Music for May 14, 2017 + The Fifth Sunday of Easter

Vocal Music

• The Call – David Ashley White (b. 1944)

Instrumental Music

• Quiet Praise – Dan R. Edwards (b. 1951) (HANDBELLS)
• Prelude on Adoro Te Devote – Jacob B. Webber (b. 1988) (HANDBELLS)
• Now the Green Blade Riseth – Mark Sedio (b. 1954)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 2 - Father, we praise thee, now the night is over (CHRISTE SANCTORUM)
• Hymn 492 - Sing, ye faithful, sing with gladness (FINNIAN)
• Hymn 379 - God is love, let heaven adore him (ABBOTT’S LEIGH)
• Hymn 188 - Love’s redeeming work is done (SAVANNAH)
• Hymn R217 - You satisfy the hungry heart (GIFT OF FINEST WHEAT)
• Hymn R220 - Let the hungry come to me (ADORO TE DEVOTE)
• Hymn 525 - The Church’s one Foundation (AURELIA)
• Psalm 31:1-5, 15-16 - In te, Domine, speravi – Mode 1

Contemporary American Composers.
(Living) Contemporary American Composers.
(Living) Contemporary American (Men) Composers.
(Living) Contemporary American (White) (Men) Composers: That's what the composers of all the vocal and instrumental music have in common this week. Everyone of the composers was born in the last half of the 20th century.

David Ashley White is Professor of Composition at Moores School of Music, with degrees from the University of Houston (B.M. and M.M.) and the University of Texas at Austin (D.M.A.). He served
as Director of the Moores School from 1999-2014.

David Ashley White

A seventh-generation Texan, White is an active member of the Houston arts community, serving on boards that include a mayoral appointment to the Houston Arts Alliance. He has recently been appointed composer-in-residence at Palmer Memorial Episcopal Church in Houston, his home parish. In addition, he has been designated the Distinguished Composer by the American Guild of Organists for its national convention held last year in Houston, where his anthem, With a Shining Like the Sun, was premiered.

His anthem, The Call, is a simple and moving setting of this famous text by George Herbert. (Come, my Way, my Truth, my Light.) It's a perfect anthem for the Fifth Sunday of Easter, where this text is almost mandated by the Gospel Reading. The most famous version of this text is the solo by Ralph Vaughan Williams (found as a hymn in our hymnal). White's setting is almost like a waltz.

The closing voluntary is a toccata-like setting of the French noel, NOEL NOUVELET, which was originally a Christmas carol (I mean, "NOEL"!) But the text that has become even more popular (at least in the States) with the tune is the Easter hymn, Now the Green Blade Riseth. Mark Sedio puts fragments of the melody all throughout his composition, most often in the pedal part. If you want to stay and listen to the whole piece, it won't take long; it's about 90 seconds to play. You will still get to Mother's Day brunch on time.

Mark Sedio

Sedio currently serves as Cantor at Central Lutheran Church in Minneapolis where his responsibilities are varied: organist, choirmaster, resident composer, worship planner and educator. In addition he has held teaching positions both at Augsburg College and Luther Seminary.

Born in Minneapolis, he received his Bachelor of Arts degree in Music Education with choral and organ music concentrations in 1976. In 1979 he received a Master of Arts degree in choral conducting and literature from the University of Iowa. He also studied at Luther Northwestern Theological Seminary.

Dan Edwards

The Handbell Choir is playing the opening and communion voluntaries this Sunday, playing music by two different composers. They prelude is an original piece for bells by Dan Edwards.

Edwards was born in Portsmouth, Virginia, and studied at Tidewater Community College in Portsmouth and James Madison University in Harrisonburg, VA. He has taught music in elementary and high schools and has worked as a church musician in a number of different denominations. He resides with his wife in Chesapeake, VA.

Jacob Webber

Jacob B. Weber wrote the communion bell piece on the Eucharistic hymn ADORE TE DEVOTE. He is a 2010 graduate from Bethany Lutheran College, Mankato, MN and is currently enrolled in the Masters of Church Music program at Concordia University Wisconsin.  He has studied organ with Dr. Kenneth Logan (Andrew’s University), Prof. Judith Kresnicka (Bethany Lutheran College), and currently with Dr. John Behnke (Concordia University Wisconsin).  

Having earned a Bachelor of Arts degree in Church Music, he presently serves as Kantor at Emmanuel Lutheran Church and School (LCMS) in Dearborn, MI, fulfilling worship planning, teaching and organ responsibilities.  He also directs numerous adult and children’s ensembles at Emmanuel, including the choir, handbells, and brass.

Music for April 19, 2015 + The Third Sunday of Easter

Music Appreciation Sunday

Vocal Music

• Hymn of Promise – Natalie Sleeth (1930-1992)
• Sing to the Lord – Ken Medema (b. 1943)

Instrumental Music

• Christians, We Have Met to Worship – arr. Sondra Tucker
• Beside Quiet Waters – Dan R. Edwards
• Choral Song - S.S.Wesley

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 492 Sing, ye faithful, sing with gladness (FINNIAN)
• Hymn 440 Blessed Jesus, at thy word (LIEBSTER JESU)
• Hymn 295 Sing praise to our Creator (CHRISTUS, DER IST MEIN LEBEN)
• Hymn R 202 Sing alleluia to the Lord (SING ALLELUIA)
• Hymn 182 Christ is alive! Let Christians sing (TRURO)

This Sunday, the church is honoring the music ministry of Good Shepherd with a Music Appreciation Day. It is humbling to be honored in such a way for the work that we do, week by week, to glorify our God and King. For this weekend, I have the St. Gregory Choir and the Good Shepherd Handbell Guild joining the Good Shepherd Choir in the music for Sunday. The St. Gregory Choir will sing an anthem of praise by Ken Medema, the composer of our Spring Music, The Story-Tellin' Man II, which we will present on May 10. Then the Good Shepherd Choir will join them in one of the kid's favorite anthems, Hymn of Promise, by Natalie Sleeth.

Ken Medema is a singer/pianist who has published many works for choirs, soloists, and pianists. Born nearly blind, he began playing the piano when he was five years old, and three years later began taking lessons in classical music through braille music, playing by ear and improvising in different styles. Through his work as a music therapist, he started writing songs while at Essex County Hospital. "I had a bunch of teenagers who were really hurting," he says, "and I started writing songs about their lives. Then I thought, 'Why don't you start writing songs about your Christian life?' So I started doing that, and people really responded."

In his anthem Sing to the Lord, you'll hear the main theme presented in a pop-rock style, before going to a new theme (the B section). He returns to the first theme (A section), and when it is sung, you are introduced to more musical material in the C section of the piece. The entire anthem ends with one more visit to the A section before ending with a coda, the last line of music sung three times. The text for the anthem is a compilation of familiar verses from several psalms.

The anthem Hymn of Promise, a favorite of our choir, was first conceived as an anthem in 1985 for a festival concert on Natalie Sleeth's music at the Pasadena Community Church, St. Petersburg, Florida. Since then, it has been included in at least 17 hymnals, with the number growing each year.

Sleeth was as native of Evanston, Illinois. She began piano study at the age of four and gained much of her musical experience by singing in choral ensembles during her earlier years. Studying music theory, piano, and organ at Wellesley College in Massachusetts, she received her B.A. in 1952.

Married to Ronald E. Sleeth, a United Methodist clergyman and professor of homiletics at Perkins School of Theology in Dallas in the late 60s and 70s, she served as music secretary at Highland Park United Methodist Church from 1969-1976. During this time, she studied music theory with Jane Marshall and audited a course in choral arranging taught by Lloyd Pfautsch at SMU. Her choral works for all ages number more than 200.

Sleeth had the ability to compose both texts and music. Hymn of Promise was written at a time when the author states that she was "pondering the ideas of life, death, spring and winter, Good Friday and Easter, and the whole reawakening of the world that happens every spring." Inspired by a T.S. Eliot line, the germ of the hymn grew from the idea "in our end is our beginning," the phase that begins the third stanza of the hymn.

While it carries the promise of spring and the hope of Easter in its beautiful metaphors, it is a very appropriate hymn for funeral and memorial services. Shortly after its composition, the composer’s husband was diagnosed with what turned out to be a terminal malignancy. Ronald Sleeth requested that Hymn of Promise be sung at his funeral service.

Michael C. Hawn, distinguished professor of church music at Perkins School of Theology, writes,

A wonderful child-like simplicity permeates "Hymn of Promise." Natalie Sleeth had a gift for composing texts on complex theological ideas that were still accessible to children. Her melodies seemed totally natural and therefore effortless for people to learn. "Hymn of Promise" is one of the most memorable hymns written by an American United Methodist in the last part of the twentieth century, and it promises to be sung for many years to come.

The Good Shepherd Handbell Choir will end it's choir season by playing two distinctly different pieces by two American composers. My friend Sondra Tucker has written an energetic piece for bells and percussion combining two Early American hymn-tunes, HOLY MANNA (Christians, We Have Met to Worship) and FOUNDATION (How Firm a Foundation). After a brief introduction you hear HOLY MANNA , then FOUNDATION as the drum drops out and the music becomes less rhythmic and more flowing. When the opening motif returns along with the drum, the two tunes are combined and played together. It's what the youth call a "mash-up."

• Sing, ye faithful, sing with gladness (FINNIAN) Though it first appeared in 1870 and was included in several hymnals of the time, our hymnal is the only major contemporary book that includes it. The tune was written in 1975 by Christopher Dearnley, an English organist, who served in Salisbury Cathedral and St Paul's Cathedral.
• Blessed Jesus, at thy word (LIEBSTER JESU) In this hymn, we acknowledge our need for the illumination of the Holy Spirit to fully understand God’s message to us. We also recognize and claim the promise of Christ concerning this help: “But the Helper, the Holy Spirit, whom the Father will send in my name, he will teach you all things and bring to your remembrance all that I have said to you” (John 14:26 ESV).
• Sing praise to our Creator (CHRISTUS, DER IST MEIN LEBEN) Set to a tune from the 1500s, this hymn was written by Omer Westendorf, one of the leading Roman Catholic hymn writers since Vatican II. Born in 1916, Omer first got interested in church music after World War II, when he discovered the new Mass settings in Holland.
• Sing alleluia to the Lord (SING ALLELUIA) Immensely popular, this praise chorus has been included in hundreds of songbooks, both in North America and in other continents. Linda L. Stassen-Benjamin originally composed it rather instantaneously (while she was in the shower!) in June 1974. Following oral tradition, the Renew Hymnal joins Stassen's stanza with four other stanzas derived from early Christian liturgies and the "Easter Canticle," which quotes from 1 Corinthians 5:7-8 and 15:20-22.  
• Christ is alive! Let Christians sing (TRURO) Brian A. Wren wrote the hymn during April of 1968. It was written for Easter Sunday, two weeks after the assassination of Dr. Martin Luther King, Jr.  Wren wrote: "I could not let Easter go by without speaking of this tragic event which was on all our minds. . . . The hymn tries to see God's love winning over tragedy and suffering in the world. . . . There is tension and tragedy in these words, not just Easter rejoicing."