Music for November 19, 2017 + The Twenty-fourth Sunday after Pentecost

Vocal Music

• Draw Us In the Spirit’s Tether – Harold Friedell (1905-1958)

Instrumental Music

• Pastorale on St. Anne  (Partita on St. Anne, Op. 6) – Paul Manz (1919-2009)
• Devotion – Jim Brickman (b. 1961)
• O God, Our Help in Ages Past – Charles Callahan (b. 1951)

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

• Hymn 680 - O God, our help in ages past (ST. ANNE)
• Hymn 9 - Not here for high and holy things (MORNING SONG)
• Hymn 551 - Rise up, ye saints of God (FESTAL SONG)
• Hymn R201 - Be still, for the spirit of the Lord (BE STILL)
• Hymn R172 - In our lives, Lord, be glorified (LORD, BE GLORIFIED)
• Hymn 423 - Immortal, invisible, God only wise (ST. DENIO)
• Psalm 90:1-8, 12 - Tone VIIIa

Today's anthem was chosen not for its appropriateness to today's scriptures (that would be the hymns and the organ voluntaries), but for the fact that it has been in our folders since Hurricane Harvey and we just really needed to get it sung before the new (liturgical) year.  So it's now or never.

Not that I mind. It's long been one of the favorite anthems of mine and every choir with which I have worked. The melody is beautiful and the harmonies pleasing to sing, with just enough challenge and movement to make it interesting. The text is by Percy Dearmer, one of the most influential leaders in twentieth-century English hymnody who was a professor of ecclesiastical art at King’s College, London, and later served as canon of Westminster Abbey.

Percy Dearmer, c. 1890. Photograph by Frederick Hollyer
(From the collection of the Victoria and Albert Museum, London)

He distinguished himself in the field of hymnology as the editor, with composer Ralph Vaughan Williams, of The English Hymnal (1906). He also co-edited Songs of Praise (1925), The Oxford Book of Carols (1928) and Songs of Praise Enlarged (1931). Editions of each of these works can still be found today in English churches.

This text of this anthem is full of imagery which captures the interest of the singer and links the singer with the disciples who gathered with Christ at the table (Matthew 18:20). We are joined by a “tether”—an archaic word but an appropriate image of the work of the Holy Spirit that links Christians of every time and place at the table.

In the final stanza, Dearmer makes a beautiful and powerful statement that “All our meals and all our living make as sacraments of thee.” Through “caring, helping, giving, we may true disciples be.”

Thus, the hymn begins in the upper room with the disciples and comes full circle as we join them around the table and are nourished to serve others in the world. Beautiful thoughts as many of us gather with our families around the Thanksgiving board.

This music was written 60 years ago by Harold Friedell, organist at St. Bartholomew's Episcopal Church, and a professor at the School of Sacred Music, Union Theological Seminary, New York City.

The opening and closing voluntaries are based on the tune ST. ANNE which also serves as our processional hymn. The Psalm appointed for today is Psalm 90, and this is a splendid paraphrase of that Psalm by Isaac Watts, written around 1714 and first published the text in his Psalms of David (1719). "O God, Our Help in Ages Past" expresses a strong note of assurance, promise, and hope in the LORD as recorded in the first part of Psalm 90, even though the entire psalm has a recurring theme of lament.

Though no firm documentation exists, ST. ANNE was probably composed by William Croft, possibly when he was organist from 1700-1711 at St. Anne's Church in Soho, London, England. (According to tradition, St. Anne was the mother of the Virgin Mary.) The tune was first published in 1708 as a setting for Psalm 42. It was not until 1861 that ST. ANNE became a setting for "O God, Our Help in Ages Past" in Hymns Ancient and Modern, and the two have been inseparable ever since.

Music for November 12, 2017 + Kirking of the Tartans

Vocal Music

• Keep Your Lamps – André Thomas (b. 1952)

Instrumental Music

• Highland Cathedral - James D. Wetherald, arr., Richard Kean, piper
• Meditation on Jesus, meine Zuversicht – Leo Sowerby (1895-1968)

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

• Hymn 524 - I love thy kingdom, Lord  (ST. THOMAS (WILLIAMS))
• Hymn S-204 - Glory be to God on High - Old Scottish Chant
• Hymn 68 - Rejoice! Rejoice, believers (LLANGLOFFAN)
• Hymn 424 - For the fruit of all creation (EAST ACKLAM)
• Hymn R229 - Let all mortal flesh keep silence (PICARDY)
• Hymn R167 - Surely the presence of the Lord (SURELY THE PRESENCE)
• Hymn 189 - Amazing grace! how sweet the sound (NEW BRITAIN)
• Hymn 436 - Lift up your heads, ye mighty gates (TRURO)
• Psalm 78:1-7 – Tone VIIIa

It is a favorite Sunday for many parishioners at Good Shepherd when we “Kirk (or bless) the Tartans.” It's not on the official prayerbook liturgical calendar, but we have been observing the Sunday closest to the feast day of Samuel Seabury as "Kirking Sunday" for 20 years now!  It's a custom which seems to have begun in the early 1940s, when Peter Marshall (the Presbyterian minister who was chaplain of the Senate - not the game show host) held prayer services at New York Avenue Presbyterian in D.C to raise funds for War Relief. At one of the services, he preached a sermon called “Kirking of the Tartans,” and thus a legend was born. You can read the entire fascinating history here on the Scottish Tartans Website.

We do it every year around the feast day of Samuel Seabury, the first American Anglican bishop who was consecrated by the Scottish Bishops of the Anglican church during the Revolutionary War. (England was a bit perturbed with Americans, so they would have none of that!) 

Thus we commemorate his consecration by wearing our tartans, hanging them in the church, and hearing the bagpipes play. We begin the service with the piper playing “Highland Cathedral” and end with him playing “Amazing Grace.”

Our piper this Sunday is Richard Kean, a professional piper who now calls Houston home. He is a native of Scotland who made his way through Canada before moving to Texas. We are honored to have him with us today.

André Thomas

Today's anthem was chosen because of its appropriateness in light of the scripture. In Matthew 25 we read of the ten bridesmaids who go out to meet the bridegroom. Five took enough oil in their lamps so that they would continue to burn. Five "foolish" bridesmaids did not, and were left in the dark when the bridegroom came.  Keep Your Lamps (Trimmed and Burning) is a traditional gospel blues song that alludes to the Parable of the Wise and Foolish Bridesmaids. It was first recorded in 1928 by Blind Willie Johnson, an American gospel blues singer, guitarist, and evangelist.

This arrangement is by André Jerome Thomas, an American composer and conductor who is currently Director of Choral Activities and Professor of Choral Music Education at Florida State University and the artistic director for the Tallahassee Community Chorus.

The organ voluntary at communion is based on the chorale JESUS, MEINE ZUVERSICHT. You can find it at hymn 313 in the hymnal, with the communion text, "Let thy Blood in mercy poured."

Music for November 5, 2017 + All Saints Sunday

Vocal Music

• I Heard a Voice from Heaven – John Goss (1800-1880)

Instrumental Music

• Fanfare Flourish – Ron Mallory (B. 1973)
• Chant de Paix – Jean Langlais (1907-1991)
• Placare Christe Servulis (O Christ Forgive Thy Servants) – Marcel Dupré (1886-1971)

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

• Hymn 287 - For all the saints, who from their labor rest (SINE NOMINE)
• Hymn 526 - Let saints on earth in concert sing (DUNDEE)
• Hymn 618 - Ye watchers and ye holy ones (LASST UNS ERFREUEN)
• Hymn R127 - Blest are they, the poor in spirit (BLEST ARE THEY)
• Hymn 625 - Ye holy angels bright (DARWALL’S 148TH)
• Hymn - Taste and See (James Moore) Paraphrase of Psalm 34:1-4, 8

The choral music of the English composer Sir John Goss is among the core works of Anglican choirs’ repertoire; our choir often sing his works and we sing his best known hymn tune, LAUDA ANIMA with the text, “Praise, my soul, the King of heaven” (#410). Goss is best remembered for his vocal music and is one of the last English composers who devoted their work almost entirely to writing church music.

Sir John Goss, by unknown artist, circa 1835.

Born in Fareham, Hampshire, England, Goss was a descendant of a long line of English musicians. Several in his family were excellent singers, and his father was the organist of the parish church in Fareham. Goss was educated in London, sang as a chorister for the Chapel Royal, and studied organ with Thomas Attwood, organist of St. Paul’s Cathedral in London. Goss was appointed to several prestigious organist positions in London including Stockwell Chapel in South London, St. Luke’s Church in Chelsea, and St. Paul’s Cathedral, succeeding his former teacher there in 1838. While at St Paul’s, Goss had little influence over the music of the cathedral, and he struggled to improve musical standards there.

Goss was also an active teacher, serving as a professor at the Royal Academy of Music where he taught harmony from 1827 to 1874, and taught at St. Paul’s. His instructional book written in1833, An Introduction to Harmony and Thorough-Bass, was a standard music text of the era.

Goss was remembered by his students for his pious, religious life, patience and gentleness of character. Following years of poor health during the 1870s, Goss died in his home in Brixton. He is buried in St. Paul’s Cathedral.

Goss was knighted by Queen Victoria when he retired from St. Paul’s in 1872. In 1876, he received an honorary doctorate in music from the University of Cambridge. Numerous posthumous memorials honoring Goss were erected in London and Fareham.

The closing voluntary is a wonderful work by Marcel Dupré on the chant Placare Christe Servulis which is traditionally sung at Vespers on the Feast of All Saints in the Roman Breviary. It is the last piece in Dupré's organ collection, Tombeau de Titelouze (16 Chorals sur des Hymnes liturgiques), Op 38. During an Organ Week held in Rouen in 1942, the Abbé Robert Delestre, Maître de Chapelle of Rouen Cathedral showed Dupré the unmarked grave of Jean Titelouze, the founding father of French organ music. It immediately inspired Dupré to compose this volume which he inscribed to the Abbé. Placare Christe servulis treats the hymn melody in the form of a toccata (D major, 12/8) for All Saints Day.

Music for October 29, 2017 + The Twenty-first Sunday after Pentecost

Vocal Music

Cantique de Jean Racine – Gabriel Faure (1845-1924)
The Lord Bless You and Keep You – Giles Brightwell (b. 1970)

Instrumental Music

A Mighty Fortress Is Our God, BWV 720 – Johann Michael Bach (1648-1694)
Deck Thyself, My Soul, With Gladness, BWV 654 – J. S. Bach (1685-1750)
Prelude and Fugue in C, BWV 547 - J. S. Bach

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

Hymn 688 - A mighty fortress is our God (EIN FESTE BURG IS UNSER GOTT)
Hymn 609 - Where cross the crowded ways of life (GARDINER)
Hymn 707 - Take my life and let it be (HOLLINGSIDE)
Hymn R145 - Lord, I want to be a Christian in my heart (LORD I WANT TO BE A CHRISTIAN)
Hymn 610 - Lord, whose love through humble service (BLAENHAFREN)
Psalm 1 - Tone VIIIa

Luther nailing his 95 Theses on the door of All Saints Church in Wittenberg

500 years ago, on October 31, 1517, Martin Luther published 95 criticisms of the Catholic Church practice of selling Indulgences. Although he intended to reform Catholicism, not break it apart, he accomplished both. Reformed congregations (such as Lutherans and Presbyterians) celebrate the tradition that grounds their faith on Reformation Sunday, which is always the last Sunday in October. Anglicans are not technically reformed, but we will honor this historic occasion by sing the most famous hymn of the Reformation, as well as hearing organ music by the most famous of all Lutheran musicians, J. S. Bach.

Martin Luther's hymn, Ein feste Burg (A Mighty Fortress) is often referred to as “the battle hymn” of the Reformation. Many stories have been relayed about its use. Louis Benson writes,

It was, as Heine said, the Marseillaise of the Reformation…It was sung in the streets…It was sung by poor Protestant emigres on their way to exile, and by martyrs at their death…Gustavus Adolphus ordered it sung by his army before the battle of Leipzig in 1631…Again it was the battle hymn of his army at Lutzen in 1632…It has had a part in countless celebrations commemorating the men and events of the Reformation; and its first line is engraved on the base of Luther’s monument at Wittenberg…An imperishable hymn! Not polished and artistically wrought but rugged and strong like Luther himself, whose very words seem like deeds (1). 

As you can see, this is a hymn close to the hearts of Protestants and Lutherans, a source of assurance in times of duress and persecution. The text is not restricted, however, to times of actual physical battles. In any time of need, when we do battle with the forces of evil, God is our fortress to hide us and protect us, and the Word that endures forever will fight for us. (2)

The opening voluntary, Ein feste Burg (A Mighty Fortress) can best be described as a chorale fantasia. This type of piece differs from other chorale preludes by its free treatment of the tune, often obscuring it with ornaments and improvisatory gestures.

For many years, it was believed that Ein feste Burg ist unser Gott was one of the miscellaneous chorales of Johann Sebastian Bach that was transmitted by Bach's students. It is known in four extant manuscripts, and at one time was known in two others; thankfully the latter of these lost items was microfilmed before the original disappeared. The main manuscript version known to Bach's editors in the nineteenth century was compiled before 1740 by Johann Gottfried Walther, Johann Ludwig Krebs and the latter's two brothers. There it appears as an unattributed work among a number of pieces known to have been written by Johann Sebastian Bach, and so it was included without comment in the 1893 collection of Bach's collected organ works as BWV 720.

The piece also appears in a manuscript collection compiled by F. A. Grasnick around 1800, seemingly with no attribution. But recent examination of that manuscript revealed that in this case the author's name was placed at the end - Johann Michael Bach, Johann Sebastian's uncle, who died in 1694. Checking against the little known microfilm of the lost source, which was copied by Johann Gottfried Walther, it was confirmed that Walther did indeed indicate that Johann Michael Bach was the composer of this little setting of Ein feste Burg. (3)

This being the case, I find it strange that the most famous hymn of the Reformation was never set for organ by the most famous Lutheran organist! (He did use the tune in a cantata and in two four-part settings.)

However, according to one of Bach's biographers, this setting of the hymn was played by Bach at the 1709 Reformation Festival at the St. Blasiuskirche in Muhlhausen. The organ had been rebuilt under Bach's (who was now stationed in Weimar) direction, and he was the first to demonstrate the "new" instrument.

The registration calls for the "Oberwerk Fagtto 16' " (bassoon) in the left hand and the "Sesquialtera" of the Brustpositif in the right. It also directs parts to be played on the Ruckpositif. Bach called the new Fagotto a "beautiful and wonderful reed," and described the Sesquialtera as being "sharp and lovely." It may have been Johann Walter who noted the registrations that Bach used. (4)

The communion voluntary is Bach's lovely ornamented setting of the great communion hymn, Schmücke dich, o liebe Seele. The ornamented chorale form was invented and popularized in Northern Germany by Heinrich Scheidemann, with the chorale melody taken by one voice in an elaborate and highly embellished form. Here we find the melismatic, ornamented chorale in the soprano, alternating with the dance-like ritornellos of the two intertwining lower parts above the bass line in the pedal; "the unearthly counterpoint between the four different parts creates an air of great serenity, a 'rapturous meditation' on the rite of communion. The adornment in the title is illustrated by the French-style ornamentation of the upper parts." (5)

The closing voluntary is the prelude from the Prelude and Fugue in C major, BWV 547. The 9/8 meter of the prelude is unusual, as are the repeated notes in the midst of the rising scale that begins the theme, allowing Bach to cover the range of an octave while playing ten notes. Its tame, pastoral atmosphere continues throughout, supported by masterful polyphony. The quasi-ostinato pedal part gives a constant reminder of the 9/8 meter and derives from the soprano voice in the second measure of the prelude.

Our offertory is the beautiful Cantique de Jean Racine by the French Composer Gabriel Fauré. We last sang this anthem in 2015, and you can read what I wrote about it here.

The communion anthem comes from the music of the 2017 Texas Diocesan Choir Festival, held last week at St. James Episcopal, Houston. The director, Giles Brightwell, wrote this short choral blessing for his mother, and was sung at the end of Evensong. In spite of its straight-forward setting, it is deceptively challenging, with its shifting tonal centers and four to six part harmonies sung unaccompanied (we hope.) Giles is the director of music and organist at St. Thomas Episcopal Church and School in Houston.

1. Benson, Louis, Studies in Familiar Hymns, First Series, pp. 159-60, 1903.

2. "A Mighty Fortress," [Web article] retrieved Oct 26, 2017 from Hymnary.org
3. Staff, Rovi, "Ein feste Burg ist unser Gott, chorale prelude for organ (by Johann Michael Bach, not JSB)" [Web entry] retrieved Oct. 24, 2017 from https://www.allmusic.com

4. "Ein feste Burg ist unser Gott, BWV 730 [web blog post] retrieved Oct 24, 2017 from http://www.contrebombarde.com/concerthall/music/6518
5. Scott, John, Progam notes to Eighteen Leipzig Chorales, June 14, 2014 retrieved from https://www.saintthomaschurch.org/uploads/calendar/20140614_Leipzig_Chorales_Program.pdf

Music for October 22, 2017 + The Twentieth Sunday after Pentecost

Vocal Music

• Give Almes of thy Goods – Christopher Tye (1505-1572)
• O For a Closer Walk with God – Charles Villiers Stanford (1852-1924)

Instrumental Music

• O Worship the Lord in the Beauty of Holiness – Darwin Wolford (b. 1936)
• On a theme of Orlando Gibbons – Charles Villiers Stanford
• Sortie – Denis Bédard (b. 1950)

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

• Hymn 377 - All people that on earth do dwell (OLD 100TH)
• Hymn R258 - To God be the glory (TO GOD BE THE GLORY)
• Hymn 408 - Sing praise to God who reigns above (MIT FREUDEN ZART)
• Hymn R269 - Let all that is within me (Melvin Harrell)
• Hymn R271 - Alleluia, alleluia! Give thanks to the risen Lord (ALLELUIA NO. 1)
• Hymn 544 - Jesus shall reign where’er the sun (DUKE STREET)
• Psalm 96:1-9 - ToneVIIIa

Last month marked the 165th birthday of Sir Charles Villiers Stanford, the Irish musician who, along with Edward Elgar and Charles H. H. Parry, helped create a renaissance in English music in the late 19th century.

C. V. Stanford

He was the only child of a prominent Dublin lawyer. His considerable musical talent gained him admission to Cambridge University at the age of 18 where he quickly established a commanding reputation, and was appointed organist of Trinity College while still an undergraduate. Afterward he studied in Leipzig and Berlin. He went on to compose in almost every music form including seven symphonies; ten operas; fifteen concertante works; chamber, piano, and organ pieces; and over thirty large-scale choral works.

Though his influence on the British music scene of his day was quite substantial, little of his popularity survived him, with only his voluminous sacred music remaining in the active body of works which is the foundation of the Anglican tradition.

Today you will hear two of his works during communion, both based on hymn-tunes. The organ voluntary is based on the tune by Orlando Gibbons, SONG 34, which can be found in our Hymnal 1982 at hymn 21. The anthem is his classic setting of hymn 684, O for a closer walk with God, paired with the hymn-tune CAITHNESS.

In addition to his musical prowess, one must admit that he was a snappy dresser. Gotta love those spats!

The opening voluntary is based on the Psalm appointed for today, Psalm 96.

Worship the LORD in the beauty of holiness;
    let the whole earth tremble before him. - Psalm 96:9

Darwin Wolford

It is written by Darwin Wolford, a composer, organist, and former music professor living in Idaho. He was Director of Organ Studies at Brigham Young University–Idaho before his retirement in 2004.

Born in Logan, Utah, he began piano lessons at the age of eight. Wolford earned his bachelor’s degree from Utah State University, his Master of Music degree and his PhD in organ composition from the University of Utah.  During college he studied organ with famed Mormon Tabernacle organists Robert Cundick and Alexander Schreiner and composition with Leroy Robertson, John LaMontaine, and Ned Rorem.

He has published more than 350 compositions for choir, orchestra, organ, piano, and other instruments. Wolford’s works are among those heard performed by the Mormon Tabernacle Choir. Wolford is a member of The Church of Jesus Christ of Latter-day Saints and served for many years as a member of the General Music Committee. he was a member of the Executive Hymnbook Committee and assisted with the publication of the 1985 LDS Hymnbook. He also helped prepare the LDS Children’s Songbook.

The anthem this morning is by the 16th century composer Christopher Tye. Tye was the choirmaster at Ely Cathedral during the reign of Henry the VIII, and as such contributed new music for the Anglican church, including this anthem, Give Almes of thy Goods. (The word almes being an Middle English spelling and pronunciation of alms, or charitable gifts.)

Give Almes of thy Goods is a short setting of an offertory sentence which appeared in both the 1549 and 1552 Books of Common Prayer. This is an Tudor creation in every way. Constructed in the ABB form of the early English anthem, this four-voice piece is entirely syllabic, exactly as Thomas Cramner, the architect of the Book of Common Prayer, required: "to every syllable a note."

Music for October 15, 2017 + Good Shepherd School Sunday

Vocal Music

• Rondo of Joy – Traditional, arr. Good Shepherd School
• Father God in Heaven – Suzanne Lord (b. 1946)

Instrumental Music

• Dona Nobis Pacem – Traditional, arr. Tom Anderson
• Symphony No. 9 (Ode to Joy) – Ludwig van Beethoven, arr. Tom Anderson
• The King of Love My Shepherd Is – Healey Willan

Congregational Music (all hymns from the Hymnal 1982)

• Hymn 7 - Christ, whose glory fills the skies (RATISBON)
• Hymn 645 - The King of love my Shepherd is (ST. COLUMBA)
• Hymn - The Lord is my Shepherd (traditional round)
• Hymn 708 - Savior, like a shepherd lead us (SICILIAN MARINERS)
• Hymn 325 - Let us break bread together on our knees (LET US BREAK BREAD)
• Hymn 376 - Joyful, joyful, we adore thee (HYMN TO JOY)

This Sunday we celebrate our church's preschool, and we are delighted to have the children of the Good Shepherd School provide the music for our services. They are under the direction of Karen Silva, who does a fabulous job of teaching rudiments of music to these preschool and kindergarten students, while getting them to sing on pitch!

The offertory is one of her creations, a medley of children's songs set in the form of a Rondo. The Rondo is a form where the a principal theme (sometimes called the "refrain") alternates with one or more contrasting themes, generally called "episodes". Possible patterns could be ABA, ABACA, or ABACABA. Today, you will hear the song Gaudeamus by Natalie Sleeth as the principal theme (A), with Praise Him, Praise Him All Ye Little Children, I've Got the Joy, Joy, Joy, Joy, and He's Got the Whole World in His Hands as the B, C, and D themes. 

The communion anthem is a beautiful anthem by Suzanne Lord, a flute player, teacher and musicologist who last taught at Southern Illinois University in Carbondale. It is a paraphrase of the Lord's Prayer. Listen to the children sing a smooth, legato musical phrase (in contrast to the jaunty melodies of the Rondo of Joy!)

I think you will really be intrigued by the opening and closing voluntaries. These will utilize tuned percussion tubes called Boomwhackers. Boomwhackers are lightweight, hollow, color-coded, plastic tubes, tuned to musical pitches by length. They produce musical tones when struck together, on the floor, or against nearly any surface (even heads!) They are most commonly used in elementary music classrooms as an inexpensive, unbreakable alternative or supplement to traditional pitched instruments such as xylophones and metallophones.

Craig Ramsell came up for the idea for his boomwhackers in 1994 while at home recovering from radiation therapy for cancer. While cutting cardboard tubes into shorter lengths for recycling he happened to notice the different pitches resulting from the different lengths and decided to investigate their creative potential. He and his partner, wife Monnie Ramsell, formed their own company to market the tubes.

It is a great way to teach pitch, harmony, and rhythm. Today you will hear the students accompany the tune Dona Nobis Pacem and Beethoven's Ode to Joy. 

Music for October 8, 2017 + The Eighteenth Sunday after Pentecost

Vocal Music

• I Choose Love – Mark Miller (21st C.)
• Let Thy Blood in Mercy Poured - Johann Crüger (1598-1662)

Instrumental Music

• Was Gott tut, das ist wohlgetan  (Whate'er my God ordains is right) – Johann Gottfried Walther (1684-1748)
• Concerto No. 4 in F Major:  III. Andante – G. F. Handel (1685-1759)
• Fantasia C-major BWV 570 – Johann Sebastian Bach (1685-1750)

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

• Hymn 518 - Christ is made the sure foundation (WESTMINSTER ABBEY)
• Hymn 474 - When I survey the wondrous cross (ROCKINGHAM)
• Hymn 495 - Hail, thou once despised Jesus! (IN BABILONE)
• Hymn R9 - As the deer pants for the water (AS THE DEER)
• Hymn 598 - Lord Christ, when first thou cam’st to earth (MIT FREUDEN ZART)
• Psalm 80:7-14 – Tone VIIIa

In the midst of pain, of war, of brokenness... we choose love. We choose community. What better way to share this message than through powerful song, and that's exactly what you'll hear this Sunday in the piece our choir will sing at the offering. This soulful anthem, written in response to the tragic events that occurred at Emmanuel African Methodist Episcopal Church in Charleston, North Carolina in 2015, is a testament to the power of forgiveness and peace. I chose it even as our community was still knee-deep (literally) in post-Harvey pain, and it is even more appropriate the week after the tragedy in Las Vegas.

Mark A. Miller

It is written by the contemporary composer Mark Miller. He is on the faculty at both the Drew Theological School and the Institute of Sacred Music at Yale University where he teaches music and worship. He also is Minister of Music of Christ Church in Summit, New Jersey and Composer in Residence of Harmonium Choral Society in NJ. From 2002-2007 he was Director of Contemporary Worship at Marble Collegiate Church and from 1999-2001 was Assistant Organist and Music Associate at the Riverside Church, both in New York City.  Miller received his Bachelor of Arts in Music from Yale University and his Master of Music in Organ Performance from Juilliard.

As the the son, grandson, brother, and cousin of United Methodist clergy, Mark Miller believes in Cornel West’s quote that “Justice is what love looks like in public.” He also passionately believes that music can change the world. This is never more obvious than today's anthem, I Choose Love. Here is 

Miller’s Reflection on his composition:

“Father, forgive them for they know not what they do.”

The gospel stories of Jesus’ life, death, and resurrection continue to inspire, uplift, and amaze me. They inspire, uplift, and amaze because Jesus consistently chooses love. When it would be easier for him to appease with the powerful religious leaders and Roman backed authorities he chooses love. Even as his friends disappear and the crowds that once shouted “hosanna” turn on him with shouts of “crucify,” he chooses love. Even after betrayal and humiliation, even when he is dying, he chooses love.

The words to the song “I Choose Love” are by my friend Lindy Thompson, written in response to the murder of nine people who were at their church bible study. The people of Emmanuel African Methodist Episcopal Church of Charleston, S.C., chose love when they offered forgiveness in the face of hatred and violence.

We always have a choice. Every day we have a choice–how will the events of your day and your life affect you? It’s the challenge of the witness of Jesus–the challenge of a truly faithful life–a daily spiritual discipline for each of us to rise up every day and say “I choose love.”

The other anthem this morning uses John Brownlie's communion text, Let Thy Blood In Mercy Poured. Brownlie was a Scottish Presbyterian minister who was interested in both education and hymnology. He wrote several original hymns, and translated many more from Latin and Greek. In addition, he wrote on the history of hymns. This hymn-text has been matched with a melody by Johann Crüger, one of the leading musicians in Germany during the early baroque period. Nine of his hymns are in our Hymnal 1982.