My heart shall sing of the day you bring. 
Let the fires of your justice burn. 
Wipe away all tears, for the dawn draws near, 
and the world is about to turn. 
- Rory Cooney

I often think about the title of the poem "13 Ways of Looking at a Blackbird" and how the music in worship should similarly explore several ways of looking at our scripture readings.

For this week, our reading is the Magnificat -- Mary's song we find in Luke 1:46-55. Mary has a lot to sing in this song that really hits at the heart of our world today.

The gathering hymn, "My Soul Gives Glory to My God," is worded in such a way that it emphasizes the God keeping promises and calming fears while paired with a gentle Appalachian tune, MORNING SONG. Later in the service there will be an arrangement of this tune that infuses it with some urgency.

"My Soul Proclaims" is a much more reflective setting that comes from Behold Our Light, one of my favorite settings of music for evening prayer that runs the gamut from a psalm setting that sounds like it could be straight from the band Muse at their heaviest (such as some of the songs on their Absolution album) to this reflective setting of the Magnificat that focuses on the ways God has delivered us in the past.

"Canticle of the Turning" focuses more on the aspects in the Magnificat of overturning power structures.... "From the halls of pow'r to the fortress tow'r, not a stone will be left on stone."

Then we get to "O For a Thousand Tongues to Sing," which may seem like a strange choice; but that second verse calls on God to assist us in proclaiming God's glory in all these ways in which God turns the world around.

And the postlude is based on the hymn "Hark! A Thrilling Voice Is Sounding," which references the words of prophets like Isaiah, but I think gives us an opportunity to reflect on the prophetic voice of Mary and the joy that comes from different aspects of the Magnificat that we have heard in the 4 different ways throughout worship. 

Marshall

In deepest night Christ's coming shall be, 
when all the world is despairing, 
as morning light so quiet and free, 
so warm and gentle and caring. 
One without voice breaks forth in song, 
a lame one leaps in wonder, 
the weak are raised above the strong, 
and weapons are broken asunder. 
- Marty Haugen

We managed to skip the planned hymn "Awake! Awake! and Greet the New Morn" this past week. Never fear, however: as we go through Advent, we are adding a verse each week. We started with the second verse, and on the last Sunday of Advent we will finish up by adding that first verse, with its references to Jesus being born. The images of Isaiah that are used in this text are rich with contrasts to what would be expected. The Pharisees would have expected the pomp and circumstance of brass and festivities at an event where everyone is putting their best foot forward. Yet here we hear about Christ's coming into the point of most despair in the dark of night. It conjures up a cold, chilling image; and yet we have the contrast of morning light that begins to turn us back to warmth and light. And it isn't done with the fanfare of brass or the spectacle of a great show that the world would tell us is needed to gain people's attention. 

In the same sense, worship is not a performance but is a place where we grow as we participate. It isn't a concert to showcase the choir or bells or soloists, but a place where we simply offer our best. Note that is OUR best, not the best of some other church or some other person, or even this church (as seen through the distorted lens of nostalgia). And in the process of sharing those gifts, God speaks. Sometimes to us, as we offer the gift. Sometimes through the gift offered to someone else. My hope is that people will be quicker to listen to how God is speaking through what was offered, than to respond as to a performance in a concert. Share with others how God spoke through what was offered. 

Marshall

Cure your children's warring madness; 
Bend our pride to your control. 
Shame our reckless, selfish gladness, 
Rich in things but poor in soul. 
Grant us wisdom, grant us courage
Make our broken spirits whole. 
-Harry Emerson Fosdick

The alteration we find in the last line in our hymnal was an attempt to avoid the patriarchal language of Fosdick's original "lest we miss thy kingdom's goal," but in many ways it misses the same point that I think Fosdick may have intended. These are a number of things that get in the way of who we are called to be in the Kin-dom of God. And each of us struggles with them. If we look at the third and fourth phrases..... it always brings to mind this thought: Can I see a person in a third-world country being upset about the thing I am upset with. If not, then it probably is a symptom of being rich in things but poor in soul. 

This may seem an odd hymn in Advent, but this week we have Isaiah 2:1-5 which is rich in imagery, but the preponderance of music written in connection with this passage is centered around verse 4 and the image of swords being turned into tools and the idea of nations not being at war with other nations. Another song this week, "Plowshare Prayer," extends that idea of things being used as weapons to include words, actions, and systemic injustice. And yet another one of our songs with a text written by William Reid a pastor in Wyoming in 1958 reminds us of a lot of the things Fosdick holds up "search for wealth and power," "bitter threats," and "bombs that shower destruction" being what contributes to our "blindness to [God's] way." 

And yet the seeds of hope are planted in each... as Reid states it in his hymn, "Keep bright in us the vision of days when war shall cease, when hatred and division give way to love and peace." 

Marshall

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." 

Worship this Third Sunday of Advent begins with a leaning toward folk and Celtic sounds at 9:00 a.m. with guitarist/vocalist Bill DeMarco. 

Violinist Amy Welsh and cellist Lucas Jackson begin the 11:00 a.m.service with an arrangement of the Advent hymn tune "Morning Song." The Chancel Choir offers a re-imagined setting of the traditional Advent text "O Come, O Come, Emmanuel" by Dan Forrest. As we near the noon hour, the organ tells us to prepare our hearts and "look east" in a joyful carillon-style setting of the Besancon carol by Rebecca Groom te Velde.    

At 6:00 p.m., the Longest Night Service returns with an evening worship hour of Advent meditations and songs of longing and peace. Harpist Alaina Bongers, flutist Rebecca Quillen, and cantor Alex Young join us for this beautiful Advent tradition at Plymouth.          

At 9:00 a.m., an eclectic musical message of peace and preparation in this season of waiting will be presented. Guitarist Alan Skowron, cantor Alex Young, and bassist Con Woodall join us in the chancel.

At 11:00 a.m., two settings based on the melody of the Advent hymn "Comfort, Comfort O My People" will be offered from the organ. At  the Prelude, excerpts from the partita on "Freu dich sehr, o meine Seele" (Rejoice Greatly, O My Soul) by Baroque composer Georg Böhm will be heard. At the Postlude, a declamatory statement on the hymn tune, entitled Psalm 42 for inclusion in the 1539 Genevan Psalter, by contemporary American composer Craig Phillips closes worship. 

The choir becomes a unified voice calling from the chancel in the anthem "Prepare the Way, O Zion" by Kenneth Drake with violinist Harmony Tucker.    

We welcome the season of Advent with a serene setting of the carol "Veni Emmanuel" (O Come, O Come, Emmanuel) by Charles Callahan. The Chancel Choir ushers in this season of waiting with "Come, Jesus, Come" by Alfred Fedak. Flutist Aaron McGrew joins us for the latter two offerings as well. The organ presents a hopeful rendering of the Advent carol "Helmsley" (Lo! He Comes With Clouds Descending") in a toccata by James Vivian. 

Carols of this fleeting Advent season tell us to look east for the coming of Christ in song and in a carillon for organ. The prophetic tale of Mary and Jesus walking amid the thorns is told by the Chancel Choir. The organ states a lovely Marian antiphon in response as well. A Celtic Canticle of Turning and pleas of "O Come, O Come, Emmanuel" foreshadow the end of this season of waiting leading into our Longest Night Advent vigil Sunday evening. Savior of the nations, come.

The spirit of joy and peace on this Third Sunday of Advent.

At the 9:00 a.m. service, we are joined by flutist Norman Menzales offering works by Nicanor Abelardo, J.S. Bach and others. Norman is the Principal Flute for the Fort Collins Symphony, Montana Great Falls Symphony, and the Wyoming Symphony Orchestra. Together with vocalist and cellist Lucas Jackson and I we bring a more "classical" tone to our eclectic early morning worship service.

At the 11:00 a.m. service, the Chancel Choir sings a delightful contemporary setting of the 12th century Latin hymn "Veni Emmanuel" by Dan Forrest. The shifting duple and triple meters propel this joyous reading of the ancient text into a frenetic dance.

From the organ come two carols of this most fleeting season of Advent. At the Prelude, we hear a minimalistic-inspired gigue on the tune "Macht hoch die Tür" (fling wide the door) by Richard Hudson. At the Postlude, a stately toccata on the tune "Helmsley" (often associated with the Advent text "Lo! He Comes with Clouds Descending") by James Vivian closes worship.

At 9:00 a.m., the season of waiting is expressed through carols ancient and modern with cantor/cellist Lucas Jackson, violinist Harmony Tucker, and bassist Peter Strening.  

At 11:00 a.m., the organ offers two carols for this fleeting season. At the Prelude, the 16th century German hymn "Savior of the Nations, Come" receives a contemporary reimagining by Kevin Hildebrand. At the Postlude, a plaintive march on the Advent hymn "The King Shall Come When Morning Dawns" by David Johnson sends one joyfully forth into the world.

The Chancel Choir brings you an "Advent Message" by British composer Martin How, featuring soloist Lucas Jackson.

At 9:00, the hopeful message of freedom and perseverance is heard in Paul McCartney's "Blackbird" as we gather. Advent carols bring this season to a close with bassist Peter Strening, staff singer Blair Carpenter, and guitarist Alan Skowron joining.

At 11:00, Marian expressions are heard through a setting of "Lo, How a Rose E'er  Blooming" by Johannes Brahms, the Marian antiphon "How Fair and How Pleasant Art Thou" by Marcel Dupré, and a setting of the "Magnificat" by David Ashley White offered by the Chancel Choir.

And please join us at 6:00 p.m. for the annual Longest Night Service with beautiful musical offerings of this fleeting Advent season by harpist Alaina Bongers, flutist Rebecca Quillen, and a vocal quartet including Blair Carpenter, Janet Hanlon, Lucas Jackson, and Aaron McGrew.