Sixth Sunday of Easter - Hymn Tune Names

Sixth Sunday of Easter

Sunday, May 25, 2014

Hymn Tune Names

Today our sending hymn is “Praise God, from whom all blessings flow.”  When I think of this hymn, I immediately begin to shuffle through my brain for settings of OLD HUNDREDTH as I identify potential prelude or postlude music.  I suspect that you may have encountered this common designation for the hymn, too.  So, what’s the reason for having a hymn tune name?

About a generation ago, many church bulletins included the hymn tune designation as part of the listing for the hymn.  You would see “Praise to the Lord, the Almighty” paired with LOBE DEN HERREN and “Amazing Grace” attached with NEW BRITAIN.  Why this particular information was listed in the bulletin, I don’t know, although I suspect that it might be a throwback to a time when hymn texts were printed in the hymnal without the melody included.  In that case, it was important to know what melody should be sung, since often, hymns can be sung to multiple tunes. 

A hymn text is usually in poetic form, with a set rhyme scheme and poetic meter.  Meter indicates the number of syllables per line (or technically “verse,” although for many, this word means the grouping of lines complete a stanza.)   In the case of “Praise God, from whom all blessings flow,” there are 8 syllables in the first line.  Counting onward, we find that all the lines in the stanza have 8 syllables.   Hymnists (and poets) recognize this organization as Long Meter or 8.8.8.8. 

A hymn tune, also organized into a pattern of predictable stresses and rhythms, can be observed in the same way.  The tune ST. ANNE (associated with the Isaac Watts text “O God, Our Help in Ages Past”) shows a metrical scheme of 8.6.8.6, or Common Meter.  Musically, the combination of seven quarter notes and one half note in the first line helps convey the completeness of thought in the eight syllables; likewise the longer dotted quarter note at the end of the second line, helps glue the two lines together as one phrase. 

It is useful to identify a hymn tune melody by a separate name than simply by the first line of a commonly associated hymn text.  Sometimes, a melody is used often in a hymnal.  DUKE STREET is an example in Evangelical Lutheran Worship that appears several times, each time with familiar texts.  “I know that my Redeemer lives,”  “Give to our God immortal praise,” and “Jesus Shall Reign” are all texts which match the DUKE STREET melody. 

I think this topic warrants another entry, next week.  You may still have lingering questions, such as “Why the ALL CAPS?” or “How do the hymn tunes get their names?”  or “Where can I find this information in the hymnal?”  Check in next week for answers!

Fifth Sunday of Easter - This is the Feast

Fifth Sunday of Easter

May 18, 2014

Easter Canticles

One of the wonders of the liturgy of the historic Western church is the flexibility to do different things within the parameters of a relatively fixed order.  In a general sense, the liturgy follows the pattern of Gathering, Word, Meal, and Sending.  Specific elements that happen within that larger pattern often emphasize something about worship that is appropriate to a time of the year, a specific place, or a particular event.  For example, we tend to omit the Kyrie during the season of Easter, since some feel it has a penitential quality not desired during this joyful season. 

One part of the Gathering segment of the liturgy we often do celebrate during Easter is the canticle “Worthy Is Christ.”  You might know this better by the words of the refrain “This is the Feast.”  By definition, a canticle is a prose hymn that often comprises biblical words.  This particular canticle is a new addition to the liturgical repertoire, written by John Arthur in 1970.  The text draws images and words from the hymns in the book of Revelation, and “joins Passover and Easter with a glimpse of the eschatological kingdom.”[1]   Worthy is Christ is from Revelation 5:9; Power, riches . . .  is from Revelation 5:12 – 13; Sing with all the people of God is from Revelation 25:3-4, 19:5; and For the Lamb who was slain is from Revelation 11:17.  Though this is a new text in the liturgy, older settings included a similar canticle based upon the same biblical sources.  The musical setting we sing today is by Richard Hillert.  This particular setting has enjoyed ecumenical inclusion in a number of other denomination’s hymnals. 

Curiously, the fascination with Revelation texts extends into the music of the next generation of song writers for the church.  One particular song, Revelation Song, touches upon some of the same themes, albeit in a much different stylistic language.  Here you can see some of the similarities in text:

Worthy is the Lamb who was slain 
Holy, Holy is He 
Sing a new song to Him who sits on 
Heaven's Mercy Seat 

Holy, Holy, Holy Is the Lord God Almighty 
Who was, and is, and is to come 
With all creation I sing: Praise to the King of Kings! 
You are my everything, and I will adore You                 (Jenny Lee Riddle)

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[1] Philip H. Pfatteicher and Carlos R. Messerli, “Manual on the Liturgy: Lutheran Book of Worship,” (Minneapolis: Augsburg Publishing House, 1979), 213.

Fourth Sunday of Easter - Julian of Norwich

May 11, 2014

Fourth Sunday of Easter

Julian of Norwich

Mother’s Day always provides an opportunity to sing the hymn “Mothering God, You Gave Me Birth.”  This lovely hymn (ELW 735) encourages us to consider images of God, Christ and Spirit in the feminine form, or with the caring and nurturing aspects we associate with mothers.  Perhaps this is fascinating to you, or perhaps it is discomforting.  The poetry does challenge us to break away from our conventional view of the Trinity and imagine something new.  Creative challenge is not a bad thing in good hymnody!

This hymn is found in the Creation section of Evangelical Lutheran Worship, and is evocative of what we might consider “Mother Earth.”  Paul Westermeyer notes that “the images are richly earthy: gave me birth, took my form, nurturing in patience to root, grow and flower.”[1]

The tune name for this hymn, NORWICH, is revealing.  The hymn writer, Jean Janzen, based her text on the writings of the fourteenth century mystic, Julian of Norwich.  Julian was an anchoress - a devout recluse who vowed a life of spiritual contemplation by entering a small cell (attached to a church) and remaining enclosed there for her remaining life.  After receiving fifteen initial visions early in her stay in the cell, she devoted the rest of her life to meditating and writing about them.  Her writings, the first book known to have been written in English by a woman, explore the mothering aspect of God.  Westermeyer writes that “these visions . . . yielded for her a theology of God’s love in which God was viewed as a mother with mercy rather than wrath, and sin was seen as necessary for learning but did not proceed from evil.”[2]

From Revelations of Divine Love, Julian writes:

A mother’s is the most intimate, willing, and dependable of all services, because it is the truest of all.  None has been able to fulfill it properly but Christ, and he alone can.  We know that our own mother’s bearing of us was a bearing to pain and death, but what does Jesus, our true Mother, do?  Why, he, All-love, bears us to joy and eternal life!  Blessings on him![3]

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[1] Paul Westermeyer, Hymnal Companion to Evangelical Lutheran Worship (Minneapolis: Augsburg Fortress, 2010), 595.

[2] Ibid.

[3] Julian of Norwich, Revelations of Divine Love, chap. 60, trans. Clifton Wolters (Baltimore: Penguin, 1966), 169-70 in Philip Pfatteicher, New Book of Festivals and Commemorations (Minneapolis: Fortress Press, 2008), 211-212.

Third Sunday of Easter: Jaroslav Vajda

Third Sunday of Easter

May 4, 2014

Jaroslav Vajda

Today is Confirmation Sunday, on which we celebrate the “Affirmation of Baptism” with nine of our young adults in the congregation.  We celebrate the continuing presence of God in the lives of these ninth graders, as they grow in the love of Christ and explore the ways they are called to serve and be faithful members of the body of Christ. 

We sing today hymns that celebrate the festival of Easter, which often speak of themes of baptism.  In Christ we are made new, through Christ’s resurrection.  Images of the waters of the flood and the travels of the Israelites through the Red Sea abound in these hymns. 

One hymn we sing today expresses the theme of our calling as baptized Christians to go out and serve.  We all are the body of Christ as we go about our daily lives.  The hymn “Go My Children, with my Blessing” is by a prominent twentieth-century Lutheran hymn writer, Jaroslav Vajda.  Of Slovak descent, Vajda translated hundreds of Slovak and Czech poems into English as a young adult, learning the craft of poetic meter and imagery.  He was a pastor in the Lutheran Church, Missouri Synod, and created several well-known hymns, such as “Now the Silence.”  On a personal note, my father believes that his mother (my grandmother) may have once dated Jaroslav while attending teacher’s school.  (My grandmother’s roots are Slovak; I suppose it’s not unlikely for those in that small community to eventually get together!)

“Go My Children, with my Blessing” is a benediction in which the congregation sings the words of God, based upon Numbers 6:22-27.  Vajda says “I placed the words of the hymn into the mouth of the blessing triune God dismissing the congregation after worship while drawing together a review of the events that transpired during the service.”[1]  Some writers, including Paul Westermeyer note some problematic aspects of a congregation singing the words of God, since if the hymn is not carefully written, the congregation seems to be blessing itself. 

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[1] Paul Westermeyer, Hymnal Companion to Evangelical Lutheran Worship (Minneapolis: Augsburg Fortress, 2010), 377.

Second Sunday of Easter: Celtic Hymnody

Sunday, April 27, 2014

Second Sunday of Easter 

Celtic Hymnody

We sing two hymns today that have origins in Ireland.  However, these are sung not simply because they are Irish; the texts expand the focus of the sermon this morning.  Professor Deborah Goodwin, our guest preacher, notes that both sermon and hymns explore themes of incarnation, sacrament, and the Earth as metaphor for the body of God.  

Our Hymn of the Day is “I Bind Unto Myself Today,” which is also known as St. Patrick’s Breastplate.  At communion, we sing “Be Thou My Vision.”  Both hymns have deep roots in the Irish monastic tradition, reaching back to the 7^th and 8^th centuries.  And, both have some connection (by legend) to Patrick, Bishop of Ireland.  Paul Westermeyer notes that both hymns are examples of a lorica, or breastplate.  This type of text is something that was chanted as a prayer for protection against spiritual enemies while arming oneself (literally putting on armor) for battle or travel.  By definition, lorica is a protective sheath.[1] 

With regard to “I Bind unto Myself Today,” Westermeyer warns against envisioning any sort of magical power the lorica might provide.  Rather, he emphasizes the aspect of remembrance and confidence we experience when we proclaim ourselves bound to the powerful work of the Trinity, through the church and in creation.  I find that the beautiful middle section of the hymn (“Christ be with me, Christ within me, Christ behind me, Christ beside me . . .”) is a lovely statement of faith and evocation of the unceasing presence of Christ.  This great hymn, with its robust and energetic first melody that supports the ecstatic praise of creation (“the whirling wind’s tempestuous shocks”), and the calm and graceful second melody, is a joy to sing!

Be Thou My Vision is a particularly popular hymn, set to a lovely Irish folk tune that expresses the peacefulness of the text.  The tune, SLANE, receives its name from the hill where, as legend tells, Patrick defied his king by lighting the Easter Vigil fire.[2]  Although this hymn is also a lorica, Paul Westermeyer notes that “it functions more accurately for Christians as a prayer for the indwelling of Christ with his attributes.” 

One last note:  The English translation of “I Bind unto Myself Today” was written by Cecil Frances Alexander, a nineteenth-century Irish writer who created several well-known hymns.  Three of her hymns were created to accompany phrases of the Apostles’ Creed.  “All Things Bright and Beautiful” corresponds to the phrase “maker of heaven and earth,” while “Once in Royal David’s City” comments upon the statement “who was conceived by the Holy Spirit and born of the Virgin Mary.”  Last, “There is a green hill far away” reflects upon the crucifixion.[3]

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[1] Westermeyer, Paul, Hymnal Companion to Evangelical Lutheran Worship  (Minneapolis: Augsburg Fortress, 2010), 276.

[2] Ibid., 628.

[3] Ibid., 43.

Passion/Palm Sunday: Musical settings of the Passion

Passion/Palm Sunday:  Musical settings of the Passion

April 13, 2014

This week we begin our observance of Holy Week and the Triduum with the festive and solemn worship of Passion/Palm Sunday.  One of the central activities on Sunday is the reading of the account of the Passion from the Gospel of Matthew.  In our practice, we read the gospel in a responsorial manner, so that the individual characters of the story are given voice by different readers.  The gathered congregation reads the part of the crowd, so that we in a real sense own the words “Crucify him!”

This active engagement with the text reflects a centuries-old tradition of setting the Passion story musically.  The best known musical settings are the two Passions by John Sebastian Bach.  These two masterpieces are the pinnacle of the tradition, in which the actual story is given exegesis (fleshed out with commentary) by the addition of arias, chorales, and instrumental accompaniment.  Yet, these two settings also maintain some of the primary elements of the tradition:  separating the characters by voice part (the high-voiced tenor sings the part of the Evangelist, or narrator, which the low-voiced bass sings the part of Jesus) and portraying the crowd portions polyphonically (or in four-part harmony).  One notable attribute, that may be particular to Bach, or at least a Baroque practice, is the accompaniment of the voice of Jesus by a shimmering string chorus.

Curiously, one source cites Martin Luther as critical of the dramatic recitation of the Passion, with his admonition being "the Passion of Christ should not be acted out in words and pretense, but in real life."  I haven’t had the time to do my homework, so this may or may not be truly attributable to him.  But, if so, his dislike of the theatrical aspect of the Passion tradition presents a curious juxtaposition:  an activity that Luther did not favor eventually yielded one of the most dramatic and lengthy versions of the practice (the St. Matthew Passion lasts nearly three hours) created by the most revered “Lutheran” composer, Bach.

The tradition includes many wonderful settings of the Passion by composers other than Bach.  A few that you might choose from this week:

16^th century         (short)

Tomas Luis de Victoria:  Passion according to Saint John     youtube (in English): https://www.youtube.com/watch?v=_HSOBILgYAA

17^th century

Heinrich Schütz:  Three Passions (John, Matthew, Luke)           youtube (Luke, in German):

https://www.youtube.com/watch?v=3TEUhT8EBzM

20^th century           (anguished)

Krzysztof Penderecki: Passion according to Saint Luke              youtube: 

https://www.youtube.com/watch?v=nkqydMUOoEs#aid=P-xZns3_bUY

20^th century           (stunningly beautiful)

Arvo Pärt:  Passio                youtube:

https://www.youtube.com/watch?v=B0lt6R2PTPg

Fifth Sunday in Lent: Psalms, Martin Luther, and Hymn Paraphrases

Sunday, April 6, 2014 

Fifth Sunday in Lent

Psalms, Martin Luther, and Hymn Paraphrases

The appointed psalm in the lectionary for today is Psalm 130, which begins “Out of the depths I cry to you, O Lord.  Lord, hear my voice!”

This morning, I had planned for you to hear a prelude by Felix Mendelssohn – the first movement of his Sonata for Organ, No. 3 in C.  This movement incorporates the melody of the great hymn by Martin Luther, Aus tiefer Not, in the pedal line of the fugue.  However, the piece is difficult, and so you will have to wait until another time to hear it!

Still, it is worthwhile to consider the hymn that Luther composed.  Luther created this hymn as a paraphrase of Psalm 130 – a poetic version of the psalm text in his vernacular German.  One key aspect of Luther’s reforming goals was to allow the congregation to participate more fully in worship.  Placing the words of scripture and liturgy into the spoken language of the people was one way to do this.  Naturally, the Psalms, being the hymns of our Hebrew ancestors in faith, were a ready source for translation by Luther and other sixteenth-century reformers. 

In the introduction to the Psalms in the Lutheran Study Bible, Rolf Jacobsen writes:

Martin Luther wrote that the book of Psalms “might well be called a little Bible.  In it is comprehended most beautifully and briefly everything that is in the entire Bible.  It is really a fine enchiridion or handbook. . . so that anyone who could not read the whole Bible would here have anyway almost an entire summary of it, comprised in one little book”

By this Luther obviously did not mean that the Psalms teach Christian beliefs, since they were all written before the time of Christ.  Rather, Luther was referring to the fact that the Psalms explore the highs and lows of the life of faith.  They sing with joy and trust from the mountaintop moments and cry out with pain “out of the depths” (Ps 130:1).  The Psalms week with those who suffer, laugh with those who celebrate, and teach all of us about the long journey of faith.

Luther considered Aus tiefer Not one of his favorite psalm hymns and intended it as a funeral hymn.  Take a look at the text of the hymn in Evangelical Lutheran Worship (ELW 600).  Meditate upon how its language explores the depth of sorrow and the fervor of hope that one experiences when a loved one dies.  This is a great hymn and we would do well to sing it often!

One additional musical note for the morning:  the postlude is a setting of the hymn tune Aus tiefer Not, by Max Drischner.  Set as a chaconne, or ground bass, the music repeats the opening phrase of the hymn tune in the pedal line over and over.  This musical form conveys the sense of supplication that is mentioned in the hymn text, and the desire of the litany gains fervor as the musical accompaniment in the hands increases in intensity. 

As you ponder the hymn and the psalms this week, can you think of another psalm paraphrase by Luther?  (Perhaps his most iconic hymn!)