Hymn of the Day: “Will You Come and Follow Me?” ELW 798
Text: John Lamberton Bell (1949)
Tune: KELVINGROVE, traditional Scottish melody
Though he is not certain of it, John Bell is "fairly confident" that this text was written “for the sending out of one our youth volunteers. This was a scheme sponsored by the lona Community whereby young people gave a year or two to live in impoverished parts of Scotland, on the dole, and work out their discipleship in hard places. When they finished, my colleague and I would often write a song for their farewell ceremony always held in the house where they had been working. The words of this song therefore reflect the experience of the volunteer concerned. But we only wrote it for one-off use. It probably goes back to around 1986-87.” Bell then adds, "If I had kept a record of people who have spoken of how a particular line in this affected their life, I could have published a book of very moving testimonies by now, but I'm glad I didn't."
John Lamberton Bell is a Scottish hymn-writer and Church of Scotland minister. He is a member of the Iona Community, a broadcaster, and former student activist. He works throughout the world, lecturing in theological colleges in the UK, Canada and the United States, but is primarily concerned with the renewal of congregational worship at the grass roots level.
Kelvingrove is a place in Glasgow, Scotland, perhaps best known for the museum with that name. The tune that bears the name KELVINGROVE is a traditional Scottish one linked with a text by Thomas Lyle (1792-1859), "Let us haste to Kelvin Grove, bonnie lassie, O," published in The Scottish Minstrel (1811) as KELVIN WATER. Before that in the eighteenth century it was paired with "Bonnie Lassie-O (The Shearing's Nae for You)," which is about a young woman being raped. The tune, darkly, paradoxically, works very well with this text by John Bell, and one has to believe that the irony of such a tune for a story of rape was not lost on those who sang it in the eighteenth century.
Offertory: “Consecration” Frederick Chatfield
This is a lovely, compelling setting of Frances Havergal's hymn-text "Take my life and let it be." Here is how author Frances Havergal describes the events that inspired the writing of this hymn: “I went for a little visit of five days. There were ten persons in the house, some unconverted and long prayed for; some converted, but not rejoicing Christians. He gave me the prayer: ‘Lord, give me all in this house.’ And He just DID! Before I left the house everyone had got a blessing. The last night of my visit, after I had retired, the governess asked me to go to the two daughters. They were crying, etc. Then and there both of them trusted and rejoiced. It was nearly midnight. I was too happy to sleep, and passed most of the night in praise and renewal of my own consecration; and these little couplets formed themselves and chimed in my heart one after another till they finished with ‘ever, only, all for Thee.’”
Frederick Chatfield has served as Director of Music and Organist of Christ United Methodist Church in Kettering, Ohio, a position he held for thirty years. Mr. Chatfield holds a Bachelor of Music in Organ from New England Conservatory in Boston and a Master of Arts in Religion (Music and Worship) cum laude from Yale University where he was named the 1985 Hugh Porter Scholar. One of his great enjoyments is his 1982 BMW R100RS motorcycle which he restored in the spring of 2006.
Take my life, and let it be
consecrated, Lord, to Thee.
Take my moments and my days;
let them flow in ceaseless praise.
Take my hands, and let them move
at the impulse of Thy love.
Take my feet, and let them be
swift and beautiful for Thee.
Take my voice, and let me sing
always, only, for my King.
Take my lips, and let them be
filled with messages from Thee.
Take my silver and my gold;
not a mite would I withhold.
Take my intellect, and use
every power as Thou shalt choose.
Take my will, and make it Thine;
it shall be no longer mine.
Take my heart, it is Thine own;
it shall be Thy royal throne.
Take my love, my Lord, I pour
at Thy feet its treasure store.
Take myself, and I will be
ever, only, all for Thee.
Opening Voluntary: “Prelude on MUNICH” Aaron David Miller
Aaron David Miller is noted for his highly imaginative and creative style, found in his performances, improvisations and compositions. Prize winner of several prestigious competitions, including the top prize at the AGO National Improvisation Competition, and the Bach and Improvisation prizes at the Calgary International Organ Festival Competition, he is also noted for his fine performances of repertoire spanning all periods. He has also received rave reviews when accompanying silent films. His recital performances have taken him across the country performing in concert halls, churches, and collaborating with ensembles of all sizes. Aaron serves as the Director of Music and Organist at House of Hope Presbyterian Church in St. Paul, Minnesota and maintains an active recital schedule. He is a forensic musicologist for Donato Music in Scarsdale, NY.
Closing Voluntary: “Voluntary #4” Arlen Clarke (1954)
This is one of a group of 10 Voluntaries written during the COVID quarantine. Conductor, composer, and singer, Arlen Clarke was born in upstate New York. He graduated with a Bachelor of Music in Voice Performance from Belhaven College in Jackson, MS. After a year of graduate study with Lloyd Pfautsch at Southern Methodist University in Dallas, TX, he went on to receive his Masters Degree in Vocal Performance from Texas Christian University, Fort Worth, TX. Upon completion of six years of active duty as an officer in the US Army he was a singer and later, the composer-in-residence during the1989-90 season at Grace and Holy Trinity Episcopal Cathedral in Kansas City, MO. Shortly thereafter, he was appointed to the post of Director of Choral Activities at his alma mater, Belhaven College. He currently lives in Greenville, SC and is the Director of Music at St. Mary's Catholic Church. In addition to composing, he maintains an active schedule as a conductor, singer and vocal coach, choral clinician, and adjudicator.