Welcoming you into the sanctuary this First Sunday after the Epiphany is the chorale prelude "Once He Came in Blessing" from J.S. Bach's "Orgelbüchlein" (Little Organ Book). This collection was originally designed to contain 146 selections representing chorales from all across the liturgical year but only 46 were completed in the composer's lifetime. This Sunday morning's gentle offering is taken from the Advent section but beautifully encapsulates the message of Jesus' Light to the world and his ministry.

The Chancel Choir shares the good news of the Epiphany season, the season of Light, in "Arise, Shine, for Your Light Is Come" by Robert Powell. The text by F. Bland Tucker refers to the story of Jesus' baptism in Luke 3: 21-22 and how we, filled with the Spirit and Light of Christ, are called to serve others in peace.

The service concludes with a meditation on the 19th century American folk tune "Land of Rest" which our closing hymn "God, When I Came Into this Life" is based on. During this peaceful setting by Andrew Moore, you will be invited to come forward and renew your baptism and commitment to God's Kin-dom on earth.

On this First Sunday after Christmas, we "gather around the piano" for an old-fashioned carol sing! You select the carols from the pews and we will sing as many as we can within the service. Feel free to explore the New Century Hymnal's selections, revisit a favorite from our Christmas Eve services, or choose one we didn't get to sing. Hope to see you then!

Vocalist/cellist Lucas Jackson and I bring you a few Christmas season chestnuts though a bit off the beaten path. For the Gathering Song, the Vince Guaraldi classic "Christmas Time Is Here" is offered from his well-known score to the 1965 television special "A Charlie Brown Christmas." For the Offertory, an elegant instrumental arrangement of the Austrian carol "Still, Still, Still" by Finnish composer Antti Hakkarainen takes us back to the calm of Christmas night. To close the service, we hear John Lennon's "Happy Christmas (War Is Over)", a beautiful expression of the diverse community of humanity choosing to walk forward into the new year — a new season of hope.

On this Fourth Sunday of Advent, we lean forward — eagerly — toward the yuletide season and the arrival of the Light of the world. Songs relating a bold hope of community in the Christ-Light this Sunday morning —Emmanuel.

We revisit the "eclectic" service format this weekend with guitarist/vocalist Bill DeMarco, vocalist Lucas Jackson and bassist Bill Strening. We will typically be offering this service on the fourth Sunday of each month, so please join us then!

The service begins with the beautifully haunting Korean hymn "Come Now, O Prince of Peace." The yearning character of the work clearly embodies the Advent text of hope and expectancy: "Come now, O God of love, make us one body... Come, hope of unity, make us one body. Come, O Lord Jesus, reconcile all people."

The time-honored Advent carol, "O Come, O Come, Emmanuel" will be heard one last time this fleeting season. Guitarist/vocalist Noah Kayl and vocalists Suzie Matlock and Brooklyn McBride (also Plymouth's Director of Christian Formation!) share their arrangement during the Special Music moment. 

To close the service, and our Advent journey together, Bill DeMarco sings the contemporary Advent song "Immanuel" by Michael Card. God is indeed with us, always, as expressed in the chorus: "Immanuel, our God is with us, and if God is with us, who could stand against us. Our God is with us — Immanuel.

The German Marian hymn "Es ist ein Ros entsprungen" (translated as 'a rose has sprung up') has its origins in 17th century Germany. The anonymous text uses the rose as a symbol for Mary who has come forth from the Tree of Jesse lineage (Jesse of Bethlehem, the father of King David) to bear the Christ-Child. The text also refers to the prophecies of Isaiah, specifically Isaiah 11.1: "A shoot shall come out from the stock of Jesse, and a branch shall grow out of his roots." This imagery was popular in the Medieval era and this cherished Advent carol continues to be meaningful in our modern age.

Two settings based on the beloved carol will be offered Sunday morning. At the Prelude, Johannes Brahms' lovely work from the organ collection "Eleven Chorale Preludes, Op. 122" will be presented. Composed in 1896, just a year before Brahms' death, the work was published posthumously in 1902. The essence of the chorale melody is embedded in the flowing texture and only subtly hinted at in this gentle setting. During our time at the table, the Chancel Choir sings the chorale in a setting by John Jacob Niles based on the well-known harmonization by Michael Praetorius in 1609. 

At the Postlude, Marcel Dupre's "How Fair and How Pleasant Art Thou" is offered. Inspired by Song of Songs 7.6, this beautiful work is the fifth antiphon in the sequence of fifteen versets representing feast days honoring the Virgin Mary throughout the liturgical year.

At the annual 6:00 p.m. Longest Night Service, harpist Alaina Bongers returns with flutist Aaron McGrew and vocalist Lucas Jackson offering songs of winter and solace in the dark cold night. Join us for this beautiful midseason bilingual Advent service as we approach ever closer to the coming dawn of Christmas Day.

On this Second Sunday of Advent, we meditate upon the herald of peace in the Christmas story and the Christ-Light within us all. Songs of light, longing and comforting peace this Sunday morning.

The Plymouth Ringers open worship with a setting of the ancient Advent chant "Veni, Veni, Emmanuel" by Sandra Eithun. The original medieval text was sung in the seven days before Christmas Day as part of the Magnificat during vespers in monastic life. These "O Antiphons" were later joined with the 15th French melody we have come to know as probably the most well-known Advent hymn, "O Come, O Come, Emmanuel."   

The Chancel Choir offers "My Soul Cries Out" in a lively arrangement by Mark Hayes. Subtitled "Canticle of the Turning," the words by Rory Cooney refer to John the Baptist's call to turn away from one's darkness and repent with overt allusions to Mary's Song (The Magnificat). The Irish tune "Star of the County Down" forms the basis of this cheerful anthem with its Celtic flavor further enriched by violinist Harmony Tucker.

A toccata setting of the final hymn "People, Look East" by Rebecca Groom te Velde closes worship on a hopeful note as we turn closer to the Yuletide season. The French hymn tune "Besancon Carol" is treated in a manner reminiscent of a carillon with its repetitive bell-like figures interwoven with the carol tune. Foreshadowing Christmas Day, the melody of the Epiphany hymn "How Lovely Shines the Morning Star" playfully enters the texture near the piece's conclusion.

The world waits for a miracle, the heart longs for a little bit of hope,
O come, o come, Emmanuel.
A child prays for peace on earth, and she's callin’ out from a sea of hurt,
O come, O come, Emmanuel.
And can you hear the angels singing: "Glory to the light of the world...is here."

- from "Light of the World"
by Lauren Daigle, Paul Duncan and Paul Maybury

Songs of community, longing, and light this First Sunday of Advent.

The song "Light of the World" by Christian artist Lauren Daigle becomes a unifying refrain week to week as we journey through this fleeting season of Advent together. The organ offers two contemporary settings of Advent carols from centuries past: "Savior of the Nations, Come" by Kevin Hildebrand based on the 15th century German tune composed by Martin Luther, and "Christ Shall Come When Morning Dawns" by David Johnson based on an anonymous 19th century English folk tune. The Chancel Choir sings a paraphrase of the well-known Christmas story passage from Isaiah 9:2, 6-7 in "The People Who in Darkness Walked," a playful musical setting by David Music using the Swedish melody "Bereden Väg för Herran." The tune is also commonly associated with the Advent hymn "Prepare the Way, O Zion." 

We return to the "eclectic" service format this Sunday led by vocalist and guitarist Bill DeMarco, vocalist Lucas Jackson and bassist Peter Strening. Songs of service, changing seasons and gratitude this holiday weekend.

 "I Give Thanks" by singer/songwriter Kathryn Mostow expresses gratitude for those whose pure hearts demand they bring radical change and goodwill to the people of this world. "I give thanks for all these hands that take a risk, that make a stand. Oh, I give thanks for all the good deeds unseen and everyone who still dares to dream."

"I Can't Wait" by Kieran Kane speaks hopefully to a time when peace and understanding can be in our sights—or at least help along the way. "It seems we have gone too far and now we don't know where we are. I believe we'll find a guiding star, but I can't wait."

"Turn! Turn! Turn!" was composed by folk artist Pete Seeger in 1959 and became an international hit in 1965 with a cover version by The Byrds. Adapted almost entirely from the Book of Ecclesiastes, the lyrics speak to change, a time for every season, and a hopeful vision for the world.

As we gather for worship, the Plymouth Ringers strike an optimistic tone with a setting of the hymn "When Morning Gilds the Skies" by Lloyd Larson. The arrangement expands from its gentle opening character to embrace a triumphal spirit embodying the joyous text of this traditional morning hymn. As the verse three text from The New Century Hymnal expresses: "Discordant humankind, in this your concord find, may Jesus Christ be praised! Let all the earth around ring joyous with the sound: may Jesus Christ be praised!  

Kids Will Sing! offers two selections on this day of remembrance for our beloved LGBTQ community: "Building a Better World" by Ellen Allard with violinist Nate Jolly and "For All the Saints" with an original text by the ensemble. Pianist Jennifer Jolly accompanies the group.

The Chancel Choir sings "O Christ, Thou Lamb of God" in a contemporary setting reminiscent of a Renaissance motet by Carl Schalk. The text is an English translation of the 7th century Roman rite traditionally spoken or sung during the Eucharist: "O Christ, thou Lamb of God, you take away the sin of the world, have mercy on us."      

The service closes with a "Festive March" by late American composer Daniel Pinkham. Though he served as chair of the early music program at New England Conservatory of Music for many years, his music often embraced contemporary trends and explorations as is the case in this work. Mr. Pinkham lived as an openly gay man in a time when that could be particularly challenging. He was also known for wearing his trademark pink scarf.

The promise of new life, hope and divine peace guide our communal song and musical offerings this Sunday morning.

Violinist Harmony Tucker offers the joyous "Allegro risoluto" from Antonin Dvorak's "Sonatina, Op. 100" as we prepare for worship together. The congregation will be invited to join the Chancel Choir in singing the hymn-anthem "Prayer for Peace" by David Cherwien. A setting of the hymn "O Day of Peace," set to the British tune "Jerusalem," by Charles Callahan settles worship into a space of noble repose.

May the road rise to meet you, may the wind be ever at your back.
May the sun shine warm upon your face, and the rain fall soft upon your fields.
And until we meet again, may God hold you ever in the palm of his hand.
- Traditional Irish blessing

On this Totenfest/All Saints Day Sunday, we remember loved ones who have passed on with an "Elegy" by Australian-born organist/composer George Thalben-Ball. His most well-known composition for organ, this lovely meditative work emerged from an improvisation on a BBC radio show in World War II and was played at the funeral of Princess Diana of Wales in 1997.

The Chancel Choir offers a moment of comfort and assured hope in the ancient words of "Irish Blessing" in a beautiful setting by British composer Bob Chilcott. The anonymous text reminds us that life's road can be long—and challenging—but that in God's presence we are never alone.

A triumphant "Alleluia" closes worship with a reminder that Love can never die. This final movement from Italian organist/composer Marco Bossi's "Six Pieces for Organ, Op. 70" implies a sung "Alleluia" refrain with its four note descending motif heard throughout this celebratory work from 1917.