“How Beautiful” by Twila Paris was the offertory at Pender’s 9:00 am Traditional Service on July 9, 2023. It was sung by Rachel Kotiah Matos, accompanied on piano by Heidi Jacobs.
Twila Paris sings about the beautiful way Jesus demonstrated love to others while he was in this world. His love was more than warm sentiments. It was an embodied love – a love that expressed God’s compassion through physical actions. His hands served people food. His feet traveled to their homes and villages. His eyes looked upon sinners with joy and acceptance. With his body Jesus demonstrated love to others.
Paris sings about His hands and feet that served and walked to the cross, His heart that forgives all sins, and how His sacrifice inspires her to live a life that is willing to pay the price for her faith. She also talks about how beautiful it is when people spread the good news of His love through their actions and how the church is like a radiant bride waiting for her groom. Overall, the song celebrates the beauty of Christ and His body, the church.
After describing the beauty of Christ’s physical body on earth, the song describes the beauty of Christ’s communal body on earth – his Church. When Christians “live just as he died” – when, like our Savior, we serve others around us through physical expressions of love – the Church is beautiful, too. As the song says, “How beautiful is the body of Christ.”
For Pender’s offertory on June 18, 2023Brian 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!
“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.
“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!
