Lest anyone think we're utilizing the visual arts to the detriment of music this season, rest assured we are not. To relate to each of the sermons during Lent, we have sought out hymns relevant to the person from the Bible serving as the focus for each particular week. This has been a real challenge and quite eye-opening, forcing me to plow through hymn resources I don't use very often. But I think it will prove to be quite rewarding for us all. Here's the working list:
February 26
Anointing Woman (Mark 14.3-9)
A most gracious display by John Ylvisaker (song collection Borning Cry, volume 1)
March 4
Slave with ear cut off in garden (Mark 14.32-50)
Jesus went out to a garden by Carolyn Winfrey Gillette (BEACH SPRING)
Mark 11
Peter (Mark 14.28-38, 66-72)
Youth Sunday
When Peter boasted soon he fell (ABIDING GRACE)
March 18
High Priest-Caiaphas (Mark 14.53-65)
Go to dark Gethsemane (REDHEAD)
March 25
Judas (Matthew 26.14-16, 47-50)
Bitter was the night by Sydney Carter (BITTER WAS THE NIGHT)
April 1
Palm Sunday
Lessons and Passion Hymns
April 5
Maundy Thursday
Centurion (Mark 15.33-39)
April 8
Easter Day
Women at the tomb (Mark 16.1-8)
Sing the joy of Easter Day (ROYAL OAK)
We used the hymn by John Ylvisaker last year on Palm Sunday, so that was pretty easy to arrive upon. I never found any hymn dealing specifically with the slave in the story of the encounter in the garden. Therefore, we asked Carolyn Winfrey Gillette to write a new hymn for us. She did so in fine fashion, crafting a text that deals with the immediate story and character, but also addresses larger issues of violence and peace. We are looking forward to singing it. I still have not found the hymn I want to use to deal with the "Centurion." I am not finished looking, but I have made some notes of my own as a possible hymn text, in case nothing else pans out. "When Peter Boasted" was written by John Newton (of "Amazing grace" fame) and first appeared in 1779. I found the hymn by Sydney Carter in Voices United, the hymnal of the United Church of Canada. We'll probably also sing Carter's "Lord of the dance" that same day. On Palm Sunday we'll explore the Passion narrative through a series of readings and hymns, yet to be determined. I feel pretty pleased with the variety of hymns representing several eras and styles. I am certain the congregation will be able to appreciate the same as they encounter these songs in worship.
Wednesday, February 29, 2012
Tuesday, February 28, 2012
Lenten Banners
Our Lenten preaching theme is "We were there," a series of sermons dealing with persons who related to Jesus in his final days. When the theme was announced in January, I immediately imagined a set of banners, one for each person. I had in mind a set we made in Richmond for Eastertide some years ago, a sort of silhouette effect. One church member drew the original artwork, other members did the painting (on fabric) and yet another finished each banner with a border and yet another prepared the banners for hanging (rods and cords). We're using the drawings as cover art for our worship guides on Sundays.
Here are the first two; we've colorized the background (from the original black/white) to reflect the fabric color of the finished banners. Above, the woman who anointed Jesus (Mark 14.3-9) and below, the slave who was injured in the garden (Luke 22.45-53). I'll post the others as we move through the season.
Saturday, February 18, 2012
Taking off, putting on
As we near the beginning of Lent this week on Ash Wednesday, I am seeing more comment in various forums about what folks are giving up or sacrificing. That's all fine and good. But I'd like to offer an alternative.
Instead of giving up something, take something on. Covenant with yourself to read a particular book this season, something you've been "meaning for read" for a while, or a "deeper" book of theology or devotional practice. Covenant to take on an additional act of service this season, either a one-time undertaking or a recurring act of ministry throughout the season. A few years ago I covenanted with myself to listen to and study the JS Bach St. Matthew Passion during the season of Lent. I had a nice recording, a copy of the full score and a critical analysis of the work in book form. Spread over 40 days it made for quite an undertaking that was edifying musically and spiritually. If you read the Bible daily, consider adding the reading of a commentary to go along with your readings.
I've given up my share of things over the years, but more recently have gained much more by taking something on. I commend it to you.
Instead of giving up something, take something on. Covenant with yourself to read a particular book this season, something you've been "meaning for read" for a while, or a "deeper" book of theology or devotional practice. Covenant to take on an additional act of service this season, either a one-time undertaking or a recurring act of ministry throughout the season. A few years ago I covenanted with myself to listen to and study the JS Bach St. Matthew Passion during the season of Lent. I had a nice recording, a copy of the full score and a critical analysis of the work in book form. Spread over 40 days it made for quite an undertaking that was edifying musically and spiritually. If you read the Bible daily, consider adding the reading of a commentary to go along with your readings.
I've given up my share of things over the years, but more recently have gained much more by taking something on. I commend it to you.
Thursday, February 16, 2012
Music for 021912
FirstLight
Gathering Song(s)
As the deer
Open the eyes of my heart, Lord
Opening Song
Holy is the Lord
Confession
You are my King (Amazing love)
Scripture/Proclamation
Open our eyes
Offertory
Salt and light
Doxology
Give thanks
Closing Song
Shine, Jesus, shine
11 AM
Hymns
308, O sing a song of Bethlehem (KINGSFOLD)
341, Blessed assurance (ASSURANCE
462, Christ, whose glory fills the skies (RATISBON)
Confession
Purcell, Glory be to God the Father (WESTMINSTER ABBEY)
Scripture
2086, Open our eyes (OPEN OUR EYES)
Anthem
Kauffmann, O sing to the Lord an original song
…for the Lord, our God has declared his victory. All the ends of the earth have
seen the victory of our God. Sing praises with the lute and the harp; with organ
and strings make the sounds of melody. Let the trumpet blare, raise a tune with the clarion. Make a joyful noise to the Lord, our God. Let the sea awaken and roar, and all that dwell therein; let the rush of the waters clap their hands and the hills sing for joy before the Ruler of all.
Doxology
LASST UNS ERFREUEN
Instrumental/Organ Music
Prelude: Arr. Kevin McChesney, Brethren, we have met to worship
Adult Handbells
Offertory: Leslie Adams, Offering of Love
Postlude: Arr. Gilbert Martin, In Christ there is no east or west
Gathering Song(s)
As the deer
Open the eyes of my heart, Lord
Opening Song
Holy is the Lord
Confession
You are my King (Amazing love)
Scripture/Proclamation
Open our eyes
Offertory
Salt and light
Doxology
Give thanks
Closing Song
Shine, Jesus, shine
11 AM
Hymns
308, O sing a song of Bethlehem (KINGSFOLD)
341, Blessed assurance (ASSURANCE
462, Christ, whose glory fills the skies (RATISBON)
Confession
Purcell, Glory be to God the Father (WESTMINSTER ABBEY)
Scripture
2086, Open our eyes (OPEN OUR EYES)
Anthem
Kauffmann, O sing to the Lord an original song
…for the Lord, our God has declared his victory. All the ends of the earth have
seen the victory of our God. Sing praises with the lute and the harp; with organ
and strings make the sounds of melody. Let the trumpet blare, raise a tune with the clarion. Make a joyful noise to the Lord, our God. Let the sea awaken and roar, and all that dwell therein; let the rush of the waters clap their hands and the hills sing for joy before the Ruler of all.
Doxology
LASST UNS ERFREUEN
Instrumental/Organ Music
Prelude: Arr. Kevin McChesney, Brethren, we have met to worship
Adult Handbells
Offertory: Leslie Adams, Offering of Love
Postlude: Arr. Gilbert Martin, In Christ there is no east or west
Saturday, February 11, 2012
Music for 021212
FirstLight
Gathering Song(s)
Tuya es la gloria
All hail the power of Jesus’ name
Opening Song
Blessed be your name
Confession
Glory to God
Scripture/Proclamation
Open your ears, O faithful people
Offertory
Mighty to save
Doxology
Give thanks
Closing Song
Did you feel the mountains tremble
11 AM
Hymns
478, Praise, my soul, the King of heaven (LAUDA ANIMA)
294, Wherever I may wander (NEW ENGLAND)
379, My hope is built on nothing less (SOLID ROCK)
Confession
2043, Celtic Alleluia (CELTIC ALLLEUIA)
Anthem
Manz, E’en so Lord Jesus quickly come
Peace be to you and grace from Him
Who freed us from our sin
Who loved us all, and shed his blood
That we might saved be.
Sing holy, holy to our Lord
The Lord almighty God
Who was and is, and is to come
Sing holy, holy Lord.
Rejoice in heaven,all ye that dwell therein
Rejoice on earth, ye saints below
For Christ is coming,
Is coming soon
For Christ is coming soon.
E'en so Lord Jesus quickly come
And night shall be no more
They need no light, no lamp, nor sun
For Christ will be their All!
Doxology
OLD HUNDREDTH
Instrumental/Organ Music
Prelude: Samuel Coleridge-Taylor, Arietta
Offertory: Gerre Hancock, Prelude in B-flat
Postlude: Fela Sowande, Joshua fit the battle of Jericho
During February I am exploring the organ music of African-American composers, but because this month also overlaps with our congregation's emphasis on global mission, I am going further afield than just composers from the US. Last week I drew upon the music of Florence B. Price and Adolphus Hailstork. This week I will play a piece by Coleridge-Taylor who was born in Great Britain, the child of an English woman and a Sierra Leonean man. He toured the US three times and from those experiences was driven to explore his African roots in his composing efforts. I am also playing a piece by Fela Sowande who likewise was not American. Born in Nigeria, he studied in Great Britain and lived there for many years. However, he eventually came to teach at Kent State University and ultimately died in the US. Finally I should note that Gerre Hancock was not African-American nor had any other racial ties to Africa. He recently died, so I felt it meet that I should play a piece of his I've had in my library for some time but never used in worship before.
Gathering Song(s)
Tuya es la gloria
All hail the power of Jesus’ name
Opening Song
Blessed be your name
Confession
Glory to God
Scripture/Proclamation
Open your ears, O faithful people
Offertory
Mighty to save
Doxology
Give thanks
Closing Song
Did you feel the mountains tremble
11 AM
Hymns
478, Praise, my soul, the King of heaven (LAUDA ANIMA)
294, Wherever I may wander (NEW ENGLAND)
379, My hope is built on nothing less (SOLID ROCK)
Confession
2043, Celtic Alleluia (CELTIC ALLLEUIA)
Anthem
Manz, E’en so Lord Jesus quickly come
Peace be to you and grace from Him
Who freed us from our sin
Who loved us all, and shed his blood
That we might saved be.
Sing holy, holy to our Lord
The Lord almighty God
Who was and is, and is to come
Sing holy, holy Lord.
Rejoice in heaven,all ye that dwell therein
Rejoice on earth, ye saints below
For Christ is coming,
Is coming soon
For Christ is coming soon.
E'en so Lord Jesus quickly come
And night shall be no more
They need no light, no lamp, nor sun
For Christ will be their All!
Doxology
OLD HUNDREDTH
Instrumental/Organ Music
Prelude: Samuel Coleridge-Taylor, Arietta
Offertory: Gerre Hancock, Prelude in B-flat
Postlude: Fela Sowande, Joshua fit the battle of Jericho
During February I am exploring the organ music of African-American composers, but because this month also overlaps with our congregation's emphasis on global mission, I am going further afield than just composers from the US. Last week I drew upon the music of Florence B. Price and Adolphus Hailstork. This week I will play a piece by Coleridge-Taylor who was born in Great Britain, the child of an English woman and a Sierra Leonean man. He toured the US three times and from those experiences was driven to explore his African roots in his composing efforts. I am also playing a piece by Fela Sowande who likewise was not American. Born in Nigeria, he studied in Great Britain and lived there for many years. However, he eventually came to teach at Kent State University and ultimately died in the US. Finally I should note that Gerre Hancock was not African-American nor had any other racial ties to Africa. He recently died, so I felt it meet that I should play a piece of his I've had in my library for some time but never used in worship before.
Tuesday, February 7, 2012
Review: The Christian west and its singers, C. Page
I recently read a very favorable review of this book by Christopher Page, on the development of music notation and the advancement of organized singing in Christian churches to the Middle Ages. I wanted to read the book and then review it here for obvious reasons. Yet, as one can see on the publisher's site, the book is out of print. Which explains, I suppose why this is what I find for the book at Amazon.com. Yeah, that's a used copy for $711! Things were no better over at Barnes & Noble. New copies top out at about $3900!! Reckon I'll check it out from the library. It's kind of sad, though: the book is not quite 2 years from its publication date. And it's already out-of-print? What a rip!
+ + + (but dream on)
Thursday, February 2, 2012
New hymn text
During Lent we will be exploring Jesus' relationship with several characters from the Bible. One of my goals has been to pair a hymn with each individual. One of the individuals to be considered is the slave whose ear was cut off in the garden of Gethsemane. Perhaps not surprisingly, there are no hymn texts on that particular Bible story of which I am aware. Therefore I commissioned Carolyn Winfrey Gillette, a Presbyterian pastor and hymn-writer of some renown to write a new text for us at Black Mountain Presbyterian Church.
The text is obviously protected by copyright, so while it may be possible to steal it from this post, please just do the right thing and don't. Contact Mike Barker for more information.
Gillette wrote the text with the hymn tune BEACH SPRING in mind. We hope, however, to create a new tune for the text and premiere the text and tune together. The first performance will be Sunday March 4. Gillette tells me that reference is made to this new text in Presbyterian Outlook as part of a promotion of the publication of a collection of new hymn texts she has written. Keep en eye out for that.
Jesus went out to a garden To a quiet place to pray.
In the night, a crowd came round him, Led by Judas on their way.
They seized Jesus to arrest him; Someone near then drew a sword.
Soon a slave was injured, suffering There beside our suffering Lord.
Jesus spoke to stop the violence: “Put your sword back in its place.”
Then he touched the slave and healed him In a moment filled with grace.
For as violence leads to violence Causing more distress and pain—
So compassion in abundance Is a witness to God’s reign.
God of love, we pause and wonder: Did that slave give quiet praise?
Yet the story marches onward With the pain that it portrays.
For the One who brought such healing Soon was broken, on a cross,
To our sinful world revealing Violence has an awful cost.
God, the gospels bear a witness: Your Son’s death was not the end.
By your grace, you raised up Jesus; Sin and violence did not win.
May we work to end all suffering; Lead us in Christ’s peaceful way.
May his peace become an offering That we share throughout each day
The text is obviously protected by copyright, so while it may be possible to steal it from this post, please just do the right thing and don't. Contact Mike Barker for more information.
Gillette wrote the text with the hymn tune BEACH SPRING in mind. We hope, however, to create a new tune for the text and premiere the text and tune together. The first performance will be Sunday March 4. Gillette tells me that reference is made to this new text in Presbyterian Outlook as part of a promotion of the publication of a collection of new hymn texts she has written. Keep en eye out for that.
Jesus went out to a garden To a quiet place to pray.
In the night, a crowd came round him, Led by Judas on their way.
They seized Jesus to arrest him; Someone near then drew a sword.
Soon a slave was injured, suffering There beside our suffering Lord.
Jesus spoke to stop the violence: “Put your sword back in its place.”
Then he touched the slave and healed him In a moment filled with grace.
For as violence leads to violence Causing more distress and pain—
So compassion in abundance Is a witness to God’s reign.
God of love, we pause and wonder: Did that slave give quiet praise?
Yet the story marches onward With the pain that it portrays.
For the One who brought such healing Soon was broken, on a cross,
To our sinful world revealing Violence has an awful cost.
God, the gospels bear a witness: Your Son’s death was not the end.
By your grace, you raised up Jesus; Sin and violence did not win.
May we work to end all suffering; Lead us in Christ’s peaceful way.
May his peace become an offering That we share throughout each day
Music for worship 020512
FirstLight
Gathering Song(s)
I love you, Lord STF 2068)
Opening Song
Uyaimose (in F)
Praise to the Lord the Almighty (in F)
Confession
Jubilate, everybody
Scripture/Proclamation
Speak, O Lord
Offertory
Everlasting God
Doxology
Give thanks (STF 2236)
Closing Song
You shall go out with joy (STF 2279)
11 AM
Hymns
482, Praise to the Lord, the Almighty (LOBE DEN HERREN)
2281, May you run and not be weary (PRINCE OF PEACE)
411, Arise, your light is come (FESTAL SONG)
Confession
Patterson, Alleluia, in Jesus Christ we are forgiven
Scripture
Hasidic Tune, Open your ears, O faithful people
Anthem
Marty Haugen, Eye has not seen
A setting of First Corinthians 2.9, 10
Libby Barker, Lynn Harmon
Doxology
OLD HUNDREDTH
Instrumental/Organ Music
Prelude: Florence B. Price, Arietta
Offertory: Allen Pote, Festive Praise
Sing to the Lord a song of praise, a wonderful marvelous song.
Sing to the Lord with joy in your heart, a wonderful, marvelous song.
Alleuia, amen!
Chancel Choir
Postlude: Adolphus Hailstork, Fugue in F Minor
Gathering Song(s)
I love you, Lord STF 2068)
Opening Song
Uyaimose (in F)
Praise to the Lord the Almighty (in F)
Confession
Jubilate, everybody
Scripture/Proclamation
Speak, O Lord
Offertory
Everlasting God
Doxology
Give thanks (STF 2236)
Closing Song
You shall go out with joy (STF 2279)
11 AM
Hymns
482, Praise to the Lord, the Almighty (LOBE DEN HERREN)
2281, May you run and not be weary (PRINCE OF PEACE)
411, Arise, your light is come (FESTAL SONG)
Confession
Patterson, Alleluia, in Jesus Christ we are forgiven
Scripture
Hasidic Tune, Open your ears, O faithful people
Anthem
Marty Haugen, Eye has not seen
A setting of First Corinthians 2.9, 10
Libby Barker, Lynn Harmon
Doxology
OLD HUNDREDTH
Instrumental/Organ Music
Prelude: Florence B. Price, Arietta
Offertory: Allen Pote, Festive Praise
Sing to the Lord a song of praise, a wonderful marvelous song.
Sing to the Lord with joy in your heart, a wonderful, marvelous song.
Alleuia, amen!
Chancel Choir
Postlude: Adolphus Hailstork, Fugue in F Minor
Wednesday, February 1, 2012
Review: Glory, by Michael W. Smith
I bought the MP3 based on a favorable review in a recent issue of Christianity Today.
I thought the music would take one direction based on the title of the album. But it went another, and checking through the track names (Heroes, Glory Battle, The Tribute) I was struck by a very militaristic sound to most of the tracks. Those that weren't as military-sounding sounded very much like, well, tributes to fallen soldiers (and at least one part that sounded alarmingly like variations on a tune reminiscent of "Yankee Doodle Dandy.)
It's fine film music, sort of like music looking for a movie to go with. I could hear it paired with a Mel Gibson film quite easily.
Smith, being a pianist, features the piano quite a bit in his writing. There is little motific development in the symphonic writing. Mostly nice melodies begun in one instrument and then tossed around to others, the orchestra serving to punctuate and create transitions between iterations of the theme.
Nice music, but not a whole lot of substance; good background music for studying or reading.
+ +
I thought the music would take one direction based on the title of the album. But it went another, and checking through the track names (Heroes, Glory Battle, The Tribute) I was struck by a very militaristic sound to most of the tracks. Those that weren't as military-sounding sounded very much like, well, tributes to fallen soldiers (and at least one part that sounded alarmingly like variations on a tune reminiscent of "Yankee Doodle Dandy.)
It's fine film music, sort of like music looking for a movie to go with. I could hear it paired with a Mel Gibson film quite easily.
Smith, being a pianist, features the piano quite a bit in his writing. There is little motific development in the symphonic writing. Mostly nice melodies begun in one instrument and then tossed around to others, the orchestra serving to punctuate and create transitions between iterations of the theme.
Nice music, but not a whole lot of substance; good background music for studying or reading.
+ +
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