For Pender’s offertory on June 18, 2023 Brian Stevenson, Director of Music Ministries, played Badinerie BWV 1067 from “Orchestral Suite No. 2 in b minor” by J.S. Bach (1685-1750) on his flute. He was accompanied by Heidi Jacobs on the piano.
The Badinerie (literally “jesting” in French – in other works Bach used the Italian word with the same meaning, scherzo) has become a showpiece for solo flautists because of its quick pace and difficulty.
“A Prayer for Healing” was the offertory anthem at Pender’s 9:00 am Traditional Service on October 1, 2023. It was sung by Pender’s Sanctuary choir, directed by Jane McKee and accompanied on piano by Heidi Jacobs. With words and music by Joseph M. Martin, this powerful music references John 2, Jeremiah 14:1-22, John 14:27, John 9:1-41
Written during the height of the COVID-19 pandemic, this song of spiritual and physical wellness speaks to many moments of need. Opening with the first few chords of O God, Our Help in Ages Past, the anthem is framed as a petition for God’s healing mercy. The unison melody gently rises and falls before all join in on the prayerful refrain: “In the silence help us hear words of hope and promise clear. Teach us not to live in fear. Lord of all, we pray to you.” A true anthem of hope!
“Come, Ye Thankful People, Come”
by Henry Alford
The United Methodist Hymnal, 694
Come, ye thankful people, come,
Raise the song of harvest home;
All is safely gathered in,
Ere the winter storms begin.
God our Maker doth provide
For our wants to be supplied;
Come to God’s own temple, come,
Raise the song of harvest home.
The Pender UMC Traditional Service Opening Hymn “Come Ye Thankful People, Come” on Thanksgiving Sunday November 20, 2022 was played by Liz Eunji Moon on piano, Teresa Rothschild on clarinet, Brian Stevenson on flute and sung the Pender Sanctuary Choir and congregation.
With the upcoming celebration of Thanksgiving, people in churches, schools, and other events will sing the traditional harvest song, “Come, Ye Thankful People, Come,” by Henry Alford (1810–1871).
Born into a long line of Anglican clergymen, Alford was raised early by his father and later by his uncle, Rev. Samuel Alford, due to his mother’s death during his birth. This instability resulted in his early education being scattered between private tutoring and a variety of schools, but in 1827 he became a scholar at Trinity College where he received all his secondary education (B.A. 1832, M.A. 1835). He was ordained a priest in the Anglican church in 1834, served in the vicarage at Wymeswold in Leicestershire (18 years), at Quebec Street Chapel in Marylebone, London (4 years), and as Dean of the Chapter of the Cathedral of Christ Church, Canterbury, England (14 years).
This hymn first appeared in Alford’s Psalms and Hymns, adapted to the Sundays and Holydays throughout the year (1844). Methodist hymnologist J. Richard Watson details several revisions of the text both by Alford and others, resulting in the author’s final revision in 1868 (Watson, Canterbury Dictionary, n.p.). In this hymn, Alford used traditional language and imagery of the rural community to lend words of thankfulness for God’s provision and to expand upon Matthew 13:24–30:
He put before them another parable: “The kingdom of heaven may be compared to someone who sowed good seed in his field; but while everybody was asleep, an enemy came and sowed weeds among the wheat, and then went away. So when the plants came up and bore grain, then the weeds appeared as well. And the slaves of the householder came and said to him, ‘Master, did you not sow good seed in your field? Where, then, did these weeds come from?’ He answered, ‘An enemy has done this.’ The slaves said to him, ‘Then do you want us to go and gather them?’ But he replied, ‘No; for in gathering the weeds you would uproot the wheat along with them. Let both of them grow together until the harvest; and at harvest time I will tell the reapers, Collect the weeds first and bind them in bundles to be burned, but gather the wheat in my barn.’” (NRSV)
Tom Stewart, in his writing, says:
[The hymn] addresses the common theme of harvest festivals, called in England the Harvest Home, which is celebrated in English churches usually during the month of September. A thanksgiving service would be held in the church, where the bounty of the harvest is collected, displayed with the fall trappings of pumpkins and autumn leaves, and then dispensed to the needy. And, of course, unlike the humanist that is essentially grateful to only himself, a true Harvest Home celebration acknowledges the provision of God, as did the Pilgrims in 1621 and the ancient Hebrews in their Feast of Firstfruits in the spring on the first day after Passover at the time of the barley harvest. (Stewart, 2016, n.p.)
The eminent minister and hymnologist, Erik Routley (1917–1982), took great offense at this hymn in his book, Hymns Today and Tomorrow. For the most part, his criticism concerns the musical setting, ST. GEORGE’S WINDSON, yet Routley feels that it is “extremely doubtful whether the [imagery of the last judgment] makes any impact on congregations at all” (Routley, 1964, p. 126). The hymn is complex, but it is by no means obscure or opaque.
The first stanza focuses directly on the physical harvest, an image used throughout scripture from early in Genesis through Revelation. We give thanks for the physical harvest as we give thanks for our daily bread in the Lord’s Prayer. Thanksgiving begins with the most concrete blessings in our lives. As well as a physical harvest, the first stanza alludes to Jesus’ remark in all three synoptic gospels—the harvest is plentiful but the laborers are few, and the thankful people who are called to come are those who have already been sent by the Lord of the harvest, Jesus Christ.
The second stanza begins Alford’s expansion upon the parable of Jesus concerning the wheat and the tares (weeds) from Matthew 13:24–30. It is a challenging parable, which Alford interprets in this hymn to describe how joy and sorrow grow together in life, and how God does not eliminate sorrow until after the final harvest when God “will wipe every tear from their eyes. Death will be no more; mourning and crying and pain will be no more, for the first things have passed away” (Revelation 21:4. (NRSV).
The third and fourth stanzas move more directly to the apocalyptic reference, “For the Lord our God shall come.” Erik Routley felt this imagery out of place. However, connecting thanksgiving with the coming of Jesus is imagery that is used at every celebration of the Lord’s Supper.
The hymn tune ST. GEORGE’S WINDSOR, composed in 1856 by George J. Elvey (1816–1893) for the hymn “Hark! The Song of Jubilee,” has been associated with “Come, Ye Thankful People, Come” since the publication of Hymns Ancient and Modern (1861). As noted above, some reviewers of the hymn have pointed to the incongruity of this sturdy and joyful tune with these words, but there is some beauty in this pairing as well, especially with text painting at some points. Among others, one such case is the use of a dotted rhythm, balanced throughout the music, as a compelling invitation to sing, notably on the opening “Come.” One might also notice the phrase “all is safely gathered in” where the pitch begins and ends on A, but feels “gathered” by the use of the neighboring tones, Bb and G. Midway through the hymn, the phrases, “first the blade and then the ear, then the full corn shall appear,” are sung in an ascending sequence that seems almost like corn growing in the field. Later, the leap upward for ‘raise the song’ and ‘raise the glorious’ helps to paint the intent of the final phrases in stanzas 1 and 4.
Regardless of Routley’s misgivings, the discerning hymn singer cannot help but appreciate the vibrant eschatological final stanza that amplifies Christ’s parable. It is offered here in the author’s original language and punctuation:
Even so, Lord, quickly come,
Bring Thy final Harvest-home!
Gather Thou Thy people in,
Free from sorrow, free from sin;
There, forever purified,
In Thy garner to abide:
Come with all Thine angels, come,
Raise the glorious Harvest-home!
Erik Routley, Hymns Today and Tomorrow (Nashville, TN: Abingdon Press, 1964).
Stewart, Tom. “Come, Ye Thankful People, Come”: Hymns as Poetry found on whatsaiththescripture.com. Accessed September 3, 2016 at http://www.whatsaiththescripture.com/Poetry/Come-Ye-Thankful-People.html.
J. Richard Watson, “Come, Ye Thankful People, Come.” The Canterbury Dictionary of Hymnology. Canterbury Press, http://www.hymnology.co.uk/c/come,-ye-thankful-people,-come (accessed September 4, 2020).
Adapted from https://www.umcdiscipleship.org/articles/history-of-hymns-come-ye-thankful-people-come
“Majesty” was the prelude at Pender’s 9:00 am Traditional Service on February 19, 2023. It was played on piano by Tammy Chipman.
Jack William Hayford (b. 1934) is a native of Los Angeles, Calif. He grew up in the Foursquare Pentecostal tradition, attending L.I.F.E. Bible College (now Life Pacific College), graduating in 1956 and completing his studies at Azusa Pacific University in 1970.
In 1969 he became pastor of the First Foursquare Church of Van Nuys, Calif., which was then a struggling, aging congregation with only 20 members. He was also dean of students at L.I.F.E. and agreed to lead the congregation on a temporary basis for six months.
But after receiving a call to a much larger congregation, he decided to stay with the smaller church in Van Nuys. By 1980 it had been renamed The Church on the Way, and membership was over 3,500.
Mr. Hayford retired as pastor in 1999, passing leadership of the church on to his son-in-law, Scott Bauer. The tiny congregation of the late 1960s is now a leader in the megachurch movement with over 7,000 members.
A prolific writer with at least 55 books, Mr. Hayford has received numerous awards as a pastor and author. He has received honorary doctorates from Oral Roberts University, California Graduate School of Theology and Life Pacific College. Most recently he has served as the fourth president of the International Church of the Foursquare Gospel.
According to the Rev. Carlton Young, editor of the UM Hymnal, Mr. Hayford has composed over 400 hymns, songs and other musical works.
Hymnologist Donald Hustad has the following account of our hymn’s composition: “Author Jack Hayford says that in 1977 while he was traveling in Great Britain he developed interest in the actions and symbols of the royal family, relating them to Christ and his kingdom. We need to cultivate a sense of the majestic presence of God. He is a close friend, by his grace, but he is also the majestic, holy awesome God of the universe and we need constant reminding not to take His royal presence lightly. In this short song we are called to recognize His majesty and then ascribe the glory due His name.”
Of course, throughout the Bible—but especially in the psalms—the concept “majesty” and “majestic” is common, especially in the King James Version, the translation most commonly used by Mr. Hayford. Psalm 93:1 is a good example: “The LORD . . . is robed in majesty and is armed with strength.” Psalms 29:4, 45:3-4, 68:34, 96:6 and 104:1 are but a few of the many references using this term.
Mr. Hayford’s “Majesty” is often sung along with Michael W. Smith’s “How Majestic is Your Name” (The Faith We Sing, No. 2023, a paraphrase of Psalm 8:9) and “Great is the Lord” (The Faith We Sing, No. 2022)—a song set that focuses of God’s majesty and greatness.
In “How God Evaluates Worship,” an article published in a series of pamphlets entitled “Survival Guides,” Mr. Hayford describes a theology of worship that sheds some light on his songs: “In my experience, theological discussions about worship tend to focus on the cerebral, not the visceral—on the mind, not the heart. True worship, we are often taught, is more about the mind thinking right about God (using theologically correct language and liturgy), rather than the heart’s hunger for him.”
“Majesty” reflects the heartfelt emphasis of the composer. Though one might read in this quotation a slight protest against liturgical worship that focuses on the mind and not the heart, the composer’s sentiment is consistent with his tradition. The author chooses a single theme and wants the singer to feel that theme in the text and the music above all else.
The central theological theme is straightforward: Christ is King, and as King of all, he is the sovereign of all (“kingdom authority”) and his name is to be exalted. The music attempts to convey a majestic tone, especially in the triplet rhythms that contribute a sense of fanfare throughout the song. One can easily hear this song played by a brass ensemble and used as a dignified instrumental processional for a stately gathering.
Although monarchy has never been the political structure of the United States, this metaphor continues to resonate with certain faith traditions as a primary means for envisioning God and Christ. While there is certainly substantial biblical support for this perspective of deity, it is only one of many images offered in the Bible and by hymn writers about our relationship to God.
“Majesty” is now one of the classic songs of the contemporary Christian genre, approaching 30 years of continuous use—a long time for songs in this style.
Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-majesty-worship-his-majesty
“Celtic Communion” was the offertory anthem at Pender’s 9:00 am Traditional Service on October 10, 2023 It was sung by Pender’s Sanctuary choir, directed by Patrick King and accompanied on piano by Heidi Jacobs.
Celtic Communion, arr. Mark Hayes. A brilliant inspiration! This beautiful anthem pairs the beloved Gaelic melody Bunessan with traditional texts that are a perfect match! The remarkable keyboard accompaniment supports the Irish folk flavor, which is further enhanced by the optional orchestration for flute or penny whistle, bass, guitar and percussion. Stunning message and music!
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