The donkey in this picture is over 100 years old and is made out of paper mache.
Wednesday, December 30, 2009
THE SIGHTS OF CHRISTMAS AT ST. MARY'S
Below are 16 pictures of some of the sights of St. Mary's during this Christmas Season.
The donkey in this picture is over 100 years old and is made out of paper mache.
The donkey in this picture is over 100 years old and is made out of paper mache.
Tuesday, December 29, 2009
WE THREE KINGS
By Tim Claubaugh
TEXT: Matthew 2: 1-11; John H. Hopkins, Jr., 1820-1891
MUSIC: John Hopkins, Jr., 1820-1891
TUNE: KINGS OF ORIENT
METER: 88 44 6 with refrain
Two wonderful writers of stories behind the hymns, Richard Niell Donovan and Austin C. Lovelace, have 2 very different, but good perspectives of this wonderful Epiphany Hymn.
Donovan’s article on the Lectionary.org web site is more intellectual and gives more of a perspective on the actual gifts of gold, frankincense and myrrh:
“The giving of gifts is one of the most enduring traditions of Christmas. It has its origins in the story of the Wise Men who followed a star to the place where the baby Jesus lay in his manger. They presented him with gifts –– gold and frankincense and myrrh –– odd gifts for a baby but appropriate for the baby Jesus. Gold was a gift fit for a king, and Jesus was born king of the Jews. Frankincense was used in by the priests in worship, and Jesus would become our priest –– the one who enables us to come to God. Myrrh was used for anointing bodies for burial, and would be used to anoint Jesus' body after his death. So each of these gifts had a symbolic meaning for Jesus' life and death!
But I am convinced that these gifts also had a very practical and urgent purpose –– one that the Wise Men could not have imagined. Because Herod feared the baby born king of the Jews, he would soon send his soldiers to kill all the baby boys in Bethlehem. God warned Joseph to take his little family and flee to Egypt lest Jesus be killed. Joseph got up in the middle of the night, gathered his family and a few possessions, and fled. They stayed in Egypt until the danger had passed. How could Joseph, a simple carpenter, afford to make such a trip? How could he provide for his family in a foreign land? Gold, frankincense, and myrrh were expensive, and could be easily sold. They were also compact and portable, which meant that Joseph could take them along on the journey. I believe that God inspired the giving of these particular gifts as a way of providing for Joseph and his family on their journey.
The hymn specifies that there were three kings. Matthew doesn't specify the number, but we have guessed that there were three because of the three gifts.
Speaking of gifts, Jesus was God's Christmas gift to us –– the greatest gift that God could give. The Wise Men brought the best gifts to Jesus that they could offer. The question is what we can bring to Jesus as a gift. Our time, talent, and money are three candidates, and they are all important. But the gift that Jesus really wants is the gift of our hearts. That is the best gift that we can offer Jesus at Christmas –– or anytime!”
In his book, “Hymn Notes for Church Bulletins,” Lovelace tells more of the author of this hymn, John Henry Hopkins:
“After a career as a reporter and tutor, Hopkins became an Episcopal minister with interests in music. His Epiphany hymn is based on the visit of the Wise Men (Matthew 2: 1-11) and is the first modern American Christmas carol. The hymn with its dialogue style with each of the Wise men singing a stanza has become an American classic in Christmas dramas.”
1. We three kings of Orient are,
Bearing gifts we traverse a far
Field and fountain,
Moor and mountain,
Following yonder star
Refrain:
O star of wonder, star of night,
Star with royal beauty bright,
Westward leading, still proceeding,
Guide us to the perfect Light.
2. Born a babe on Bethlehem’s plain,
Gold we bring to crown him again;
King forever,
Ceasing never,
Over us all to reign.
(Refrain)
3. Frankincense to offer have I;
Incense owns a Deity nigh,
Prayer and praising
Gladly raising,
Worshiping God on high
(Refrain)
4. Myrrh is mine: it’s bitter perfume
Breaths a life of gathering gloom;
Sorrowing, sighing,
Bleeding, dying,
Sealed in the stone cold tomb.
(Refrain)
5. Glorious now behold him rise,
King and God and sacrifice:
Heaven sings
“Hallelujah!
Hallelujah!” earth replies.
(Refrain)
TEXT: Matthew 2: 1-11; John H. Hopkins, Jr., 1820-1891
MUSIC: John Hopkins, Jr., 1820-1891
TUNE: KINGS OF ORIENT
METER: 88 44 6 with refrain
Two wonderful writers of stories behind the hymns, Richard Niell Donovan and Austin C. Lovelace, have 2 very different, but good perspectives of this wonderful Epiphany Hymn.
Donovan’s article on the Lectionary.org web site is more intellectual and gives more of a perspective on the actual gifts of gold, frankincense and myrrh:
“The giving of gifts is one of the most enduring traditions of Christmas. It has its origins in the story of the Wise Men who followed a star to the place where the baby Jesus lay in his manger. They presented him with gifts –– gold and frankincense and myrrh –– odd gifts for a baby but appropriate for the baby Jesus. Gold was a gift fit for a king, and Jesus was born king of the Jews. Frankincense was used in by the priests in worship, and Jesus would become our priest –– the one who enables us to come to God. Myrrh was used for anointing bodies for burial, and would be used to anoint Jesus' body after his death. So each of these gifts had a symbolic meaning for Jesus' life and death!
But I am convinced that these gifts also had a very practical and urgent purpose –– one that the Wise Men could not have imagined. Because Herod feared the baby born king of the Jews, he would soon send his soldiers to kill all the baby boys in Bethlehem. God warned Joseph to take his little family and flee to Egypt lest Jesus be killed. Joseph got up in the middle of the night, gathered his family and a few possessions, and fled. They stayed in Egypt until the danger had passed. How could Joseph, a simple carpenter, afford to make such a trip? How could he provide for his family in a foreign land? Gold, frankincense, and myrrh were expensive, and could be easily sold. They were also compact and portable, which meant that Joseph could take them along on the journey. I believe that God inspired the giving of these particular gifts as a way of providing for Joseph and his family on their journey.
The hymn specifies that there were three kings. Matthew doesn't specify the number, but we have guessed that there were three because of the three gifts.
Speaking of gifts, Jesus was God's Christmas gift to us –– the greatest gift that God could give. The Wise Men brought the best gifts to Jesus that they could offer. The question is what we can bring to Jesus as a gift. Our time, talent, and money are three candidates, and they are all important. But the gift that Jesus really wants is the gift of our hearts. That is the best gift that we can offer Jesus at Christmas –– or anytime!”
In his book, “Hymn Notes for Church Bulletins,” Lovelace tells more of the author of this hymn, John Henry Hopkins:
“After a career as a reporter and tutor, Hopkins became an Episcopal minister with interests in music. His Epiphany hymn is based on the visit of the Wise Men (Matthew 2: 1-11) and is the first modern American Christmas carol. The hymn with its dialogue style with each of the Wise men singing a stanza has become an American classic in Christmas dramas.”
1. We three kings of Orient are,
Bearing gifts we traverse a far
Field and fountain,
Moor and mountain,
Following yonder star
Refrain:
O star of wonder, star of night,
Star with royal beauty bright,
Westward leading, still proceeding,
Guide us to the perfect Light.
2. Born a babe on Bethlehem’s plain,
Gold we bring to crown him again;
King forever,
Ceasing never,
Over us all to reign.
(Refrain)
3. Frankincense to offer have I;
Incense owns a Deity nigh,
Prayer and praising
Gladly raising,
Worshiping God on high
(Refrain)
4. Myrrh is mine: it’s bitter perfume
Breaths a life of gathering gloom;
Sorrowing, sighing,
Bleeding, dying,
Sealed in the stone cold tomb.
(Refrain)
5. Glorious now behold him rise,
King and God and sacrifice:
Heaven sings
“Hallelujah!
Hallelujah!” earth replies.
(Refrain)
Monday, December 28, 2009
FUNERAL FOR DONALD P. GOLATKA
Funeral Mass for Donald P. Golatka will be on Thursday, December 31 at 10:00 a.m. Choir members are asked to be in church by 9:30. Ron Blake will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Wednesday, December 23, 2009
FUNERAL FOR ROBERT B. & JANE LAY MITCHEL
FUNERAL FOR RICHARD T. CECIL
Funeral Mass for Richard T. Cecil will be on Monday, December 28 at 10:00 a.m. Choir members are asked to be in church by 9:30. Carol Icsman will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, December 21, 2009
ONCE IN ROYAL DAVID'S CITY
By Tim Claubaugh
TEXT: Cecil Frances Alexander, 1818-1895
MUSIC: Henry J. Gauntlett, 1805-1876; harm. by Arthur H. Mann, 1850-1929. © 1957, Novello and Co., Ltd.
TUNE: IRBY
METER: 8 7 8 7 77
In his book “Hymn Notes for Church Bulletins,” Austin Lovelace writes:
“Mrs. Alexander, wife of an Irish Anglican bishop, heard some of her godchildren complaining about the dreariness of the Catechism. So she set to writing hymns (poems) which would explain the various phrases in more interesting style. This is based on the clause in the Creed, “who was conceived of the Holy Ghost, born of the Virgin Mary.” Its popularity has been enhance by Henry Gauntlett’s tune and the superb recording of the Festival of Lessons and Carols from King’s College Chapel, Cambridge, with a small boy singing stanza one with no accompaniment as the choir begins its processional."
As a very young man, his parents encouraged him to go into law, but his love of music prevailed. It is claimed the Gauntlett wrote ten thousand hymn melodies during his life time with “IRBY” being the most popular. A few years before Gauntlett wrote the tune “IRBY,” Felix Mendelssohn said that Gauntlett was one of the most “masterly” organists of the age. He was a proponent of Gregorian Chant and held several organist posts throughout London.
1. Once in royal David’s city
Stood a lowly cattle shed,
Where a mother laid her baby
In a manger for his bed.
Mary was that mother mild,
Jesus Christ her little Child.
2. He came down to earth from heaven
Who is God and Lord of all,
And his shelter was a stable,
And his cradle was a stall.
With the poor and mean and lowly
Lived on earth our Savior holy.
3. And through all his wondrous childhood
He would honor and obey,
Love and watch the lowly maiden
In whose gentle arms he lay.
Christian children all should be Kind,
Obedient good as he.
4. For he is our childhood’s pattern,
Day by day like us he grew;
He was little, weak, and helpless,
Tears and smiles like us he knew:
And he feels for all our sadness,
And he shares in all our gladness.
5. And our eyes at last shall see him,
Through his own redeeming love;
For that child so dear and gentle
Is our Lord in heav’n above:
And he leads his children on to
the place where he has gone.
TEXT: Cecil Frances Alexander, 1818-1895
MUSIC: Henry J. Gauntlett, 1805-1876; harm. by Arthur H. Mann, 1850-1929. © 1957, Novello and Co., Ltd.
TUNE: IRBY
METER: 8 7 8 7 77
In his book “Hymn Notes for Church Bulletins,” Austin Lovelace writes:
“Mrs. Alexander, wife of an Irish Anglican bishop, heard some of her godchildren complaining about the dreariness of the Catechism. So she set to writing hymns (poems) which would explain the various phrases in more interesting style. This is based on the clause in the Creed, “who was conceived of the Holy Ghost, born of the Virgin Mary.” Its popularity has been enhance by Henry Gauntlett’s tune and the superb recording of the Festival of Lessons and Carols from King’s College Chapel, Cambridge, with a small boy singing stanza one with no accompaniment as the choir begins its processional."
As a very young man, his parents encouraged him to go into law, but his love of music prevailed. It is claimed the Gauntlett wrote ten thousand hymn melodies during his life time with “IRBY” being the most popular. A few years before Gauntlett wrote the tune “IRBY,” Felix Mendelssohn said that Gauntlett was one of the most “masterly” organists of the age. He was a proponent of Gregorian Chant and held several organist posts throughout London.
1. Once in royal David’s city
Stood a lowly cattle shed,
Where a mother laid her baby
In a manger for his bed.
Mary was that mother mild,
Jesus Christ her little Child.
2. He came down to earth from heaven
Who is God and Lord of all,
And his shelter was a stable,
And his cradle was a stall.
With the poor and mean and lowly
Lived on earth our Savior holy.
3. And through all his wondrous childhood
He would honor and obey,
Love and watch the lowly maiden
In whose gentle arms he lay.
Christian children all should be Kind,
Obedient good as he.
4. For he is our childhood’s pattern,
Day by day like us he grew;
He was little, weak, and helpless,
Tears and smiles like us he knew:
And he feels for all our sadness,
And he shares in all our gladness.
5. And our eyes at last shall see him,
Through his own redeeming love;
For that child so dear and gentle
Is our Lord in heav’n above:
And he leads his children on to
the place where he has gone.
O COME, ALL YE FAITHFUL
TEXT: Adeste fideles; John F. Wade, C. 1711-1786; tr. By Frederick Oakeley, 1802-1880
MUSIC: John F. Wade, c. 1711-1786
TUNE: ADESTE FIDELES
METER: Irreg. (5 6 10 5 6 7 7 7 3)
Richard Niell Donovan writes the following on the website Lectionary.org:
The hymn, "O Come, All Ye Faithful," was written by John Francis Wade, an 18th century Catholic layman involved in the music business in France. Copies of the hymn migrated to Portugal and then to England. First written in Latin -- the original version begins with the words, Adeste Fideles -- an Anglican clergyman, Frederick Oakeley, translated it into English. Today it is one of the most popular Advent/Christmas hymns, and is sung by Christians around the world.
One of the reasons for its popularity is the joyful character of its words and music. "O Come, all ye faithful, joyful and triumphant," it says -- and the music has a joyful, triumphant lilt to go with the joyful, triumphant words.
The hymn calls us to come to Bethlehem to behold the baby Jesus. It calls us to come and adore him. It reminds us of the angel choir that accompanied Jesus' birth -- and of the shepherds who gathered around his cradle. It reminds us that God calls us, too, to sing Christ's praises -- and to give him glory in this Christmas season.
Christmas is a busy season, and we have a thousand things on our minds and a thousand things to do. But through it all, let us remember to come and adore the Christ who came into the world in this season to bring us light for our darkness -- and joy -- and life eternal."
1. O Come, all ye faithful,
Joyful and triumphant,
O Come ye, O Come ye to Bethlehem;
Come and behold him,
Born the King of angels;
Refrain: O Come, let us adore Him,
O Come let us adore Him,
O Come let us adore Him,
Christ, the Lord
2. Sing, choirs of angels,
Sing in exultation,
Sing, all ye citizens of heaven above!
Glory to God,
All glory in the highest:
(to refrain)
3. Yea, Lord, we greet thee,
Born this happy morning,
Jesus, to thee be all glory given;
Word of the Father, now in flesh appearing:
(to refrain)
MUSIC: John F. Wade, c. 1711-1786
TUNE: ADESTE FIDELES
METER: Irreg. (5 6 10 5 6 7 7 7 3)
Richard Niell Donovan writes the following on the website Lectionary.org:
The hymn, "O Come, All Ye Faithful," was written by John Francis Wade, an 18th century Catholic layman involved in the music business in France. Copies of the hymn migrated to Portugal and then to England. First written in Latin -- the original version begins with the words, Adeste Fideles -- an Anglican clergyman, Frederick Oakeley, translated it into English. Today it is one of the most popular Advent/Christmas hymns, and is sung by Christians around the world.
One of the reasons for its popularity is the joyful character of its words and music. "O Come, all ye faithful, joyful and triumphant," it says -- and the music has a joyful, triumphant lilt to go with the joyful, triumphant words.
The hymn calls us to come to Bethlehem to behold the baby Jesus. It calls us to come and adore him. It reminds us of the angel choir that accompanied Jesus' birth -- and of the shepherds who gathered around his cradle. It reminds us that God calls us, too, to sing Christ's praises -- and to give him glory in this Christmas season.
Christmas is a busy season, and we have a thousand things on our minds and a thousand things to do. But through it all, let us remember to come and adore the Christ who came into the world in this season to bring us light for our darkness -- and joy -- and life eternal."
1. O Come, all ye faithful,
Joyful and triumphant,
O Come ye, O Come ye to Bethlehem;
Come and behold him,
Born the King of angels;
Refrain: O Come, let us adore Him,
O Come let us adore Him,
O Come let us adore Him,
Christ, the Lord
2. Sing, choirs of angels,
Sing in exultation,
Sing, all ye citizens of heaven above!
Glory to God,
All glory in the highest:
(to refrain)
3. Yea, Lord, we greet thee,
Born this happy morning,
Jesus, to thee be all glory given;
Word of the Father, now in flesh appearing:
(to refrain)
Wednesday, December 16, 2009
THE O ANTIPHONS
In the Roman Church, the O Antiphons are prayed, beginning December 17 one for each day up through December 23 at Vespers (Evening Prayer) (before and after the Magnificat [Mary’s Song]), and at Mass (the Gospel Acclamation Verse). They are not prayed at Vespers on December 24 because that begins the Christmas Vigil. Below are the prayers with the dates they are to be prayed.
December 17 – O Wisdom, O holy Word of God, you govern all creation with your strong yet tender care. Come and show your people the way to salvation.
December 18 – O sacred Lord of ancient Israel, who showed yourself to Moses in the burning bush, who gave him the holy law on Sinai mountain: Come, stretch out your mighty hand to set us free.
December 19 – O Flower of Jesse’s stem, you have been raised up as a sign for all peoples; kings stand silent in your presence; the nations bow down in worship before you. Come, let nothing keep you from coming to our aid.
December 20 – O Key of David, O royal Power of Israel controlling at your will the gate of heaven: come, break down the prison walls of death for those who dwell in darkness and the shadow of death; and lead your captive people into freedom.
December 21 – O Radiant Dawn, splendor of eternal light, sun of justice: come, shine on those who dwell in darkness and the shadow of death.
December 22 – O King of all the nations, the only joy of every human heart; O Keystone of the mighty arch of man, come and save the creature you fashioned from the dust.
December 23 – O Emmanuel, king and lawgiver, desire of the nations, Savior of all people, come and set us free, Lord our God.
December 17 – O Wisdom, O holy Word of God, you govern all creation with your strong yet tender care. Come and show your people the way to salvation.
December 18 – O sacred Lord of ancient Israel, who showed yourself to Moses in the burning bush, who gave him the holy law on Sinai mountain: Come, stretch out your mighty hand to set us free.
December 19 – O Flower of Jesse’s stem, you have been raised up as a sign for all peoples; kings stand silent in your presence; the nations bow down in worship before you. Come, let nothing keep you from coming to our aid.
December 20 – O Key of David, O royal Power of Israel controlling at your will the gate of heaven: come, break down the prison walls of death for those who dwell in darkness and the shadow of death; and lead your captive people into freedom.
December 21 – O Radiant Dawn, splendor of eternal light, sun of justice: come, shine on those who dwell in darkness and the shadow of death.
December 22 – O King of all the nations, the only joy of every human heart; O Keystone of the mighty arch of man, come and save the creature you fashioned from the dust.
December 23 – O Emmanuel, king and lawgiver, desire of the nations, Savior of all people, come and set us free, Lord our God.
Monday, December 14, 2009
THIS COMING SUNDAY'S HYMN
This coming Sunday, we will have "O Come, O Come Emmanuel" sung as the opening hymn for most of the weekend Masses.
To see the story behind this most famous Advent hymn, click here.
To see the story behind this most famous Advent hymn, click here.
Monday, December 7, 2009
COME, THOU LONG EXPECTED JESUS
By Tim Claubaugh
TEXT: Haggai 2: 7; Charles Wesley, 1707-1788, alt.
MUSIC: Christian F. Witt, 1660-1716; adapt. By Henry J. Gauntlett, 1805-1876
TUNE: STUTTGART
METER: 8 7 8 7
Charles Wesley wrote an enormous amount of hymns (over 7,500 – which averages out to a hymn every other day for 50 years). Besides having the gift of writing some of the best hymns that we sing today, he was also a very gifted preacher.
This hymn looks forward to Jesus’ second coming; an event that Wesley himself looked forward to as well. When Wesley was 30 years old, he came to America where he became appalled (to the point of having a nervous breakdown) at what he saw with the slavery in this country. Many of his hymns (including verse 1 of this hymn) contain a verse about slavery and setting God’s people free; free from slavery, sin and fear.
In his book, “Hymn Notes for Church Bulletins,” Austin Lovelace writes of this hymn:
“Although this hymn usually appears in the Advent section, Wesley wrote it for Christmas. Names given to Jesus: strength, consolation, hope, dear desire, and joy. Also note the use of the word “Born” three times to begin lines of poetry in stanza two. The hymn’s ultimate emphasis is on the kingship of Jesus, closing with a prayer that Christ will rule in our hearts alone.”
1. Come, O long expected Jesus,
born to set your people free;
from our fears and sins release us;
free us from captivity.
2. Israel’s strength and consolation,
you, the hope of all the earth,
Dear desire of every nation,
Come, and save us by your birth.
3. Born your people to deliver;
born a child and yet a king!
Born to reign in us for ever,
Now your gracious kingdom bring.
4. By your own eternal spirit
Rule in all our hearts along;
By your all sufficient merit
Raise us to your glorious throne.
TEXT: Haggai 2: 7; Charles Wesley, 1707-1788, alt.
MUSIC: Christian F. Witt, 1660-1716; adapt. By Henry J. Gauntlett, 1805-1876
TUNE: STUTTGART
METER: 8 7 8 7
Charles Wesley wrote an enormous amount of hymns (over 7,500 – which averages out to a hymn every other day for 50 years). Besides having the gift of writing some of the best hymns that we sing today, he was also a very gifted preacher.
This hymn looks forward to Jesus’ second coming; an event that Wesley himself looked forward to as well. When Wesley was 30 years old, he came to America where he became appalled (to the point of having a nervous breakdown) at what he saw with the slavery in this country. Many of his hymns (including verse 1 of this hymn) contain a verse about slavery and setting God’s people free; free from slavery, sin and fear.
In his book, “Hymn Notes for Church Bulletins,” Austin Lovelace writes of this hymn:
“Although this hymn usually appears in the Advent section, Wesley wrote it for Christmas. Names given to Jesus: strength, consolation, hope, dear desire, and joy. Also note the use of the word “Born” three times to begin lines of poetry in stanza two. The hymn’s ultimate emphasis is on the kingship of Jesus, closing with a prayer that Christ will rule in our hearts alone.”
1. Come, O long expected Jesus,
born to set your people free;
from our fears and sins release us;
free us from captivity.
2. Israel’s strength and consolation,
you, the hope of all the earth,
Dear desire of every nation,
Come, and save us by your birth.
3. Born your people to deliver;
born a child and yet a king!
Born to reign in us for ever,
Now your gracious kingdom bring.
4. By your own eternal spirit
Rule in all our hearts along;
By your all sufficient merit
Raise us to your glorious throne.
FUNERAL FOR BARNEY LAUBY
Funeral Mass for Barney Lauby will be on Thursday, December 10 at 10:00 a.m. Choir members are asked to be in church by 9:30. Ron Blake will be the cantor; Fr. Jason Kahle will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Friday, December 4, 2009
FUNERAL FOR MARILYN J. SNYDER
Funeral Mass for Marilyn J. Snyder will be on Monday, December 7 at 10:00 a.m. Choir members are asked to be in church by 9:45. Carol Icsman will be the cantor; Fr. Jason Kahle will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Tuesday, December 1, 2009
MONTHLY UPDATES FOR DECEMBER 2009
Be sure to check out the following monthly updates:
"This Month in Music History" (on the AGO - Sandusky website)
"This Month in St. Mary's History"
"Monthly Video"
Also check out the weekly update "This Sunday's Music" as well as the new article below.
"This Month in Music History" (on the AGO - Sandusky website)
"This Month in St. Mary's History"
"Monthly Video"
Also check out the weekly update "This Sunday's Music" as well as the new article below.
Monday, November 30, 2009
ON JORDAN'S BANK
TEXT: Jordanis oras praevia; Charles Coffin, 1676-1749; Trans. By John Chandler, 1806-1876
MUSIC: adapt. from Musikalisches Handbuch, Hamburg, 1690
TUNE: WINCHESTER NEW
METER: LM (Long Meter: 88 88)
A Latin hymn first published in Charles Coffin’s “Hymni Sacri” in 1736, it was to be sung at Lauds (Morning Prayer from the Liturgy of the Hours of the Church). The German melody from Hamburg has been used in English worship since 1742.
Austin Lovelace writes in his book “Hymn Notes for Church Bulletins:”
“When Chandler translated the hymn from Latin he thought that it was a medieval work, but it was by a distinguished French scholar of the 18th century who wrote more than 100 hymns in Latin (Charles Coffin). Its theme is John the Baptist’s announcement of Christ’s advent and his call to the people of Israel to repent and prepare for His coming.”
1. On Jordan’s Bank the Baptist’s cry
Announces that the Lord is nigh;
Awake and hearken, for he brings
Glad tidings of the King of Kings.
2. Then cleansed be every heart from sin;
Make straight the way of God within,
And let each heart prepare a home
Where such a mighty guest may come.
3. For you are our salvation Lord,
Our refuge, and our great reward;
Without your grace we waste away
Like flow’rs that wither and decay.
4. To heal the sick stretch out your hand,
And bid the fallen sinner stand;
Shine forth, and let your light restore
Earth’s own true loveliness once more.
5. All praise the Son eternally,
Whose advent sets his people free;
Whom with the Father we adore
And Spirit blest for evermore.
MUSIC: adapt. from Musikalisches Handbuch, Hamburg, 1690
TUNE: WINCHESTER NEW
METER: LM (Long Meter: 88 88)
A Latin hymn first published in Charles Coffin’s “Hymni Sacri” in 1736, it was to be sung at Lauds (Morning Prayer from the Liturgy of the Hours of the Church). The German melody from Hamburg has been used in English worship since 1742.
Austin Lovelace writes in his book “Hymn Notes for Church Bulletins:”
“When Chandler translated the hymn from Latin he thought that it was a medieval work, but it was by a distinguished French scholar of the 18th century who wrote more than 100 hymns in Latin (Charles Coffin). Its theme is John the Baptist’s announcement of Christ’s advent and his call to the people of Israel to repent and prepare for His coming.”
1. On Jordan’s Bank the Baptist’s cry
Announces that the Lord is nigh;
Awake and hearken, for he brings
Glad tidings of the King of Kings.
2. Then cleansed be every heart from sin;
Make straight the way of God within,
And let each heart prepare a home
Where such a mighty guest may come.
3. For you are our salvation Lord,
Our refuge, and our great reward;
Without your grace we waste away
Like flow’rs that wither and decay.
4. To heal the sick stretch out your hand,
And bid the fallen sinner stand;
Shine forth, and let your light restore
Earth’s own true loveliness once more.
5. All praise the Son eternally,
Whose advent sets his people free;
Whom with the Father we adore
And Spirit blest for evermore.
Sunday, November 29, 2009
FUNERAL FOR CHERYL ANN STAMM-BAKEWELL
Funeral Mass for Cheryl Ann Stamm-Bakewell will be on Tuesday, December 1 at 10:00 a.m. Choir members are asked to be in church by 9:45. Ron Blake will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
FUNERAL FOR LAVERNA HARKNESS
Funeral Mass for LaVerne Harkness will be on Monday, November 30 at 10:00 a.m. Choir members are asked to be in church by 9:45. Carol Icsman will be the cantor; Fr. Jason Kahle will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Tuesday, November 24, 2009
JIM COWAN CONCERT & EUCHARISTIC HOLY HOUR REVIEW
Jim & Mary Cowan gave a very spiritual and moving concert during Eucharistic Holy Hour on Monday Evening, November 23 at 7:00. With about 88 people in the congregation, songs were sung that were both familiar and not so familiar. However, even the unfamiliar melodies were easily and quickly picked up by everyone. Songs were sung before, during, and after the Holy Hour. Fr. Dave Nuss presided during the Eucharistic Holy Hour.
Our thanks to Jim and Mary for their gifts of time and talent in making this such a spiritual time for those that attended. May God continue to bless you as you minister to His people through music and word!
Be sure to visit their website at: http://www.jimcowan.com/
Photos by Tim Claubaugh:
Our thanks to Jim and Mary for their gifts of time and talent in making this such a spiritual time for those that attended. May God continue to bless you as you minister to His people through music and word!
Be sure to visit their website at: http://www.jimcowan.com/
Photos by Tim Claubaugh:
O COME, O COME EMMANUEL
TEXT: Veni, veni Emmanuel: Latin 9th C; trans. By John M. Neal, 1818 - 1866
MUSIC: Chant, Mode I; adapted by Thomas Helmore, 1811 - 1890
TUNE: VENI VENI EMMANUEL
METER: LM (Long Meter: 88 88) with refrain.
The Hebrew word “immanu” means “with us,” and the word “El” means “God.” So combining these two words together: Immanu and El means “God with us.”
Austin Lovelace writes in his book “Hymn Notes for Church Bulletins:”
“From the seven antiphons sung in the medieval Roman Church at Vespers before and after the Magnificat (Mary’s Song), just prior to Christmas, sometime in the 13th century five were selected for a hymn and the “Rejoice, rejoice” refrain added. Biblical references to the Great “O’s” are: Emmanuel (Isaiah 7:14), Root of Jesse (Isaiah 11:10), Dayspring (Malachi 4:2), Key of David (Isaiah 22:22), and O Lord (Adonai) (Exodus 3:15). The purpose of Advent is to prepare for Christmas, as Lent prepares for Easter."
1. O come, O come, Emmanuel,
And ransom captive Israel,
That mourns in lonely exile here
Until the Son of God appear.
Refrain: Rejoice! Rejoice! Emmanuel
Shall come to you, O Israel.
2. O come, o Wisdom from on high,
Who orders all things mightily;
To us the path of knowledge show,
And teach us in her ways to go.
(to Refrain)
3. O come, o come great Lord of might,
Who to your tribes on Sinai’s height
In ancient times once gave the law,
In cloud, and majesty, and awe.
(to Refrain)
4. O come, O Rod of Jesse’s stem,
From every foe deliver them
That trust your mighty power to save,
And give them victory o’er the grave.
(to Refrain)
5. O come, O Key of David, come,
And open wide our heav’nly home;
Make safe the way that leads on high
And close the path to misery.
(to Refrain)
6. O come, O Dayspring form on high
And cheer us by your drawing nigh;
Disperse the gloomy clouds of night,
And death’s dark shadow put to flight.
(to Refrain)
7. O come, Desire of nations, bind
In one the hearts of humankind;
O bid our sad divisions cease,
And be for us our King of Peace.
(to Refrain)
MUSIC: Chant, Mode I; adapted by Thomas Helmore, 1811 - 1890
TUNE: VENI VENI EMMANUEL
METER: LM (Long Meter: 88 88) with refrain.
The Hebrew word “immanu” means “with us,” and the word “El” means “God.” So combining these two words together: Immanu and El means “God with us.”
Austin Lovelace writes in his book “Hymn Notes for Church Bulletins:”
“From the seven antiphons sung in the medieval Roman Church at Vespers before and after the Magnificat (Mary’s Song), just prior to Christmas, sometime in the 13th century five were selected for a hymn and the “Rejoice, rejoice” refrain added. Biblical references to the Great “O’s” are: Emmanuel (Isaiah 7:14), Root of Jesse (Isaiah 11:10), Dayspring (Malachi 4:2), Key of David (Isaiah 22:22), and O Lord (Adonai) (Exodus 3:15). The purpose of Advent is to prepare for Christmas, as Lent prepares for Easter."
1. O come, O come, Emmanuel,
And ransom captive Israel,
That mourns in lonely exile here
Until the Son of God appear.
Refrain: Rejoice! Rejoice! Emmanuel
Shall come to you, O Israel.
2. O come, o Wisdom from on high,
Who orders all things mightily;
To us the path of knowledge show,
And teach us in her ways to go.
(to Refrain)
3. O come, o come great Lord of might,
Who to your tribes on Sinai’s height
In ancient times once gave the law,
In cloud, and majesty, and awe.
(to Refrain)
4. O come, O Rod of Jesse’s stem,
From every foe deliver them
That trust your mighty power to save,
And give them victory o’er the grave.
(to Refrain)
5. O come, O Key of David, come,
And open wide our heav’nly home;
Make safe the way that leads on high
And close the path to misery.
(to Refrain)
6. O come, O Dayspring form on high
And cheer us by your drawing nigh;
Disperse the gloomy clouds of night,
And death’s dark shadow put to flight.
(to Refrain)
7. O come, Desire of nations, bind
In one the hearts of humankind;
O bid our sad divisions cease,
And be for us our King of Peace.
(to Refrain)
COME, YE THANKFUL PEOPLE, COME
TEXT: Henry Alford, 1810 - 1871
MUSIC: George J. Elvey, 1816 – 1893
TUNE: ST GEORGE’S WINDSOR
METER: 77 77 D (Doubled)
Richard Niell Donovan writes the following on the website Lectionary.org .
“This is a traditional harvest song that we associate with Thanksgiving Day. It speaks of things unfamiliar to most city dwellers today –– the harvest "safely gathered in, ere the winter storms begin." Anyone who has ever lived in a farming community knows the urgency associated with the harvest. The fruit of a whole year's work hang on the harvest, which cannot be accomplished until the crop is ready and which must be accomplished quickly then lest it be spoiled by pests or weather. During the busy harvest season, farmers literally work day and night to get the job done. Only after the harvest is there time to relax and celebrate.
But even if we aren't farmers, we can appreciate the urgency of deadlines –– the joy of an important job well done –– the relief of a respite after a busy time at work.
This hymn was written by Henry Alford, a 19th century Anglican clergyman. Alford was quite a remarkable person. At age six, he wrote a biography of the Apostle Paul. At age ten, he wrote a pamphlet entitled, "Looking Unto Jesus the Believers' Support Under Trials and Afflictions." At age 16, he committed his life to Christian service, and served nearly half a century as an Anglican clergyman. For the last 14 years of his life, he served as dean of the Canterbury Cathedral.
Alford wrote 48 books –– the most important being a four-volume commentary on the Greek New Testament. He wrote several hymns, but this is only one that is widely sung today.”
In 1844, this hymn was published for the first time under the title “After the Harvest.” It originally contained the text from Psalm 126:6, “He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.”
1. Come, ye thankful people, come,
Raise the song of harvest home:
All is safely gathered in,
Ere the winter storms begin;
God, our Maker, does provide
For our wants to be supplied;
Come to God’s own temple, come,
Raise the song of harvest home.
2. All the world is God’s own field,
Fruit unto God’s praise to yield;
Wheat and tares together sown,
Unto joy or sorrow grown;
First the blade and then the ear,
Then the full corn shall appear:
Lord of harvest, grant that we
Wholesome grain and pure may be.
3. For the Lord our God shall come,
And shall take the harvest home;
From the field shall in that day
All offenses purge away,
Giving angels charge at last
In the fire the tares to cast,
But the fruitful ears to store
In God’s garner evermore.
4. Even so, Lord, quickly come
To your final harvest home;
Gather all your people in,
Free from sorrow, free from sin;
There, for ever purified,
In your presence to abide:
Come, with all your angels, come,
Raise the glorious harvest home.
MUSIC: George J. Elvey, 1816 – 1893
TUNE: ST GEORGE’S WINDSOR
METER: 77 77 D (Doubled)
Richard Niell Donovan writes the following on the website Lectionary.org .
“This is a traditional harvest song that we associate with Thanksgiving Day. It speaks of things unfamiliar to most city dwellers today –– the harvest "safely gathered in, ere the winter storms begin." Anyone who has ever lived in a farming community knows the urgency associated with the harvest. The fruit of a whole year's work hang on the harvest, which cannot be accomplished until the crop is ready and which must be accomplished quickly then lest it be spoiled by pests or weather. During the busy harvest season, farmers literally work day and night to get the job done. Only after the harvest is there time to relax and celebrate.
But even if we aren't farmers, we can appreciate the urgency of deadlines –– the joy of an important job well done –– the relief of a respite after a busy time at work.
This hymn was written by Henry Alford, a 19th century Anglican clergyman. Alford was quite a remarkable person. At age six, he wrote a biography of the Apostle Paul. At age ten, he wrote a pamphlet entitled, "Looking Unto Jesus the Believers' Support Under Trials and Afflictions." At age 16, he committed his life to Christian service, and served nearly half a century as an Anglican clergyman. For the last 14 years of his life, he served as dean of the Canterbury Cathedral.
Alford wrote 48 books –– the most important being a four-volume commentary on the Greek New Testament. He wrote several hymns, but this is only one that is widely sung today.”
In 1844, this hymn was published for the first time under the title “After the Harvest.” It originally contained the text from Psalm 126:6, “He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.”
1. Come, ye thankful people, come,
Raise the song of harvest home:
All is safely gathered in,
Ere the winter storms begin;
God, our Maker, does provide
For our wants to be supplied;
Come to God’s own temple, come,
Raise the song of harvest home.
2. All the world is God’s own field,
Fruit unto God’s praise to yield;
Wheat and tares together sown,
Unto joy or sorrow grown;
First the blade and then the ear,
Then the full corn shall appear:
Lord of harvest, grant that we
Wholesome grain and pure may be.
3. For the Lord our God shall come,
And shall take the harvest home;
From the field shall in that day
All offenses purge away,
Giving angels charge at last
In the fire the tares to cast,
But the fruitful ears to store
In God’s garner evermore.
4. Even so, Lord, quickly come
To your final harvest home;
Gather all your people in,
Free from sorrow, free from sin;
There, for ever purified,
In your presence to abide:
Come, with all your angels, come,
Raise the glorious harvest home.
Monday, November 23, 2009
BULLETIN LETTER FOR NOVEMBER 22
By Tim Claubaugh
Fr. Dave asked that I write to you for this weekend’s bulletin article and give you an update on the Music Ministry program here at St. Mary’s. I am happy to do this because there are a lot of things happening in our Music Ministry that I want to share with you.
As you are probably well aware, our choir season is about a month and a half into operation. Things are going well, however we could still use more members in the Contemporary Choir and the Children’s Choir.
The Children’s Choir, under the direction of Mike Schmenk, is for children in grades K-8. They rehearse Sunday mornings 10:45-11:30 in the Choir Room. They will sing about 1 Mass every month, rotating between the 4:00, 9:30, 11:30 and 5:00 Masses. If your child is interested in joining the Children’s Choir, contact Mr. Schmenk at 419-609-9712.
The Contemporary Choir, under the direction of Heather Gerber, is for anyone from 7th grade and into adult life. The Contemporary Choir rehearses Wednesday evenings, 7:00-9:00 in the choir loft. The Contemporary Choir sings mostly contemporary and Praise and Worship music. They sing every Sunday at the 11:30 Mass. If you are interested in joining the Contemporary Choir, contact Heather at 419-370-8241.
If you like singing, there are other areas to get involved in as well by joining the Parish Choir, Funeral Choir and/or be a Cantor. If you like more of the “behind the scenes” secretarial/clerical work, there are opportunities for that as well. Check out the Music Ministry Website at http://stmarysmusicministry.blogspot.com/ and click on “Music Ministries at St. Mary’s” for more information. If you are interested in any of the above opportunities, contact me at 419-625-7465 or email me at music@stmarysandusky.org .
Speaking of Music Ministry website, if you have never checked it out, you don’t know what you are missing. It’s fun and very informative, and educational! ! There is so much information on there from hymns and hymnody to music for your wedding to liturgical and historical pieces. So log on and check it out; and even leave a comment or two!
Our present hymnals were purchased and used for the first time on February 26, 1995. That is almost 15 years ago. You will notice that the hymnals in the pews are getting very worn and tattered after 15 years of daily use. I had originally planned on replacing them by April or May of 2010. However, due to the new translation of the Sacramentary, which is due to come out in late 2010, it would be a waste of money to get new hymnals until that translation has been made “Official” by Rome. Therefore, we are now looking at getting new hymnals in mid – late 2011. Even though this date is almost 2 years away, we will be looking at which type of hymnal would serve St. Mary’s well for the next 15 years. I will keep you posted!
I hope to see you at the Jim Cowan Concert and Eucharistic Holy Hour on Monday!
Fr. Dave asked that I write to you for this weekend’s bulletin article and give you an update on the Music Ministry program here at St. Mary’s. I am happy to do this because there are a lot of things happening in our Music Ministry that I want to share with you.
As you are probably well aware, our choir season is about a month and a half into operation. Things are going well, however we could still use more members in the Contemporary Choir and the Children’s Choir.
The Children’s Choir, under the direction of Mike Schmenk, is for children in grades K-8. They rehearse Sunday mornings 10:45-11:30 in the Choir Room. They will sing about 1 Mass every month, rotating between the 4:00, 9:30, 11:30 and 5:00 Masses. If your child is interested in joining the Children’s Choir, contact Mr. Schmenk at 419-609-9712.
The Contemporary Choir, under the direction of Heather Gerber, is for anyone from 7th grade and into adult life. The Contemporary Choir rehearses Wednesday evenings, 7:00-9:00 in the choir loft. The Contemporary Choir sings mostly contemporary and Praise and Worship music. They sing every Sunday at the 11:30 Mass. If you are interested in joining the Contemporary Choir, contact Heather at 419-370-8241.
If you like singing, there are other areas to get involved in as well by joining the Parish Choir, Funeral Choir and/or be a Cantor. If you like more of the “behind the scenes” secretarial/clerical work, there are opportunities for that as well. Check out the Music Ministry Website at http://stmarysmusicministry.blogspot.com/ and click on “Music Ministries at St. Mary’s” for more information. If you are interested in any of the above opportunities, contact me at 419-625-7465 or email me at music@stmarysandusky.org .
Speaking of Music Ministry website, if you have never checked it out, you don’t know what you are missing. It’s fun and very informative, and educational! ! There is so much information on there from hymns and hymnody to music for your wedding to liturgical and historical pieces. So log on and check it out; and even leave a comment or two!
Our present hymnals were purchased and used for the first time on February 26, 1995. That is almost 15 years ago. You will notice that the hymnals in the pews are getting very worn and tattered after 15 years of daily use. I had originally planned on replacing them by April or May of 2010. However, due to the new translation of the Sacramentary, which is due to come out in late 2010, it would be a waste of money to get new hymnals until that translation has been made “Official” by Rome. Therefore, we are now looking at getting new hymnals in mid – late 2011. Even though this date is almost 2 years away, we will be looking at which type of hymnal would serve St. Mary’s well for the next 15 years. I will keep you posted!
I hope to see you at the Jim Cowan Concert and Eucharistic Holy Hour on Monday!
Saturday, November 21, 2009
FUNERAL FOR ANNE E. STIMMEL
Funeral Mass for Anne E. Stimmel will be on Monday, November 23 at 10:00 a.m. Choir members are asked to be in church by 9:45. Rosemary Manner will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, November 16, 2009
JIM COWAN FOR A LIVE CONCERT AND EUCHARISTIC HOLY HOUR
Jim Cowan will be coming to St. Mary's on Monday, November 23, 2009 at 7:00 pm for a concert and Eucharistic Holy Hour.
Jim is a renowned singer, songwriter and worship leader for conferences at Franciscan University in Stubenville for 25 years.
Come and be renewed in the Lord's healing presence.
Pope Benedict has declared this the "Year of the Priest." As we come together before the Blessed Sacrament, let us intercede for our priests and pray that we all may be more faithful in following the Good Shepherd.
St. Mary's will have Eucharistic Exposition, Adoration and Benediction on Monday, November 23, 2009, at 7:00 pm with Jim Cowan leading the music.
Jim is known from the St. Francis University, Stuebenville, Summer Conferences. He also has many of his own songs published and recorded.
Plan to attend this spiritiual and powerful event.
Jim is a renowned singer, songwriter and worship leader for conferences at Franciscan University in Stubenville for 25 years.
Come and be renewed in the Lord's healing presence.
Pope Benedict has declared this the "Year of the Priest." As we come together before the Blessed Sacrament, let us intercede for our priests and pray that we all may be more faithful in following the Good Shepherd.
St. Mary's will have Eucharistic Exposition, Adoration and Benediction on Monday, November 23, 2009, at 7:00 pm with Jim Cowan leading the music.
Jim is known from the St. Francis University, Stuebenville, Summer Conferences. He also has many of his own songs published and recorded.
Plan to attend this spiritiual and powerful event.
CROWN HIM WITH MANY CROWNS
By Tim Claubaugh
CROWN HIM WITH MANY CROWNS
TEXT: Revelation 19: 12; Vs. 1, 3-5, Matthew Bridges, 1800-1894; Vs. 2. Godfrey Thring, 1823-1903
MUSIC: George J. Elvey, 1816-1893
TUNE: DIADEMATA
METER: SMD (Short Meter Double: 6, 6, 8, 6; 6, 6, 8, 6)
Richard Niell Donovan, on the Lectionary.org web site writes, “’Crown Him with Many Crowns’ was written by Matthew Bridges, an Anglican clergyman who at age 48 converted to Roman Catholicism and at age 51 wrote this hymn. It is the one hymn written by Bridges to still be sung widely today.
Bridges wrote six verses, each celebrating some aspect of God, such as kingship, love, and peace. Some years later, Godfrey Thring, an Anglican clergyman, thought that the hymn needed a verse celebrating the resurrection, so he wrote the one that begins, "Crown him the Lord of life, who triumphed o'er the grave" -- and he wrote additional verses as well. The hymn as found in most hymnals today includes verses by both Bridges and Thring.”
The tune, DIADEMATA (the Greek word for crowns), was composed by George Elvey, a renowned organist at that time serving the post of organist at St. George's Chapel in Windsor, England. It should be noted that British royalty often attend this church.
1. Crown Him with many crowns,
The Lamb Upon His Throne;
Hark! How the heav’nly anthem drowns
All music but its own.
Awake, my soul, and sing
Of him who set us free,
and hail him as your heav’nly king
Through all eternity.
2. Crown Him the Lord of Life,
Who triumphed o’er the grave,
And rose victorious in the strife
For those he came to save.
His glories now we sing,
Who died and rose on high,
Who died, eternal life to bring
And lives that death may die.
3. Crown Him the Lord of Love,
Behold the hands and side,
Rich wounds yet visible above
In beauty glorified.
No angel in the sky
Can fully bear that sight,
But down-wards bends his burning eye
At mysteries so bright
4. Crown Him the Lord of Peace,
Whose power a scepter sways
From pole to pole, that wars may cease,
Absorbed in prayer and praise.
His reign shall know no end,
And round his pierced feet
Fair flow’rs to Paradise extend
Their fragrance ever sweet.
5. Crown Him the Lord of Years,
The risen Lord sublime,
Creator if the rolling spheres,
The Master of all time,
All hail, redeemer, hail!
For you have died for me;
Your praise and glory shall not fail
Through-out eternity.
CROWN HIM WITH MANY CROWNS
TEXT: Revelation 19: 12; Vs. 1, 3-5, Matthew Bridges, 1800-1894; Vs. 2. Godfrey Thring, 1823-1903
MUSIC: George J. Elvey, 1816-1893
TUNE: DIADEMATA
METER: SMD (Short Meter Double: 6, 6, 8, 6; 6, 6, 8, 6)
Richard Niell Donovan, on the Lectionary.org web site writes, “’Crown Him with Many Crowns’ was written by Matthew Bridges, an Anglican clergyman who at age 48 converted to Roman Catholicism and at age 51 wrote this hymn. It is the one hymn written by Bridges to still be sung widely today.
Bridges wrote six verses, each celebrating some aspect of God, such as kingship, love, and peace. Some years later, Godfrey Thring, an Anglican clergyman, thought that the hymn needed a verse celebrating the resurrection, so he wrote the one that begins, "Crown him the Lord of life, who triumphed o'er the grave" -- and he wrote additional verses as well. The hymn as found in most hymnals today includes verses by both Bridges and Thring.”
The tune, DIADEMATA (the Greek word for crowns), was composed by George Elvey, a renowned organist at that time serving the post of organist at St. George's Chapel in Windsor, England. It should be noted that British royalty often attend this church.
1. Crown Him with many crowns,
The Lamb Upon His Throne;
Hark! How the heav’nly anthem drowns
All music but its own.
Awake, my soul, and sing
Of him who set us free,
and hail him as your heav’nly king
Through all eternity.
2. Crown Him the Lord of Life,
Who triumphed o’er the grave,
And rose victorious in the strife
For those he came to save.
His glories now we sing,
Who died and rose on high,
Who died, eternal life to bring
And lives that death may die.
3. Crown Him the Lord of Love,
Behold the hands and side,
Rich wounds yet visible above
In beauty glorified.
No angel in the sky
Can fully bear that sight,
But down-wards bends his burning eye
At mysteries so bright
4. Crown Him the Lord of Peace,
Whose power a scepter sways
From pole to pole, that wars may cease,
Absorbed in prayer and praise.
His reign shall know no end,
And round his pierced feet
Fair flow’rs to Paradise extend
Their fragrance ever sweet.
5. Crown Him the Lord of Years,
The risen Lord sublime,
Creator if the rolling spheres,
The Master of all time,
All hail, redeemer, hail!
For you have died for me;
Your praise and glory shall not fail
Through-out eternity.
FUNERAL FOR JOHN C. SCHERER
Funeral Mass for John C. Scherer will be on Thursday, November 19 at 10:00 a.m. Choir members are asked to be in church by 9:45. Carol Icsman will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, November 9, 2009
MONTHLY UPDATES FOR NOVEMBER 2009
Be sure to check out the following monthly updates:
"This Month in Music History" (on the AGO - Sandusky website)
"This Month in St. Mary's History"
"Monthly Video"
Also check out the weekly update "This Sunday's Music" as well as the two new articles below.
"This Month in Music History" (on the AGO - Sandusky website)
"This Month in St. Mary's History"
"Monthly Video"
Also check out the weekly update "This Sunday's Music" as well as the two new articles below.
ORGAN & BRASS CONCERT RECAP
There were approximately 150 people who attended the Organ and Brass concert this past Sunday evening with Tim Claubaugh, Organist and the Terra Brass Choir. The program, titled “Resounding Organ & Brass” was directed by Jeff Blanchard, director of the Terra Brass Choir.
Below is the program that was performed:
ORGAN & BRASS: “Processional from Crown Imperial” – Wm. Walton.arr. John Wilson
BRASS: “Galliard Battagilia a5” – Samuel Scheidt/arr. Daniel Leavitt
ORGAN: “Toccata in D Minor” – J. S. Bach
ORGAN: “Land of Rest” – Wilbur Held
ORGAN & BRASS: “Rigaudon” – Andre Campra / arr. S. Drummond Wolff
ORGAN & BRASS: “Deus, Qui Beatum Marcum” – Giovanni Gabrieli/arr, Daniel Leavitt
ORGAN: “Processional on ‘Eternal Father, Strong to Save’” – Charles Callahan
ORGAN: “God of Our Fathers” – James Mansfield
BRASS: “Theme from Superman: The Movie” – John Williams/arr. Jeff Blanchard
BRASS: “Overture from HMS Pinafore” – Sir Arthur Sullivan/arr. Walter Barnes
ORGAN: “Now Thank We All Our God” – J. S. Bach
ORGAN: “We Gather Together” – Michael Burkhardt
ORGAN: “We Gather Together” – Gordon Young
ORGAN & BRASS: “A Mighty Fortress” – Vaclav Nelhybel
The Terra Brass Choir, under the direction of Jeff Blanchard, consisted of:
Trumpet: Carrie Baker, Tom Hetzel, Jackie Macko, Megan Miller, Dean Stamm
French Horn: Travis Magoto, Rosemary Titkemeier, Megan Wistinghausen
Trombone: Duane Waite, Chris Wansitler
Tuba: Barry Cover, Sam Laderach, Steve Shimer
Check back later for pictures from the concert.
Below is the program that was performed:
ORGAN & BRASS: “Processional from Crown Imperial” – Wm. Walton.arr. John Wilson
BRASS: “Galliard Battagilia a5” – Samuel Scheidt/arr. Daniel Leavitt
ORGAN: “Toccata in D Minor” – J. S. Bach
ORGAN: “Land of Rest” – Wilbur Held
ORGAN & BRASS: “Rigaudon” – Andre Campra / arr. S. Drummond Wolff
ORGAN & BRASS: “Deus, Qui Beatum Marcum” – Giovanni Gabrieli/arr, Daniel Leavitt
ORGAN: “Processional on ‘Eternal Father, Strong to Save’” – Charles Callahan
ORGAN: “God of Our Fathers” – James Mansfield
BRASS: “Theme from Superman: The Movie” – John Williams/arr. Jeff Blanchard
BRASS: “Overture from HMS Pinafore” – Sir Arthur Sullivan/arr. Walter Barnes
ORGAN: “Now Thank We All Our God” – J. S. Bach
ORGAN: “We Gather Together” – Michael Burkhardt
ORGAN: “We Gather Together” – Gordon Young
ORGAN & BRASS: “A Mighty Fortress” – Vaclav Nelhybel
The Terra Brass Choir, under the direction of Jeff Blanchard, consisted of:
Trumpet: Carrie Baker, Tom Hetzel, Jackie Macko, Megan Miller, Dean Stamm
French Horn: Travis Magoto, Rosemary Titkemeier, Megan Wistinghausen
Trombone: Duane Waite, Chris Wansitler
Tuba: Barry Cover, Sam Laderach, Steve Shimer
Check back later for pictures from the concert.
WE GATHER TOGETHER
By Tim Claubaugh
TEXT: “Wilt heden nu treden,” Netherlands folk hymn; Trans. by Theodore Baker, 1851 – 1934
MUSIC: “Neder-landtsch Gedenckclanck,” 1626; harm. by Edward Kremser, 1838 – 1914
TUNE: KREMSER
METER: 12 11 12 11
Not much has be written about this popular hymn of thanksgiving. Austin C. Lovelace, in his book, “Hymn Notes for Church Bulletins,” writes, “The original Dutch text was a patriotic song written at the end of the 16th century to celebrate the release of the Netherlands from Spanish rule. It’s theme is the providence of God and the prayer “O Lord, make us free!” Edward Kremser, director of a male choral society in Vienna, first arranged the old folksong for men’s voices.”
1. We gather together to ask the Lord’s blessing;
He chastens and hastens his will to make known;
The wicked oppressing now cease from distressing:
Sing praises to his name; he forgets not his own.
2. Beside us to guide us, our God with us joining,
Whose kingdom calls all to the love which endures.
So from the beginning the fight we were winning:
You, Lord, were at our side; all glory be yours!
3. We all do extol you our leader triumphant,
And pray that you still our defender will be.
Let your congregation escape tribulation:
Your name be ever praised! O Lord, make us free!
TEXT: “Wilt heden nu treden,” Netherlands folk hymn; Trans. by Theodore Baker, 1851 – 1934
MUSIC: “Neder-landtsch Gedenckclanck,” 1626; harm. by Edward Kremser, 1838 – 1914
TUNE: KREMSER
METER: 12 11 12 11
Not much has be written about this popular hymn of thanksgiving. Austin C. Lovelace, in his book, “Hymn Notes for Church Bulletins,” writes, “The original Dutch text was a patriotic song written at the end of the 16th century to celebrate the release of the Netherlands from Spanish rule. It’s theme is the providence of God and the prayer “O Lord, make us free!” Edward Kremser, director of a male choral society in Vienna, first arranged the old folksong for men’s voices.”
1. We gather together to ask the Lord’s blessing;
He chastens and hastens his will to make known;
The wicked oppressing now cease from distressing:
Sing praises to his name; he forgets not his own.
2. Beside us to guide us, our God with us joining,
Whose kingdom calls all to the love which endures.
So from the beginning the fight we were winning:
You, Lord, were at our side; all glory be yours!
3. We all do extol you our leader triumphant,
And pray that you still our defender will be.
Let your congregation escape tribulation:
Your name be ever praised! O Lord, make us free!
Tuesday, November 3, 2009
ORGAN & BRASS CONCERT THIS SUNDAY
There is an Organ and Brass concert this Sunday, November 8, at 7:30 pm. Performers will be Tim Claubaugh, Organist, and the Terra College Brass Ensemble. Works by J. S. Bach, William Walton, Andre Campra, Giovanni Gabrieli, Vaclav Nelhybel, Wilbur Held, and others will be performed. The concert is FREE and open to the public.
FUNERAL FOR MERLIN E. "MERT" HIGGINS
Funeral Mass for Merlin E. "Mert" Higgins will be on Friday, November 6 at 10:00 a.m. Choir members are asked to be in church by 9:45. Ron Blake will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
FUNERAL FOR CHRISTOPHER D. GRUHLKE
Funeral Mass for Christopher D. Gruhlke will be on Thursday, November 5 at 10:00 a.m. Choir members are asked to be in church by 9:45. Carol Icsman will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
FUNERAL FOR RICHARD W. "DICK" PRESSLER
Funeral Mass for Richard W. "Dick" Pressler will be on Wednesday, November 4 at 10:00 a.m. Choir members are asked to be in church by 9:45. Ron Blake will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Wednesday, October 28, 2009
FUNERAL FOR TED J. MANN
Funeral Mass for Ted J. Mann will be on Friday, October 30 at 11:00 a.m. Choir members are asked to be in church by 10:45. Heather Gerber will be the cantor; Fr. Jason Kahle will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, October 26, 2009
ORGAN & BRASS CONCERT
MARK YOUR CALENDARS! ! There is an Organ and Brass concert on Sunday, November 8, at 7:30 pm. Performers will be Tim Claubaugh, Organist, and the Terra State College Brass Choir. Works by J. S. Bach, William Walton, Andre Campra, Giovanni Gabrieli, Vaclav Nelhybel, Wilbur Held, and others will be performed. The concert is FREE and open to the public.
STORIES BEHIND THE HYMNS: "FOR ALL THE SAINTS"
By Tim Claubaugh
TEXT: William W. How, 1823-1897
MUSIC: Ralph Vaughan Williams, 1872-1958
TUNE: SINE NOMINE
METER: 10, 10, 10 with alleluias
William How was a bishop in the Church of England. He is known for his work among the poor in the urban slums and for his instruction of children. Most of his fifty-four published hymns were written for children. Their artful simplicity made them easily understood by children.
This hymn for the feast of All Saints Day was first published in “Hymns for Saints’ Days and Other Hymns” in 1864. Originally set to another tune, the great English composer Ralph Vaughan Williams set this hymn to his SINE NOMINE tune which works very well as a processional hymn. This hymn with Vaughan Williams tune was first published in “English Hymnal” in 1906. This volume contains many true processional hymns in a “Medieval Procession Tradition.”
In Austin Lovelace’s book, “Hymn Notes for Church Bulletins,” he writes: “Based on the picture of a “cloud of witnesses” (Hebrews 12:1), the hymn gives thanks for the saints of old, makes a prayer that we may be found faithful, and acknowledges the unity of the whole Church in heaven and on earth in the mystical body of Christ, a picture of the church in holy warfare, and a vision of the victorious Church. Vaughan Willams’ magnificent marching tune makes this a contemporary version of “When the Saints Go Marching In.”
1. For all the saints who from their labors rest,
All who by faith before the world confessed,
Your name, O Jesus, be forever blest.
Alleluia! Alleluia!
2. You were their rock, their fortress and their might;
You, Lord, their Captain in the well-fought fight;
You in the darkness drear, their one true light.
Alleluia! Alleluia!
3. O may your soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them, the victor’s crown of gold.
Alleluia! Alleluia!
4. O Blest communion, family divine!
We feebly struggle, they in glory shine;
Yet all are one within your great design.
Alleluia! Alleluia!
5. And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave again, and arms are strong.
Alleluia! Alleluia!
6. The golden evening brightens in the west
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blest.
Alleluia! Alleluia!
7. But then there breaks a yet more glorious day:
The saints triumphant rise in bright array;
The King of glory passes on his way.
Alleluia! Alleluia!
8. From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
Singing to Father, Son, and Holy Ghost:
Alleluia! Alleluia!
TEXT: William W. How, 1823-1897
MUSIC: Ralph Vaughan Williams, 1872-1958
TUNE: SINE NOMINE
METER: 10, 10, 10 with alleluias
William How was a bishop in the Church of England. He is known for his work among the poor in the urban slums and for his instruction of children. Most of his fifty-four published hymns were written for children. Their artful simplicity made them easily understood by children.
This hymn for the feast of All Saints Day was first published in “Hymns for Saints’ Days and Other Hymns” in 1864. Originally set to another tune, the great English composer Ralph Vaughan Williams set this hymn to his SINE NOMINE tune which works very well as a processional hymn. This hymn with Vaughan Williams tune was first published in “English Hymnal” in 1906. This volume contains many true processional hymns in a “Medieval Procession Tradition.”
In Austin Lovelace’s book, “Hymn Notes for Church Bulletins,” he writes: “Based on the picture of a “cloud of witnesses” (Hebrews 12:1), the hymn gives thanks for the saints of old, makes a prayer that we may be found faithful, and acknowledges the unity of the whole Church in heaven and on earth in the mystical body of Christ, a picture of the church in holy warfare, and a vision of the victorious Church. Vaughan Willams’ magnificent marching tune makes this a contemporary version of “When the Saints Go Marching In.”
1. For all the saints who from their labors rest,
All who by faith before the world confessed,
Your name, O Jesus, be forever blest.
Alleluia! Alleluia!
2. You were their rock, their fortress and their might;
You, Lord, their Captain in the well-fought fight;
You in the darkness drear, their one true light.
Alleluia! Alleluia!
3. O may your soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them, the victor’s crown of gold.
Alleluia! Alleluia!
4. O Blest communion, family divine!
We feebly struggle, they in glory shine;
Yet all are one within your great design.
Alleluia! Alleluia!
5. And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave again, and arms are strong.
Alleluia! Alleluia!
6. The golden evening brightens in the west
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blest.
Alleluia! Alleluia!
7. But then there breaks a yet more glorious day:
The saints triumphant rise in bright array;
The King of glory passes on his way.
Alleluia! Alleluia!
8. From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
Singing to Father, Son, and Holy Ghost:
Alleluia! Alleluia!
EASY ADVICE FOR AVOIDING THE FLU
The following was received as an email in the music offices recently and is good "Anti-Flu Advice." In an attempt to keep all of our singers and musicians healthy this flu season, we are posting this on our web site.
Although Snopes.com does not have anything about this particular email, they do have a web page on the Swine flu with many other links full of information.
http://www.snopes.com/medical/disease/swinefluinfo.asp
Prevent Swine Flu - Good Advice
Dr. Vinay Goyal is an MBBS,DRM,DNB (Intensivist and Thyroid specialist)
having clinical experience of over 20 years. He has worked in institutions
like Hinduja Hospital , Bombay Hospital , Saifee Hospital , Tata Memorial
etc.. Presently, he is heading our Nuclear Medicine Department and
Thyroid clinic at Riddhivinayak Cardiac and Critical Centre, Malad (W).
The following message given by him, I feel makes a lot of sense and is
important for all to know.
The only portals of entry are the nostrils and mouth/throat. In a global
epidemic of this nature, it's almost impossible to avoid coming into
contact with H1N1 in spite of all precautions. Contact with H1N1 is not
so much of a problem as proliferation is.
While you are still healthy and not showing any symptoms of H1N1
infection, in order to prevent proliferation, aggravation of symptoms
and development of secondary infections, some very simple steps,
not fully highlighted in most official communications, can be practiced
(instead of focusing on how to stock N95 or Tamiflu):
1. Frequent hand-washing (well highlighted in all official communications).
2. "Hands-off-the-face" approach. Resist all temptations to touch any
part of face (unless you want to eat, bathe or slap).
3. *Gargle twice a day with warm salt water (use Listerine if you don't
trust salt). H1N1 takes 2-3 days after initial infection in the throat/ nasal
cavity to proliferate and show characteristic symptoms. Simple gargling
prevents proliferation. In a way, gargling with salt water has the same
effect on a healthy individual that Tamiflu has on an infected one.
Don't underestimate this simple, inexpensive and powerful preventative
method.
4. Similar to 3 above, *clean your nostrils at least once every day with
warm salt water. *Not everybody may be good at Jala Neti or Sutra Neti
(very good Yoga asanas to clean nasal cavities), but *blowing the nose
hard once a day and swabbing both nostrils with cotton buds dipped
in warm salt water is very effective in bringing down viral population.*
5. *Boost your natural immunity with foods that are rich in Vitamin C
(Amla and other citrus fruits). *If you have to supplement with Vitamin C
tablets, make sure that it also has Zinc to boost absorption.
6. *Drink as much of warm liquids (tea, coffee, etc) as you can. *Drinking
warm liquids has the same effect as gargling, but in the reverse
direction. They wash off proliferating viruses from the throat into
the stomach where they cannot survive, proliferate or do any harm.
Although Snopes.com does not have anything about this particular email, they do have a web page on the Swine flu with many other links full of information.
http://www.snopes.com/medical/disease/swinefluinfo.asp
Prevent Swine Flu - Good Advice
Dr. Vinay Goyal is an MBBS,DRM,DNB (Intensivist and Thyroid specialist)
having clinical experience of over 20 years. He has worked in institutions
like Hinduja Hospital , Bombay Hospital , Saifee Hospital , Tata Memorial
etc.. Presently, he is heading our Nuclear Medicine Department and
Thyroid clinic at Riddhivinayak Cardiac and Critical Centre, Malad (W).
The following message given by him, I feel makes a lot of sense and is
important for all to know.
The only portals of entry are the nostrils and mouth/throat. In a global
epidemic of this nature, it's almost impossible to avoid coming into
contact with H1N1 in spite of all precautions. Contact with H1N1 is not
so much of a problem as proliferation is.
While you are still healthy and not showing any symptoms of H1N1
infection, in order to prevent proliferation, aggravation of symptoms
and development of secondary infections, some very simple steps,
not fully highlighted in most official communications, can be practiced
(instead of focusing on how to stock N95 or Tamiflu):
1. Frequent hand-washing (well highlighted in all official communications).
2. "Hands-off-the-face" approach. Resist all temptations to touch any
part of face (unless you want to eat, bathe or slap).
3. *Gargle twice a day with warm salt water (use Listerine if you don't
trust salt). H1N1 takes 2-3 days after initial infection in the throat/ nasal
cavity to proliferate and show characteristic symptoms. Simple gargling
prevents proliferation. In a way, gargling with salt water has the same
effect on a healthy individual that Tamiflu has on an infected one.
Don't underestimate this simple, inexpensive and powerful preventative
method.
4. Similar to 3 above, *clean your nostrils at least once every day with
warm salt water. *Not everybody may be good at Jala Neti or Sutra Neti
(very good Yoga asanas to clean nasal cavities), but *blowing the nose
hard once a day and swabbing both nostrils with cotton buds dipped
in warm salt water is very effective in bringing down viral population.*
5. *Boost your natural immunity with foods that are rich in Vitamin C
(Amla and other citrus fruits). *If you have to supplement with Vitamin C
tablets, make sure that it also has Zinc to boost absorption.
6. *Drink as much of warm liquids (tea, coffee, etc) as you can. *Drinking
warm liquids has the same effect as gargling, but in the reverse
direction. They wash off proliferating viruses from the throat into
the stomach where they cannot survive, proliferate or do any harm.
Monday, October 19, 2009
STORIES BEHIND THE HYMNS: "AMAZING GRACE"
By Tim Claubaugh
TEXT: Vs. 1-4 by John Newton, 1725-1807 / Vs. 5 attr. Bo John Reese, ca. 1859
MUSIC: “Virginia Harmony”
TUNE: NEW BRITAIN
METER: CM (Common Meter: 86 86)
John Newton was born in London. His father was a sea-captain and his mother was a very devout Christian woman who raised John in the teachings of the Episcopal Church. By age 11, John was sailing the Mediterranean with his father, but by age 17, he completely gave up his religious principles. In 1742 he met and fell in love with Mary Catlett, and they were married in 1750.
He took a job on a slave ship that set sail for Sierra Leone. During the trip he mistreated others and he himself was mistreated by other crewmen and (as he wrote), “had you known that my conduct, principles and heart were still darker than my outward condition…” He eventually was able to board another ship back to England. During this return trip he spent a lot of time reading “Imitation of Christ,” and on March 10, 1748 a violent storm (where he thought himself as Jonah – the reason for the ship’s almost certain demise). It was during this storm that another violent storm “broke over his soul” and his life began to change. He always refereed to that date has his “spiritual birthday.”
However, that date was just the beginning of his transformation. He did not become a full “regenerated Christian" until August 1754. He slowly began to consecrate his life to Christ and in 1764 he was ordained a priest in the Episcopal Church.
He served several churches with his last 2 in London beginning in 1779. He died there on December 21, 1807, at age 82. He wrote his own epitaph which reads, “JOHN NEWTON, Clerk, once an infidel and libertine, was by the rich mercy of our Lord and Saviour, JESUS CHRIST, preserved, restored, pardoned and appointed to preach the faith he had long labored to destroy, near sixteen years at Olney in Bucks, and twenty-eight years in his Church.”
Newton’s fellowship with William Cowper produced the publication of their “Olney Hymns.” Book I, Number 41 has Newton’s life-story in the following form:
1. Amazing Grace! How sweet the sound
That saved a wretch like me!
I once was lost, but now am found,
Was blind but now I see.
2. ‘Twas grace that taught my heart to fear,
And grace my fears relieved;
How precious did that grace appear
The hour I firs believed
3. The Lord has promised good to me,
His word, my hope secures;
He will my shield and portion be,
As long as life endures.
4. Through many dangers, toils, and snares,
I have already come;
‘Tis grace has brought me safe thus far,
And grace will lead me home.
(Verse 5 attributed to John Reese, not John Newton)
5. When we’ve been there ten thousand years,
Bright shining as the sun,
We’ve no less days to sing God’s praise
Than when we’d first begun.
TEXT: Vs. 1-4 by John Newton, 1725-1807 / Vs. 5 attr. Bo John Reese, ca. 1859
MUSIC: “Virginia Harmony”
TUNE: NEW BRITAIN
METER: CM (Common Meter: 86 86)
John Newton was born in London. His father was a sea-captain and his mother was a very devout Christian woman who raised John in the teachings of the Episcopal Church. By age 11, John was sailing the Mediterranean with his father, but by age 17, he completely gave up his religious principles. In 1742 he met and fell in love with Mary Catlett, and they were married in 1750.
He took a job on a slave ship that set sail for Sierra Leone. During the trip he mistreated others and he himself was mistreated by other crewmen and (as he wrote), “had you known that my conduct, principles and heart were still darker than my outward condition…” He eventually was able to board another ship back to England. During this return trip he spent a lot of time reading “Imitation of Christ,” and on March 10, 1748 a violent storm (where he thought himself as Jonah – the reason for the ship’s almost certain demise). It was during this storm that another violent storm “broke over his soul” and his life began to change. He always refereed to that date has his “spiritual birthday.”
However, that date was just the beginning of his transformation. He did not become a full “regenerated Christian" until August 1754. He slowly began to consecrate his life to Christ and in 1764 he was ordained a priest in the Episcopal Church.
He served several churches with his last 2 in London beginning in 1779. He died there on December 21, 1807, at age 82. He wrote his own epitaph which reads, “JOHN NEWTON, Clerk, once an infidel and libertine, was by the rich mercy of our Lord and Saviour, JESUS CHRIST, preserved, restored, pardoned and appointed to preach the faith he had long labored to destroy, near sixteen years at Olney in Bucks, and twenty-eight years in his Church.”
Newton’s fellowship with William Cowper produced the publication of their “Olney Hymns.” Book I, Number 41 has Newton’s life-story in the following form:
1. Amazing Grace! How sweet the sound
That saved a wretch like me!
I once was lost, but now am found,
Was blind but now I see.
2. ‘Twas grace that taught my heart to fear,
And grace my fears relieved;
How precious did that grace appear
The hour I firs believed
3. The Lord has promised good to me,
His word, my hope secures;
He will my shield and portion be,
As long as life endures.
4. Through many dangers, toils, and snares,
I have already come;
‘Tis grace has brought me safe thus far,
And grace will lead me home.
(Verse 5 attributed to John Reese, not John Newton)
5. When we’ve been there ten thousand years,
Bright shining as the sun,
We’ve no less days to sing God’s praise
Than when we’d first begun.
Wednesday, October 14, 2009
FUNERAL FOR VIOLA M. GRAHL
Funeral Mass for Viola M. Grahl will be on Thursday, October 15 at 10:00 a.m. Choir members are asked to be in church by 9:45. Ron Blake will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, October 5, 2009
STORIES BEHIND THE HYMNS: "SING OF MARY, PURE AND LOWLY"
By Tim Claubaugh
October is traditionally one of the 2 months devoted to our Blessed Virgin Mary (the other month being May). During the month of October, we will sing a Marian Hymn at the weekend Masses to honor her.
This Sunday, one of the hymns that will be sung at most of the Masses is "Sing of Mary, Pure and Lowly" (# 783). This Marian hymn tells of the relationship that Jesus had with His Mother. The tune (PLEADING SAVIOR) was written in 1830 and found in the "Chrstian Lyre" (a songbook or hymnal). The text was written by Roland F. Palmer (born in 1891) and the meter is 8 7 8 7 D. This hymn seems to have first appeared in "The Hymnal 1940" (Episcopal).
In his book, "Hymn Notes for Church Bulletins" Austin Lovelace writes about this hymn: "Based on an anonymous poem published in an Ilkeston, Derbyshire pamphlet c. 1914, and inspired by the need for a devotional hymn for the Feast of the Annunciation, Roland F. Palmer (born in London, but a Canadian resident since 1905) wrote this hymn to emphasize the spiritual rather more than the physical aspects of the Annunciation. Its theme is Mary and Jesus - her love for Him and His love for her."
1. Sing of Mary pure and lowly, Virgin mother undefiled,
Sing of God's own Son most holy, who became her little child.
Fairest child of fairest mother, God the Lord who came to earth,
Word made flesh, our very brother, takes our nature by his birth,
2. Sing of Jesus, son of Mary, in the home at Nazareth.
Toil and labor can not weary, Love enduring unto death.
Constant was the love he gave her, though he went forth from her side,
Forth to preach, and heal, and suffer, till on Calvary he died.
3. Glory be to God the Father; Glory be to God the Son;
Glory be to God the Spirit; Glory to the Three in One.
From the heart of blessed Mary, from all saints the song ascends,
And the church the strain reechoes unto earth's remotest ends.
October is traditionally one of the 2 months devoted to our Blessed Virgin Mary (the other month being May). During the month of October, we will sing a Marian Hymn at the weekend Masses to honor her.
This Sunday, one of the hymns that will be sung at most of the Masses is "Sing of Mary, Pure and Lowly" (# 783). This Marian hymn tells of the relationship that Jesus had with His Mother. The tune (PLEADING SAVIOR) was written in 1830 and found in the "Chrstian Lyre" (a songbook or hymnal). The text was written by Roland F. Palmer (born in 1891) and the meter is 8 7 8 7 D. This hymn seems to have first appeared in "The Hymnal 1940" (Episcopal).
In his book, "Hymn Notes for Church Bulletins" Austin Lovelace writes about this hymn: "Based on an anonymous poem published in an Ilkeston, Derbyshire pamphlet c. 1914, and inspired by the need for a devotional hymn for the Feast of the Annunciation, Roland F. Palmer (born in London, but a Canadian resident since 1905) wrote this hymn to emphasize the spiritual rather more than the physical aspects of the Annunciation. Its theme is Mary and Jesus - her love for Him and His love for her."
1. Sing of Mary pure and lowly, Virgin mother undefiled,
Sing of God's own Son most holy, who became her little child.
Fairest child of fairest mother, God the Lord who came to earth,
Word made flesh, our very brother, takes our nature by his birth,
2. Sing of Jesus, son of Mary, in the home at Nazareth.
Toil and labor can not weary, Love enduring unto death.
Constant was the love he gave her, though he went forth from her side,
Forth to preach, and heal, and suffer, till on Calvary he died.
3. Glory be to God the Father; Glory be to God the Son;
Glory be to God the Spirit; Glory to the Three in One.
From the heart of blessed Mary, from all saints the song ascends,
And the church the strain reechoes unto earth's remotest ends.
ABOUT MIKE SCHMENK
Mike Schmenk is the director of the St. Mary's Children's Choir.
Mike was born in Sandusky and raised in Cincinnati. A very active music student in high school, he was awarded scholarship to pursue a Bachelor of Music Education at Miami University in Oxford, Ohio. He graduated in 1991 and later obtained a Masters of Music Education also from Miami. In 2000, Mike and his wife Ronda, moved to Sandusky. He joined the music teaching staff at Sandusky City Schools and currently teaches at Osborne and Mills elementary schools.
Mike has been an active member of the area music community. He has worked with Huron, Margaretta, Perkins, and Sandusky school band programs, performed with the Firelands Symphony Orchestra, played for St. Mary's Christmas and Easter Masses, taught private music lessons and played for the Sandusky Central Catholic School's spring musical. This is Michael's second time working with the St.Mary's Children's Choir. Mike and Ronda have two young girls and also run Kindermusik with the Schmenks, a music and movement program for children newborn to age seven.
Mike was born in Sandusky and raised in Cincinnati. A very active music student in high school, he was awarded scholarship to pursue a Bachelor of Music Education at Miami University in Oxford, Ohio. He graduated in 1991 and later obtained a Masters of Music Education also from Miami. In 2000, Mike and his wife Ronda, moved to Sandusky. He joined the music teaching staff at Sandusky City Schools and currently teaches at Osborne and Mills elementary schools.
Mike has been an active member of the area music community. He has worked with Huron, Margaretta, Perkins, and Sandusky school band programs, performed with the Firelands Symphony Orchestra, played for St. Mary's Christmas and Easter Masses, taught private music lessons and played for the Sandusky Central Catholic School's spring musical. This is Michael's second time working with the St.Mary's Children's Choir. Mike and Ronda have two young girls and also run Kindermusik with the Schmenks, a music and movement program for children newborn to age seven.
Monday, September 28, 2009
SMALL CHANGES TO CERTAIN MASSES
By Fr. Dave Nuss
Briefer and Meaningful Sunday Masses: 7:30 a.m. and 5:00 p.m.
Sunday Mass is the heart and soul of our Catholic Faith. We want to do all that is humanly possible to inspire members of our parish family to participate regularly in the Holy Eucharist.
Toward accomplishing this end, we will make an effort to accommodate the hectic schedules and needs some people are facing all-the-while being sure to maintain proper reverence of Almighty God.
For a trial basis lasting the rest of the calendar year, beginning Sunday, October 4, the 7:30 a.m. and the 5:00 p.m. Masses will be briefer and meaningful celebrations. During these two Masses some parts which we have been accustomed to singing as a congregation will be recited. Music played will have more instrumental parts, allowing for more personal contemplation. Sacred silence will have a more prominent place in worship. It is our hope and prayer that many members of our parish family will find such a style with more time for reflection and less time singing to their liking.
Briefer and Meaningful Weekday Masses: 8:15 a.m.
Beginning Monday, October 5, we will begin a trial period of celebrating briefer and meaningful Masses on most weekdays. We wish to do all we can to make weekday Mass possible for more members of our parish family by being more sensitive to time demands which are placed upon you. It is our intention for weekday Masses normally to be no more than 30 minutes.
5:00 p.m. Mass Every Sunday Except Christmas and Easter
Again as a way to accommodate the members of our parish family and help more people to participate regularly in the Holy Eucharist, the Sunday 5:00 p.m. Mass now will be celebrated every Sunday throughout the year except on Christmas and Easter.
Briefer and Meaningful Sunday Masses: 7:30 a.m. and 5:00 p.m.
Sunday Mass is the heart and soul of our Catholic Faith. We want to do all that is humanly possible to inspire members of our parish family to participate regularly in the Holy Eucharist.
Toward accomplishing this end, we will make an effort to accommodate the hectic schedules and needs some people are facing all-the-while being sure to maintain proper reverence of Almighty God.
For a trial basis lasting the rest of the calendar year, beginning Sunday, October 4, the 7:30 a.m. and the 5:00 p.m. Masses will be briefer and meaningful celebrations. During these two Masses some parts which we have been accustomed to singing as a congregation will be recited. Music played will have more instrumental parts, allowing for more personal contemplation. Sacred silence will have a more prominent place in worship. It is our hope and prayer that many members of our parish family will find such a style with more time for reflection and less time singing to their liking.
Briefer and Meaningful Weekday Masses: 8:15 a.m.
Beginning Monday, October 5, we will begin a trial period of celebrating briefer and meaningful Masses on most weekdays. We wish to do all we can to make weekday Mass possible for more members of our parish family by being more sensitive to time demands which are placed upon you. It is our intention for weekday Masses normally to be no more than 30 minutes.
5:00 p.m. Mass Every Sunday Except Christmas and Easter
Again as a way to accommodate the members of our parish family and help more people to participate regularly in the Holy Eucharist, the Sunday 5:00 p.m. Mass now will be celebrated every Sunday throughout the year except on Christmas and Easter.
Saturday, September 19, 2009
FUNERAL FOR ANDREW A. MCMONIGAL
Funeral Mass for Andrew A. McMonigal will be on Tuesday, Septmber 22 at 10:00 a.m. Choir members are asked to be in church by 9:45. Rosemary Manner will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Tuesday, September 15, 2009
CHOIR CALENDARS POSTED
The Calendars for the Parish Choir, Contemporary Choir, and the Children's Choir have been posted. The link to them are in the right side bar towards the bottom (after the list of funerals).
Saturday, September 12, 2009
FUNERAL FOR JOSEPH S. CAPIZZI
Funeral Mass for Joseph S. Capizzi will be on Monday, Septmber 14 at 10:00 a.m. Choir members are asked to be in church by 9:45. Carol Icsman will be the cantor; Fr. Dave Nuss will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Tuesday, September 8, 2009
KEYBOARDIST NEEDED
The Contemporary Choir is looking for a keyboardist to accompany them at their rehearsals on Wednesday evenings (beginning at 7:00) and their 11:30 Masses on Sundays. If you can play the keyboard and are interested, contact Heather Gerber at 419 - 370-8241.
CHOIR REHEARSALS BEGINNING THIS WEEK
Choir rehearsals will begin this week for the Contemporary Choir and the Parish Choir.
The Contemporary Choir will hold their first rehearsal on Wednesday, September 9 beginning at 7:00 in the choir loft. If you are interested in joining the Contemporary Choir, contact Heather Gerber at 419-370-8241.
The Parish Choir will hold their first rehearsal on Thursday, September 10 beginning at 7:30 in the choir loft. If you are interested in joining the Parish Choir, contact Tim Claubaugh at the rectory offices at 419-625-7465, ext. 18.
The Contemporary Choir will hold their first rehearsal on Wednesday, September 9 beginning at 7:00 in the choir loft. If you are interested in joining the Contemporary Choir, contact Heather Gerber at 419-370-8241.
The Parish Choir will hold their first rehearsal on Thursday, September 10 beginning at 7:30 in the choir loft. If you are interested in joining the Parish Choir, contact Tim Claubaugh at the rectory offices at 419-625-7465, ext. 18.
Thursday, September 3, 2009
FUNERAL FOR MARCIA A. CROUCH
Funeral Mass for Marcia A. Crouch will be on Tuesday, Septmber 8 at 10:00 a.m. Choir members are asked to be in church by 9:45. Ron Blake will be the cantor; Fr. Dave will preside.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, August 31, 2009
FUNERAL FOR DAVID A. HAAS
Funeral Mass for David A. Haas will be on Thursday, Septmber 3 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
MONTHLY UPDATES FOR SEPTEMBER
Be sure to check out our Monthly updates ! !
This Month in St. Mary's History
This Month in Music History
Monthly Videos
All of these links can also be found in the sidebar.
Coming soon will be all the choirs calendar updates and "Upcoming Musical Events" will have all of this year's concerts and other music events listed.
This Month in St. Mary's History
This Month in Music History
Monthly Videos
All of these links can also be found in the sidebar.
Coming soon will be all the choirs calendar updates and "Upcoming Musical Events" will have all of this year's concerts and other music events listed.
A CROSS-TUNED HYMN TO BE USED THIS WEEKEND
By Tim Claubaugh
This weekend, we will be using a cross-tuned hymn. For more information on cross - tuning, see this article from our "Hymnody Series" a few weeks ago.
For this weekend we are singing # 741 God is Here! As We His People. The tune in our hymnals that this hymn is set to is ABBOT'S LEIGH which we do not know. The meter for this hymn is 8 7 8 7 and there are several hymn tunes set to that meter that we do know. One of those tunes is BEACH SPRING which we have sung when we sing the hymn # 663 As a Fire is Meant for Burning. So we will sing the words of # 741 God is Here! As We are His People to the tune of BEACH SPRING (# 663 As a Fire is Meant for Burning).
If you find cross-tuning a little confusing because the notes don't match up or go the direction that you are singing, simply ignore the notes on the page and just sing. You know the tune anyway, so there is no need to look at the notes; just look at the words.
This weekend, we will be using a cross-tuned hymn. For more information on cross - tuning, see this article from our "Hymnody Series" a few weeks ago.
For this weekend we are singing # 741 God is Here! As We His People. The tune in our hymnals that this hymn is set to is ABBOT'S LEIGH which we do not know. The meter for this hymn is 8 7 8 7 and there are several hymn tunes set to that meter that we do know. One of those tunes is BEACH SPRING which we have sung when we sing the hymn # 663 As a Fire is Meant for Burning. So we will sing the words of # 741 God is Here! As We are His People to the tune of BEACH SPRING (# 663 As a Fire is Meant for Burning).
If you find cross-tuning a little confusing because the notes don't match up or go the direction that you are singing, simply ignore the notes on the page and just sing. You know the tune anyway, so there is no need to look at the notes; just look at the words.
FUNERAL FOR MICHAEL K. DAVIE
Funeral Mass for Michael K. Davie will be on Wednesday, Septmber 2 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
FUNERAL FOR SHIRLEY R. ZIEMKE
Funeral Mass for Shirley R. Ziemke will be on Tuesday, September 1 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
FUNERAL FOR GEORGE H. ICSMAN
Funeral service for George H. Icsman (Carol Icsman's husband) will be on Tuesday, September 1 at 1:00 at Toft Funeral Home.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Sunday, August 23, 2009
WELCOME VISITORS !
If this is the first time you have visited this site, it is probably because of the bulletin insert this past Sunday which talked about the Music Ministries here at St. Mary's. We welcome you and hope that you come back weekly to check out new articles and updates.
The purpose of this site is to inform and educate people of anything liturgical and musical in our parish. You will find such links in the sidebar as: “This Sunday’s Music” (if you are wondering what we will be singing at Mass); “Music for Your Wedding” (for couples planning their wedding); a good series on “Hymnody;” "Music Ministries at St. Mary's" which gives more detail about the different music ministries available; “Upcoming Musical Events;” “Liturgical or Musical Questions;” “This Month in St. Mary’s History;” “This Month in Music History;” “Monthly Video” and many other links as well.
We hope that you do visit us often and feel free to leave comments and / or questions regarding music or liturgy. Don't forget to put this site in your "favorites" or bookmark us!
The purpose of this site is to inform and educate people of anything liturgical and musical in our parish. You will find such links in the sidebar as: “This Sunday’s Music” (if you are wondering what we will be singing at Mass); “Music for Your Wedding” (for couples planning their wedding); a good series on “Hymnody;” "Music Ministries at St. Mary's" which gives more detail about the different music ministries available; “Upcoming Musical Events;” “Liturgical or Musical Questions;” “This Month in St. Mary’s History;” “This Month in Music History;” “Monthly Video” and many other links as well.
We hope that you do visit us often and feel free to leave comments and / or questions regarding music or liturgy. Don't forget to put this site in your "favorites" or bookmark us!
Tuesday, August 18, 2009
FUNERAL FOR GILBERT G. PALMER
Funeral Mass for Gilbert G. Palmer will be on Friday, August 21 at 10:00 a.m. Choir members are asked to be in church by 9:30.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, August 10, 2009
HYMNODY: PART 4: "CROSS-TUNING"
By Tim Claubaugh
Again, as in the previous articles in this series, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
In this article, we will be looking at just traditional hymns, because traditional hymns are the hymns that use meter references and hymn tune names.
In order to have a good understanding of this article, it is important that you have read the two previous articles in this series on "Hymn Tune Names" and "Meter."
Cross - Tuning is simply using a different Hymn Tune (or melody) than what is written to sing a hymn.
An example of that is this past week at Mass, our opening song was # 741 "God is Here! As We His People," the Hymn Tune that this particular hymn is set to (Tune: ABBOT'S LEIGH) is unfamiliar to our parishoners. Therefore, we simply sing that hymn to a tune (or melody) that we already know # 663 "As a Fire is Meant for Burning" (Tune: BEACH SPRING).
Another example is this coming weekend at Mass. Our closing song will be # 634 "Lord of All Nations" (Tune: BEATUS VIR). Again, we as a congregation do not know that tune, so we will sing the hymn to a tune we already know, # 698 "Take Up Your Cross" (Tune: O WALY WALY).
Now when deciding what tune to substitue, the church musician can not use just any tune. The decision has to be made within the context of the hymns "Meter." In the case of # 741 "God is Here," the meter is 8 7 8 7 D. Looking at the Meter Index (# 903 in the back of the hymnal), one will see that particular caption (8 7 8 7 D), and notice 11 Hymn Tunes listed under that meter (including ABBOT'S LEIGH). Therefore, any one of those 10 Hymn Tunes would work. So we could sing that hymn to the tune of HYFRYDOL (# 853 "Alleluia Sing to Jesus"), HYMN TO JOY (# 528 "Joyful, Joyful, We Adore You"), PLEADING SAVIOR (# 783 "Sing of Mary, Pure and Lowly"), or any of the other Hymn Tunes listed under that caption (8 7 8 7 D) because the meter matches up perfectly.
With # 634 "Lord of All Nations," the meter is LM (Long Meter or 88 88). Looking back at the Metrical Index again (# 903), you will see 18 Hymn Tunes listed under the LM caption, so any of those tunes could be used to sing "Lord of All Nations." Some possibilites are # 430 "I Know That My Redeemer Lives" (DUKE STREET) # 469 "Come Holy Ghost" (LAMBILLOTTE), or #747 "All People That on Earth Do Dwell" (OLD HUNDREDTH) just to name a few. If you take a minute or two and sing the words of "Lord of All Nations" to any of the tunes listed above, again, you will see that they match perfectly.
Cross-Tuning allows us to sing hymns that we wouldn't ordinarly sing because we don't know the tune (melody) to a tune that we already know. It is a very useful tool for church musicians and parishoners alike.
Again, as in the previous articles in this series, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
In this article, we will be looking at just traditional hymns, because traditional hymns are the hymns that use meter references and hymn tune names.
In order to have a good understanding of this article, it is important that you have read the two previous articles in this series on "Hymn Tune Names" and "Meter."
Cross - Tuning is simply using a different Hymn Tune (or melody) than what is written to sing a hymn.
An example of that is this past week at Mass, our opening song was # 741 "God is Here! As We His People," the Hymn Tune that this particular hymn is set to (Tune: ABBOT'S LEIGH) is unfamiliar to our parishoners. Therefore, we simply sing that hymn to a tune (or melody) that we already know # 663 "As a Fire is Meant for Burning" (Tune: BEACH SPRING).
Another example is this coming weekend at Mass. Our closing song will be # 634 "Lord of All Nations" (Tune: BEATUS VIR). Again, we as a congregation do not know that tune, so we will sing the hymn to a tune we already know, # 698 "Take Up Your Cross" (Tune: O WALY WALY).
Now when deciding what tune to substitue, the church musician can not use just any tune. The decision has to be made within the context of the hymns "Meter." In the case of # 741 "God is Here," the meter is 8 7 8 7 D. Looking at the Meter Index (# 903 in the back of the hymnal), one will see that particular caption (8 7 8 7 D), and notice 11 Hymn Tunes listed under that meter (including ABBOT'S LEIGH). Therefore, any one of those 10 Hymn Tunes would work. So we could sing that hymn to the tune of HYFRYDOL (# 853 "Alleluia Sing to Jesus"), HYMN TO JOY (# 528 "Joyful, Joyful, We Adore You"), PLEADING SAVIOR (# 783 "Sing of Mary, Pure and Lowly"), or any of the other Hymn Tunes listed under that caption (8 7 8 7 D) because the meter matches up perfectly.
With # 634 "Lord of All Nations," the meter is LM (Long Meter or 88 88). Looking back at the Metrical Index again (# 903), you will see 18 Hymn Tunes listed under the LM caption, so any of those tunes could be used to sing "Lord of All Nations." Some possibilites are # 430 "I Know That My Redeemer Lives" (DUKE STREET) # 469 "Come Holy Ghost" (LAMBILLOTTE), or #747 "All People That on Earth Do Dwell" (OLD HUNDREDTH) just to name a few. If you take a minute or two and sing the words of "Lord of All Nations" to any of the tunes listed above, again, you will see that they match perfectly.
Cross-Tuning allows us to sing hymns that we wouldn't ordinarly sing because we don't know the tune (melody) to a tune that we already know. It is a very useful tool for church musicians and parishoners alike.
THE SAME RESPONSORIAL PSALM FOR 3 WEEKS IN A ROW
By Tim Claubaugh
There is something very unique about this time in August within the church year. That is for 3 weeks in a row, the church uses the same Responsorial Psalm. This is the only time within the 3 year cycle of the readings that this happens.
The church takes the scripture readings and spreads them out over a three year period (cycles A, B, & C) so that in 3 years time, you have heard most of the readings from scripture. We are currently in cycle B, and this is the only time during that 3 year cycle where the same Responsorial Psalm is used for three weeks in a row.
The past Sunday (August 9, 19th Sunday of Ordinary Time) we sang Psalm 34: 2-3, 4-5, 6-7, 8-9 with the antiphon "Taste and see the goodness of the Lord.
This coming Sunday (August 16, 20th Sunday of Ordinary Time) we will sing Psalm 34: 2-3, 4-5, 6-7 with the antiphon "Taste and see the goodness of the Lord.
Finally for the 21st Sunday of Ordinary Time (August 23), we again sing from Psalm 34, however, this time the verses will be 2-3, 16-17, 18-19, and 20-21.
You will notice that Sunday's 19 and 20 are the same except for one less verse (vs. 8-9 is not used on the 20th Sunday. On the 21st Sunday, there are three verses that are used later in the Psalm, however, the Psalm begins with Vs. 2-3 just like the previous 2 Sundays.
There is something very unique about this time in August within the church year. That is for 3 weeks in a row, the church uses the same Responsorial Psalm. This is the only time within the 3 year cycle of the readings that this happens.
The church takes the scripture readings and spreads them out over a three year period (cycles A, B, & C) so that in 3 years time, you have heard most of the readings from scripture. We are currently in cycle B, and this is the only time during that 3 year cycle where the same Responsorial Psalm is used for three weeks in a row.
The past Sunday (August 9, 19th Sunday of Ordinary Time) we sang Psalm 34: 2-3, 4-5, 6-7, 8-9 with the antiphon "Taste and see the goodness of the Lord.
This coming Sunday (August 16, 20th Sunday of Ordinary Time) we will sing Psalm 34: 2-3, 4-5, 6-7 with the antiphon "Taste and see the goodness of the Lord.
Finally for the 21st Sunday of Ordinary Time (August 23), we again sing from Psalm 34, however, this time the verses will be 2-3, 16-17, 18-19, and 20-21.
You will notice that Sunday's 19 and 20 are the same except for one less verse (vs. 8-9 is not used on the 20th Sunday. On the 21st Sunday, there are three verses that are used later in the Psalm, however, the Psalm begins with Vs. 2-3 just like the previous 2 Sundays.
Saturday, August 8, 2009
MEMORIAL SERVICE FOR FRANK F. ELLIOT
A Memorial Service for Frank F. Elliott will be on Wednesday, August 12 at 9:30 a.m. Choir members are asked to be in church by 9:15.
Frank is the father of our religious ed leader, Deb Geason. He died in Arizona on July 5 where a funeral Mass was held and burial.
Frank is the father of our religious ed leader, Deb Geason. He died in Arizona on July 5 where a funeral Mass was held and burial.
Tuesday, August 4, 2009
NEW LOOK ! SAME SITE !
Our website has a new look! This is so that it looks and feels more like the St. Mary's Parish website. We also hope to get the St. Mary's logo (the Sorrowful Mother image) up on our Music Ministry website as well. Click on the comment section below and leave us a comment on your thoughts about this new look.
MONTHLY UPDATES
Be sure to check our monthly updates in the "This Month in St. Mary's History," "This Month in Music History," (found on the Sandusky Chapter of the American Guild of Organist web site), and "Monthly Videos." You can either click on each of the links here, or go to the side bar and click on them there as well.
Next week we will have part 4 in our Hymnody Series explaining "cross-tuning."
MONTHLY UPDATES
Be sure to check our monthly updates in the "This Month in St. Mary's History," "This Month in Music History," (found on the Sandusky Chapter of the American Guild of Organist web site), and "Monthly Videos." You can either click on each of the links here, or go to the side bar and click on them there as well.
Next week we will have part 4 in our Hymnody Series explaining "cross-tuning."
FUNERAL FOR DOUGLAS G. WIEBER
Funeral Mass for Douglas G. Wieber will be on Friday, August 7 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, August 3, 2009
FUNERAL FOR JOHN A. YOCHEM
Funeral Mass for John A. Yochem will be on Thursday, August 6 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click.
For the Sandusky Register obituary link, click.
Monday, July 27, 2009
"BENCH SWAP" SUNDAY IS THIS SUNDAY
This Sunday, August 2 is "Bench Swap" Sunday. This Sunday, our organist, Tim Claubaugh, will play the 8:00 and 10:30 services at Zion Lutheran Church while the organist at Zion Lutheran Church, Ron Borchardt, will play the 7:30 and 9:30 Masses here at St. Mary's.
This show of "Ecumenicalism" is just one of many that Zion Lutheran and St. Mary's have shared over the years. Others include choirs from both churches joining forces to sing at services and concerts as well as several occasions where together they sang the National Anthem on the field at Progressive Field before a Cleveland Indians game.
This show of "Ecumenicalism" is just one of many that Zion Lutheran and St. Mary's have shared over the years. Others include choirs from both churches joining forces to sing at services and concerts as well as several occasions where together they sang the National Anthem on the field at Progressive Field before a Cleveland Indians game.
FUNERAL FOR ALICE J. CONLEY
Funeral Mass for Alice J. Conley will be on Wednesday, July 29 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
HYMNODY: PART 3: "METER"
By Tim Claubaugh
Again, as in the previous articles in this series, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
In this article, we will be looking at just traditional hymns, because traditional hymns are the hymns that use meter references.
There are two definitions of meter: one lyrical, and one musical. According to Mr Webster, the lyrical definition of meter is, “A systematically arranged and measured basic pattern…a fixed metrical pattern: verse form.” The Harvard dictionary of Music defines musical meter as, “The pattern of fixed temporal units called beats, by which the time span of a piece of music or a section thereof is measured.” Hymn singing combines these two definitions into one.
Every traditional hymn has a meter references with it. In the hymnal that we use at St. Mary (“Gather Comprehensive”), these hymn “meters” can be found at the end of every traditional hymn after the HYMN TUNE listing. For example, on # 528, “Joyful, Joyful, We Adore You,” if one looks at the end of the hymn under the last staff, one will see “Tune: HYMN TO JOY 8 7 8 7 D” So “8 7 8 7 D” is the meter to this famous hymn.
What do these numbers mean?
If we take a look at the text of this hymn, we will see that each phrase alternates between 8 syllables and 7 syllables in length:
Joyful, joyful, we adore you, = 8 syllables
God of glory, Lord of love; = 7 syllables
Hearts unfold like flowers before you, = 8 syllables
Opening to the sun above. = 7 syllables
Melt the clouds of sin and sadness; = 8 syllables
Drive the dark of doubt away; = 7 syllables
Giver of immortal gladness, = 8 syllables
Fill us with the light of day! = 7 syllables
You will notice on the page in the hymnal that the meter is 8 7 8 7 D. The “D” simply mean that the same pattern is repeated. So, instead of 8 7 8 7, the actual meter is 8 7 8 7 8 7 8 7.
Other hymns with this same meter pattern that we sing are: # 626 There’s a Wideness in God’s Mercy (hymn tune: IN BABILONE); # 663 As a Fire is Meant for Burning (hymn tune: BEACH SPRING); # 783 Sing of Mary, Pure and Lowly (hymn tune: PLEADING SAVIOR) and # 853 Alleluia! Sing to Jesus (hymn tune: HYFRYDOL).
Other frequently used meters are:
Common Meter (listed as “CM” in hymnals) which is 86 86. One such beloved hymn is # 612 Amazing Grace (hymn tune: NEW BRITAIN):
Amazing Grace! How sweet the sound, = 8 syllables
That saved a wretch like me! = 6 syllables
I once was lost, but now am found, = 8 syllables
Was blind, but now I see. = 6 syllables
Other hymns with this meter are # 343 Joy to the World (hymn tune: ANTICOH); # 484 (hymn tune: DIADEM); and # 635 (hymn tune: NEW COLUMBIA)
Common Meter Double (listed as “CMD”) which is 86 86 86 86. Number 646 I Heard the Voice of Jesus Say (hymn tune: KINGSFOLD) is one such hymn.
I heard the voice of Jesus say, = 8 syllables
“Come unto me and rest; = 6 syllables
Lay down, O weary one, lay down = 8 syllables
Your head upon my breast.” = 6 syllables
I came to Jesus as I was, = 8 syllables
So weary, worn and sad; = 6 syllables
I found in him a resting place. = 8 syllables
And he has made me glad. = 6 syllables
Other hymns with this meter are # 367 It Came Upon the Midnight Clear (hymn tune: CAROL); and # 890 America the Beautiful (hymn tune: MATERNA).
One final example (and not the last one that could be given by any means!) is the Long Meter (LM) which is 88 88. We’ll use the hymn # 469 Come Holy Ghost (hymn tune: LAMBILLOTTE) as an example.
Come, Holy Ghost, Creator blest, = 8 syllables
And in our hearts take up thy rest; = 8 syllables
Come with thy grace and heav’nly aid = 8 syllables
To fill the hearts which thou hast made, = 8 syllables
To fill the hearts which thou hast made. = 8 syllables
Other LM hymns include # 430 I Know That My Redeemer Lives (hymn tune: DUKE STREET); # 747 All People That on Earth Do Dwell (hymn tune: OLD HUNDREDTH); and # 698 Take Up Your Cross (hymn tune: O WALY WALY).
There is a complete list of all metered hymns in the back of the hymnal in the “Metrical Index of Tunes (# 903).
The next article in this series will be on “Cross Tuning.”
Again, as in the previous articles in this series, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
In this article, we will be looking at just traditional hymns, because traditional hymns are the hymns that use meter references.
There are two definitions of meter: one lyrical, and one musical. According to Mr Webster, the lyrical definition of meter is, “A systematically arranged and measured basic pattern…a fixed metrical pattern: verse form.” The Harvard dictionary of Music defines musical meter as, “The pattern of fixed temporal units called beats, by which the time span of a piece of music or a section thereof is measured.” Hymn singing combines these two definitions into one.
Every traditional hymn has a meter references with it. In the hymnal that we use at St. Mary (“Gather Comprehensive”), these hymn “meters” can be found at the end of every traditional hymn after the HYMN TUNE listing. For example, on # 528, “Joyful, Joyful, We Adore You,” if one looks at the end of the hymn under the last staff, one will see “Tune: HYMN TO JOY 8 7 8 7 D” So “8 7 8 7 D” is the meter to this famous hymn.
What do these numbers mean?
If we take a look at the text of this hymn, we will see that each phrase alternates between 8 syllables and 7 syllables in length:
Joyful, joyful, we adore you, = 8 syllables
God of glory, Lord of love; = 7 syllables
Hearts unfold like flowers before you, = 8 syllables
Opening to the sun above. = 7 syllables
Melt the clouds of sin and sadness; = 8 syllables
Drive the dark of doubt away; = 7 syllables
Giver of immortal gladness, = 8 syllables
Fill us with the light of day! = 7 syllables
You will notice on the page in the hymnal that the meter is 8 7 8 7 D. The “D” simply mean that the same pattern is repeated. So, instead of 8 7 8 7, the actual meter is 8 7 8 7 8 7 8 7.
Other hymns with this same meter pattern that we sing are: # 626 There’s a Wideness in God’s Mercy (hymn tune: IN BABILONE); # 663 As a Fire is Meant for Burning (hymn tune: BEACH SPRING); # 783 Sing of Mary, Pure and Lowly (hymn tune: PLEADING SAVIOR) and # 853 Alleluia! Sing to Jesus (hymn tune: HYFRYDOL).
Other frequently used meters are:
Common Meter (listed as “CM” in hymnals) which is 86 86. One such beloved hymn is # 612 Amazing Grace (hymn tune: NEW BRITAIN):
Amazing Grace! How sweet the sound, = 8 syllables
That saved a wretch like me! = 6 syllables
I once was lost, but now am found, = 8 syllables
Was blind, but now I see. = 6 syllables
Other hymns with this meter are # 343 Joy to the World (hymn tune: ANTICOH); # 484 (hymn tune: DIADEM); and # 635 (hymn tune: NEW COLUMBIA)
Common Meter Double (listed as “CMD”) which is 86 86 86 86. Number 646 I Heard the Voice of Jesus Say (hymn tune: KINGSFOLD) is one such hymn.
I heard the voice of Jesus say, = 8 syllables
“Come unto me and rest; = 6 syllables
Lay down, O weary one, lay down = 8 syllables
Your head upon my breast.” = 6 syllables
I came to Jesus as I was, = 8 syllables
So weary, worn and sad; = 6 syllables
I found in him a resting place. = 8 syllables
And he has made me glad. = 6 syllables
Other hymns with this meter are # 367 It Came Upon the Midnight Clear (hymn tune: CAROL); and # 890 America the Beautiful (hymn tune: MATERNA).
One final example (and not the last one that could be given by any means!) is the Long Meter (LM) which is 88 88. We’ll use the hymn # 469 Come Holy Ghost (hymn tune: LAMBILLOTTE) as an example.
Come, Holy Ghost, Creator blest, = 8 syllables
And in our hearts take up thy rest; = 8 syllables
Come with thy grace and heav’nly aid = 8 syllables
To fill the hearts which thou hast made, = 8 syllables
To fill the hearts which thou hast made. = 8 syllables
Other LM hymns include # 430 I Know That My Redeemer Lives (hymn tune: DUKE STREET); # 747 All People That on Earth Do Dwell (hymn tune: OLD HUNDREDTH); and # 698 Take Up Your Cross (hymn tune: O WALY WALY).
There is a complete list of all metered hymns in the back of the hymnal in the “Metrical Index of Tunes (# 903).
The next article in this series will be on “Cross Tuning.”
Monday, July 20, 2009
HYMNODY: PART 2: HYMN "TUNE NAMES"
By Tim Claubaugh
Again, as in last week’s article, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
In this article, we will be looking at just traditional hymns, because traditional hymns are the hymns that use Tune Names.
Every traditional hymn has a “Tune Name” with it. In the hymnal that we use at St. Mary (“Gather Comprehensive”), these hymn “Tune Names” can be found at the end of every traditional hymn in capital letters. For example, on # 528, “Joyful, Joyful, We Adore You,” if one looks at the end of the hymn under the last staff, one will see “Tune: HYMN TO JOY…” So “Hymn of Joy” is the tune name to this famous tune that Ludwig Van Beethoven wrote.
Other examples are: # 524 “Holy God, We Praise Thy Name” (Tune: GROSSER GOTT); # 540 “Let All Mortal Flesh Keep Silence” (Tune: PICARDY); # 407 “Hail Our Savior’s Glorious Body” (Tune: PANGE LINGUA); # 635 “The King of Love My Shepherd is” (Tune: ST COLUMBIA). There are many, many other examples throughout our hymnal.
So, how did these “tune names” come about?
Some hymns received their tune names because of the first line of the hymn in it’s original language. Such hymns as # 524 “Holy God, We Praise Thy Name” (Tune: GROSSER GOTT) where the first 2 words in the original German hymn are “Grosser Gott” (Great God). Or in the case of # 407 “Hail Our Savior’s Glorious Body” (Tune: PANGE LINGUA), the first words in that original Latin hymn are “Pange Lingua” (Sing, My tongue, [the Savior’s glory]).
Other times, the hymns may have received their tune names because of some special meaning in the hymn such as # 528, “Joyful, Joyful, We Adore You,” (Tune: HYMN TO JOY) where the overall meaning of the hymn is “Joy.”
Some hymns have saints names attached to them such as # 635 “The King of Love My Shepherd is” (Tune: ST COLUMBIA); # 614 “O God, Our Help in Ages Past” (Tune: ST. ANNE); # 888 “Tantum Ergo” (Tune: ST. THOMAS). It is not known why certain hymns have saints names as their tune names other than perhaps the composer of the hymn had a particular devotion to that saint, or perhaps the composer was organist or choir director at a church with that saint’s name.
Hymns may have other special “places” attached to them such as # 646 “I Heard the Voice of Jesus Say” (Tune: KINGSFOLD); # 790 “Immaculate Mary” (Tune: LOURDES HYMN); # 746 “This is the Day When Light was First Created” (Tune: NORTHBROOK).
Still other hymns may have absolutely no reasons why they have certain tune names assigned to them. Hymns such as # 540 “Let All Mortal Flesh Keep Silence” (Tune: PICARDY); # 343 “Joy to the World” (Tune: ANTIOCH); # 320, “The King Shall Come When Morning Dawns” (Tune: MORNING SONG); # 727 How Good it is (Tune: DOVE OF PEACE).
A complete “Index of Tunes” can be found at # 904 in the back of our hymnal.
How are these “Tune Names” helpful?
Well, to the average church-goer, it may be no big deal. But to the church musician, they are VERY valuable! For instance, if the congregation is singing as the opening song # 524 “Holy God, We Praise Thy Name (Tune: GROSSER GOTT), the organist can look for GROSSER GOTT in the many volumes of music that they may have (or if they are really organized, they can look in their personal “catalog” of their organ music) and pull up several possible prelude pieces that they could play based on the hymn tune GROSSER GOTT.
So why doesn’t the organist look in their organ music collection under “Holy God, We Praise Thy Name?”
There are Many, Many hymns written with completely different text, but use the same hymn tune. For instance in our hymnal, the hymn # 528 “Joyful, Joyful, We Adore You” (Tune: HYMN TO JOY) can also use that exact same hymn tune to # 442 “Sing with All the Saints in Glory” (an Easter season hymn) and # 714”God Whose Purpose is to Kindle” (a social concerns hymn). Another example would be # 888 “Tantum Ergo” (Tune: ST THOMAS), a Eucharistic adoration / benediction hymn can be sung to # 662 “Christ is Made the Sure Foundation” (a hymn about church), or # 719 “For the Healing of the Nations” (a hymn about social concerns).
So by using the Hymn Tune name, rather than the Hymn Title, the organist has a much better chance of finding an organ piece based on that hymn tune because they can use the tune name (ST THOMAS) to find the hymn tune rather than the title of the hymn ("Tantum Ergo," "Christ is Made the Sure Foundation," or "For the Healing of the Nations."
The next article in this series will be on "Meter."
Again, as in last week’s article, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
In this article, we will be looking at just traditional hymns, because traditional hymns are the hymns that use Tune Names.
Every traditional hymn has a “Tune Name” with it. In the hymnal that we use at St. Mary (“Gather Comprehensive”), these hymn “Tune Names” can be found at the end of every traditional hymn in capital letters. For example, on # 528, “Joyful, Joyful, We Adore You,” if one looks at the end of the hymn under the last staff, one will see “Tune: HYMN TO JOY…” So “Hymn of Joy” is the tune name to this famous tune that Ludwig Van Beethoven wrote.
Other examples are: # 524 “Holy God, We Praise Thy Name” (Tune: GROSSER GOTT); # 540 “Let All Mortal Flesh Keep Silence” (Tune: PICARDY); # 407 “Hail Our Savior’s Glorious Body” (Tune: PANGE LINGUA); # 635 “The King of Love My Shepherd is” (Tune: ST COLUMBIA). There are many, many other examples throughout our hymnal.
So, how did these “tune names” come about?
Some hymns received their tune names because of the first line of the hymn in it’s original language. Such hymns as # 524 “Holy God, We Praise Thy Name” (Tune: GROSSER GOTT) where the first 2 words in the original German hymn are “Grosser Gott” (Great God). Or in the case of # 407 “Hail Our Savior’s Glorious Body” (Tune: PANGE LINGUA), the first words in that original Latin hymn are “Pange Lingua” (Sing, My tongue, [the Savior’s glory]).
Other times, the hymns may have received their tune names because of some special meaning in the hymn such as # 528, “Joyful, Joyful, We Adore You,” (Tune: HYMN TO JOY) where the overall meaning of the hymn is “Joy.”
Some hymns have saints names attached to them such as # 635 “The King of Love My Shepherd is” (Tune: ST COLUMBIA); # 614 “O God, Our Help in Ages Past” (Tune: ST. ANNE); # 888 “Tantum Ergo” (Tune: ST. THOMAS). It is not known why certain hymns have saints names as their tune names other than perhaps the composer of the hymn had a particular devotion to that saint, or perhaps the composer was organist or choir director at a church with that saint’s name.
Hymns may have other special “places” attached to them such as # 646 “I Heard the Voice of Jesus Say” (Tune: KINGSFOLD); # 790 “Immaculate Mary” (Tune: LOURDES HYMN); # 746 “This is the Day When Light was First Created” (Tune: NORTHBROOK).
Still other hymns may have absolutely no reasons why they have certain tune names assigned to them. Hymns such as # 540 “Let All Mortal Flesh Keep Silence” (Tune: PICARDY); # 343 “Joy to the World” (Tune: ANTIOCH); # 320, “The King Shall Come When Morning Dawns” (Tune: MORNING SONG); # 727 How Good it is (Tune: DOVE OF PEACE).
A complete “Index of Tunes” can be found at # 904 in the back of our hymnal.
How are these “Tune Names” helpful?
Well, to the average church-goer, it may be no big deal. But to the church musician, they are VERY valuable! For instance, if the congregation is singing as the opening song # 524 “Holy God, We Praise Thy Name (Tune: GROSSER GOTT), the organist can look for GROSSER GOTT in the many volumes of music that they may have (or if they are really organized, they can look in their personal “catalog” of their organ music) and pull up several possible prelude pieces that they could play based on the hymn tune GROSSER GOTT.
So why doesn’t the organist look in their organ music collection under “Holy God, We Praise Thy Name?”
There are Many, Many hymns written with completely different text, but use the same hymn tune. For instance in our hymnal, the hymn # 528 “Joyful, Joyful, We Adore You” (Tune: HYMN TO JOY) can also use that exact same hymn tune to # 442 “Sing with All the Saints in Glory” (an Easter season hymn) and # 714”God Whose Purpose is to Kindle” (a social concerns hymn). Another example would be # 888 “Tantum Ergo” (Tune: ST THOMAS), a Eucharistic adoration / benediction hymn can be sung to # 662 “Christ is Made the Sure Foundation” (a hymn about church), or # 719 “For the Healing of the Nations” (a hymn about social concerns).
So by using the Hymn Tune name, rather than the Hymn Title, the organist has a much better chance of finding an organ piece based on that hymn tune because they can use the tune name (ST THOMAS) to find the hymn tune rather than the title of the hymn ("Tantum Ergo," "Christ is Made the Sure Foundation," or "For the Healing of the Nations."
The next article in this series will be on "Meter."
Wednesday, July 15, 2009
FUNERAL FOR RAYMOND E. SKRINAK
Funeral Mass for Raymond E. Shrinak will be on Friday, July 17 at 10:00 a.m. Choir members are asked to be in church by 9:45.
For the Sandusky Register obituary link, click here.
For the Sandusky Register obituary link, click here.
Monday, July 13, 2009
SUMMER VACATION EXPERIENCE
Did you have a musical or liturgical experience during your summer travels / vacation? Whether it was good, bad, or indifferent, share it with us at music@stmarysandusky.org and we might post it (with your permission of course) on our website.
FUNERAL FOR GLADYS C. YOUNG
Funeral Mass for Gladys C. Young will be on Wednesday, July 15 at 10:00 a.m. Choir members are asked to be in church by 9:45. For the Sandusky Register obituary link, click here.
HYMNODY PART 1: WHAT IS IT?
By Tim Claubaugh
Webster's Dictionary states that a Hymn, "Comes from the Latin word, 'Hymnus' meaning song of praise." It also states that, "1a: A song of praise to God. 1b: a metrical composition adapted for singing in a religious service. 2: A song of praise or joy."
Harvard Dictionary of Music (HDM) states, "A song of praise or adoration of God (originally, in honor of Apollo; two hymns to Apollo of c. 150 B.C. are among the most complete remnants of ancient Greek music). In the early Christian era, the term 'hymn' was applied to all songs in praise of the Lord; later it was restricted to newly written poems, as distinguished from the sciptural Psalms and canticles." The dictionary entry then goes on for another two and a half pages talking about Hymns of the Eastern Churches, Latin Hymns, Polyphonic hymns, German hymns, and English hymns. I will touch on some of these in a future article.
The New Westminster Dictionary of Liturgy and Worship (NWDLW) does not give a definition of hymn, but rather, goes directly into the history of the hymn, beginning with the Latin Hymn. It is interesting to note that the NWDLW begins with, "St. Augustine described a hymn as 'the praise of God in song,' adding that praise of God that is not sung is not a hymn. St. Ambrose (339-397) is named as the real father of Latin hymnody."
TRADITIONAL HYMNS AND CONTEMPORARY SONGS
So what is the difference between "Traditional hymns" and "Contemporary Songs?"
Some traditional hymns have been with us for well over a thousand years. Some of the early hymns of the church such as "Pange Lingua" (# 407 in our hymnals) (which we still sing every Holy Thursday), "Attende Domine" (# 387) and "Salve Regina" (#779) just to name a few have been with us since the middle ages (ca. 300 A.D.).
Other traditional hymns came to us in the 1500's - 1900's. Hymns such as "Agincourt Hymn" (1537), "Now Thank We All Our God" (# 565) (1650's), "All Creatures of Our God and King" (# 533) (1623), "Joyful, Joyful, We Adore You" (# 528) (1823), "Holy God, We Praise Thy Name" (# 524) (1774), and "For All the Saints" (# 793) (1920's) come to us from that time frame.
From a musical standpoint traditional hymns, for the most part, are almost always written in 4-part harmony meaning for soprano, alto, tenor, and bass. The composer of the hymn also gives the hymn a "Tune Name" (which will be covered in the next article). From a lyric standpoint, the text of traditional hymns are written in a "meter" (which will also be covered in the next article), and are usually written in strictly verse style with no refrain.
Traditional hymns have stood the test of time and are just as good now as they were when they were written.
Contemporary songs are also hymns since they too are songs of praise to God and Jesus. Contemporary songs are songs written beginning in the 1960's to the present day and usually are not written in 4-part harmony as the traditional hymns are, but rather written with a melody line and guitar chords as the accompaniment. Many times they are written in a refrain / verse style and may also contain musical bridges and interludes.
Unlike the traditional hymns that have stood the test of time, some contemporary songs have drifted into oblivion because of their poor writing (either text, music, or both). Some that you may remember from earlier days are: "Dwelling Place," "Earthen Vessels," and one that I was particularly glad to see fall into oblivion was "Great Things Happen When God Mixes With Us."
Songs such as "We Are Called" (# 718), "Here I Am Lord" (# 686), "On Eagle's Wings" (# 611), "You Are Mine" (# 649) have stood the test of time and we continue to use to this day.
The Next article in this series will on "Meter and Tune Names."
For starters, you may want to click here for a printable version of this article and take it to church with you so that you can reference it with the hymn examples listed in this article.
What is Hymnody? Simply put it is the writing, singing, and study of hymns.
So, according to that definition, all of us participate in hymnody every time we sing in church. Obviously if we sing hymns in church, then there are those who also write hymns. But to "study" hymns? Who in there right mind would do such a boring thing ? !
Well, it may surprise you to know that musicians (especially church musicians) study hymns on a weekly, if not daily, basis. As someone who does this on a daily basis, I find studying hymns to be a very interesting and fascinating thing to do. Every time I study a hymn I learn something new; I'm always amazed at what I learn after studying a hymn.
I want to share some of this with you and in turn I hope that through this series of articles on hymnody, that it will open up an entirely new world of understanding and appreciating hymns.
First let's take a look at the definition of a "Hymn" from three different sources. The first is secular (Webster's Dictionary), the second is musical (Harvard Dictionary of Music) and the third is Liturgical (The New Westminster Dictionary of Liturgy and Worship).Webster's Dictionary states that a Hymn, "Comes from the Latin word, 'Hymnus' meaning song of praise." It also states that, "1a: A song of praise to God. 1b: a metrical composition adapted for singing in a religious service. 2: A song of praise or joy."
Harvard Dictionary of Music (HDM) states, "A song of praise or adoration of God (originally, in honor of Apollo; two hymns to Apollo of c. 150 B.C. are among the most complete remnants of ancient Greek music). In the early Christian era, the term 'hymn' was applied to all songs in praise of the Lord; later it was restricted to newly written poems, as distinguished from the sciptural Psalms and canticles." The dictionary entry then goes on for another two and a half pages talking about Hymns of the Eastern Churches, Latin Hymns, Polyphonic hymns, German hymns, and English hymns. I will touch on some of these in a future article.
The New Westminster Dictionary of Liturgy and Worship (NWDLW) does not give a definition of hymn, but rather, goes directly into the history of the hymn, beginning with the Latin Hymn. It is interesting to note that the NWDLW begins with, "St. Augustine described a hymn as 'the praise of God in song,' adding that praise of God that is not sung is not a hymn. St. Ambrose (339-397) is named as the real father of Latin hymnody."
TRADITIONAL HYMNS AND CONTEMPORARY SONGS
So what is the difference between "Traditional hymns" and "Contemporary Songs?"
Some traditional hymns have been with us for well over a thousand years. Some of the early hymns of the church such as "Pange Lingua" (# 407 in our hymnals) (which we still sing every Holy Thursday), "Attende Domine" (# 387) and "Salve Regina" (#779) just to name a few have been with us since the middle ages (ca. 300 A.D.).
Other traditional hymns came to us in the 1500's - 1900's. Hymns such as "Agincourt Hymn" (1537), "Now Thank We All Our God" (# 565) (1650's), "All Creatures of Our God and King" (# 533) (1623), "Joyful, Joyful, We Adore You" (# 528) (1823), "Holy God, We Praise Thy Name" (# 524) (1774), and "For All the Saints" (# 793) (1920's) come to us from that time frame.
From a musical standpoint traditional hymns, for the most part, are almost always written in 4-part harmony meaning for soprano, alto, tenor, and bass. The composer of the hymn also gives the hymn a "Tune Name" (which will be covered in the next article). From a lyric standpoint, the text of traditional hymns are written in a "meter" (which will also be covered in the next article), and are usually written in strictly verse style with no refrain.
Traditional hymns have stood the test of time and are just as good now as they were when they were written.
Contemporary songs are also hymns since they too are songs of praise to God and Jesus. Contemporary songs are songs written beginning in the 1960's to the present day and usually are not written in 4-part harmony as the traditional hymns are, but rather written with a melody line and guitar chords as the accompaniment. Many times they are written in a refrain / verse style and may also contain musical bridges and interludes.
Unlike the traditional hymns that have stood the test of time, some contemporary songs have drifted into oblivion because of their poor writing (either text, music, or both). Some that you may remember from earlier days are: "Dwelling Place," "Earthen Vessels," and one that I was particularly glad to see fall into oblivion was "Great Things Happen When God Mixes With Us."
Songs such as "We Are Called" (# 718), "Here I Am Lord" (# 686), "On Eagle's Wings" (# 611), "You Are Mine" (# 649) have stood the test of time and we continue to use to this day.
The Next article in this series will on "Meter and Tune Names."
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