Here’s one for Danny McKenzie, who created our “From the Choir Loft” category.   The lyrics were composed by Charles Wesley in 1739, based on verse 26 in the sixteenth chapter of the Acts of the Apostles.  Here’s the 4th Stanza:

Long my imprisoned sprit lay,
fast bound in sin and nature’s night;
thine eye diffused a quickening ray;
I woke, the dungeon flamed with light;
my chains fell off, my heart was free,
I rose, went forth, and followed thee.
My chains fell off, my heart was free,
I rose, went forth, and followed thee.

It’s Number 363 in the United Methodist Hymnal.

h/t to Sky McCracken

Proclaim the Good News of Peace

“He comes to us as One unknown, without a name, as of old, by the lakeside, He came to those men who knew Him not. He speaks to us the same word: ‘Follow thou me!’ and sets us to the tasks which He has to fulfill for our time. He commands. And to those who obey Him, whether they be wise or simple, He will reveal Himself in the toils, the conflicts, the sufferings which they shall pass through in His fellowship, and as an ineffable mystery, they shall learn in their own experience Who He is.”

This is not to re-engage in that December discussion, only to state that “He Comes to Us” will be one of two anthems the choir sings at Sunday’s 11 o’clock service (the other a jazz rendition of “Jesus Calls Us”).  Of all the choral works I’ve sung, “He Comes to Us” would easily be in my Top Five.  I encourage you to tune in.

— Danny

This year’s program — as is usually the case with the Divine Miss C in charge — is an interesting mix of the traditional and, uh, not-so-traditional music.  One of the prettier traditional pieces is “Bring a Torch, Jeanette, Isabella.”  So that the MVT Class can demonstrate its natural sophistication to the rest of the congregation, here’s the background for the piece … from that source of all knowledge, Wikipedia:

“The carol tells the story of two milkmaids, Jeanette and Isabella, who went to milk their cows in a manger in Bethlehem, only to find the baby Jesus sleeping in the hay. The two girls ran to town to tell the village of the coming of Christ, and the townspeople came with their own torches to view the sight for themselves. However, they had to keep their voices down so little Jesus could enjoy his dreams. To this day in the Provence region, children dress up as shepherds and milkmaids, carrying torches and candles to Midnight Mass on Christmas Eve, while singing the carol.”

So there you have it; when someone asks who those two women are the choir sang about, you’ll be able to enlighten them — which, of course, is the true mission of the MVT Class.

 – Danny

We don’t sing in unison — not always in harmony — but we do sing together.  As the Church, we are God’s people for this time . . . we are a “royal priesthood”.  That charge imposes a discipline on us that, if we take it up with a willing spirit, can be transforming.

As we enter the last two weeks of Treasures, let’s re-double our commitment to attend daily to God’s word, and listen prayerfully for what he requires of us in the coming year.

Singing together, we are the Church.

Several times this past week, the subject of favorite hymns has come up (although not many comments have been forthcoming).  Well, blog now or forever hold your peace.  The United Methodist General Board of Discipline will be asking the 2008 General Conference to form a committee to create a new hymnal.  The GBOD is conducting a survey where you can select your ten most favorite and ten least favorite hymns from the UM Hymnal and The Faith We Sing.  You can take the survey by going to HymnSite.com and clicking on the New Hymnal Survey link.  Let your voice be heard!

And — after you’ve had a chance to look through the list — post your comments on songs that aren’t on the list.  Maybe the GBOD needs help in bringing back some old favorites that aren’t there.

While reaching perfection seems an impossible task, it helps (greatly) to consider an older definition of that term. In her book Amazing Grace: A Vocabulary of Faith, author and minister Kathleen Norris explains that the term “perfection” had a different meaning during Wesley’s day: “To those who originally heard it, the word would convey ‘mature’ rather than what we mean today by ‘perfect.’ To ‘be perfect’ in the sense that Jesus means it, is to make room for growth, for the changes that bring us to maturity, to ripeness. … Perfection, in a Christian sense, means becoming mature enough to give ourselves to others.”

Well, now, what does all that have to do with the hymns of Charles Wesley, John’s little brother?

In order for us to move on to perfection — to become more mature in our faith — our understanding of what we say we believe must become deeper with each passing day. Hymns can take us there, particularly Charles Wesley’s.

One of the best ways to fully comprehend God’s love for us, I believe, is to not merely sing the songs of our faith, but to concentrate on the words and their message. Such concentration takes church music to a whole new level.

Like many in this class, I grew up going to Sunday school, church, Bible school, and singing in children’s choirs; hearing all the Bible stories and lessons from little gray-haired church ladies. I can tell you in all honesty, though, it wasn’t until my 42nd year and I was in a choir singing the fourth stanza of Wesley’s ‘Tis Finished! The Messiah Dies, until I fully understood the Resurrection.

Oh, I’d heard about “Jesus dying for our sins” and all that, but when I sang the words — and it wasn’t the first time I’d sung them — “Satan hath lost his mortal power” it all clicked. Sure, I had a very basic understanding of what it all meant but for some reason, at that particular moment, it all made perfect sense. Maybe it was because that morning I was more open to hearing the message. We all have days like that, you know. Stated another way, though, maybe it was because I had matured in my faith. Maybe I was “going on to perfection.” I’d like to think so.

Sunday’s musical service in honor of Charles Wesley’s 300th birthday will be a special service and a powerful service. I urge you to follow “John Wesley’s Directions for Singing,” particularly the last bit of instruction: “Above all sing spiritually. Have an eye to God in every word you sing.”

I promise you, it can be a life-changing experience.

— Danny

The hymns printed in today’s message are those of repentance;  accepting our sinful nature and reliance on God’s grace through justification being reconciled with God.  We experience a rhythm or flow in our worship;  from Him to us, and then from us back to Him.  We are enlivened and we strengthen one another when we praise God with our voices through our introits, graduals, responsive psalms, antiphons, hymns, and spiritual songs.  Songs in worship are, in my opinion, group prayers.  Placing our prayers to music helps us to memorize the words contained in the prayers, sets the tone for our worship service (keeping us mindful of the church’s calendar) and enables us to flow with the rhythm of the worship service.

So . . . “Sing to the Lord a new song, for he has done marvelous things!” — Karen

I don’t know how many of you have ever seen the old movie One Foot in Heaven (1941), but there’s a scene near the end that evokes the power of music in bringing us together as a community.  If you haven’t seen it, the movie’s about a Methodist preacher and his family’s experiences in moving from one church to another.   At the end of the movie, after mediating between various factions in one particular church, it seems as though the preacher finally has it made — the congregation is getting along, the building projects are secure, and he even was able to persuade the finance committee to fund a carillon (thank goodness Andy is satisfied with a harmonica).  Then the call from the bishop comes — “will you itinerate?”  (well, that’s not the line in the movie — but you know what I mean).

He and his family don’t get to rest on their laurels — they answer the call to move to another church — another challenge.  The preacher can’t help but question his call, thinking about the sacrifices that he’s called on his family to make; you know that he has to wonder if he’s made a difference.  He climbs the steps to the control levers for the carillon –  and you can tell he’s thinking about the bells that will sound, but that he won’t be around to enjoy.  Then he starts to play . . . “The Church’s One Foundation .  .  .”

The camera shifts to the people of the town as the strains of the hymn echo through the streets.  The people come out of the shops, the houses, all across the town.  And they gather on the lawn of the church.  They look up at the carillon tower.  And you can see in their faces what the music means to them — they are the Church.

I dare you to watch that scene and not be moved.  That’s the power of music.  It’s just a movie, but we all know that music, hymns in particular, have the power to unify us, even to transform us.

Now it’s your turn: comment or post your story, your memory, the meaning that some particular hymn in a particular context may have for you.  Come on, I know you’re thinking of something right now . . .

• As people?
• As individuals?
• As Christians?

Why do you sing?  In what way can singing be transformative?  Can you recall an event where singing was integral — part of a defining moment in either your life or in the life of others?

My friend Bill Williams has on occasion sung at funeral services.  Sometimes the song that’s called for is Amazing Grace.  I don’t see how he does it.  I’ve never been asked to sing at any service (for good reason), but I can tell you that I have trouble keeping my voice from breaking even when singing with the congregation in those circumstances.  What is that causes that kind of physical and emotional response?  The words are moving, but it’s the combination of the words and the music that stirs the soul.  Why is that?  When you answer, don’t forget to list your favorite hymns.

Today’s lesson on Charles Wesley’s hymns is at http://www.fumctupelo.com/pdf/hymn_sing/9th.pdf.