It's My Funeral. . .

So, I’ve been thinking about my funeral – not when it will be, but how it will be.  Specifically, I've been thinking about the physical space (it must be in a church and not a funeral home), the liturgy, and the music.

Many people don’t know I was baptized and confirmed in a Lutheran church. When my family moved to Florida in 1980 and I started working as a church musician, I never had any opportunities to be in a Lutheran setting.  It was when I started working for the Episcopalians that I rediscovered my love for the cycle of the church year and liturgical expressions – but, coming to St. Mark’s was like coming home.  As a result, I sometimes call myself a Lutheran with an Episcopalian aesthetic.

About the space:

I’ve always loved the Episcopal tradition of changing the paraments to white for a funeral, even when that funeral is in Advent or Lent.  I hope the Pastor will think that is okay and that the altar guild won’t object.  I plan to be cremated and request that the front of the church be generously adorned with icons and votive candles. I have a request for flowers: white plumeria.  The plumeria is a flower from my childhood and it always makes me happy to see one. A single lei would be lovely. Individual blossoms amongst the icons and candles would also be nice. (The flowers will have to be ordered from Hawaii or somewhere else.)

Also, my service draws greatly from Evening Prayer so I request that it be held at 6:00 p.m. on a Friday, Saturday, or Sunday evening. 

The stage is set – now what about the music and liturgy?

First, the music:

Please include at least one “big” organ piece. Two of my favorites are Walford Davies’ “Solemn Melody” and G. T. Thalben-Ball’s “Elegy.”  Any Bach Prelude and Fugue or other Bach piece would be appreciated.  Don’t be afraid to play it LOUDLY.
Choral Music Suggestions: “Blessed” by Paul Weber, “God’s Son Has Made Me Free” by Grieg, “God Me in My Head” as set by John Rutter or Andrew Carter, anything readily in the choir’s repertoire that would be suitable.

Other voluntaries should be based on traditional Lutheran hymns – that is hymns with texts by Lutheran composers. Anything from “Orgelbuchlein,” and arrangements by living composers is fine.  Please include at least one Scandinavian hymn – as long as it’s not “How Great Thou Art.”

The last piece should be the choral setting (Oregon Catholic Press, publisher) of the assembly hymn, “Holy Darkness” by Dan Schutte. The refrain should be printed for the assembly to sing. If it can be accompanied by guitar, all the better, but piano is fine, too.  (Some of my colleagues are shaking their heads, but I love this piece and after all, it is MY funeral.)

If the Pastor feels the service will be well attended, it should be advertised that thirty minutes of music will precede the service.  If the Pastor thinks attendance will be minimal, then one big organ piece and “Holy Darkness” will be sufficient music before the service.

Now, for the service itself:

The assembly stands. The Pastor (or an acolyte) carries a large lighted candle to the front.  The following dialogue is sung according to the tone on page 309 (Evening Prayer) in ELW.

At the font:

I am the resurrection and the life Ꞌ saith the Lord;

he that believeth in me, though he were dead, yet Ꞌ shall he live;

and whosoever liveth and believeth in me shall Ꞌ never die.

From the mid-point of the center aisle:

I know that my Re-Ꞌdeemer liveth,

and that he shall stand at the latter day up-Ꞌon the earth;

and that though this body shall be destroyed, yet shall Ꞌ I see God;

whom I shall see for myself and mine eyes shall behold, and not Ꞌ as a stranger.

From the front of the church:

Blessed are the dead, who die Ꞌ in the Lord;

even so saith the Spirit, for they rest Ꞌ from their labors.

After the candle has been set down, the hymn is sung.

Hymn: The Day You Gave Us, Lord, Is Ended (ELW 569)

A short silence.

O Gracious Light (S 59 in the Hymnal 1982)

This may be sung by a soloist or the choir, unaccompanied.

Prayer of the Day – the first prayer at the top of page 271 in ELW.

Psalm 121

My preference is for a soloist to sing “A Simple Song” from Leonard Bernstein’s “Mass.” If that is not possible, any musical version will do. It can be sung by the choir, or sung by the choir and the assembly.  It should not be simply read.

Old Testament Reading TBD

New Testament Reading TBD

Gospel Acclamation: All Who Believe and Are Baptized (ELW 442)

Gospel Reading TBD

No “sharing” from the assembly. I hope they will do that privately.

Use the hymns I have chosen as the basis for a sermon about the hope of the resurrection.  Note that this service includes portions of the Evening Prayer service as found in ELW and in the Hymnal 1982.  The Pastor may wish to say that I sometimes called myself “a Lutheran with an Episcopalian aesthetic.” That will explain a lot about this service.

Sermon

Hymn of the Day: Abide With Me (ELW 629)

Substitute this text for the last stanza.  It more accurately reflects my own beliefs about what happens when we die.  This stanza was written by me. That should be noted in the bulletin.

Hold, Lord, thy cross before my closing eyes.

Call me by name, and bring me to your side.

When morning breaks, salvation shall I see.

Till then, O Lord, let me abide in thee.

Creed

Prayers of Intercession

Communion

Communion Hymns

O Sacred Head, Now Wounded (ELW 351) If it can be done well, stanza 3 should be sung a capella in four-part harmony.

Lord, Thee I Love With All My Heart (ELW 750) For both hymns, please sing all of the stanzas – even if communion has been served to everybody by the middle of the second stanza of the first hymn.

The rest of the service follows as in ELW.

Sending Hymn: Love Divine, All Loves Excelling (ELW 631)

I’ve done it.  Not only have I written my wishes down, but I’ve put them in cyberspace for everyone to see.  I may change my mind about some of these things as time goes by.  Hopefully, I have plenty of time to make changes!

I don’t know how these things work.  Probably I will have no idea if these wishes are carried out.  If they are, this is my last chance to share my faith.  It will be my chance to say that death is not the end. It is like going to sleep in God’s care and keeping while we wait for the resurrection. 

“Even at the grave we make our song: Alleluia, alleluia, alleluia.”

The top two photos are from Wikipedia.

Update on 1/26/2019
These are the scripture readings I have chosen:
Revelation 7:9-17
1 Thessalonians 4:13-18
Luke 2:25-32

Ten Things I Love About My Job at St. Mark's

Last Sunday was my ten-year anniversary at St. Mark’s Evangelical Lutheran Church. I came into the office on November 20^th, 2006 and played my first service on Christ the King Sunday.  This year Christ the King was on November 20^th so my calendar and liturgical anniversaries were on the same day!

In honor of these ten years, here are “Ten Things I Love about My Job at St. Mark’s.  A word of caution: this is not a “top ten” list and the items are not being listed in any particular order. So here is my list, with just a few words about each one.

One thing not mentioned in any of the ten items is how grateful I am for all of the people who have become a part of my life during this time.  Pastor Bob Hale, our Interim Pastor, is fond of saying the important thing about being part of a church community is building relationships.  He’s right.

So, here is my list:

NUMBER ONE: Evangelical Lutheran Worship

We dedicated the new hymnal on Epiphany Sunday and I have to say that I love it.  I appreciate the variety of Holy Communion settings and I love that the introduction acknowledges ELW as “a core rather than a comprehensive resource.”  This hymnal is one of the best ones on the market.

 

We dedicated ELW in January 2007 with this "sculpture." People came from the pews to get a hymnal and take it back to their seats.  It was easy enough at 8:30, but we had difficulty recreating it at 11:00! Photo by Bill Daugherty.

NUMBER TWO: WEDNESDAY NIGHT REHEARSALS

Sunday mornings are great, but they couldn’t happen without the hard work of singers and handbell ringers in the middle of the week.  I am by myself for a good part of the week doing the work of practicing, planning, and preparing, so I look forward to Wednesday night when I am actually surrounded by people!

A choir practice selfie from earlier this year.

NUMBER THREE: THE NAVE

We worship in a beautiful space that has incredible acoustics for singing and instrumental music.  Groups that perform here enjoy performing in our space. One orchestra director pulled me close to whisper excitedly, “This room makes them sound better than they are!”  We are blessed that the San Marco Chamber Music Society calls our nave “home.”

NUMBER FOUR: The Evangelical Lutheran Church in America

Many know that I was baptized and confirmed Lutheran (American Lutheran Church). I moved here with my family in 1980 and we started attending church at NAS Jacksonville – where I also had my first two church music jobs.  I never had the opportunity to work for a Lutheran church until I came to St. Mark’s twenty-six years later!  That means I missed LBW (it had just started catching on the in the Wisconsin country churches) and the merger that created the ELCA.  I am proud of the work our denomination does and its perseverance in sharing the gospel of Jesus Christ. I am also happy to have returned to my roots.

The ELCA is known as the church of "God's Work. Our Hands." We observe GWOH Sunday each year with a Sunday of community service.

NUMBER FIVE: THE ASSOCIATION OF LUTHERAN CHURCH MUSICIANS

Every denomination has its association for musicians and I have been a member of many of them.  The ALCM has the best publications, the best networking, and it’s full of people who are willing (and anxious) to share their knowledge freely. Learn more about the ALCM at www.alcm.org.

NUMBER SIX: THE ORGAN UPGRADE

I am having such a great time with this upgraded instrument.  The original two manual Zimmer organ is still there, but the additions by Colby have vastly expanded the color palette of the instrument.  One of the best things was having Aaron David Miller dedicate the organ during a hymn festival. Read more about the upgrade in this older article from my blog: http://smljax.blogspot.com/2013/04/an-expanded-organ-for-st-marks.html

Aaron David Miller prepares for the festival.

These kids sang every hymn!

NUMBER SEVEN: FUNERALS

I was telling my sister about an upcoming funeral and she thought that might be a part of the job I wouldn’t like so much. The truth is I find great meaning in every funeral service.  Having been in this community for ten years, I have played services for people that I not only know, but I genuinely love.  It is a great honor to help the church commend its loved ones to God as they become part of the church triumphant.  Funerals are sad, I know, but the music and texts are so profound that I can’t deny the impact they have on forming my faith.  I hope the same is true for others.  My desires for my own funeral are laid out in my blog.  You can read that post here:

 http://smljax.blogspot.com/2015/04/its-my-funeral.html

NUMBER EIGHT: BACH VESPERS

When I was first told I would be expected to carry on the Bach Vespers tradition at St. Mark’s, I will admit that I was nervous.  Having never conducted an orchestra (except under very controlled circumstances in college), and not having many (okay ANY) major works under my belt, I knew I was in for a new experience.  I have to say that I find it extremely rewarding to present J. S. Bach’s music in the context of a Lutheran Vespers service.  I also have to acknowledge the vision of my predecessor, Jim Rindelaub. Without Jim, Bach Vespers might never have come to be.  This tradition involves members of the Jacksonville Symphony Orchestra and many singers from the community.  It is worth preserving.

Bach Vespers 2016

NUMBER NINE: WE HAVE BEAUTIFUL INSTRUMENTS

We have a harpsichord that was built by our own members under the direction of Brian Stout (another one of my predecessors), a gorgeous Yamaha grand piano, shiny handbells from the Whitechapel Foundry in England, and a Zimmer/Colby 36-rank pipe/digital organ that people who should know say is perfect example of a hybrid instrument.  If the nave were a playground and our instruments were see-saws and monkey bars, we wouldn’t be able to keep the kids away.  These instruments lend their support as we sing the church’s song.

Our handbell choir on retreat.

NUMBER TEN: CONTINUING EDUCATION

About four years ago I started working on a Master of Arts in Church Music degree through Trinity Lutheran Seminary in Columbus, OH.  This has been a time consuming and costly endeavor, but I have enjoyed great support from the folks at St. Mark’s.  The program at Trinity is such a perfect fit and I am learning much from it.

Some of my friends from Trinity on campus last summer.

There is a quote, attributed to Confucius that keeps showing up in my social media newsfeeds: 

Choose a job you love and you’ll never have to work a day in your life.

Every time I see it, I think, “Yes, I’m already doing that.”

Thank you, St. Mark’s, for a rewarding ten years.

Music for a Funeral

Many of you reading this blog know that my brother Adam recently died. His passing was sudden and unexpected. One morning, while jogging, he collapsed and never regained consciousness. Needless to say, my entire family was (and still is) devastated. When I was asked to serve as the organist for his funeral, I hesitated, but only for a second. Finally, I was grateful to have something to do – something I actually knew about!

The first order of business was to choose the hymns. I had already thought of this and had a few suggestions – three of which were used.

There is a saying in the organist world. If you don’t specify the hymns before you die, you’re going to get “Amazing Grace,” “In the Garden,” and “The Old Rugged Cross.” (Let me stress, there is nothing wrong with ANY of these, especially if they are what someone has requested.)
So these are the hymns and why they were chosen.
First, “Amazing Grace.” I know that conflicts with the last paragraph; but, I chose it because we sang it around Adam’s hospital bed during an intensely moving prayer service. Also, I know that Adam is in God’s care and keeping and that one day, we will all be with Adam “bright shining as the sun” and singing God’s praises together.

The second hymn was “It Is Well With My Soul.” Google the history of this hymn and you’ll learn that the author wrote it in response to the dreadful news that his wife and children had perished when their ship sank en route to America. Adam left three sons behind aged 16, 10, and 6. The first verses speak of sorrow with each one giving away to a refrain of a simple but solid statement of faith. The final verse speaks of the resurrection!

Finally, I chose “A Mighty Fortress Is Our God.” Adam spent some time in the Lutheran Church, but was baptized in a non-denominational (though Christian) service. At the time he died he was a member of a Presbyterian church. I have to admit I was thinking of Adam’s ancestors when I chose the hymn – hardy Norwegian Lutheran stock they were. If our loved ones meet us when we die, I know that some of those Lutherans were there waiting for him on the other side.

There was other music: Eric and Ellen Olson played the oboe and viola during the prelude, my niece Jessica played a guitar solo that Adam taught her, and Jessica accompanied another niece, Maya, who sang and made us all proud of her voice and poise. Finally, my brother and sister and I sang “Steal Away.”

I guess if this story has a moral, here it is. If you know what hymns you want to have sung at your funeral, then tell someone. I’m sure Adam, being only 37, never thought it was anywhere near the time to share that information. I hope he likes the ones we picked. Rest in peace, dear brother. We love you.

What's In the Box?

As you enter the nave for worship, what do you see that is different from just a few weeks ago?

One thing you’ll notice is that the color purple is all around you.  The cross behind the altar and the cross that leads the procession are covered with purple.  Even the pulpit, where the gospel is proclaimed and preached, has a new purple covering.  It is said that this rich color reminds us of repentance. It is also known to have been an ancient color for royalty, so it also signifies solemnity.  Repentance and solemnity are two of the hallmarks of Lent.

As this forty day (excluding Sundays) season begins, you might also hear some things you haven’t heard recently.  St. Mark’s long-time tradition has been to change the Holy Communion setting, including its complementary liturgical music, with each new season.  This year we took that a step further by introducing Holy Communion Setting Nine from Evangelical Lutheran Worship.

The Kyrie (“Lord, Have Mercy”) is deeply reverent with hints of jazz that give it a soulful, contemplative bent.  The Sanctus (“Holy, Holy, Holy”) also has a lushness that can’t be rushed. (Listen to the organ under the second syllable of “Ho-san-na.) As we get further into Lent, we’ll likely introduce the Agnus Dei (“Lamb of God”).

Interestingly, when setting nine first appeared in some provisional materials, many thought it would be too difficult for congregational singing, but recent discussions on social media show there are places where it has become a favorite setting.  Scott Weidler, the past Program Director for Music and Worship in the ELCA, has this to say:

Knowing that, during the ELW development, some thought setting 9 was too difficult . . . I (among others) predicted that it would take a while for it to be really noticed and become learned and loved. Here we are -- 10 years later -- having this conversation. I love it!

There is something else about the sounds of Lent, something more conspicuous by its absence than by its presence – and that is the ancient acclamation of praise, “Alleluia.”

Lent begins with Ash Wednesday and the Imposition of Ashes (Wikipedia)

Many liturgical churches hold a custom (the practice is a tradition, there is no liturgical mandate to eschew the word during Lent or any time) of “burying” the Alleluia during the season of Lent so that its first utterance at the Easter Vigil is especially joyous.  At St. Mark’s, our tradition has become one that includes ringing bells in darkness as the altar candles are lit, the organ fills the nave with an exuberant eruption, and we all sing that first “Alleluia” together.

So, on Transfiguration Sunday we sang an eleventh century hymn to honor this practice that dates to at least the fifth century:

            Alleluia cannot always be our song while here below:

            Alleluia our transgressions make us for a while forgo;

            for the solemn time is coming when our tears for sin shall flow. (ELW 318)

As we sang, the assisting minister carefully folded a banner with that wonderful word emblazoned on it, then laid it in a box.  When we conclude our Lenten journey, when we come to keep glad Easter with the faithful saints on high, we’ll sing it together with all of the joy of those who are redeemed.

Now you know what’s in the box. 

The box is resting under the altar. It was made by the son of Phyllis Green as a temporary vessel for her ashes during her funeral service.  It was given to St. Mark’s to be used in the same manner for future funeral services.

Music for the Fifth Sunday in Lent - April 7, 2019

Prelude: Out of the Depths I Cry to You (Aus tiefer Not)  ELW 600

setting, Kevin Hildebrand

Aus tiefer Not is one of the great hymns for Lent and one of just a handful of hymns penned by Martin Luther himself that can be found in Evangelical Lutheran Worship. Hildebrand’s setting uses two composition techniques simultaneously: ostinato and canon.

An ostinato is a part that repeats over and over again throughout a piece of music. The ostinato here is just four bars long and it undulates, perhaps like heavy waves over a deep part of an ocean. It’s played on the flute stops in the organ’s middle range.

The term “canon” may be better known by its more common name - “round.” One voice begins, then a second follows in exact repetition of the first at intervals – just like “Row, Row, Row Your Boat.”

First we hear the ostinato, then the melody begins in the pedal with the organ’s clarinet stop. The second voice comes in on the top manual (the swell) using the organ’s oboe stop.  As the two voices sing the tune of the hymn, the ostinato continues in the middle.

I chose this for the prelude because we’ve been singing a piece of Aus tiefer Not during the psalm from Thomas Pavlechko’s St. Martin’s Psalter. The refrain is built on the tune, as is the tone we’ve been chanting during the psalm stanzas.

I also chose this as a prelude because it reminded me of our Wednesday night “Restless” theme. Last night one of our prayer stations focused on Jonah. (If anyone in the Bible prays “out of the depths,” it’s this character.)

Gathering Hymn: My Hope Is Built on Nothing Less (The Solid Rock) ELW 596

Many church musicians work for a more somber tone in Lent. They don’t play preludes, they avoid bright sounds on the organ, they speak (rather than sing) certain portions of the liturgy. At St. Mark’s we typically “bury” the Alleluia, but I don’t avoid the organ’s trumpets and mixtures because Sunday is still a celebration of the resurrection. Most people know that Lent is a forty day season, but some aren’t aware that we don’t count the Sundays!

The last verse of this hymn begins “When he shall come with trumpet sound. . .” Expect to hear the organ’s trumpet sound on this stanza!

 

There are trumpets in here - and we'll get a taste on Sunday.

Hymn of the Day: Lord, Thee I Love with All My Heart (Herzlich lieb) ELW 750

I never knew this hymn before coming to St. Mark’s. Now I love it so much that I have added it to the list of hymns for my own funeral. (You can read more about that here: http://smljax.blogspot.com/search?q=funeral)

The final stanza asks “that I may die unfearing.” It continues “and then from death awaken me. . .” Expect to hear the trumpet again, reminding us that “. . .the trumpet will sound, and the dead will be raised. . . (I Corinthians: 15:52)

Musical Offering: Bread of the World Richard Shephard (Festival Choir)

A meditative choral setting with lovely communion text by Reginald Heber.

Bread of the world, in mercy broken,

Wine of the soul, in mercy shed.

By whom the words of life were spoken,

And in Whose death our sins are dead.

Look on the heart by sorrow broken,

Look on the tears by sinners shed;

And be Thy feast to us the token,

That by Thy grace our souls are fed.

Communion Hymns:

Jesus, Keep Me Near the Cross (Near the Cross) ELW 335

The words and music are by Fanny Crosby who is one of America’s best known (and loved) gospel hymn writers.

Beneath the Cross of Jesus (St. Christopher) ELW 338

Elizabeth C. Clephane (1830-1869), author of the text, was born in Edinburgh Scotland. Frederick C. Maker (1844-1927) wrote the tune to complement Clephane’s text.

Sending Hymn: When I Survey the Wondrous Cross (Hamburg) ELW 803

Postlude: How Firm a Foundation (Foundation) ELW 796

setting, Gilbert M. Martin

How Zimbelsterns and Bagpipes Are Alike

Have you ever heard the singing of angels?

I haven’t, but there is an account of angelic singing in the sixth chapter of Isaiah. The prophet tells of six-winged seraphs flying over the throne of God as they sing, ”Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory.” 

We sing the same song every Sunday! 

Sometimes a tinkling sound like delicate wind chimes accompanies the organ and the assembly singing. That is the zimbelstern. 

A zimbelstern is a wheel (sometimes intricately carved to look like a star) that has several small bells attached to it.  When engaged by the organist, the wheel rotates and the bells strike a rod producing a delicate, tinkling sound. It’s a common practice to play the zimbelstern when the assembly sings the Sanctus (“Holy, holy, holy”) to remind us that we are singing with angels. Zimbelsterns first began to appear in pipe organs during the 1500’s.  After 1700, they began to appear with bells tuned to specific pitches.

In addition to the Sanctus, I like to play the zimbelstern when the text brings images of water – particularly moving water, as in, “Wash, O God, our sons and daughters, where your cleansing waters flow.” (Ruth Duck, ELW 445)

A Facebook post recently suggested that it is a “Lutheran tradition” to play the zimbelstern during hymn stanzas that address or speak of the Trinity.  That’s why we heard it this past Christ the King Sunday during the singing of “All People That on Earth Do Dwell.”

“To Father, Son, and Holy Ghost,

the God whom heav’n and earth adore,

from us and from the angel host

be praise and glory evermore.” (William Kethe d. c. 1594, ELW 883)

The zimbelstern almost always makes an appearance for “Silent Night, Holy Night” - an aural representation of twinkling stars in the sky over Bethlehem. 

We have one member at St. Mark’s who is so enchanted by the zimblestern that he can barely contain his delight every time it is played.  He is so moved by the instrument that I recently told him if I am around to play for his funeral, the prelude will be a 30-minute zimbelstern solo.  He didn’t seem to think that was a terrible idea!

It’s not something I use every Sunday, but the zimblestern highlights the texts of our hymns and adds beauty to worship.  Less is more with zimbelsterns.  Played too much, they become tiresomely mundane.

Just like bagpipes.

Top photo: "God Surrounded by Seraphim" from "The Petite Heures of Jean de France" early 1400's via Wikipedia

Middle photo: one example of a modern zimbelstern

Video: the zimbelstern at St. Mark's with "Silent Night."  

Music for the Third Sunday in Lent - March 24, 2019

Prelude As the Sun with Longer Journey (Nagel) setting, David Lasky

The prelude is a setting of today’s Hymn of the Day – which will probably be new to most people.  The melody is prominent in this piece so that when we come to sing the hymn, the new melody should sound familiar.

Gathering Hymn Come to Me, All Pilgrims Thirsty (Beach Spring) ELW 777

Wildflowers - a sure sign of spring

Hymn of the Day As the Sun with Longer Journey (Nagel) ELW 329

There’s a very good chance that most people in our assembly will be singing this hymn for the first time.

The change of seasons is a natural phenomenon that we look forward to; however, this year’s change is bringing devastating floods throughout the Midwest, especially in Nebraska.  As we sing the hymn, we can also hold those who face this disaster in our prayers.

Musical Offering Guide My Feet, Lord arr. John Carter (Festival Choir)

Many songs from the African-American tradition were first passed along orally – which accounts for the many versions of “This Little Light of Mine” and of this hymn, “Guide My Feet.” As I was searching for more information, I found a blog post by Azizi Powell with lots of information and some fantastic videos showing the hymn used in a worship context.

https://pancocojams.blogspot.com/2014/08/five-examples-of-guide-my-feet-while-i.html?showComment=1553182643453#c2891977771763020142

Communion Hymn There in God’s Garden (Shades Mountain) ELW 342

This hymn is sung in the style of a hymn concertato with stanzas assigned to men, women and trebles, and the entire assembly.  There is even an organ interlude! The original version of the hymn, by a 16^th century Hungarian poet, was 15 stanzas long.  K. Lee Scott’s version is quite a bit shorter.

This is one of my favorite new hymns that I’ve learned since coming to St. Mark’s.

Sending Hymn What God Ordains Is Good Indeed (Was Gott tut) ELW 776

Postlude Cortège Gordon Young

In English, this title would normally refer to a funeral procession; but in French a “cortège” can be any kind of procession. This piece with its bold chords and allegro marking probably doesn’t involve a hearse.

A Passion Procession in Slovenia

Procession photo via Wikipedia: By Sl-Ziga - Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=6428993

Hear Our Harpsichord Twice in February

“Bist du bei mir” is a classic in the solo singer’s repertoire. The song, by J. S. Bach, is equally at home in the setting of a wedding or a funeral.

This Sunday the Festival choir sings “Oh Lord, My God, You Are My Refuge,” a choral setting of Bach’s melody with a different text. It will be accompanied by the prominent keyboard of Bach’s time – the harpsichord.

St. Marks’ harpsichord was built in 1977 while Brian Stout was the Music Director. The instrument, assembled from a kit, took about 2,000 human hours to build and cost about $1,000.00. The heaviest work was the sanding of the legs and stringing the instrument. 

Artwork by Saralyn Landquist, Fran Oglesby, and Connie Smith gave the instrument an authentic finish – making it look more like an instrument from the time of Bach than one built from a kit in 1977.

The artwork includes a bouquet of flowers on the soundboard with Luther’s rose in the center and delicate flowers along the edges of the music stand. The Reformation principles of “Sola Fide” (faith alone), “Sola Gratia” (grace alone), and “Sola Scriptura” (scripture alone), are boldly inscribed on the inside cover.

A nice finish is a listing of the names of those who helped build the instrument painted above the keyboard. Many of these persons have since joined the church triumphant, but their dedication and talent still inspire us.

Money was obtained from a memorial fund in honor of the late Hugh Alderman who was the Music Director at St. Mark’s for 24 years. This was certainly an appropriate way to honor his legacy.

Why a harpsichord? According to a quote in the Jacksonville Journal, Brian Stout gave this explanation:

J. S. Bach, also called the "fifth evangelist"

“First of all, the music in the (early) Lutheran church was written for chamber-type instruments. Bach wrote much of the music we use and much of what he did was for the harpsichord.”

Harpsichords are very different from pianos. With pianos the strings are struck by hammers. Harpsichord strings are plucked by a small device called a “plectrum.” This gives the instrument a delicate, almost tinny sound, that has more in common with a guitar than with a piano.

Today our harpsichord is nearly always heard at our Bach Vespers service (a tradition that started in 1990). It is also often used by the San Marco Chamber Music Society for their chamber music concerts.  In fact, it will be used in service to the music of Antonio Vivaldi in their next concert on February 10^th at 7:00 p.m.

The harpsichord is closed when it’s not in use, but if anyone wants to see it, I am happy to open it after church services.  It can also be viewed by appointment during the week.

Thank you to Eric Olson who does the tuning - and it has to be tuned every time it is used.

This harpsichord is a beautiful gift to the people of St. Mark’s and to the Jacksonville community. We are indebted to Brian Stout and all who helped build this beautiful instrument. May it always remind us that our music is “Soli Deo gloria” – for the glory of God alone.

Bach Vespers 2013 with the harpsichord in the center.