Gather us in, all peoples together, 
fire of love in our flesh and our bone.
- Marty Haugen

I first encountered this hymn in 2001 in a piano arrangement of it by Malcolm Kogut. Kogut's arrangement has a lot of shifts into asymmetrical meters such as 5/8 and 7/8, which give it lots of energy and is very fiery in that way. But fire is also a way of burning away impurities. We might prefer to look at fire as a tool or we might look at it as a thing of destruction. Our preference doesn't make fire any less one or the other. For one person the fiery arrangement may be a struggle as a tool for learning to play in these unusual meters. For another, it may simply be a lot of fun. But the piece is both. 

This song is so appropriate for this time of the church year as we move from the season of Epiphany into the season of Lent. And this image of fire gives us the light and energy we carry from Epiphany and sustains into the reflection of Lent where we seek not just to refrain from the things that might be hindering us in our relationship with God, but also seek to redirect that energy into the things that will bring us closer to God. God's love is energizing but also purifying and will cause us to continuously change into who we are called to be. 

As you sing this hymn on Sunday, think about all the images of the people God is gathering and who we are called to be through the lens of that image of the fire of God's love. Which images energize you? Which may be places where God is working on changing you to become who you are called to be? 

Marshall

​Called as partners in Christ's service, 
called to ministries of grace, 
We respond with deep commitment
fresh new lines of faith to trace. 
-Jane Parker Huber 
Used by permission. OneLicense.net # A-709014

It is always that last line that has been the phrase that sticks out to me. Tracing the work of something is often how we learn--we mimic what somebody else has put forth first. In 2018, I wrote a concerto for two saxophones and wind ensemble for a friend of mine who wanted such a piece that he could perform with his first saxophone teacher. I focused a lot of it around one saxophone beginning each melodic line in the same way as the other saxophone but each line veers off in a new direction. Unfortunately, his teacher passed before they were ever able to realize this piece. 

God gives us new lines of faith all the time. Sometimes through people with the boldness to look beyond what has been and is to what could be. Sometimes through circumstances and opportunities to reach beyond the safety and comfort of the walls of this building. But what is always clear is that the people God calls are not called into a place of comfort. How many prophets could not understand why God called them -- I  don't have the skills to do that -- people aren't going to listen to me -- and all the other excuses they tried to give. God didn't call them to speak like someone else (sing like someone else, play like someone else). God doesn't call us into the ease of simply tracing, but the anguish of forging new lines. 

God calls us to forge new lines of faith, but just as with those melodic lines in my concerto, those new lines don't come from out of nowhere. They begin from a place of tracing (recognizing what is good in that line being traced) and veering off to reach new places while retaining what is essential to the line in the first place. 

Are we ready to forge new lines of faith? Or are we too enamored with what makes us comfortable? 

Marshall

In this week's lesson from Luke, we encounter Jesus reading parts of Isaiah from a scroll, parts that were prophecy about what the Messiah would do: proclaim good news to the poor, setting prisoners free, giving sight to the blind, etc. 

You will see that theme running through the hymns this week, stated in different ways by the different authors of these hymns. In John Bell's "The Summons" he poses question essentially coming from Jesus throughout the Gospels and with the last verse gives what our response should be. The third verse directly speaks to some of the things addressed in the Isaiah text, but it is always this line that I think of as the highlight -- "Will you kiss the leper clean and do such as this unseen." Imagine what is asked there and what an immense call that is, and to do it without the thought of being recognized for that sacrifice. 

Amanda Udis-Kessler in "Church Is More than Just a Building" extends the tasks that we see in that scroll from Isaiah to being what the church is and does. I especially like the ending phrase "It's our work toward a world made new." Rusty Edwards phrases it in a manner that has always caught my attention. While he focuses more on praising Jesus for doing all these things, he begins with the phrase that is the title of the hymn "Praise the One Who Breaks the Darkness."

So, church, how do we break the darkness by shining our light? We do those things in that scroll from Isaiah, not alone, but as a church we "kiss the leper clean and do such as this unseen."

Marshall 

Vocalist/guitarist Bill DeMarco, staff singer Lucas Jackson, and bassist Con Woodall join us in the chancel for songs of service, community and compassion for the other.

"This Is My Song" was written in 1934 by Lloyd Stone and set to the music of the "Finlandia Hymn" by Finnish composer Jean Sibelius. The hymn formed the basis of Sibelius's orchestral 1899 tone poem "Finlandia," a work of protest against Russian oppression. The text offers a relative nationalistic worldview where each person's dignity and love of country is informed by respect for others who feel the same pride and love for their own respective land. The author states this compassionate message beautifully in verse 1: 

This is my song, Oh God of all the nations, 
A song of peace for lands afar and mine.
This is my home, the country where my heart is; 
Here are my hopes, my dreams, my sacred shrine.
But other hearts in other lands are beating,
With hopes and dreams as true and high as mine.

Lucas Jackson offers a solo vocal/banjo version of "Colors of the Wind" during our time of gift giving. Originally composed by Alan Menken and Stephen Schwartz for the 1995 Disney animated film Pocohontas, the lyrics speak to the innate sacredness of nature and how we are to care for its sustenance — together. As stated in the final verses: "You can own the Earth and still all you'll own is Earth until you can paint with all the colors of the wind."

"This Land Is Your Land" was written in 1940 by American folk singer Woody Guthrie with musical inspiration from the Carter Family gospel song "When the World's on Fire." The lyrics speak to a welcoming spirit that all have a right to live in peace and harmony together— compassion for all. The song was written as a response to Irving Berlin's "God Bless America" which he felt did not account for those citizens struggling in society, particularly those experiencing hardship during the Great Depression.

We are invited to worship — and service — through a jazz-inflected setting of the 19th century hymn "Jesus Calls Us; O'er the Tumult" by William Bolcom. Like other selections from the composer's "Gospel Preludes for Organ" collection, this setting carries forward the time-honored tradition of chorale prelude settings for organ but in the contemporary language of gospel, blues, and jazz.
 
"Jesus Calls Us, o'er the tumult of our life's wild, restless sea. Day by day that voice still calls us, saying, "Christian, follow me."

The Chancel Choir sings of healing in Christ in a setting of the African-American spiritual "There Is a Balm in Gilead" by Steven Milloy, a former Cincinnati College-Conservatory of Music colleague of mine. The text refers to the spiritual healing compound mentioned in Jeremiah 8.22: "Is there no balm in Gilead? Is there no physician there? Why then has the health of the daughter of my people not been restored?" The spiritual text however views this balm through a New Testament lens as salvation and healing through Christ.

"There is a balm in Gilead to make the wounded whole. There is a balm in Gilead to heal the sin-sick soul...Don't ever feel discouraged, for Jesus is your friend, and if you lack for knowledge he'll ne'er refuse to lend."

Worship concludes with a dynamic setting of the spiritual "Down By the Riverside" by Marianne Kim. The composer has arranged numerous characteristic settings for organ incorporating elements from the gospel, jazz and blues genres. The original text of this spiritual predates the Civil War and refers to becoming a new creation in Christ, leaving anger and all resentments behind.

"Gonna lay down my burden, down by the riverside, down by the riverside, down by the riverside..."

Two musical offerings in honor of Black History Month and calls to joyful discipleship on this Fifth Sunday after the Epiphany. 

The Plymouth Ringers begin worship with an arrangement of the spiritual "Lord, I Want to Be a Christian" by Bill Ingram. The origins of this song could have been inspired by a story recounted by Baptist minister and historian Miles Fisher in his 1953 award-winning publication "Negro Slave Songs in the United States" from Virginia, 1756. The author writes: “A black slave asked Presbyterian preacher William Davies, ‘I come to you, sir, that you may tell me some good things concerning Jesus Christ and my duty to God, for I am resolved not to live any more as I have done…Lord [Sir], I want to be a Christian.’” 

The Chancel Choir expresses the call of the Spirit in Mark Miller's exuberant setting of the spiritual "I'm Gonna Sing!" Soloists Aaron McGrew and Lucas Jackson offer their voices in this joyous call to service and acceptance of mission.

Violinist Harmony Tucker presents G.F. Handel's sprightly second movement from "Violin Sonata No. 3 in F Major." This spirit-filled "Allegro" is a celebration of life. May we go out in service —joyfully—to tend to the needs of the community and each other. 

We celebrate the rich diversity of Plymouth's music ministry on this Annual Celebration Sunday morning. 

At the Prelude, guitarist and vocalist Bill DeMarco presents "Never Alone," a song about unconditional love and the value of faith in trying times recorded by Jim Brickman. Bassist Peter Strening and vocalist Lucas Jackson also join in as well as lead congregational songs of community and resilience throughout morning worship.

The Chancel Choir in collaboration with our "eclectic service" musicians offers the 1960's peace anthem "Get Together" arranged for chorus by John Arteron. Originally written by Chet Powers of the group Quicksilver Messenger Service, the song became a Top 10 hit in 1969 when covered by The Youngbloods. The lyrics speak to the axis of love and fear and the power of choice we each hold to choose between them. The well-known chorus states this message clearly: "Come on people now, smile on your brother. Everybody get together, try to love one another right now."

The organ invites you back into the sanctuary with a joyous fanfare following the brief Fellowship Time preceding the Annual Meeting. The fanfare is based on the G.F. Handel composed hymn tune "Gopsal," often associated with the hymn of praise "Rejoice, the Lord Is King!" The jubilant character of this setting surely reflects the recurring refrain of the original hymn text by Charles Wesley adapted from Philippians 4.4:  "Rejoice in the Lord always; again I will say, Rejoice."

The grand Martin Luther hymn of faith "A Mighty Fortress Is Our God" concludes our time of fellowship and worship in a brilliant toccata setting by eminent American organ composer Emma Lou Diemer.

On this Martin Luther King, Jr. Day weekend, we are reminded once again that the arc of the moral universe is indeed long, and challenging, but does inevitably bend towards justice. Together, united in the Spirit, our individual gifts can come together and reveal glimpses of the Kin-dom of God to the world. Songs of Blessed Community, the Spirit, and a relentless optimism from the African-American spiritual songbook will be shared this Sunday morning.

At the Prelude, the Plymouth Ringers offer a jubilant setting of "Great Day!" by Bill Ingram. The spiritual is a call to action for faithful people the world over. As the Refrain declares, "Great day! Great day, the righteous marching. Great day! God's going to build up Zion's walls!"   

The Chancel Choir sings Mark Hayes' "In the Morning, Joy" as you come forward to the Table. This lovely anthem embodies the essence of a beautiful morning sunrise and the optimism at the start of a new day — literally and figuratively. The text by Susan Boersma is based on the hopeful message of Psalm 30.5b which speaks to God's eternal love through all of life's adversity: "For his anger is but for a moment; his favor is for a lifetime. Weeping may linger for the night, but joy comes with the morning."    

A playful and downright happy setting of the spiritual "Ain't-a That Good News" arranged by Marianne Kim concludes worship this Second Sunday of the Epiphany season. Characterized by the gospel and jazz idioms, this spicy arrangement easily relates the message of the spiritual that, in layman terms, God's love has our back!  

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.

Breathe on me, Breath of God,
fill me with life anew
that I may love the way you love
and do what you would do.
-Edwin Hatch, 1880

At the Prelude, the Plymouth Ringers offer "New Life" by Matt Johnson, a piece  celebrating the birth of his newborn son. Cellist Lucas Jackson joins the handbells in this joyous work. The Chancel Choir with flutist Aaron McGrew present "Celtic Communion" by Mark Hayes incorporating the well-known Gaelic tune "Bunessan" (commonly sung to the text "Morning Has Broken.") A fanfare on the hymn tune "Gopsal", the melody of which is attributed to composer G.F. Handel, closes worship in an exciting and concise setting by renowned British composer David Willcocks.

At 9:00 a.m., songs by Pete Seeger and Jesse Colin Young are offered by guitarist/vocalist Bill DeMarco. Bassist Peter Strening and cantor Lucas Jackson also contribute their talents to the morning's songs of community, praise and healing.

At 11:00 a.m., a contemporary setting of the hymn "Beautiful Savior" by Gerre Hancock begins the worship hour. The Chancel Choir sings the spiritual "Hold Out Your Light" in an elegant arrangement by Rollo Dilworth. A grand setting of the Welsh hymn tune "Hyfrydol" (the melody of our opening hymn "Alleluia! Gracious Jesus!") by Ralph Vaughan Williams closes the worship hour.

We are invited to heed the call of the divine this Sunday as we continue the  journey through the Epiphany season — the season of Light.

At the 9:00 a.m. service, an eclectic blend of musical genres will be presented including gospel, jazz, rock, a selection from the organ, and a Celtic tune played by violinist Harmony Tucker.

At the 11:00 a.m. service, worship begins with a chorale prelude in the Neo-Baroque style by 20th century composer Helmut Walcha. The Chancel Choir sings "Let in the Light" in an Epiphany anthem by Alfred Fedak. The service concludes with the jaunty and aptly titled "Postlude in G" by Edward Wetherill.  

At 9:00 a.m., a Celtic spirit informs the musical offerings for our early morning worship service. Violinist Harmony Tucker joins us for songs of cheer and haunting beauty.

At 11:00 a.m., the organ speaks in the spirit of the Baroque era with two 16th century hymn tune settings. At the Prelude, 20th century "Neo-Baroque" composer Helmut Walcha offers a delightfully eccentric reading of the Epiphany hymn "How Brightly Shines the Morning Star." At the Postlude, we go to "the source" with Johann Sebastian Bach's energetic and joyful chorale prelude on the new year carol "In Thee Is Gladness." Lastly, at the Offertory, the Chancel Choir sings the celebratory traditional Caribbean tune "Halle, Halle, Halle" arranged by Hal Hopson with unofficial resident djembist Rev. Hal Chorpenning and other aspiring percussionists.