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 anthem 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.”

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 Fílium; Sanctum quoque Paráclitum Spíritum. Tu rex glóriæ, Christe. Tu Patris sempitérnus es Filius. Tu, ad liberándum susceptúrus hóminem, non horrúisti Virginis úterum. Tu, devícto mortis acúleo, aperuísti credéntibus regna cælórum. Tu ad déxteram Dei sedes, in glória Patris. Iudex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni, quos pretióso sánguine redemísti. 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 síngulos dies benedícimus te; et laudámus nomen tuumin sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodíre. 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.

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.

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.

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.

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.