Liturgy Lessons, Nov. 6th, 2016
Prelude
Call to Worship: Psalm 135
Opening Hymn: All Praise to God, Who Reigns Above (#4)
Confession of Sin: (Based on Philippians 2)
Assurance of Pardon: Romans 5:1-3
Song of Assurance: My Faith Has Found a Resting Place (#468)
Catechism/Congregational Prayers
Tithes and Offerings
Doxology: #731
Sermon: Pastor Irwin
Meditation
Supper Hymns: At the Lamb’s High Feast We Sing (#420); O Great God (Bob Kauflin)
Closing Hymn: Lift High the Cross (#263)
Benediction
Postlude
My Faith Has Found a Resting Place
Tune: Norwegian Folk Melody Text: E.E. Hewitt (1851-1920)
This is a textbook case of a late 19th century testimonial hymn, sometimes called a gospel song. Charles Wesley’s contribution to hymns, along with the Second Great Awakening in America, led to this new style, and a subsequent explosion of gospel song writing in America. Fanny Crosby, Lina Sandell, Philip Bliss, Ira D. Sankey, and others produced testimonial music for revivals, camp meetings, and evangelistic crusades. The tune style or form is technically designated “gospel song,” as distinct from hymns. Gospel songs generally consisted of verses followed by a refrain (or chorus). Compare “Amazing Grace” (hymn with no refrain) to “How Great Thou Art” (gospel song with refrain). These two song comparisons also are a great example of the hymn-writing progression throughout the 19th century. There was a generational shift from the theological to the testimonial, where songs focused more on personal devotion and emotional response to God, and less on the exposition of truth about God.
This particular gospel song is almost identical in rhythm, form, and content as the more well-known “Solid Rock” (a.k.a. “My hope is built on nothing less”). The hymn was published in 1891 by Eliza Hewitt under the pen name Lidie H. Edmunds. Little is known about the specific story behind this particular hymn, but we do know a bit about Eliza’s life. She was a public school teacher in Philadelphia who suffered a spinal injury after being struck by a student with a heavy slate. This forced her to retire from teaching and made her an invalid the rest of her life. However, she was still involved with children in Sunday School and served as superintendent at the Northern Home for Friendless Children. The first line of this hymn has been altered in our hymnal. The original version says “my faith has found a resting place, not in device or creed, it is enough that Jesus died, and that he died for me.” This is a re-working of Augustine’s statement that “our hearts are restless until they find their rest in Thee.” Eliza’s testimony, put to a very simple folk tune, is a real gift to us. It is a modern sung version of this passage of scripture:
“And I, when I came to you, brothers, did not come proclaiming to you the testimony of God with lofty speech or wisdom. For I decided to know nothing among you except Jesus Christ and him crucified. And I was with you in weakness and in fear and much trembling, and my speech and my message were not in plausible words of wisdom, but in demonstration of the Spirit and of power, so that your faith might not rest in the wisdom of men, but in the power of God.”
1 Cor. 2:1-5
Link to sheet music and accompaniment: https://www.hymnal.net/en/hymn/h/330
All Praise to God, Who Reigns Above
Tune: Mit Freuden Zart (Bohemian Songbook, 1666) Text: Johann Schütz (1675), tr. Frances Cox(1864)
Last week we learned that “A Mighty Fortress” was written in a musical structure called “bar” form (AAB). Unfortunately, the confusion of the term “bar” has led some people to think that Luther lifted the song from a local pub. That’s on par with suggesting the bar exam takes place at the local tavern. I call this getting hysterical instead of historical. Well, here we have another one of the great hymn tunes of the reformation in “bar” form. If you look at the music, or just sing it through, you will notice that the first four measures (phrase A) are repeated, and then the song closes with a separate musical section (phrase B). This very popular song structure found common use in post-reformation Germany. Now, it is frequently noted that the Germans just know how to make stuff that works! And here we have a stout melody that is genuinely well-engineered for the voice. Were this tune matched with another text—perhaps one that speaks of “Frankfurters und Fussball”—I could imagine beer steins raised and swinging in rhythm during the singing. This tune somehow manages to have the lightness and lilt of triple meter without losing the weight and pomp of a regal anthem. As it marches along, we declare attributes of God’s loving care for His people. The Ephesians 5:19 exhortation is exemplified in this hymn. “Speak to one another with Psalms, hymns, and spiritual songs”. There are many sections in which we call to each other with shouts like “O thank Him, thank our God with me” functioning as an overt invitation to the dance. The sixth verse, especially, discourages wallflowers in worship. “Then come before his presence now and banish fear and sadness. To your redeemer pay your vow, and sing with joy and gladness.”
Link to sheet music: http://www.hymnary.org/hymn/TH1990/4
Link to suggested recording: https://www.youtube.com/watch?v=lL0fIgaVZfY
Link to Bach’s setting: https://www.youtube.com/watch?v=Ow-QQ8yh3a4
O Great God
Music and Words by Bob Kauflin (2014)
“Sing to the Lord a NEW song.” Three Psalms (96, 98, and 149) start with precisely these words. Adding to that theme are passages like Isaiah 42:10 (“sing to the Lord a new song”), Psalm 33:3 (“sing to him a new song”), and Psalm 144:9 (“I will sing a new song to you, O God.”). These lessons are full of the “good ol’ songs,” as my grandfather used to call them. However, as one of those old hymns tells us, “streams of mercy, never ceasing, call for songs of loudest praise.” As long as God is actively pouring forth his grace and mercy, his wonders and works, it is fitting that we find new and fresh ways to respond. A perfect example and defense of this is found in Psalm 40:
I waited patiently for the Lord; he inclined to me and heard my cry.
He drew me up from the pit of destruction, out of the miry bog,
and set my feet upon a rock, making my steps secure.
He put a new song in my mouth, a song of praise to our God.
In response to this biblical mandate, many faithful souls have been writing new contemporary hymns that are artfully crafted and theologically minded. One of those servants of the church is Bob Kauflin, director of Sovereign Grace music, and pastor at Sovereign Grace Church in Louisville, Kentucky. “O Great God” is a beautiful new hymn based on the prayer “Regeneration” from the puritan prayer collection entitled Valley of Vision. Very similar to many of the new Getty hymns, it has a singable and folk-like melody. I’m not sure if he intended to do this, but this hymn is written in a sort of revised “bar” form. And, though we may not be at the taproom swinging pints and hollering some contemporary chant at the giant screen in celebration of a touchdown, we would do well to at least match that fervor and enthusiasm. After all, the victory we celebrate is eternal!
For more of Bob’s work you can visit www.sovereigngrace.com or www.worshipmatters.com
Lead sheet, lyrics, recording, and more info can all be found at:
http://sovereigngracemusic.org/music/songs/o-great-god/