Liturgy Lessons, Oct. 30, Reformation Sunday
This week’s liturgy is special in content and unique in format. In it we celebrate and affirm the
five “solas” that ground the reformed branch of the Christian faith. Reformation Sunday is always the last Sunday in October, marking the occasion in 1517 when Martin Luther posted his 95 theses on the church door in Wittenberg, Germany.
Prelude
Prayer of Invocation
Scripture Alone: 2 Peter 1:17–‐19
Christ Alone: John 14:6 & Acts 4:11–‐12
Hymn: In Christ Alone (Getty)
By Grace Alone: Romans 3:23–‐24
Through Faith Alone: Galatians 2:16
Hymn: #461 Not What My Hands Have Done
Glory To God Alone: Ephesians 3:20–‐21
Hymn: #38 Immortal, Invisible, God Only Wise
Catechism/Congregational Prayers
Tithe/Offerings
Doxology: #731
Sermon: Eric Irwin
Meditation
Supper: #261 What Wondrous Love is This/ #281 I Know That My Redeemer Lives
Hymn: #92 A Mighty Fortress
Benediction
This week we commemorate Reformation Sunday, and it seems fitting to begin with Martin Luther and the reformers, who displaced—virtually overnight—1,000 years of high church ritual. They objected to the distractions of elaborate vocal and instrumental music, particularly when it carried a Latin text that was unintelligible to the common man. They preached against the unwarranted expense of elaborate ceremonies and enormous pipe organs. The zeal is understandable, given these element’s association with such gross corruption and false teaching. Before one builds up, one must tear down, and so the reactionary rancor of the Reformation brought much loss and destruction in the area of art and music. The cleansing of the church’s artistic canvas throughout Europe was something of a radical loss that held unfortunate and far-reaching musical implications for the church. But Luther’s stated goal was never the regulation of music, nor theatrical spectacle, but rather the restoration of true worship. He understood the tremendous benefit resulting from hearing the Word of God and then uniting as a congregation to offer thanksgiving in song. This stress of congregational participation in worship became a lynchpin of the Reformation, and is present in the DNA of all reformed churches. The Lutheran church’s most important musical contribution was the Kirchenlied (church song), or in English, a chorale, which essentially is the grandfather of our modern hymn. And so, after centuries of silence in church, the common people were once more given the opportunity to use their own voices to praise God in song. What a thrill it must have been to hear all the voices in those great cathedral spaces!
Not What My Hands Have Done
Text: Horatius Bonar, 1861 Tune: George William Martin, 1862
Scripture References:
vs. 1 = Tit. 3:5
vs. 2 = Eph. 1:7, Eph. 2:8-9, Heb. 9:11-12
vs. 3 = John 14:19, 1 John 4:10,
The famous Scottish preacher and hymn author Horatius Bonar (1808-1889) wrote this text in 12 four-line stanzas, each beginning with the line “Not what these hands have done.” Bonar, a staunch Calvinist, subtitled the text “Salvation through Christ alone.” Our salvation is entirely due to the grace of God, our own works have no merit at all, and nothing but the blood of Christ will do (st. 1-2); our natural response, then, is praise, for “my Lord has saved our life” (st. 3)!
Bonar was educated at the University of Edinburgh. At the age of 30 he became a preacher in the Presbyterian Church of Scotland. Bonar was a prolific, popular author of tracts, sermons, and hymns (even though his congregation sang exclusively psalms during much of his life). One of Bonar’s great interests was biblical prophecy and the return of Christ, an interest reflected in some of his hymns. He published several hundred hymns in collections such as The Bible Hymn Book (1845), Hymns of Faith and Hope (1857,1861), and Hymns of the Nativity (1879). Many were written casually, illustrating very little interest in poetic finesse, but a few have had staying power and are still found in many modern hymnals.
One confession: I used to abhor the music to this hymn. It seemed to me to have no nuance or shape. It just plodded along in repeated quarter notes and reminded me of a young child pounding mindlessly on the piano. Then I had a revelation. The melody illustrates the title, “not what my hands have done.” Surely only a simple, non-crafted, pedestrian melodic line could support this notion of peaceful resignation. If it were more florid and complex, it would display too much effort and performance. Indeed, nothing we construct or craft out of our lives can build a tower that rises above our own need for grace. Sometimes something that is shallow and simple can run clear, like a mountain stream. So, we bend low, scoop up the simple waters of this hymn, and are refreshed by the streams of mercy that ever flow from our Lord.
Sheet music: http://www.hymnary.org/media/fetch/95996
Suggested recording: https://www.youtube.com/watch?v=26FQCAiOhxA
Immortal, Invisible, God Only Wise
Text: Walter Chalmers Smith (1867) Tune: St. Denio, Traditional Welsh melody
Lest you thought all Welsh tunes were austere and set in minor keys (think “O the deep, deep love of Jesus”), along comes this vigorous and slightly pompous melody in the very sunny key of G-major. And the cheerful liveliness is fitting for a hymn whose poetic themes are brightness, immortality, and glory. The Scottish poet and Presbyterian pastor Walter C. Smith based this text on 1 Timothy 1: 17: “Now to the King eternal, immortal, invisible, the only God, be honor and glory for ever and ever.” Walter C. Smith was educated at the University of Aberdeen and New College, Edinburgh, and served in the Free Church of Scotland from 1850 until his death in 1894. His poetry was published in some six volumes, entitled Poetical Works (1902), and his hymn texts were published in Hymns of Christ and the Christian Life (1886). Smith wrote many hymns, but this is the only one in regular use today. It represents what is often the best attribute of hymns: eloquent expression in the text, a poetic depth, and literary craft that counters much of our cultures flippancy and carelessness with words. And yet, even these expertly crafted and thoughtful words fall well short of explaining the ineffable brightness of God’s glory. The hymn overall focuses on the invisible Composer of the Cosmos whose visible creation testifies to his glory and majesty. The first magnum opus of God’s creation was Light. And this image of “Light” dominates stanzas 1, 2, and 4 (see also Ps. 104:2). Similar to “O Sacred Head, now wounded”, this hymn tune named after the patron saint of France (ST. DENIO), is based on a folk song. “Can mlynedd i nawr” (“A Hundred Years from Now”) is a traditional Welsh ballad popular from the early nineteenth century. It was first published as a hymn tune in 1839.
Link to sheet music: http://www.hymnary.org/media/fetch/100827
Link to text and piano accompaniment: http://www.opc.org/hymn.html?hymn_id=339
A Mighty Fortress is our God
Words and Music: Martin Luther (c. 1529)
“A Mighty Fortress Is Our God” (German: “Ein feste Burg ist unser Gott”) has been called “the battle hymn of the reformation.” It is not only one of Luther’s best known hymns, but one of the most popular hymns in all branches of western Christianity. The words, which are a paraphrase of Psalm 46, are inscribed at the base of Luther’s monument in Wittenberg. Recent research suggests that Luther himself wrote the tune, which is contrary to the myth that it originated as a popular song overheard in the bars and pubs. In fact, the mistaken and popular notion that Luther converted this bar tune for use in the church is entirely false and based on a silly misunderstanding. The word “bar” refers to the musical bar-form (AAB), and not an actual place of public drinking. A Mighty Fortress is a textbook example of bar-form, where the first musical phrase (phrase A) is repeated, and then the last half of the hymn is different music (phrase B). The original version of the tune is quite rhythmic, and stands in stark contrast to the more isometric “white bread” version we sing today. It has inspired many composers, who have quoted and used the material throughout its history. Bach based an entire cantata (BWV 80) on the hymn, and quoted it in his Christmas Oratorio. If you come early to the Hymn Sing this Sunday night, you will hear an excerpt of Bach’s setting at the end of the Prelude. Other composers who have based material on this hymn include Handel, Pachelbel, Wagner, Mendellsohn, Debussy, and Vaughan Williams.
“An imperishable hymn! Not polished and artistically wrought but rugged and strong like Luther
himself, whose very words seem like deeds” Heinrich Heine(famous German poet)
Sheet music: http://www.hymnary.org/media/fetch/96175
Historical(original) version: http://www.hymnary.org/hymn/UMHS1991/page/77
Recording of Bach’s chorale setting: https://www.youtube.com/watch?v=3GwvIdV6vbA
This week’s liturgy lesson, in creative celebration of Christ, has been brought to you by the letter “C”:
Creator, Counselor, Comforter, the Changeless and Chosen Christ. Composer of the Cosmos. Crafter of Coastal Cliffs, Conifer Forests, and Crater Lake. Constantly Changing the Celestial Canvas. Creator of Color, Cascades, and the Climate. Commander and Celebrator of every Chirp, Chuckle, Chant, and Cheer. Everything that Creeps, and Clucks, and Crawls. Chef who comprehended Cheese and Coffee! We can’t comprehend his ceaseless creativity. “C’mon Christians! Clap and celebrate!”