During March, Women’s History Month, we are celebrating each week the contribution women 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.
For this Sunday our list includes the Opening Voluntary, the text of the Gathering Hymn and the Communion hymn tune.
Hymn of the Day: “Lord Christ, When First You Came to Earth” ELW 727
Text: W. Russell Bowie, (1882- 1969)
Tune: MIT FREUDEN ZART, medieval European tune
Though Percy Dearmer does not mention this when he discusses this hymn, 159 other hymnal companions say that F. W. Dwelly, dean of Liverpool Cathedral, requested it as "an Advent hymn in the Dies Irae mood" when he was serving as a consultant for Songs of Praise (London, 1931), where it first appeared. Russell Bowie, its author, said "it is an effort to express both the solemnity and inspiration of the thought of Christ coming into our modern world in judgment." Erik Routley and Paul Richardson title it "Dies Irae" and call it a "masterpiece" that tries "to say to this age what the Dies Irae said to former generations." It is one of the few remains of judgment in our hymnody. Even Hymns Selected and Original in 1828 had a metrical version of the Dies irae, though by the 1852 edition the stanza that began "Horrors, past imagination" had disappeared. It is probably not all bad that the Dies irae only finds a place among us in eighteenth- and nineteenth-century settings of the Requiem or where the fire of its theme needs on occasion to be invoked, but the absence among us of a sense of Rex tremendae majestatis for God who for us tends to be a perpetual celestial plaything leaves us bereft not only of God but of ourselves. This "masterpiece" fills some of the need. The version in Evangelical Lutheran Worship is from Lutheran Book of Worship (1978). It retains all four of Bowie's stanzas and updates the language for inclusivity and the vernacular in place of Elizabethan English.
Walter Russell Bowie was born in Richmond, Virginia, actually the fourth of his family to have the same name, and with family relationships among the First Families of Virginia. Nonetheless, he studied at Harvard University and as an undergraduate was co-editor of The Harvard Crimson with Franklin D. Roosevelt.
Bowie became known as a preacher as well as author and hymnist. Particularly in the 1920s, he advocated for what later become known as the Social Gospel: supporting the League of Nations, advocating US immigration reform, and opposing the Ku Klux Klan and Fundamentalism. From 1939 until 1950 he taught practical theology at Union Seminary in New York City and was dean of students there from 1946 until 1950. From 1950 until his retirement in 1955 he taught homiletics at Virginia Theological Seminary. He lectured widely, edited the Southern Churchman, was on the Commission of Faith and Order of the World Council of Churches, and was a member of the committee that prepared the Revised Standard Version of the Bible. He was considered by many the most important and influential preacher of the Episcopal Church in the twentieth century.
MIT FREUDEN ZART has some similarities to the French chanson "Une pastourelle gentille" (published by Pierre Attaingnant in 1529) and to GENEVAN 138. The tune was published in the Bohemian Brethren hymnal Kirchengesänge (1566) with Vetter's text "Mit Freuden zart su dieser Fahrt."
Splendid music for a great text, this tune is one of the great hymn tunes of the Reformation.
Offertory: “Order My Steps”, Glenn Burleigh (1949-2007) ( 1991, 2001, Burleigh Inspirations Music, Inc., permission to stream granted by Lavonne Burleigh)
Glenn Burleigh was born into a family of ministers. He was a renowned pianist, conductor, composer and clinician. Burleigh’s music has been performed in churches and on the classical concert stage, also making an appearance in the movie remake of “The Preacher’s Wife” starring Denzel Washington. Burleigh was best known for his ability to take disparate musical styles and weave them together.
“Order My Steps” is pure "black gospel.” One of the best-known titles in the genre, it is an ardent prayer for guidance filled with passion, energy, and rich sonorities.
Order my steps in Your Word, Dear Lord
Lead me, guide me every day
Send Your anointing, Father, I pray
Order my steps in Your Word.
Humbly I ask Thee, teach me Thy will
While You are working, help me be still
Satan is busy, God is real
Order my steps in Your Word.
I want to walk worthy
My calling to fulfill
Please order my steps Lord
And I'll do Your blessed will
The world is ever changing
But You are still the same
If You order my steps
I'll praise Your name.
Order my steps in Your word
Order my tongue in Your word
Guide my feet in Your word
Wash my heart in Your word
Show me how to walk in Your word
Show me how to talk in Your word
When I need a brand new song to sing
Show me how to let Your praises ring
In Your word.
Please order my steps in Your word.
Opening Voluntary: “Prelude and Canon on ‘O Gott du frommer Gott’” Ethel Smyth (1858-1944)
British composer Dame Ethel Mary Smyth was a composer, conductor, author, and Suffragette. Raised during the Victorian age, Smyth fought against societal restrictions that said a woman should not have a profession. She insisted on an education, she insisted on performances of her works, and she insisted on having her works published. Today Smyth should be heralded as a champion of women’s rights and a pioneer for women in the classical music world, but she is still relatively unknown.
Between 1880 and 1930, she published two sets of lieder, several songs for voice and piano or chamber ensemble, numerous chamber pieces, two symphonic works, six operas, a mass, and a choral symphony. Today we also know of her unpublished works for solo piano, organ, and various chamber ensembles. In addition to composing, Smyth was also a devoted letter-writer, and she turned to writing memoirs and essays later in her life, publishing ten volumes of prose between 1919 and 1940.
During her lengthy career in which she frequently traveled between England, Germany, and Italy, Smyth came to know Brahms, Clara Schumann, Tchaikovsky, Grieg, Bruno Walter, and more. She informally performed for Queen Victoria, and she was friends with the ex-Empress Eugenie of France and the Princesse de Polignac, Winnaretta Singer. In the last decades of her life she formed strong friendships with Edith Somerville and Virginia Woolf.
Although Smyth became known for her proclivity for relationships, she maintained an independent life. Recognizing that the 19th-century idea of marriage was not compatible with a career or her personal inclinations, she wrote in a letter to her mother that “even if I were to fall desperately in love with BRAHMS and he were to propose to me, I should say no!” At the time she claimed that it would end any chances of a career, and later she argued that she was too independent. Both reasons are probably true, but Smyth could never be with only one person. She was unabashedly attracted to women while also maintaining a long-term, long-distance relationship with Henry Bennet Brewster (1850-1908) that lasted from 1884 until his death.
Closing Voluntary: “Cwm Rhondda”, J. Bert Carlson (1937-2017)
CWM RHONDDA, taken from the Welsh name for the Rhondda Valley, is a popular hymn tune written by John Hughes. It is usually sung in English as a setting for William Williams' text Guide Me, O Thou Great Redeemer or, in some traditions, Guide Me, O Thou Great Jehovah. The tune and hymn are often called Bread of Heaven because of a line in the English translation.
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.