Hymn of the Day: “There Is a Longing in Our Hearts” (ACS 1078)
Text: Anne Quigley (1955)
Music: LONGING, Anne Quigley

This hymn illustrates two sides of human longing for God: it yearns for God’s reign of healing, wholeness, justice, and freedom as it calls for God’s presence within suffering. The musical setting has a steady forward motion, as if to encourage its singers to have confidence in a God who hears and answers prayer. “There is a longing in our hearts” may function as a call to prayer or as the prayers of the worshiping assembly; it can also gather the assembly to worship or call it to confession.

Anne Quigley is a respected composer and liturgist whose music has been featured in the Decani Choral Music Series in England. She manages to balance her work in music composition and liturgy with her work as a full-time homemaker. Anne is a member of the St. Thomas More Group of composers.

Choir Anthem: “Siyahamba, We are marching for the Lord is our light” Thomas Vozzella, arr. (1963)

The South African song Siyahamba, We are marching for the Lord is our light, was sung by Black South Africans at marches protesting the apartheid years with a firm religious conviction that God would set them free. This faith was very much a part of their fervent singing. By telling this story, we honor the soul of a culture who cherishes personal and religious freedom.

Thomas R. Vozzella, is the newly appointed Director of Music-Organist at St. Andrew's Episcopal Church, Kansas City, Missouri, a member of the Creator Magazine Editorial Board; of late, Dean of the Blackhills Chapter of the American Guild of Organists, and served as the South Dakota Choral Directors Association R&S Chair for Community Choirs; Music and Worship.

Siyahamba kuklanyeni kwenkhos
We are marching for the Lord is our light.

Opening and Closing Voluntaries
Prelude and Fugue in E Minor, BVW 533, J. S. Bach (1685-1750)

This piece originates from the time when Bach was still in his twenties. He had just begun his first real job in Arnstadt. This position as a highly paid organist had fallen into his lap in 1703, after a brilliant performance when testing the new organ. But a couple of years later, it was actually criticism of his organ playing that was given as one of the reasons for letting him go. He was supposed to have used too many curious variations and strange notes in his chorale preludes. The church council believed that this confused the congregation.

In this concise Prelude and Fugue, we hear both sides of the coin. In the Prelude, there are short pedal solos, shaking tremolos for both hands, and series of full chords for keyboard and pedal simultaneously – all exciting musical elements which can also be used, if necessary, to test an organ’s sound and speed of response.

These elements return in the Fugue, which opens with a moving theme – first modestly and almost hesitantly, but later with increasing assurance. Towards the end, there is a passage where Bach makes the left hand stand out rather dissonantly against the right hand, in opposition to the rules of composition. This is precisely the sort of “frembde Thone” (strange notes) to which people later objected in Arnstadt. Here, we see a youthful and rather impetuous Bach. On the one hand, an excellent job application, and on the other a reason for dismissal.

Hymn of the Day: “Let Streams of Living Justice” ELW 710
Text: William Whitla (1934)
Tune: THAXTED, Gustav Holst (1874-1934)

William Whitla (b. 1934) wrote this hymn in 1989. It was published in Sing Justice! Do Justice! (1998), a collection of hymns that "grew out of a formal search for hymns on justice sponsored by the organizations Alternative for Simple Living and The Hymn Society in the United States and Canada. It had four stanzas.

Evangelical Lutheran Worship, not the only hymnal to do so, prints three of the four by omitting the second. Whitla is "not very keen" on this move, which he views as "cutting out both the too incarnational and the too feminine images." Here is what he says about the hymn:

I wrote the hymn in 1989 just after the events in Tiananmen Square, and when the Mothers of the Disappeared in Argentina were bringing their campaign to the conscience of the world. At the same time, the religious and racial disputes in Ireland, Israel-Palestine, the Congo and other parts of Africa, and in Canada and many other countries over First Nation or Aboriginal rights all seemed impossible to solve. Unfortunately, similar events are still replayed, and only too-similar images in the Near East, Irag, Afghanistan, and now Somalia- not to mention the school shootings at home-recur and are now extended well beyond those earlier sad happenings. So I used some images from those events, especially in verse two, seen through echoes of the holocaust, to tell of the bad news before the Good News of verses three and four. Subsequent events only sharpened those images, alas. To me all of these parts are needed for a full expression of the biblical promises of hope and justice so long awaited, including the too-common images of both the child with the gun and the old ones dreaming for peace.

Here is stanza 2:

The dreaded disappearance of family and friend;
the torture and the silence- the fear that knows no end;
the mother with her candle, the child who holds a gun,
the old one nursing hatred- all seek release to come.
Each candle burns for freedom; each lights a tyrant's fall;
each flower placed for martyrs gives tongue to silenced call.

The tune, THAXTED, was originally set to the text "I vow to thee, my country" and then used for others. That it is a splendid melody is clear. Whether it is a congregational one is less clear. Like Parry's JERUSALEM (#711-for which Whitla has written "O dream of peace,") is the melody more orchestral than congregational, with problems of length, range and Anglophilia?

Offertory Anthem: “Create a Pure Heart in Me,” Susan Matsui

Susan Matsui began composing as a child. She plays fiddle, French horn, piano, and organ, and many medieval and folk instruments, both string and wind. She studied composition at Williams College with Dan Gutwein and at the Salzburg Mozarteum with Cesar Bresgan. She is the organist and music director at St. Mark's Episcopal Church in East Longmeadow, Massachusetts, and a member of the American Guild of Organists. She is also a public school music teacher and a member of Woodbinde Medieval Band. She is continually composing and arranging music, often for use in her church, for both the adult and junior choirs. Her music is influenced by her nearly twenty years in Japan, as well as by medieval music, and by her formative years in an Episcopal church with an outstanding music program (Grace Episcopal Church in Nyack, NY). She has published 39 children’s books in Japan, among which are three songbooks, as well as scores of children's songs for children's magazines. She continues to write and publish for the Japanese children's book market.

The text is a paraphrase of Psalm 51.

Create a pure heart in me, O Lord.
Grant me a new and steadfast spirit.
Do not drive me away from thy presence,
or take thy Spirit from me.

Revive in me the joy of deliverance,
Grant me a steady soul to uphold me.
Open thou my lips, everlasting Lord,
that my mouth may sing thy praises.

Thou takest no delight in sacrifice,
nor hast thou any wish for whole offering.
My sacrifice, Lord, is a broken soul,
my offering, a contrite heart.

Opening Voluntary: “THAXTED” (Let Streams of Living Justice), Robert Buckley Farlee (1950)

As was noted above, “Thaxted” is a hymn tune by the English composer Gustav Holst, based on the stately theme from the middle section of the Jupiter movement of his orchestral suite The Planets. It was named after Thaxted, the English village where he lived much of his life. He adapted the theme in 1921 to fit the patriotic poem "I Vow to Thee, My Country" by Cecil Spring Rice but that was as a song with orchestra. It did not appear as a hymn-tune called "Thaxted" until his friend Ralph Vaughan Williams included it in Songs of Praise in 1926.

Robert Buckley Farlee is a graduate of Christ Seminary-Seminex, St. Louis, Missouri. He also serves on the worship editorial staff at Augsburg Fortress Publishers, and was deeply involved in the recent publication of Evangelical Lutheran Worship.

Closing Voluntary: “Now”, Michael Helman (1956)

Michael Helman is currently Director of Music/Organist at Faith Presbyterian Church in Cape Coral, Florida. He is an active composer of handbell, organ, and choral music with numerous pieces pieces in print.

Today’s Closing Voluntary uses the hymn tune, “Now” by Carl F. Schalk (1929 - 2021) He was professor of music at Concordia University, River Forest, Illinois, where he taught church music since 1965. Honored as a Fellow of the Hymn Society in the United States and Canada in 1992, Schalk was editor of the Church Music journal (1966-1980), a member of the committee that prepared the Lutheran Book of Worship (1978), and a widely published composer of church music.

Hymn of the Day: “Light Shone in Darkness” ELW 307
Text: Delores Dufner (1939)
Tune: LUX IN TENEBRIS, Mark Sedio (1954)

Here are two complementary views of this hymn. Its author, Delores Dufner, OSB had in mind a hymn of hope for morning prayer or other times. John 1:25, "The light shines in the darkness, and the darkness has not overcome it," stands behind the text, with the truth that "the world often looks darkest just before light breaks through.” The writer of the tune, Mark Sedio, says he "was taken by the rather declamatory character of the first two stanzas of Delores Dufner's fine text- -the first focusing on creation, the second on salvation, and the third morphing into a more eschatological forward-looking sense, all three ending curtly with the phrase ‘praise (prays) for the light. Amen!’” Sedio's view graciously carries forward Dufner's intent in ways Dufner herself may not have articulated and illustrates how a hymn moves outside its author.

Delores Dufner was born in North Dakota, attended a one-room country school, studied at the College of St. Benedict in St. Joseph, Minnesota (BA in music, 1960), became a Benedictine sister, continued her studies at DePaul University in Chicago (MA in liturgical music, 1973), and completed another degree at Notre Dame University, Notre Dame, Indiana (MA in liturgical studies, 1990). After teaching elementary school, piano, and organ, and serving as a church organist and choir director, she became liturgical coordinator for St. Benedict's Monastery in St. Joseph, director of the Office for Worship of the Diocese of St. Cloud, Minnesota, liturgical music consultant for the Diocese of Ballarat in Victoria, Australia, and a member of the executive committee of the Hymn Society in the United States and Canada. Her longest lasting legacy, however, will probably be the fine hymns she has written. In 1994 Sing a New Church, a collection of forty-eight of her hymns, was published by OCP Publications, and in 2003 an anthology of seventy-nine more was published as The Glimmer of Glory in Song by GIA Publications. Nathan Mitchell, an unusually perceptive critic, suggests that "perhaps the greatest skill [Dufner] brings to her work is a sensitive ear for natural, unselfconscious speech that is also memorable. Her style is a vigorous modern English whose music and rhythms never seem forced, contrived, or cute."

Mark Sedio wrote the tune at the request of the Evangelical Lutheran Church America’s Renewing Worship hymnody editorial team. The text suggested to him “a style reminiscent of a Gaelic sea shanty with a dynamic climax on the downbeat of the fifth measure ('all, sings, longs'), ending with the snapping whip of the final phrase." Mark Sedio was born in Minnesota and graduated from Augsburg College in Minneapolis (BA in music, 1976) and the University of Iowa (MA in choral literature and conducting, 1979). He also attended St. John's University, Collegeville, Minnesota, and Luther Seminary in St. Paul, Minnesota, where he played the organ for chapel services for twenty-five years. He was cantor at Mount Olive Lutheran Church and now is director of music at Central Lutheran Church, both in Minneapolis. A charter member of the Association of Lutheran Church Musicians and an active member of the Twin Cities Chapter of the American Guild of Organists, he is a fine improviser, service player, and clinician who has written hymn tunes, service music, anthems, and organ pieces, as well as articles about church music.

It is worth noting that Dufner and Sedio work and live not far from one another in Minnesota, but it is perhaps even more worthy of note that they come from different traditions (Roman Catholic and Lutheran) that have often been marked by separation from one another. The partnership here may serve as a reminder that, as virtually every hymnal in every one of the church's traditions demonstrates, in the hymnody and music of the church the distances that separate us very often disappear.

Offertory Anthem: “Rise, Shine,” Dale Wood (1934-2003)

Based on the hymn tune WOJTKIEWIECZ, which has become a standard in many congregations and is also today’s Sending Hymn. Dale began playing the organ in church at age 14. His hymns and canticles are found in the Lutheran Book of Worship, Worship II (a Roman Catholic hymnal), Seventh Day Adventist Hymnal, The Presbyterian Hymnal, The United Methodist Hymnal, the Agape Hymnal Supplement, the Moravian Book of Worship, the Chalice Hymnal, and several hymnal supplements.

Wood's musical activities were not limited to sacred music. While still a college student, he entertained as organist at the Orpheum Theater in Los Angeles and appeared on television shows produced in Hollywood. In 1975 he was employed by the Royal Viking Line to entertain passengers on a 70-day cruise of the South Pacific and Orient.

For many years Dale maintained his home and studio at The Sea Ranch, California, 115 miles north of San Francisco. It was here, amidst acres of redwood trees and gentle meadows on the rural and spectacular coastline of Northern California, that he composed most of his organ works, using a three-manual electronic theatre organ. Dale had a strong theatrical streak in him, and he maintained close ties with the American Theatre Organ Society. In his later years he collaborated with his partner, Ivan de la Garza, in designing the ATOS website.

In 1977 Dale and jazz pianist George Shearing created a volume of organ settings of early American folk hymns entitled Sacred Sounds from George Shearing. Over a period of 11 weeks Shearing had recorded a series of improvisations at the piano. After the tapes were transcribed to paper, Shearing visited Dale in his studio at The Sea Ranch. Dale spent hours at the organ making suggestions of registrations and textures, while Shearing with his critical ear listened for accuracy.

In recent years, Dale composed at the computer and was able to hear his work played back via MIDI, obviating the need for tedious proofreading. Most of his pieces were conceived with a three-manual organ in mind but are readily adaptable to smaller instruments. He gave general suggestions for registrations, but he always trusted in the performer's own imagination ("The printed music is just a blueprint, and it is the performer's job to complete the project," he liked to say). He used unusual techniques in several pieces, such as wedges in keys for pedal points. His hymn arrangements were not all easy. Many require a significant amount of finger substitution; several involve "bridging" (playing on two manuals simultaneously with one hand); and his pedal lines sometimes go to the top of the pedalboard.

Rise, shine, you people! Christ the Lord has entered
our human story; God in him is centered.
He comes to us, by death and sin surrounded,
with grace unbounded.

See how he sends the pow'rs of evil reeling;
he brings us freedom, light and life and healing.
All men and women, who by guilt are driven,
now are forgiven.

Come, celebrate; your banners high unfurling,
your songs and prayers against the darkness hurling.
To all the world go out and tell the story
of Jesus' glory.

Tell how the Father sent the Son to save us.
Tell of the Son, who life and freedom gave us.
Tell how the Spirit calls from ev'ry nation
God's new creation.

-Ronald A. Klug

Opening Voluntary: “Dix” (As With Gladness) Wayne L. Wold

Dix, as the son of poet John Ross Dix and named after Thomas Chatterton, would regularly write Christian poetry in his spare time. Dix wrote "As with Gladness Men of Old" on 6 January 1859 during a months-long recovery from an extended illness, unable to attend that morning's Epiphany service at church. As he read the Gospel of Matthew's account of Epiphany in The Bible, he was inspired and started to reflect on the text. He then started to write about his thoughts and did so for the whole day with the eventual result being "As with Gladness Men of Old”. Dix kept the text private until a year later when it was published in Hymns for Public Worship and Private Devotion, which was written for St Raphael's Church in Dix's hometown of Bristol. It was also added to the trial version of Hymns Ancient and Modern before being included in the original publication of that hymnal in 1861. Most hymn writers in the Church of England at the time were clergymen, so Dix, a layman and marine insurance agent living in Glasgow, Scotland, was delighted that his carol was included.[4] It was also self-published by Dix in his own Hymns of Joy and Love hymnal.

The editor of Hymns Ancient and Modern, William Henry Monk, adapted a tune by Stuttgart organist Conrad Kocher as the music for "As with Gladness Men of Old". Dix personally did not like the tune, which was ironic as it was later titled "Dix" as a tribute to him. Despite Dix's opinion of it, the tune became popular and is used for the majority of performances of the hymn. The same melody is also used in the hymn "For the Beauty of the Earth", an example of what is often considered to be a seasonal hymn melody given to a more general hymn text for use in Ordinary Time.

Closing Voluntary: “Prelude #5 on an Old Irish Church Melody” Charles Villiers Stanford (1852-1924)

Sir Charles Stanford has been called the most important single factor in the renaissance of English music during the late nineteenth and early twentieth centuries; indeed, even if one were to overlook Stanford's own vast catalog of compositions, it would be impossible to ignore the pronounced effect Stanford's nearly 40-year teaching career had on several generations of British composers. And Stanford was a prolific composer, completing seven symphonies, eight string quartets, nine operas, more than 300 songs, 30 large scale choral works and a large body of chamber music. He also composed a substantial number of works for the organ, as well as anthems and settings of the canticles for the Anglican Church. He wrote extensively on music including three volumes of memoirs and a popular text on composition. Today he is largely remembered for his songs and religious music as well as his influence on several generations of composition students at the Royal College of Music. These included Sir Arthur Bliss, Frank Bridge, Samuel Coleridge-Taylor, Rebecca Clarke, Ivor Gurney, Gustav Holst, Herbert Howells, John Ireland, Ralph Vaughan Williams and Charles Wood.

Hymn of the Day: “Hail to the Lord’s Anointed” ELW 311

This is James Montgomery's best psalm rendering. It is based on Psalm 72 and was written in eight stanzas for, and included in, a Christmas Ode which was sung at one of the Moravian settlements in the United Kingdom, Christmas, 1821. It was published in the following year in the Evangelical Magazine and entitled "Imitation of the 72d psalm (Tune: Culmstock)."

Psalm 72 is a well-known prophecy of the coming Messiah – foretelling the reign of the King and what the Kingdom of that Messiah will be like. But perhaps more than a prophecy, Psalm 72 is a prayer. In these verses the psalmist calls upon God to give justice and righteousness to the King, perhaps the newly crowned earthly king of Israel, but also the heavenly king. It is a cry for the deliverance of a broken people, for the realization of peace and light. James Montgomery’s hymn text from 1821 beautifully captures the essence of that prayer. Albert Bailey says, “His poem is more prayer than prophecy, or shall we say it is prophecy in large part unfulfilled but still capable of inspiring the Church to work for its fulfillment!” (Bailey, Gospel in Hymns). As we sing this beautiful hymn, we both declare our hope and our longing for the Kingdom of God, and for the coming of the one who will turn darkness to light, and whose “name to us is Love.”

Offertory Anthem: “Never Night Again,” Samuel Walter (1916-1987)

American organist and composer Samuel Walter studied at Boston University, Union Theological Seminary with Seth Bingham, and in France with Nadia Boulanger. He was music director at Episcopal Church of the Resurrection in New York City and taught on the faculty of Douglas College-Rutgers University, Boston University, and Union Theological Seminary.

The soft light from a stable door
Lies on the midnight lands.
The wiseman’s star burns ever more
Over all desert sands.

Unto all peoples of the earth
A little Child brought light,
And never in the darkest place
Can it be utter night.

No flickering torch, nor wavering fire,
But Light, the Life of all.
What ever clouds may veil the sky,
Never is night again.

Opening Voluntary: “Repton” (He Comes to Us), Robert J. Powell (1932)

Robert J. Powell is a prolific composer of organ and choral music, a celebrated church organist, and an accomplished choir director who used Parry’s hymn tune, Repton, in this organ prelude setting. Sir Charles Hubert Hastings Parry (1848-1918) is well known for the choral song, “Jerusalem.” Parry originally wrote the music for what became Repton as a contralto aria, 'Long since in Egypt's plenteous land' from his oratorio Judith. In 1924 George Gilbert Stocks, director of music at Repton School, set it to the text 'Dear Lord and Father of mankind' in a supplement of tunes for use in the school chapel. In the Lutheran hymnal we find this tune paired with the text “He Comes to Us as One Unknown” written by Timothy Dudley-Smith (1926), an English hymn writer and retired bishop of the Church of England.

Closing Voluntary: “Helft Min Gott’s Gute Preisen” (Come, let Us All with Fervor) J. S. Bach (1685-1750)

Bach’s Chorale Prelude “Helft Min Gott’s Gute Preisen” is cast in the atmosphere of joyous praise with a suggestion here and there of the sadness caused by the passing of the old year. The latter is marked by the use of chromatic color. The melody soars over all while we hear the other voices taking turns imitating the opening notes of the choral melody.