During February, Black History Month, we are celebrating each week the contribution African Americans have made to our worship either in our hymns, anthems, preludes or postludes, through musical compositions and/or texts rooted in this history and culture.

Today our music list includes the Opening Voluntary, Hymn of the Day and Communion hymns.

HYMN OF THE DAY: “I WANT JESUS TO WALK WITH ME”, ELW 325
TEXT: African American Spiritual
TUNE: SOJOURNER

The tune, called Sojourner, is named for Isabella Baumfree, a New York slave who escaped and then began to preach, sing, and advocate for women’s rights. She took the name Sojourner Truth. Also known as I Want Jesus to Walk with Me, the spiritual is a communal lament whose author and composer are unknown. Some think this may be one of the “white spirituals” which thrived for more than two hundred years in the rural Appalachian culture.

OFFERTORY: "According to Thy Gracious Word" Wolfgang Amadeus Mozart, Mark Schweizer, arr. (1956-2019)

A wonderful motet/anthem arranged by Mark Schweizer from Mozart with a text by James Montgomery.

A native of Florida, Mark Schweizer received music degrees from Stetson University in Deland, Florida and the University of Arizona including a doctoral degree in vocal performance. He returned to teach at Stetson University from 1982 to 1985 followed by eight years on the music faculty of Louisiana College. Mark lived in North Carolina where he served as editor of St. James Music Press. He is the author of fifteen “Liturgical Mystery” novels, as well as other books, and several opera and musical librettos. His published musical compositions can be found in the catalogs of Concordia Publishing House, H.T. Fitzsimmons, Lorenz, Selah Publishing, Musik Fabrik, and St. James Music Press.

According to Thy gracious word, In deep humility
This will I do, my loving Lord, I will remember Thee.
Thy body broken for my sake, My bread from heaven shall be;
The cup, Thy precious blood I take, And thus remember Thee.

When to the cross I turn mine eyes, And rest on Calvary,
O Lamb of God, my sacrifice, I must remember Thee;
And when these failing lips grow dumb, And mind and memory flee,
When Thou shalt in Thy kingdom come, Jesus, remember me.

OPENING VOLUNTARY "Liebster Jesu" from Three Pieces for Organ, George Walker (1922-2018)

George Walker, a Pulitzer Prize winning composer, began to study composition seriously after graduating from Oberlin College. After having been accepted at the Curtis Institute of Music in Philadelphia to study piano with Rudolf Serkin, he was accepted into the composition class of Sosario Scalero, teacher of Samuel Barber and Gian-Carlo Menotti. He completed his first string quartet before embarking on a career as a concert pianist. In 1956 he became the first black recipient of the Doctor of Musical Arts Degree from the Eastman School of Music. Although his degree was in piano (he never studied composition at the Eastman School), he composed his Concerto for Trombone and Orchestra, Second Piano Sonata, and Sonata for Cello and Piano while residing in Rochester, New York. In 1957, as a Fulbright Fellow in piano, he continued to compose under the guidance of Nadia Boulanger in Paris. Returning to the United States in 1958, he began to amass a catalog of more than 70 published works that have been performed by renowned ensembles and conductors throughout the United States, Europe, and Asia.

Three Pieces for Organ were composed in the early sixties for use in traditional church services - the slow, aspiring lines of the “Elevation” for communion, the chorale, “Liebster Jesu, wir Sind Hier” as an offertory and the “Invokation” as a prelude to the service. The Lutheran chorale, representing the Protestant tradition of the chorale prelude, is characterized by contrapuntal lines and a canonic treatment of one of the phrases of the chorale melody.

CLOSING VOLUNTARY Southwell, J. Bert Carlson (1937-2017)

The tune, SOUTHWELL is found in many hymnals and most often paired with the text “Lord Jesus, think on me,” by Synesius of Cyrene, Bishop of Ptolemais. The tune was composed by William Daman (1540-1591), a foreign composer resident in England. There are a few conflicting reports on his origins, but contemporary London records describe him as an Italian from Lucca, Italy who arrived in England circa 1566 as a servant of Sir Thomas Sackville. In 1576 he became a recorder player at the Court of Elizabeth I.

Pastor Carlson ministered to many congregations for over 50 years in NJ, PA and IN. He was also an accomplished musician and published composer.

Our SERVICE MUSIC has changed, and for Lent we sing an assortment chosen from the ELW and ACS hymns in addition to music from Setting Five.

Holy, Holy, Holy (ELW 190)

The Deutsche Messe stems from a tradition of low masses, settings of religious texts in vernacular languages in Austria and southern Germany. Schubert’s Deutsche Messe (German Mass), D 872, is a hymn-cycle written in 1827. Schubert intended it for usage in Catholic church service. Initially, censorship prevented this from taking place; it was not approved for liturgical use. The work has since gained popularity, and has been translated into other languages. Richard Proulx arranged this version in English.

Lamb of God (ACS 960)

Petri Laaksonen's (1962) is a freelance singer and composer from Turku, Finland, who has had several albums published from the 1990s to the present. His career started as a composer writing for other artists and his first ever released song was Finland's entry for the Eurovision Song Contest 1985. Among his compositions there is gospel music as well as pop and schlager albums. He has also continued to write songs for other artists.

You might also find this interesting about the Communion hymn:

“I’m Going on a Journey” ELW 446
TEXT: Kenneth D. Larkin (1929-2011)
TUNE: WET SAINTS, Edward Valentine Bonnemère, (1921-1996)

The text of this hymn, written by Kenneth D. Larkin, gives us a narrative sketch of the Christian life to which baptism leads—a journey begun with Christ's wet mark, on the individual, in community, forgiven, God going before, with the community's support and nurture. The hymn and its tune were written for the consecration of St. Peter's Lutheran Church in Manhattan on the second Sunday of Advent, December 10, 1978. The author and composer wrote them "not [to] be a dedication of bricks and mortar, but rather a rededication of the people," which is why the baptismal theme is there and why the tune is called WET SAINTS. Larkin says that "as the hymn was being sung, a water pipe to the baptismal font broke and there were, indeed, some wet saints as the people tiptoed through the water."

Kenneth Larkin is a retired pastor of the Evangelical Lutheran Church in America.

Edward Valentine Bonnemère, known professionally as Eddie Bonnemère, was an African-American jazz pianist as well as a Catholic church musician and composer. His "Missa Hodierna" became in 1965 the first Jazz Mass ever used in a Catholic church in the United States.

During February, Black History Month, we are celebrating each week the contribution African Americans have made to our worship either in our hymns, anthems, preludes or postludes, through musical compositions and/or texts rooted in this history and culture.

Today we hear and sing the tune “McKee,” for the Opening Voluntary and Gathering Hymn: the first, a quiet and delicate meditation for piano solo by Justin McCarthy and the second a setting of the African American spiritual adapted as a hymn by Harry T. Burleigh. Let’s raise the roof!

Hymn of the Day: “How Good, Lord, to Be Here!” (ELW 315)
Text: Joseph Armitage Robinson (1858-1933)
Tune: POTSDAM, W. Mercer (1811-1873) The Church Psalter and Hymn Book

Dean of Westminster since 1902, graduate of Christ College, Cambridge, Fellow of his College, Norrisian Professor of Divinity, Cambridge, Rector of St. Margaret, Westminster, and Canon of Westminster, J. Armitage Robinson was an English scholar who wrote extensively about the New Testament, the early church and the cathedral at Wells. He is only slightly associated with hymnology. His hymn, "'Tis good, Lord, to be here” was written c. 1890. It was included in the 1904 edition of Hymns Ancient & Modern, and supplies a long felt want with respect to hymns on the Transfiguration.

The tune, POTSDAM, first appeared in William Mercer's The Church Psalter and Hymn Book (Sheffield, 1854). It was derived in a novel way—by adapting the fugue subject of J. S. Bach's (#310) Fugue IX from Volume II of The Well-tempered Clavier (BWV870-893) and repeating it four times: beginning on the tonic for the first phrase, repeating it a fifth higher for the second, beginning on the third for the third phrase, and repeating it again on the tonic for the fourth. The only changes are in the third phrase where starting on the third modifies the intervals and where the meter requires two more syllables than the other phrases. There G sharp and A were added at the end of the phrase, emphasizing the dominant and making the singers long for the tonic's return as if the tune actually had gone somewhere. These two notes may also be attributable to Bach who did the very same thing in measures 26 to 27 of the fugue. The name POTSDAM comes from the city Bach visited in 1747 where, at the bidding of Frederick the Great, he improvised on a theme the king gave him and then went home and turned it into what became The Musical Offering. (Though the tune is ingenious and congregational, there is no little irony here. The theme and complexity of The Musical Offering, which stand behind the name of the tune, bear no relation to the tune itself.) Except for the two notes added to the third phrase, the tune in its overly simple and undeveloped character bears no relation to the musical interest Bach developed in the fugue from which it is derived in The Well-Tempered Clavier.

The usual assumption is that William Mercer adapted Bach's fugue subject and created the tune. He was born in northeastern England in Durham and went to Trinity College, Cambridge. In 1840 he became the incumbent at St. George's, Sheffield, and served the church faithfully for the next thirty-three years until his death. His church was full, and he led it to set up both day and Sunday schools. With John Goss's (#318) musical assistance he edited The Church Psalter and Hymn Book, where this tune appeared. This book was first published in 1854 and included the Psalms and Canticles, four hundred metrical psalms with chants and tunes, "for congregations and families." It went through multiple versions with additions in twenty-two different forms from 1854 until 1872. Of it John Julian says this: "For many years this collection was at the head of all the hymn-books in the Church of England, both in circulation and influence. Its large admixture of Wesleyan hymns, and of translations from the German gave it a distinct character of its own, and its grave and solemn music was at one time exceedingly popular." By 1864 it had sold one hundred thousand copies. Hymns Ancient and Modern took its place.

It could be asked if John Goss, the assisting musician of The Church Psalter and Hymn Book, was the one who constructed POTSDAM. He surely knew the Bach fugue, how to use repetition, and how to move to the dominant in a congregational tune. The melody nonetheless seems a bit too simple for a sensitive musician like Goss, who composed one of the Victorian gems, PRAISE, MY SOUL (#318). Furthermore, according to the preface of The Church Psalter and Hymn Book Goss's role was to harmonize the tunes that Mercer chose (and which, Mercer notes, Goss approved). Mercer knew what he was doing (as an editor, not necessarily as a hymn writer), and he appreciated Bach. He may well have constructed this tune, possibly with his "able Organist, Mr. Phillips, whose skill on his instrument is only equalled by his exact taste" and whom Mercer thanked "for his kindness in rendering me assistance, whenever required.”

Offertory: "Arise, Shine" Alan Lewis

A native both of the Episcopal Church and of Southern California, Alan holds degrees in organ performance and music history from Oberlin College & Conservatory of Music in Ohio. He returned to California for graduate work as a Mellon Fellow in the Humanities at the University of California, Berkeley; his doctoral research into the sacred vocal music of the Renaissance resulted in a dissertation on the motets of Nicolas Gombert, one of the prominent Flemish composers of the mid-sixteenth century. While completing his doctoral studies, Dr. Lewis joined the faculty of the (Episcopal) Church Divinity School of the Pacific in Berkeley, California, lecturing in Church Music and directing the Chapel Music for six years. He also served as the Music Director for Episcopal congregations. He is a passionate advocate for excellence in the Church's musical offerings, old and new. He currently serves as Director of Music, Calvary Episcopal Church, Pittsburgh, PA. In addition to his work at Calvary, Alan is the choral music reviewer for the Journal of the Association of Anglican Musicians, and serves as Sub-dean of the Pittsburgh Chapter of the American Guild of Organists.

Arise, shine, for your light has come,
and the glory of the Lord has dawned upon you.
For behold, darkness covers the land,
deep gloom shrouds the peoples.
But over you the Lord will rise,
and his glory will appear upon you.
Arise, shine, for your light has come,
and your God will be your glory.
Arise, shine!

Opening Voluntary: “McKee” Justin McCarthy

MC KEE has an interesting history. According to a letter from Charles V. Stanford to Samuel Coleridge-Taylor (who arranged the tune for piano in his Twenty-Four Negro Melodies, 1905), MC KEE was originally an Irish tune taken to the United States and adapted by African American slaves. It became associated with the spiritual "I Know the Angels Done Changed My Name," which appeared in J. B. T. Marsh's The Story of the Jubilee Singers with their Songs (1876). Harry T. Burleigh arranged the tune to fit the text by John Oxenham (aka William Arthur Dunkerley) in 1939. As a setting for that text, the tune was published in The Hymnal 1940. Burleigh named the tune after Elmer M. Mc Kee, rector of St. George's Episcopal Church, New York, where Burleigh was the baritone soloist from 1894-1946.

Burleigh began his musical career as a choirboy in St. Paul's Cathedral, Erie, Pennsylvania. He also studied at the National Conservatory of Music, New York City, where he was befriended by Anton Dvorak and, according to tradition, provided Dvorak with some African American musical themes that became part of Dvorak's New World Symphony. Burleigh composed at least two hundred works but is most remembered for his vocal solo arrangements of African American spirituals. In 1944 Burleigh Was honored as a Fellow of the Hymn Society in the United States and Canada.

Closing Voluntary: "Trumpet Tune in C” David N Johnson (1922-1987)

"Trumpet Tune in C” Is an energetic piece written in baroque style. this melody sounds centuries old, but is completely original.

David Nathaniel Johnson was a composer, organist, and college lecturer, who studied at the Curtis Institute of Music and held positions at Syracuse University, St. Olaf College, and Arizona State University. His most famous piece is “Trumpet Tune in D Major”, however, the majestic “Trumpet Tune in C” which is slightly lesser known is a wonderful composition also. Johnson is also known for his hymn tune Earth and All Stars.

During February, Black History Month, we are celebrating each week the contribution African Americans have made to our worship either in our hymns, anthems, preludes or postludes, through musical compositions and/or texts rooted in this history and culture.

Today’s Opening Voluntary is an organ work by Florence Price.

Hymn of the Day: “God, Whose Almighty Word” ELW 673
Text: John Marriott (1780-1825)
Tune: ITALIAN HYMN, MOSCOW, Felice Giardini (1716-1796)

John Marriott was educated at Rugby, and Christ Church, Oxford. He was the second of two who obtained honors in the schools in 1802, the first year in which there was a public examination for honors at Oxford. He was also Student of Christ Church, and for about two years a private tutor in the family of the Duke of Buccleuch. The Duke presented him to the Rectory of Church Lawford, Warwickshire. This he retained to his death, although his wife's health compelled him to reside in Devonshire, where he was successively curate of St. Lawrence and other parishes in Exeter, and of Broadclyst, near Exeter, where he died March 31, 1825. His published works include a volume of Sermons which he issued in 1818, and a posthumous volume of Sermons, published by his sons in 1838. His hymns were never published by himself, nor in book form by any one. A few appeared in print during his lifetime, but without his permission.

The hymn, “Thou Whose almighty word”, or "Thou Whose eternal word," was quoted by the Rev. Thomas Mortimer, M.A., Lecturer of St. Olave's, Southwark, and afternoon Lecturer at St. Leonard's, Shoreditch, at the meeting of the London Missionary Society in Great Queen Street Chapel, London, and was printed with a digest of the speech in the Evangelical Magazine in 1825. It was probably copied from the Magazine into the Friendly Visitor of July, 1825, where it bore the title "Missionary Hymn," without signature.

Felice Giardini was born in Italy. When young, he studied singing, harpsichord and violin. By age 12 he was playing in theatre orchestras. In a famous incident about this time, Giardini, who was serving as assistant concertmaster during an opera, decided to show off his skills by improvising several bravura variations that the composer, Nicolò Jommelli, had not written. Although the audience applauded loudly, Jommelli, who happened to be there, went up and slapped Giardini in the face. Giardini, years later, remarked: "It was the most instructive lesson I ever received from a great artist." He became a composer and violin virtuoso. He toured Europe as a violinist, considered one of the greatest musical artists of his time. He served as orchestra leader and director of the Italian Opera in London, giving concerts. He tried to run a theatre in Naples, but encountered adversity. He went to Russia, but had little fortune there, where he died.

Giardini was a prolific composer, writing for virtually every genre which then existed. His two main areas, however, were opera and chamber music. Virtually all of his music is out of print with the exception of a few songs and works of chamber music. Giardini is known among Christian churches for his "Italian Hymn" or "Moscow", which often accompanies the text to the hymn "Come, Thou Almighty King" and also John Marriott's hymn "Thou whose almighty word".

Offertory: “Christ Is the World’s True Light” William Stanton (1891-1978)

The text, Christ is the World’s True Light, was penned in 1931 by George Wallace Briggs, a Canon of Worchester Cathedral. He wrote this text as a "missionary hymn" to emphasize one of the concepts of modern missions: “In Christ all races meet.” It was published in the Advent section of Oxford's Songs of Praise (1931) and in Briggs's Songs of Faith (1945), in which it was entitled "The Light of the World." The text begins by affirming Christ's own saying, "I am the Light of the world" (John 8: 12). Christ is the light and daystar who brings his people salvation from the darkness of sin. Borrowing one of Paul's memorable teachings in Galatians 3:28 and Jesus' prayer for unity in John 17, the text confesses the essential unity of all humanity and especially the oneness of the family of God. Only when the nations and all peoples submit to Christ's reign will our "groaning" world experience true peace and redemption.

Walter Kendall Stanton was educated at Choristers' School, Salisbury before undertaking an Organ Scholarship at Lancing College and was then at Merton College, Oxford, between 1909 and 1913. He was Director of Music at St. Edward's School, Oxford, from 1915-1924, and later at Wellington College, Berkshire from 1924-1937, and Reading University from 1927-1937. He was also Director of Music for the Midlands Region of the BBC from 1937-1945. He was Professor of Music at the University of Bristol from 1947 until 1958.From 1956 to 1958, he served as City Organist for the City of Bristol. From 1958 until 1960, he was Conductor of the Bristol Choral Society. Professor Stanton was active in a number of musical societies, and was President of the Incorporated Society of Musicians in 1953, as well as its treasurer from 1959 until 1971. He also served as President of the Union of Graduates in Music from 1953-1957. Professor Stanton was also examiner in Music for the Universities of Oxford, Durham and Edinburgh and the University of Wales. He was on the Management Board of the Bournemouth Symphony Orchestra, and served as its chairman from 1967-1968. As well as his numerous commitments to musical societies, he was Editor-in-Chief of the BBC Hymn Book.

Christ is the world's true light,
its Captain of salvation,
the Daystar clear and bright
of every land and nation;
new life, new hope awakes,
for all who own its sway:
freedom her bondage breaks,
and night is turned to day.

In Christ all races meet,
their ancient feuds forgetting,
the whole round world complete,
from sunrise to its setting:
when Christ is throned as Lord,
all shall forsake their fear,
to plough-share beat the sword,
to pruning hook the spear.

One Lord, in one great name
unite us all who own thee;
cast out our pride and shame
that hinder to enthrone thee;
the world has waited long,
has travailed long in pain;
to heal its ancient wrong,
come, Prince of Peace, and reign.

Opening Voluntary: “Adoration” Florence B. Price (1887-1953)

In 2009 a dusty treasure was uncovered during the renovation of a dilapidated home in St. Anne, Illinois. Workers discovered boxes containing music by Florence B. Price previously considered lost, including two violin concertos and her fourth symphony. Although the quality of her compositions was recognized during her lifetime, her works were not widely heard. Writing to Serge Koussevitzky, the conductor of the Boston Symphony, she plainly addressed the prejudice that stunted her career, “I have two handicaps – those of sex and race. I am a woman; and I have some Negro blood in my veins.” Now, 70 years later, the labor of activists, scholars, and performers has changed the musical landscape of the United States, and Price’s music is frequently heard in orchestra halls across the nation.

Born in Little Rock, Arkansas, Price studied organ and piano at the New England Conservatory of Music, one of the only music institutions of the time that admitted Black students. She taught music at Black-serving institutions in the South after graduating. In 1912 she married and moved back to Little Rock. However, her hometown was not safe, and threats of racial violence compelled the family to flee to Chicago in 1927. Inspired by the culturally rich Black community in Chicago, Price renewed her study of music at the American Conservatory and the Chicago Musical College.

In 1932, she won the Wanamaker competition with her Symphony in E Minor, thus gaining national recognition. She is best known as a song composer, however, including her arrangement of the spiritual “My Soul’s been Anchored in de Lord” and a setting of Langston Hughes’ poem “Songs to the Dark Virgin.” Marian Anderson frequently sang her works and adopted Price’s arrangement of “My Soul’s been Anchored in de Lord” as a personal signature, often ending recitals with that spiritual. Price’s compositions combine a romantic vocabulary with African and African American musical traditions such as call and response and Juba dance rhythm patterns.

Published in 1951, Adoration was initially written as a short piece for organ in ABA form intended for use in church. It has proven attractive for arrangers, including Jim Gray, who has orchestrated it for solo violin and string orchestra.

Closing Voluntary: St. Denio (Immortal, Invisible) J. Bert. Carlson

“Immortal, Invisible, God Only Wise" is a Christian hymn with words by the Free Church of Scotland minister, Walter Chalmers Smith, usually sung to the tune, "St. Denio", originally a Welsh ballad tune, which became a hymn. ST. DENIO is based on "Can mlynedd i nawr" ("A Hundred Years from Now"), a traditional Welsh ballad popular in the early nineteenth century.

Pastor J. Bert Carlson ministered to many congregations for over 50 years in New Jersey, Pennsylvania and Indiana. He was also an accomplished musician and published composer.

Hymn of the Day: “Songs of Thankfulness and Praise” ELW 310
Text: Christopher Wordsworth, 1807–1885, alt.
Tune: SALZBURG, Jakob Hintze, 1622–1702; arr. Johann Sebastian Bach, 1685–1750

Christopher Wordsworth, nephew of the great Romantic poet William Wordsworth, wrote this hymn in five stanzas. It was published in his Holy Year (1862) John 3:13-17 with the heading "Sixth Sunday after Epiphany." Wordsworth described the text as follows:

"[It is a] recapitulation of the successive manifestations of Christ, which have already been presented in the services of the former weeks throughout the season of Epiphany; and anticipation of that future great and glorious Epiphany, at which Christ will be manifest to all, when he will appear again to judge the world."

The didactic text teaches the meaning of Epiphany–the manifestation of Christ in his birth (st. 1), baptism, miracle at Cana (st. 2), healing of the sick, power over evil, and coming as judge (st. 3). Originally the refrain line was "Anthems be to thee addressed, God in man made manifest." The revised refrain borrows Peter's confession, "You are the Christ!" (Mark 8:29), and makes that our corporate confession as we acknowledge the 'Word become flesh" who lived among us.

Wordsworth was a prolific author and the most renowned Greek scholar of his day. Included in his works are Memoirs of William Wordsworth (1851), Commentary on the Mole Bible (1856-1870), Church History (1881-1883), innumerable sermons and pamphlets, and The Holy Year (1862), which contained 117 of his original hymns as well as 82 others written for all the Sundays and Christian holy days according to the Book of Common Prayer. Wordsworth was educated at Trinity College, Cambridge, England, where he distinguished himself as a brilliant student. He later taught at Trinity College and was headmaster of Harrow School (1836-1844). Ordained a priest in the Church of England in 1835, he was canon of Westminster in 1844, a country priest in Stanford-in-the-Vale, Berkshire (1850-1869), and then Bishop of Lincoln (1869-1885).

The tune SALZBURG, named after the Austrian city made famous by Wolfgang Amadeus Mozart, was first published anonymously in the nineteenth edition of Praxis Pietatis Melica (1678); in that hymnbook's twenty-fourth edition (1690) the tune was attributed to Jakob Hintze. Partly as a result of the Thirty Years' War and partly to further his musical education, Hintze traveled widely as a youth, including trips to Sweden and Lithuania. In 1659 he settled in Berlin, where he served as court musician to the Elector of Brandenburg from 1666 to 1695. Hintze is known mainly for his editing of the later editions of Johann Crüger's Praxis Pietatis Melica, to which he contributed some sixty-five of his original tunes.

Offertory: “Laudate Nomen Domini” Christopher Tye (1505-1572)

The musical source for this well-known piece is Tye’s 1553 publication The Actes of the Apostles, a rendering of that New Testament book in metrical verse together with a musical setting for each chapter. The music for ‘Laudate nomen’ is the setting for Chapter 4 in Tye’s version; however, the Latin text with which the music is now generally associated is a later anonymous contrafactum, or substitute text, being a paraphrase of the first verse of Psalm 112; an English translation of this, beginning ‘O come, ye servants of the Lord’, is also frequently encountered.

Laudate nomen Domini, vos servi Domini;
ab ortu solis usque ad occasum ejus.
Decreta Dei justa sunt, et cor exhilarant:
laudate Deum principes et omnes populi.

Translation:

Praise the name of the Lord, you servants of the Lord;
from the rising of the sun until the same setting.
The decrees of the Lord are just, and [their] heart is glad:
Praise the Lord you princes and all you people.

Opening Voluntary: “In dir ist Freude” Theodore Beck (1929-2003)

The chorale tune, IN DIR IST FREUDE, was composed by Giovanni G. Gastoldi (1582-1609) who served as a deacon and singer in the chapel of the Gonzaga family in Mantua. Gastoldi composed a considerable body of court music, such as madrigals, and some church music, but he is best known for his Balletti, which influenced composers such as Monteverdi, Hassler, and Morley.

The earliest record of this text is found in Johannes Lindemann’s 1594 collection of 20 Christmas carols appearing as the German sacred text replacing Giovanni Giacomo Gastoldi’s Italian secular text from a collection of vocal dance songs. No wonder this chorale invites one to dance!

Theodore A. “Ted” Beck taught and composed music for the Lutheran Church-Missouri Synod for more than 50 years and is remembered as a quiet and humble man who had a wry sense of humor and was a demanding but kind teacher. He taught music at Concordia Teachers College (which became Concordia University in 1998) in Seward, Nebraska, from 1953 until his full retirement in 2001. He also composed many pieces for organ as well as for church choirs. He taught at Concordia Teachers College (now Concordia University-Chicago) in River Forest, Ill., from 1950-1953.

Closing Voluntary: “Hyfrydol” Ralph Vaughn Williams

The tune "Hyfrydol", which means "cheerful" in Welsh, was first published in 1830 by Rowland H. Prichard. He was a Welsh composer born in 1811 just outside of Bala, North Wales; Graenyn, North Wales to be exact. The tune is often set to Charles Wesley's hymn text, "Love Divine, All Loves Excelling", Ralph Vaughn Williams' "Come, Thou Long Expected Jesus", and William C. Dix's "Alleluia! Sing to Jesus".

The tune HYFRYDOL, which means "cheerful" in Welsh, was first published in 1830 by Rowland H. Prichard. He was a Welsh composer born in 1811 just outside of Bala, North Wales, where he lived for most of his life serving as a loom tender's assistant in Holywell, North Wales where he eventually would pass away in 1887. It wasn't until 1844 that Prichard published his only known work Cyfaill Y Cantorion (The Singer's Friend). His most famous tune was HYFRYDOL, which is most commonly used with "Come, Thou Long Expected Jesus." The best known arrangement came from none other than English Composer Ralph Vaughn Williams. Vaughn Williams was known for his adaptations on several original hymn tunes, creating new arrangements for wind bands and for brass bands all across England.

In 1954, the 82-year old Ralph Vaughan Williams was taken to hear The International Staff Band. He was suitably impressed and agreed to write something which the Salvation Army could publish. The result was Prelude on Three Welsh Hymn Tunes, for which he re-worked and expanded material that had originally been published as two organ preludes – Calfaria and Hyfrydol. The setting of Ebenezer at the start was new and sets the tone for a work which despite its brevity, is characteristically expansive and festive.

Hymn of the Day: Go to the World! ACS 991
Text: Sylvia G. Dunstan, 1955–1993
Tune: SINE NOMINE, Ralph Vaughan Williams, 1872–1958

Sylvia Dunstan was a hymnwriter and a United Church of Canada pastor who died tragically of liver cancer at age thirty-eight. Alan Barthel, her mentor and collaborator, with less than a week’s notice commissioned a text built on the Great Commission (Matt. 28:19-20) for the 1985 Emmanuel College (Toronto) Convocation. Written to Ralph Vaughan Williams’s expansive SINE NOMINE (“For all the saints”), it gives this beloved tune an alternate text pairing.

Offertory: “Grant Us Thy Peace” Felix Mendelssohn (1809-1847)

The original text for Mendelssohn’s beautiful motet was Martin Luther’s prayer for peace, "Verleih uns Frieden gnädiglich" ("Da nobis pacem, Domine"; also known as "Grant Us Thy Peace"). This composition has been published also as "Gebet nach Lutherschen Worten für Chor und Orchester" (librettist, Martin Luther). Mendelssohn originally scored the piece for SATB chorus, orchestra and Organ.

Grant us your peace, O loving Lord,
our Rock and firm foundation.
Our faith is in your excellent word,
speaking to every nation.
Your promise of sure salvation.

Opening Voluntary: “Let Us Ever Walk With Jesus”, Thomas Geischen (1931- 2006)

Thomas Geischen earned a B.S. in Education from Concordia Teachers College and a master’s and doctorate in music from Northwestern University.

Dr. Gieschen was a professor of music for 40 years at Concordia University in River Forest, where he served as department chair and head of the Music Department. He retired in 1993.

As Kapelle Choir director, he performed for President Lyndon Johnson at the National Christmas Tree Lighting Ceremony, on a world tour for the King of Thailand, and at Orchestra Hall in Chicago.

As founder of OrganArt, he created designs for church organs throughout the Midwest. He was also a published composer, arranger and organ recitalist, and a member of the Association of Lutheran Church Musicians and the American Guild of Organists.
In his spare time, he was an amateur locksmith and harpsichord builder. He also designed and built his island summer home in Door County, Wis.

Closing Voluntary: "Morning Star” Wayne L. Wold (1954)

"Brightest and Best" (occasionally rendered by its first line, "Brightest and Best of the Sons of the Morning") is a Christian hymn text written in 1811 by the Anglican bishop Reginald Heber to be sung at the feast of Epiphany. It appeared in Heber's widow's compilation of hymns entitled Hymns Written and Adapted to the Weekly Service of the Church Year in 1827. It can be sung to a number of tunes, including "Liebster Immanuel", "Morning Star" by James P. Harding, "Epiphany" by Joseph Thrupp, and "Star in the East" by William Walker. It appears in many hymnals across different Christian traditions. The Kentucky traditional singer Jean Ritchie often sang this and told of her childhood memory of her grandmother sitting by the fire and singing it quietly to herself on Twelfth Night; the Library of Congress collected it from her in 1951.

Wayne L. Wold taught at Hood College in Frederick, Maryland, from 1990 to 2020 where he taught organ, harpsichord, composition, music theory, form and analysis, and humanities topics in the graduate school. Wold has performed widely on organ and harpsichord, with solo recitals across the United States and in Europe, and he has performed in ensembles including the Maryland Symphony Orchestra, Frederick Symphony Orchestra, Bach in Baltimore Orchestra and Hood Chamber Players. He is also in demand as a hymn festival leader featuring his own improvisations. Wold has been a church musician since the age of sixteen, serving churches in Minnesota, Ohio, and Maryland, including seventeen years as director of chapel music at Camp David, the presidential retreat.

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.

Hymn of the Day: "When Jesus Came to Jordan" ELW 305
Text: Fred Pratt Green, 1903-2000
Tune: KING’S LYNN, English folk tune

The name of the Rev. F. Pratt Green is one of the best-known of the contemporary school of hymnwriters in the British Isles. His name and writings appear in practically every new hymnal and "hymn supplement" wherever English is spoken and sung. And now they are appearing in American hymnals, poetry magazines, and anthologies.

Mr. Green was ordained in the British Methodist ministry, and was pastor and district superintendent in Brighton and York, and then served in Norwich. There he continued to write new hymns "that fill the gap between the hymns of the first part of this century and the 'far-out' compositions that have crowded into some churches in the last decade or more."

Offertory: “Tomorrow Shall Be My Dancing Day” Richard Shephard (1949-2021)

This is a wonderful arrangement of the traditional English carol usually attributed as "traditional.” Its first written appearance is in William B. Sandys' Christmas Carols Ancient and Modern of 1833. However, it is almost certainly of a much earlier date; Studwell places it in the 16th century. Cahill based on the phrase "to see the legend of my play" speculates that the text may be based on an earlier version associated with a mystery play of the late medieval period. Numerous composers have made original settings of it or arranged the traditional tune, including Gustav Holst, John Gardner, Igor Stravinsky, David Willcocks, John Rutter, Philip Lawson, James Burton, Ronald Corp, Philip Stopford, Andrew Carter, Jamie W. Hall and Jack Gibbons. The verses of the hymn progress through the story of Jesus told in his own voice. An innovative feature of the telling is that Jesus' life is repeatedly characterized as a dance. This device was later used in the modern hymn "Lord of the Dance".

Tomorrow shall be my dancing day,
I would my true love did so chance
to see the legend of my play,
to call my true love to my dance;

Chorus
Sing O my love,
This have I done for my true love.

Then was I born of a virgin pure,
Of her I took fleshly substance.
Thus was I knit to man's nature,
to call my true love to the dance.

In a manger laid and wrapped I was,
So very poor; this was my chance,
Betwixt an ox and a silly poor ass,
to call my true love to my dance.

Then afterwards baptized I was;
The Holy Ghost on me did glance,
My Father’s voice heard from above,
to call my true love to my dance.

Opening and Closing Voluntaries: “Prelude and Postlude from Sixty Short Pieces” Flor Peeters (1903-1986)

The Sixty Short Pieces for Organ were composed in 1957 using Flor Peeters recognizable style of Renaissance polyphony combined with 20th century influences.

A renowned Flemish organist, composer, and music pedagogue, he was known for his exceptional skills as an organist and performed extensively throughout Europe and the United States, showcasing his virtuosity and musicality and promoting the organ as a solo instrument through his concerts and recordings.

Peeters’ compositions encompass a wide range of styles and genres, from solo pieces to large-scale symphonic works, showcasing his mastery of counterpoint, harmonic language, and innovative use of registration on the organ. Many of his organ pieces have become staples in the repertoire.

As a teacher at the Lemmens Institute in Belgium for over four decades, Peeters's impact extended beyond his performance career and compositions, influencing generations of young musicians who went on to become accomplished performers.

And here are some brief notes to catch up on last week’s organ pieces.

Opening Voluntary for 31 December: “With Peace and Joy I Now Depart” JS Bach

This is a chorale prelude from Bach’s Orgelbûchlein - German for “Little Organ Book.” “With Peace and Joy I Now Depart” is the chorale whose text is associated with the feast of the Presentation in the Temple, part of the Gospel reading.

As Johann Gotthielf Ziegler reported, "When playing chorales, my teacher, Kapellmeister Bach, who was still alive, taught me to never play chorales as is, but with the sentiment conveyed by the words." Since the congregation would have known the words of the chorale by heart (and not just the first verse), Bach was able to use this music in a highly suggestive manner. He would thus masterfully employ those hymns most likely to capture the congregation's imagination and move them. Every word, every interval, every interpretive choice was linked to key words, to a specific relationship between biblical and musical writing. In this way, the chorales became both the instrument used to convey the message and the means by which listeners, by actively participating in it, made that message their own.

Closing Voluntary: Prelude and Fugue on Tempus Adest Floridum” Richard Shephard

We don’t sing this carol much anymore, but the tune, better known as “Good King Wenceslas” is well known and easily recognizable.

Hymn of the Day: “O Lord, How Shall I Meet You?” ELW 241
Text: Paul Gerhart (1607-1676) tr. composite
Tune: WIE SOLL ICH DICH EMPFANGEN, Johann Cruger (1598-1662)

Paul Gerhardt, famous author of Lutheran evangelical hymns, wrote this German text in ten stanzas. The Psalter Hymnal contains three of those original ten stanzas inspired by Matthew 21:1-9, the Gospel reading for the first Sunday of Advent in the old Lutheran lectionary. Like so many of the psalms that use the first-person pronoun ("I"), this text moves from the personal welcome of the Savior (st. 1), to a confession of the reason for Christ's incarnation (st. 2), to the church's expectation of Christ's return (st. 3).

Gerhardt studied theology and hymnody at the University of Wittenberg and then was a tutor in Berlin, where he became friends with Johann Cruger. He experienced much suffering in his life; he and his parishioners lived in the era of the Thirty Years' War, and his family experienced incredible tragedy: four of his five children died young, and his wife died after a prolonged illness. In the history of hymnody Gerhardt is considered a transitional figure. He wrote at a time when hymns were changing from a more objective, confessional, and corporate focus to a pietistic, devotional, and personal one. Like other German hymns, Gerhardt's were lengthy and intended for use throughout a service, a group of stanzas at a time.

John Wesley and Catherine Winkworth both made famous English translations of Gerhardt's texts. As Paul Gerhardt was one of the chief German Lutheran hymn text writers, so Catherine Winkworth was the premier nineteenth-century English translator of German chorales. In 1855 and 1858 she prepared translations in two series called Lyra Germanica. In the second of these, she added a note to the preface in which she promised to respond to "inquiries... for tunes adapted to these hymns.” That led in 1863 to The Chorale Book for England, in which she made the translations fit the German meters and included the German tunes so they could be sung with the English texts. In 1869 she provided a substantial history of German hymns and poetry in Christian Singers of Germany.

Winkworth was educated privately while living with her father and sister in Manchester, England. An early champion of women's rights and the education of women, she was governor of the Red Maids' School in Bristol and supporter of the Clifton School for Girls.

Johann Crüger composed WIE SOLL ICH DICH EMPFANGEN for this text and published the tune in 1653; the tune name is the German incipit of Gerhardt's text. Enhancing a sense of personal and communal meditation, the tune gives the text reflective support. It is in isorhythmic form (all equal rhythms) as well as rounded bar form (AABA).

Offertory: “E’en So, Lord Jesus, Quickly Come” Paul Manz

E'en So, Lord Jesus, Quickly Come" is a 1953 motet composed by Paul Manz with lyrics adapted by Ruth Manz. The piece is adapted from text found in the Book of Revelation. It is known as Paul Manz's most notable composition and has been frequently performed by numerous ensembles and choral groups. Paul and Ruth Manz wrote "E'en So, Lord Jesus, Quickly Come" in 1953 during a time when their three-year-old son was critically ill. Reflecting on the time, Ruth Manz reported, "I think we'd reached the point where we felt that time was certainly running out so we committed it to the Lord and said, 'Lord Jesus quickly come'". During this time, she had prepared some text for Paul for a composition based on the Book of Revelation. While at his son's bedside, Paul Manz began drafting the composition, which later became the current piece. Their son did recover, which the couple attributed to the power of prayer.

Peace be to you and grace from him
Who freed us from our sins
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 within
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 nor lamp nor sun
For Christ will be their All!

Opening Voluntary: “Burleigh” (My Lord, What a Morning) Richard Billingham (1934)

William Farley Smith (1941–1997), arranger of most of the spirituals in The United Methodist Hymnal, ascribed the tune name BURLEIGH to this spiritual after Harry T. Burleigh (1866–1949) whose concert versions of African American spirituals helped bring the genre into mainstream performances (Young, 1993, 490). Most recent hymnals use this tune name.

Richard Billingham worked for many years as Associate Professor of Music at the University of Illinois and Organist at the First Methodist Church, Chicago. BURLEIGH is a fairly old hymn tune, originating as an African-American spiritual written during the time of slavery in the Untied States. It is currently published in 22 hymnals.

Closing Voluntary: “Prepare the Royal Highway” Paul Manz

Paul Otto Manz was an American choir and organ composer. Also a performer, Manz was most famous for his celebrated hymn festivals. Instead of playing traditional organ recitals, Manz would generally lead a "festival" of hymns from the organ, in which he introduced each hymn with one of his famously creative organ improvisations based on the hymn tune in question. The congregation would then sing the hymn with his accompaniment. Many volumes of these neo-Baroque chorale prelude improvisations have been written out and published and are among his most famous organ works, played by church organists throughout the world. Today’s Voluntary is one of those improvisations.

Hymn of the Day: “Comfort, Comfort Now My People” ELW 256
Text: Johann G. Olearius(1631-1711) tr. Catherine Winkworth (1827-1878)
Tune: FREU DICH SEHR

The text for the Hymn of the Day is a versification of Isaiah 40:1-5, the passage that opens the final large group of prophecies in Isaiah 40-66. Many of these prophecies express consolation and hope that Judah's exile in Babylon is almost over. That is certainly the tone of 40: 1-5-words of comfort forecasting a new reign but also words that call for proper preparation–that is, repentance.

The original German hymn text was written by Johannes Olearius in 1671 for St. John the Baptist's Day, June 24. He published it in his huge collection of hymns, Geistliche Singe-Kunst. The collection contained more than twelve hundred hymns in its first edition and it is considered one of the largest and most important German hymn-books of the 17th century. The hymns may best be described as useful, being for times and seasons previously overlooked and filling up many gaps in the various sections of the German hymn-books. They are mostly short, many of only two verses, simple and easy to comprehend, often happy in expression and catching, and embodying in a concise form the leading ideas of the season or subject. Many were speedily adopted into German hymn-books, and a considerable number are still in use.

The tune associated with this hymn text has two names: GENEVAN 42 and FREU DICH SEHR. The title that is used depends on the church tradition through which a particular hymnal acquired the tune. Those from a Reformed background call it GENEVAN 42, because it was used for Psalm 42 in the French Genevan Psalter. It is likely that Louis Bourgeois (1510-1559) either composed or adapted this tune for the Genevan Psalter. Lutherans call the tune FREU DICH SEHR because those are the opening words of a funeral hymn that this tune was paired with in Rhamba's Harmoniae sacrae (1613).

Catherine Winkworth translated the text into English in 1863. Winkworth is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women.

Offertory: “Come Quickly, Lord Jesus” Mark Schweizer (1956-2019)

A native of Florida, Mark Schweizer received music degrees from Stetson University in Deland, Florida and the University of Arizona including a doctoral degree in vocal performance. He returned to teach at Stetson University from 1982 to 1985 followed by eight years on the music faculty of Louisiana College. Mark lived in North Carolina where he served as editor of St. James Music Press. He is the author of fifteen “Liturgical Mystery” novels, as well as other books, and several opera and musical librettos. His musical compositions can be found in the catalogs of many publishers.

The text is by the composer, referencing the "O Antiphons."

O come now Lord Jesus, our Dayspring, our Cheer,
And lift up our spirits by your Advent here.
The herald is calling, his cry we obey,
In deserts and valleys, “Prepare God a way.”

O come, Root of Jesse, O come now and free
Your people, Your children, from death’s tyranny.
The poor and the needy who suffer great wrong
Give strength and give justice and bid them be strong.

O come Key of David, our hearts open wide.
Our path, guard with safety and lead us on high.
Make straight what was crooked and rough places plain,
Make hard hearts be humble for God’s holy reign.

Come quickly Lord Jesus, as dawn follows night,
Creator, Redeemer, the people’s true light,
Let all things on earth and in heaven adore,
And own you as Savior and King evermore.

Opening Voluntary: “Once He Came in Blessing” (Gottes Sohn ist kommen) John Leavitt (1956)

Michael Weiss, a pastor among the Bohemian Brethren and a contemporary with Luther composed the tune GOTTES SOHN IST KOMMEN (Once He Came in Blessing) and also wrote the text. A well-known hymn tune, GOTTES SOHN IST KOMMEN is set above a lilting counter melody based on “Of the Father’s Love” The repetitive motives and ornamental figures are a recognizable element of John Leavitt’s compositional style.

A composer, performer, and clinician for church and school music literature, John Leavitt continues to teach, lecture, and guest conduct numerous workshops, festivals, and symposia.

Closing Voluntary: "Nun komm, der Heiden Heiland” (Savior of the Nations, Come), Paul Siefert (1586-1666)

"Nun komm, der Heiden Heiland” is first documented as a Roman Catholic Latin hymn based upon Gregorian chant in manuscript form. This setting is one of a set of variations by Paul Siefert, who was a German composer, organist and music theorist. He was a prolific composer, who was always quarreling with the Kapellmeisters for not doing justice to the performance of his works.

Hymn of the Day: “Lo! He Comes with Clouds Descending” ELW 435
Text: Charles Wesley, 1707–1788, alt.
Music: HELMSLEY, Thomas Olivers, 1725–1799

“Lo! He comes with clouds descending" is a Christian hymn by Charles Wesley, based on an earlier hymn, "Lo! He cometh, countless Trumpets" by John Cennick (1718–1755). Most commonly sung at Advent, the hymn derives its theological content from the Book of Revelation relating imagery of the Day of Judgment. Considered one of the "Great Four Anglican Hymns" in the 19th century, it is most commonly sung to the tune HELMSLEY, first published in 1763.

The tune HELMSLEY is usually attributed to Thomas Olivers, a Welsh Methodist preacher and hymn-writer. Anecdotal stories about the tune's composition suggest Olivers heard the tune whistled in the street and derived his melody from that; the most likely source is an Irish concert song "Guardian angels, now protect me". George Arthur Crawford, in A Dictionary of Music and Musicians (1900), discusses the origin:

This tune claims a notice on account of the various opinions that have been expressed respecting its origin. The story runs that Thomas Olivers, the friend of John Wesley, was attracted by a tune which he heard whistled in the street, and that from it he formed the melody to which were adapted the words of Cennick and Wesley's Advent hymn...The source from whence 'Olivers' was derived seems to have been a concert-room song commencing 'Guardian angels, now protect me,' the music of which probably originated in Dublin.

Offertory: “Savior of the Nations, Come” Georgiann Toole (1958)

The tune, NUN KOMM DER HEIDEN HEILAND, is a chorale derived from a chant. Among the simplest of the Lutheran repertoire, it is framed by identical lines l and 4. Ambrose, its original Latin author, strongly promoted the practice of singing the hymn with antiphonal groups and this is duplicated in this choral setting.

The tune dates from a twelfth- or thirteenth-century Einsiedeln manuscript. Presumably by Johann Walther, the adaptation of the tune was published in the 1524 Erfurt Enchiridia. Johann S. Bach used the tune for preludes in the Clavierübung and Orgelbüchlein and in his cantatas 36 and 62.

Georgiann Hinchcliffe Toole is a West Virginia native who currently resides in Sharpsburg, Maryland. She holds a Bachelor of Arts in Music Education from Shepherd College (Shepherdstown, WV), a Master of Music in Conducting from the Shenandoah Conservatory (Winchester, VA), and a Ph.D. in Music Education from The University of North Carolina-Greensboro. She has taught choral and general music in public and private schools, and music education courses at Shepherd, Shenandoah, and UNCG. A strong proponent of the value of musical performance activities for people of all ages and ability levels, she has served as singer or conductor for many church music programs and community and professional theater groups. She has served as clinician, adjudicator, conductor, and/or composer for county and regional honors choruses in West Virginia, Virginia, Maryland, and Pennsylvania. Currently, Dr. Toole is on the education faculty at Shepherd University, and is the founder and artistic director of the Antietam Women’s Ensemble.

Savior of the nations, come;
Virgin’s Son, make Earth your home,
Marvel now, O heaven and earth,
That the Lord chose such a birth.

From the Godhead forth you came
And return unto the same,
Captive leading death and hell
High the song of triumph swell!

You, the chosen Holy One,
Have o'er death the victory won.
Boundless shall your kingdom be;
When shall we its glories see?

Brightly does your manger shine,
Glorious is its light divine.
Let not hate o’ercloud this light;
Ever be our faith so bright.

Opening Voluntary: “O Come, O Come, Emmanuel” George Lachenauer (1950)

VENI IMMANUEL was originally music for a Requiem Mass in a fifteenth-century French Franciscan Processional. Thomas Helmore (1811-1890) adapted this chant tune and published it in Part II of his The Hymnal Noted (1854).

George Lauchenauer studied at Muhlenberg College and Union Theological Seminary and is currently choir director at First Presbyterian Church in Roselle, New Jersey. Melody is from a Fifteenth Century French Processional.

Closing Voluntary: “On Jordan’s Bank” Charles Callahan (1951)

This piece is part of a collection of Advent hymn settings by Charles Callahan, well-known as an award-winning composer, organist, choral conductor, pianist, and teacher. He is a graduate of The Curtis Institute of Music, Philadelphia, Pa., and The Catholic University of America, Washington, DC. He presently resides in Vermont, and is the Director of the Vermont Conservatory of Music.

John the Baptist's announcement "Prepare the way for the Lord" is the primary basis for this Advent hymn. Stanzas 1 and 2 apply that message to people today; stanza 3 is a confession by God's people of their need for salvation; stanza 4 is a prayer for healing and love; stanza 5 is a doxology. This much-loved Advent text is laced with various scriptural phrases.

Charles Coffin (1676-1749) wrote this text in Latin (“Jordanis oras praevia”) for the Paris Breviary (1736), a famous Roman Catholic liturgical collection of psalms, hymns, and prayers. Coffin was partially responsible for the compilation of that hymnbook. Latin remained the language of scholarship and of the Roman Catholic liturgy in the eighteenth century. Working in that tradition, Coffin was an accomplished Latin scholar and writer of Latin poems and hymns.

The English translation is a composite work based on a translation by John Chandler who published it in Hymns of the Primitive Church (1837). (Chandler thought it was a medieval text!) Since 1837, various hymnal editors have revised the text in attempts to bring the translation closer to Coffin's original.

Hymn of the Day: “All Hail the Power of Jesus’ Name” ELW 634
Text: Edward Perronet, (1726-1792), sts. 1-4; J. Rippon, A Selection of Hymns, 1787, sts. 5-6
Music: CORONATION, Oliver Holden, 1765-1844

The first stanza of this hymn was printed anonymously in the Gospel Magazine (November 1779). Six months later the Gospel Magazine (April 1780) printed it again, this time with seven more stanzas by Edward Perronet (1726-1792) and the title "On the Resurrection, the Lord is King." The hymn appeared once more in A Selection of Hymns (London, 1787) by John Rippon (1751-1836). Many argue that the hymn has experienced continued popularity due to the hymn tune MILES LANE which appeared with it in Gospel Magazine and the tunes CORONATION and DIADEM which have accompanied the text since that time. The use of this hymn in various forms and many languages is very extensive. A rendering in Latin, "Salve, nomen potestatis," is given in Bingham's Hymnologia Christiana Latina, 1871. In the number of hymnbooks in which it is found in one form or another, it ranks with the first ten in the English language.

Like MILES LANE, CORONATION was written for this text. Oliver Holden composed the tune in four parts with a duet in the third phrase. The tune, whose title comes from the theme of Perronet's text, was published in Holden's Union Harmony (1793). It is the one eighteenth-century American tune that has enjoyed uninterrupted popularity–from the singing schools of that era to today's congregational worship.

CORONATION is a vigorous marching tune with many repeated tones that delighted Holden's contemporaries. The tune requires the jubilant repetition of the last couplet of text for each stanza.

Holden was reared in a small rural community and had only a minimal formal education–a few months in a "common school" in Groton, Massachusetts. He worked as a carpenter and was involved in community service in Charlestown, holding posts in the Anti-Slavery Society and serving in the Massachusetts House of Representatives. In addition he worked very profitably as a merchant and real estate dealer, and served as a Puritan lay preacher. Very interested in music, Holden became a composer and singing-school teacher in the tradition of William Billings. He was involved in publishing various tune books, including The American Harmony (1792), The Massachusetts Compiler (1795), Plain Psalmody (1800), and The Charlestown Collection of Sacred Songs (1803).

Offertory: "How Can I Keep From Singing" Sarah Quartel

How Can I Keep From Singing?" (also known by its first line "My Life Flows On in Endless Song") is an American folksong originating as a Christian hymn. The author of the lyrics was known only as 'Pauline T', and the original tune was composed by American Baptist minister Robert Lowry. The song is frequently, though erroneously, cited as a traditional Quaker or Shaker hymn and the song has often been attributed to "early" Quakers, but Quakers did not permit congregational singing in worship until after the American Civil War (and many still do not have music regularly). But learning it in social activist circles of the fifties and hearing Pete Seeger's (erroneous) attribution endeared the song to many contemporary Quakers, who have adopted it as a sort of anthem. It was published in the Quaker songbook Songs of the Spirit, and the original words, were included in the much more ambitious Quaker hymnal project, Worship in Song: A Friends Hymnal in 1996.

Canadian composer and educator Sarah Quartel is known for her fresh and exciting approach to choral music. Deeply inspired by the life-changing relationships that can occur while making choral music, Sarah writes in a way that connects singer to singer, ensemble to conductor, and performer to audience. Her works are performed by choirs across the world, and she has been commissioned by groups including the American Choral Directors Association, the National Children's Chorus of the United States of America, and New Dublin Voices. Since 2018 she has been exclusively published by Oxford University Press, and she continues to work as a clinician and conductor at music education and choral events at home and abroad.

Opening Voluntary: “Chorale Prelude on Liebster Jesu, Wir Sind Hier,” Gerald Near (1942)

Gerald Near, an alumnus of the University of Michigan, has an extensive catalog of well-crafted, published, choral and organ music. His early position as choirmaster at Calvary Church, (an Anglo-Catholic parish) Rochester, Minnesota, afforded him the opportunity to hone his craftsmanship for the special choral requirements of that unique community of worshippers. Later, he was appointed a lay Canon Precentor (Director of Music and Organist) of St. Matthew’s Cathedral, Dallas, Texas, before becoming composer-in-residence at the Cathedral of St. John, Denver, CO. Currently he is a freelance composer, and Choral Director and Cantor at Holy Faith Episcopal Church, Santa Fe, New Mexico.

This beautiful, lyrical setting of “Liebster Jesu wir Sind hier” is one of my favorites. A Lutheran hymn with text by Tobias Clausnitzer in 1663, it is a prayer for illumination, regularly found in Protestant and Catholic hymnals, with German and English translations. The tune was composed by Johann Rudolph Ahle (1625 –1673), a German composer, organist, theorist, and Protestant church musician.

Closing Voluntary: Chorale Prelude on “Nun danket alle Gott” op. 65, no. 59, Sigfrid Karg-Elert (1877-1933)

Of his 66 Chorale Improvisations, this exultant march is one of Karg-Elert's most cherished works for the organ. It refers to the 17th-century text written by Lutheran hymnist Martin Rinkart, which in English is "Now thank we all our God," and it is widely used at this time of year. We also celebrated Karg-Elert's birthday this past Tuesday: November 21, 1877!

Hymn of the Day: “Voices Raised to You” #845
Text: Herman G. Stuempfle, Jr. (1923-2007)
Tune: SONG OF PRAISE, Caroline Jennings (1936)

This hymn was commissioned by the ALCM for its tenth anniversary and first sung on Reformation Sunday in the fall of 1996.

Rev. Dr. Herman G. Stuempfle, Jr. lived most of his life in Gettysburg, PA. He served as President of the Lutheran Theological Seminary in Gettysburg and was the author of several books and numerous articles and lectures on preaching, history, and theology. He was also among the most honored and respected hymn writers of the 20th and 21st centuries. Rev. Dr. Stuempfle was known for his leadership in community and civic projects. Always taking an active stance on social issues, he participated in the creation of day care centers, served on the Gettysburg interchurch social action committee, helped create and support prison ministries and a homeless shelter, and tutored young people in the after school program of Christ Lutheran Church, where he was a long time member.

Carolyn Jennings is a Professor Emerita of Music at St. Olaf College where she taught for many years and also served in administrative roles, including Chair of the Music Department and Associate Dean for the Fine Arts. She also served as a church musician for over thirty years, at St. John's Lutheran Church in Northfield, Minnesota.

Over many years she has been active in promoting the use of inclusive language in texts for singing, and has worked to heighten awareness of how language shapes as well as expresses thought.

Her compositions and arrangements include works for voices, orchestra, and piano. She particularly enjoys composing for voices.

Offertory: Song of Thanksgiving,” Malcom Archer (1952)

With a text by John Milton, paraphrasing Psalm 136, today’s anthem is rhythmic and joyful with fun syncopations.

Malcolm Archer is much in demand internationally as a conductor, composer and organist, and has given many recitals in the USA as well as conducting concerts and directing leading choral courses there. His career has taken him to several English Cathedrals as Director of Music, including Wells and St. Paul’s, and for eleven years he was Director of Chapel Music at Winchester College. He has over 250 published works, which include organ and choral works, a one act opera, instrumental and orchestral pieces and two musicals.

Let us with a gladsome mind
Praise the Lord, for he is kind;
For his mercies ay endure,
Ever faithful, ever sure.

Let us blaze his name abroad,
For of gods he is the Lord,
For his mercies ay endure,
Ever faithful, ever sure.

He the warm and golden sun
Causes in its course to run,
And the moon to shine at night,
mid her starry sisters bright.

All things living he doth feed,
his full hand supplies their need.
For his mercies ay endure,
Ever faithful, ever sure.

Opening Voluntary: Schmucke dich (Deck Thyself, My Soul) J. S. Bach (1685-1750)

This text is often considered the best and most popular of the Lutheran chorales for the Lord's Supper. The dominant tone is one of deep joy enhanced by a sense of awe. We express joy and praise for "this wondrous banquet" (st. 1), and we show reverence in receiving Christ (st. 2). Thankful for "heavenly food" and drink (st. 3), we rejoice in Christ's love for us and in its power to unite us (st. 4).

Johann Cruger composed the hymn tune specifically for the text. Johann S. Bach used this tune in his Cantata 180; he and many other composers have written organ preludes on the melody.

Closing Voluntary: Fanfare from Five Pieces for Organ, Healey Willan (1880-1968)

James Healey Willan was born on October 12, 1880, in Balham, Surrey, England. He had a wide experience as a composer of a full-length opera, a symphonic work, countless organ and choral works, as a music educator, a choral director, and a church musician. He played his first service at the age of eleven in 1891 and his last service on Christmas Eve, 1967, just two months before he died on February 16, 1968.

Having served churches in England, Willan left for Canada in 1913 to serve as organist and choirmaster at St. Paul’s Anglican Church in Toronto as well as head of the Theory Department at the Toronto Conservatory of Music. In 1921, he accepted the position of organist-choirmaster at St. Mary Magdalene Church, an Anglo-Catholic parish in Toronto, where he was to remain for the rest of his life. During his tenure there, Willan also accepted in 1938 the position of Professor in the Music Faculty at the University of Toronto.

Most of his hymn-based motets and organ preludes came into existence after his retirement from the University of Toronto in 1950, the most prolific compositional period of his life. Willan is probably best known for his sacred and liturgical music, especially that written for St. Mary Magdalene Church. His anthems, hymns, motets, mass settings, and carol settings contributed to his reputation as the “dean of Canadian composers.”

Written in 1959 for the dedication of a new organ in St. Matthew's Church, Ottawa, this festive piece recalls the joy of a congregation rejoicing in the sound of their new instrument.

Hymn of the Day: “Rejoice, Rejoice, Believers” ELW 244
Text: Laurentius Laurenti (1660-1722) tr. Sarah B. Findlater (1823-1907)
Tune: HAF TRONES LAMPA FARDIG, Swedish Folk Tune

Considered to be one of the finest hymn writers of the Pietistic period, Laurentius Laurenti wrote the text for this hymn based on the parable of the wise and foolish maidens (Matt. 25: 1-13). Stanzas 1 and 2 focus on the expected coming of the bridegroom; stanza 3 is a prayer for Christ's return to complete the work of redemption and to set his people free. Born Lorenz Lorenzen (1660-1722) in Schleswig, Laurenti studied at the University of Rostock and in Kiel. In 1684 he moved to Bremen, where he was appointed music director and cantor in the Lutheran Cathedral Church. He is a well known writer of German hymns in the Pietist tradition, and based most of his hymn texts on the gospel lessons for the church year. They were published in Evangelia Melodica (1700).

Sarah Borthwick Findlater translated the text into English and published it in Hymns from the Land of Luther (1854), a collection of 122 hymns translated by her (53 hymns) and her sister Jane. Findlater was a fine linguist, and as a translator of German chorales, she is considered second only to Catherine Winkworth. As an author, Sarah wrote fiction, juvenile works, music scores, anthems, and musical parts.

There are quite a number of different tunes published in combination with this text. In the ELW we find the setting, HAF TRONES LAMPA FÄRDIG, a Swedish Folk tune. It is one of the 3 most used.

Offertory: Awake My Heart and Render, Jane Marshall (1924- 2019)
Text: Paulus Gerhardt, Translation: Winfred Douglas

This marvelous anthem won the American Guild of Organists prize in 1958. It was and has continued to be a stalwart anthem of the church. The effect for morning, evening worship and any festive worship day is as thrilling as ever.

In the early 1950s, Jane Marshall was a young homemaker and Methodist church choir member, albeit one with an unusually strong music background. She decided to write an anthem. The grand slam result was “My Eternal King,” published in 1954 by Carl Fischer Music. It became one of that venerable sheet music company’s all-time bestselling anthems and remains popular with choirs across denominations.

Marshall would go on to write more than 200 anthems, hymns and other sacred music works. A revered figure among fellow United Methodist musicians as well as the broader church music world, she was one of the most sensitive and text-oriented hymn tune composers of the late 20th century.

Awake, my heart, and render
to God - thy sure defender,
thy maker, thy preserver
A song of love and fervor.

Confirm my deeds and guide me:
my day, with thee beside me -
beginning, middle, ending -
will all be upward tending.

My heart shall be thy dwelling,
with joy and gladness swelling;
thy word, my nurture;
given to bring me on toward heaven.

Opening Voluntary: Schmucke dich (Deck Thyself, My Soul) J. S. Bach (1685-1750)

This text is often considered the best and most popular of the Lutheran chorales for the Lord's Supper. The dominant tone is one of deep joy enhanced by a sense of awe. We express joy and praise for "this wondrous banquet" (st. 1), and we show reverence in receiving Christ (st. 2). Thankful for "heavenly food" and drink (st. 3), we rejoice in Christ's love for us and in its power to unite us (st. 4).

Johann Cruger composed the hymn tune specifically for the text. Johann S. Bach used this tune in his Cantata 180; he and many other composers have written organ preludes on the melody.

Closing Voluntary: Fanfare from Five Pieces for Organ, Healey Willan (1880-1968)

James Healey Willan was born on October 12, 1880, in Balham, Surrey, England. He had a wide experience as a composer of a full-length opera, a symphonic work, countless organ and choral works, as a music educator, a choral director, and a church musician. He played his first service at the age of eleven in 1891 and his last service on Christmas Eve, 1967, just two months before he died on February 16, 1968.

Having served churches in England, Willan left for Canada in 1913 to serve as organist and choirmaster at St. Paul’s Anglican Church in Toronto as well as head of the Theory Department at the Toronto Conservatory of Music. In 1921, he accepted the position of organist-choirmaster at St. Mary Magdalene Church, an Anglo-Catholic parish in Toronto, where he was to remain for the rest of his life. During his tenure there, Willan also accepted in 1938 the position of Professor in the Music Faculty at the University of Toronto.

Most of his hymn-based motets and organ preludes came into existence after his retirement from the University of Toronto in 1950, the most prolific compositional period of his life. Willan is probably best known for his sacred and liturgical music, especially that written for St. Mary Magdalene Church. His anthems, hymns, motets, mass settings, and carol settings contributed to his reputation as the “dean of Canadian composers.”

Written in 1959 for the dedication of a new organ in St. Matthew's Church, Ottawa, this festive piece recalls the joy of a congregation rejoicing in the sound of their new instrument.

Hymn of the Day: “Jerusalem My Happy Home” ELW 422
Text: F. B. P., 16th cent.
Tune: LAND OF REST, North American traditional; arr. hymnal version

This hymn is five stanzas - #11, 2, 17, 21 and 6 - taken from a twenty-six stanza English hymn found in a manuscript in the British Museum, c. 1616, where it is headed “A Song Mad [sic] by F:B:P. To the tune of Diana." Behind it lies the medieval Latin Liber Mediationum (which also lies behind "Ah, holy Jesus”). In Julian’s Dictionary William T. Brooke discusses this hymn at length. He gives the Latin, all twenty-six stanzas by F. B. P., points to a corrupted nineteen-stanza version from The Song of Mary the Mother of Christ (1601), and suggests a prior common but now unknown source. He gives another version of the hymn from The Glass of vain-glorie (1585). It has forty-four stanzas, most of which relate to the new Jerusalem, F. B. P., and the Liber Meditationum, but some of which paraphrase the Song of Solomon (which prompted "How sweet the name of Jesus sounds"). The best guess about the initials F. B. P. is that they may denote a Roman Catholic priest, and the "tune of Diana" is equally unclear.

This "originally pentatonic tune" was paired with "O land of rest, for thee I sigh!" in the 1836 Appendix of Samuel Wakefield's shape-note tune book called The Christian Harp (Pittsburgh, 1832). As we have it, the tune is hexatonic but only slightly so: the fourth degree of the scale is used twice, once as a passing tone at measure 5 and once in a more accented fashion four notes from the end. The seventh degree is not present (E in this key that is otherwise F major), which gives the tune an open, rustic flavor. Herbranson linked his hymn with John Dahle's tune LUTHER SEMINARY, found in the Service Book and Hymnal (1958). In Lutheran Book of Worship (1978) it was paired with a more pensive tune by Leo Sowerby (1895-1968) called PERRY, for which Kevin Norris wrote a chorale concertato. In Evangelical Lutheran Worship it gets a third tune. More than the first two, LAND OF REST highlights the motion and physicality of the text. If one finds such things significant, it also has a compound background beat whose three can be seen as reflecting or underscoring the trinitarian Three in whose name the church baptizes.

Offertory Anthem: “And We’ll All Sing Hallelujah” Harold Stover

“O what are all my sufferings here compared to life above?" This Charles Wesley text is set to a sturdy tune by William Walker, compiler of shape-note books such as Southern Harmony. It celebrates our joining with the saints and finding eternal rest. The music has rhythmic drive and a real sense of jubilation.

And let this feeble body fail,
And let it faint or die;
My soul shall leave the realms of earth,
And soar to worlds on high;

Refrain:
And I’ll sing hallelujah and you’ll sing hallelujah,
and we’ll sing hallelujah when we arrive at home.

I’ll join the disembodied saints,
And find my long sought rest,
The happiness for which I long
And life among the blest. Refrain

O what are all my sufferings here,
Compared to life above,
With all the glorious heavenly host
To live with God in love? Refrain
Give joy or grief, give ease or pain,
Take life or friends away,
But let me find them all again
In that eternal day. Refrain

Communion Anthem: “O Quam Gloriosum” Tomás Luis de Victoria (1548-1611)

Tomás Luis de Victoria was the most famous Spanish composer of the Renaissance. His surviving works, unlike that of his colleagues, are almost exclusively sacred and polyphonic vocal music, set to Latin texts. “O quam gloriosum” is an All Saints Antiphon to the Magnificat, Second Vespers, published in 1572.

O quam gloriosum est regnum,
in quo cum Christo gaudent omnes Sancti!
Amicti stolis albis, sequuntur Agnum,
quocumque ierit.

O how glorious is the kingdom
in which all the saints rejoice with Christ!
Clothed in white robes, they follow the Lamb,
wherever He goes.

Opening Voluntary: Land of Rest” Richard Proulx (1937 - 2010)

Richard Proulx was one of the most important composers of liturgical music in the twentieth century. Modern Liturgy Magazine called him the "most significant liturgical composer of the last twenty years." He has more than 300 published works, including congregational music in every form, sacred and secular choral works, song cycles, two operas, and instrumental and organ music.

Closing Voluntary: Sine Nomine, Arthur Hutchings (1906–1989)

Arthur James Bramwell Hutchings was an English musicologist, composer, and professor of music successively at the University of Durham and the University of Exeter. He wrote extensively on topics as varied as nineteenth-century English liturgical composition, Schubert, Purcell, Edmund Rubbra, and baroque concertos; but his most famous book was the Companion to Mozart's Piano Concertos, published in 1948 and often reissued since. Among his other books are The Invention and Composition of Music and Church Music in the Nineteenth Century. His compositions include the Seasonal Preludes for organ, the overture Oriana Triumphans, the opera Marriage à la Mode, and the operetta The Plumber's Arms. Among his choral works are Hosanna to the Son of David, God is Gone Up, Grant Them Rest, and the Communion Service on Russian Themes. Hutchings served for many years as a director of the English Hymnal Company and three of his tunes were included in the 1986 New English Hymnal.

With our music this Reformation Sunday we celebrate with a service filled with music sung corporally, beginning with the German Singmesse and including the Offertory anthem, with verses 1 and 3 to be sung by all. So, today we are all members of the Choir- enjoy!

Today’s Choral Service Music: The German Singmessse or Liedmesse

In western Europe before the Reformation, cathedrals in cities and the larger churches in towns had choirs, often made up of schoolboys, that could sing the congregation’s parts of the Latin High Mass for the main services on Sunday and feasts.

But in small villages and the smaller churches in towns and cities, a choir was not always available. It became customary for the priest and the altar server to say all the parts of Low Mass quietly, in Latin, facing East away from the people, behind the rood screen, while the people did… whatever.

The people were still expected to attend Mass every Sunday. They could meditate, say prayers, or sing hymns while the priest said Mass, and if they could read and afford to buy them, Primers were popular books to aid individual devotions in some areas, such as England.

But in Germany, it became customary, as early as the 12th century, for the congregation to sing specific hymns that paraphrased, in German, the main unchanging songs of the Mass (Kyrie Eleison, Gloria in Excelsis, Credo, Sanctus, and Agnus Dei) while the priest said them in Latin. This was the type of service that Dr. Luther was writing about in Deutsche Messe und Ordnung des Gottesdeinsts (German Mass and Order of Divine Service) in 1526. This practice remained the custom even in Roman Catholic parishes in German-speaking countries even into the 20th century and is still influential in the worship of the Evangelical Church in Germany.

During the reformation era, Protestant pastors saw this as a quick way to transform the Mass into language that the ordinary people could understand, and if they had musical talent, as many did, composed German hymns in this genre. Several of these hymns can be found, translated into English, in Evangelical Lutheran Worship.

Kyrie (Lord have mercy) Hymn 409

Kyrie! God, Father in Heaven Above is set to the tune Kyrie Gott Vater in Ewigkeit, adapted from a 9th century Gregorian chant in the Latin Mass II Fons Bonitatis Pater Ingenite for solemn feasts. The German hymn was published in Wittenberg in 1541 and might be by Pastor Johann Spangenberg (1484-1550)

Gloria (Glory to God in the Highest) Hymn 410

All Glory be to God on High is set to the tune Allein Gott in der Höhe sei Ehr adapted from a 10th century Gregorian chant in Latin Mass I Lux et Origo for the Easter season. The German hymn was published in Brunswick in 1523 by Pastor Nikolaus Decius (1485-1550).

Credo (We believe in one God) Hymn 411

We All Believe in One True God is set to the tune Wir Glauben All an Einen Gott adapted by Dr. Luther. and his music publisher Johann Walter (1496-1570) in 1524 from a 14th century tune. It was later included in Deutsche Messe 1526.

Sanctus (Holy, Holy, Holy) Hymn 868

Isaiah in a Vision is set to the tune Jesaiah dem Propheten adapted by Dr. Luther from an 11th century chant (Mass XVII for Sundays in Advent and Lent?) and published in Deutsche Messe 1526.

Lord’s Prayer Hymn 746

Our Father God in Heaven Above is set to the tune Vater Unser in Himmelreich. Dr. Luther wrote the words with a different tune in mind, but printer Valentin Schumann (1520-1559) published it with this tune in 1539. The hymnal version was shortened to four verses from nine. The longer version is Hymn 747.

Agnus Dei (Lamb of God) Hymn 357

Lamb of God, Pure and Sinless is set to the tune O Lamm Gottes, Unschuldig adapted by Pastor Nikolaus Decius from a 13th century chant in 1525.

— Tom VanPoole

Hymn of the Day: “Salvation unto Us Has Come” ELW 590
Text: Paul Speratus (1484-1551)
Tune: ES IST DAS HEIL, Etlich christlich Lieder, Wittenberg, 1524

This hymn by Paul Speratus was published in what is sometimes called the first hymnal of the Reformation, Etlich christlich Lieder (the "Achtliederbuch," 1524). One of the oldest "Lutheran" hymns, Speratus probably wrote it in 1523 when he was jailed at Olmütz for his evangelical preaching. In the "Achtliederbuch" it had fourteen stanzas and was headed "A hymn of law and faith, powerfully expounded by holy scripture." "Powerfully expounded by holy scripture" referred to two pages of smaller print that followed the hymn. There "reports from scripture" about how the hymn "was grounded on all sides" were given in sets of biblical references, one set for each of twelve of the fourteen stanzas. Brief comments formed a kind of study guide.

The hymn was one of the Lutheran Kernlieder- central "kernel" or "core" hymns-for more than a century after the Reformation, but there have been those, especially but not only among Rationalists and Pietists, who have regarded it as didactic rhymed doctrine and not a hymn at all. It certainly sets out the essence of things from the very outset. With its point of departure Romans 3:28, it says clearly that salvation has come to us by God's free grace and favor.

Lutheran Book of Worship (1978) printed stanzas 1, 3, 5, 10, and 13 from Speratus's original German. Evangelical Lutheran Worship prints one additional stanza and uses 1, 2, 6, 10, 13, and 14 from the original. Both translations make modifications, but they rely on The Lutheran Hymnal (1941), which relied on the Evangelical Lutheran Hymn Book (1912). It should be noted that stanza 13, now stanza 5 in Evangelical Lutheran Worship's numbering, begins with doxology. Hymnals, like Lutheran Book of Worship, have tended therefore to make it final, but its last three lines begin the Lord's Prayer. The hymn is thus incomplete without Speratus's final stanza, which is the rest of the Lord's Prayer in a metrical version. Evangelical Lutheran Worship wisely included Speratus's last two stanzas. They complete and contextualize what goes before them, and they modify criticism. Doxology and the Lord's Prayer cannot be construed as didactic rhymed doctrine. When they are present the rest of the hymn finds its focus in God and not in human systems.

Paul Speratus was born near Ellwangen in Württemberg, Germany. He probably is the person who in 1503 went to the University of Freiburg as "Paul Offer de Ellwangen." His name was either Offer (or Hoffer) before he Latinized it to Speratus. He also studied in Paris and Vienna, earning doctorates in philosophy, Jurisprudence, and theology. In 1506 he was ordained a priest and faithfully served for the next twelve years or so in Salzburg, Dinkelsbühl, and Würzburg. He even wrote a hymn text praising Johann Eck, who in 1518 opposed Luther's Ninety-Five Theses. Around 1519 Speratus began to adopt evangelical views. One of the first priests to break his vow of celibacy, he married Anna. Forced to leave Würzburg, he enrolled at the University of Vienna in 1520 and earned one of his degrees, Doctor of Divinity, there. On January 12 of 1522 at the Cathedral of St. Stephen in Vienna he preached a sermon supporting marriage and justification by grace through faith. The faculty of the University of Vienna condemned him. He went to Moravia, where he continued to preach about justification. This time it got him imprisoned at Olmütz for three months on bread and water and almost burned at the stake. He went to Wittenberg in 1523, where he helped Luther with the "Achtliederbuch" and translated Luther's Formula Missae into German. In 1525 he became court preacher in East Prussia for Duke Albrecht, in 1526 helped formulate the Kirchenordnung (the liturgy and regulations) for East Prussia, and from 1530 to the end of his life was a devoted and faithful bishop in poverty-stricken Pomerania So far as is known, this is one of only five hymn texts he wrote.

This tune was one of four printed in the Etlich christlich Lieder (the "Achtliederbuch,"1524). It was paired with two texts there, Paul Speratus's hymn (ELW 590), for which it is named, and Martin Luther's (ELW 263) paraphrase of Psalm 22, "Ach Gott vom Himmel sieh darin." Also in 1524 it was printed in Walter's Geistliche Gesangbüchlein and in the Erfurt Enchiridia. Its composer is unknown. It probably was in circulation by the fifteenth century and can be found in later Catholic hymnals with the text "Frue dich, du werte Christenheit."

This is a tune in bar form, with potent but graceful drive. Without alterations, as given in Zahn, Die Melodien der deutschen evangelischen Kirchenlieder (1889-1893), it is Mixolydian. However, the G sharps and C sharps in Evangelical Lutheran Worship were inserted already in the sixteenth century. The version we sing today is a more original rhythmic version.

Offertory: “God Whose Giving Knows No Ending” David Cherwien (1957)

First of all, many thanks to Nathan Bastuscheck for sharing his music with us today!

C. Hubert H. Parry's RUSTINGTON was first published in the Westminster Abbey Hymn Book (1897) as a setting for Benjamin Webb's "Praise the Rock of Our Salvation." The tune is named for the village in Sussex, England, where Parry lived for some years and where he died. This distinguished melody has been paired with at least 35 texts. “God Whose Giving Knows No Ending” by Robert L. Edwards (1915-2006) is probably the most popular pairing.

This celebratory anthem of praise is commissioned from David Cherwien, celebrating RELC’s 75th Anniversary and dedicated to the Choir and Roy Guenther, Organist/Choirmaster.

Opening Voluntary: Sonata op.65 No. 6, Chorale and Variations 1-3 on "Vater unser im Himmelreich," Felix Mendelssohn (1809-1847)

The organ music of Felix Mendelssohn represents an approach gesturing not towards the future but towards the glorious past of German composition and the work of J.S. Bach in particular. (Liszt once called him “Bach reborn.”) The stark dissimilarity in compositional approach between Mendelssohn and Liszt was heralded by the coolness of their personal relationship, manifested for instance at a soirée when Mendelssohn drew a picture of Liszt playing the former’s music with five hammers, rather than fingers, on each hand. (This somewhat childish action is perhaps understandable given Liszt’s description of preceding events: “The truth of the matter is that I only played his Concerto in G minor from the manuscript, and as I found several of the passages rather simple and not broad enough…I changed them to suit my own ideas.”) Inherently conservative in character, Mendelssohn formed a profound aversion to the iconoclastic work of Liszt and kindred spirits such as Berlioz, of whose work Mendelssohn remarked: “one ought to wash one’s hands after handling one of his scores.” Mendelssohn was undoubtedly a Romantic composer, but his Romanticism was often of the Biedermeier kind; he was capable of composing dramatic and inventive works such as the Hebrides Overture, yet his individual musical poetry emerged perhaps most strongly in miniatures such as the Songs without Words for piano and in those works (e.g. the Quartet in F minor) wherein he recaptured the youthful genius that had burst forth so forcefully in the Octet and Midsummer Night’s Dream Overture.

Mendelssohn’s posthumous reputation in the country of his birth suffered from Wagner’s pen (this time through the faintest of praise rather than vitriol) and, in due course, the Nazi regime’s efforts to expunge his name from musical history. In England, where Mendelssohn had made a strong impression on musical life over the course of ten visits, his stock remained considerably higher. Mendelssohn enjoyed particular success with his organ recitals in the late 1830s and early 1840s, leading the publishers Coventry and Hollier to commission a set of six “voluntaries” from him in 1844. The planned voluntaries soon became Mendelssohn’s six Organ Sonatas Op 65, with the term sonata here implying the Bachian sense of the term—i.e. suites of varied pieces which are played instrumentally, as opposed to sung cantatas—rather than works exhibiting classical sonata form. The Organ Sonata No 6 in D minor (1845) demonstrates Mendelssohn’s consummate craftsmanship and mastery of organ texture in a set of variations upon the Lutheran Bach chorale Vater unser im Himmelreich (BWV416). Following a five-part harmonisation of the Chorale, which pervades the sonata as a whole, Mendelssohn presents four variations of increasing brilliance before a restatement of the Chorale. Today’s Closing Voluntary is the final variation. The sonata concludes with a substantial fugue and the finale in D major, whose quiet religiosity symbolises the completion of a journey from stern Lutheranism to an essentially English brand of sentiment. In this work and its companion sonatas, Mendelssohn revitalised the then-moribund European organ tradition, spurred English organ-builders to new heights, and, through his particular blend of chorale, counterpoint and domestic spirituality, substantially augmented the organ repertoire for the first time since Bach. Musing on his passion for structural innovation, Liszt once remarked that “new wine demands new bottles”; Mendelssohn here demonstrates the continued potency of an older brew.

Closing Voluntary: “Ein feste Berg,” David Cherwien (1957)

David Cherwien, artistic director of the National Lutheran Choir, is a nationally known conductor, composer, and organist. Recognized for his contributions to the field of church music and liturgy, he is in demand as a clinician and hymn festival leader across the country.

Hymn of the Day: “Sing Praise to God the Highest Good” (ELW 871)
Text: Johann J. Schütz, 1640-1690; tr. Francis E. Cox, 1812-1897, adapt.
Tune: LOBT GOTT DEN HERREN, IHR, Melchior Vulpius (1570-1615)

Johann J. Schütz wrote this hymn text in nine stanzas and published it in his Christliches Gedenckbüchlein, zur Beförderung eines anfang-endes neues Lebens (Frankfurt, 1675). Almost two centuries later Frances E. Cox (1812-1897) translated the first eight stanzas. They were published in Lyra Eucharistica (1864), which Orby Shipley edited. In her own Hymns from the German in the same year (1864), Cox left out the eighth stanza (and made a slight change at the beginning of stanza 5: “But through” to “Throughout”. Four years later the Church Book (1868) used her first, second, fourth, and seventh stanzas, altering one word: “my” to “me” in the third stanza. Evangelical Lutheran Worship uses her first, third, fourth, and eighth stanzas with substantial modifications, among them addressing God to avoid third-person male pronouns and using the third-person plural for humanity. Cox’s translation began “Sing praise to God Who reigns above” Catherine Winkworth (#241) also made a translation. It began “All praise and thanks to God most high” in Lyra Germanica, second series (1858) and her Chorale Book for England (1863). A composite version of nine stanzas, probably by August Crull (#323), began “To God the Father of all love” and was included in the Evangelical Lutheran Hymn Book (1889). The conflations and modifications have produced multiple first lines, making it not easy to find.

Johann Jacob Schütz was born in Germany at Frankfurt am Main. He studied law at Tübingen University and became a lawyer in his hometown. A learned man of piety, he was a friend of Philipp Jakob Spener (1635-1705), the champion of Pietism. He suggested to Spener that he begin his prayer meetings, called “Collegia Pietatis.” Joachim Neander was part of the same circle. Like Neander, Schütz separated himself from Lutheran worship and stayed away from communion. Also like Neander in his “Praise to the Lord, the Almighty”, Schütz in this hymn shows none of his separatism, but wrote a potent catholic hymn of praise. Five of his hymns were included in his Christliches Gedenckbüchlein, and he also wrote Christliche Lebensregeln (1677).

Frances E. Cox was born at Oxford, England, the daughter of George V. Cox. She became a skillful translator of German hymns. John Julian says forty-nine of her translations were published in her Sacred Hymns from the German (London, 1841) and the number increased to fifty-six (the number I also count) with revisions and notes in her Hymns from the German (1864). C. T. Aufdemberge says her translations number eighty.

LOBT GOTT DEN HERREN, IHR

This is one of the dance-like tunes by Melchior Vulpius. It gets its name from an Epiphany hymn of Joachim Sartorius (c. 1548-1600) that is based on Psalm 117 and for which Vulpius wrote it, “Lobt Gott den Herren, ihr Heiden all.”; Vulpius published it with that hymn in his Ein schön geistliche Gesangbuch (Jena, 1609).

A bar-form tune that swings along with a three-phrase group in the Aufgesang and leads nicely
to the repeated line “To God all praise and glory,” it is a most fitting match for this text. The
wedding of the two seems quite recent, however, possibly first in the Evangelical Lutheran
Hymn Book with Tunes (1912).

Offertory: “Cantate Domino,” Hans Leo Hassler (1564-1612)

Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli’s death. He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumes of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. Hassler was not only a composer, but also an active organist and a consultant to organ builders. Hassler stepped into the world of mechanical instrument construction and developed a clockwork organ that was later sold to Emperor Rudolf II. Hassler is considered to be one of the most important German composers of all time. His use of the innovative Italian techniques, coupled with traditional, conservative German techniques allowed his compositions to be fresh without the modern affective tone. His songs presented a combined vocal and instrumental literature that did not make use of the continuo, or only provided it as an option, and his sacred music introduced the Italian polychoral structures that would later influence many composers leading into the Baroque era.

Cantate Domino canticum novum; cantate Domino omnis terra
Cantate Domino, et benedicite nomini ejus; annuntiate de die in diem salutare ejus
Annuntiate inter gentes gloriam ejus; in omnibus populis mirabilia ejus
Quoniam magnus Dominus, et laudabilis nimis: terribilis est super omnes deos

Sing to the Lord a new song;
Sing to the Lord, all the earth!
Sing to the Lord, bless his name;
Tell of his salvation from day to day.
Declare his glory among the nations,
his marvelous works among all the peoples!

Opening Voluntary: “You Satisfy the Lonely Heart” Charles Callahan

Robert E. Kreutz (1922-1996) carefully crafted BICENTENNIAL for this text GIFT OF FINESTWHEAT in Denver, Colorado, in 1976. Kreutz received a bachelor’s degree from the American Conservatory of Music, Chicago, and a master’s degree from the University of Colorado, Denver. He also studied composition with Arnold Schoenberg, Leo Sowerby, and Norman Lockwood. A resident of Golden, Colorado, Kreutz worked for many years for the Gates Rubber Company as a development engineer and also directed the choir at St. Bernadette Church in Lakewood, Colorado, for more than twenty-five years. He published some three hundred choral and instrumental compositions, including many psalm settings and other liturgical music.

Charles Callahan is a well-known composer, organist, choral conductor, pianist and teacher. He is a graduate of The Curtis Institute of Music, Philadelphia, Pa., and The Catholic University of America, Washington, DC.

Closing Voluntary: “Gather Us In” John H. Behnke (1953)

The composer of the tune GATHER US IN, Marty Haugen (b. 1950) is perhaps the most prolific and influential composer of liturgical music of his generation. His hymns, psalm settings and paraphrases, services set to music, and anthems are widely used in both Protestant and Roman Catholic congregations around the world. “Gather Us In” (1982) represents Mr. Haugen’s skill both as a poet and composer. Mr. Haugen describes his inspiration for this hymn in an e-mail: “‘Gather Us In’ was written after I first heard the wonderful [former Jesuit Dutch theologian and poet Huub] Oosterhuis (b. 1933) text ‘What Is This Place?’ I wanted to craft something that might say a similar message to North American ears. I deliberately wrote it in second person to avoid gender issues and to more directly sing ‘to’ God rather than ‘about’ God. Ironically, that has been at times a problem for some, who would like God more carefully circumscribed and named.”

Dr. John A. Behnke enjoys composing and arranging having nearly 500 compositions in print with nineteen different publishers in the United States, Germany, and Taiwan. He is Emeritus Professor of Music at Concordia University, where he taught for 29 years. He was the organist and choir director at Historic Trinity Ev. Lutheran Church in downtown Milwaukee, from 1990 until 2019, and the director of the Milwaukee Handbell Ensemble and Music Editor of AGEHR Publishing – Handbell Musicians of America from 2003 until 2019.

Hymn of the Day: “Now We Join in Celebration” ELW 462
Text: Joel W. Lundeen (1918-1990)
Tune: SCHMÜCKE DICH, Johann Crüger (1598-1662)

This hymn text by Joel W. Lundeen was included in Contemporary Worship 4: Hymns for Baptism and Communion (1972). Lutheran Book of Worship (1978) made modifications in the second and third stanzas, and this version appears also here.

Joel Waldemar Lundeen was born in China, where his parents were missionar-is. He studied at Augsburg College and MacPhail School of Music in Minneapolis, Augustana College in Rock Island, Illinois, Augustana Seminary in Rock Island, Union Seminary in New York, and the University of Chicago. A pastor and musician, he was the director of the library and church archivist at Augustana Seminary, director of the library at the Lutheran School of Theology at Chicago, and in 1967 became archivist for the Lutheran Church in America. Before that, from 1957 to 1962, he was the secretary of the Commission on Worship of the Augustana Church, and in 1986 his Index to Luther's Works was published.

Johann Crüger composed SCHMÜCKE DICH for Johann Franck's text, “Deck thyself, my soul, with gladness”, and first published the tune as a setting for Franck's first stanza in Geistliche Kirchen-Melodien. The tune name is the incipit of the original German text. Johann S. Bach used this tune in his Cantata 180; he and many other composers have written organ preludes on the melody, including Sigfrid Karg-Elert, whose Chorale Improvisation setting we hear today.

Offertory Anthem: “Rejoice in the Lord,” K. Lee Scott (1950)

"Rejoice in the Lord Always" is almost a direct quotation of Philippians 4:4-7. The apostle Paul's encouragement to rejoice always, regardless of our circumstances, is an exhortation we sing cheerfully to each other in this song.

K. Lee Scott is widely considered one of America’s top composers of church music. His hymns appear in eight hymnals, and he has published more than three hundred compositions. His compositions include anthems, hymns, and works for solo voice, organ, and brass, plus major works including a Christmas Cantata and Te Deum. He has been published by more than a dozen publishers. In 1995, he was commissioned by the Hymn Society in the United States and Canada and Choristers Guild to compose a hymn setting for their convention in San Diego.

In addition to his compositional success, Scott is internationally known as a teacher, musician, and conductor. He has taught on the music faculties at the University of Alabama School of Music, the Samford University School of Performing Arts, and The University of Alabama at Birmingham Department of Music. He is a frequent guest conductor and clinician in the United States, Canada, and Africa.
Scott received two degrees in choral music from the University of Alabama School of Music.

4Rejoice in the Lord alway: and again I say, Rejoice. 5Make your forbearance known unto all men. The Lord is at hand. 6Have no anxiety about anything; but in everything by prayer and supplication with thanksgiving make your prayers known unto God. 7And the peace of God, which passeth all understanding, shall keep your hearts and minds through Christ Jesus.

Opening Voluntary: “Chorale Improvisation on ‘Schmucke Dich’” S. Karg-Elert (1877-1933)

The composer Sigfrid Karg-Elert is well-known to organists and flautists on account of his substantial contributions to these instruments' repertoires. His music is colorful and impressionistic, but he also drew on the established ways of writing music, including works for organ based on Lutheran chorales (hymn tunes).

Closing Voluntary:“Vineyard Haven” ("Rejoice, Ye Pure in Heart”), Robert J. Powell (1932)

Today we can indulge ourselves when singing E. H. Plumptre’s text "Rejoice, Ye Pure in Heart" to one of our great twentieth-century hymn tunes, VINYARD HAVEN, composed by Richard Dirksen in 1974 for this text as a processional choral anthem for the installation of Presiding Bishop John Maury Allin at the Washington (D.C.) Cathedral, also known as the National Cathedral. VINEYARD HAVEN was first published as a hymn tune in Ecumenical Praise. Dirksen wrote that the quality of rejoicing was intended to foreshadow the raising of "such 'Hosannas' forever in [God's] presence and with the company of heaven in the life eternal." The tune is named after the town on the island of Martha's Vineyard, Massachusetts, where the Very Reverend Francis B. Sayre, Jr., who was then Dean of Washington Cathedral, had his permanent home.

Robert J. Powell earned his Bachelor of Music in Organ and Composition from Louisiana State University in 1954 and his Master of Sacred Music from Union Theological Seminary School of Sacred Music, New York in 1958. He holds Certificates of Fellow (FAGO) and Choirmaster (ChM) from the American Guild of Organists and is a member of American Society of Composers, Authors, and Publishers( ASCAP). He has received the Standard Music Award from ASCAP for the last 35 years.

Hymn of the Day “Thine the Amen” ELW 826
Text: Herbert F. Brokering (1926)
Tune: THINE, Carl F. Schalk, (1929-2021)

Herbert Brokering wrote this hymn text at Holden Village, the retreat center for renewal in the Cascade Mountains near Chelan, Washington. It was the tenth hymn he wrote in as many days in the summer of 1981. Each morning Walter Bouman led a Bible study, and on the following morning it was reviewed through the singing of a hymn by Brokering, who said, "We sang each study the following morning. This hymn is on the great eucharistic theology in Revelation. It was to be a then to the now." The "Now" refers to Jaroslav Vajdas "Now the silence". The hymn comes to Evangelical Lutheran Worship through With One Voice (1995).

At this same Holden Village summer session in 1981, Carl Schalk was the composer for Brokering's hymns. He remembers the schedule like this. "After each morning's Bible study by Walter Bouman, Herb Brokering would fashion a new text, which he had to have finished by about noon that day. I had to write a tune and accompaniment by about three in the afternoon since I had to get it to the print shop, which closed at four in the afternoon, for duplication so we could use it the following morning. This pattern continued each day for two weeks.” One day Schalk mentioned to Brokering that since he (Schalk) had set a text by Jaroslav Vajda called “Now" that Brokering might write one called "Then." Within a day or so Brokering "had written a text in which almost each line began with 'Thine. Thus the idea of Then' became ‘Thine.' The tune was published with this text as an anthem in 1983 and in Christians, Awake! A Hymn Supplement (1989). It appeared in the same year in The Carl Schalk Hymnary (1989), where it was called THEN. The name was subsequently changed to THINE.

The life of Dr. Carl F. Schalk is certainly one of the clearest and longest proclamations of the Gospel ever heard in the world of Lutheran church music. He was a beloved husband, father, musician, writer, composer, and fervent advocate of the Lutheran Church. His music, his faith, and his song continue to live and remain with the Church. What a precious gift for people in the present and for generations to come!

The Choir Anthem is an arrangement of today’s Hymn of the Day.

Thine the amen thine the praise
alleluias angels raise
thine the everlasting head
thine the breaking of the bread
thine the glory thine the story
thine the harvest then the cup
thine the vineyard then the cup
is lifted up lifted up.

Thine the life eternally
thine the promise let there be
thine the vision thine the tree
all the earth on bended knee
gone the nailing gone the railing
gone the pleading gone the cry
gone the sighing gone the dying
what was loss lifted high.

Thine the truly thine the yes
thine the table we the guest
thine the mercy all from thee
thine the glory yet to be
then the ringing and the singing
then the end of all the war
thine the living thine the loving
evermore evermore.

Thine the kingdom thine the prize
thine the wonder full surprise
thine the banquet then the praise
then the justice of thy ways
thine the glory thine the story
then the welcome to the least
then the wonder all increasing
at thy feast at thy feast.

Thine the glory in the night
no more dying only light
thine the river thine the tree
then the Lamb eternally
then the holy holy holy
celebration jubilee
thine the splendor thine the brightness
only thee only thee.

Organ Voluntaries: IN DIR IST FREUDE, Paul Manz (1919-2009)

Paul Otto Manz was an American composer for choir and organ. As a performer, Manz was most famous for his celebrated hymn festivals. Instead of playing traditional organ recitals, Manz would generally lead a "festival" of hymns from the organ, in which he introduced each hymn with one of his famously creative organ improvisations based on the hymn tune in question. The congregation would then sing the hymn with his accompaniment. Many volumes of these neo-Baroque chorale prelude improvisations have been written out and published and are among his most famous organ works, played by church organists throughout the world. Today’s Voluntaries are two improvisations on IN DIR IST FREUDE.

The chorale tune, IN DIR IST FREUDE, was composed by Giovanni G. Gastoldi (1582-1609) who served as a deacon and singer in the chapel of the Gonzaga family in Mantua. Gastoldi composed a considerable body of court music, such as madrigals, and some church music, but he is best known for his Balletti, which influenced composers such as Monteverdi, Hassler, and Morley.

Hymn of the Day: “Oh, That the Lord Would Guide My Ways” ELW 772
Text:
Tune: EVAN (Havergal)

This is part of Psalm 119 as metricized by Isaac Watts, from his Psalms of David (1719). It is a good illustration of how Watts conceived his task, especially with this lengthy psalm of 176 verses. Let Watts speak for himself.

“Psalm CXIX. I have collected and disposed the most usefull Verses of the Psalm under eighteen different Heads, and form'd a Divine Song upon each of them. But the Verses are much transposed to attain some degree of Connexion. In some places among the Words, Law, Commands, Judgments, Testimonies, I have used Gospel, Word, Grace, Truth, Promises, &c. as more agreeable to the New Testament, and the Common Language of Christians, and equally answers the Design of the Psalmist, which was to recommend Holy Scripture.”

This is the "Eleventh Part," which Watts calls "Breathing after Holiness.” He wrote six stanzas. As Lutheran hymnals have tended to do since the Church Book (1868), Evangelical Lutheran Worship prints four stanzas.

William H. Havergal wrote this tune. It was included in his Old Church Psalmody (London, 1847) with Robert Burns's poem "O thou dread power, who reign'st above." Lowell Mason called it EVA in New Carmina Sacra (1850), where, in an altered version as it appears in Evangelical Lutheran Worship, it was the setting for "In mercy, Lord, remember me." In Cantica Laudis (1850) Mason called it EVAN. In Havergal's Psalmody and Century of Chants from Old Church Psalmody (1871) the tune is given at #54 as EVAN I (CM) in a 4/2, not a 3/2 version. A note on page xix indicates it is the first two and last two phrases of Havergal's original melody. The full original is given at #77 as EVAN II (CMD). In the note Havergal says, "'EVAN,' framed by Dr. Lowell Mason of New York ... comprises only part of the original melody. As the American arrangement was a sad estrangement, I have reconstructed the tune after a more correct form. Why it was called 'EVAN' I know not. Still I do not approve of the tune.”

Offertory Anthem: “I Will Bow” Frederick Chatfield (1950)

This is a lovely little gem - simple and as graceful as the Shaker text.

Frederick Chatfield served as Director of Music and Organist of Christ United Methodist Church in Kettering, Ohio, a position he held for thirty years (1986-2016). Mr. Chatfield holds a Bachelor of Music in Organ from New England Conservatory in Boston (1972) and a Master of Arts in Religion (Music and Worship) cum laude from Yale University (1985) where he was named the 1985 Hugh Porter Scholar. His principle organ teachers have included Frank Mulheron, Charles Krigbaum, Miréille Lagacé and Thomas Murray. Mr. Chatfield was a faculty member of the Organ Academy of the American Guild of Organists, Dayton chapter and is a published composer. One of his great enjoyments is his 1982 BMW R100RS motorcycle which he restored in the spring of 2006.

I will bow and be simple, I will bow and be free,
I will bow and be humble, yea, bow like the willow tree.

I will bow, this is the token, I will wear the easy yoke,
I will bow and be broken, yea, I'll fall upon the rock.

Opening Voluntary: “Leaning on the Everlasting Arms” Lani Smith

Anthony J. Showalter received letters from two friends who had lost their wives about the same time. He wrote back to express his sympathy, and included a verse of Scripture: “The eternal God is thy refuge, and underneath are the everlasting arms” (Deuteronomy 33:27 KJV). As he thought about that text, he wrote the music and refrain to this hymn. He asked Elisha Hoffman to write the stanzas. The hymn was first published in 1887 in The Glad Evangel for Revival, Camp, and Evangelistic Meetings, for which Showalter was an editor.

Elisha Hoffman (1839-1929) after graduating from Union Seminary in Pennsylvania was ordained in 1868. As a minister he was appointed to the circuit in Napoleon, Ohio in 1872. He worked with the Evangelical Association's publishing arm in Cleveland for eleven years. He served in many chapels and churches in Cleveland and in Grafton in the 1880s, among them Bethel Home for Sailors and Seamen, Chestnut Ridge Union Chapel, Grace Congregational Church and Rockport Congregational Church. In his lifetime he wrote more than 2,000 gospel songs including"Leaning on the everlasting arms" (1894).

Closing Voluntary: “Jubilate” Roy Douglas (1907-2015)

This is an original work for organ which is, as the title suggests, jubilant!

Richard Roy Douglas, better known as Roy Douglas, was an English composer, pianist and arranger. He worked as musical assistant to Ralph Vaughan Williams, William Walton, and Richard Addinsell, made well-known orchestrations of works such as Les Sylphides (the ballet, music based on piano pieces by Chopin) and Addinsell's Warsaw Concerto, and wrote a quantity of original music.

Hymn of the Day: “Lord of All Hopefulness” ELW 765
Text: Joyce Torrens-Graham (1901-1953)
Tune: SLANE

Joyce Torrens-Graham wrote many poems and essays under the pen name of Jan Struther (derived from her mother's maiden name, Eva Anstruther). She wrote this text at the request of Percy Dearmer, with whom she prepared the enlarged edition of Songs of Praise (1931). It was first published in that hymnal to the tune SLANE. According to Frank Colquhoun, the text "is a work with a warm human touch, a healthy spiritual tone, and well merits its popularity." It is one of the best examples of the "all-day" hymn texts (dealing with the whole day, from morning to evening).

The four stanzas begin by addressing God in terms of his attributes and then ask for specific blessings for morning, noon, evening, and night. Displaying a consistent literary structure, the text, according to Dearmer, "is indeed a lovely example of the fitting together of thought, words and music."

In addition to her pen name, Struther also had the married names of Mrs. Anthony Maxtone Graham and, from a second marriage, Mrs. Adolf Kurt Placzek. During World War II she moved with her children to New York City and remained there until her death. In England she is best known for her novel Mrs. Miniver (1940), which consists of sketches of British family life before World War II. Immensely popular, the book was later made into a movie. Struther also wrote comic and serious poetry, essays, and short stories, published in Betsinda Dances and Other Poems (1931), Try Anything Twice (1938), The Glass Blower (1941), and, posthumously, The Children's Bells (1957). Songs of Praise (1931) included twelve of her hymn texts.

SLANE is an old Irish folk tune associated with the ballad "With My Love on the Road" in Patrick W. Joyce's Old Irish Folk Music and Songs (1909). It became a hymn tune when it was arranged by David Evans and set to the Irish hymn "Be Thou My Vision" first published in the Church Hymnary (1927). SLANE is named for a hill in County Meath, Ireland, where St. Patrick's lighting of an Easter fire–an act of defiance against the pagan king Loegaire (fifth century)–led to his unlimited freedom to preach the gospel in Ireland.

Offertory: “Sicilienne” Gabriel Faure

In 1892 the manager of the Grand Théâtre, Paris, asked the composer Camille Saint-Saëns to write incidental music for a production of Molière's Le Bourgeois gentilhomme. Saint-Saëns was too busy to accept the commission, and successfully recommended his friend and former pupil Fauré. The music, which included the first version of the Sicilienne, was nearly complete when the theatre went bankrupt in 1893. The production was abandoned and the music remained unperformed.

Five years later, Fauré arranged the work for cello and piano. The Fauré scholar Jean-Michel Nectoux writes that the transcription was made for the Dutch cellist Joseph Hollman. It was published in London and Paris in April 1898, with a dedication to the English cellist W. H. Squire.

At the same time, Fauré was working on incidental music for the first English production of Maurice Maeterlinck's play, Pelléas et Mélisande, which opened in June 1898. Needing a lighthearted piece for one of the few playful scenes in the drama, he included the Sicilienne along with the new music he wrote for the production. His former pupil Charles Koechlin orchestrated the score for the theatre orchestra of 16 players.

The final form of the Sicilienne is in the four-movement Pelléas et Mélisande suite for full orchestra, arranged by Fauré and published in 1909. Nectoux notes that the final orchestration differs from Fauré's original 1893 version, written for chamber-sized theatre orchestra: in particular, the main theme is given to the oboe in the original score and to the flute in the final version in the suite.

Opening Voluntary: “Psalm,” Gordon Young (1919-1998)

Gordon Young was an American organist and composer of both organ and choral works. He was born in McPherson, Kansas and educated at Southwestern College (Winfield, Kansas) and the Curtis Institute (Philadelphia, Pennsylvania) where he was a student of Alexander McCurdy. After serving churches in Philadelphia and Kansas where he also worked as a radio organist and newspaper critic, Young became the music director at First Presbyterian Church in Detroit. There he was a visible and important presence in the American church music scene. He also taught organ on the faculty of Wayne State University. Young published voluminously, and his organ and choral works are in the catalogs of most major American publishers. Numerous works of his were also issued in the Netherlands, where his music has remained very popular. “Psalm” is part of his collection of Eleven Organ Pieces, published in 1962.

Closing Voluntary: “Darwall’s 148th” Barbara Harbach (1946)

Composed by John Darwall (1731-1789), DARWALL'S 148th was first published as a setting for Psalm 148 in Aaron William's New Universal Psalmodist (1770) with only soprano and bass parts. The harmonization dates from the nineteenth century.

The son of a pastor, Darwall attended Manchester Grammar School and Brasenose College, Oxford, England. He became the curate and later the vicar of St. Matthew's Parish Church in Walsall, where he remained until his death. Darwall was a poet and amateur musician. He composed a soprano tune and bass line for each of the 150 psalm versifications in the Tate and Brady New Version of the Psalms of David (l696). In an organ dedication speech in 1773 Darwall is known to have advocated singing the "Psalm tunes in quicker time than common [in order that] six verses might be sung in the same space of time that four generally are." The only Darwall tune still in common use, DARWALL'S 148th is marked by both its dramatic opening figure (outlining the tonic chord) and by the convincing ascent of the final line.

Dr. Barbara Harbach is a composer, harpsichordist, organist and teacher. Since 2004, she taught music at the University of Missouri-St. Louis. She founded Women in the Arts-St. Louis to highlight women's work and gain more performances for musicians and composers. In 1989, Harbach founded the small Vivace Press, to publish music by underrepresented composers. In 1993 she was a co-founder of the journal, Women of Note Quarterly, and continues as its editor.

Hymn of the Day: “Where Charity and Love Prevail” ELW 359
Text: Latin hymn, 9th cent.; tr. Omer Westendorf, 1916–1997, alt.
Tune: TWENTY-FORTH, attr. Lucius Chapin, 1760–1842

The hymn “Where charity and love prevail” is appropriate for this day. Especially stanzas 4-5 fit well with the day’s emphasis on communal forgiveness. The hymn derives from the ninth-century chant “Ubi caritas,” and many Christians sing it during the foot washing on Maundy Thursday. This translation of the classic text was crafted by Omer Westendorf, a Roman Catholic musician.

In its first publication, in A Collection of Tunes, 1812, under the name TWENTY-FORTH, it is attributed to Lucius Chapin, but Lucius attributes it (under the name ORANGE) to his brother Amzi in an 1812 letter to Andrew Law.

Offertory Anthem: “With A Voice of Singing” Martin Shaw (1875-1958)

The text is Isaiah 48:20 and Psalm 66:1. These verses are used together as an Introit in the mass. Shaw’s works number more than three hundred published pieces, of which this church anthem, originally published 100 years ago, is an enduring favorite. It is scored with a quotation from Vaughan Williams’ “For All the Saints”. Composer, conductor and producer, Martin Shaw was of the Holst and Vaughan Williams generation of composers who was key in reviving public interest in the work of Purcell. He was also a co-founder of the Royal School of Church Music. He once toured Europe as conductor to dancer Isadora Duncan and was briefly engaged to the daughter of theatrical star Ellen Terry.

With a voice of singing declare ye this, and let it be heard, Alleluia!
Utter it even unto the ends of the earth. The Lord hath delivered His people, Alleluia!
O be joyful in God, all ye lands.
O sing praises to the honor of His name, make His praise to be glorious.
With a voice of singing, declare ye this, and let it be heard, Alleluia!

Opening Voluntary: “Listen, God Is Calling” Anne Krenz Organ (1960)

Anne Krentz Organ is a composer and church musician serving as the Director of Music Ministries at St. Luke's Lutheran Church in Park Ridge, IL.

Anne is the primary composer of Setting 12, a musical setting of the liturgy found in All Creation Sings, the recently published hymnal supplement of the Evangelical Lutheran Church in America. Additional liturgical compositions are included in Evangelical Lutheran Worship and the three volumes of Music Sourcebooks: Lent and the Three Days; Advent through Transfiguration; and Life Passages.

Hymn of the Day: Lead Me, Guide Me, ELW 768
Text: Doris Akers, 1922-1995
Tune: LEAD ME, GUIDE ME, Doris Akers

LEAD ME is representative of the first generation of African American gospel music, a generation that began with Thomas Dorsey and includes gospel artists such as Roberta Martin, Lucie Campbell, Kenneth Morris, Theodore Frye, and Doris M. Akers. The core of this style is improvisation. Thus the printed notes are intended only as guides to the creativity of singers and accompanists.

Doris M. Akers wrote both text and tune of this African American gospel hymn in 1953 in Oakland, California. The text is an earnest plea for an intimate walk with God, who is asked to lead, guide, and protect the believer. The deeply personal stanzas emphasize that divine guidance is essential because of our lack of strength, our blindness, and Satan's temptations. Only God can lead us on the narrow path and through all the complexities and challenges of earthly life. Like many of the psalms, this text pours out the yearning of the individual Christian, a prayer that reminds us of the words of Psalm 4.

Doris Akers was a biracial African-American gospel music composer, arranger and singer and is considered to be "one of the most underrated gospel composers” of the 20th century. She had an active career as singer, choir director, and songwriter. She wrote her first song at age ten and after that time composed more than five hundred gospel songs and hymns. Known for her work with the Sky Pilot Choir, she was inducted into the Gospel Music Hall of Fame in 2001.

Offertory Anthem: “How Lovely Are the Messengers” Felix Mendelssohn (1809-1847)

“How Lovely Are the Messengers,” by Felix Mendelssohn, is from Saint Paul, the first of Mendelssohn's oratorios. It refers to Paul and Barnabas as ambassadors of the Christian Church. The composer oversaw versions and performances in both German and English within months of completing the music in early 1836. The libretto "after words of holy scripture" was begun in 1832. The composer with pastor Julius Schubring, a childhood friend, compiled passages from the New Testament, chiefly the Acts of the Apostles, and the Old, as well as the texts of chorales and hymns, in a polyglot manner after Bach's model. Composition of the music started in 1834 and was complete in early 1836. During Mendelssohn's lifetime, St. Paul was a popular and frequently performed work. Today it is regularly performed in Germany and well disseminated in both of its original languages through an array of complete recordings.

How lovely are the messengers that preach us the gospel of peace.
To all the nations is gone forth the sound of their words,
Throughout all the lands their glad tidings.

Opening Voluntary: “Now Let Us All Loudly” Healey Willan (1880-1968)

This is a very exuberant setting of the hymn tune “Now Let Us All Loudly” (Nun preiset alle), text and music by Matthäus Apelles von Löwenstern. Löwenstern’s hymns, thirty in all, are of very varied worth, many being written in imitation of antique verse forms, and on the mottoes of the princes under whom he had served. In the original editions they were accompanied with self-composed melodies. When or where they were first published (cir. 1644) is not clear.

Long-lived composer Healey Willan is best known for his liturgical music, though his output of more than 800 works includes most genres: opera, symphony, chamber, organ, piano, band, incidental scores, song, folk-song arrangements, and much else. More than half of those 800 efforts were sacred works for choir and organ, used for Anglican church services. Stylistically, Willan was a conservative whose music divulged the influence of Wagner and post-Romanticism in general. Born in England, he migrated to Canada and there became probably the most influential composer of liturgical music of his time. His influence spread across North America, spilling over into the musical traditions of most major denominations. Although Willan's compositions are not commonly encountered in the concert hall, renewed interest in his liturgical music since the 1990s offers hope to his admirers that even his concert music may enjoy rediscovery.

Closing Voluntary: Allegro assai vivace from Organ Sonata #1 in F Minor, Op. 65, Felix Mendelssohn (1809-1847)

Felix Mendelssohn’s six Organ Sonatas, Opus 65, were published in 1845. Mendelssohn was well known and respected for his diversified improvisations and a seemingly endless varieties of new ideas, and it added new dimensions to what one normally heard played on the organ at the time. These qualities are evident in the organ sonatas, which were commissioned in1844 as a set of voluntaries, or preludes, and published in 1845. In fact, all of the music in these Sonatas was composed between August,1844, and January, 1845, so it is not surprising to find certain general characteristics appearing, almost like a recurring theme, throughout all six sonatas, which unifies the whole collection.

Hymn of the Day: “Lord of All Nations, Grant Me Grace” (ELW 716)
Text: Olive Wise Spannaus, 1916-2018, alt.
Tune: BEATUS VIR, Šamotulský Kancionál, 1561.

With Philippians 2:1-18 as its basis, Olive Wise Spannaus wrote this hymn in 1960. She was living in Elmhurst, Illinois, a suburb of Chicago that, like many cities at that time, was experiencing racial tensions. She says that “the first stanza practically wrote itself. The lines came to me in the midst of ironing, and I quickly picked up a pencil to write them down. The rest of the hymn was done by snatches, and before too long I knew I was writing the hymn for the Lutheran Human Relations Association, a group which my husband and I actively supported. I sent it to them with a note that I hoped they would have some use for it. If not, then I at least shall have had the fun of writing it.”

The Lutheran Human Relations Association did have a use for it. They sang it at their Eleventh Annual Institute at Valparaiso University, 1960. In the same year it appeared in Christians, Awake, the record of their proceedings. In 1965 Edgar Reinke of Valparaiso University brought the hymn to the attention of the Commission on Worship of the Lutheran Church- Missouri Synod (LCMS), and in October 1967 it was published in the supplement to This Day magazine called A New Song and then in the Worship Supplement (1969) to The Lutheran Hymnal (1941). The original language was updated for inclusivity in Lutheran Book of Worship (1978), but Elizabethan English was retained. Evangelical Lutheran Worship duplicates that version. Three things might be noted. 1) It expresses the always radically-new message of Christian behavior with archaic English that sounds new. 2) The word "erred" in stanza 3 is not a slant rhyme. It actually rhymes with "word." 3) The author has resisted requests to change singular constructions to plural ones on the ground that "personal relations are and ought to be personal and therefore an individual concern and responsibility."

The hymn was published in This Day magazine with the tune BEATUS VIR. Jaro-slav Vajda was the editor of This Day. One has to assume that, with his knowledge of the Slovak repertoire, he made this match. The tune comes from the Samotulsky Kancionál (1561), where it went with "O blahoslaveny dovek." Psalm 1 was the basis for the original text, so the editors of the Worship Supplement named it with the Latin of Psalm 1, "Beatus vir." In the Duchovna Citara (1933), the tune is attributed to Matthias Kunwaldsky (1442 or 1460-1500). Matthias Kunwaldsky was a Bohemian Brethren bishop. Four of his hymns are in the first known Bohemian Brethren hymnal of 1501 and five more in the Samotulksy Kancionál of 1561.

Offertory Anthem: “O Bread of Life from Heaven” David Ashley White

This text was from the Latin hymn O Esca Viatorum from the Maintzich Gesangbuch which was published in 1661. It was translated to English by Philip Schaff (1819-1893).

This composition by David Ashley White incorporates a 17th-century Latin hymn and has a plainsong feeling.

O Bread of Life from heaven,
To saints and angels given;
O Manna from above!
The souls that hunger feed thou,
The hearts that seek thee, lead thou,
With thy sweet, tender love.

Opening Voluntary “Spirit of God, Descend Upon My Heart” Joe Utterback (1944).

This tune, MORECAMBE, was written in 1870 by Frederick C. Atkinson. The jazz musician, Joe Utterback beautifully captures this serene hymn tune with his jazz-inspired harmonies. He has published nearly 400 works for piano, choir and organ.

Closing Voluntary “Lead Us, Heavenly Father” Robert J Powell (1932)

Robert J. Powell is an American composer, organist, and choir director. He earned a Bachelor of Music degree from Louisiana State University with a focus on organ and composition. He studied with Alec Wyton at Union Theological Seminary in New York, and he was also Wyton's assistant at The Episcopal Cathedral of St. John the Divine. Powell's conservative, neo-Romantic style stems from his practical approach to composition. According to Powell himself, he writes for "choirs of twenty-five because that's what most choirs are. When you come right down to it, most choirs are not of cathedral ability or size. My pieces are all practical things and useful for specific occasions." His publications appear in The Hymnal 1982 as well as in the catalogs of most of the significant American publishers of church music. Powell is a composer whose output bridges denominational boundaries and who is able to serve the larger Church. He has made ecumenical sharing a reality–-and always with a genteel touch.

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.

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 either.

Offertory: “Meditation on ‘RUSTINGTON’” Hugh S Livingston, Jr. (1945-2014)

C. Hubert H. Parry's RUSTINGTON was first published in the Westminster Abbey Hymn Book (1897) as a setting for Benjamin Webb's "Praise the Rock of Our Salvation." The tune is named for the village in Sussex, England, where Parry lived for some years and where he died.

Hugh S Livingston, Jr. served in music ministries in Tennessee, Indiana, and Ohio, providing his talents as a choral director, pianist, organist, and trumpeter. Even in his retirement, Hugh remained active as a church musician, and shared his musical gifts with hundreds of people in assisted living and nursing homes.

Opening Voluntary: “Bridegroom” James Biery (1956)

Peter Cutts (1937) wrote this melody for "As the bridegroom to his chosen." It was first published in 100 Hymns for Today (London, 1969). He was born in Birmingham, England. He sang in the Birmingham Cathedral Choir, and later earned diplomas in Music and Theology.

James Biery is an American organist, composer and conductor who is Minister of Music at Grosse Pointe Memorial Church (Presbyterian) in Grosse Pointe Farms, Michigan, where he directs the choirs, plays the 66-rank Klais organ and oversees the music program of the church. Prior to this appointment Biery was music director for Cathedrals in St. Paul, Minnesota and Hartford, Connecticut.

Closing Voluntary: “Processional from Partita on ‘Crucifer’, Charles Callahan (1951)

Paired perfectly with our Sending hymn, today’s Closing Voluntary is the first movement of a partita based on the hymn tune, CRUCIFER, composed by Sydney H. Nicholson (1875-1947), who wrote this tune for the text with which it appeared in the 1916 Hymns Ancient and Modern supplement. It is a processional tune that appropriately accompanies the cross borne by the crucifer, for whom it is named.

Charles Callahan is a well-known composer, organist, choral conductor, pianist and teacher. He is a graduate of The Curtis Institute of Music, Philadelphia, Pa., and The Catholic University of America, Washington, DC. Callahan compositions are performed frequently in church and concert; his writing style has been described by The Washington Post as gentle, confident lyricism.

Hymn of the Day: “The Church’s One Foundation” ELW 654
Text: S. J. Stone (1839-1900)
Tune: AURELIA, Samuel S. Wesley (1810-1876)

In the mid-nineteenth century, Bishop John William Colenso of Natal raised a ruckus in the Catholic Church when he challenged the historicity and authority of many of the Old Testament books. Bishop Gray of Capetown wrote a stirring response of defense, which, in 1866, inspired Samuel Stone, to write this beloved hymn, basing his text on Article 9 of the Apostle’s Creed: “The Holy Catholic (Universal) Church; the Communion of Saints; He is the Head of this Body.” Now an affirmation of Christ as the foundation of our faith, we sing this hymn with those who have gone before us and with Christians around the world, declaring that beyond any theological differences, cultural divides, and variances in practice, we are all part of the same body, the body of Christ.

The actual words have not changed much from Stone’s original text, though there are differences in what verses are sung. Stone’s hymn originally consisted of seven stanzas, to which he added three more, and today most hymnals include the original 1, 2, 4, 5, and 6, though not every hymnal contains all five. In the first two verses, we proclaim our unity as the Church in Christ, through baptism, the Word, and Communion. In stanza 3 and 4, we pray that divisions might cease and we would fully experience that unity, and in verse 5, we acknowledge the unity greater than the sum of individual people, our fellowship with God, the Three in One.

Stone attended schools at Charterhouse and Pembroke College in Oxford, England. Ordained in the Church of England in 1862, he became curate of Windsor, a position he held until he joined his father in ministry at St. Paul's in Haggerston, London, in 1870. He succeeded his father as vicar at Haggerston in 1874, staying until 1890. From 1890 until his death he served All-Hallow-on-the-Wall in London, which he turned into a haven for working girls and women. In addition to his collection of hymns, Stone's publications include Sonnets of the Christian Year (1875), Hymns (1886), and Iona (1898). He served as a member of the committee that prepared Hymns Ancient and Modern (1909). His Collected Hymns and Poems were published posthumously.

The tune that most often accompanies this text is AURELIA, composed in 1864 by Samuel S. Wesley and first published as a setting for “Jerusalem the Golden.” It was paired with Stone’s text shortly after, to the chagrin of some: Dr. Henry Gauntlett was apparently very annoyed by this match-up, as he thought Wesley’s tune was “inartistic, secular twaddle.” Dr. Gauntlett was not to have the last word however, and the tune has stuck.

Offertory: “Trentham” Philip Moore (1943)

Robert Jackson (1842-1914) originally composed TRENTHAM as a setting for Henry W. Baker's "O Perfect Life of Love". Named for a village in Staffordshire, England, close to the town in which Jackson was born, the tune was published with the Baker text in Fifty Sacred Leaflets (1888).

Philip Moore was educated at the Royal College of Music in London. Here he won the Walford Davies Prize for Organ Playing and the Limpus, Turpin, and Read Prizes in the Royal College of Organists’ exams. He holds a BMus degree from the University of Durham, and more recently was awarded Honorary Fellowships by the Royal School of Church Music, the Guild of Church Musicians, and the Academy of St Cecilia for his services to Church Music. In 2008, the Archbishop of York awarded him the Order of St William, and in 2016 the Archbishop of Canterbury awarded him the Cranmer Award for Worship “for his contribution to the English choral tradition as a composer, arranger, and performer”.

Opening Voluntary: “Spirit of the Living God” Malcolm Archer

Daniel Iverson (1890-1977) wrote the first stanza and tune of this hymn after hearing a sermon on the Holy Spirit during an evangelism crusade by the George Stephens Evangelistic Team in Orlando, Florida, 1926. The hymn was sung at the crusade and then printed in leaflets for use at other services. Published anonymously in Robert H. Coleman's Revival Songs (1929) with alterations in the tune, this short hymn gained much popularity by the middle of the century. Since the 1960s it has again been properly credited to Iverson.

Malcolm Archer has had a distinguished career in church music which has taken him to the posts of Organist and Director of Music at three English Cathedrals: Bristol, Wells and St Paul’s, and for eleven years, Director of Chapel Music at Winchester College. He holds Fellowships from the Royal College of Organists, the Royal School of Church Music and the Guild of Church Musicians, the latter two awarded for his many years of service to the church as a choir trainer and composer.

Closing Voluntary: “Shipston (Fugitives on the Run)” Paul Leddington Wright (1951)

SHIPSTON is English traditional melody collected by Lucy Broadwood (1858-1929). It was originally harmonized by Ralph Vaughan Williams (1872-1958), first appearing in The English Hymnal (1906) where it accompanied two hymns: “Firmly I believe and truly” and “Jesu, tender Shepherd, hear me”.

PAUL LEDDINGTON WRIGHT held his first two appointments as Organist and Choirmaster of the Maidenhead Methodist Church, and also the Maidenhead Schools' Orchestra at the age of 15. At 17, he made his first organ recital tour of the USA, Canada and Jamaica.

A graduate of Cambridge University, he was organ scholar of St. Catharine's College, graduating with a Masters degree in music, studying with Sir David Willcocks and Peter Hurford.

Hymn of the Day: “There’s a Wideness in God’s Mercy” ELW 588
Text: Frederick W. Faber, 1814–1863, alt.
Tune: LORD, REVIVE US, North American, 19th cent.

Frederick Faber, born in Yorkshire, England, was one of a number of English clergy who converted from the Anglican Church to Roman Catholicism in the Romantic era of hymnody in the 19th century.

Faber was born an Anglican and reared a strict Calvinist. After attending Oxford, he took orders as an Anglican priest and began his ministry as a rector. Influenced by his friend John Henry Newman who converted from Anglicanism to Roman Catholicism in 1845, Faber also converted to Catholicism that same year.

Both Newman and Faber were influenced by the rituals and tradition of Rome. Faber formed a community in Birmingham called “Brothers of the Will of God.” Newman joined the Oratory, an order of secular priests established in 1564 by St. Philip Neri in Rome, and Faber eventually followed him there. Hymnologist Albert Bailey noted, “Father Faber was the moving and guiding spirit [of the Oratory] as long as he lived, a great preacher and a man of charming personality.”

Drawing inspiration from the hymns of John Newton, William Cowper and the Wesleys during his Anglican youth, he recognized that Roman Catholics lacked a tradition of more recent metrical hymnody in English. He took it upon himself to remedy this. By the time he died, he had contributed 150 hymns, all composed after his conversion to Roman Catholicism.

“There’s a wideness in God’s mercy” originally had eight stanzas and appeared under the title “Come to Jesus” in Faber’s Oratory Hymns (1854). In a later collection, the hymn expanded to 13 stanzas, beginning with “Souls of men, why will ye scatter/ Like a crowd of frightened sheep?” That version was included in a posthumous collection, Hymns Selected from F. W. Faber (1867).

LORD, REVIVE US is an anonymous nineteenth-century American tune first used with John Newton's hymn "Savior, visit thy plantation" at #51 in Joseph Hillman's The Revivalist: A Collection of Choice Revival Hymns and Tunes, Original and Selected (New York, 1868). The last line of Newton's fifth and last stanza (in Olney Hymns, #51) was "To revive thy work afresh." It was printed as stanza 4 in The Revivalist. The last line of Newton's second stanza was "Help can only come from thee." Though it was not printed in The Revivalist, somebody seems to have known it and put the two lines together to construct the refrain, "Lord, revive us, All our help must come from thee." The name of the tune was born. The tune seems to be related to HOLY MANNA though it is not pentatonic.

Offertory: Prelude on “Open My Eyes” Charles Callahan (1951)

Charles Callahan is a well-known composer of music best described as exhibiting a gentle, confident lyricism. He is an organist, choral conductor, pianist and teacher, a graduate of The Curtis Institute of Music, Philadelphia, Pa., and The Catholic University of America, Washington, DC.

The tune, “Open My Eyes,” was composed by Clara Harriett Fiske Jones Scott (1841-1897). She was the first woman to publish a volume of anthems, 'The Royal anthem book’ in 1882. This hymn first appeared in Best Hymns No. 2, by Elisha A. Hoffman & Harold F. Sayles (Chicago, Illinois: Evangelical Publishing Company, 1895). Some hymnals show the author incorrectly as "Charles" Scott.

Opening Voluntary: “Elevation,” Léon Boëllmann (1862-1897)

Léon Boëllmann was a Romantic French organist and composer who wrote over 160 works in his short lifetime of only 35 years. His best-known composition is Suite Gothique, which is a staple of the organ repertoire, especially its concluding Toccata. Had he lived longer, Boëllmann would likely be regarded today as one of the great Romantic French organist-composers, in a line that included Franck, Widor, and Vierne.

Closing Voluntary: “Invention #1 Joseph Callaerts (1830-1901)

Joseph Callaerts was born in 1830 in Antwerp, and spent nearly all of his life in that city. He started learning music when he was a boy, singing in Antwerp's choir of the Cathedral of Our Lady. As a young man, he studied the organ with Jacques-Nicolas Lemmens (whose “Fanfare” I played last month) at the Brussels Royal Conservatoire, and he won the first prize in organ at that institution in 1856. Starting in 1850, Callaerts served as the organist at the Jesuit College in Antwerp. In 1855 he became the organist at Antwerp Cathedral and in 1863 he became carillonneur of the city of Antwerp. From 1867 on, he taught organ and harmony at the Royal Conservatoire of Antwerp, which had its name changed to the Royal Flemish Conservatoire in 1898. He also gave expert advice in the building of several organs. Callaerts has a traditionalist composer profile. Unlike his contemporaries, he did not search for innovative forms and did not aspire to convey a political or social message with his music. His compositions were widely appreciated during his lifetime, but their popularity decreased from the first decades of the twentieth century onwards.

Hymn of the Day: “Eternal Father Strong to Save” ELW 756
Text: William Whiting (1825-1878)
Tune: MELITA John B. Dykes (1823-1876)

William Whiting wrote this hymn in 1860 for one of his students who was about to sail to America. It was revised and included in the first edition of Hymns Ancient and Modern (1861) "for those at sea." The first stanza originally began, "O Thou who bidd'st the ocean deep" and has sometimes been found with "Almighty Father" rather than "Eternal Father." Evangelical Lutheran Worship uses the same altered versions of Whiting's four stanzas that Lutheran Book of Worship (1978) used. This hymn has found wide usage in English-speaking countries as the sailor's hymn and has been allied to the state almost as much as to the church. In the United States it is inscribed over the chancel of the Naval Academy chapel at Annapolis, was President Franklin Delano Roosevelt's favorite hymn, was sung at his funeral in 1945, and was played by the Navy Band as John F. Kennedy's body was carried up the steps of the Capitol building to lie in state in 1963.

William Whiting was born in Kensington, England, the son of a grocer, and moved with his family to Clapham, where he went to school. In 1841 he enrolled at the Winchester Training Institute, and in 1842 he became master of the Winchester College Choristers' School, serving there until he died. He was an active participant in civic and church life and became honorary secretary to the Winchester-Hursley branch of the English Church Union, which supported the Catholic cause in the Church of England. Besides hymns, he wrote two books of verse: Rural Thoughts (1851) and Edgar Thorpe, or the Warfare of Life (1867).

The tune, MELITA, is named after the island where Paul was shipwrecked (Acts 28:1 KJV; modern Bible translations have “Malta”). It is a fitting name for a tune associated with a text about safety on the seas. MELITA was composed by John B. Dykes especially for this text in 1861, and they were published together in Hymns Ancient and Modern.

Offertory: “Aria” Georg Böem (1661-1733)

The son of an organist-schoolmaster, Georg Böhm went to study at the University of Jena in 1684 and left probably in 1690. In 1698 he became organist at the Church of St. Johannis in Lüneburg, where he remained for the rest of his life and where the young J.S. Bach doubtless heard him play. Although Böhm wrote numerous cantatas and sacred songs, he is chiefly remembered for his keyboard works, in which he deploys differing styles for harpsichord and organ. His harpsichord suites are in the manner of J.J. Froberger, but his organ works are more important. Some of his toccatas, preludes, fugues, and postludes for organ are brilliant, and his treatment of chorale melodies in organ partitas was truly original and exercised a strong influence on Bach.

Opening Voluntary: “Pleading Savior,” Emma Lou Diemer (1927)

A beautiful old American hymn tune, PLEADING SAVIOR is the setting for a half-dozen lyrics by Protestants and Catholics and even Orthodox. The tune was written by Joshua Leavitt and first published by Deodatus Dutton in The Christian Lyre in 1833, then again in The Plymouth Collection in 1855 where the words "There the Savior stands a-pleading" were the first words of the lyric. The English editors called it SALTASH after a town in Cornwall.

Emma Lou Diemer played the piano and composed at a very early age and became organist in her church at age 13. Her great interest in composing music continued through College High School in Warrensburg, MO, and she majored in composition at the Yale Music School (BM, 1949; MM, 1950) and at the Eastman School of Music (Ph.D, 1960). She studied in Brussels, Belgium on a Fulbright Scholarship and spent two summers of composition study at the Berkshire Music Center. She taught in several colleges and was organist at several churches in the Kansas City area during the 1950s. From 1959-61 she was composer-in-residence in the Arlington, VA schools under the Ford Foundation Young Composers Project, and composed many choral and instrumental works for the schools. She was consultant for the MENC Contemporary Music Project before joining the faculty of the University of Maryland where she taught composition and theory from 1965-70. In 1971 she moved from the East Coast to teach composition and theory at the University of California, Santa Barbara. At UCSB she was instrumental in founding the electronic/computer music program. In 1991 she became Professor Emeritus at UCSB. She is an active keyboard performer (piano, organ, harpsichord, synthesizer), and has given concerts of her own music at Washington National Cathedral, St. Mary's Cathedral and Grace Cathedral in San Francisco, Cathedral of Our Lady of the Angels in Los Angeles, and elsewhere.

Closing Voluntary: “Fanfare,” R. Mark Otterstad

“Fanfare” was written by Mr. Otterstad in 1963, while he was a student at St. Olaf College.

Hymn of the Day: "Break Now the Bread of Life" (ELW 515)
Text: Mary A. Lathbury (1841-1913)
Tune: BREAD OF LIFE, William F. Sherwin (1826-1888)

Mary A. Lathbury is known primarily for two hymns: this one (originally "Break Thou the Bread of Life") and "Day Is Dying in the West." She wrote both at the request of Bishop John H. Vincent for use in the services of the Chautauqua Assembly, well-known in the late nineteenth and early twentieth centuries as a conference center that offered a rich fare of Bible study, Sunday school teaching methods, concerts, and plays. Vincent, the secretary of the Methodist Sunday School Union, founded the Chautauqua Institution on Chautauqua Lake in upper New York State in an effort to educate Sunday school teachers. An assistant to Vincent at the camp, Lathbury was also a well-known writer, editor, and illustrator of children's books. Her literary skills earned her the nickname "Poet Laureate of Chautauqua."

Lathbury wrote stanzas 1 and 2 in 1877; they were first published in Chautauqua Carols (1878). Alexander Groves (1842-1909) added stanzas 3 and 4 later, and they were first published in the Wesleyan Methodist Magazine (London, Sept. 1913). Groves's career included being a grocer and accountant as well as a trustee, auditor, and actuary for the Henley Savings Bank. He served as organist of the Henley Wesleyan Chapel but later in life became a member of the Anglican Church in Henley.

Some expressions in "Break Now the Bread of Life" may not satisfy everyone in the Reformed community, but these verses were not written to define doctrine in sharp detail. They were intended to be used as a simple prayer for illumination for Bible study groups and in the meetings of the Chautauqua Literary and Scientific Circle. Tradition also calls for the hymn's use during Sunday-evening vespers at the Lake Chautauqua' assembly grounds.

The hymn text draws on biblical images to depict Scripture's role in our lives. Stanzas 1 and 2 recall the breaking and the blessing of the bread at Jesus' feeding of the five thousand. Stanza 3 confesses Christ as the bread of life.

This hymn has served as both a comfort and inspiration to many people since its first publication. Before every mid-week service, the great English preacher G. Campbell Morgan would read the words to this hymn to help him focus on his message. The primary focus of this hymn is centered upon Bible study and the desire to glean truth from God’s word.

The tune most commonly sung for this hymn is BREAD OF LIFE, specifically written for the text by William F. Sherwin in 1877. He composed BREAD OF LIFE in 1877 for the stanzas by Lathbury when he was the music director for the Chautauqua Institution. The notes are both gentle and reassuring, complimenting Mary Lathbury’s lyrics, and allowing the singer to focus on each word of the hymn. It is a slow, flowing tune, but uplifting nonetheless.

William F. Sherwin, an American Baptist, was born at Buckland, Massachusetts. His educational opportunities, so far as schools were concerned, were few, but he made excellent use of his time and surroundings. At fifteen he went to Boston and studied music under Dr. Mason. In due course he became a teacher of vocal music, and held several important appointments in Massachusetts; in Hudson and Albany, New York County, and then in New York City. Taking special interest in Sunday Schools, he composed carols and hymn-tunes largely for their use, and was associated with the Rev. R. Lowry and others in preparing Bright Jewels, and other popular Sunday School hymn and tune books.

Hymn of the Day: “Jesus, priceless treasure” ELW 775
Text: Johann Franck, 1618-1677; tr. Catherine Winkworth, 1827-1878, alt.
Tune: JESU MEINE FREUDE, Johann Crüger, 1598-1662

A most appropriate hymn for the day is “Jesus, priceless treasure” (ELW 775). Using some of the imagery of today’s gospel, such as a treasure that is priceless, the author Johann Franck adds his own image of the merciful domain of God: God is lover, for whom we are thirsting, in whose arm we rest. Such erotic religious imagery was more common in its time, 1653, than it is for some Christians in the present time. Any suggestions why?

— Gail Ramshaw

Johann Crüger composed JESU, MEINE FREUDE, a bar form tune (AAB) written for this text. Crüger was one of the most distinguished musicians of his time. He was editor of Praxis pietatis melica, considered one of the most important collections of German hymnody in the seventeenth century. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being "NUN DANKET ALLE GOTT."

Opening Voluntary: Liturgical Prelude #2, George Oldroyd (1886-1951)

George Oldroyd was an English organist, composer and teacher of Anglican church music. He composed numerous settings of the mass, but is best remembered for his Mass of the Quiet Hour composed in 1928. It is still part of the repertoire of many English cathedrals and parish churches. Other works include the part song, “Lute book lullaby”, organ works including the Liturgical Prelude played today and pieces for piano and for violin. Oldroyd was an authority on counterpoint, and published The Technique And Spirit Of Fugue: An Historical Study.

Offertory: In Communion Dennis Eliot (1941)

Today’s Offertory is a setting of the hymn tune TRUST IN JESUS, with a text written by Louisa M. R. Stead (1850-1917). The accounts vary widely on the details and drama surrounding the writing of this hymn. What is known is that, in 1880, Louisa Stead’s husband drowned, and that this hymn was published in Songs of Triumph two years later. It is widely believed that she wrote this hymn in response to the peace she found in trusting Jesus despite her sorrow. Mrs. Stead went on to serve for many years as a missionary in Africa.

This hymn is always sung to the tune TRUST IN JESUS, which was written for this text by William Kirkpatrick (1838-1921) in 1882 and appeared in the first publication of this text.

Closing Voluntary: Fanfare Jacques Lemmens (1823-1881)

When Jacques Nicolas Lemmens first published his organ method book, the Ecole d'orgue. his aim was twofold: to help organists develop the technical ability to play great organ literature, and to provide a body of repertoire especially suited to the Catholic church. Although the compositions in the Ecole are rarely performed today, the exercises that Lemmens developed to improve the technique of organists have had a profound influence on organ pedagogy for over one hundred years.

Jacques-Nicholas Lemmens was an eminent Belgian organist, recitalist, composer, and educator. His first organ training was with his father, then he studied at the Royal Brussels Conservatoire, where he was appointed organ professor at age 26. His distinguished students included Alexander Guilmant and Charles-Marie Widor. During 1852 he presented numerous stunning organ recitals in Paris. His astonishing pedal technique was mostly due to his studies of Bach’s organ works, which were not well-known in France at the time.

Fanfare is Lemmens’ most famous composition, which was very popular when he performed it in recitals, and is probably his most famous work today.

Hymn of the Day: “ALMIGHTY GOD, YOUR WORD IS CAST”, ELW 516
Text: John Cawood (1775-1852)
Tune: ST. FLAVIAN, English folk tune

Written about 1815 in 5 stanzas of 4 lines, and designated for use "After a Sermon". The text is stimulated by Jesus’ parable of the sower. It was reprinted in 1825 and from that date it has grown in importance as a congregational hymn, and its use has become extensive in all English-speaking countries. John Cawood published several prose works, but no volume of hymns or poems. His son says, "My father composed about thirteen hymns, which have one by one got into print, though never published by himself, or any one representing him.”

ST. FLAVIAN is an example of an English psalm tune that, like many Genevan Psalter tunes and German chorales, had its original rhythms smoothed out. It is an English tune that has been happily attached to numerous texts.

Offertory from Thirty-five Miniatures for Organ, #18 Flor Peeters (1903-1986)

This is another selection from Flor Peters’ collection of Thirty-five Miniatures for Organ.

His compositions include an organ method, various collections and recital pieces, and work for church use. His "Thirty-Five Miniatures" is perhaps his most popular collection of organ compositions.

Opening Voluntary: “Down Ampney (Hommage to RVW)” David Blackwell (1961)

To ready our hearts and minds for the service, I continue to offer quiet and gentle music to help us feel cool and comfortable in spite of some very hot weather. This is David Blackwell’s setting of DOWN AMPNEY, in which he uses introductory and accompanying material recalling the very pleasing style of last Sunday’s Opening Voluntary, Ralph Vaughn Williams’ “Rosemedre.” In addition, this tune, written for the text "Come Down, O Love Divine" was composed by Vaughn Williams and named DOWN AMPNEY in honor of his birthplace.

Closing Voluntary: "We Are One in the Spirit" (St. Brendan’s)” by David Schelat (1955)

Also known as "They'll Know We Are Christians by Our Love," Peter Scholtes (1938–2009) wrote this hymn text and the hymn tune “St. Brendan’s” while he was a parish priest at St. Brendan's on the South Side of Chicago in the 1960s. The idea for the hymn was born when he was leading a youth choir and was looking for an appropriate song for a series of ecumenical, interracial events. When he couldn't find such a song, he wrote the now-famous hymn in a single day. His experiences at St. Brendan's, and in the Chicago Civil Rights movement, influenced him for the rest of his life.

David Schelat is Minister of Music at First & Central Presbyterian Church in Wilmington, Delaware. He has performed as organist, conductor, or composer for five regional conventions of the AGO, as well as for conferences of the Hymn Society in the United States and Canada, and National Association of Pastoral Musicians.

Hymn of the Day: “The Word of God is Source and Seed” ELW 506
Text: Delores Dufner (1939)
Tune: GAUDEAMUS DOMINO, David Hurd (1950)

Delores Dufner wrote this hymn in 1983. Her descriptions of its themes plot the progression: "God's Word is like seed; God's Word is powerful and life-giving; God's Word was made flesh in Jesus”. She says that for her "one of the greatest gifts of Vatican II was the 'opening up' of scripture. Hearing chapter 37 of Ezekiel powerfully proclaimed shortly after Vatican II, I understood that the Word of God could bring new life even in apparently hopeless situations."

This hymn was first published in Benedictine Book of Song II (1992), with a musical setting by Jay Hunstiger. He added the refrain, which "seemed to complete both text and tune nicely." It was retained in With One Voice (1995) and Evangelical Lutheran Worship.

The name of the tune, GAUDEAMUS DOMINO, comes from the refrain. Augsburg Fortress commissioned David Hurd to compose it for With One Voice. He had not previously seen the text and "very much enjoyed creating a musical setting for it.”

Offertory Anthem: “Jesus, Savior, Pilot Me” Stephan Casurella (1973)

An original and utterly charming setting of this late 19th century hymn text written by Edward Hopper. Incidentally, the nau­ti­cal theme re­flects Hop­per’s min­is­try at the Church of the Sea and Land in New York City.

Stephan Casurella was born in England, where he began studying piano, organ and music composition at an early age. After moving to the United States, he earned undergraduate and graduate degrees in both piano performance and music composition and in 2009 was awarded a doctor of musical arts degree in church music (organ emphasis) from the University of Kansas. Stephan is a published composer who has written for a wide range of media. His works have been performed by soloists and ensembles such as the choir of Chester Cathedral, England, the Thalia Symphony Orchestra, the Xavier University Concert Choir, and flutist James Hall.

Jesus, Savior, pilot me
Over life’s tempestuous sea;
Unknown waves before me roll,
Hiding rock and treacherous shoal.
Chart and compass come from Thee;
Jesus, Savior, pilot me.

As a mother stills her child,
Thou canst hush the ocean wild;
Boisterous waves obey Thy will,
When Thou sayest to them, "Be still!"
Wondrous Sovereign of the sea,
Jesus, Savior, pilot me.

When at last I near the shore,
And the fearful breakers roar
’Twixt me and the peaceful rest,
Then, while leaning on Thy breast,
May I hear Thee say to me,
Fear not, I will pilot thee.

Opening Voluntary: Prelude on the Hymn Tune “Rhosemedre”, Ralph Vaughn Williams (1872-1958)

Although best known in this original version for solo organ, “Rhosymedre” is also well known as an orchestral arrangement by Arnold Foster. Ralph Vaughan Williams used the hymn tune as the basis of the second movement of his organ composition Three Preludes on Welsh Hymn Tunes. “Rhosymedre” is the name of a hymn tune written by the 19th-century Welsh Anglican priest John David Edwards. Edwards named the tune after the village of Rhosymedre in the County Borough of Wrexham, Wales, where he was the vicar from 1843 until his death in 1885. The hymn tune is seven lines long, appears in a number of hymnals and is sung to a variety of texts.

Closing Voluntary: “Processional” William Mathias (1934 - 1992)

Welsh composer William Matthias was a child prodigy who began playing the piano at the age of three and composing at five. His formal musical studies took place first at Aberystwyth University and later the Royal School of Music where he was a composition student of Lennox Berkeley. He received his doctorate from the University of Wales, where he was appointed Professor of Music in 1970 and remained in the position until 1988. He was an in-house composer for Oxford University Press and founded the North Wales Music Festival at Asaph Cathedral, where he served as Artistic Director until his death.

In addition to a number of symphonies, concertos, and operas written for the secular music world, Matthias produced a large number of solo organ works and Anglican-style choral anthems for use in the church. His “Let the People Praise Thee, O God” was commissioned for the wedding of Prince Charles and Princess Diana in 1981 and brought him international fame.

“Processional” dates from 1964 and is written in neo-classical style. Its jaunty, fanfare-like main theme hearkens back to the trumpet voluntaries of the English baroque but with a modern twist. Its ternary form features modal, quartal, and added-note harmonies.

Hymn of the Day: “I Heard the Voice of Jesus Say” ELW 611
Text: Horatius Bonar, 1808-1889
Tune: KINGSFOLD, English Folk Tune

Despite his intimidating name and physical appearance, Horatius Bonar was a great lover of children and was concerned about how little the children understood of the metrical Psalms that were sung in the Scottish church of his day. "I Heard the Voice of Jesus Say" was one of the over 600 hymns he wrote to address the needs of the churches he served.

In Great Britain and America nearly 100 of Dr. Bonar's hymns are in common use. They are found in almost all modern hymnals from four in Hymns Ancient & Modern to more than twenty in the American Songs for the Sanctuary, N. Y., 1865-72. The most widely known are, "A few more years shall roll;" "Come, Lord, and tarry not;" "Here, O my Lord, I see Thee face to face;" "I heard the Voice of Jesus say;" "The Church has waited long;" and "Thy way, not mine, O Lord."

Thought by some scholars to date back to the Middle Ages, KINGSFOLD is a folk tune set to a variety of texts in England and Ireland. After having heard the tune in Kingsfold, Sussex, England (thus its name), Ralph Vaughan Williams introduced it as a hymn tune in The English Hymnal (1906) as a setting for Horatius Bonar's "I Heard the Voice of Jesus Say."

Offertory: “Poco Allegretto” Cesar Franck (1822-1890)

Cesar Franck was a Belgian-French Romantic composer and organist who was the chief figure in a movement to give French music an emotional engagement, technical solidity, and seriousness comparable to that of German composers. He showed unmistakable musical gifts that enabled him to enter the Liège conservatory at the age of eight, and his progress as a pianist was so astonishing that in 1834 his father took him on tour and a year later dispatched him to Paris, where he worked with the Bohemian composer Anton Reicha, then professor at the Paris Conservatory. In 1836 the whole family, including the younger son Joseph, who played the violin, moved to Paris, and in 1837 César Franck entered the Paris Conservatory. Within a year he had won a Grand Prix d’Honneur by a feat of transposition in the sight-reading test, and this honor was followed by a first prize for fugue (1840) and second prize for organ (1841). Although the boy should now normally have prepared to compete for the Prix de Rome, a prize offered yearly in Paris for study in Rome, his father was determined on a virtuoso’s career for him and his violinist brother, with whom he gave concerts, and therefore removed him prematurely from the conservatory.

In order to please his father and earn much-needed money, Franck gave concerts, the programs of which were largely devoted to performing his own showy fantasias and operatic potpourris, popular at that time. After 1840, when he turned his attention increasingly to the organ, his compositions became noticeably more serious. Only when he had finally asserted himself against what amounted to the unscrupulous exploitation of his gifts by his father could he achieve maturity and peace of mind.

Opening Voluntary: “Melody” Richard Purvis (1913-1994)

Richard Purvis was an American organist, composer, conductor and teacher. He began playing the organ publicly at the age of 14 in churches and in the Civic Auditorium in San Francisco. In addition to recitals and church services, Purvis played nightly recitals broadcast on the 7-rank style "E" Wurlitzer organ at the Chapel of the Chimes over local radio station KRE. His stage name was Don Irving and his theme song was “I'll Take an Option on You”.

He was admired as one of the finest organ improvisateurs in the U.S. In an era when so-called "romantic" music was out of favor with most composers, and atonal, serial music was considered the hallmark of serious composition, he was not afraid to write tuneful, accessible, richly colored, and even whimsical compositions that possessed commercial viability. He is especially remembered for his expressive recordings of the organ classics and his own lighter compositions for the instrument.

Closing Voluntary: “Invention #3 Joseph Callaerts (1830-1901)

Joseph Callaerts was born in 1830 in Antwerp, and spent nearly all of his life in that city. He started learning music when he was a boy, singing in Antwerp's choir of the Cathedral of Our Lady. As a young man, he studied the organ with Jacques-Nicolas Lemmens at the Brussels Royal Conservatoire, and he won the first prize in organ at that institution in 1856. Starting in 1850, Callaerts served as the organist at the Jesuit College in Antwerp. In 1855 he became the organist at Antwerp Cathedral and in 1863 he became carillonneur of the city of Antwerp. From 1867 on, he taught organ and harmony at the Royal Conservatoire of Antwerp, which had its name changed to the Royal Flemish Conservatoire in 1898. He also gave expert advice in the building of several organs.

Hymn of the Day: “All Are Welcome” (ELW 641)
Text: Marty Haugen (1950)
Tune: TWO OAKS, Marty Haugen

This hymn by Marty Haugen was "an attempt to write a text that reflects the welcome to table fellowship that Jesus offered unconditionally to everyone." The five stanzas of the hymn as it now appears were "redacted down" from the thirteen stanzas Haugen originally created with the intention that they would "somewhat model the four-fold rite of gathering-word-meal-sending." Haugen says that "the hymn was originally intended to be a gift to the St. Thomas Becket Catholic Community in Eagan, Minnesota, where my former pastor and his congregation were about to dedicate their new church. At the request of my editor, the hymn was dedicated to his uncle and aunt” - "Dedicated to Gene and Peggy Figliulo at the request of Michael A. Cymbala.”

"For quite a while the tune KINGSFOLD was considered for the text, but the length of the final verses (and the need for the 'all are welcome’ refrain) dictated a new tune." Haugen's new tune was called TWO OAKS, which "was the name the Figliulos gave to their home in Michigan because the home faces two large and beautiful oak trees. TWO OAKS is constructed in four sets of two-phrase groups, each 2 + 2 until the last one, which by its extension to five measures (now without the pickups) emphasizes "all are welcome."

Opening Voluntary: “Te ofrecemos” Jeffrey Honoré (1956)

The composer, Jeffrey Honoré, started out teaching high school choral music in Ripon, Wisconsin. Since 1984, he has worked full time as a pastoral musician, serving Catholic parishes in Milwaukee and Phoenix. “Te ofrecemos” is a Spanish hymn.

Offertory: from Thirty-five Miniatures for Organ, #5 Flor Peeters (1903-1986)

Flor Peters was the son of a church organist. He was a pupil of Dupre and Tournemire and attended the Lemmens Institute where he won highest honors in organ playing. In 1925 he became professor at the Institute, and organist at the Metropolitan Cathedral of Mechelen. In 1931 he became professor at the Royal Flemish Conservatory in Antwerp. Since then he has won international recognition having concertized in Belgium, Holland, France, England, Italy, Switzer-land, Germany, Denmark, Sweden, Norway, Czechoslovakia, Canada, South America and in more than fifty cities in the United States.

His compositions include an organ method, various collections and recital pieces, and work for church use. His "Thirty-Five Miniatures" is perhaps his most popular collection of organ compositions. His masses have been generally accepted as among the best musical settings of our times, while his "Te Deum" and "Jubilate Deo" have become recognized as classic favorites for festival use.

Closing Voluntary: “Laudes Domini (When Morning Gilds the Skies)” Robert Lind (1940)

Robert Lind studied at North Park College and the American Conservatory of Music in Chicago, majoring in organ, composition, and music theory. At the age of 20, he worked with his mentor, Leo Sowerby, and became his assistant at the Cathedral of St. James, Chicago. He succeeded him as Organist-Choirmaster at the cathedral two years later. After serving in the U.S. Army during the Vietnam era, Mr. Lind entered the publishing world, while continuing to serve various churches in the Chicago area.

Joseph Barnby (1838-1896) composed the tune, LAUDES DOMINI (“When Morning Gilds the Skies”) for this anonymous German text, a litany of praise to Christ, translated by Edward Caswall (1814- 1878). Tune and text were published together in the 1868 Appendix to Hymns Ancient and Modern and they have been inseparable ever since. The tune's Latin title, which means "the praises of the Lord," is derived from the litany refrain “may Jesus Christ be praised”.

Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion.

Hymn of the Day: ACS1093 In a Deep, Unbounded Darkness
Text: Anonymous, China; tr. Francis P. Jones, (1890–1975); adapt. Mary Louise Bringle, (1953)
Tune: DIVINUM MYSTERIUM, Plainsong mode V, 13th cent.

This text that originated as the theme song for a Bible study institute in China is a meditation on the eternal nature of God. Like the hymn “Of the Father’s love begotten,” with which this tune is often paired, we begin in the time before creation when God claimed us. After praising God’s steadfastness in stanza two, our joy overflows at the incarnation in stanza three. Finally, stanza four returns us to the realm of eternity, joining together the beginning and final chapters of the Bible by connecting references to stories from Genesis and Exodus with the wedding feast of the Lamb in Revelation.

Hymn of the Day: ACS 985
Text: Ray Makeever (1943)
Tune: LET US ENTER IN, Ray Makeever

Ray Makeever wrote three musical settings of holy communion in the early 1980s when he was working at Our Saviour’s Lutheran Church in south Minneapolis. He credits that congregation with supporting him in this productive vocation of church composer/musician. This song sounds like a gathering song and may be used as one, but it was intended to be a sending song, with its ringing invitation to “enter in” to our broken world. In this entering, we understand ourselves as one of the “long line of people in need,” and are also confident that we enter into “a hope we can share.”

Johann Pachelbel (1653-1706) was a composer from Nuremberg in the Middle Baroque period. He wrote sacred and secular music, and was a highly regarded organist and teacher. He knew the older generation of the Bach family and taught J.S. Bach's uncle. Pachelbel is particularly noted for contributing to the development of the Chorale Prelude and the Fugue, though his Canon in D is his most well-known piece today. Today's Toccata demonstrates typical characteristics of sounding somewhat freely improvised and flashy. Von Himmel hoch...(from high heaven to earth I come) is a Chorale Prelude where the long-noted melody is in the pedal part, surrounded by ornamented counterpoint in the manuals.

Hymn of the Day: “There’s a Wideness in God’s Mercy” ELW 588
Text: Frederick W. Faber, 1814–1863, alt.
Tune: LORD, REVIVE US, North American, 19th cent.

Frederick Faber, born in Yorkshire, England, was one of a number of English clergy who converted from the Anglican Church to Roman Catholicism in the Romantic era of hymnody in the 19th century.

Faber was born an Anglican and reared a strict Calvinist. After attending Oxford, he took orders as an Anglican priest and began his ministry as a rector. Influenced by his friend John Henry Newman who converted from Anglicanism to Roman Catholicism in 1845, Faber also converted to Catholicism that same year.

Both Newman and Faber were influenced by the rituals and tradition of Rome. Faber formed a community in Birmingham called “Brothers of the Will of God.” Newman joined the Oratory, an order of secular priests established in 1564 by St. Philip Neri in Rome, and Faber eventually followed him there. Hymnologist Albert Bailey noted, “Father Faber was the moving and guiding spirit [of the Oratory] as long as he lived, a great preacher and a man of charming personality.”

Drawing inspiration from the hymns of John Newton, William Cowper and the Wesleys during his Anglican youth, he recognized that Roman Catholics lacked a tradition of more recent metrical hymnody in English. He took it upon himself to remedy this. By the time he died, he had contributed 150 hymns, all composed after his conversion to Roman Catholicism.

“There’s a wideness in God’s mercy” originally had eight stanzas and appeared under the title “Come to Jesus” in Faber’s Oratory Hymns (1854). In a later collection, the hymn expanded to 13 stanzas, beginning with “Souls of men, why will ye scatter/ Like a crowd of frightened sheep?” That version was included in a posthumous collection, Hymns Selected from F. W. Faber (1867).

LORD, REVIVE Us is an anonymous nineteenth-century American tune first used with John Newton's hymn "Savior, visit thy plantation" at #51 in Joseph Hillman's The Revivalist: A Collection of Choice Revival Hymns and Tunes, Original and Selected (New York, 1868). The last line of Newton's fifth and last stanza (in Olney Hymns, #51) was "To revive thy work afresh." It was printed as stanza 4 in The Revival ist. The last line of Newton's second stanza was "Help can only come from thee." Though it was not printed in The Revivalist, somebody seems to have known it and put the two lines together to construct the refrain, "Lord, revive us, All our help must come from thee." The name of the tune was born. The tune seems to be related to HOLY MANNA though it is not pentatonic.

Hymn of the Day: “The Play of the Godhead” ACS 946
Text: Mary Louise Bringle (1953)
Tune: PERICHORESIS William P. Rowan (1951)

Mary Louise Bringle, professor of philosophy and religious studies at Brevard College (North Carolina), was inspired to compose hymn texts after attending the Hymn Writer’s Workshop in Boston sponsored by The Hymn Society in the United States and Canada in 2000. She left the workshop with composer William Rowan’s words of encouragement and a collection of his compositions — eighteen “hymns without words”. That year, she penned “The Play of the Godhead,” a Trinitarian hymn that she originally paired with Rowan’s PERICHORESIS, a tune having the same name as the theological concept that inspired Bringle’s text.

The mystery of the Trinity—God, Three in One—is a concept that may need to be danced rather than explained. It’s a three-person dance—or maybe four, if we are included. The text uses images of mist, flowing water, crystals of ice, nourishing taproot, growing shoot, and ripe fruit, natural analogies for the Trinity that have historically been found wanting. Mary Louise Bringle says that the three repeating phrases of music in the middle of the song made her first think of the dance of the Trinity.

Offertory Anthem: “When Silence Filled the Formless Night,” Richard Shephard (1949-2021)

Richard Shephard was a British composer, educator, and Director of Development and Chamberlain of York Minster. He was acclaimed as one of the most significant composers of church music of his time. Today’s anthem is based on his original hymn tune (Huttons Ambo) with a text by Mary Holtby.

When silence filled the formless night
And worlds unmade in darkness waited,
God spoke the word and gave us light,
And loved what he created.

Beyond the ancient writer's art
The word affirms our primal story:
How love illuminates the heart
As heav'n declares his glory.

His voice still speaks through clouded years,
Past prisons of our own devising,
And still to shadowed lives appears
The brightness of his rising.

He comes in Pentecostal flame,
In tongues unloosed, in bondage broken;
to all united by his name
The word of life is spoken.

Let there be light and hearts be stirred
to know in Christ their sun ascending;
In our beginning is the word,
and in the word our ending.

Opening Voluntary: “Nicea” Robert Buckley Farlee (1950)

The tune NICAEA is named after the Council of Nicaea (A.D. 325) at which church leaders began to formulate the doctrine of the Trinity to oppose the heresies of Arius. NICAEA is one of the finest tunes composed by John B. Dykes and the only one of his many tunes that resembles the style of the Lutheran chorale – its similarity to WACHET AUF is noted by various scholars. Dykes wrote NICAEA as a setting for Reginald Heber’s text, and ever since their first publication together in Hymns Ancient and Modern (1861), the text and tune have been virtually inseparable.

Robert Buckley Farlee is Associate Pastor and Director of Music at Christ Lutheran Church in Minneapolis.

Closing Voluntary: Prelude in G Major, BWV 541, J. S. Bach (1685-1750)

One of the most sparkling organ works by Johann Sebastian Bach, the Prelude and Fugue in G major, BWV 541, was probably originally written around the middle of Bach's formative period in Weimar, 1708-1717, but revised in Leipzig sometime after 1740. The Prelude is an ebullient affair, a joyful stream of 16th-notes punctuated by repeated chords.

Hymn of the Day: “Come, Holy Ghost, God and Lord” ELW 395
Text: German hymn, 15th cent., st. 1; Martin Luther, 1483–1546, sts. 2–3; tr. composite
Tune: Komm, Heiliger Geist, Herre Gott

From an eleventh-century Latin antiphon for the Vigil of Pentecost, "Veni Sancte Spiritus, reple tuorum corde fideliu”, came the fifteenth-century single-stanza German Leise "Komm, Heiliger Geist, Herre Gott." Martin Luther, in a hyperbolic mode around the dinner table, said the Holy Spirit wrote it, both text and music. He slightly altered the work of the Holy Spirit and then added two more stanzas. The three appeared in 1524 in the Erfurt Enchiridion and Walter' Geistliche Gesangbüchlein. The translation in Evangelical Lutheran Worship is a composite. With only slight alterations it takes over the version from Lutheran Book of Worship (1978), which with variations was taken from The Lutheran Hymnal (1941), which in turn was based on Catherine Winkworth's translation in Lyra Germanica, first series (1855).

This is one of the finest hymns from the Lutheran heritage, a potent chorale that summarizes many of the Holy Spirit's attributes - love, brightness, light, guide, teacher, fire, comfort - and spins out graphic petitions from them. It appropriately initiates the Pentecost, Holy Spirit section of this hymn collection.

KOMM, HEILIGER GEIST, HERRE GOTT
The tune is equally potent. Ulrich Leupold viewed it as "a simplified version of the rather melismatic plainchant melody of the German" Leise (not the melody of the Latin antiphon, which was not used). Whatever small arranging Luther or Johann Walter may have done here, what we get is a skillful congregational adaptation "of older materials.”

Offertory Anthem: “Lift Up Your Heads” William Matthias (1934-1992)

William Mathias’s ebullient, joyful choral writing, drawing on a variety of musical traditions, is immediately accessible and likeable while demonstrating an architectural sophistication that brings it into the top rank of twentieth-century liturgical music. He had a particular flair for brilliance, drama and display, which made his music highly suited to ceremonial and festive occasions; present too in his music is a sense of Celtic mysticism and deep spirituality which enhances these works.

Lift up your heads, O ye gates,
and be ye lifted up, ye everlasting doors,
And the king of glory shall come in.
Who is this king of glory? The Lord strong and mighty
The Lord mighty in battle.

Opening Voluntary: Prelude in G Minor, Marcel Dupre (1886-1971)

Dupré's most often heard and recorded compositions tend to be from the earlier part of his career. During this time he wrote the Three Preludes and Fugues, Op. 7 (1914), with the First and Third Preludes (in particular the G minor with its phenomenally fast tempo and its pedal chords) being pronounced unplayable by no less a figure than Widor. Such, indeed, is these preludes' level of complexity that Dupré was the only organist able to play them in public for years.

In many ways Dupré may be viewed as a Paganini of the organ. Being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is largely unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his output should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. Nevertheless, his more successful works combine this virtuosity with a high degree of musical integrity.

Closing Voluntary: “Sonne der Gerechtigkeit,” David Schack (1947)

The tune, SONNE DER GERECHTIGKEIT, was originally the tune to a fifteenth-century folk song, "Der reich Mann war geritten aus," and it was adopted by the Bohemian Brethren for 1566 hymnal, Kirchengeseng. The tune is thus a contrafactum, changed from the folk/court use to church use. The title is the German incipit for the chorale most commonly associated with the tune.

David Schaak studied at Valparaiso University and Indiana University. Five different publishers have published his many choral and organ compositions and his liturgical works have found wide acclaim through appearance in three major Lutheran hymnals. He has been honored by guest appearances at several regional and national conferences of the Association of Lutheran Church Musicians.

Hymn of the Day: “I Come with Joy” ELW 482
Text: Brian A. Wren (1936)
Tune: DOVE OF PEACE, W. Walker, Southern Harmony, 1835

“I come with joy” was written in 1968 by Brian Wren, an ordained minister in the United Church of Christ, who is renowned for the expansive imagery in his hymns. In this spritely song, befitting the Easter season, we come together as one, gathered by the Spirit of the Risen Christ. The emphasis in the hymn on the oneness of the community fits well with today’s selection from John.

— Gail Ramshaw

Offertory Anthem: “The Waters of Life” James Biery (1956)

James Biery holds degrees in church music and organ from Northwestern University in Evanston, Illinois. He has served as Director of Music at cathedrals in Hartford, Connecticut, and St. Paul, Minnesota. Currently he is Minister of Music and Organist at Grosse Pointe Memorial Church in Grosse Pointe Farms, Michigan.

The Father’s voice calls us above the waters,
The glory of the Son shines on us,
The love of the Spirit fills us with life.

Opening Voluntary "Halton Holgate” David Thorne (1950)

HALTON HOLGATE (also called SHARON) is a version of a psalm tune originally composed by William Boyce (1710-1779) and published circa 1765 in his Collection of Melodies.

With over 30 years as a Cathedral Organist, David Thorne is also widely recognized as a composer and arranger. His church service music exhibits strong melodic writing and a harmonic strength which are of wide appeal to both choirs and congregations alike, eminently singable and sensitive to the liturgy. His anthems and arrangements reflect a similar style enhancing the nature of the text.

Closing Voluntary: “Christ Has Arisen, Alleluia” (Mfurahini, haleluya) Emanuel Vogt (1925-2007)

“Christ Has Arisen, Alleluia” (Mfurahini, haleluya) comes to us from African Lutheranism. The tune appeared in a compilation of a number of African songs in Set Free (1993). Many were folk tunes to which Christian Swahili texts were later added. In their original form these tunes were sung with uninhibited improvisation. Consequently the form in which these songs appear in print represents only one of several possibilities.

The German composer Emanuel Vogt studied harmonium, piano, organ, trombone and harmony, and sang in a choir. He worked as a church organist and music teacher in Windsbach.

As part of his compositional work, numerous works for organ, wind players, choirs and mixed ensembles were created. His contact with the Windsbach boys' choir under Hans Thamm and his successor Karl-Friedrich Beringer led to numerous performances of his compositions and releases on records and CDs. In addition, he was a member of a team of composers for the Breitkopf & Härtel publishing house in Wiesbaden, who published the four-volume organ book In Ewigkeit Dich loben.

Hymn of the Day: “We Know That Christ Is Raised” ELW 449
Text: John B. Geyer (1932)
Tune: ENGLEBERG Charles V. Stanford (1852-1924)

The author, John B. Geyer, writes:

“We Know That Christ Is Raised" was written in 1967, when I was tutor at Cheshunt College, Cambridge, U.K At that time a good deal of work was going on 'round the corner (involving a number of American research students) producing living cells ("the baby in the test tube"). The hymn attempted to illustrate the Christian doctrine of baptism in relation to those experiments.

The text was first published in the British Methodist supplementary hymnal Hymns and Songs (1969) but has since been altered in various other hymnals, including the Psalter Hymnal. The controlling thought comes from Romans 6:3-5, in which Paul teaches that in baptism we are united with Christ in his resurrection–that is the basis for our new life. Like 269, this song ends each stanza with a note of praise–in this case with an "alleluia" refrain line.

John B. Geyer is an Old Testament scholar who has written widely in his field. He wrote a commentary on The Wisdom of Solomon (1973) as well as a number of hymns that were first published in various British supplementary hymnals. Educated at Queen's College, Cambridge, and Mansfield College, Oxford, he also studied Old Testament under Gerhard von Rad in Heidelberg. In 1959 Geyer was ordained in the Congregational Union of Scotland. He served as a chaplain at the University of St. Andrews, pastor of Drumchapel Congregational Church in Glasgow, Scotland, and a college tutor. In 1969 Geyer became minister in the (now) United Reformed Church in Little Baddow. Since 1980 he has served as pastor at Weoley Hill, Birmingham, and as chaplain at the University of Birmingham, England.

Charles V. Stanford composed ENGELBERG as a setting for William W. How's "For All the Saints." The tune was published in the 1904 edition of Hymns Ancient and Modern with no less than six different musical settings. It is clearly a fine congregational hymn.

A distinguished composer and teacher of composition, Stanford began his musical career at an early age. Before the age of ten he had composed several pieces and given piano recitals of works by Handel and Bach. He studied at Queen's College, Cambridge, England, as well as in Leipzig and Berlin. At the age of twenty-one he was asked to become organist at the famous Trinity College, Cambridge. At that time he also began a prestigious career in conducting, which included appearances with the London Bach Choir from 1885 to 1902, and he traveled widely in England, Europe, and the United States. His teaching career was equally impressive. Stanford taught composition at both the Royal College of Music and Cambridge University; among his students were Ralph Vaughan Williams and Gustav Holst. He was knighted in 1902. Stanford wrote over two hundred compositions in nearly all musical genres, including symphonies, operas, chamber music, and songs. Most notable in his church music are several complete services, anthems, and unison hymn tunes.

Offertory Anthem: “Christ Jesus Lay in Death’s Strong Bands,” JS Bach

CHRIST LAG IN TODESBANDEN is an adaptation of a medieval chant used for "Victimae Paschali laudes" (the same chant is the source for CHRIST IST ERSTANDEN). The tune's arrangement is credited to Johann Walther (1496-1570), in whose 1524 Geystliche Gesangk Buchleyn it was first published. But it is possible that Luther also had a hand in its arrangement.

Walther was one of the great early influences in Lutheran church music. At first he seemed destined to be primarily a court musician. A singer in the choir of the Elector of Saxony in the Torgau court in 1521, he became the court's music director in 1525. After the court orchestra was disbanded in 1530 and reconstituted by the town, Walther became cantor at the local school in 1534 and directed the music in several churches. He served the Elector of Saxony at the Dresden court from 1548 to 1554 and then retired in Torgau.

Walther met Martin Luther in 1525 and lived with him for three weeks to help in the preparation of Luther's German Mass. In 1524 Walther published the first edition of a collection of German hymns, Geystliche gesangk Buchleyn. This collection and several later hymnals compiled by Walther went through many later editions and made a permanent impact on Lutheran hymnody.

One of the earliest and best-known Lutheran chorales, CHRIST LAG IN TODESBANDEN is a magnificent tune in rounded bar form (AABA) with vigor and lightness characteristic of Easter carols. Many organ compositions are based on this tune; Johann S. Bach incorporated it extensively in his cantatas 4 and 158. The chorale is introduced by Bach’s organ chorale prelude.

Christ Jesus lay in death’s strong bands
for our offenses given;
but now at God’s right hand he stands
and brings us life from heaven.
Therefore let us joyful be
and sing to God right thankfully
loud songs of alleluia! Alleluia!

Opening Voluntary: Noël Nouvelle, Michael Bedford (1949)

Most often found paired with the text “Now the green blade rises,” NOEL NOUVELLE is also sung to “Sing we now of Christmas.” If you are familiar with this tune as a French Christmas carol, you are not alone as this tune has been associated with this carol text since the 17th century. In1928 it was repurposed with the Easter text written by John Macleod Cambell Crum.

Michael Bedford, a full-time church musician since 1973, currently serves as organist/choirmaster of St. John's Episcopal Church in Tulsa, Oklahoma, where he plays the organ and supervises a full graded choir program including three singing choirs, one handbell choir and a chamber ensemble. He has held similar positions in Texas and Colorado.

Closing Voluntary: “Good Christian Friends, Rejoice and Sing”, Healey Willan (1880–1968)

It is always a pleasure to play a piece by Healey Willan. His harmonies are full and resonant and the settings, whether quiet and introspective or sonorous and vibrant, are always moving.

James Healey Willan was born on October 12, 1880, in Balham, Surrey, England. He had a wide experience as a composer of a full-length opera, a symphonic work, countless organ and choral works, as a music educator, a choral director, and a church musician. He played his first service at the age of eleven in 1891 and his last service on Christmas Eve, 1967, just two months before he died on February 16, 1968.

Having served churches in England, Willan left for Canada in 1913 to serve as organist and choirmaster at St. Paul’s Anglican Church in Toronto as well as head of the Theory Department at the Toronto Conservatory of Music. In 1921, he accepted the position of organist-choirmaster at St. Mary Magdalene Church, an Anglo-Catholic parish in Toronto, where he was to remain for the rest of his life. During his tenure there, Willan also accepted in 1938 the position of Professor in the Music Faculty at the University of Toronto.

Most of his hymn-based motets and organ preludes came into existence after his retirement from the University of Toronto in 1950, the most prolific compositional period of his life. Willan is probably best known for his sacred and liturgical music, especially that written for St. Mary Magdalene Church. His anthems, hymns, motets, mass settings, and carol settings contributed to his reputation as the “dean of Canadian composers.”

This organ piece is based on the well-known hymn “Good Christian Friends, Rejoice and Sing,” tune name Gelobt sei Gott, by Melchior Vulpius (1570-1615). Full and festive, the basic structure is that of a short introduction followed by the phrases of the tune alternating with interludes and offering a richness of harmonic beauty typical of Willan’s compositions.

Hymn of the Day: “Here, O Lord, Your Servants Gather” ELW 530
Text: Tokuo Yamaguchi (1900–1995); tr. Everett M. Stowe (1897-1997)
Tune: TOKYO, Japanese Gagaku mode; Isao Koizumi (1907–1992)

Tokuo Yamaguchi was a Methodist pastor in Sawara, Tanimura, Fujieda, and Asahikawa, following his graduation with a theology degree from Aoyama Gakuin University in 1924. His longest term of service was as pastor of the United Church of Christ in Toyohashi in the Aichi Prefecture (1937-1979). He translated The Journal of John Wesley into Japanese in 1961 and was honored by the Christian Literature Society of Japan in 1983 for his translation work.

The tune TOKYO is based on the ancient Japanese Gagaku mode of musical composition. Gagaku is the name for all traditional Japanese court music, much of it dating back to the eighth century, with previous roots in Chinese music. Composed by Isao Koizumi for Yamaguchi's text, TOKYO was first published in the English-language Japanese hymnal Hymns of the Church (1963). A writer and translator of books and articles on church music, Koizumi has also composed and arranged hymn tunes. He is considered a leading figure in modern Japanese hymnody.

Offertory Anthem: “Christ Is Our Cornerstone,” Phillip Stopford (1977)

The Diocese of Ardagh and Clonmacnois of Ireland commissioned Phillip Stopford to compose an anthem on this foundational text. The result is a rousing piece with some unexpected and arresting harmonic progressions.

Philip W J Stopford is an English organist and composer best known for his choral works. Stopford began his musical career as a chorister at Westminster Abbey from 1986 to 1990, during which time he also took up the piano, organ and violin. Later he studied for a Bachelor of Arts in music at the University of Oxford, where from 1996 to 1999 he also served as organ scholar at Keble College. Stopford is known for his contemporary a cappella and accompanied settings of traditional Latin and English prayers and hymns.

Christ is our cornerstone,
on him alone we build;
with his true saints alone
the courts of heav’n are filled.
On his great love our hopes we place
of present grace and joys above.

Here may we gain from heav’n
the grace which we implore,
and may that grace, once giv’n,
be with us evermore
until that day when all the blest
to endless rest are called away.

Oh, then, with hymns of praise
these hallowed courts shall ring;
our voices we will raise
the Three in One to sing
and thus proclaim in joyful song,
both loud and long, that glorious name.

Opening Voluntary: “Lord, Enthroned in Heavenly Splendor,” Kristina Langlois (1956)

Dr. Kristina Langlois has been the Director of Music and Worship at Westwood Lutheran Church in St. Louis Park, MN, since 2000, and Organist there since 1993. She administers an extensive choral and instrumental music program within the context of liturgical worship.

Closing Voluntary: “Truro,” Michael Bedford (1949)

Michael Bedford, a full-time church musician since 1973, currently serves as organist/choirmaster of St. John's Episcopal Church in Tulsa, Oklahoma, where he plays the organ and supervises a full graded choir program including three singing choirs, one handbell choir and a chamber ensemble. He has held similar positions in Texas and Colorado.

TRURO is an anonymous tune, first published in Thomas Williams's Psalmodia Evangelica, as a setting for Isaac Watts' "Now to the Lord a noble song." The tune is named for an ancient city in Cornwall, England, famous for its cathedral and for its pottery. The entire tune is influenced by George F. Handel's style and bears relationship to similar tunes.

Hymn of the Day: “Savior, like a Shepherd Lead Us” ELW 789
Text: attr. Dorothy A. Thrupp, 1779-1847
Tune: BRADBURY, William B. Bradbury, 1816-1868

The text of "Savior, Like a Shepherd Lead Us" first appeared in Hymns for the Young, 1840, which was edited by Dorothy Ann Thrupp. Although no author's name appears with the text, it is thought that Thrupp wrote it, since she often published hymns anonymously, under the pseudonym "Iota," or simply using her initials.

The tune we sing today was written by William Bradbury expressly for this text and appeared in his Sunday School collection, Oriola, 1859. Bradbury was a protege of the great music educator, Lowell Mason. Bradbury sang in Mason's Bowdoin Street Church choir and Boston Academy of Music as a youth, and later started similar church and school music programs in New York where he served as organist at First Baptist Church. Beyond his work as an educator and church musician, Bradbury studied composition in Europe, founded the Bradbury Piano Company with his brother, and edited a number of music books. Bradbury is probably most famous for writing the music to "Jesus Loves Me."

It's interesting that "Savior, Like a Shepherd Lead Us" was originally intended for children. In fact, many classic hymns like "Morning Has Broken" and "All Things Bright and Beautiful" were originally written for youth. Certainly this proves that educating our children and creating lasting music need not be mutually exclusive goals.

Offertory Anthem: “The 23rd Psalm” Bobby McFerrin (1950)

Bobby McFerrin has blurred the distinction between pop music and fine art. His exploration of uncharted vocal territory inspired a whole new generation of a cappella singers and the beatbox movement. McFerrin’s calling has always been to connect people through the unlimited possibilities of music. His original paraphrase of this text produces a very contemporary perspective on the well-known words of assurance.

The Lord is my Shepard, I have all I need,
She makes me lie down in green meadows,
Beside the still waters, She will lead.

She restores my soul, She rights my wrongs,
She leads me in a path of good things,
And fills my heart with songs.

Even though I walk, through a dark and dreary land,
There is nothing that can shake me,
She has said She won't forsake me,
I'm in her hand.

She sets a table before me, in the presence of my foes,
She anoints my head with oil,
And my cup overflows.

Surely, surely goodness and kindness will follow me,
All the days of my life,
And I will live in her house,
Forever, forever and ever.

Glory be to our Mother, and Daughter,
And to the Holy of Holies,
As it was in the beginning, is now and ever shall be,
World, without end. Amen

Opening Voluntary: “Fantasy on St. Columba,” Kenneth Leighton (1929-1988)

“Fantasy on St. Columba” is based on the Irish tune ST COLUMBA (The King of Love My Shepherd Is). In this setting a decorated version of the tune is heard in canon, beginning calmly before growing in intensity. Remarkably, this simple, flowing melody is surrounded and almost swallowed up in piercing, tortured harmonies, arriving at the end with a sense of resolution that is rather reassuring in today’s world.

As a treble chorister from 1938, many of Kenneth Leighton’s formative musical experiences were accompanied by the 1905 Abbott and Smith organ of Wakefield Cathedral, in the West Yorkshire city where he was born and educated. Leighton repeatedly praised the importance of his time in the choir stalls throughout his life, stating ‘My whole background is choral church music. I think one’s early background is terribly important’ and ‘[...] my career as a Cathedral chorister left some of the most vivid impressions in my mind of that time of life [...] what a marvelous musical training.’ Given this musical upbringing that left such a mark, it was perhaps inevitable that Leighton would go on to write a great deal of choral music, mostly liturgical, as well as works for the organ, although initially, the organ was not an instrument for which Leighton felt particularly compelled to write, or even with which he felt particularly comfortable, turning to it only in his mid-thirties. He was most concerned overall with the instrument’s architectural possibilities, at various times lamenting how the lack of clarity in the organ bothered him. As late as 1979 in a published interview, Leighton stated how he ‘[...] found the organ frustrating, there’s very little good music to play on it anyway apart from Bach’. While it seemed to present a significant challenge for him to overcome, however, his solo organ music constitutes a significant part of his output as a whole. Indeed in the same 1979 article he also goes on to say how ‘[...] I’ve found writing for the organ very exciting recently and I’ve kept on at it’. I’m glad he did!

Closing Voluntary: “Good Christian Friends, Rejoice and Sing”, Healey Willan (1880–1968)

It is always a pleasure to play a piece by Healey Willan. His harmonies are full and resonant and the settings, whether quiet and introspective or sonorous and vibrant, are always moving.

James Healey Willan was born on October 12, 1880, in Balham, Surrey, England. He had a wide experience as a composer of a full-length opera, a symphonic work, countless organ and choral works, as a music educator, a choral director, and a church musician. He played his first service at the age of eleven in 1891 and his last service on Christmas Eve, 1967, just two months before he died on February 16, 1968.

Having served churches in England, Willan left for Canada in 1913 to serve as organist and choirmaster at St. Paul’s Anglican Church in Toronto as well as head of the Theory Department at the Toronto Conservatory of Music. In 1921, he accepted the position of organist-choirmaster at St. Mary Magdalene Church, an Anglo-Catholic parish in Toronto, where he was to remain for the rest of his life. During his tenure there, Willan also accepted in 1938 the position of Professor in the Music Faculty at the University of Toronto.

Most of his hymn-based motets and organ preludes came into existence after his retirement from the University of Toronto in 1950, the most prolific compositional period of his life. Willan is probably best known for his sacred and liturgical music, especially that written for St. Mary Magdalene Church. His anthems, hymns, motets, mass settings, and carol settings contributed to his reputation as the “dean of Canadian composers.”

This organ piece is based on the well-known hymn “Good Christian Friends, Rejoice and Sing,” tune name Gelobt sei Gott, by Melchior Vulpius (1570-1615). Full and festive, the basic structure is that of a short introduction followed by the phrases of the tune alternating with interludes and offering a richness of harmonic beauty typical of Willan’s compositions.

Hymn of the Day: “We Who Once Were Dead” ELW 495
Text: Muus Jacobse (1909-1972) tr. composit
Tune: MIDDEN IN DE DOOD Rik Veelenturf (1936)

Muus Jacobse wrote this Dutch hymn text in 1961. It was first published in 102 Gezangen (The Hague, 1964). In brief and poignant phrases, the hymn poses life and light in Christ against death and night. Then it moves to an overlay of eucharistic images - Christ received in bread and wine and our sharing in Christ's death and rising.

Muus Jacobse is the pen name for the Dutch poet Klaas Hanzen Heeroma. He studied Dutch literature with Albert Verway at Leiden. Before World War II he was part of a group called "Young Protestants." He taught in Wassenaar from 1936 to 1937. During the War he wrote poems, metrical psalms, and hymns. From 1947 to 1948 he was one of the editors of the Woordenboek der Nederlandsche Taal. He went to Indonesia in 1949 to teach at the University of Djakarta, and from 1953 until his death he taught at the State University of Groningen.

Rik Veelenturf (1936) wrote this tune in 1960 for White Thursday, the name for Maundy Thursday in Holland ("witte donderdag"). Each of its five measures is a phrase. Like the text, they are structured as 2 + 2 + 1, in which five pulses alternate with six, propelling each stanza to its final line. The final lines serve as points of telos. Taken together they form a summation. The tune underlines both the telos and the summary.

Henricus Joseph Veelenturf was born in Holland and joined the Society of Jesus in 1955. Between 1960 and 1966 he was part of the "Werk-groep Volkstaallitur-gie," introducing the Dutch liturgy to Roman Catholic parishes in Holland. In 1967, when he married, he started a liturgical center in Amsterdam. Displeased with what he saw as a retrogressive Catholic Church in Holland, he left the center and joined a community group. He became a teacher in the social academy in Amsterdam.

Offertory Anthem: “Day of Arising,” Carl Schalk

Carl Schalk has woven together an unforgettable new tune with a text from Susan Palo Cherwien's hymn collection, O Blessed Spring. The text compares the story of Jesus appearing to the disciples on the roadway with our own lives and how Christ is revealed to us through the breaking of bread. “Day of Arising” began as a commission for the 1996 Synod Assembly by the Minneapolis Area Synod of the Evangelical Lutheran Church in America. The theme text for the Synod was the Road to Emmaus story (Luke 24:13-35), which serves as the backbone of Cherwien’s text. The text first was written for the tune BUNNESAN (“Morning Has Broken”), which set both the shorter five-syllable lines as well as the fourth- and eighth-line rhyming pattern (5.5.5.4.D).

However, a few years after the song was first sung, William and Nancy Raabe commissioned composer Carl Schalk to write a new tune for the text. Perhaps best known for his fine collaborations with Jaroslav Vajda (e.g., “Now the Silence” and “God of the Sparrow”), Schalk’s ensuing tune RAABE deftly underscores the resurrection theme of the text with its ascending melody line. Schalk’s unusually fine sense of melody has created another strong melodic possibility for Cherwien’s text.

Day of arising, Christ on the roadway, unknown companion walks with his own.
When they invite him, as fades the first day, and bread is broken, Christ is made known.

When we are walking, doubtful and dreading, blinded by sadness, slowness of heart, yet Christ walks with us, ever awaiting our invitation: Stay, do not part.

Lo, I am with you, Jesus has spoken. This is Christ's promise, this is Christ's sign: when the church gathers, when bread is broken, there Christ is with us in bread and wine.

Christ, our companion, hope for the journey, bread of compassion, open our eyes. Grant us your vision, set all hearts burning that all creation with you may rise.

Opening Voluntary: “At the Lamb’s High Feast” John Ferguson (1941)

Today’s Voluntary is the second movement of “Partita on ‘At the Lamb’s High Feast.’ ” It is based on the hymn tune SONNE DER GERECHTIGKEIT which has eight stanzas. Each movement reflects one of the 8 hymn stanzas.

John Ferguson is is an American organist, teacher, and composer. His name is often associated with hymnody and the words "hymn festival." He frequently is invited to design and lead such events, both in local congregations and at gatherings of organists, choral conductors, and church musicians. His festivals are ecumenical experiences drawing upon the treasures of Christian song from many centuries, traditions, and styles.

Closing Voluntary: “Dance: Gaudeamus Pariter,” Mary Beth Bennett (1954)

Today’s Closing Voluntary is a setting of the hymn tune Gaudeamus Pariter, by Johann Roh (1487-1547), which is often paired with the text “Come Ye Faithful Raise the Strain.” It is a sturdy and jubilant tune which well expresses the text’s joy. Some may remember last Sunday’s Closing Voluntary which was based on another tune often paired with this text. Johann Roh was a native of Bohemia. Roh was his name in Bohemian, but when he wrote in Latin he called himself Cornu, and when he wrote in German, he called himself Horn.

Mary Beth Bennett is a recognized performer, improviser and composer living in historic Richmond, Virginia. She serves on the adjunct music faculty of the University of Richmond, and is Director of Music Ministries at Grace Covenant Presbyterian Church in Gloucester, Virginia.. She has previously held various positions in Washington, D.C., including at the Basilica of the National Shrine of the Immaculate Conception.

Hymn of the Day: “We Walk by Faith” ELW 635
Text: Henry Alford (1810-1871)
Tune: SHANTY, Marty Haugen (1950)

Henry Alford included this hymn in his Psalms and Hymns and his Year of Praise. He wrote it for the commemoration of St. Thomas the Apostle. Not surprisingly it begins with 2 Corinthians 5:7 ("We walk by faith, not by sight) and then quotes from the account of Jesus and Thomas in John 20:19-29. But the hymn is about us, not only about Thomas -about our Emmaus walk and our meeting with the resurrected Lord in water, word, bread, and wine.

Henry Alford was the son of a rector; his mother died when he was born and he committed himself to the work God gave him to do when he was sixteen. He studied at Trinity College, Cambridge, was ordained and first served as a curate with his father, became a vicar and married, and in 1857 was made dean of Canterbury Cathedral, where he founded a choral oratorio society. Though he wrote keyboard and vocal music, played the organ, and painted, he was a parish priest and a Greek scholar who taught and preached well; wrote eighteen hymns; and wrote or edited forty-eight books.

Shanti" is Sanskrit for "shalom" ("peace") and also the middle name of Marty Hagen's daughter. Haugen wrote the tune a century and a half after the hymn was written, but it makes a good fit. It was recorded and included in his Mass of Creation and also in Gather (1998).

Marty Haugen is a prolific liturgical composer with many songs included in hymnals across the liturgical spectrum of North American hymnals and beyond, with many songs translated into different languages. He was raised in the American Lutheran Church, received a BA in psychology from Luther College, yet found his first position as a church musician in a Roman Catholic parish at a time when the Roman Catholic Church was undergoing profound liturgical and musical changes after Vatican II. Finding a vocation in that parish to provide accessible songs for worship, he continued to compose and to study, receiving an MA in pastoral studies at the University of St. Thomas in St. Paul Minnesota. A number of liturgical settings were prepared for the Evangelical Lutheran Church in America and more than 400 of his compositions are available from several publishers, especially GIA Publications, who also produced some 30 recordings of his songs. He is composer-in-residence at Mayflower Community Congregational Church in Minneapolis and continues to compose and travel to speak and teach at worship events around the world.

Offertory Anthem: “A Song to the Lamb” John Abdenour (1962)

The canticle Dignus est agnus seems to have its origins in American Lutheranism in the late 19th century. It appeared in several service books beginning with the General Synod’s Church Book of 1868. It appears on p. 122 of The Lutheran Hymnal (1941) without music. Earlier books prescribed its use as an option for the main canticle in Matins and Vespers (in place of the Te Deum or Magnificat). Later books suggested it as an alternative song of praise in the Common Service (in place of the Gloria in Excelsis).

The text of this canticle has been reworked into a new canticle, This Is the Feast of Victory / Worthy Is Christ, by poet John W. Arthur. It first appeared as an anthem for choir, Festival Canticle: Worthy Is Christ with music by Richard W. Hillert, and made its first appearance in a hymnal in Lutheran Book of Worship as an alternative to the Gloria in Excelsis in the Divine Service.

John Abdenour sang as a boy in the choir of St. Paul's Cathedral in Detroit and began organ study at the cathedral. He subsequently received degrees in Organ Performance and American History from Oberlin College. After studying law at the University of Michigan and after pursuing a brief career as an attorney, he returned to his first love, sacred music. He undertook further study of Anglican choral training in 1996, when he spent a month in St Albans, singing with and studying the Choir of St Albans Cathedral, then directed by Barry Rose. John is the Director of Music at Saint Paul’s Episcopal Church in Fairfied, CT. He is a member of the Association of Anglican Musicians and has served as Dean of the Fairfield-West Chapter of the American Guild of Organists, and has served as a faculty member of the Bridgeport AGO Pipe Organ Encounter

REFRAIN: Splendor and honor and sovreign power
are yours by right, O Lord our God,

For you created everything that is,
all things took form according to you will.

And yours by right, O Lamb that was slain,
for with your blood you have redeemed for God,
From every nation, people, tribe, and tongue,
a countless priestly host to serve our God.

And to the one who sits upon the throne,
Christ the Lamb, be worship, dominion,
splendor and praise,
For ages past and ages yet to come.

Closing Voluntary: St. John Damascene (Come Ye Faithful, Raise the Strain), Noel Rawsthorne (1929-2019)

Eighth-century Greek poet John of Damascus ( c. 675 - c. 754) is especially known for his writing of six canons for the major festivals of the church year. (A canon is a form of Greek hymnody based on biblical canticles consisting of nine odes, each with six to nine stanzas.) His "Golden Canon" is the source of Easter hymns. Written around 750 and inspired by the Song of Moses in Exodus 15, this text is John's first ode from the canon for the Sunday after Easter.

All canons in the Greek church demonstrated how Old Testament prophecies were fulfilled in Christ's resurrection. The first ode of each canon was based on the Passover event and on Exodus 15 as the metaphor for Christ's delivery of his people from the slavery of sin and death (seen more clearly at 390). That metaphor lies behind stanza 1. Stanza 2 uses images of spring and sunshine as metaphors for the new life and light of Christ. Stanza 3 concludes the text with an Easter doxology.

Organist for many years at Liverpool Cathedral, Noel Rawsthorne emerged as one of the finest organists of his generation, and maintained a non-stop global career as a top-flight concert artist. He proved no less adept as a composer: his numerous introits, carols, chants, anthems, hymn tunes, responses, and imaginative descants, often written for special occasions, have long retained their place in the repertoire.

Hymn of the Day: “Ah, Holy Jesus” ELW 349
Text: Johann Heermann, 1585–1647; tr. Robert Bridges, 1844-1930
Tune: HERZLIEBSTER JESU, Johann Crüger, 1598–1662

Like "My song is love unknown", this hymn locates the guilt at our feet: "it was denied thee; I crucified thee." Then it turns to adoration for God's graciousness in spite of our "treason." Also like "My song is love unknown," one poet has stimulated another. Here, however, the interplay has more players and reaches between languages and cultures. It starts with the Latin Liber Meditationum, often ascribed to Augustine (354-430) but possibly by Jean de Fécamp (d. 1078). It was the basis for a German hymn of fifteen stanzas in sapphic poetic meter (11 11 115) by Johann Heermann. He attributed the Latin original to Augustine. Robert Bridges kept Heermann's meter, but instead of a translation wrote an English paraphrase in five stanzas, including it in his Yattendon Hymnal (1899). He attributed the Latin version to Anselm of Canterbury (c. 1033-1109). The precise attribution of the original Latin is not as telling as the relation or perceived relation of these writers to the text and the influence from the Latin to the German to the English. Evangelical Lutheran Worship follows Lutheran Book of Worship (1978) in using Bridges's five stanzas and keeping the Elizabethan English. The version here also makes slight modifications for inclusivity.

Johann Herman was a fine hymn writer, overshadowed in his time only by Paul Gerhardt. Both cxperienced the Thirty Years' War and suffering. Heermann was born to a poor furrier and his wife in the little Polish town of Rauder near Wolau in Lower Silesia, the only one of five children to survive. On Ascension Day in 1611 he began to work as a deacon at the church in Köben near Fraustadt, and on St. Martin's Day of the same year he was appointed the pastor there. The nearby town of Fraustadt is where the plague struck in 1613. Then trouble followed trouble: Heermann lost almost everything he owned and was almost killed, but in these times this hymn and forty-eight others by him were published in Devoti Musica Cordis. He intended them, as his title said, for "house and heart," not for public worship. His hymn publications continued in 1636 with hymns on the gospel readings for Sundays and festivals. In 1656, nine years after his death, his poetical works were published.

Robert Bridges was born in England, studied at Corpus Christi College, Cambridge, and at St. Bartholomew's Hospital, London. He became a doctor in London, planning to retire at the age of forty and to spend the rest of his life writing poetry. Lung disease forced him to retire in 1881, a little earlier than he had anticipated. When he married Mary Monica Waterhouse, they moved to Yattendon. There with his wife and his friend Harry Ellis Wooldridge, he edited the Yattendon Hymnal. In 1913 he was made poet laureate.

The Yattendon Hymnal is an extraordinarily fine compilation of one hundred hymns, of which just over forty are by Bridges. We know the book today primarily for its fine texts, but his first concern (stated in the preface) was as a precentor (director), providing the best possible music for his village church choir. Having found fine tunes, he discovered there were no words for them. So he wrote the words, about which he cared deeply. The book was large, printed elegantly, cleanly, and with much white space. Each hymn was in four parts and took up two pages. Several people could gather around it and read it easily. It was a book for choirs, not congregations.

His work was part of the same thing we and every age grapple with: whether hymn singing and church music are about something more significant than trivial pursuits.

HERZLIEBSTER JESU, named for this text, first appeared in Johann Crüger's Newes vollkömliches Gesangbuch Augsburgischer Confession (1640). Here, as for the text, the influences were broad. The tune seems to have its roots in a melody from the Genevan Psalter for Psalm 23 and in another melody by Johann Hermann Schein (1586-1630), who was one of the cantors in Leipzig at the St. Thomas Church prior to J. S. Bach. The melodic explosion up an octave in the last two measures --Mary Oyer calls it a "desperate cry”-emphasizes all the five-syllable final lines. The three middle ones are the most critical: "I crucified thee," "God interceded," and "for my salvation." The tune is typical of its time, a seventeenth-century smoothing out of the more rugged edges of sixteenth-century chorale tunes. It parallels the more introspective texts of authors like Heermann and Gerhardt in this period.

Offertory Anthem: “The Mild Mother” Robert Convery (1954)

This anonymous text is a reflection on the anguish felt by Mary at the crucifixion, her sorrow and grief emulated by the music.

Robert Convery is among the handful of composers today writing effectively for the voice. His music is expressed in a distinctly personal tone of lyricism, rhythmic vitality, a keen harmonic sense, and transparent textures. He holds degrees from The Curtis Institute of Music, Westminster Choir College and The Juilliard School where he received his doctorate. His teachers have been Ned Rorem, David Diamond, Richard Hundley, Gian Carlo Menotti, and Vincent Persichetti.

Jesus Christ’s mild mother stood,
and beheld her son against the cross,
that He was nailed on.

The son hung, the mother stood,
and beheld her child’s blood,
how it of His wounds ran.

Closing Voluntary: “Meditation on ‘Were You There’” Charles Callahan (1951)

An African American spiritual that probably predates the Civil War, "Were You There" was first published in William Barton's Old Plantation Hymns (1899). The spiritual's earlier roots include a white spiritual known in Tennessee as "Have you heard how they crucified my Lord?" Additional stanzas are available from oral and written tradition.

The melody is a slow and sustained mournful moan in a major key. Charles Callahan’s organ setting sends us out today in a contemplative mood as we anticipate the Three Days.

Charles Callahan is an American composer, organist, and teacher. A graduate of the Curtis Institute of Music in Philadelphia, Pennsylvania, his graduate degrees are from the Catholic University of America in Washington, DC.

Hymn of the Day: “To Christ Belong, in Christ Behold” ACS 958
Text: Susan R. Briehl, b. 1952
Tune: WONDERS, Robert Buckley Farlee (1950)

Christ Church Lutheran, Minneapolis, commissioned this text from Pastor Susan Briehl for its one-hundredth anniversary. This centennial is reflected in the text itself: “To Christ belong, in Christ behold God’s wonders still unfold,” and “fruit one hundredfold.” The desire was for a text that proclaimed the paschal mystery of baptism without alleluias so that it could be sung during Lent. The music was crafted by Pastor Robert Farlee, a prominent composer and former editor at Augsburg Fortress, but also cantor at Christ Church. This hymn represents an exemplary collaboration between poet and composer.

Offertory Anthem: Wondrous Love, Carson Cooman (1982)

Carson Cooman has composed a setting of this well known tune from Southern Harmony which is at the same time rustic with a hint of the Celtic influence that's prevalent in the hills of Appalachia.

Carson Cooman is an American composer with a catalogue of works in many forms ranging from solo instrumental pieces to operas, and from orchestral works to hymn tunes. He is in continual demand for new commissions, and his music has been performed on all six inhabited continents. Over 130 new works have been composed for him by composers from around the world, and his performances of the work of contemporary composers can be heard on a number of CD recordings. Cooman is also a writer on musical subjects, producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations.

What wondrous love is this,
O my soul! O my soul!
What wondrous love is this, O my soul!
What wondrous love is this
that caused the Lord of bliss
to bear the dreadful curse,
for my soul, for my soul,
to bear the dreadful curse for my soul.

When I was sinking down,
sinking down, sinking down;
when I was sinking down, sinking down;
when I was sinking down,
beneath God’s righteous frown,
Christ laid aside his crown
for my soul, for my soul.
Christ laid aside his crown for my soul.

to God and to the Lamb,
I will sing, I will sing.
to God and to the Lamb, I will sing.
to God and to the Lamb,
who is the great I AM,
while millions join the theme,
I will sing, I will sing.
While millions join the theme,
I will sing!

Opening and Closing Voluntaries: Martyrdom, Emma Lou Diemer (1927) and Robert Buckley Farlee (1950)

Both the Opening and Closing Voluntaries are based on the hymn tune MARTYRDOM, which was originally an eighteenth-century Scottish folk melody used for the ballad "Helen of Kirkconnel." Hugh Wilson (1766-1824) adapted MARTYRDOM into a hymn tune in duple meter around 1800. A triple-meter version of the tune was first published by Robert A. Smith in his Sacred Music (1825), a year after Wilson's death. A legal dispute concerning who was the actual composer of MARTYRDOM arose and was settled in favor of Wilson. However, Smith's triple-meter arrangement is the one chosen most often. The tune's title presumably refers to the martyred Scottish Covenantor James Fenwick, whose last name is also the name of the town where Wilson lived. Consequently, in Scotland this tune has always had melancholy associations.

Emma Lou Diemer is a native of Kansas City, MO. She received her composition degrees from Yale and Eastman. Her music has been published since 1957 and ranges from hymns and songs to large chamber and orchestral works.

Robert Buckley Farlee is Associate Pastor and Director of Music at Christ Lutheran Church in Minneapolis.

Hymn of the Day: “Amazing Grace” ELW 779
Text: John Newton (1725–1807)
Tune: NEW BRITAIN, W. Walker, Southern Harmony (1835); Edwin O. Excell (1851-1921)

Making his way through the Bible from Genesis to Revelation in Book I of Olney Hymns (1779), John Newton got to hymn #41, titled it "Faith's Review and Expectation," and cited 1 Chronicles 17:16-17: "Then King David went in and Sat before the LORD, and said, 'Who am I, O LORD God, and what is my houe that you have brought me thus far? And even this was a small thing in your sight O God; you have also spoken of your servant's house for a great while to come You regard me as someone of high rank, O LORD God! " That evoked "Amazing grace! (how sweet the sound!)." Here again is Newton's "sweet sound" as in "How sweet the name of Jesus sounds", but even more the astonishment at grace: "You regard me as someone of high rank, O Lord." That astonishment accounts in part for the many translations, adaptations, and the widely ubiquitous spread of this hymn, but, paradoxically, the spread has made it so commonplace and so related to a general miasma of niceness that the shock of Newton's awareness is often lost, Our nervousness about Newton's word "wretch" points to the loss and to our attempts to shield ourselves from the shock, though a look at Newton's biography or plumbing the depths of one's own being or just encountering the daily news makes "wretch" the right word. The meaning is deeper, however. The issue is the "wretched" human state that Paul is wrestling with in Romans 7:24, where the law of sin and death requires rescue. Paul's "Thanks be to God through Jesus Christ our Lord" is Newton's "amazing grace," and the distance from wretch to high rank expresses the incredulity.

Newton wrote six stanzas. Evangelical Lutheran Worship, like most hymnals prints the first four. The fifth stanza, though often joined to this hymn, is not by Newton. It is an anonymous "traveling refrain" that was first appended as stanza 10 to nine stanzas of "Jerusalem, my happy home." By the end of the ninetend century it seems to have been used as the final stanza for "Amazing grace."

Sometimes called AMAZING GRACE because of its close association now with this hymn, the tune, NEW BRITAIN (which is also known by many other names), is a hardy pentatonic shape-note tune. It was first joined to "Amazing grace" in William Walker’s The Southern Harmony (New Haven, 1835), but the tune appeared earlier with different names and different texts in other books, the earliest in slightly different versions as ST. MARY'S and GALLAHER. Edwin O. Excel in his Coronation Hymns (1910) standardized the tune to the form we now have in Evangelical Lutheran Worship.

Edwin Othello Excell was born in Ohio, the son of a German Reformed pastor.

He worked as a bricklayer and construction worker, loved to sing, began to conduct singing schools, and in the 1870s was converted in a Methodist revival where he was leading the music. He studied at normal schools-nineteenth-century teacher training institutions. After moving to Chicago in 1883, Excell became a Sunday school leader, helped found the International Sunday School Lessons, began his own publishing company, wrote over two thousand tunes, and edited almost ninety hymn collections.

Offertory Anthem: Flocks in Pastures Green Abiding, J. S. Bach (1685-1750)

Flocks in Pastures Green Abiding is a melody (also known as Sheep May Safely Graze) from Bach's Hunting Cantata BWV 208, written in 1713 and later arranged by Stanley Roper for organ and choir. Today the flutes add a delightful dimension. Many thanks to Carole Smith and Suzanne Tsitsibellis for their flute playing!

Flocks in pastures green abiding, safely with their shepherd rest. Cooled by waters gently gliding.
With the food of life he feeds them, to the fold He gently leads them, there to dwell forever blest.

Opening Voluntary: Aus de Tiefe (Forty Days and Forty Nights), June Dixon

The melody, AUS DE TIEFE (also called HEINLEIN) was published as a setting for Christoph Schwamlein's text based on Psalm 130, "Aus der Tiefe rufe ich" ("Out of the Depths I Cry"). In that songbook the tune was attributed to "M. H.," initials that are generally accepted to refer to Martin Herbst (1654-1681). Herbst was educated in theology and philosophy at the universities of Altdorf and Jena. In 1680 he became rector of the gymnasium (high school) and pastor of St. Andrew Church in Eisleben. The following year he died of the plague

June Dixon is an Australian church organist, composer and teacher.

Closing Voluntary: Southwell, J. Bert Carlson (1937-2017)

The tune, SOUTHWELL is found in many hymnals and most often paired with the text “Lord Jesus, think on me,” by Synesius of Cyrene, Bishop of Ptolemais. The tune was composed by William Daman (1540-1591), a foreign composer resident in England. There are a few conflicting reports on his origins, but contemporary London records describe him as an Italian from Lucca, Italy who arrived in England circa 1566 as a servant of Sir Thomas Sackville. In 1576 he became a recorder player at the Court of Elizabeth I.

Pastor Carlson ministered to many congregations for over 50 years in NJ, PA and IN. He was also an accomplished musician and published composer.

Hymn of the Day: “As the Deer Runs to the River” ELW 331
Text: Herman G. Stuempfle Jr. (1923- 2007)
Music: JULION, David Hurd, (1950)

This is one of the fine hymns that Lutheran pastor, seminary professor, and finally seminary president Herman Stuempfle wrote during his retirement. The hymn sets us next to the woman at the well, thirsting for living water, and the second stanza celebrates today’s first reading from Exodus 17. The reference in the fourth stanza to desert places is particularly appropriate for Lenten song.
 — Gail Ramshaw

David Hurd was a boy soprano at St. Gabriel's Church in Hollis, Long Island, New York. Educated at Oberlin College and the University of North Carolina, he has been professor of church music and organist at General Theological Seminary in New York since 1976. In 1985 he also became director of music for All Saints Episcopal Church, New York. Hurd is an outstanding recitalist and improvisor and a composer of organ, choral, and instrumental music.

Offertory Anthem: “Hide Not Thou Thy Face From Us” Richard Farrant (1530- 1580)

Richard Farrant, English composer, choirmaster, and theatrical producer, who established the original Blackfriars Theatre, home to the outstanding children’s companies of the Elizabethan era. Farrant was a gentleman of the Chapel Royal until 1564, when he was appointed organist and choirmaster to St. George’s Chapel, Windsor. This post entailed the annual presentation of a play before the queen, which led to the creation of the Children of Windsor, a boys' theatrical company formed from members of the choir. Farrant’s skill at directing the Children of Windsor led to his appointment in 1576 as deputy of William Hunnis, director of the Children of the Chapel. From that point until his death in 1580, Farrant directed productions for both companies, sometimes combining the two. Eager to offer performances outside the court, Farrant leased a portion of the defunct Blackfriars priory and converted it into the Blackfriars Theatre in 1576. In addition to his theatrical successes, Farrant was a respected musician and composer. He served as the queen’s organist and wrote music for the plays, as well as anthems and a service.

Hide not thou thy face from us, O Lord,
and cast not off thy servant in thy displeasure;
for we confess our sins unto thee
and hide not our unrighteousness.
For thy mercy's sake,
deliver us from all our sins.

Opening Voluntary: “Sarabande on ‘Rockingham’” Rosalie Bonighton (1946-2011)

Bonighton's music was influenced by plainchant, British and Celtic folk song, but she was equally interested in the extended harmonic tensions of late German Romanticism, multi-rhythms, jazz harmonies and syncopated effects. When composing music, the functional requirements of a piece of music heavily influenced Bonighton's choice of style, compositional techniques, structure, performing resources and level of performance difficulty. Bonighton also experimented frequently with the use of jazz elements for the performance medium of pipe organ. In addition to her activity as a composer, Bonighton worked as a school organist, a parish organist/music director, and a piano accompanist.

Closing Voluntary: “Allegro Pomposo,” Thomas Roseingrave (1688-1766)

Irish organist and composer who began his musical studies under the tutelage of his father, Daniel Roseingrave, organist of Gloucester, Winchester, Salisbury, St. Patrick's and Christ Church cathedrals. He studied in Italy, where he knew both Scarlattis. After settling in London in 1717, he popularized Domenico Scarlatti's music in England and later made a famous edition (1739) of 42 of his sonatas. Among Roseingrave’s compositions were extra numbers for Domenico Scarlatti's opera Narciso.

Hymn of the Day: “This Is the Spirit’s Entry Now” ELW 448
Text: Thomas E. Herbranson (1933-2009)
Tune: LAND OF REST, North American traditional

In 1970 Thomas E. Herbranson wrote a master's thesis at Luther Seminary in St. Paul, Minnesota, titled "Christ and the Sacraments in the Hymnal Authorized by the Lutheran Churches Cooperating in the Commission on the Liturgy and Hymnal." From ten years' experience as a parish pastor he had become convinced of the importance of the hymnal for parishioners. He proposed to study "only the words" in the Service Book and Hymnal (1958). He divided his study into three parts- baptism, communion, and the person and work of Christ. At the end of the part on baptism he appended this hymn. His attempt was to “bring together in a hymn the biblical themes of baptism: The Spirit, the physical element and the Word of institution in stanza one; new birth and the Redemption theme in stanza two; the life-long growth theme in stanza three; and praise to God for the Spirit's washing throughout our lives as well as the specific event at which the hymn is sung.” 

The hymn was published in Contemporary Worship 4: Hymns for Baptism and Communion (1972) and then in Lutheran Book of Worship (1978), #195, with alterations Herbranson approved. Evangelical Lutheran Worship made other modifications, but left it essentially as Lutheran Book of Worship had it.

This "originally pentatonic tune” was paired with "O land of rest, for thee I sigh!" in the 1836 Appendix of Samuel Wakefield's shape-note tune book called The Christian Harp (Pittsburgh, 1832). As we have it, the tune is hexatonic but only slightly so: the fourth degree of the scale is used twice, once as a passing tone at measure 5 and once in a more accented fashion four notes from the end. The seventh degree is not present (E in this key that is otherwise F major), which gives the tune an open, rustic flavor. Herbranson linked his hymn with John Dahle's tune LUTHER SEMINARY. In Lutheran Book of Worship (1978) it was paired with a more pensive tune by Leo Sowerby called PERRY. In Evangelical Lutheran Worship it gets a third tune. More than the first two, LAND OF REST highlights the motion and physicality of the text. If one finds such things significant, it also has a compound background beat whose three can be seen as reflecting or underscoring the trinitarian Three in whose name the church baptizes.

Offertory Anthem: "You God Are My Light" Scott Perkins 

Connecticut native Scott Perkins enjoys a multifaceted career as an international prize-winning composer of vocal music, an award-winning scholar, and a dynamic educator. His “beautifully crafted” (American Record Guide) and “tightly composed” (Choral Journal) compositions have been called “dramatic” and “colorful” (The Washington Post), and “perfectly orchestrated” and “haunting” (The Washington Times). He has been commissioned by organizations ranging from the Washington National Opera to the American Guild of Organists, and his work has been performed throughout North America and Europe. He has been an invited guest lecturer on his music and research at Harvard University, The Hartt School, Boston University, and the University of the Pacific. Scott’s recent and current projects have been extended works that support and illuminate the words of living authors on themes of social justice, environmentalism, and mental health. 

You, God, are my light and my salvation; who shall I fear?
You are the strength of my life: of whom shall I be afraid?

One thing I ask of you, O God: that I may dwell in your house all the days of my life to behold your beauty, and to seek you in your temple.

Teach me your way, O God. Hear me when I cry unto you: have mercy upon me and answer me. 
For in the time of trouble you will hide m in your dwelling; you will lift me high upon a rock.

Opening Voluntary: “At the Rivers of Babylon” (from Sixty-Six Chorale Improvisations) Sigfrid Karg-Elert (1877-1933)  

The German composer Sigfrid Karg-Elert's real name was Karg, the 'Elert' having been added early in his career at the suggestion of his concert-agent. He studied at Leipzig Conservatoire, served for a time as professor at Magdeburg Conservatoire, and was appointed in 1919 to Leipzig Conservatoire, where he taught piano, theory and composition. Though his earliest ambitions lay in the direction of composition, his chief distinction during his student days, and for some years after, was as a pianist of unusual brilliance. Some meetings with Grieg turned his ambitions once more towards composition, and the result has been a very large output in a great variety of forms - over 100 songs, sonatas for violin, pianoforte, etc., many sets of pieces for pianoforte, a symphony, string quartet, and much music for organ, etc. He was one of the principal German composers for organ of his generation. 

His early works reflect the influence of composers such as Claude Debussy, Aleksandr Scriabin, and Arnold Schoenberg, but he later developed an original style that melded chromaticism and expanded harmonies with Renaissance and Baroque polyphony. Among his best-known works are the 33 stylistic studies for harmonium, based on works of composers ranging from Giovanni Pierluigi da Palestrina to Schoenberg; for the organ he wrote the Sixty-Six Chorale Improvisations (1908–10) and 20 Chorale Preludes and Postludes (1912). A virtuoso organist, Karg-Elert also performed on the Kunstharmonium (a type of harmonium—larger than the standard size—that was popular in Germany in the early 20th century).

Closing Voluntary: “Allegro molto from Sonata #6 in D Minor,” Felix Mendelssohn (1809-1847)

The organ music of Felix Mendelssohn represents an approach gesturing not towards the future but towards the glorious past of German composition and the work of J.S. Bach in particular. (Liszt once called him “Bach reborn.”) The stark dissimilarity in compositional approach between Mendelssohn and Liszt was heralded by the coolness of their personal relationship, manifested for instance at a soirée when Mendelssohn drew a picture of Liszt playing the former’s music with five hammers, rather than fingers, on each hand. (This somewhat childish action is perhaps understandable given Liszt’s description of preceding events: “The truth of the matter is that I only played his Concerto in G minor from the manuscript, and as I found several of the passages rather simple and not broad enough…I changed them to suit my own ideas.”) Inherently conservative in character, Mendelssohn formed a profound aversion to the iconoclastic work of Liszt and kindred spirits such as Berlioz, of whose work Mendelssohn remarked: “one ought to wash one’s hands after handling one of his scores.” Mendelssohn was undoubtedly a Romantic composer, but his Romanticism was often of the Biedermeier kind; he was capable of composing dramatic and inventive works such as the Hebrides Overture, yet his individual musical poetry emerged perhaps most strongly in miniatures such as the Songs without Words for piano and in those works (e.g. the Quartet in F minor) wherein he recaptured the youthful genius that had burst forth so forcefully in the Octet and Midsummer Night’s Dream Overture.

Mendelssohn’s posthumous reputation in the country of his birth suffered from Wagner’s pen (this time through the faintest of praise rather than vitriol) and, in due course, the Nazi regime’s efforts to expunge his name from musical history. In England, where Mendelssohn had made a strong impression on musical life over the course of ten visits, his stock remained considerably higher. Mendelssohn enjoyed particular success with his organ recitals in the late 1830s and early 1840s, leading the publishers Coventry and Hollier to commission a set of six “voluntaries” from him in 1844. The planned voluntaries soon became Mendelssohn’s six Organ Sonatas Op 65, with the term sonata here implying the Bachian sense of the term—i.e. suites of varied pieces which are played instrumentally, as opposed to sung cantatas—rather than works exhibiting classical sonata form. The Organ Sonata No 6 in D minor (1845) demonstrates Mendelssohn’s consummate craftsmanship and mastery of organ texture in a set of variations upon the Lutheran Bach chorale Vater unser im Himmelreich (BWV416). Following a five-part harmonisation of the Chorale, which pervades the sonata as a whole, Mendelssohn presents four variations of increasing brilliance before a restatement of the Chorale. Today’s Closing Voluntary is the final variation. The sonata concludes with a substantial fugue and the finale in D major, whose quiet religiosity symbolises the completion of a journey from stern Lutheranism to an essentially English brand of sentiment. In this work and its companion sonatas, Mendelssohn revitalised the then-moribund European organ tradition, spurred English organ-builders to new heights, and, through his particular blend of chorale, counterpoint and domestic spirituality, substantially augmented the organ repertoire for the first time since Bach. Musing on his passion for structural innovation, Liszt once remarked that “new wine demands new bottles”; Mendelssohn here demonstrates the continued potency of an older brew.

Hymn of the Day: “When We Are Tested” ACS 922
Text: Ruth Duck (1947)
Tune: SLANE, Irish traditional

A prayer based on the temptation of Christ, this text set to a traditional Irish tune calls to mind whole Bible stories with single words or short phrases: “wrestle” in Genesis 32, “bread” and “stone” in Matthew 7, “food that sustains” in Exodus 16, and “by night and by day” in Exodus 13, thereby situating the struggle to be faithful within the biblical narrative. From that struggle the hymn calls upon God who nourishes, lifts, teaches, and holds us.

Ruth Duck is a United Church of Christ pastor, professor, feminist, practical theologian, and hymn writer.

Offertory Anthem: “I’m So Glad” R. Nathaniel Dett (1882- 1943), BBV arr.

Robert Nathaniel Dett was a Black Canadian-American composer, organist, pianist, choral director, and music professor. Born and raised in Canada until the age of 11, he moved to the United States with his family and had most of his professional education and career there. During his lifetime he was a leading Black composer, known for his use of African-American folk songs and spirituals as the basis for choral and piano compositions in the 19th century Romantic style of Classical music. “I’m So Glad” is one of these choral compositions, originally part of his collection for the Hampton Singers.

Dett's most important work began in 1913 at the Hampton Institute in Hampton, Virginia. He trained the choir at that traditionally African-American school to a new level of musical excellence. His 40-voice Hampton Singers performed at Carnegie Hall in January 1914. Dett rose to the position of director of the Music Department at Hampton in 1926, the first black to hold that job. That same year, Oberlin Conservatory awarded Dett an honorary Doctor of Music degree, another first for an African American. On December 17, 1926, the 80-voice Hampton Choir assumed national prominence as it performed by invitation at the Library of Congress in Washington, D.C. The unaccompanied program contained Dett's trademark mix of repertoire--early English music, works from the Russian liturgy, Christmas carols, and arrangements of spirituals.

In 1930 the choir achieved another milestone as it embarked on a European tour under the auspices of George Foster Peabody, a philanthropic patron of the arts and Hampton Institute trustee. En route to New York, the group sang for President Herbert Hoover on the White House lawn. The choir of 40 select voices went on to impress audiences during its six-week tour of seven countries.

After earning his master's degree in 1932, Dett resigned from Hampton and moved to Rochester, New York. He died in 1943 while serving as choral advisor for the United Services Organization and touring with a women's choir in Battle Creek, Michigan. In 1973 his piano works were collected and published as a volume.

Dett's most enduring musical legacy survives in his numerous arrangements of folksongs and spirituals, most written for the Hampton Choir.

I'm so glad trouble don't last alway.
[Refrain:] Oh, my Lord, oh, my Lord, what shall I do?
Make more room, Lord in my heart for Thee. [Refrain]

Opening Voluntary: “Troubled Water” Margaret Bonds (1913-1972)

Margaret Bonds was an American composer, pianist, arranger, and teacher. One of the first Black composers and performers to gain recognition in the United States, she is best remembered today for her popular arrangements of African-American spirituals and frequent collaborations with Langston Hughes. As a composer well acquainted with the greats of the Harlem Renaissance and schooled in Western composition at Juilliard, Margaret Bonds binds these elements of her background in Troubled Water (1967). The piece takes its cue from the Classical sonata form and uses the spiritual ‘Wade in the Water’ for the primary theme.

Closing Voluntary: “Toccata on GREAT DAY” Adolphus Hailstork (1941)

Adolphus Hailstork (actually Adolphus Cunningham Hailstork III) has always been aware of what he calls his dual cultural heritage: born in Rochester, NY, and raised in Albany, the son of a chef, he received his primary musical education in the Episcopal Cathedral of All Saints and was introduced to the classical tradition, including of course, his fellow Episcopalian Samuel Barber, and other contemporary Americans. As he says below, he was insulated from the developing civil rights movement in his earlier education. His B.A. in music, from Howard University (1963) and his initial postgraduate study at the Manhattan School (1964–1966, where he was taught by David Diamond, one of the leading lights of the mid-century American symphonists, and Vittorio Giannini, who remained a tonality-based composer in an academic world heavily dominated by serialism and other non-tonal compositional processes) and a nine-week study course with Nadia Boulanger in France, sound idyllic, in a way, shelters from the storm and stress of American Culture.

But a reckoning came, as he says, when he got out of the army (he served in West Germany) in 1968. And while the story of that development is fascinating, the richness and breadth of the musical influences make Hailstork’s music exciting. There are the mid-century symphonists and the eventful, forward push of that style, devoid of excessive rhetoric, but also Episcopalian music, spirituals, stories from black history, references to iconic musicians like Still, and more. Hailstork’s eminence and the quality of his music deserve more time on America’s and the world’s concert stages.