a new table, font and Christ candle. How well, though, are the same space configuration, same color, same wood, same windows serving us 50-plus years after construction, and how well do those convey to a guest? Some things to ponder; please leave a comment. Music for Worship October 28
"What makes a song contemporary?" I posed that question to the Gateways Give Voice kids a couple of weeks ago. They had a hard time nailing it down. We talked, used demonstrations and still had a difficult time putting into words what we believe to be a definition of contemporary song. We thought, “maybe it had to do with the shape or rhythm of a given melody.” Perhaps: plenty of contemporary songs have tricky rhythms though plenty use nothing more than quarter notes and eighth notes. We thought maybe it had to do with the pulse of the song. That was a possibility until the kids listened to me put a backbeat on “Joyful, joyful, we adore thee.” “Maybe a contemporary song is one that is not yet in print in a hymnal somewhere.” Maybe, but some songs have been around long enough to make it into more than a few denominational hymnals, and we still think of them as contemporary. Finally, we had to get to work and left the question hanging. Most of the musicians, though, gave the distinct impression that even if they couldn’t define what constitutes a contemporary song, they knew one when they heard it!
Graham Kendrick’s “Knowing You” has been around for nearly 20 years. Is it contemporary? The shape of the melody is not all that unusual; there are a couple of tricky rhythms, especially in the refrain. But it has a standard verse/refrain structure. Being a ballad, it doesn’t have a strong rhythmic character; the harmonies are no more adventuresome than the tune “St. Anne.” And yet, most folks who hear it know immediately that it’s a new song with a captivating message. The Prophets of Praise will be singing this favorite this Sunday. Congregational song will include “Awesome God,” “Mighty is our God,” “What a mighty God we serve,” and “He has made me glad.” It being Reformation Sunday, we’ll close the service with the emblematic “A mighty fortress is our God.”
Hymns at 11 AM will include “A mighty fortress” (Ein’ Feste Burg), “How clear is our vocation, Lord” (Repton), and “Behold how good and pleasant, Lord” (Ein’ Feste Burg). Our own Cecil Jividen wrote the text “Behold how good and pleasant…” “in great appreciation for the words and work of Dr. J. Randolph Taylor. The hymn was sung at the meeting of the General Assembly of the Presbyterian Church (U.S.A.) in 1983 at which time Dr. Taylor was elected moderator.” The choir will sing a simple setting of Richard Smallwood’s “Total Praise.” Other service music will include “We are God’s people” (music arranged by Fred Bock from a Johannes Brahms symphony), the Irish “Celtic Alleluia,” and “The Spirit sends us forth to serve.” Organ music will include Aaron David Miller’s perky setting of “Ein’ Feste Burg” (with meteres of 4/4, 3/4, 3/8, 6/8 and 7/8, what would you call it!!??), Robert Hobby’s setting of “Repton,” and Leon Boellemann’s “spooky toccata” from the “Suite Gothique.” Boo! Where’s my candy?
Graham Kendrick’s “Knowing You” has been around for nearly 20 years. Is it contemporary? The shape of the melody is not all that unusual; there are a couple of tricky rhythms, especially in the refrain. But it has a standard verse/refrain structure. Being a ballad, it doesn’t have a strong rhythmic character; the harmonies are no more adventuresome than the tune “St. Anne.” And yet, most folks who hear it know immediately that it’s a new song with a captivating message. The Prophets of Praise will be singing this favorite this Sunday. Congregational song will include “Awesome God,” “Mighty is our God,” “What a mighty God we serve,” and “He has made me glad.” It being Reformation Sunday, we’ll close the service with the emblematic “A mighty fortress is our God.”
Hymns at 11 AM will include “A mighty fortress” (Ein’ Feste Burg), “How clear is our vocation, Lord” (Repton), and “Behold how good and pleasant, Lord” (Ein’ Feste Burg). Our own Cecil Jividen wrote the text “Behold how good and pleasant…” “in great appreciation for the words and work of Dr. J. Randolph Taylor. The hymn was sung at the meeting of the General Assembly of the Presbyterian Church (U.S.A.) in 1983 at which time Dr. Taylor was elected moderator.” The choir will sing a simple setting of Richard Smallwood’s “Total Praise.” Other service music will include “We are God’s people” (music arranged by Fred Bock from a Johannes Brahms symphony), the Irish “Celtic Alleluia,” and “The Spirit sends us forth to serve.” Organ music will include Aaron David Miller’s perky setting of “Ein’ Feste Burg” (with meteres of 4/4, 3/4, 3/8, 6/8 and 7/8, what would you call it!!??), Robert Hobby’s setting of “Repton,” and Leon Boellemann’s “spooky toccata” from the “Suite Gothique.” Boo! Where’s my candy?
Thursday, October 18, 2007
Music for Worship October 21
This week in worship we will bid farewell to our associate pastor, Kevin Frederick. After 7 years of ministry in Black Mountain, Kevin has accepted the call to ministry at the Waldensian Presbyterian Church just a few miles east of here in Valdese. We wish him well. Truth be told, I had already been planning on the Tune Weavers and Adult Handbells leading worship music this week. When Kevin’s announcement was made I decided that rather than give the other music groups a Sunday off, we would join forces and have a tremendous musical offering to help us celebrate Kevin’s ministry.
The Adult Handbell choir will perform Hart Morris’ “Deep River” as the prelude. Known for his incredibly rhythmic arrangements, this is a decidedly tranquil setting of the familiar spiritual. Hart included parts for cello and oboe in this setting; our performance will omit the oboe (Sylvia B., our resident oboist but also a bell ringer, swears she can’t do both at the same time!). But we welcome our own Carolyn K. on cello. The bells will also ring Arnold Sherman’s precious “Grazioso” at the offering.
The Tune Weavers, our resident men’s quartet/quintet/sextet will start things off vocally with a dramatic setting of Isaiah 6, written by the prolific Jack Schrader. The Prophets of Praise will lead us at the confession with Wes Sutton’s “Your Mercy Flows,” and at the benediction with Graham Kendrick’s grand “Go Forth in His Name.” The Prophets will also welcome back soloist Donna Marie Todd for a soulful rendition of Brenton Brown’s “Lord, Reign In Me.”
The choir will sing Handel’s “Hallelujah, Amen” from Judas Maccabaeus as the anthem at the readings. The lyric includes lines such as “O Judah, rejoice,” and “join in harmonious songs.” One might wonder what relevance there is between such a text and the reading for the day (Jeremiah 31) and the occasion of a pastor’s departure. We as a community of faith are brimming with emotions: sadness, joy, hopefulness and trust. At such times there is nothing else to do but offer songs of thanksgiving and lift hearts and hands in praise and prayer for all that God has done, is doing and is yet to do. Handel’s stirring music surely will help us proclaim our joy in God’s presence in our midst in times past, present and future!
Hymns for worship will include “”All creatures of our God and King” (Lasst uns erfreuen), “Arise, your light has come” (Festal Song), and “We gather here to bid farewell” (Winchester New). The organ postlude will be Andre Campra’s “Rigaudon” which apparently was played at Kevin’s marriage to his wife Jane. Many happy returns, dear friends, and blessings in Valdese! ¡Via con dios!
The Adult Handbell choir will perform Hart Morris’ “Deep River” as the prelude. Known for his incredibly rhythmic arrangements, this is a decidedly tranquil setting of the familiar spiritual. Hart included parts for cello and oboe in this setting; our performance will omit the oboe (Sylvia B., our resident oboist but also a bell ringer, swears she can’t do both at the same time!). But we welcome our own Carolyn K. on cello. The bells will also ring Arnold Sherman’s precious “Grazioso” at the offering.
The Tune Weavers, our resident men’s quartet/quintet/sextet will start things off vocally with a dramatic setting of Isaiah 6, written by the prolific Jack Schrader. The Prophets of Praise will lead us at the confession with Wes Sutton’s “Your Mercy Flows,” and at the benediction with Graham Kendrick’s grand “Go Forth in His Name.” The Prophets will also welcome back soloist Donna Marie Todd for a soulful rendition of Brenton Brown’s “Lord, Reign In Me.”
The choir will sing Handel’s “Hallelujah, Amen” from Judas Maccabaeus as the anthem at the readings. The lyric includes lines such as “O Judah, rejoice,” and “join in harmonious songs.” One might wonder what relevance there is between such a text and the reading for the day (Jeremiah 31) and the occasion of a pastor’s departure. We as a community of faith are brimming with emotions: sadness, joy, hopefulness and trust. At such times there is nothing else to do but offer songs of thanksgiving and lift hearts and hands in praise and prayer for all that God has done, is doing and is yet to do. Handel’s stirring music surely will help us proclaim our joy in God’s presence in our midst in times past, present and future!
Hymns for worship will include “”All creatures of our God and King” (Lasst uns erfreuen), “Arise, your light has come” (Festal Song), and “We gather here to bid farewell” (Winchester New). The organ postlude will be Andre Campra’s “Rigaudon” which apparently was played at Kevin’s marriage to his wife Jane. Many happy returns, dear friends, and blessings in Valdese! ¡Via con dios!
Wednesday, October 17, 2007
Review: Ikon, The Sixteen
If you haven't encountered The Sixteen before, suffice it to say anything they have released is well worth listening to. They are a choral ensemble par excellence and I would not presume to review them as an ensemble. They are a stellar ensemble, and anything they produce is going to be top notch.
I picked up Ikon because it seemed to contain musical material similar to the previously reviewed Lux Aurumque from the Dale Warland Singers. Indeed there are interesting programming similarities. Listening to the two CD's side-by-side allows one to hear the difference, much touted and much misunderstood, between an "American" choral sound and a "British" choral sound and determine for oneself the validity of the distinction.
The music on Ikon is intensely atmospheric, devotional or introspective. Choose your own adjective. Mystical-style composers of the last century and the 19th are represented. Among them are the familiar Rachmaninoff and Chesnokov. But also present are intriguing works by Igor Stravinsky and Gustav Holst. These are characters not usually associated with this style of (choral) music. Also included are works by Arvo Part and John Tavener. Tavener especially finds his compositional voice among the mystics. He is intensely drawn to Orthodox pathos and liturgy.
The new voice on the recording is that of James MacMillan (b. 1959). A Brit, he is represented by his achingly prayerful "A Child's Prayer," written in response to the 1996 Dunblane, Scotland children's massacre, and "A New Song," with text from Psalm 96, in this setting a plaintive cry for praise, even in the midst of suffering.
Recorded 25-27 October 2005 at the Church of St. Giles, Cripplegate, London, Decca has produced another fine offering from The Sixteen. The booklet includes lyrics and translations; publication information for the music is also included. ++++
I picked up Ikon because it seemed to contain musical material similar to the previously reviewed Lux Aurumque from the Dale Warland Singers. Indeed there are interesting programming similarities. Listening to the two CD's side-by-side allows one to hear the difference, much touted and much misunderstood, between an "American" choral sound and a "British" choral sound and determine for oneself the validity of the distinction.
The music on Ikon is intensely atmospheric, devotional or introspective. Choose your own adjective. Mystical-style composers of the last century and the 19th are represented. Among them are the familiar Rachmaninoff and Chesnokov. But also present are intriguing works by Igor Stravinsky and Gustav Holst. These are characters not usually associated with this style of (choral) music. Also included are works by Arvo Part and John Tavener. Tavener especially finds his compositional voice among the mystics. He is intensely drawn to Orthodox pathos and liturgy.
The new voice on the recording is that of James MacMillan (b. 1959). A Brit, he is represented by his achingly prayerful "A Child's Prayer," written in response to the 1996 Dunblane, Scotland children's massacre, and "A New Song," with text from Psalm 96, in this setting a plaintive cry for praise, even in the midst of suffering.
Recorded 25-27 October 2005 at the Church of St. Giles, Cripplegate, London, Decca has produced another fine offering from The Sixteen. The booklet includes lyrics and translations; publication information for the music is also included. ++++
Thursday, October 11, 2007
Worship Music October 14
Congregational songs at FirstLight this week will include “The Heart of Worship” (Matt Redman), “Cry of My Heart “ (Terry Butler), "Shout to the Lord" (Darlene Zschech) and “Forever” (Chris Tomlin). Tomlin wrote the lyrics to “Forever” as a response to reading Psalm 136. The phrase “his love endures forever” is part of every verse in this Psalm. Listen to Chris talk about the song, and here it performed by his band here. We will also sing the hymn “Be still my soul” to close the service. The music for this hymn is very familiar as a piece of classical music, and as the national anthem of Finland. The Prophets’ arrangement allows the singer to truly meditate on the words while singing.
Matt Begley will sing “Trust in the Lord” by James Brighton. Written for children’s choir with piano and oboe, the songs works equally well as a solo with Melissa Corbett on flute. Matt will sing this song at both services this week. It’s not often anyone has to “pull doubles” at Black Mountain Prez by singing at both services, let alone a 5th grader; way to go, and thanks Matt!
Congregational songs at 11 AM will include “All people that on earth do dwell” (Old Hundredth), “If thou but trust in God to guide thee” (Wer nur den lieben Gott), and “Be still my soul” (Finlandia) mentioned above. The preacher, Cecil Jividen, will be focusing on the notion of trust this week, and the choir will end the service with William Farley Smith’s arrangement of the spiritual, “I will trust in the Lord.” Libby Barker, who will help on Matt’s solo at 11 AM, will also perform a blues-y setting of “He leadeth me” arranged by Brent Olstad; the jazz influences are apparent from the first chord and are composer Olstad'’ signature style. Other voluntary music will include Marcel Dupre’s setting of “Wer nur den lieben Gott” from the Seventy-Nine Chorales, and Cesar Franck’s F major Sortie from “La’Organiste.”
Matt Begley will sing “Trust in the Lord” by James Brighton. Written for children’s choir with piano and oboe, the songs works equally well as a solo with Melissa Corbett on flute. Matt will sing this song at both services this week. It’s not often anyone has to “pull doubles” at Black Mountain Prez by singing at both services, let alone a 5th grader; way to go, and thanks Matt!
Congregational songs at 11 AM will include “All people that on earth do dwell” (Old Hundredth), “If thou but trust in God to guide thee” (Wer nur den lieben Gott), and “Be still my soul” (Finlandia) mentioned above. The preacher, Cecil Jividen, will be focusing on the notion of trust this week, and the choir will end the service with William Farley Smith’s arrangement of the spiritual, “I will trust in the Lord.” Libby Barker, who will help on Matt’s solo at 11 AM, will also perform a blues-y setting of “He leadeth me” arranged by Brent Olstad; the jazz influences are apparent from the first chord and are composer Olstad'’ signature style. Other voluntary music will include Marcel Dupre’s setting of “Wer nur den lieben Gott” from the Seventy-Nine Chorales, and Cesar Franck’s F major Sortie from “La’Organiste.”
Saturday, October 6, 2007
Review: Lux Aurumque, Dale Warland Singers
The final concert performance by the Dale Warland Singers took place on May 30, 2004, ending a 31 year tradition of choral excellence. The 40-voice choir (based in Minneapolis-St. Paul, MN) was renowned for their clarity, precision and breadth of expressive capabilities. Dale Warland continues to guest conduct and lead clinics for singers around the world. Lux Aurumque ("golden light") is the last album the group made before their disbandment. The album pulls together a seemingly disparate range of composers and music, yet the total effect is one of absolute cohesion in expressing a musical statement.
As a child beginning piano study I remember discovering a copy of "Salvation is created" (Chesnokov, track 5) amongst my parents community chorus music. As I played through it I remember being struck by the incredible tonality and the surprising but imminently gratifying changes in tonal color. The chorus gives a wonderful rendition, taking me back many years, but further bringing to mind immediately the distinctive pathos of Russian choral music.
Herbert Howells suffered an unbelievable loss in the death of his young son Nicholas in 1935. In 1964 he composed "Take him, earth, for cherishing" for the funeral of President John F. Kennedy in the US. Reflective of his personal loss, and sensitive to the loss suffered by the American people, this anthem is a powerful tapestry of grief and faith, innately bound in sonorities stark and lush.
In addition to some standard choral writers (Gretchaninoff, Rachmaninoff), Lux Aurumque includes a couple of important contemporary composers in Morten Lauridsen and Eric Whitacre. Beyond the capabilities of many average church choirs, the present recording makes their music worth listening to for the sake of hearing and studying excellent choral style. Blend, expressive range and communication of sentiment are hallmarks of the best choirs, and can be achieved in even simple song. Here the Dale Warland Singers accomplish it with incredibly difficult music (sometimes in 16 distinct vocal parts, compared to the standard 4).
The album was recorded in stages in 2001, 2002 and 2004 at the Chapel of Saint Thomas Aquinas at the University of Saint Thomas, St. Paul Minnesota. The room has just the right balance of acoustic zing to let the music ring in the space, while allowing for the singers' precision to be utterly plain. The album notes include the pieces' lyrics in the original languages and in translation where needed. Also included are publication information for each work. Gothic Recordings has produced an admirable recording for an estimable choral ensemble.
Hymns of praise, music for communion, for funerals, for Christmas and for Lent all combine to make this an album for any season, and any moment one might wish to plumb the depths of one's appreciation of the choral art. + + + +
Thursday, October 4, 2007
Worship Music October 7
FirstLight worship will begin this week with two familiar praise choruses, Martin J. Nystrom’s “As the deer,” and Dave Doherty’s “Come let us worship and bow down.” We will also sing “Better is one day,” and Brian Doerksen’s “Come, now is the time to worship,” both of which have become FirstLight favorites. A time crunch caught us last week and the Prophets had to forego singing the Jack Noble White song “The First Song of Isaiah;” we’ll get to it this week. We are celebrating communion this week at both services, along with Christians around the world as part of World Communion participation. To affirm our global nature and our global mission we will close FirstLight worship with the powerful “Shout to the north.”
I remind the adult choir that there are very, very few “perfect pieces of choral music” in the world. This week the choir will be singing one of those few as their anthem. Ralph Vaughan Williams’ “O taste and see” is 40 seconds of musical perfection. Using text found in Psalm 34, it uses that distinctive Vaughan Williams quasi-pentatonic tone palette that characterizes so much of his music. The anthem is in two very short sections, each of which begins with a short solo for a soprano singer; this week that soloist will be Susan Banzhoff. Service music will be representative of our global faith, with the Introit from Brazilian sources, a British celebration of forgiveness after the confession, and an Israeli folk song for the benediction response. The hymns this week are “God is here” (Abbot’s Leigh), “We walk by faith and not by sight” (Dunlap’s Creek), and “Jesus, thou joy of loving hearts” (Quebec).
Henry Alford (1810-1871) wrote the text for “We walk by faith” prior to 1884 when the hymn appeared in his collection Psalms and Hymns. The tune is named after a creek in Brownsville, PA, (south of Pittsburgh) renowned for a certain bridge which crosses it. The tune first appeared in a US hymnal in 1814. Organ music by John Behnke (a setting of “Gather us in”) and John Stanley (one of the 30 short voluntaries) will be heard at the prelude and offertory. Dan Locklair’s “Phoenix Processional” will be the organ postlude. Locklair is a composer living in Winston-Sale
m, NC. His “Phoenix Fanfare and Processional” were composed for organ with brass and percussion in two stages. The Fanfare came first in 1980 to celebrate the rededication of James Chapel at Union Theological Seminary in New York. The Processional followed in 1985. The composer created the solo organ version in 1996. The piece is a stately one, featuring the trumpet stop on the organ. Somewhat long (6 minutes) it is yet thrilling for the performer (double pedals!) and listener.
I remind the adult choir that there are very, very few “perfect pieces of choral music” in the world. This week the choir will be singing one of those few as their anthem. Ralph Vaughan Williams’ “O taste and see” is 40 seconds of musical perfection. Using text found in Psalm 34, it uses that distinctive Vaughan Williams quasi-pentatonic tone palette that characterizes so much of his music. The anthem is in two very short sections, each of which begins with a short solo for a soprano singer; this week that soloist will be Susan Banzhoff. Service music will be representative of our global faith, with the Introit from Brazilian sources, a British celebration of forgiveness after the confession, and an Israeli folk song for the benediction response. The hymns this week are “God is here” (Abbot’s Leigh), “We walk by faith and not by sight” (Dunlap’s Creek), and “Jesus, thou joy of loving hearts” (Quebec).
Henry Alford (1810-1871) wrote the text for “We walk by faith” prior to 1884 when the hymn appeared in his collection Psalms and Hymns. The tune is named after a creek in Brownsville, PA, (south of Pittsburgh) renowned for a certain bridge which crosses it. The tune first appeared in a US hymnal in 1814. Organ music by John Behnke (a setting of “Gather us in”) and John Stanley (one of the 30 short voluntaries) will be heard at the prelude and offertory. Dan Locklair’s “Phoenix Processional” will be the organ postlude. Locklair is a composer living in Winston-Sale
m, NC. His “Phoenix Fanfare and Processional” were composed for organ with brass and percussion in two stages. The Fanfare came first in 1980 to celebrate the rededication of James Chapel at Union Theological Seminary in New York. The Processional followed in 1985. The composer created the solo organ version in 1996. The piece is a stately one, featuring the trumpet stop on the organ. Somewhat long (6 minutes) it is yet thrilling for the performer (double pedals!) and listener.
Wednesday, October 3, 2007
Some Organ History
As Black Mountain PC(USA) gets ready to celebrate 100 years of ministry, I have had occasion to do some research on the pipe organ in the sanctuary. The organ was given by members of the Cooley family. The contract with the Reuter firm in Kansas was signed in October of 1978. The contract price was $65, 677. (The organ would easily cost 4 times that amount to replace in 2007.) The nameplate on the console indicates this was opus #1979, and installation and dedication took place in early 1980. Delivery took place in February of that year, and the organ was dedicated at a special service and recital in April. Ted Crist was organist and choir director when the organ project was begun. He also played the dedicatory recital. Here is a list of the stops included in the organ:
Great
Principal 8' 61 pipes
Gedackt 8' 61 pipes
Octave 4' 61 pipes
Koppelflote 4' 61 pipes
Flachflote 2' 61 pipes
Mixture III 183 pipes
Trompette 8' 61 pipes
Swell
Rohrflote 8' 61 pipes
Gemshorn 8' 61 pipes
Spitzflote 4' 61 pipes
Naset 2 2/3 61 pipes
Principal 2' 61 pipes
Terz 1 3/5 61 pipes
Cymbel II 122 pipes
Hautbois 8' 61 pipes
Pedal
Resultant 32'
Subbass 16' (56 pipes)
Octave 8' (from Gt)
Subbass 8' (ext Subbass 16')
Choralbass 4' (32 pipes)
Koppelflote 4' (from Gt)
Trompette 16' (12 pipes and from Gt)
Trompette 8' (from Gt)
Trompette 4' (from Gt)
Tremulant
Zimbelstern
Sw to Gt 16', 8', 4',
Sw to Sw 16', 4', u/o
Gt to Gt 16', 4', u/o
Sw to P 8', 4'
Gt to P 8', 4'
1243 total pipes
The organ is installed in a single, freestanding case at the east end of the sanctuary. The Swell division is lowest in the case, just above the choir singers' heads. The Great is above the Swell at the top of the case. The pedal pipes are in the two side towers that flank the central divisions. Here is a link to some photos of the delivery and installation. The east wall had glass on the two sides with a central plaster section. In the photos a few frames of stained glass and a portion of the plaster wall have been covered by aluminum-clad insulation panels. The cross that had hung on the east wall now hangs on the front of the organ case as part of the facade display.
Great
Principal 8' 61 pipes
Gedackt 8' 61 pipes
Octave 4' 61 pipes
Koppelflote 4' 61 pipes
Flachflote 2' 61 pipes
Mixture III 183 pipes
Trompette 8' 61 pipes
Swell
Rohrflote 8' 61 pipes
Gemshorn 8' 61 pipes
Spitzflote 4' 61 pipes
Naset 2 2/3 61 pipes
Principal 2' 61 pipes
Terz 1 3/5 61 pipes
Cymbel II 122 pipes
Hautbois 8' 61 pipes
Pedal
Resultant 32'
Subbass 16' (56 pipes)
Octave 8' (from Gt)
Subbass 8' (ext Subbass 16')
Choralbass 4' (32 pipes)
Koppelflote 4' (from Gt)
Trompette 16' (12 pipes and from Gt)
Trompette 8' (from Gt)
Trompette 4' (from Gt)
Tremulant
Zimbelstern
Sw to Gt 16', 8', 4',
Sw to Sw 16', 4', u/o
Gt to Gt 16', 4', u/o
Sw to P 8', 4'
Gt to P 8', 4'
1243 total pipes
The organ is installed in a single, freestanding case at the east end of the sanctuary. The Swell division is lowest in the case, just above the choir singers' heads. The Great is above the Swell at the top of the case. The pedal pipes are in the two side towers that flank the central divisions. Here is a link to some photos of the delivery and installation. The east wall had glass on the two sides with a central plaster section. In the photos a few frames of stained glass and a portion of the plaster wall have been covered by aluminum-clad insulation panels. The cross that had hung on the east wall now hangs on the front of the organ case as part of the facade display.
Thursday, September 27, 2007
Music for worship September 30
There are a couple of songs that for me really mark the onset of the contemporary worship music phenomenon. One was Amy Grant’s “Thy word” (1984). Another was Lanny Wolfe’s “Surely the presence of the Lord is in this place” (1977). Third, but in a slightly difference vein was Jack Noble White’s “First Song of Isaiah” (1976). All three still get performed often in mass media and for commercial recordings and are utilized in corporate worship. I remember vividly the angst I experienced when wrestling with how and when to introduce these “new” songs to my choirs and congregations, because they were new, had a strong rhythmic pulse and used harmonic language that while in the popular mainstream was alien to church-goers as worship music. All three songs are now in mainline denominational hymnals! White’s “First Song” with its simple chordal structure, utilization of a rhythm section for the accompaniment and “youth-y pathos” really encapsulates a great deal of what the earliest waves of contemporary worship music were all about. The Prophets will be singing the song at the offering on Sunday (the chancel choir with instrumentalists from the Prophets ensemble will sing the anthem later this autumn). Congregational song at FirstLight will include the Argentine worship song “Santo, santo, santo, mi corazon te adora,” Michael W. Smith’s “How majestic is your name,” the camp-y “I will call upon the Lord” and Miriam Webster’s “Made me glad.” Webster has long been associated with the Hillsong Church (Australia) and its leadership in contemporary worship and music.
The chancel Choir will be singing Allen Pote’s “God is our refuge and strength” as the anthem this week. An energetic setting of text from Psalm 46, this setting has proven incredibly popular with singers of all ages and all varieties of congregations. The hymns this Sunday will include “Immortal, invisible, God only wise” (St. Denio), “Fairest Lord Jesus” (Crusader’s hymn) and “Great is thy faithfulness” (Faithfulness). Organ music will include Mouret’s Rondeau (of PBS’ Masterpiece Theater fame), a sparkly trumpet voluntary by 18th century Brit John Travers, and Celebration Fanfare by NY organist and church musician Steve Best.
The chancel Choir will be singing Allen Pote’s “God is our refuge and strength” as the anthem this week. An energetic setting of text from Psalm 46, this setting has proven incredibly popular with singers of all ages and all varieties of congregations. The hymns this Sunday will include “Immortal, invisible, God only wise” (St. Denio), “Fairest Lord Jesus” (Crusader’s hymn) and “Great is thy faithfulness” (Faithfulness). Organ music will include Mouret’s Rondeau (of PBS’ Masterpiece Theater fame), a sparkly trumpet voluntary by 18th century Brit John Travers, and Celebration Fanfare by NY organist and church musician Steve Best.
Thursday, September 20, 2007
Music for Sunday 9/23
Congregational song at FirstLight will begin with Laurie Klein's passionate chorus, "I Love, You, Lord," followed by "I Give You My All," "Reign In Me," and "Open the Eyes of My Heart, Lord." The third song will be new to some, but is easily learned. The concluding song will be Dan Schutte's hymn of call and commitment, "Here I Am, Lord." The Prophets will be singing a Brazilian worship song, "Cantad al Senor" at the offering. Perrin Todd has been working overtime, brushing up his Hispanic-style playing skills!
The Chancel Choir will sing John Rutter's "Te Deum" at 11 AM. Accompanied by organ (our own Carla Sperry) and brass, this will be a thrilling musical element in our worship this week. Brass players contracted for this presentation include Julie Howard, David Pressley, our own Anna McClintock, Peter Schlecht, Todd Sessoms, Dave Oakley and Will Talley. We welcome these players as part of this special music presentation. Hymns for worship will be "Ye Servants of God" (Hanover), "God, Whose Giving Knows No Ending" (Beach Spring), and "My Hope Is Built on Nothing Less" (Solid Rock). Organ music by Flor Peeters, Max Reger, and John Heron is also part of the musical lineup.
The Chancel Choir will sing John Rutter's "Te Deum" at 11 AM. Accompanied by organ (our own Carla Sperry) and brass, this will be a thrilling musical element in our worship this week. Brass players contracted for this presentation include Julie Howard, David Pressley, our own Anna McClintock, Peter Schlecht, Todd Sessoms, Dave Oakley and Will Talley. We welcome these players as part of this special music presentation. Hymns for worship will be "Ye Servants of God" (Hanover), "God, Whose Giving Knows No Ending" (Beach Spring), and "My Hope Is Built on Nothing Less" (Solid Rock). Organ music by Flor Peeters, Max Reger, and John Heron is also part of the musical lineup.
Wednesday, September 19, 2007
Te Deum paraphrase
The "Te deum" text is a glorious statement of faith with rich, vivid poetic content. It is however not in a regular meter, such as a hymn text. In 1774 however, Ignaz Franz paraphrased the words into metrical format, suitable then for pairing with a hymn tune. The tune "Grosser Gott, wir loben dir" was paired with the text in Katholische Gesang-Buch in Vienna, Austria; the composer is not named. The choir will be using this hymn text and tune at worship this week, to complement their presentation of Rutter's "Te Deum." The text (four stanzas only) and tune appear in the Presbyterian Hymnal (1989) at #460. Below (reproduced from the CyberHymnal) is the complete hymn text. You can instantly see the correlation to the original "Te Deum" text found below.
Holy God, we praise Thy Name;
Lord of all, we bow before Thee!
All on earth Thy scepter claim,
All in Heaven above adore Thee;
Infinite Thy vast domain,
Everlasting is Thy reign.
Hark! the loud celestial hymn
Angel choirs above are raising,
Cherubim and seraphim,
In unceasing chorus praising;
Fill the heavens with sweet accord:
Holy, holy, holy, Lord.
Lo! the apostolic train
Join the sacred Name to hallow;
Prophets swell the loud refrain,
And the white robed martyrs follow;
And from morn to set of sun,
Through the Church the song goes on.
Holy Father, Holy Son,
Holy Spirit, Three we name Thee;
While in essence only One,
Undivided God we claim Thee;
And adoring bend the knee,
While we own the mystery.
Thou art King of glory, Christ:
Son of God, yet born of Mary;
For us sinners sacrificed,
And to death a tributary:
First to break the bars of death,
Thou has opened Heaven to faith.
From Thy high celestial home,
Judge of all, again returning,
We believe that Thou shalt come
In the dreaded doomsday morning;
When Thy voice shall shake the earth,
And the startled dead come forth.
Therefore do we pray Thee, Lord:
Help Thy servants whom, redeeming
By Thy precious blood out-poured,
Thou hast saved from Satan’s scheming.
Give to them eternal rest
In the glory of the blest.
Spare Thy people, Lord, we pray,
By a thousand snares surrounded:
Keep us without sin today,
Never let us be confounded.
Lo, I put my trust in Thee;
Never, Lord, abandon me.
Thursday, September 13, 2007
Understanding Your Choir (humor alert!)
Please receive this in the spirit intended! It's all humorous. Please don't take offense or take this seriously (especially you members of the choir!). Do enjoy!
"A View of Choral Singers" (Author Unknown)
In any choir or chorus, there are four voice parts: soprano, alto, tenor, and bass. There are also various other parts, such as baritone, countertenor, contralto, mezzo-soprano, etc., but these are mostly used by people who are either soloists, or belong to some excessively hot-shot classical a cappella group (this applies especially to countertenors) or are trying to make excuses for not really fitting into any of the regular voice parts, so we will ignore them for now.
Each voi
ce part sings in a different range, and each one has a very different personality. You may ask, "Why should singing different notes make people act differently?" and indeed this is a mysterious question and has not been adequately studied, especially since scientists who study musicians tend to be musicians themselves and have all the peculiar complexes that go with being tenors, French horn players, timpanists, or whatever. However, this is beside the point; the fact remains that the four voice parts can be easily distinguished, and I will now explain how.
SOPRANOS are the ones who sing the highest, and because of this they think they rule the world. They have longer hair, fancier jewelry, and swishier skirts than anyone else, and they consider themselves insulted if they are not allowed to go at least to a high F in every movement of any given piece. When they reach the high notes, they hold them for at least half again as long as the composer and/or conductor requires, and then complain that their throats are killing them and that the composer and conductor are sadists. Sopranos have varied attitudes toward the other sections of the chorus, though they consider all of them inferior: The altos are to sopranos rather like second violins to first violins -- nice to harmonize with, but not really necessary. All sopranos have a secret feeling that the altos could drop out and the piece would sound essentially the same, and they don't understand why anybody would sing in that range in the first place -- it's so boring. Sopranos think tenors, on the other hand, can be very nice to have around; besides their flirtation possibilities (it is a well-known fact that sopranos never flirt with basses), sopranos like to sing duets with tenors because all the tenors are doing is working very hard to sing in a low-to-medium soprano range, while the sopranos are up there in the stratosphere showing off. To sopranos, basses are the scum of the earth -- they sing too darn loud, are useless to tune to because they're down in that low, low range -- and there has to be something wrong with anyone who sings in the F clef, anyway. One curious fact is that although the sopranos swoon while the tenors sing, they still end up going home with the basses.
ALTOS are the salt of the earth -- in their opinion, at least. Altos are unassuming people who would wear jeans to concerts if they were allowed to. Altos are in a unique position in the chorus in that they are unable to complain about having to sing either very high or very low, and they know that all the other sections think their parts are pitifully easy. But the altos know otherwise. They know that while the sopranos are screeching away on a high A, they are being forced to sing elaborate passages full of sharps and flats and tricks of rhythm, and nobody is noticing because the sopranos are singing too loud (and the basses usually are, too). Altos get a deep, secret pleasure out of conspiring together to tune the sopranos flat. Altos have an innate distrust of tenors, because the tenors sing in almost the same range and think they sound better. They like the basses, and enjoy singing duets with them -- the basses just sound like a rumble anyway, and it's the only time the altos can really be heard. Altos' other complaint is that there are always too many of them and so they never get to sing really loud.
TENORS are spoiled. That's all there is to it. For one thing, there are never enough of them, and choir directors would rather sell their souls than let a halfway decent tenor quit, while they're always ready to unload a few sopranos or altos at half price. And then, for some reason, the few tenors there are always seem to be really good -- it's one of those annoying facts of life. So it's no wonder that tenors always get swollen heads -- after all, who else can make sopranos swoon? The one thing that can make tenors insecure is the accusation (usually by the basses) that anyone singing that high couldn't possibly be a real man. In their usual perverse fashion, the tenors never acknowledge this, but just complain louder about the composer being a sadist and making them sing so damn high. Tenors have a love-hate relationship with the conductor, too, because the conductor is always telling them to sing louder because there are so few of them. No conductor in recorded history has ever asked for less tenor in a forte passage. Tenors feel threatened in some way by all the other sections -- the sopranos, because they can hit those incredibly high notes; the altos, because they have no trouble singing the notes the tenors kill themselves for; and the basses because, although they can't sing anything above an E, they sing it loud enough to drown the tenors out. Of course, the tenors would rather die than admit any of this. It is a little-known fact that tenors move their eyebrows more than anyone else while singing.
BASSES sing the lowest of anybody. This basically explains everything. They are solid, dependable people, and have more facial hair than anybody else. The basses feel perpetually unappreciated, but they have a deep conviction that they are actually the most important part (a view endorsed by musicologists, but certainly not by sopranos or tenors), despite the fact that they have the most boring part of anybody and often sing the same note (or in endless fifths) for an entire page. They compensate for this by singing as loudly as they can get away with -- most basses are tuba players at heart. Basses are the only section that can regularly complain about how low their part is, and they make horrible faces when trying to hit very low notes. Basses are charitable people, but their charity does not extend so far as tenors, whom they consider effete poseurs. Basses hate tuning with the tenors more than almost anything else. Basses like altos -- except when they have duets and the altos get the good part. As for the sopranos, they are simply in an alternate universe which the basses don't understand at all. They can't imagine why anybody would ever want to sing that high and sound that bad when they make mistakes. When a bass makes a mistake, the other three parts will cover him, and he can continue on his merry way, knowing that sometime, somehow, he will end up at the root of the chord.
(This piece came to me from a friend, who got it from a friend, who got it from a friend, via email and the Internet. I have searched high and low for the author to no avail; if you know, please contact me so I can give proper credit.)
"A View of Choral Singers" (Author Unknown)
In any choir or chorus, there are four voice parts: soprano, alto, tenor, and bass. There are also various other parts, such as baritone, countertenor, contralto, mezzo-soprano, etc., but these are mostly used by people who are either soloists, or belong to some excessively hot-shot classical a cappella group (this applies especially to countertenors) or are trying to make excuses for not really fitting into any of the regular voice parts, so we will ignore them for now.
Each voi
ce part sings in a different range, and each one has a very different personality. You may ask, "Why should singing different notes make people act differently?" and indeed this is a mysterious question and has not been adequately studied, especially since scientists who study musicians tend to be musicians themselves and have all the peculiar complexes that go with being tenors, French horn players, timpanists, or whatever. However, this is beside the point; the fact remains that the four voice parts can be easily distinguished, and I will now explain how.SOPRANOS are the ones who sing the highest, and because of this they think they rule the world. They have longer hair, fancier jewelry, and swishier skirts than anyone else, and they consider themselves insulted if they are not allowed to go at least to a high F in every movement of any given piece. When they reach the high notes, they hold them for at least half again as long as the composer and/or conductor requires, and then complain that their throats are killing them and that the composer and conductor are sadists. Sopranos have varied attitudes toward the other sections of the chorus, though they consider all of them inferior: The altos are to sopranos rather like second violins to first violins -- nice to harmonize with, but not really necessary. All sopranos have a secret feeling that the altos could drop out and the piece would sound essentially the same, and they don't understand why anybody would sing in that range in the first place -- it's so boring. Sopranos think tenors, on the other hand, can be very nice to have around; besides their flirtation possibilities (it is a well-known fact that sopranos never flirt with basses), sopranos like to sing duets with tenors because all the tenors are doing is working very hard to sing in a low-to-medium soprano range, while the sopranos are up there in the stratosphere showing off. To sopranos, basses are the scum of the earth -- they sing too darn loud, are useless to tune to because they're down in that low, low range -- and there has to be something wrong with anyone who sings in the F clef, anyway. One curious fact is that although the sopranos swoon while the tenors sing, they still end up going home with the basses.
ALTOS are the salt of the earth -- in their opinion, at least. Altos are unassuming people who would wear jeans to concerts if they were allowed to. Altos are in a unique position in the chorus in that they are unable to complain about having to sing either very high or very low, and they know that all the other sections think their parts are pitifully easy. But the altos know otherwise. They know that while the sopranos are screeching away on a high A, they are being forced to sing elaborate passages full of sharps and flats and tricks of rhythm, and nobody is noticing because the sopranos are singing too loud (and the basses usually are, too). Altos get a deep, secret pleasure out of conspiring together to tune the sopranos flat. Altos have an innate distrust of tenors, because the tenors sing in almost the same range and think they sound better. They like the basses, and enjoy singing duets with them -- the basses just sound like a rumble anyway, and it's the only time the altos can really be heard. Altos' other complaint is that there are always too many of them and so they never get to sing really loud.
TENORS are spoiled. That's all there is to it. For one thing, there are never enough of them, and choir directors would rather sell their souls than let a halfway decent tenor quit, while they're always ready to unload a few sopranos or altos at half price. And then, for some reason, the few tenors there are always seem to be really good -- it's one of those annoying facts of life. So it's no wonder that tenors always get swollen heads -- after all, who else can make sopranos swoon? The one thing that can make tenors insecure is the accusation (usually by the basses) that anyone singing that high couldn't possibly be a real man. In their usual perverse fashion, the tenors never acknowledge this, but just complain louder about the composer being a sadist and making them sing so damn high. Tenors have a love-hate relationship with the conductor, too, because the conductor is always telling them to sing louder because there are so few of them. No conductor in recorded history has ever asked for less tenor in a forte passage. Tenors feel threatened in some way by all the other sections -- the sopranos, because they can hit those incredibly high notes; the altos, because they have no trouble singing the notes the tenors kill themselves for; and the basses because, although they can't sing anything above an E, they sing it loud enough to drown the tenors out. Of course, the tenors would rather die than admit any of this. It is a little-known fact that tenors move their eyebrows more than anyone else while singing.
BASSES sing the lowest of anybody. This basically explains everything. They are solid, dependable people, and have more facial hair than anybody else. The basses feel perpetually unappreciated, but they have a deep conviction that they are actually the most important part (a view endorsed by musicologists, but certainly not by sopranos or tenors), despite the fact that they have the most boring part of anybody and often sing the same note (or in endless fifths) for an entire page. They compensate for this by singing as loudly as they can get away with -- most basses are tuba players at heart. Basses are the only section that can regularly complain about how low their part is, and they make horrible faces when trying to hit very low notes. Basses are charitable people, but their charity does not extend so far as tenors, whom they consider effete poseurs. Basses hate tuning with the tenors more than almost anything else. Basses like altos -- except when they have duets and the altos get the good part. As for the sopranos, they are simply in an alternate universe which the basses don't understand at all. They can't imagine why anybody would ever want to sing that high and sound that bad when they make mistakes. When a bass makes a mistake, the other three parts will cover him, and he can continue on his merry way, knowing that sometime, somehow, he will end up at the root of the chord.
(This piece came to me from a friend, who got it from a friend, who got it from a friend, via email and the Internet. I have searched high and low for the author to no avail; if you know, please contact me so I can give proper credit.)
Music for Worship September 16
FirstLight worship will begin with “No Higher Calling” by Greg Gulley and Lenny LeBlanc and the old standard, “Glorify thy name,” written by Donna Adkins in 1976. A music colleague once remarked if a “contemporary” song was written more than three years ago, it’s already “old” and belongs in a hymnal! Donna Adkins’ song has been around almost 30 years, and is in several hymnals, but is still a compelling song of praise for contemporary worship. “No higher calling” contains some wonderful poetic paradoxes: “down at your feet, O Lord, is the most high place.” It has a level of poetic finesse not always found in contemporary songs. Also in the opening set of songs is Matt Redman’s “Heart of Worship.” The Prophets will sing another Indelible Grace tune, “Dear Refuge of My Weary Soul,” at the offering. The closing song for FirstLight will be the perennial favorite, “Amazing Grace.” Most folks think they know the story behind this song, and probably do know some of the tale. One of the best books on the history of this hymn is by Steve Turner (Amazing Grace, 2002, ISBN 0060002182). Not only does he discuss the story of the origin of the song, but he also traces the hymn’s appearance in hymnals and its recording history. Turner’s is a fascinating documentation of the hymn’s place in American culture and pathos.
Congregational hymns at 11 AM will include “Alleluia, Sing to Jesus” (Hyfrydol), “My Faith Looks Up To Thee” (Olivet) and “Rejoice, Ye Pure in Heart” (Marion). Ray Palmer (1808-1887) wrote “My Faith Looks Up To Thee” in 1830 while a teacher at a women’s college and while preparing for ordination in the Congregational Church. Originally 6 stanzas, most hymnals now include the four we find in the Presbyterian Hymnal. Lowell Mason (1792-1872) dashed off the tune Olivet in a matter of days, a fact that alto singers might cite to explain the remarkably boring part they are given in standard arrangements! Ralph Vaughan Williams tried to improve some of the part development for the altos and tenors, but his arrangement has not taken hold widely, appearing only in the English Hymnal of 1906. Other songs for worship include the African worship song “Jesus We Are Here” and Hal Hopson’s “We Are Forgiven.”
The choir a
nthem this Sunday will be Natalie Sleeth’s classic “Joy in the Morning.” Natalie Allyn Wakely Sleeth (1930-1992) wrote this anthem to commemorate her husband’s inauguration as president of West Virginia Wesleyan College in October 1976. The anthem has a certain sound that for some is reminiscent of Appalachian folk tunes. The music and lyrics, though, are newly composed by Sleeth. Sleeth worked for a few years as music secretary of Highland Park United Methodist Church in Dallas, where she met Lloyd Pfautsch who recommended that Choristers Guild publish Sleeth’s first choral work in 1969. “Joy in the Morning” is published by Hope Publishing and is their number one selling anthem of all time. We will close of worship with Sleeth’s “Go Now In Peace.”
Congregational hymns at 11 AM will include “Alleluia, Sing to Jesus” (Hyfrydol), “My Faith Looks Up To Thee” (Olivet) and “Rejoice, Ye Pure in Heart” (Marion). Ray Palmer (1808-1887) wrote “My Faith Looks Up To Thee” in 1830 while a teacher at a women’s college and while preparing for ordination in the Congregational Church. Originally 6 stanzas, most hymnals now include the four we find in the Presbyterian Hymnal. Lowell Mason (1792-1872) dashed off the tune Olivet in a matter of days, a fact that alto singers might cite to explain the remarkably boring part they are given in standard arrangements! Ralph Vaughan Williams tried to improve some of the part development for the altos and tenors, but his arrangement has not taken hold widely, appearing only in the English Hymnal of 1906. Other songs for worship include the African worship song “Jesus We Are Here” and Hal Hopson’s “We Are Forgiven.”
The choir a
nthem this Sunday will be Natalie Sleeth’s classic “Joy in the Morning.” Natalie Allyn Wakely Sleeth (1930-1992) wrote this anthem to commemorate her husband’s inauguration as president of West Virginia Wesleyan College in October 1976. The anthem has a certain sound that for some is reminiscent of Appalachian folk tunes. The music and lyrics, though, are newly composed by Sleeth. Sleeth worked for a few years as music secretary of Highland Park United Methodist Church in Dallas, where she met Lloyd Pfautsch who recommended that Choristers Guild publish Sleeth’s first choral work in 1969. “Joy in the Morning” is published by Hope Publishing and is their number one selling anthem of all time. We will close of worship with Sleeth’s “Go Now In Peace.”
Tuesday, September 11, 2007
Rutter: Te Deum on 9/23
The Chancel Choir will sing John Rutter's "Te Deum" for 11 AM worship on the 23rd of September. Rutter's setting, written for use in English-speaking churches, uses the English translation of the text. The original Latin carries a certain beauty, such that it is worth reading on its own right. Here is a favorable review of the work, and other music on the CD Rutter has completed of this work.
Wikipedia says the following about this ancient hymn: "The Te Deum is an early Christian hymn of praise. Though its authorship is traditionally ascribed to Saints Ambrose and Augustine, on the occasion of the latter's baptism by the former in AD 387, contemporary scholars doubt this attribution, many assigning it to Nicetas, bishop of Remesiana in the late 4th to early 5th centuries. The hymn follows the outline of the Apostles' Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. Naming God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to the Church spread throughout the world. The hymn then returns to its credal formula, naming Christ and recalling his birth, suffering, and glorification. At this point the hymn turns to the subjects declaiming the praise, both the Church in general and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with the elect."
Here is the original Latin text:
Te Deum laudámus: te Dóminum confitémur. Te ætérnum Patrem, omnis terra venerátur. Tibi omnes ángeli, tibi cæliet univérsæ potestátes: tibi chérubim et séraphimincessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt cæli et terra maiestátis glóriæ tuæ. Te gloriósus apostolòrum chorus, te prophetárum laudábilis númerus, te mártyrum candidátus laudat exércitus. Te per orbem terrárum sancta confitétur Ecclésia, Patrem imménsæ maiestátis; venerándum tuum verumet únicum FÃlium; Sanctum quoque Paráclitum SpÃritum. Tu rex glóriæ, Christe. Tu Patris sempitérnus es Filius. Tu, ad liberándum susceptúrus hóminem, non horrúisti Virginis úterum. Tu, devÃcto mortis acúleo, aperuÃsti credéntibus regna cælórum. Tu ad déxteram Dei sedes, in glória Patris. Iudex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni, quos pretióso sánguine redemÃsti. Ætérna fac cum sanctis tuisin glória numerári. Salvum fac pópulum tuum, Dómine, et bénedic hereditáti tuæ. Et rege eos, et extólle illosusque in ætérnum. Per sÃngulos dies benedÃcimus te; et laudámus nomen tuumin sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodÃre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te. In te, Dómine, sperávi: non confúndar in ætérnum.
And in English:
We praise thee, O God: we acknowledge thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud, the Heavens, and all the Powers therein. To thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy glory. The glorious company of the Apostles
praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; the Father of an infinite Majesty; thine honourable, true and only Son; also the Holy Ghost the Comforter. Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man thou didst not abhor the Virgin's womb. When thou hadst overcome the sharpness of death thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God in the glory of the Father. We believe that thou shalt come to be our Judge. We therefore pray thee, help thy servants whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people and bless thine heritage. Govern them and lift them up for ever. Day by day we magnify thee; and we worship thy Name ever world without end. Vouchsafe, O Lord to keep us this day without sin. O Lord, have mercy upon us have mercy upon us. O Lord, let thy mercy lighten upon us as our trust is in thee. O Lord, in thee have I trusted let me never be confounded.
The Chancel Choir hopes that you will enjoy hearing this glorious text, in a fine musical setting by John Rutter in worship on the 23rd.
Wikipedia says the following about this ancient hymn: "The Te Deum is an early Christian hymn of praise. Though its authorship is traditionally ascribed to Saints Ambrose and Augustine, on the occasion of the latter's baptism by the former in AD 387, contemporary scholars doubt this attribution, many assigning it to Nicetas, bishop of Remesiana in the late 4th to early 5th centuries. The hymn follows the outline of the Apostles' Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. Naming God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to the Church spread throughout the world. The hymn then returns to its credal formula, naming Christ and recalling his birth, suffering, and glorification. At this point the hymn turns to the subjects declaiming the praise, both the Church in general and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with the elect."
Here is the original Latin text:
Te Deum laudámus: te Dóminum confitémur. Te ætérnum Patrem, omnis terra venerátur. Tibi omnes ángeli, tibi cæliet univérsæ potestátes: tibi chérubim et séraphimincessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt cæli et terra maiestátis glóriæ tuæ. Te gloriósus apostolòrum chorus, te prophetárum laudábilis númerus, te mártyrum candidátus laudat exércitus. Te per orbem terrárum sancta confitétur Ecclésia, Patrem imménsæ maiestátis; venerándum tuum verumet únicum FÃlium; Sanctum quoque Paráclitum SpÃritum. Tu rex glóriæ, Christe. Tu Patris sempitérnus es Filius. Tu, ad liberándum susceptúrus hóminem, non horrúisti Virginis úterum. Tu, devÃcto mortis acúleo, aperuÃsti credéntibus regna cælórum. Tu ad déxteram Dei sedes, in glória Patris. Iudex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni, quos pretióso sánguine redemÃsti. Ætérna fac cum sanctis tuisin glória numerári. Salvum fac pópulum tuum, Dómine, et bénedic hereditáti tuæ. Et rege eos, et extólle illosusque in ætérnum. Per sÃngulos dies benedÃcimus te; et laudámus nomen tuumin sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodÃre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te. In te, Dómine, sperávi: non confúndar in ætérnum.
And in English:
We praise thee, O God: we acknowledge thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud, the Heavens, and all the Powers therein. To thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy glory. The glorious company of the Apostles
praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; the Father of an infinite Majesty; thine honourable, true and only Son; also the Holy Ghost the Comforter. Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man thou didst not abhor the Virgin's womb. When thou hadst overcome the sharpness of death thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God in the glory of the Father. We believe that thou shalt come to be our Judge. We therefore pray thee, help thy servants whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people and bless thine heritage. Govern them and lift them up for ever. Day by day we magnify thee; and we worship thy Name ever world without end. Vouchsafe, O Lord to keep us this day without sin. O Lord, have mercy upon us have mercy upon us. O Lord, let thy mercy lighten upon us as our trust is in thee. O Lord, in thee have I trusted let me never be confounded.
The Chancel Choir hopes that you will enjoy hearing this glorious text, in a fine musical setting by John Rutter in worship on the 23rd.
Thursday, September 6, 2007
Get SLAMMed
Here's an up and coming worship band of Presbyterian youth based at East Brentwood Presbyterian Church. They rocked the house at a recent elders convention in Nashville. Excellent work, guys! Anyone out there want to try something similar??!! GiveVoice is coming soon as part of Gateways!
Something New
I recently found James Wetzstein's AgnusDay cartoons. Each cartoon is a reflection on a reading from the Sunday lectionary selections. A Lutheran clergyperson, James is University Associate Pastor at Valparaiso University. I hope you will like the sometimes funny, always reflective interpretations of Scripture James has developed. Leave a comment here and let me know. The cartoons are way down at the bottom of this page; scroll down to take a look. They change weekly.
Along the same lines, because our Sunday worship is keyed to the readings of the common lectionary, and because the cartoon is also lectinoary-based, I have placed a feed in the right column that will provide the lectionary readings for the Sunday upcoming, as
well as a daily lectionary for personal devotional use. This helpful tool is provided by the Presbyterian Church (USA) via WebMedley.
Along the same lines, because our Sunday worship is keyed to the readings of the common lectionary, and because the cartoon is also lectinoary-based, I have placed a feed in the right column that will provide the lectionary readings for the Sunday upcoming, as
well as a daily lectionary for personal devotional use. This helpful tool is provided by the Presbyterian Church (USA) via WebMedley.
Music for Worship Sunday September 9
Focusing on our devotion to Christ and the cross as we are in worship this week, the music for FirstLight has an introspective feel to it. We will be singing some old favorite choruses, “More precious than silver,” Jesus, draw me close,” and “He has made me glad.” Also included in the opening set of music is Tommy Walker’s “He knows my name.” Here is a link to a really nice music video of the song. The Prophets will be singing one of their favorite songs, “There is a longing in our hearts” at the offering. Anne Quigley is an artist/composer affiliated with Oregon Catholic Press. The closing song at FirstLight will be John Bell’s hymn “The Summons.” The tune and original secular lyric for the song, “Kelvingrove,” have a rich history of their own. Coupled with John Bell’s powerful text of commitment and devotion the tune has taken on new life as a worship song. Here is a link to some photos of the Glasgow, Scotland park (and now museum) that gave rise to the original music and text.
Hymns at the 11 AM service include the aforementioned “The Summons” plus “Lift high the cross” (Crucifer) and “In the cross of Christ I glory” (Rathbun). Alice Keith Knowles ("Keithie") joined our congregation in early summer and brought a wealth of musical talent and lore with her. This week she will play pieces for violin at the prelude and offertory. Vivaldi’s "Sonata in D" is a violinist favorite with flashy arpeggios throughout. The piece also includes challenging triple- and quadruple-stops, three and four notes played at once (keep in mind it’s a violin!!) Charles Callahan’s “Valediction” is one of the few works by this composer not based on one or more hymn tunes. It’s interesting to hear what Dr. Callahan does with original material. The piece is an interpretation of John 14.1-4, 27, a highly introspective work. The organ postlude will be a rousing fanfare on the tune associated with “Stand up, stand up for Jesus,” by Alice Jordan (b. 1916). At age 12 Dr. Jordan wrote her first work, a school song for Callanan Junior High School. Long associated with Drake University where her husband Frank Jordan was on faculty, she is still at work composing today. The choir anthem this Sunday is Allen Pote’s perennial favorite, “Psalm 139,” marked by a flowing accompaniment and lyrical melody.
Hymns at the 11 AM service include the aforementioned “The Summons” plus “Lift high the cross” (Crucifer) and “In the cross of Christ I glory” (Rathbun). Alice Keith Knowles ("Keithie") joined our congregation in early summer and brought a wealth of musical talent and lore with her. This week she will play pieces for violin at the prelude and offertory. Vivaldi’s "Sonata in D" is a violinist favorite with flashy arpeggios throughout. The piece also includes challenging triple- and quadruple-stops, three and four notes played at once (keep in mind it’s a violin!!) Charles Callahan’s “Valediction” is one of the few works by this composer not based on one or more hymn tunes. It’s interesting to hear what Dr. Callahan does with original material. The piece is an interpretation of John 14.1-4, 27, a highly introspective work. The organ postlude will be a rousing fanfare on the tune associated with “Stand up, stand up for Jesus,” by Alice Jordan (b. 1916). At age 12 Dr. Jordan wrote her first work, a school song for Callanan Junior High School. Long associated with Drake University where her husband Frank Jordan was on faculty, she is still at work composing today. The choir anthem this Sunday is Allen Pote’s perennial favorite, “Psalm 139,” marked by a flowing accompaniment and lyrical melody.
Wednesday, September 5, 2007
Worship and the "A" Word
A member of our congregation recently told me how much she appreciates the organ postlude each week at the 11 AM service. She explained how it was, for her, a final act of worship every week. The same day another member fussed in a good-natured way that it was hard to carry on a decent conversation in the sanctuary after worship with all that racket from the organ! In the next few paragraphs I’d like to address the matter of the place of the postlude in worship and our response to it, and the more particular matter of how to respond after the postlude and other elements of worship that are meaningful to us.
I am just old enough to have experienced worship as a child in two very different ways. In one church we attended, a band played loud rock-style music before and after worship, and folks clapped and sang and danced along, and even talked (albeit loudly!) with one another during the music. In another church, one entered quietly and reverently. The loudest sound I ever heard there was the “thud” of a dropped hymnal! Thus, I am absolutely of two minds on the matter of applause in worship.
There is scriptural affirmation for either approach to worship. Psalm 47 begins, “O clap your hands all you peoples, shout to God with loud songs of joy.” Habakkuk 2.20 reads, “The Lord is in his holy temple, let all the earth keep silence before him.” In rural eastern NC where I worked for a while, it was customary, where applause was a part of worship, to give a “clap offering to the Lord,” in appreciation for something that took place in worship. What a wonderful spin on the notion of applause in church! This was also a region of the state, however, that even Lutherans might be heard to exclaim, “Amen!” if they happened to feel a strong emotion in worship. Rest assured, I know that applause offered in worship is not offered in affirmation of the ones who have “done something” in worship, but is offered to God in thanksgiving. Know also that your organist and other musicians are not reliant upon applause as an affirmation of what they have done. We are content with having made our best, most faithful musical offering to God for its own sake.
Some of you heard my own son, Briggs, recently complain as he was being dragged into the Sunday service during the organ prelude, “I hate that music!” I and your other church musicians have no illusions about their relative place in the grand scheme of worship. Likewise, I have been around enough to know that for many, the postlude is the signal for the talking to begin. The musicians involved in worship know that fellowship and hospitality are vital components to our common life. As an organist, I am gratified by those who don’t charge the doors to begin their conversations, but rather linger in the sanctuary and overhear the music, even if they don’t actively listen to it. I am humbled by those who remain engaged with the last organ piece as an act of worship. If you will allow me the freedom to select music for the postlude that seems to fit the theme and tenor of the day, I will gratefully acknowledge your freedom to remain and prayerfully listen to the postlude as the final element of the worship service, or to linger and talk with friends in the sanctuary, or to move into the narthex and greet one another in Christian hospitality.
I would never want to mandate that everyone be seated to listen to the organ postlude. I also want us to remain sensitive to those who view that musical offering as one last act of worship each week. Please just keep in mind that worship is still going on for some. If you see someone seated nearby not talking, it may be they are concluding their worship. If you conversation gets boisterous, you might want to move away so as not to disturb. Without drawing attention to yourself or the persons still in worship, simply make your way toward the narthex. If worship for you is not concluded until after the postlude, you may want to consider making your way to the choir loft as the postlude begins. Make yourself at home and have a seat while the postlude continues.
We are a community of faith, a richly diverse community. No one model for worship is going to accommodate the variety of worship experiences we desire. If we can be sensitive to one another in our preferences, we may learn from each other about the variety of possibilities as pertains to our Sunday worship.
Note: Imagine this: we are not the first church to deal with this issue! Here is a link to a vigorous discussion among choral music professionals. Church organists have weighed in on the topic also. Surf to this search engine; enter "applause postlude" in the first blank; execute the search and see what a few organists have had to day.
I am just old enough to have experienced worship as a child in two very different ways. In one church we attended, a band played loud rock-style music before and after worship, and folks clapped and sang and danced along, and even talked (albeit loudly!) with one another during the music. In another church, one entered quietly and reverently. The loudest sound I ever heard there was the “thud” of a dropped hymnal! Thus, I am absolutely of two minds on the matter of applause in worship.
There is scriptural affirmation for either approach to worship. Psalm 47 begins, “O clap your hands all you peoples, shout to God with loud songs of joy.” Habakkuk 2.20 reads, “The Lord is in his holy temple, let all the earth keep silence before him.” In rural eastern NC where I worked for a while, it was customary, where applause was a part of worship, to give a “clap offering to the Lord,” in appreciation for something that took place in worship. What a wonderful spin on the notion of applause in church! This was also a region of the state, however, that even Lutherans might be heard to exclaim, “Amen!” if they happened to feel a strong emotion in worship. Rest assured, I know that applause offered in worship is not offered in affirmation of the ones who have “done something” in worship, but is offered to God in thanksgiving. Know also that your organist and other musicians are not reliant upon applause as an affirmation of what they have done. We are content with having made our best, most faithful musical offering to God for its own sake.
Some of you heard my own son, Briggs, recently complain as he was being dragged into the Sunday service during the organ prelude, “I hate that music!” I and your other church musicians have no illusions about their relative place in the grand scheme of worship. Likewise, I have been around enough to know that for many, the postlude is the signal for the talking to begin. The musicians involved in worship know that fellowship and hospitality are vital components to our common life. As an organist, I am gratified by those who don’t charge the doors to begin their conversations, but rather linger in the sanctuary and overhear the music, even if they don’t actively listen to it. I am humbled by those who remain engaged with the last organ piece as an act of worship. If you will allow me the freedom to select music for the postlude that seems to fit the theme and tenor of the day, I will gratefully acknowledge your freedom to remain and prayerfully listen to the postlude as the final element of the worship service, or to linger and talk with friends in the sanctuary, or to move into the narthex and greet one another in Christian hospitality.I would never want to mandate that everyone be seated to listen to the organ postlude. I also want us to remain sensitive to those who view that musical offering as one last act of worship each week. Please just keep in mind that worship is still going on for some. If you see someone seated nearby not talking, it may be they are concluding their worship. If you conversation gets boisterous, you might want to move away so as not to disturb. Without drawing attention to yourself or the persons still in worship, simply make your way toward the narthex. If worship for you is not concluded until after the postlude, you may want to consider making your way to the choir loft as the postlude begins. Make yourself at home and have a seat while the postlude continues.
We are a community of faith, a richly diverse community. No one model for worship is going to accommodate the variety of worship experiences we desire. If we can be sensitive to one another in our preferences, we may learn from each other about the variety of possibilities as pertains to our Sunday worship.
Note: Imagine this: we are not the first church to deal with this issue! Here is a link to a vigorous discussion among choral music professionals. Church organists have weighed in on the topic also. Surf to this search engine; enter "applause postlude" in the first blank; execute the search and see what a few organists have had to day.
Thursday, August 30, 2007
Music for Worship this Sunday
Congregational songs at FirstLight will include Reuben Morgan's "I Give You My All," "God of Wonders," and Chris Tomlin's and Louis Giglio's "Holy is the Lord." Our opening songs will conclude with the Iona Community song "Come, All You People." We'll continue the ethnic feel in the music with the Caribbean-sounding "Halle, Halle." The Prophets of Praise will sing a setting of "Refiner's Fire" at the offering. Our closing song (and the last hymn at 11 AM) will be "Lord Whose Love Through Humble Service," to the Sacred Harp tune Beach Spring.
The multi-cultural music carries over to the 11 AM service this week. The choir will be singing "God is here today," a song from Mexican worship traditions arranged by C. Michael Hawn. Any time I have a question about global worship and music, Mike Hawn is my go-to man; thanks bro'! The choir will also sing the jaunty "Halle, Halle." To conclude the service, the choir will sing John Stainer's beloved "Seven-Fold Amen." In lieu of a choral anthem Ken Scott, Jr. will be singing a setting of text from Amos by Michael Barker. "The Lord Was Standing" (Amos 7.7-9) is from a set of four songs for bass soloist with piano accompaniment written in 2001 employing various passages from Amos. The music has a distinct modern quality while remaining definitely tonal. Organ music at this service is also by Michael Barker, his Psalm Suite for Organ: four shorter pieces which reflect on passages from the Psalms. These pieces are all heavily influenced by the music of Carl Orff. This will be the first public performance of all these pieces. The hymns for worship this Sunday will be "Praise ye the Lord the Almighty" (Lobe den herren), "Dear Lord and Father of Mankind" (Rest), and "Lord Whose Love..." mentioned above.
The multi-cultural music carries over to the 11 AM service this week. The choir will be singing "God is here today," a song from Mexican worship traditions arranged by C. Michael Hawn. Any time I have a question about global worship and music, Mike Hawn is my go-to man; thanks bro'! The choir will also sing the jaunty "Halle, Halle." To conclude the service, the choir will sing John Stainer's beloved "Seven-Fold Amen." In lieu of a choral anthem Ken Scott, Jr. will be singing a setting of text from Amos by Michael Barker. "The Lord Was Standing" (Amos 7.7-9) is from a set of four songs for bass soloist with piano accompaniment written in 2001 employing various passages from Amos. The music has a distinct modern quality while remaining definitely tonal. Organ music at this service is also by Michael Barker, his Psalm Suite for Organ: four shorter pieces which reflect on passages from the Psalms. These pieces are all heavily influenced by the music of Carl Orff. This will be the first public performance of all these pieces. The hymns for worship this Sunday will be "Praise ye the Lord the Almighty" (Lobe den herren), "Dear Lord and Father of Mankind" (Rest), and "Lord Whose Love..." mentioned above.
Thursday, August 23, 2007
Music for worship this Sunday
The chancel choir will be singing an anthem by Lloyd Pfautsch, "Seek to Serve." Based on ancient chant melodies, this is a strikingly simple and haunting anthem. The text is a powerful prayer of commitment to mission and service. The choir will also be singing "Jesus Calls Us" to the tune Pleading Savior at the Introit. Mike Barker will be performing a hymn arrangement by Richard Elliot, "Lord Teach Me to Walk in the Light," at the prelude, an offertory by Dom Paul Benoit, and a weighty postlude by American composer James Hotchkiss Rogers. Global worship music will be a feature at both services this week, with a prayer song from Tanzania and a sung Prayer for Illumination which has a strong Middle Eastern tone. Congregational songs at Firstlight will include the classics "You Are My Hiding Place" and "We Will Glorify the King of Kings" plus "Made Me Glad" and "That's Why We Praise Him." The Prophets of Praise will be singing the hymn "Come ye Sinners" by Joseph Hart (1712-1768) in a new setting by Matthew S. Smith at Indelible Grace Music. Here is a video of the band at Blacknall Memorial Presbyterian in Durham, NC performing the song for their worship. Congregational hymns at 11 AM will include "Guide Me, O Thou Great Jehovah" (Cwm Rhondda), "If Thou But Trust in God to Guide Thee" (Wer nur den lieben Gott), and "How Firm a Foundation" (Foundation).
Thursday, August 16, 2007
Music for Worship 08-19-07
At FirstLight we will be singing "Come, let us worship and bow down," "Cry of my heart," and "Lord, I lift your name on high." The closing song will be "Shout to the Lord." At the offering the Prophets of Praise will sing a new setting of "The church's one foundation," by composer Brian Moss who is affiliated with Indelible Grace Music, a music ministry of Reformed University Fellowship.
At 11:00AM we will be welcoming the return (in force) of our Chancel Choir. Their anthem this week is G. F. Handel's "Keep me faithfully," from the First Chandos Anthem of 1717, arranged by Richard Proulx. Organ music by Handel and Benedetto Marcello with frame the service. Hymns from the Presbyterian Hymnal will be "Sing praise to God who reigns above," Fight the good fight," and "Take up your cross, the Savior said." The choir will also be singing "Guide my feet," and "We're marching to Zion."
Adult Handbells will rehearse Monday EVENING at 7 PM (no daytime rehearsal). Tune Weavers will practice at 9 AM on Monday. Prophets of Praise will rehearse Tuesday evening at 7 PM, and Chancel Choir will rehearse Wednesday evening at 7 PM.
At 11:00AM we will be welcoming the return (in force) of our Chancel Choir. Their anthem this week is G. F. Handel's "Keep me faithfully," from the First Chandos Anthem of 1717, arranged by Richard Proulx. Organ music by Handel and Benedetto Marcello with frame the service. Hymns from the Presbyterian Hymnal will be "Sing praise to God who reigns above," Fight the good fight," and "Take up your cross, the Savior said." The choir will also be singing "Guide my feet," and "We're marching to Zion."
Adult Handbells will rehearse Monday EVENING at 7 PM (no daytime rehearsal). Tune Weavers will practice at 9 AM on Monday. Prophets of Praise will rehearse Tuesday evening at 7 PM, and Chancel Choir will rehearse Wednesday evening at 7 PM.
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