Hymn of the Day: “Wake, Awake, For Night is Flying” ELW #436
Text: Phillip Nicolai (1556-1608)
Tune: WACHET AUF, Phillip Nicolai
This hymn text was based on the Parable of the Wise and Foolish Virgins in Matthew 25:1-13. The opening stanza calls the followers of Christ to be roused and alert for His Second Coming. Stanza 2 describes the joyous scene when the Bridegroom returns and takes His bride, the church, in to the wedding feast. Finally, the third stanza adores the Lamb of God and describes the glorious scene in heaven, as given in Revelation 19 and 21, where the saints will worship in song forever. The text contains a reverse acrostic to Nicolai’s deceased student and friend, William Ernst, with the letters beginning each of its three stanzas: WGZ, Graf zu Waldek (Count of Waldeck).
The WACHET AUF tune is usually regarded as composed by Philipp Nicolai, but he may have borrowed parts of the tune from other sources such as the melody “Silberweise” by Hans Sachs (1494-1576) or the fifth Gregorian psalm tone. It was published with this text, for which it is named, in Nicolai's Freuden-Spiegel in 1599. Like many German chorale tunes, WACHET AUF has two versions for the rhythm. The original version is called the rhythmic version, because it retains the variety of note values as the composer wrote them, while in the isorhythmic version, the notes are adjusted to a more regular rhythm, often by making all notes of equal value.
Offertory Anthem: “Come Thou Long Expected Jesus” Marty Wheeler Burnet
For countless Christians around the world, “Come, Thou Long-Expected Jesus” signals the beginning of Advent. It was first published in 1744 in Charles Wesley’s Hymns for the Nativity of Our Lord, a little collection so popular that it was reprinted 20 times during Wesley’s lifetime. Published in two eight-line stanzas, this hymn is now generally sung in the Advent season rather than during the nativity of Christ as the title of the collection indicates. The Wesleys published several small collections of hymn texts that were affordable for a wider number of people. They were usually on themes associated with a particular season of the Christian year or the sacraments. These volumes offered a way to disseminate Methodist theology and enhance the personal devotional life of those in the Society. The collections also provided a corpus of songs to sing together when the Society gathered.
Interestingly enough, “Come, Thou Long-Expected Jesus” appeared in an American Methodist hymnal in 1847, nearly 30 years before it was included in a British Methodist hymnal. Only the rare North American hymnal omits this hymn now. It is part of the fabric of our preparations for the Incarnation. Burnett led and coordinated the music ministry at Trinity Episcopal Cathedral in Omaha, Nebraska. As Canon Precentor, she conducted the Cathedral Choir, Schola Cantorum, Requiem Choir, and Summer Choir, and served as director of the children’s and youth choir program, Cantate Choral Academy. In addition, she oversaw the Handbell Ensemble and coordinated concerts and special music events. An award-winning educator, Burnett previously served as Director of Fine Arts and Associate Professor of Music at College of Saint Mary in Omaha. She currently serves as president of the Association of Anglican Musicians, an organization of musicians and clergy serving the Episcopal Church.
Come, thou long expected Jesus,
Born to set thy people free;
From our fears and sins release us,
Let us find our rest in thee.
Israel’s strength and consolation,
Hope of all the earth thou art;
Dear desire of every nation,
Joy of every longing heart.
Born thy people to deliver,
Born a child and yet a king,
Born to reign in us forever,
Now thy gracious kingdom bring.
By thine own eternal Spirit
Rule in all our hearts alone;
By thine all sufficient merit,
Raise us, raise us to thy glorious throne.
Opening Voluntary: “Comfort, comfort Now My People” Egil Hovland (1924-2013)
Egil Hovland was a Norwegian composer who wrote in diverse styles, including Norwegian-Romantic, Gregorian, neo-classical, twelve-tone, aleatoric, and serial. He was one of the most noted church composers of Norway and certainly a most productive contemporary Norwegian composer.
The hymn tune associated with this voluntary has two names: GENEVAN 42 and FREU DICH SEHR. Which title is used depends on the church tradition through which a particular hymnal acquired the tune. Those from a Reformed background call it GENEVAN 42, because it was used for Psalm 42 in the French Genevan Psalter. It is likely that Louis Bourgeois either composed or adapted this tune for the Genevan Psalter. It first appeared here in 1551. Lutherans call the tune FREU DICH SEHR because those are the opening words of a funeral hymn that this tune was paired with in Rhamba's Harmoniae sacrae (1613). J. S. Bach also used this tune in seven of his cantatas.
Closing Voluntary: Chorale Improvisation, Set 10 “Wachet auf” Paul Manz (1919-2009)
Paul Otto Manz was an American choir and organ composer. Also a performer, Manz was most famous for his celebrated hymn festivals. Instead of playing traditional organ recitals, Manz would generally lead a "festival" of hymns from the organ, in which he introduced each hymn with one of his famously creative organ improvisations based on the hymn tune in question. The congregation would then sing the hymn with his accompaniment. Many volumes of these neo-Baroque chorale prelude improvisations have been written out and published and are among his most famous organ works, played by church organists throughout the world. Today’s Voluntary is one of those improvisations.