Hymn of the Day: O Living Bread from Heaven ELW 542
Text: Johann Rist, 1607–1667; tr. Catherine Winkworth, 1827–1878, alt.
Tune: AURELIA, Samuel S. Wesley, 1810–1876

Phrase after phrase in “O living Bread from heaven” (ELW 542) complements this Sunday’s readings. Like Elijah, we too are strengthened to live and to serve God by serving others. The author Johann Rist (1607–1667) was a Lutheran pastor who, while serving in many situations of social calamity and personal agony, wrote nearly 700 hymns. The tune, AURELIA, was composed by Samuel Wesley, the grandson of Charles Wesley, one of the founders of Methodism.
— Gail Ramshaw

AURELIA (meaning "golden") was published as a setting for “Jerusalem the Golden” in Selection of Psalms and Hymns, which was compiled by Charles Kemble and Wesley in 1864. Shortly after, to the chagrin of some, it was paired with “The Church’s One Foundation”, a text by Samuel John Stone (1839-1900): Dr. Henry Gauntlett was apparently very annoyed by this match-up, as he thought Wesley’s tune was “inartistic, secular twaddle.” Though opinions vary concerning the tune's merits, it has been firmly associated with Stone's text since tune and text first appeared together in the 1868 edition of Hymns Ancient and Modern.

Offertory: Carlisle, Charles Callahan (1951)

The hymn tune “Carlisle” was written by Charles Lockhart (1745-1815). He was first organist of the Lock Hospital, and was for some years associated with Martin Madan in the musical arrangements there. Though blind from infancy, Lockhart had a distinct musical gift, and was especially known for training children’s choirs. He published a set of hymn tunes about 1810 of which this was one. “Carlisle” was his most popular hymn tune and it can be found in 92 hymnals.

Charles Callahan is a well-known composer, organist, choral conductor, pianist and teacher. He is a graduate of The Curtis Institute of Music, Philadelphia, Pa., and The Catholic University of America, Washington, DC. The serene and tranquil nature found in the “Carlisle” tune pairs well with the gentle, confident lyricism of Callahan’s compositions.

Opening Voluntary: Chorale Improvisation #51, Op. 66, “Schmücke Dich” Sigfrid Karg-Elert (1877-1933)

Having made substantial contributions to the organ and flute repertoires, Sigfrid Karg-Elert is well-known to organists and flutists. His music is colorful and impressionistic, but he also drew on the established ways of writing organ music - including works based on Lutheran chorales (hymn tunes).

This beautiful piece is a Choral-Improvisation based on the melody “Schmücke dich, o liebe Seele”, a eucharistic hymn published in Berlin in 1649.

Closing Voluntary: “Scherzo” Alan Ridout (1934-1996)

Alan Ridout studied briefly at the Guildhall School of Music before commencing four years of study at the Royal College of Music, London with Herbert Howells and Gordon Jacob. He was later taught by Michael Tippett, Peter Fricker and (under a Dutch government scholarship) Henk Badings.

He went on to teach at the Royal College of Music, the University of Birmingham, the University of Cambridge, the University of London, and at The King's School, Canterbury. He also broadcast musical talks on the radio.
He lived for much of his life in Canterbury, but after a serious heart attack in 1990 he moved to France.
Ridout was a prolific composer; the complete list of his works runs to 100 pages. His style is mostly tonal, though in younger life he wrote some microtonal works. His works include church, orchestral and chamber music, often intended for amateurs and children. Much of the church music came out of a collaboration between Ridout and Allan Wicks, organist and master of the choristers at Canterbury Cathedral which began in 1964.