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Water, Blood, Spirit Crying

LORD OF LIFE LUTHERAN CHURCH

Music Notes

10 May, 2015

 

“Water, Blood, Spirit Crying” This hymn text and tune are new to Lutheran Service Book, although our church sung it for several years now.

            Pastor Stephen Starke, a friend of Lord of Life’s music ministry and author of a couple dozen hymn texts in the new hymnal, penned this text based on I John 5: 5-8:

 

Who is it that overcomes the world? Only he who believes that Jesus is the Son of God. This is the one who came by water and blood. And it is the Spirit who testifies, because the Spirit is the truth. For there are three that testify: the Spirit, the water, and the blood; and the three are in agreement.

 

Of course, simply reading this vivid hymn text will recall to mind other scriptures, particularly of baptism, and the hymn itself may be found in the baptismal section of the hymnal. Consider the Christocentricity of the first stanza, how all points to Christ: “Water, blood, and Spirit crying, By their witness testifying to the One whose death defying life has come, with life for all.” This stanza does not point us to our emotions, or to a charismatic personality, or to a mountaintop experience, elements which seem to confuse many in our modern culture. Consider the baptismal implications of stanza two: “In a wa’try grave are buried all our sins that Jesus carried; Christ, the Ark of Life, has ferried us across death’s raging flood.” What imagery! Of course the watery grave of sin is accomplished in our baptism, but also notice Starke’s allusion to the Flood which washed away the sinful world, from which only those who were faithful were carried to safety in the Ark. Our baptism washes away our sinfulness in the eyes of God in the same way the Flood cleansed the earth. And what other hymn continues this way? “Dark the way, yet Christ precedes us, past the scowl of death He leads us; spreads a table where He feeds us with His body and His blood.” This dramatic imagery, in the mind of the anonymous writer of music notes at least, calls to mind Greek mythology in which the deathly Charon ferries across the River Styx the newly-deceased soul, only to meet the ferocious scowl of the three-headed canine Cerberus, whose constant task it is to guard the gates of Hades. This story frightened this writer when he was little, but when we grow up we tend to lose our fear of such abstractions. Yet, in reality, we know that “Your enemy the devil prowls around like a roaring lion looking for someone to devour.” (I Peter 5: 8) Christ’s act of salvation bears little meaning if we know not from what it saved, and we know that sin and death have brought corruption into the world. The hymn continues this thought, “Though around us death is seething, God, His two-edged sword unsheathing, by His Spirit life is breathing through the living, active Word.” Here we turn from Law to Gospel! Death may be “seething,” but God’s victorious sword is able to defeat death and Satan. How is this done? Through the “living, active, Word.” Here is Starke’s strong Lutheranism evident—rather than being shaped spiritually simply by our experiences and feelings, the Holy Spirit works through the Word of God. When it is preached and read on Sunday morning, when it forms the core of our hymns and liturgy, and when it is studied at home, God’s Word has prominence, exemplifying the core principle of the Reformation, sola scriptura, scripture alone. In the words of the final stanza, it is only “Spirit, water, blood entreating, working faith and its completing in the One whose death defeating life has come, and life for all.” Through the Word the Holy Spirit is active, through the Word the sacraments are imbued with meaning, and through the Word we know that our salvation has been accomplished through the “blood.”

            This tune, composed by another friend of Lord of Life’s music ministry, Jeff Blersch, is sung today in a concertato (organ/instruments/choir/congregation) arrangement also composed by Dr Blersch. The anonymous writer of music notes asked him to write a few sentences to you, the half dozen readers of music notes, about what this tune means to him as composer:

 

When I first saw the poem that Pastor Starke had written, he had titled it:  “Water, Blood, and Spirit:  The Three Witnesses.”  When the hymnal committee decided to use my tune, they asked me what the tune name was.  So, I thought back to Pastor Starke’s original subtitle, focusing on the word “witness.”  The first thing that came to my mind was my grandfather, Otto Filter, who was (and probably still is) one of the greatest Christian witnesses I have ever known.  He was a life-long LCMS member, church musician in Cincinnati, and very active in the LLL.  So I decided to name the tune FILTER in honor of him.  (As a side note, I thought he would just be tickled pink to see his name in the new LCMS hymnal!).

 

This hymn may be new to you, and discomfort often besets those who are learning new tunes, but this is such a strong hymn text and tune that we will be singing it much in the future in our efforts to utilize even more of the rich, evangelical resources found in the hymnal.

 

Posted by Benjamin Kolodziej with

At the Lamb's High Feast We Sing

“At the Lamb’s High Feast”  This hymn text originated in the medieval age.  All hymns from this time were written in Latin, as it was not until the Reformation in the sixteenth century that hymnody in the vernacular (“common language”) was sung.  This text, “Ad coenam Agni providi” comes to us from an anonymous author (as most early hymn texts were), although this hymn was early spread to England, Italy and Spain.  Technically, this is an Easter text.  However, there is no reason not to sing Easter hymns throughout the church year (except maybe for Lent), and there are good reasons to sing them year-round.

            Most likely this hymn was used at the Easter Vigil services.  In the early and medieval Church, catechumens, or those adult converts who had studied the Christian faith for as long as three years, were baptized only on Holy Saturday’s Easter Vigil (the evening before Easter morning) and on Pentecost.  Donning a white alb symbolizing rebirth in Christ, these new converts would be baptized (usually they were dunked in the water—the early church knew nothing of the candy dish that so often passes for a font in our churches), were confirmed and then received first communion.  In some circles, particularly in England, Pentecost is still known as “Whitsuntide,” or “white Sunday,” in reference to the white albs worn by the converts to be baptized.  Easter Vigil on the other hand is a commemoration of Christ “passing from death to life” which, from a theological perspective, is what happens at baptism.  Notice the death/life eucharistic imagery used in this hymn.  The first stanza praises the “victorious king,” Christ, “Who has washed us in the tide flowing from His pierced side.”  Christ’s blood shed at Calvary cleanses and effects forgiveness through baptism.  We sing in the second stanza that “Christ the victim, Christ the priest” has given “his sacred blood for wine, give his body for the feast.”  In the Old Testament sense, Christ was the “priest,” offering the sacrifice to God on behalf of the people.  Yet, unlike those ancient priests, he was the sacrifice himself.  This concept of God sacrificing Himself (in the context of the Trinity) for the sins of the people for no account of their own is a theological concept unique to Christianity.  In all other religions, humanity must come to God.  In Christianity, God comes to humanity.

            Notice further Old Testament imagery in the third stanza.  “Where the paschal blood is poured, death’s dread angel sheathes the sword;  Israel’s hosts triumphant go through the wave that drowns the foe.”  In a metaphorical sense, we modern humans are like Israel.  We, too, are saved from the ravages of Satan the foe (ie., pharoah) by a God who first leads us by cloud and pillar of fire, and who “drowns the foe” not by the waters of the Red Sea but in the waters of baptism.  Baptism may not be an outwardly dramatic event (especially the way candie-dish-using Lutherans practice it), but inwardly it is no less dramatic than the Red Sea falling in on the advancing chariots.

            The fourth stanza praises Christ, the “Paschal victim, paschal bread;  with sincerity and love eat we manna from above.”  From the term pascha we derive “passion.”  We speak of Christ’s “passion” as being the time preceding His death.  He has fulfilled the Old Covenant so that the manna we eat from above is His own body—a eucharistic theology at once fulfilling the foreshadowing of the Old Testament. 

            As with any good hymn, there is much more to be said.

 

Posted by Benjamin Kolodziej with

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