Hymn of the Day: “When I Survey the Wondrous Cross” (ELW 803)
Text: Isaac Watts (1674-1748)
Tune: HAMBURG, Lowell Mason, (1792-1872)
One Sunday afternoon the young Isaac Watts (1674-1748) was complaining about the deplorable hymns that were sung at church. At that time, metered renditions of the Psalms were intoned by a cantor and then repeated (none too fervently, Watts would add) by the congregation. His father, the pastor of the church, rebuked him with "I'd like to see you write something better!" As legend has it, Isaac retired to his room and appeared several hours later with his first hymn, and it was enthusiastically received at the Sunday evening service the same night. Although the tale probably is more legend than fact, it does illustrate the point that the songs of the church need constant infusion of new life, of new generation's praises. Though "When I Survey the Wondrous Cross" was intended originally as a communion hymn, it gives us plenty to contemplate during Lent as our focus is on the cross Christ.
Lowell Mason was an American music director and banker who was a leading figure in 19th-century American church music. Lowell composed over 1,600 hymn tunes, many of which are often sung today. His best-known work includes an arrangement of “Joy to the World” and the tune Bethany, which sets the hymn text "Nearer, My God, to Thee." Mason also set music to "Mary Had a Little Lamb." He is largely credited with introducing music into American public schools, and is considered the first important U.S. music educator. He has also been criticized for helping to largely eliminate the robust tradition of participatory sacred music that flourished in North America before his time. Lowell Mason composed HAMBURG (named after the German city) in 1824. The tune was published in the 1825 edition of Mason's Handel and Haydn Society Collection of Church Music. Mason indicated that the tune was based on a chant in the first Gregorian tone.
HAMBURG is a very simple tune with only five tones; its simplicity allows us to focus entirely on the text.
Offertory: “The Serpent" Thomas Pavlechko
Born into a Slovak-Ukrainian family of organists, pianists, vocalists, accordionists and folk dancers, Thomas Pavlechko was dancing to the music of family polka bands at the age of 4, on the piano bench by age 6, playing tuba in the school band by 11, sneaking onto the church organ bench by 12, and earning five dollars a Sunday as a self-taught church organist by 15, a post once held by three of the eight relatives who are organists, including his mother. The family’s combined service as organists has topped a century and a half. He also began arranging music for small instrumental ensembles with the hopes of someday becoming a band director.
Pavlechko’s first hymn tune was sketched at a picnic table after a summer worship meeting in 1982. Two of his hymn tunes were published in 1994. Now 73 of his 107 hymn tunes are in print in denominational hymnals and hymn collections across four continents.
In 2002, the Churchwide Offices of the ELC in America appointed him to serve on the Liturgical Music Editorial Team to assist in choosing and editing the liturgical music for ELW, which also includes his own liturgical music settings and hymns.
So today we slither and hiss through Thomas Pavlechko‘s setting of text by Richard Leach.
Richard Leach is a leading contemporary writer of words for hymns. Using traditional forms, he creates striking new texts with biblical and theological integrity. His work is included in hymnals and hymnal supplements from a wide spectrum of denominations. Leach describes his writing in this way: "I often write in response to particular Bible passages. I try to tell familiar stories in new ways, or listen to less familiar passages for what they might say to us. I want my hymns to enliven those who sing, to give singers something new which they can make their own."
“What do you ssee?” the sserpent ssaid. The woman answered “Death.” “It is not death,” the sserpent ssaid, “It surely is not death.” “I see what God told us to see,” The woman quickly said. “Ssee what I ssay,” the sserpent ssaid. “Ssee what I ssay,” it ssaid. “What do you ssee?” the tempter ssaid, The Savior answered, “Stone.” “Must it be sstone?” the tempter ssaid, “It surely could be bread.” “Let it be stone,” the Savior said, “For life is more than bread. See what the scripture says,” he said, “See what the scripture says.” We see what we are told to see Whom shall we listen to? Give us the grace, O God, to see What we are told by you.
Opening Voluntary: “Stockton,” Noel Rawsthorne (1929-2019)
The tune “Stockton,” by Thomas Wright, is most often found paired with the text “O For a Heart to Praise My God” and sometimes with “In Christ there is no East or West.”
Christopher Noel Rawsthorne was a British liturgical and concert organist and composer of music for his own instrument, as well as choral music. At the age of eight he became a chorister at Liverpool Parish Church which started his interest in the pipe organ. Two years later, he became a chorister at Liverpool Cathedral and started organ lessons under Caleb Jarvis.
In six years time he later pursued organ studies under Harold Dawber after receiving a coveted exhibition. In 1949, he later became the Assistant Organist of the cathedral, and also received Associateship of the Royal College of Organists (ARCO) and was later elected a fellow (FRCO) in 1953.
He also studied in Italy with Fernando Germani and later in Paris with Marcel Dupré. He became Organist of Liverpool Cathedral in 1955, succeeding Harry Goss-Custard, and served in this capacity until 1980. Until 1993, Rawsthorne was Senior Lecturer in Music at St Katharine's College, Liverpool.
Closing Voluntary: “Crucifer” Ronald Arnatt (1930-2018)
Ronald Arnatt was born and educated in England but emigrated to the United States. He was an organist, choir master, composer, teacher, mentor and music editor who served as music director at Christ Church Cathedral in St.Louis, MO for a quarter-century.