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Sunday, April 27, 2014

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 7th and 8th 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]




[1] Westermeyer, Paul, Hymnal Companion to Evangelical Lutheran Worship  (Minneapolis: Augsburg Fortress, 2010), 276.
[2] Ibid., 628.
[3] Ibid., 43.

Saturday, April 12, 2014

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:

16th century         (short)
Tomas Luis de Victoria:  Passion according to Saint John     youtube (in English): https://www.youtube.com/watch?v=_HSOBILgYAA

17th century
Heinrich Schütz:  Three Passions (John, Matthew, Luke)           youtube (Luke, in German):

20th century           (anguished)
Krzysztof Penderecki: Passion according to Saint Luke              youtube: 

20th century           (stunningly beautiful)
Arvo Pärt:  Passio                youtube:

Sunday, April 6, 2014

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!)

Sunday, March 30, 2014

Fourth Sunday in Lent: Scripture and Liturgy

Sunday, March 30, 2014

Fourth Sunday in Lent

Scripture and Liturgy


On Wednesday evenings in Lent, a small group of FLC members has been gathering to discuss the topic of worship, using a resource titled “Worship Matters.”  At our last session, the chapter explored the scriptural basis of our liturgy. 

I find it quite reassuring and helpful to realize that many of the words we speak or sing on Sunday morning or in other liturgies actually are scripture.  Through our weekly encounter with these words and by their repetition, they are internalized and become part of our being. 

For example, on Ash Wednesday we sing this Gospel Acclamation from the book of Joel:

Return to the LORD, your God,
for he is gracious and merciful,
slow to anger, and abounding in steadfast love,
[and relents from punishing.]  (Joel 2:13)

Several settings of Holy Communion in ELW extend this Gospel Acclamation through the entire season of Lent, keeping these Ash Wednesday words close to our hearts for the season of 40 days and 6 Sundays.

This year, since we are using ELW Setting One, we sing in Lent: “Let your steadfast Love come to us, O Lord.  Save us as you promised, we will trust in your Word.”  This text has its basis in several Psalms, such as Psalm 33, verse 22, and Psalm 119, verses 41 and 76. 

One of the study resources related to ELW is a book titled The Sunday Assembly.  This text addresses the scriptural basis of worship by asking:

“How far back does our own liturgical tradition reach?  It reaches fully and deeply back to biblical roots, both Old and New Testaments.  Beginning with the biblical witness, our liturgical texts combine words of scripture with other Christian texts to form the tapestry we now hear as the familiar prayers, responses, and songs of worship.”  (14)


For an in depth look at this scriptural basis, take a look at a brief section in the back of the ELW that lays out these texts in liturgical order.  This outline is on pages 1154 – 1159.  

Saturday, March 22, 2014

Third Sunday in Lent: Three Johanns

Sunday, March 23, 2014

Third Sunday in Lent

Three Johanns


Organists love to play the music of Johann Sebastian Bach.  The contrapuntal complexity, the harmonic inventiveness, the melodic beauty – these are all things about the music that are endlessly captivating.  (Not to mention the technical challenges!)  Church musicians love to engage the great man’s music for choir and other instruments, too, because of the rich theological and symbolic language Bach employs.  His fervent and confident faith in the Gospel of Jesus Christ emerges with passion and depth in all of his music for the church.  His own spiritual discipline is revealed by the brief caption he placed on many of his compositions:  SDG, or Soli Deo Gloria.  To God Alone Glory.  Bach’s humble acknowledgment and dedication of his creative efforts to the One who Creates has earned him the distinction of “The Fifth Evangelist” (attributed to Albert Schweitzer).  This Sunday, join me in celebrating the 329th birthday of this most incredible musician (born March 21, 1685) as I play three pieces for organ by Bach.  (For an interesting summary of Bach and his life as a musical theologian, see this article: http://www.christianitytoday.com/ct/2000/julyweb-only/52.0c.html )

Two other Johanns play an important part in the network of musicians, poets, and artists that comprise the diverse body of creative and faithful evangelists who give artistic expression to the Good News throughout the ages.  Johann Crüger and Johann Franck united often as a hymn writing team in the seventeenth century, creating some of the most endearing and familiar Lutheran Chorales we still sing today. 

As a genre, the Chorale – a type of hymn associated with the evangelical German Lutheran church of the sixteenth and seventeenth centuries – can be considered one of the most uniquely “Lutheran” contributions to the corpus of church music.  The sturdy tunes, often in Bar form (two repetitions of an A section, followed by one statement of the B section) evoke images of enthusiastic four-part singing with grand organ accompaniment.  Sometimes the poetic language of the Chorale can be objective, didactic, or proclamatory, as in A Mighty Fortress, or the language can be more pietistic, and inwardly reflective, as in Jesus, Priceless Treasure


Franck and Crüger created chorales of  the latter type, including Jesus, Priceless Treasure and Soul, Adorn Yourself with Gladness.  The texts of Franck contain a rich language of emotion and inner devotion that remains focused upon Christ, rather than the self. The melodies of Crüger represent the best of the Chorale, with stepwise motion, simple yet interesting rhythms, and harmonic elegance.  The efforts of these two hymnists have provided comfort, inspiration, and a language of faith for generations of musicians and worshipers.  Two of J. S. Bach’s most beloved compositions, the chorale prelude Schmücke dich, O liebe Seele (this morning’s prelude) and the chorale motet Jesu, meine Freude owe their genesis to Franck and Crüger. Thanks be to God for the efforts of all three Johanns!

Sunday, March 16, 2014

Second Sunday in Lent: Kyrie and Peace



Sunday, March 16, 2014

Second Sunday in Lent

Friends, I am sharing a homily I spoke to the gathered community at Christ Chapel at Gustavus on Monday, February 24, 2014.  It speaks about the relationship between liturgy and peace.  
Matthew 5:38-48

The peace of Christ be with you all.  “And also with you.”  Or “And with your spirit.”

To begin, please open up the red ELW hymnals in front of you to page 98.  Take a look at the Kyrie there; I’d like to read the words in dialogue.  I’ll read the parts in light print, if you will respond with the parts in bold. 

In peace, let us pray to the Lord.

Lord, have mercy.

For the peace from above, and for our salvation, let us pray to the Lord.

Lord, have mercy.

For the peace of the whole world, for the well-being of the church of God, and for the unity of all, let us pray to the Lord.

Lord, have mercy.

For this holy house, and for all who offer here their worship and praise, let us pray to the Lord.

Lord, have mercy.

Help, save, comfort and defend us, gracious Lord.

Amen, Amen.




We gather this morning in the physical presence of not only words of peace, but a variety of images of peace.  I invite you to take some time to view the photographs and read the stories of peace that activist John Noltner has assembled and placed on display here in the chapel and elsewhere on campus.  So, it is appropriate to begin this week in chapel with a reflection upon peace.

One striking, but perhaps often overlooked aspect of the historic Christian liturgy is its emphasis upon peace.  Words of peace permeate the liturgy of the church; some of you might recognize the litany we just recited as part of the “Kyrie” often sung at the first part of a Lutheran worship service – at least since the time of the liturgical revival of the 1960s and 70s.  This litany has deep roots – it comes from the Byzantine Great Litany, a ancient litany of peace which was reintroduced into the late 20th century liturgy as a series of prayer petitions combined with the response “Lord, have mercy, ” – the core phrase of the historic Kyrie.  The dialogue is a beautiful plea for a state of harmonious balance, in which peace is desired for all of creation, the gathering of the people of God, and for unity.  Its prayer is for the health of the one body of Christ, the body that the apostle Paul regards so eloquently in 1 Corinthians 12.  This healthy body is in essence the “Peace of Christ” that we speak.

Recently, a cover article of Time magazine, titled “the Mindful Revolution,” got me thinking about the distinction between what might be called “peace of mind” versus the “Peace of Christ.”  Rightfully, in our complex and busy world, most of us have every reason to seek a state of mindfulness, or a state of calm focus, that allows us to sense some personal wholeness in a situation of chaos.  But, in terms of the Good News, or the Gospel that we hear in the story from Matthew this morning, there is a different peace that we all can seek with just as much fervor as the self-oriented peace of mindfulness. 

One tack to take is to look at the theology of Martin Luther, who observed that one aspect of our lives that brings us out of wholeness is the tendency to “curve inward” upon ourselves, to the detriment of our care for our neighbor. 
We know that when pressed to determine which commandment was the greatest, Jesus answers that we are to “Love the Lord your God” and to “Love your neighbor as yourself.”[1]  In this morning’s Gospel, the instructions Jesus gives us towards enacting this love might seem drastic or harsh, but perhaps the challenge for us is to realize the broad extent of who it is that we call our neighbor.  The Gospel tells us that it is “everybody.”  For the peace of the whole world demands that we turn away from ourselves, individually and collectively, toward everybody in our presence, including enemies, and that we pour out our love toward our community. 

Peace begins with this:  turning toward your neighbor and looking that person in the eyes and saying “The peace of Christ be with you.”  This is not just a gesture of greeting or simple good-will, but an act that initiates reconciliation with that person.  In Byzantine theology of worship and, in particular, the celebration of Holy Communion - the gesture of peace - which in the formative years of Christian worship was a “kiss of peace” – the sharing of the peace is an act intended to bring all who are about to share the Eucharistic meal into right relationship with each other.  The idea is that in order to fully break bread with one’s neighbor, each individual must bear no enmity or ill-will toward that neighbor.  In that moment before the breaking of the bread together, that relationship must be reconciled, so that hatred, misunderstandings, grudges, pains, jealousies –the list can go on –these broken parts of the relationship are brought back into wholeness.  In that wholeness, enemies, who are forgiven, always by God, but now by each other, can stand side by side and share in the meal that is, in a dramatic way, the Peace of Christ. 

Samuel Torvend, a scholar of church history and liturgy at Pacific Lutheran University, relates a marvelous story of the depth and power of the sharing of the peace in one Christian community that demonstrates the reality of reconciliation that can occur when the community grasps the notion that this moment is more than just a two minute social time.  He writes: “A former professor once said to me, “The Peace is the happiest three minutes in the liturgy when you get to greet everyone around you.”  Yet at one African American parish in the Midwest, the “passing of the peace” usually takes twenty minutes.  ‘We take those words about reconciling seriously,’ said the pastor. ‘With all the shootings and beatings in our neighborhood, we never know for sure if we’re going to see each other come next Sunday.  We want to eat and drink and then leave at peace with each other.”[2]

So then, Peace continues with this:  Reconciled with your neighbor, you now extend your whole self toward that person with a willingness to bear that person’s burdens.  The gesture that begins with a handshake continues with a prayer for that person’s well-being, and a genuine desire to bear the hurts and wants and needs that he or she carries.  As the handshake is released, the peace of Christ continues as you reach to remove your own jacket from your back and to place it upon the shoulders of your neighbor.   Remember Martin Luther and his concern with the curving inward?  The peace of Christ is the opposite of that turning inward, and is instead an opening away from one’s self.  I don’t think that disagreements between any two humans magically disappear in the act of turning the other cheek, but the act of self-giving love can do much to alleviate resentments, distrust, and disunity. 

Peace continues with this:  practicing the vision and hope for the coming reality of the whole creation joining together in peace and unity in the holy City of God, the New Jerusalem.  As we end this time of Sabbath, let’s rehearse that unity a bit.  We will share the peace, and then gather together at the center of the chapel and sing a simple hymn of peace, Dona nobis pacem. 

The peace of the Lord be with you.  And also with you. 
Please share a sign of that peace with your neighbor as we gather toward the front of the chapel. 


[1] Mark 12:28-34
[2] Samuel Torvend, Daily Bread, Holy Meal: Opening the Gifts of Holy Communion (Minneapolis: Augsburg Fortress Publishers, 2004), 73-74.

Sunday, March 9, 2014

First Sunday in Lent Omitting the Alleluia

March 9, 2014


First Sunday in Lent


Omitting the Alleluia


This past week I’ve been reading a short book titled “Centripetal Worship,” edited by Timothy Wengert.  The primary thrust of the book is that worship should draw us toward the center, which is Christ, rather than lead us away, toward ourselves.  This is a rather nuanced concept that requires more discovery than can be discussed here, today.  However, as I think about one of our Lenten liturgical practices, one particular line from the book stands out as a guide:

“In the face of all our attempts to discover the rules for correct worship, we can only confess with Luther that Christian worship, true worship, is not about us and our rules but about God in Christ, who is the end of the law.  As Dirk Lange has observed, Luther thinks there is but one ‘law’ for the church’s mass, Jesus Christ himself!”[1]

Often, we in the church get bound up by the rules, often indicated in our worship books as red rubrics, and become overly concerned about what is the right way to do something.  I am guilty of such consternation, although as I’ve studied the history and theology of liturgy more deeply, I’ve realized that our practices have come about in the context of many different human situations that have evolved over time.  We might say that liturgy was made for human worship, not human worship made for liturgy!

One practice that we encounter in the season of Lent is the omission of the Alleluia as we welcome the Gospel.  This practice has taken on the quality of a “rule” that some enforce with a stern shushing of the unmentionable word as if the wrath of God will break out.  But really, it is a practice, found in the Western church (in contrast to the Eastern Orthodox practice of always singing the Alleluia) that directs us toward the center during the time of Lent.  In the penitential and contemplative time of Lent, we keep the word Alleluia (Let us praise the Lord!) in reserve, in our hearts, as we contemplate the approach of the cross and Jesus’ passion.  Omitting the Alleluia can help us keep in mind Christ our savior as we continue to hear the good news of the Gospel. 

As a final segment, I will share the commentary distributed by the ELCA regarding the omission of the Alleluia several years ago (you will note references to LBW and WOV, two previously used hymnals in our congregation.)

“Because of the penitential character of the season of Lent, singing or saying the word "alleluia" has historically been suspended during Lent's forty days. This period of individual and congregational reflection on the quality of our baptismal faith and life suggests that the joyful nature of alleluia is more appropriately reserved for our Easter celebrations when it is given full and jubilant voice. An alternate gospel acclamation for Lent that omits the alleluia is provided for all settings of Holy Communion in both Lutheran Book of Worship and With One Voice.
“The omission of alleluia during Lent goes back at least to the fifth century in the western church. The custom of actually bidding it farewell, however, developed in the Middle Ages. The hymn "Alleluia, song of gladness" (With One Voice #654) contains a translation of an 11th century Latin text that compares an alleluia-less Lent to the exile of the Israelites in Babylon. The text then anticipates the joy of Easter when glad alleluias will return in all their heavenly splendor.
“Along with a sung farewell to alleluia, some congregations have embraced the practice of physically "burying" the alleluia. This may take the form of actually placing a visual representation of alleluia in a hole in the ground, or of hiding it away after carrying it in procession around the church or worship space. This ritual practice is especially delightful and meaningful for children.”




[1]Timothy Wengert, Centripetal Worship: The Evangelical Heart of Lutheran Worship (Minneapolis: Augsburg Fortress, 2007), 16.