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2014年1月28日信息祈禱會分享：余光昭聖經：「耶和華對我主說：你坐在我的右邊，等我使你仇敵作你的腳凳。耶和華必使你從錫安伸出能力的杖來；你要在你仇敵中掌權。當你掌權的日子［或譯：行軍的日子］，你的民要以聖潔的妝飾為衣［或譯：以聖潔為妝飾］，甘心犧牲自己；你的民多如清晨的甘露［或譯：你少年時光耀如清晨的甘露］。耶和華起了誓，決不後悔，說：你是照著麥基洗德的等次永遠為祭司。在你右邊的主，當他發怒的日子，必打傷列王。他要在列邦中刑罰惡人，屍首就遍滿各處；他要在許多國中打破仇敵的頭。他要喝路旁的河水，因此必擡起頭來。」（詩一一零1-7）「人的忿怒要成全祢的榮美；人的餘怒，祢要禁止。」（詩七六10）詩歌：萬國之王（神家詩歌合訂本1第117首）詞：余光昭 曲：George F. Handel, Arr. by Lowell Mason世上的國成了我主和主基督的國；祂要作王，祂要作王，直到永永遠遠，直到永永遠遠，祂要作王直到永永遠遠。
“When I Survey The Wondrous Cross” arranged by Lowell Mason. Presented as the postlude to worship at First UMC - Gainesville, FL on 6 April 2025 by Lynn Sandefur-Gardner on piano.
Celebrating John and Charles Wesley in the Church Calendar, March 3, 2025.Our general order and lectionary come from the Book of Common Prayer Daily Office.Today's song: O For a Thousand Tongues (Charles Wesley, Lowell Mason, David Crowder)Psalm 98:1-4Luke 9:2-6Playlist of songs from Morning Prayer.If you have a prayer request please submit it here. Sign up here for the email list.Morning Prayer and Worship is a production of Steady Stream Ministries, a 501(c)(3) non profit organization. Thank you for your support. You can go here to find out more.Get an ad-free feed of the podcast with a monthly contribution of any amount!Join our Facebook group here!Photo by Kyran Weekes.Collect of the DayJohn and Charles Wesley, Priests, 1791, 1788, Rite TwoLord God, you inspired your servants John and Charles Wesley with burning zeal for the sanctification of souls, and endowed them with eloquence in speech and song: Kindle in your Church, we entreat you, such fervor, that those whose faith has cooled may be warmed, and those who have not known Christ may turn to him and be saved; who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
**Reupload. Originally Posted 5/8/20**Raise your baton, ready that podium, and don't forget to grab your score as Dr. Payne and Eric continue our month long Conducting Bootcamp! In order to be prepared to run an effective and efficient rehearsal, you need to know your score inside and out! Dr. Tracz, the Director of bands at KSU, joins us to talk about how to make the most out of your score study and prepare to run your rehearsal before you step foot on the podium.Find Dr. Tracz's Presentation and more at https://www.k-state.edu/band/classes/518/Dr. Frank Tracz is professor of music and director of bands at Kansas State University. He earned his B.M.E. from The Ohio State University, the M.M. from the University of Wisconsin, Madison, and Ph.D. from the Ohio State University. He has public school teaching experience in Wisconsin and Ohio and has also served as Assistant Director of bands at Syracuse University and Director of bands at Morehead State University.Dr. Tracz has served as an adjudicator, clinician, speaker in various schools and conferences and has conducted All-State and Honor bands across the United States as well as in Canada, Singapore, South Africa, Fiji, Australia, and New Zealand.At Kansas State he directs the Wind Ensemble and the Marching Band, teaches graduate and undergraduate conducting, advisor to Kappa Kappa Psi, Tau Beta Sigma, and the Band Ambassadors, and administers and guides all aspects of a large BIG XII comprehensive band program. Ensembles under his direction have been invited to perform at numerous State conferences, MENC, two CBDNA regional conferences, The Larry Sutherland Wind band Festival at Fresno State, Carnegie Hall, and the Kennedy Center.The marching band was awarded the prestigious Sudler Trophy in 2015. The Wind Ensemble has been invited to perform at the International Convention of the American Bandmasters Association in 2019 in Loveland, CO Dr. Tracz is on the faculty of the Conn-Selmer Institute, adjunct faculty of the American Band College, past member of the Music Education Journal Editorial Board, contributor to the Teaching Music Through performance In Band series, and was recently appointed Chair of the Sudler Trophy Project of the John Philip Sousa Foundation. His honors include the Stamey Award for outstanding teaching, Kansas Bandmasters Outstanding Director award, Wildcat Pride Alumni Association award, the Tau Beta Sigma Paula Crider Outstanding Band Director award, named a Lowell Mason fellow, and Phi Kappa Phi Honorary Fraternity. He has also received the ConnSelmer Institute Hall of Fame award, the Kansas State Professorial Performance award, and was elected to the prestigious American Bandmasters Association.(Bio Courtesy of K-State Bands)Not Your Forte Podcast is a music education podcast that is geared towards helping Music Education students survive and thrive throughout their undergrad as well as prepare to enter the "real world". Not Your Forte is brought to you by Eric Tinkler, a senior in music education at Kansas State and Dr. Phillip Payne, the Undergraduate Music Education advisor at Kansas State. You can listen to us on Apple Podcasts, Spotify, Youtube and much more!Support the show (https://www.patreon.com/notyourfortepodcast)Support the show
2020年12月27日主日聚會 分享：余光昭 聖經： 「我已將祢的名指示他們，還要指示他們，使祢所愛我的愛在他們裡面，我也在他們裡面。」（約十七26） 詩歌：無限榮耀的祢，烈焰情愛 詞：余光昭 曲：Lowell Mason 無限榮耀的祢，烈焰情愛 滿足、奪去我心，是我永安息 是我無盡福樂，是我最大喜樂 珍貴我竟是祢父賜祢永配、 滿足、永喜樂 珍貴我竟是祢最戀慕佳偶 詩歌：榮耀裡主耶穌已奪去我的心 詞：余光昭 曲：John F. Wade 榮耀裡主耶穌已奪去我的心 我竟是祂終極至愛、絕配、永配 在全宇宙哪裡有更大幸福 我最深屬我良人，我良人最深屬我 祂我最深聯合，祂永最戀慕我 祢愛珍貴印記，祢凹陷愛的傷痕 今永在天向宇宙萬有宣示 我是祢至愛，是祢骨中骨、絕配、永配 祢無限珍貴、喜悅父賜給祢的愛禮 祢禱願、祢傷痕，回應父對祢愛、父為祢為我愛夢
2021年12月25日主日聚會 分享：余光昭 聖經： 「伯利恆、以法他啊，你在猶大諸城中為小，將來必有一位從你那裡出來，在以色列中為我作掌權的；祂的根源從亙古，從太初就有。」（彌五2） 「但聖靈降臨在你們身上，你們就必得著能力，並要在耶路撒冷、猶太全地，和撒瑪利亞，直到地極，作我的見證。」（徒一8 ） 「太初有道，道與神同在，道就是神。」（約一1） 「道成了肉身，住在我們中間，充充滿滿的有恩典有真理。我們也見過他的榮光，正是父獨生子的榮光。」（約一14） 「從來沒有人看見神，只有在父懷裡的獨生子將祂表明出來。」（約一18） 詩歌：神家詩歌合訂本一117首 詞：余光昭 曲：George F. Handel, Arr. by Lowell Mason 世上的國成了我主和主基督的國； 祂要作王，祂要作王， 直到永永遠遠，直到永永遠遠， 祂要作王直到永永遠遠。
Föstudagsgestir Mannlega þáttarins í dag voru söngdívurnar og Frostrósirnar Margrét Eir og Dísella Lárusdóttir. Þær eru báðar á kafi í undirbúningi tónleika og ekki bara Frostrósatónleika heldur eru þær út og suður eins og margt tónlistarfólk þessa daganna. Við ræddum við þær í dag um lífið og tilveruna, Frostrósirnar og vertíðina í desember. Svo var það matarspjallið með Sigurlaugu Margréti. Í dag töluðum við um gamla uppskriftarbæklinga sem fengust gjarnan í verslunum sem innihalda uppskriftir að hátíðarmatnum. Einn bæklinganna innihélt meðal annars uppskriftir að kengúrusteik og hérasteik, sem voru í boði til skamms tíma hér á landi. Tónlist í þættinum: It's Christmas / Jamie Cullum (Jamie Cullum) Af álfum / Frostrósir - Margrét Eir og Friðrik Ómar (Karl Olgeirsson samdi lag og texta) Friður á Jörð / Frostrósir - Margrét Eir, Dísella og Hera Björk (Lowell Mason, texti Þorsteinn Eggertsson) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON
The Last Sunday after Pentecost: The Reign of Christ ORISON: ‘Psalm 95' from Six Hymns to Doctor Watts – Alice Parker (1925-2023) PSALMS 93 & 150 – Plainsong, Tone VIII.3 & C. V. Stanford (1852-1924) HYMN 419: Lord of all being, throned afar (Tune: MENDON) – mel. from Methodist Harmonist, 1821; adapt. Lowell Mason (1792-1872) NUNC […]
Cuando uno intenta encontrar sentido a su vida, quiere pensar que al final de este viaje, sabremos el por qué y para qué de tantas cosas que han pasado y no entendemos. Quizás no encontremos respuesta a estas preguntas, a este lado de la eternidad, pero cuando se llega a la edad de Samuel Escobar, uno ve la vida con otra perspectiva. José de Segovia quiso tener con él una serie de conversaciones sobre su vida en un momento en que estaba todavía dando clase en la Facultad Protestante de Teología de la Unión Evangélica Bautista de España en Alcobendas (Madrid). Su mente estaba clara y lúcida, pero tenía ya una edad que no le preocupaba lo que otros pudieran pensar de lo que decía. Podía hablar sinceramente de lo que pensaba y había ocurrido. Las conversaciones en el estudio de Dynamis Radio se han intercalado con grabaciones y textos suyos, que siguen diferentes momentos de su vida. Esta vez hemos incluido, sin embargo, unas palabras suyas, grabadas tan sólo hace unos días en Valencia por su hija Lilly, para los oyentes de esta serie, ahora que está a punto de cumplir 90 años, si Dios quiere. La selección musical de este último programa se basa en dos de sus himnos favoritos, "¡Qué grande es Él!" y "Canta, oh buen cristiano", ambos del siglo XIX. El primero (How Great Thou Art) de Carl Gustav Boberg, es de 1884 y está basado en el Salmo 8:4, mientras que el segundo (Work For The Night Is Coming) de Lowell Mason en 1854, tiene una letra diferente en castellano del mexicano Epigmenio Velasco. Las versiones instrumentales del himno de Boberg, que suenan de fondo, son de The Piano Guys, Taryn Harbridge, Smitty Price y Harlan Rogers. La versión cantada es de Elvis Presley en 1967 y la del himno de Mason es del peruano Endo Fuerel del grupo de Lima INKABETHEL. La música instrumental que suena al final del programa. es la "Oración" (Prayer 1975) instrumental del pianista de jazz Keith Jarrett, ya retirado, así como la canción del ahora fallecido contrabajista de jazz, Charlie Haden con su cuarteto del oeste y una orquesta de cámara en 1999, como "Extraño caminante" (Wayfaring Stranger), así como la música "De vuelta a casa" (Goin´Home) que hizo con su Orquesta de Música de Liberación en 2004. Daniel Panduro ha unido la música y la voz de estos programas con la mayor calidad de sonido y cuidado en las mezclas.
2020年8月2日主日聚會 分享：余光昭 聖經： 「祂是愛我，為我捨己。」（加二20） 「原來基督的愛激勵我們；因我們想，一人既替眾人死，眾人就都死了；並且祂替眾人死，是叫那些活著的人不再為自己活，乃為替他們死而復活的主活。」（林後五17） 「不但如此，我也將萬事當作有損的，因我以認識我主基督耶穌為至寶。我為祂已經丟棄萬事，看作糞土，為要得著基督。」（腓三8 ） 詩歌：基督在我心裡（神家詩歌第1冊183首） 詞：余光昭 曲：Ira D. Sankey 我已經與基督同釘十字架， 現在活著的不再是我， 乃是基督在我裡面活著， 基督在我裡面活著； 且我如今在肉身活著， 是因信神的兒子而活； 祂是愛我，為我捨己； 祂是愛我，為我捨己。 詩歌：主對我個人的愛（神家詩歌第1冊16頁） 詞、曲：余光昭 主對我個人的愛！是我一生的激勵， 失望孤苦時安慰，偉大堅強勝一切， 多姿多采又柔細，我要誇口到永世。 詩歌：林後五17 詞：余光昭 曲：Lowell Mason 原來基督的愛激勵我們， 激勵我們； 因我們想，一人既替眾人死， 眾人就都死了，今為主活。
Get an ad-free feed of the podcast with a monthly contribution of any amount! It's Monday of Ordinary Time, Proper 8 in the Church Calendar. July 1, 2024. Our general order and lectionary come from the Book of Common Prayer Daily Office. Welcome (00:00) O For A Thousand Tongues (Charles Wesley, Lowell Mason, Carl Gläser) (00:52) Prayer of Confession (02:01) O For A Thousand Tongues (continued) (02:32) Praying with Suzanne in Texas (03:11) O For A Thousand Tongues (continued) (04:08) Psalm 106:1-18 (04:43) Glory to the Father (06:59) Matthew 21:12-22 (07:31) Apostles' Creed (09:59) Lord's Prayer (11:00) Collect of the Day (11:34) Time of Free Prayer (12:39) Prayer for healing (14:34) Benediction (15:42) Playlist of songs from Morning Prayer. If you have a prayer request please submit it here. Sign up here for the email list. Morning Prayer and Worship is a production of Steady Stream Ministries, a 501(c)(3) non profit organization. Thank you for your support. You can go here to find out more. Join our Facebook group here! Photo by Elina Sazonova. --- Send in a voice message: https://podcasters.spotify.com/pod/show/prayerandworship/message
Get an ad-free feed of the podcast with a monthly contribution of any amount! It's Monday of Ordinary Time, Proper 8 in the Church Calendar. July 1, 2024. Our general order and lectionary come from the Book of Common Prayer Daily Office. Welcome (00:00) O For A Thousand Tongues (Charles Wesley, Lowell Mason, Carl Gläser) (00:52) Prayer of Confession (02:01) O For A Thousand Tongues (continued) (02:32) Praying with Suzanne in Texas (03:11) O For A Thousand Tongues (continued) (04:08) Psalm 106:1-18 (04:43) Glory to the Father (06:59) Matthew 21:12-22 (07:31) Apostles' Creed (09:59) Lord's Prayer (11:00) Collect of the Day (11:34) Time of Free Prayer (12:39) Prayer for healing (14:34) Benediction (15:42) Playlist of songs from Morning Prayer. If you have a prayer request please submit it here. Sign up here for the email list. Morning Prayer and Worship is a production of Steady Stream Ministries, a 501(c)(3) non profit organization. Thank you for your support. You can go here to find out more. Join our Facebook group here! Photo by Elina Sazonova. --- Send in a voice message: https://podcasters.spotify.com/pod/show/prayerandworship/message
Christmas Eve 2023 You can watch the video on YouTube: https://www.youtube.com/watch?v=QDHg79Tg9Aw *Songs played by the WCC band in this service: - "Gloria" by Josh Garrels (Lyrics: Josh Garrels, © 2016 Josh Garrels Small Voice LLC - "O Come O Come Emmanual" in the style of Sufjan Stevens (Lyrics: John Mason Neale | Thomas Helmore © Public Domain - "I Heard The Bells On Christmas Day" - Henry Wadsworth Longfellow | John Baptiste Calkin, © Public Domain - Angels We Have Heard On High" by Phil Wickham (Lyrics: Edward Shippen Barnes | James Chadwick © Public Domain - "Joy To The World" (Words & Music by Isaac Watts & Lowell Mason, Arranged by John Mark McMillan & Everett Hardin, © Raucous Ruckus Publishing - "Away In A Manger (Forever Amen)" by Phil Wickham - (Lyrics: James Ramsey Murray, John Thomas McFarland, Jonathan Smith, Martin Luther, Phil Wickham; © 2019 Be Essential Songs; Cashagamble Jet Music; Phil Wickham Music; Simply Global Songs; Sing My Songs) - O Holy Night (Hallelujah) - Crowder (Lyrics: Adolphe Charles Adam | David Crowder | Jack Parker | Jeremy Bush | John Sullivan Dwight | Mark Waldrop | Mike Dodson | Mike Hogan | Placide Cappeau; Words: Public Domain; Music: 2011 Hoganmike Music (Admin. by Capitol CMG Publishing); Inot Music; sixsteps Music; We Are The Digital Age; worshiptogether.com songs *Songs Performed by the WCC band with permission under CCS License # 4935
Christmas Eve 2023 You can watch the video on YouTube: https://www.youtube.com/watch?v=QDHg79Tg9Aw *Songs played by the WCC band in this service: - "Gloria" by Josh Garrels (Lyrics: Josh Garrels, © 2016 Josh Garrels Small Voice LLC - "O Come O Come Emmanual" in the style of Sufjan Stevens (Lyrics: John Mason Neale | Thomas Helmore © Public Domain - "I Heard The Bells On Christmas Day" - Henry Wadsworth Longfellow | John Baptiste Calkin, © Public Domain - Angels We Have Heard On High" by Phil Wickham (Lyrics: Edward Shippen Barnes | James Chadwick © Public Domain - "Joy To The World" (Words & Music by Isaac Watts & Lowell Mason, Arranged by John Mark McMillan & Everett Hardin, © Raucous Ruckus Publishing - "Away In A Manger (Forever Amen)" by Phil Wickham - (Lyrics: James Ramsey Murray, John Thomas McFarland, Jonathan Smith, Martin Luther, Phil Wickham; © 2019 Be Essential Songs; Cashagamble Jet Music; Phil Wickham Music; Simply Global Songs; Sing My Songs) - O Holy Night (Hallelujah) - Crowder (Lyrics: Adolphe Charles Adam | David Crowder | Jack Parker | Jeremy Bush | John Sullivan Dwight | Mark Waldrop | Mike Dodson | Mike Hogan | Placide Cappeau; Words: Public Domain; Music: 2011 Hoganmike Music (Admin. by Capitol CMG Publishing); Inot Music; sixsteps Music; We Are The Digital Age; worshiptogether.com songs *Songs Performed by the WCC band with permission under CCS License # 4935
Al llegar estas fechas no dejan de escucharse en todas partes canciones que asociamos con la Navidad. En este programa de radio de "El sueño se ha acabado", el gran especialista en música negra, Luis Lapuente (conocido como el Doctor Soul), se une a José de Segovia, para seleccionar y comentar una serie de temas que destacan no sólo por su extraordinaria calidad musical, sino también por el contenido de unas letras que reflejan fielmente el mensaje del Evangelio. Oímos versiones sorprendentes de algunos clásicos, pero también obras contemporáneas con las historias que hay detrás de cada una de ellas. Una de las más curiosas asociaciones de Bono, el cantante del grupo irlandés U2, es con un músico cristiano bastante tradicional, como es Michael W. Smith. Juntos han colaborado en campañas benéficas para África. pero hay también fotos de ellos en la casa de Smith en Nashville, que llegó a tocar los teclados en un tema descartado del álbum "Cómo desmantelar una bomba atómica". Les oímos juntos en el disco de Navidad de Smith, donde interpreta el himno tradicional irlandés de "La medianoche más oscura" (The Darkest Midnight) con la voz de Bono. "¡Oíd!, los ángeles mensajeros cantan" (Hark! The Herald Angels Sing) es un clásico británico del siglo XVIII, que oímos en la voz de la hija del predicador, Aretha Franklin. La letra de este himno la escribieron los predicadores del Avivamiento evangélico Charles Wesley y George Whitefield con la música de una cantata del compositor judío convertido al protestantismo, Felix Mendelssohn. Está en el primer álbum navideño de Aretha en 2008. "Oí las campanas el día de Navidad" (I Heard The Bells on Christmas Day) está basado en un poema de la guerra civil americana, que grabó en 1963, "El hombre vestido de negro", Johnny Cash. Los años 60 es una época tormentosa en la vida de Cash. Provoca un incendio en un bosque y es arrestado por posesión de narcóticos, pero vuelve una y otra vez a encontrar refugio en la fe basada en el coro de esta canción de Lucas 2:14. Atormentado también por crisis nerviosas, Brian Wilson de los Beach Boys dice en 2005, "Lo que realmente quiero en Navidad", que es "Al mundo paz" (Joy To The World). Este himno clásico evangélico es obra de Isaac Watts, pastor del siglo XVIII. Lo escribió inspirado por el Salmo 98, que conocemos con los arreglos americanos de Lowell Mason en el siglo XIX. The Stylistics es una formación de soul que con el Sonido Filadelfía tuvo mucho éxito en los años 70. En 1992 grabaron un himno tradicional inglés que aparece ya en el siglo XVII. Se llama "God Rest Ye Merry Gentlemen", que se podría traducir como "¡Qué Dios te conceda paz y felicidad!", una expresión que aparece en las obras de Shakespeare, haciendo Dickens referencia al himno en su "Cuento de Navidad". El cantautor californiano Randy Stonehill fue convertido al salir de la droga en "la pequeña casa blanca" que tenía Larry Norman al lado de la Iglesia Presbiteriana de Hollywood, donde empezaron a actuar juntos en el café de la Compañía de La Sal. Su "Canción de Navidad para todo el año" (Christmas Song For All Year Around) está en el disco que hace con Larry en 1976, "¡Bienvenido al Paraíso!" (Welcome To Paradise) con el ingeniero de sonido de los Stones y Led Zeppelin, Andy Johns. "¡Toma mi mano, precioso Señor!" (Take My Hand, Precious Lord) es el himno preferido de Martin Luther King. Thomas Dorsey escribió la letra al oír la música a una cantante ciega llamada Connie Williams, cuando murió su esposa al dar a luz a su hijo en 1932. Mahalia Jackson y Aretha Franklin lo popularizaron el año antes que lo grabara Elvis en su álbum de Navidad de 1957. Se cantó en el funeral de King en 1968, que lo pidió para la reunión que iba a tener el mismo día de su asesinato. Y hasta Dave Grohl leyó la letra en el funeral de Lemmy de Motörhead. "El León de Belfast" es conocido por su espiritualidad, pero nunca ha estado tan cerca de la fe evangélica como cuando cantó con Cliff Richard, "Donde Dios ilumina su luz" (Whenever God Shines His Light). El tema que abre el disco de "Avalon Sunset" en 1989, apareció como disco sencillo y tuvo un gran éxito de público y crítica. Cliff Richard es conocido desde los años 60 por su fe evangélica, mayoritaria en el protestantismo de Irlanda del Norte, donde Van Morrison creció y vive en la actualidad. "¿Quién quitó lo feliz de la Navidad?" (Who Took The Merry Out of Christmas) es una canción de los años 70 de los Staple Singers. El grupo de esta familia de Chicago combinó el gospel con el soul y el R&B. Comienza en la iglesia donde era pastor el hermano de Pops, el padre que canta con su esposa y sus hijos. Su amistad con King le lleva a ocupar un lugar especial en la lucha por los derechos civiles en los años 60. Acabamos el programa con la canción de Larry Norman en 1973, "Tiempo de Navidad" (Christmastime). Los fondos instrumentales son de artistas de jazz como Kenny Burrell, Chet Baker y Dexter Gordon, el arpa celta de la canadiense Loreena McLennitt, el grupo de soul, rock y R&B de Booker T & The MG´s, el piano del ahora fallecido George Winston y el guitarrista cristiano Phil Keaggy con la Orquesta del Festival de Londres.
LibriVox selection of traditional Christmas carols, hymns and songs in English, French, German, Greek, Italian and Ukrainian. We wish you all a happy and peaceful Christmas.English:All Children are on Christmas Eve - Words & Music: Rev. Charles L. Hutchins (1838-1920).Angels from the Realms of Glory - Words: James Montgomery (1771-1854); Music: Henry T. Smart (1813-1879).Angels We Have Heard on High - Words: French Carol, trans. James Chadwick (1813-1882). Music: 'Gloria' French carol melody.The Babe of Bethlehem - Old Kentish carol, arr. Henry R. Bramley (1833-1917) & John Stainer (1840-1901).The First Nowell - traditional English carol, first published in its current form in Carols Ancient and Modern (1823) edited by William Sandys.Good King Wenceslas - Words: John Mason Neale (1818-1866). Music: from Piae Cantiones (1582) arr. Henry R. Bramley (1833-1917) & John Stainer (1840-1901).Hark! The Herald Angels Sing - Words: Charles Wesley (1707-1788) Music: Felix Mendelssohn (1809-1847), arr. William H. Cummings (1831-1915).The Holly and the Ivy - Words: Traditional. Music: Traditional, arr. Henry R. Bramley (1833-1917) & John Stainer (1840-1901).I Heard the Bells on Christmas Day - Words: Henry Wadsworth Longfellow (1807-1882) Music: John B. Calkin (1827-1905).In Little Bethlehem - Words: Katherine Parker; Music: George W. Wilmot. In Beginner and Primary Songs for use in Sunday School and the Home.In the Bleak Midwinter - Words: Christina Rossetti (1830 - 1894); Music: Gustav Holst (1874 - 1934).Joy to the World - Words: Words: Isaac Watts (1674 - 1748); Music: 'Antioch' pieced together from 'Messiah' by George F. Handel (1685 - 1759) arr. Lowell Mason (1792-1872).Lo, How a Rose E'er Blooming - Words: Words: v. 1-2, 15th Century German, trans. Theodore Baker ( 1851–1934); v. 3,4 Fridrich Layriz (1808-1859), trans. Harriet Reynolds Krauth (1845-1925); v. 5, 15th Century German, trans. John C. Mattes(1876-1948). Music: 'Es Ist Ein Ros Entsprungen (Rhythmic)' German from Köln, 1599, arr. Michael Praetorius (1571-1621).Masters in this Hall, or, Nowell, Sing We Clear - Words: William Morris (1834-1896); Music: French Traditional.O Come, O Come, Emmanuel - Words: translated from the Latin by John Mason Neale (1818-1866). Music: 'Veni Emmanuel', 15th Century.Rise Up, Shepherd an' Foller - Words & Music: American Traditional arr. Franklin Robinson.Sweet Was the Song the Virgin Sung - From William Ballet's Lute Book c.1600. Music: arr. Dr. Charles Wood (1866–1926).Wassail! Wassail All Over the Town! (Gloucestershire Wassail) - Words & Music: English Traditional.We Three Kings of Orient Are - Words & Music: Rev. John Henry Hopkins, Jr. D.D. (1821-1891).What Child is This? - Words: William Chatterton Dix (1837-1898). Music: English Traditional.français (French):.Dans cette étable - Words: French Traditional; Music: Charles Gounod (1818-1893).Deutsch (German):.Es kommt ein Schiff geladen - Words: Daniel Sudermann (1550 - 1631?); Music: first published in Andernacher Gesangbuch 1608.ελληνικά (Greek):.I Parthenos Simeron (Η Παρθένος Σήμερον) or Today the Virgin - Words and music: St. Romanos the Melodist (5th Century).italiano (Italian):.Canzone di Natale - Music: Arranged by Alberto Bimboni.українська мова (Ukrainian):.Коляда (Kolyada) - Words and music: Traditional Ukrainian..Про різдво Христове... (Prorizdvo Khrystove) - Words and music: Traditional Ukrainian. --- Support this podcast: https://podcasters.spotify.com/pod/show/librivox1/support
Sunday's Sermon: Aliso Creek Church Podcast (https://alisocreekchurchpodcast.fireside.fm) Passage: Finally, my brothers,[a] rejoice in the Lord. To write the same things to you is no trouble to me and is safe for you. 2 Look out for the dogs, look out for the evildoers, look out for those who mutilate the flesh. 3 For we are the circumcision, who worship by the Spirit of God[b] and glory in Christ Jesus and put no confidence in the flesh— 4 though I myself have reason for confidence in the flesh also. If anyone else thinks he has reason for confidence in the flesh, I have more: 5 circumcised on the eighth day, of the people of Israel, of the tribe of Benjamin, a Hebrew of Hebrews; as to the law, a Pharisee; 6 as to zeal, a persecutor of the church; as to righteousness under the law,[c] blameless. 7 But whatever gain I had, I counted as loss for the sake of Christ. 8 Indeed, I count everything as loss because of the surpassing worth of knowing Christ Jesus my Lord. For his sake I have suffered the loss of all things and count them as rubbish, in order that I may gain Christ 9 and be found in him, not having a righteousness of my own that comes from the law, but that which comes through faith in Christ, the righteousness from God that depends on faith— 10 that I may know him and the power of his resurrection, and may share his sufferings, becoming like him in his death, 11 that by any means possible I may attain the resurrection from the dead. Song: When I Survey the Wondrous Cross (https://open.spotify.com/track/3vRR6DGPUKGFV4uXq0U6HJ?si=951d57c349114580) by Isaac Watts and Lowell Mason, with additional lyrics and arrangement by the Norton Hall Band Lyrics: When I survey the wondrous cross On which the Prince of glory died My richest gain I count but loss And pour contempt on all my pride Forbid it Lord that I should boast Save in the death of Christ my God All the vain things that charm me most I sacrifice them to His blood See from His head His hands His feet Sorrow and love flow mingled down Did ever such love and sorrow meet Or thorns compose so rich a crown His dying crimson like a robe Spreads o'er His body on the tree Then I am dead to all the globe And all the globe is dead to me Were the whole realm of nature mine That were a present (an offering) far too small Love so amazing so divine Demands my soul my life my all Prayer: This is another day, O Lord. I know not what it will bring forth, but make me ready, Lord, for whatever it may be. If I am to stand up, help me to stand bravely. If I am to sit still, help me to sit quietly. If I am to lie low, help me to do it patiently. And if I am to do nothing, let me do it gallantly. Make these words more than words, and give me the Spirit of Jesus. Amen.
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices
Jessica Lowell Mason and Nicole Crevar's Madwomen in Social Justice Movements, Literatures, and Art (Vernon Press, 2023) boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar's seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar's work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of "Madwoman," and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities. Learn more about your ad choices. Visit megaphone.fm/adchoices
03-05-2023 PM - -The Parable of the Tenants- - Matthew 21-33-46--65C -Praise Waits for Thee in Zion- -Trinity Psalter Hymnal 65C-TEXT- The Psalter, 1912-MUSIC- German melody- Arr. Lowell Mason, 1839-Public Domain--336 -O Sacred Head, Now Wounded--Trinity Psalter Hymnal 336-TEXT- Bernard of Clairvaux, 1091-1153- Tr. Paul Gerhardt, 1656- Tr. James W. Alexander, 1830-MUSIC- Hans Leo Hassler, 1601- Harm. Johann Sebastian Bach, 1729-Public Domain--517 -I Know Whom I Have Believed- -Trinity Psalter Hymnal 517-TEXT- David W. Whittle, 1883-MUSIC- James McGranahan, 1883-Public Domain--117B -Praise the Lord God, All You Nations--Trinity Psalter Hymnal 117B-TEXT- Psalm 117- OPC-URCNA 2016-MUSIC- Henry Thomas Smart, 1867--2018 Trinity Psalter Hymnal Joint Venture-All rights reserved. Used by permission.--Zion United Reformed Church has CCLI license for all songs sung or performed by their congregation or choir. CCLI License No. 1415911. --Scripture quotations are from the ESV- Bible -The Holy Bible, English Standard Version--, copyright - 2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved. May not copy or download more than 500 consecutive verses of the ESV Bible or more than one half of any book of the ESV Bible
We're celebrating John and Charles Wesley in the Church Calendar. March 3, 2023. This week we are following the Daily Office lectionary with an episode Monday through Friday. Praying today for Tatiana in England. Our general order and lectionary comes from the Book of Common Prayer Daily Office. We'll sing “O For a Thousand Tongues” by Charles Wesley and Lowell Mason. We'll read Psalm 98:1-4 followed by the Gloria Patri. Our Gospel reading is Luke 9:2-6 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: George McNeil, They Like to Dance, 1983 Collect of the Day - John and Charles Wesley, Priests, 1791, 1788, Rite Two - Lord God, you inspired your servants John and Charles Wesley with burning zeal for the sanctification of souls, and endowed them with eloquence in speech and song: Kindle in your Church, we entreat you, such fervor, that those whose faith has cooled may be warmed, and those who have not known Christ may turn to him and be saved; who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen. --- Send in a voice message: https://podcasters.spotify.com/pod/show/prayerandworship/message
We're celebrating John and Charles Wesley in the Church Calendar. March 3, 2023. This week we are following the Daily Office lectionary with an episode Monday through Friday. Praying today for Tatiana in England. Our general order and lectionary comes from the Book of Common Prayer Daily Office. We'll sing “O For a Thousand Tongues” by Charles Wesley and Lowell Mason. We'll read Psalm 98:1-4 followed by the Gloria Patri. Our Gospel reading is Luke 9:2-6 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: George McNeil, They Like to Dance, 1983 Collect of the Day - John and Charles Wesley, Priests, 1791, 1788, Rite Two - Lord God, you inspired your servants John and Charles Wesley with burning zeal for the sanctification of souls, and endowed them with eloquence in speech and song: Kindle in your Church, we entreat you, such fervor, that those whose faith has cooled may be warmed, and those who have not known Christ may turn to him and be saved; who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
Synopsis If the late 18th century is the “Classical Age,” and the 19th “The Romantic,” then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can—and do—pick and choose from a wide variety of styles. The American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake's Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well. As Bolcom put it: "At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.” The massive work received its premiere performance in Stuttgart, Germany, on today's date in 1984. Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany. Music Played in Today's Program William Bolcom (b. 1938) Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor. Naxos 8.559216/18 On This Day Births 1792 - American composer and educator Lowell Mason, in Medford, Massachusetts; 1812 - Swiss composer and pianist Sigismond Thalberg, in Pâquis, near Geneva; 1896 - Czech composer Jaromir Weinberger, in Prague; 1899 - Russian-born American composer Alexander Tcherepnin (Gregorian date: Jan. 21); 1905 - Italian composer Giacinto Scelsi, in La Spezia; 1924 - Russian-American composer Benjamin Lees (née Lysniansky), in Harbin, Manchuria; 1924 - Austrian-born American composer Robert Starer, in Vienna; 1935 - The charismatic rock 'n' roll performer Elvis Presley is born in Tupelo, Miss.; 1937 - American composer Robert Moran, in Denver; Deaths 1713 - Italian composer and violinist Arcangelo Corelli, age 59, in Rome; 1831 - Moravian-born composer and violinist Franz Krommer, age 71, in Vienna; 1998 - British composer Sir Michael Tippett, age 93, in London; Premieres 1705 - Handel: opera "Almira" in Hamburg; This was Handel's first opera (see also Dec. 5 & 30 for related contemporary incidents); 1720 - Handel: opera "Radamisto" (2nd version), in London (Julian date: Dec. 28, 1720); 1735 - Handel: opera "Ariodante" in London at the Covent Garden Theater (Gregorian date: Jan. 19); 1843 - Schumann: Piano Quintet in Eb, Op. 44, at Leipzig Gewandhaus with pianist Clara Schumann; 1895 - Brahms: Clarinet Sonata, Op. 120, no. 1 (first public performance), in Vienna, by clarinetist Richard Mühlfeld, with the composer at the piano, as part of the Rosé Quartet's chamber music series; The first performance ever of this work occurred on September 19, 1894, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, with the same performers; Brahms and Mühlfeld also gave private performances of both sonatas in Frankfurt (for Clara Schumann and others) on November 10-13, 1894; at Castle Altenstein (for the Duke of Meiningen) on Nov. 14, 1894; and on Jan. 7, 1895 (for members of the Vienna Tonkünstler Society); 1911 - Florent Schmitt: "La tragédie de Salomé" for orchestra, in Paris; 1927 - Berg: "Lyric Suite" for string quartet, in Vienna, by the Kolisch Quartet; 1928 - Hindemith: "Kammermusik" No. 7, Op. 46, no. 2, in Frankfurt, with Ludwig Rottenberg conducting and Reinhold Merten the organist; 1940 - Roger Sessions: Violin Concerto, by the Illinois Symphony conducted by Izler Solomon, with Robert Gross as soloist; The work was to have been premiered by Albert Spalding with the Boston Symphony under Koussevitzky in January of 1937, but did not take place); 1963 - Shostakovich: opera "Katerina Izmailova" (2nd version of "Lady Macbeth of the Mtsensk District"), in Moscow at the Stanislavsky-Nemirovich-Dachenko Music Theater; 1971 - Shostakovich: Symphony No. 15, in Moscow, by the All-Union Radio and Television Symphony, with the composer's son, Maxim, conducting; 1987 - Christopher Rouse: "Phaethon" for orchestra, by the Philadelphia Orchestra, Riccardo Muti conducting; 1988 - Schwantner: "From Afar . . . " (A Fantasy for Guitar and Orchestra), by guitarist Sharon Isbin with the St. Louis Symphony, Leonard Slatkin conducting; Others 1923 - First broadcast in England of an opera direct from a concert hall, Mozart's "The Magic Flute" via the BBC from London; Links and Resources More on Wiiliam Bolcom More on William Blake
Family Service with Nativity Tableau and musical leadership by BMPC's Children's Choir, Youth Chorale and the Bryn Mawr Festival Brass. ____________________________________ Brass and Organ Carol Arrangements: © 1979, 1983, 1989. Richard R. Webster. Published by Advent Press, Inc. All rights reserved. © 2010. Ken Cowan. All rights reserved. Recessional Carol: Joy to the World – Antioch Text: Isaac Watts (1674-1748). Music: G.F. Handel (1685-1759); adapt. Lowell Mason (1792-1872); arr. Craig Phillips, 2009. Music: ©2009 Selah Publishing Co., Inc. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Offertory Carol: Ding Dong! Merrily On High Text: G.R. Woodward (1848-1934). Music: 16th cent. French carol; arr. Ken Berg, 2003. Text & Music: ©2003 Choristers Guild. All rights reserved.
Join us this week for another classic Christmas hymn (or is it?), Joy to the World with words by Isaac Watts, adapted by W.W. Phelps, and music by G. F. Handel, adapted by Lowell Mason. Hear about how the stars aligned for these four powerhouse creators to come together to bring us this hymn. Whether you are talking about Christ's first or second coming, this hymn should always be on your list! Connect with us! Website: KnowingHymn.weebly.com Facebook Group: Knowing Hymn Instagram: KnowingHymn Twitter @ KnowingHymn Email: knowinghymn@gmail.com
For our last episode of the season, we're blasting “Joy to the World” a carol that for many is synonymous with Christmas, but which has almost nothing to do with the birth of Jesus in Bethlehem. The prolific hymn writer, Isaac Watts, first penned “Joy to the World” after Psalm 98, which reflects the joy that followed Jewish deliverance from exile. But as a carol, it anticipates the second coming of Christ. As for the iconic tune, that is set by American music director, Lowell Mason, who borrows the melody from the regal masterpiece of George Frederick Handel's “Messiah.” Colin Britt returns to the podcast to explain this carol's musical journey, and Dr. Cecilia González-Andrieu helps us interpret its meaning through the lens of theological aesthetics and eco-theology. Cecilia's latest book: Bridge to Wonder: Art as a Gospel of Beauty We also want to thank Christopher Walker, Matthew Pierce, Daniel G. Stocker, Smoking Bishop, Sasha Samara, Juan Carlos Quintero, Red Mountain Music, Heather Dale, and the Ignatian Schola for the music on this episode. And to Barbara Rowe, who allowed us to play music from the collection of her late husband Bryan Rowe. Which Christmas carols would you like for us to explore next year? Let your voice be heard! Complete this brief listener survey. Learn more about your ad choices. Visit megaphone.fm/adchoices
In episode 187 last week I talked about the back story behind “Angels We Have Heard on High.” Today I pull the curtain back to look at the history behind another well-known Christmas carol, this one going back to 1719. It never started out to be a song, but before we get into all this, here's a word from another Christmas Carol, one of my favorites, my boss, Carol Steward. Welcome to You Were Made for This If you find yourself wanting more from your relationships, you've come to the right place. Here you'll discover practical principles you can use to experience the life-giving relationships you were made for. I'm your host, John Certalic, award-winning author and relationship coach, here to help you find more joy in the relationships God designed for you. To access all past and future episodes, go to the bottom of this page, enter your name and email address, then click on the follow or subscribe button. The episodes are organized chronologically and are also searchable by topics, categories, and keywords. Isaac Watts I'll start by talking about how “Joy to the World, one of the most famous Christmas Carols of all time,” came to be. It starts with the lyrics written in 1719 by hymn writer Isaac Watts. While he is appreciated today in church music circles, during his lifetime Watts was considered by many to be a disturbance of the status quo and even possibly a heretic for the lyrics he wrote. While he wasn't a heretic, he was a revolutionary. Watts grew up in a world where the music in every worship service consisted only of psalms or sections of Scripture put to music. Watts found the practice monotonous. To him, there was a lack of joy and emotion among the people in the pew as they sang. He described it like this, “To see the dull indifference, the negligent and thoughtless air that sits upon the faces of a whole assembly, while the psalm is upon their lips, might even tempt a charitable observer to suspect the fervency of their inward religion.” Yikes, this sounds like me many times. A Christmas carol from a poem I was surprised to learn that the lyrics for “Joy to the World” actually came out of a book of poetry Isaac Watts wrote, where each poem was based on a different psalm from the Bible. Rather than just translating the original Old Testament texts word for word, he adapted them to refer more explicitly to the work of Jesus as it had been revealed in the New Testament. The poetry book was never a best-seller, and the only remnants of it anyone can find is the second part of Psalm 98, which became the basis for “Joy to the World.” While meditating on Psalm 98, verse 4 gripped Watts: “Make a joyful noise to the LORD, all the earth; break forth into joyous song and sing praises!” Watts had no intention of creating a hymn when he composed the verse for Psalm 98 as part of his book of poetry. But then in 1836 a man by the name of Lowell Mason composed a riveting melody for Watts' lyrics, which eventually became quite popular in the church. The lyrics Joy to the world, the Lord is come; Let earth receive her King! Let every heart prepare him room And heaven and nature sing! And heaven and nature sing . . . and heaven . . . and heaven . . . and nature sing. Joy to the earth, the Savior reigns! Let men their songs employ While fields and floods, rocks, hills, and plains, Repeat the sounding joy . . repeat the sounding joy! Repeat . . . repeat . . . the sounding joy! No more let sins and sorrows grow, Nor thorns infest the ground; He comes to make his blessings flow Far as the curse is found . . fFar as the curse is found . . . Far as . . . far as . . . the curse is found! He rules the world with truth and grace And makes the nations prove The glories of his righteousness And wonders of his love . . . and wonders of his love! And wonders . . . wonders . . . of his love! Hope for better days ahead The intent of Psalm 98 is to bring joy to people. “Joy to the World” inspires us to look forward to the future when sin and sorrow no longer play a part in our lives. Where no thorn infests the ground, and where we are caught up in the grace, glory, and love of God. So what does “Joy to the World” mean for you today It's been 300 years since the carol was written, but it still speaks to us today. It speaks to creating room in our hearts for Jesus, as the third line of the song declares, “Let every heart prepare him room.” No easy task these days with all the distractions we have keeping us from considering our relationship with God and how we should live in light of that relationship. The song speaks to the joy that is yours when you consider that God is in control, that he has defeated sin, and is making his blessings flow. One other thing that “Joy to the World” means is that we can experience joy no matter our circumstances. Yesterday morning I received a text from a missionary who has been serving in South America for many years. She wrote to tell me she just listened again to episode 155, “How to Find Joy No Matter What,” and that it blessed her again in the midst of the stresses of missionary life and relationships in general. To listen to it yourself, just go to JohnCertalic.com/155. Here's the main takeaway I hope you remember from today's episode What better time than this Christmas season to reflect upon how God delivered joy to the world by sending us His son, Jesus. Our relationship with Him is the source of lasting joy worth singing about. Relationship question of the month If you have a relationship question you'd like me to answer in an upcoming episode, please go to JohnCertalic.com/question to record your question using your phone or computer. With your question, please include your name and where you're from. It's that simple. If you'd rather submit a written question, just enter it in the Leave a Comment box at the bottom of the show notes. Closing In closing, I'd love to hear any thoughts you have about today's episode. I hope your thinking was stimulated by today's show to reflect upon the meaning of “Joy to the World.” For when you do, it will help you experience the joy of relationships God desires for you. Because after all, You Were Made for This. Well, that's it for today. If there's someone in your life you think might like to hear what you just heard, please forward this episode on to them. Scroll down to the bottom of the show notes and click on one of the options in the yellow “Share This” bar. And don't forget to spread a little relational sunshine around the people you meet this week. Inject a measure of Christmas joy into the lives of others. And I'll see you again next time. Goodbye for now. Other episodes or resources related to today's show 155: How to Find Joy No Matter What 134: A Better Kind of Christmas Joy 021: The Most Important Relationship of All https://www.crossway.org/articles/a-brief-history-of-joy-to-the-world/ https://galaxymusicnotes.com/pages/learn-the-story-behind-joy-to-the-world The Gospdel Coalition. "Joy to the World: A Christmas Hymn Reconsidered" Last week's episode 187: This Christmas Carol Invites You The place to access all past and future episodes JohnCertalic.com Our Sponsor You Were Made for This is sponsored by Caring for Others, a missionary care ministry. The generosity of people like you supports our ministry. It enables us to continue this weekly podcast and other services we provide to missionaries around the world.
“Joy to the World” was written in 1719 as a musical interpretation of Psalm 98, a prophecy about the coming King. “JOY TO THE WORLD” LYRICS… “Joy to the earth, the Savior reigns. Let all their songs employ. While field and floods, rocks, hills, and plains, repeat the sounding joy…” “He rules the world with truth and grace and makes the nations prove. The glories of His righteousness, and wonders of His love…” PSALM 98 “Oh, sing to the Lord a new song! For He has done marvelous things; His right hand and His holy arm have gained Him the victory. The Lord has made known His salvation; His righteousness He has revealed in the sight of the nations. He has remembered His mercy and His faithfulness to the house of Israel; all the ends of the earth have seen the salvation of our God. Shout joyfully to the Lord, all the earth; break forth in song, rejoice, and sing praises. Sing to the Lord with the harp, with the harp and the sound of a psalm, with trumpets and the sound of a horn; shout joyfully before the Lord, the King. Let the sea roar, and all its fullness, the world and those who dwell in it; 8 let the rivers clap their hands; let the hills be joyful together before the Lord, for He is coming to judge the earth. With righteousness He shall judge the world, and the peoples with equity.” WHAT IS THE PROPHECY IN “JOY TO THE WORLD” ABOUT? This Psalm is a prophecy related to God's promise of a King who will usher in a kingdom without end and reverse the curse of sin over all creation. TWO KINGDOMS: OF HEAVEN and OF GOD The lyrics of “Joy to the World” reflect the nature of both the “Kingdom of Heaven” and the “Kingdom of God”. While these are similar in Scripture, they are not exactly synonymous. The chorus goes… “Joy to the world, the Lord is come. Let Earth receive her King. Let every heart prepare Him room and heaven and nature sing.” The “kingdom of heaven” is the rule of heaven on earth. It is a physical kingdom (See Acts 1:5-6, Matthew 3:1-2). The “kingdom of God” is the rule of God in our hearts. It is a spiritual kingdom (See Romans 14:17, Matthew 6:33). So then, how do you enter the “Kingdom of Heaven” and the “Kingdom of God”? You cannot enter the kingdom of heaven until you have FIRST entered the kingdom of God! You must first enter the spiritual kingdom, or you will never know the joy of Christ's physical kingdom. Join Pastor Phil Hopper as he explains how you can have… A new beginning A new birth Enter into a new kingdom Know true joy Don't forget to click the “bell” to SUBSCRIBE to get more videos like this to grow your faith! Connect with us on Social Media ↴ Facebook: https://www.facebook.com/abundantlifels/ Instagram: https://www.instagram.com/abundantlifels Connect with Pastor Phil ↴ Facebook: https://www.facebook.com/PhilHopperKC Instagram: https://www.instagram.com/philhopper_kc/ Web: https://livingproof.co/about-us/pastor-phil/ Prepare your heart for Christmas with this Christmas devotional video series: https://livingproof.co/preparing-your-heart-for-christmas-a-christmas-devotional-video-series/ More information on our sermons: https://livingproof.co/sermons/ Do you want to see your life changed by Jesus? Visit our website: https://livingproof.co/
Opening Song: There Is a Fountain Filled with Blood (https://open.spotify.com/track/0kqZgSpy4zwrS4uCzsz8PC?si=130500657d8f47ab) by Edwin Othello Excell, Lowell Mason, and William Cowper; arranged by the Norton Hall Band Lyrics: There is a fountain filled with blood Drawn from Immanuel's veins And sinners plunged beneath that flood Lose all their guilty stains Lose all their guilty stains Lose all their guilty stains And sinners plunged beneath that flood Lose all their guilty stains The dying thief rejoiced to see That fountain in his day And there may I though vile as he Wash all my sins away Wash all my sins away Wash all my sins away And there may I though vile as he Wash all my sins away Dear dying Lamb Thy precious blood Shall never lose its pow'r Till all the ransomed Church of God Be saved to sin no more Be saved to sin no more Be saved to sin no more Till all the ransomed Church of God Be saved to sin no more E'er since by faith I saw the stream Thy flowing wounds supply Redeeming love has been my theme And shall be till I die And shall be till I die And shall be till I die Redeeming love has been my theme And shall be till I die When this poor lisping, stamm'ring tongue Lies silent in the grave Then in a nobler sweeter song I'll sing Thy pow'r to save I'll sing Thy pow'r to save I'll sing Thy pow'r to save Then in a nobler sweeter song I'll sing Thy pow'r to save Passage: On the way to Jerusalem he was passing along between Samaria and Galilee. 12 And as he entered a village, he was met by ten lepers,[a] who stood at a distance 13 and lifted up their voices, saying, “Jesus, Master, have mercy on us.” 14 When he saw them he said to them, “Go and show yourselves to the priests.” And as they went they were cleansed. 15 Then one of them, when he saw that he was healed, turned back, praising God with a loud voice; 16 and he fell on his face at Jesus' feet, giving him thanks. Now he was a Samaritan. 17 Then Jesus answered, “Were not ten cleansed? Where are the nine? 18 Was no one found to return and give praise to God except this foreigner?” 19 And he said to him, “Rise and go your way; your faith has made you well.” Musical Reflection: Jesus, Remember Me by Jacques Berthier Reflection Notes: “Jesus, Remember Me” is a tune from the French Taizé tradition; these simple songs are meant to be repeated indefinitely with added instrumentation or voice parts. They are meant to be meditative and allow for prayer. Prayer: O God, our refuge and strength, true source of all godliness: Graciously hear the devout prayers of your Church, and grant that those things which we ask faithfully, we may obtain effectually; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
2022年6月19日主日聚會 分享：余光昭 聖經： 「太初有道，道與神同在，道就是神。這道太初與神同在。」（約一1-2） 「起初，神創造天地。」（創一1） 詩歌：約一1；創一1 配經文：余光昭 曲：Genevan Psalter, 1551（略改） 太初有道，太初有道， 道與神同在， 道就是神，道就是神。 這道太初與神同在。 起初，神創造天地。 起初，神創造天地。 詩歌：創一26-31、二7 配經文：余光昭 曲：Arr. by Lowell Mason（略改） 我們要照著我們的形像、按著我們的樣式造人， 使他們管理海裡的魚、空中的鳥、地上的牲畜， 和全地，並地上所爬的一切昆蟲。 神就照著自己的形像造人， 乃是照著祂的形像造男造女，造男造女。 神就賜福給他們，神就賜福給他們， 又對他們說：要生養眾多， 遍滿地面，治理這地， 也要管理海裡的魚、空中的鳥、空中的鳥， 和地上各樣行動的活物。 神說：看哪，我將遍地上一切結種子的菜蔬 和一切樹上、一切樹上所結有核的果子 全賜給你們作食物，全賜給你們作食物。 至於地上的走獸和空中的飛鳥， 並各樣爬在地上有生命的物， 我將青草賜給他們作食物。事就這樣成了。 神看著一切所造的都甚好，都甚好。 神看著一切所造的都甚好，都甚好。 耶和華神，耶和華神用地上的塵土造人， 將生氣吹在他鼻孔裡，他就成了有靈的活人， 名叫亞當，亞當。
10:00 a.m. Sunday Worship Service. Download the bulletin here: https://www.bmpc.org/sermons/worship-bulletins/1270-sunday-august-21-2022-10-00-a-m-bulletin/file Prelude: Praeludium and Arioso from “Sonata in Baroque Style” Music: ©1974 Fred Bock Music Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Hymn: O for a Thousand Tongues to Sing Text: Charles Wesley, 1739, alt.; Spanish trans. Federico J. Pagura. Korean trans. The United Methodist Korean Hymnal Committee, 2001. Music: Carl Gotthelf Gläser, 1828; arr. Lowell Mason, 1839. Spanish Trans. ©1989 The United Methodist Publishing House (admin. The Copyright Company). Korean Trans. ©2001 The United Methodist Publishing House (admin. The Copyright Company). All rights reserved. Response - Take, O Take Me As I Am Text and Music: ©1995 WGRG, Iona Community (admin. GIA Publications, Inc.) Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Offertory Anthem: O Heavenly Word Text: Seventh century Latin hymn. Music: Richard Shephard. ©2015 St. James Music Press. Reprinted and streamed with permission by St. James Music Press, license #7158. All rights reserved. Doxology - Praise God, from Whom All Blessings Flow Text: ©1989 Hope Publishing Company. Music Harm: ©1998 Hope Publishing Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Postlude: Gigue from “Sonata in Baroque Style” Music: ©1974 Fred Bock Music Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved.
Readings and sermon were delivered by Pastor Aaron Mueller. Fifth Sunday after Pentecost, July 10, 2022: https://saintjamesglencarbon.org/2022-fifth-sunday-after-pentecost Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220710-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give 1 Corinthians 15:20, 54-57 Psalm 41 Leviticus 18:1–5; 19:9–18 1 Corinthians 7:1–9 Luke 10:25–37 Hymns: - Crown Him with Many Crowns: Text by Matthew Bridges (sts. 1-3, 5) and Godfrey Thring (sts. 4); tune by George J. Elvey; public domain. - Oh, How Good It Is: Text and tune by Keith Getty, Kristyn Getty, Ross Holmes, Stuart Townend; © 2012 Getty Music; used with permission, CCLI license # 20286740. - Cry Of My Heart: Terry Butler, © 1991 Mercy / Vineyard Publishing (Admin. by Integrity Music); Used with permission, CCLI license #20286740. - Amazing Grace: Text by John Newton; tune by Columbian Harmony, 1829; text and tune are public domain. - Alas! And Did My Savior Bleed: Text by Isaac Watts; tune by Hugh Wilson; text and turn are in the public domain. - I Need Thee Every Hour: Text: Annie S. Hawks and Robert Lowry; tune: Robert Lowry; text and tune are in the public domain. - Guide Me, O Thou Great Redeemer: Text: William Williams; tune: John Hughes; text and tune are in the public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
Readings and sermon were delivered by Pastor Aaron Mueller. Fourth Sunday after Pentecost, July 3, 2022: https://saintjamesglencarbon.org/2022-fourth-sunday-after-pentecost Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220703-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give Romans 5:8-11 Psalm 66:1–7 Isaiah 66:10–14 1 Corinthians 7:1–5 Luke 10:1–20 Hymns: - Come, Thou Fount of Every Blessing: Text: Robert Robinson, 1735–90, alt. Tune: Repository of Sacred Music, Part Second, 1813, Harrisburg. Text and tune: Public domain. - Gracious God, You Send Great Blessings: Text: Gregory J. Wismar, © 2004 Gregory J. Wismar, used with permission, LSB Hymn License no. 110001220; tune: Columbian Harmony, Cincinnati, 1825; Worship & Rejoice, Carol Stream, 2001, public domain. - Hyfrydol: Tune: Hyfrydol, Rowland H. Prichard (1830); Public Domain - When I Survey the Wondrous Cross: Text by Isaac Watts; tune by Lowell Mason; text and tune are public domain. - Alleluia! Sing to Jesus: Text by William C. Dix; tune by Rowland H. Prichard; text and tune are in the public domain. - The Lamb: Text and tune by Gerald P. Coleman; © 1987 and 1997 MorningStar Music Publishers, used with permission, CCLI license # 20286740. - Praise God, from Whom All Blessings Flow: Text by Thomas Ken; tune by Trente Quatre Pseaumes de David, 1551; text and tune are in public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
Readings and sermon were delivered by Pastor Aaron Mueller. Third Sunday after Pentecost, June 26, 2022: https://saintjamesglencarbon.org/2022-third-sunday-after-pentecost Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220626-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give Zephaniah 3:14-17 Psalm 16 1 Kings 19:9b–21 Galatians 5:1, 13–25 Luke 9:51–62 Hymns: - His Mercy Is More: Tune and text by Matt Boswell and Matt Papa; © 2016 Getty Music Hymns and Songs, Getty Music Publishing, Love Your Enemies Publishing, and Messenger Hymns; used with permission, CCLI license # 20286740. - O the Deep, Deep Love of Jesus!: Text by S. Trevor Francis; tune by Thomas John Williams; text and tune are public domain. - Ancient of Days: Jesse Reeves, Jonny Robinson, Michael Farren, Rich Thompson; © 2018 CityAlight Music. Used with permission, CCLI license #20286740. - My Song Is Love Unknown: Text by Samuel Crossman, public domain; tune by John N. Ireland, © John Ireland Trust, used with permission, CCLI license # 20286740. - Blessed Assurance: Text: Fanny J. Crosby, alt. Aaron Mueller; Tune: Phoebe P. Knapp; Text and tune: Public domain. - At the Lamb's High Feast We Sing: Text: Latin, c. 5th–10th cent.; tr. Robert Campbell, 1814–68, alt. Tune: Kirchengeseng, 1566, Ivancice. Text and tune: Public domain. - Oh, for a Thousand Tongues to Sing: Text: Charles Wesley, tune: Carl G. Glaser; text and tune: public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
Readings and sermon were delivered by Pastor Aaron Mueller. Second Sunday after Pentecost, June 19, 2022: https://saintjamesglencarbon.org/2022-second-sunday-after-pentecost Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220619-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give Psalm 86:3-5 Psalm 3 Isaiah 65:1–9 Galatians 3:23—4:7 Luke 8:26–39 Hymns: - O Church, Arise: Text and tune by Keith Getty and Stuart Townend, © 2005 Thankyou Music; used with permission, CCLI License # 20286740. - O Blessed Spring: Text: Susan Palo Cherwien, © 1993 Susan Palo Cherwien, admin. Augsburg Fortress; Used with permission LSB Hymn License #110001220. Tune: English; Public domain. - Because We Believe: Jamie Harvill | Nancy Gordon -- © 1996 Mother's Heart Music, Integrity's Hosanna! Music, and Integrity's Praise! Music (Admin. by Copyright Solutions, LLC and Integrity Music); Used with permission, CCLI license #20286740. - Just as I Am, without One Plea: Text by Charlotte Elliott; tune by William B. Bradbury; text and tune are public domain. - Oh, How Good It Is: Text and tune by Keith Getty, Kristyn Getty, Ross Holmes, Stuart Townend; © 2012 Getty Music; used with permission, CCLI license # 20286740. - All Who Believe and Are Baptized: Text: Thomas Hansen Kingo, 1634–1703; tr. George A. T. Rygh, 1860–1942, alt.; Tune: Etlich Cristlich lider, 1524, Wittenberg; Text and tune: Public domain. - Guide Me, O Thou Great Redeemer: Text: William Williams; tune: John Hughes; text and tune are in the public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
Peter is no longer the frightened fisherman denying Jesus. Just 50 days later, having seen the risen Lord and restored by Him, Peter's Pentecost speech reveals the Holy Spirit's power within him. Quoting David to thousands gathered in Jerusalem, he clearly shows Jesus is the Messiah, whom the crowd had crucified just 7 weeks prior. Cut to the heart, they ask what they should do. The answer is simple and direct. He calls them, and us today, to repent and be baptized for the forgiveness of sins. The Holy Spirit was for them, and us too, God's precious gift to empower us from within. 3000 people became baptized believers in Jesus that day. By the working of the Holy Spirit through the Word of God and Baptism, we can be as confidant as Peter and the crowd that Jesus is alive, and for us. We can be ready for the day of His return. Empowered by the Holy Spirit — The Holy Trinity, June 12, 2022: https://saintjamesglencarbon.org/2022-the-holy-trinity Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220612-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give Psalm 8 Proverbs 8:1–4, 22–31 Acts 2:14a, 22–36 John 8:48–59 Hymns: - Crown Him with Many Crowns: Text by Matthew Bridges (sts. 1-3, 5) and Godfrey Thring (sts. 4); tune by George J. Elvey; public domain. - Holy, Holy, Holy: Text by Reginald Heber; tune by John B. Dykes; text and tune are public domain. - Lord Be Glorified: Bob Kilpatrick, © 1978 The Lorenz Corporation (Admin. by Music Services, Inc.); Used with permission, CCLI license #20286740. - What Wondrous Love Is This: Text is from A General Selection of Hymns and Spiritual Songs, 1811; tune is from Southern Harmony, 1835; text and tune are public domain. - Immortal, Invisible, God Only Wise: Text by W. Chalmers Smith; tune is Welsh; text and tune are in the public domain. - Come, Thou Almighty King: Text is English; tune by Felice de Giardini; text and tune are in the public domain. - Praise God, from Whom All Blessings Flow: Text by Thomas Ken; tune by Trente Quatre Pseaumes de David, 1551; text and tune are in public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
Readings and sermon were delivered by Pastor Aaron Mueller. The Day of Pentecost, June 5, 2022: https://saintjamesglencarbon.org/2022-the-day-of-pentecost Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220605-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give Romans 5:8-11 Psalm 143 Genesis 11:1–9 Acts 2:1–21 John 14:23–31 Hymns: - Holy Spirit, Ever Dwelling: Text: Timothy Rees, 1874–1939, alt.; Tune: Oude en Nieuwe Hollantse . . . Contradanseu, c. 1710, Amsterdam; Text and tune: Public domain. - For Your Gift of God the Spirit: Text by Edith Margaret Clarkson; tune by Mindy Deckard and Bruce Benedict; © 1987 Hope Publishing Co.; used with permission, CCLI license # 20286740. - Antiphonal Praise: Steve Green, © 1990 Birdwing Music (Admin. by Capitol CMG Publishing); Used with permission, CCLI license #20286740. - I Need Thee Every Hour: Text: Annie S. Hawks and Robert Lowry; tune: Robert Lowry; text and tune are in the public domain. - My Savior's Love: Keith Getty, Matt Boswell, Matt Papa; © 2019 Getty Music Hymns and Songs, Getty Music Publishing, Love Your Enemies Publishing, Messenger Hymns; Admin. by Music Services, Inc.; Used with permission CCLI license #20286740. - Alas! And Did My Savior Bleed: Text by Isaac Watts; tune by Hugh Wilson; text and turn are in the public domain. - Lord, Dismiss Us with Your Blessing: Text: John Fawcett; Tune: Henry T. Smart; Text and tune: Public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
In the book of Deuteronomy God commands his people to rest one day a week because they had been slaves in Egypt and he wants them to be free from a production-based slavery system designed to own and control them. And by learning to observe Sabbath, we too can experience the God-given freedom from being owned by money, work, and materialism, and find our acceptance in his love for us in Jesus. Sabbath and Redemption — Seventh Sunday of Easter, May 29, 2022: https://saintjamesglencarbon.org/2022-seventh-sunday-of-easter Order of service: https://saintjamesglencarbon.org/wp-content/uploads/st-james-20220529-order-of-service.pdf Online giving: https://saintjamesglencarbon.org/give Romans 8:35-39 Psalm 92 Deuteronomy 5:12–15 Hebrews 3:7–19 Matthew 11:28—12:8 Hymns: - 10,000 Reasons: Text and tune by Jonas Myrin & Matt Redman, © sixsteps Music; © Said & Done; © 2011 Thankyou Music; used with permission, CCLI license # 20286740. - O Day of Rest and Gladness: Text (sts. 1–2): Christopher Wordsworth, 1807–85, alt., public domain; (st. 3): Charles P. Price, 1920–99, © 1982 Charles P. Price; (st. 4): The Hymnal 1982, © 1985 The Church Pension Fund. Tune: Hymnal of the Dukes. Court Chapel, 1784, Württemberg, public domain. Used with permission: LSB Hymn License #110001220. - All Heaven Declares: Noel Richards, Tricia Richards; © 1987 Thankyou Music (Admin. by Capitol CMG Publishing); Used with permission, CCLI license #20286740. - Lord from Sorrows Deep I Call: Text and tune: Matt Papa and Matt Boswell; © 2018 Getty Music; used with permission, CCLI license # 20286740. - Amazing Grace: Text by John Newton; tune by Columbian Harmony, 1829; text and tune are public domain. - Water, Blood, and Spirit Crying: Text by Stephen P. Starke, © 1999 Stephen P. Starke, admin. Concordia Publishing House; tune by Jeffrey N. Blersch, © 2003 Jeffrey N. Blersch; used with permission, CCLI license # 20286740. - Praise the One Who Breaks the Darkness: Text by Rusty Edwards, © 1987 Hope Publishing Co.; used with permission, CCLI license # 20286740; tune by The Sacred Harp, 1844, public domain. Liturgies: - Gloria: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, CCLI license #20286740; Tune: Felix Mendelssohn, public domain. - Credo: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Welsh, pubic domain. - Sanctus: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: John B. Dykes, public domain. - Agnus Dei: Text: Jaroslav J. Vajda, © 1990 Concordia Publishing House, used with permission, One License 728607-A; tune: Lowell Mason, 1792-1872, public domain.
Opening Song: When I Survey the Wondrous Cross by Isaac Wardell and Lowell Mason, arranged by Keith and Kristyn Getty (https://open.spotify.com/track/1HJJ7VbGM17QxqrcWUR5cx?si=ae6485140ee64e23) Lyrics: When I survey the wondrous cross On which the Prince of glory died My richest gain I count but loss And pour contempt on all my pride Forbid it Lord that I should boast Save in the death of Christ my God All the vain things that charm me most I sacrifice them to His blood See from His head His hands His feet Sorrow and love flow mingled down Did ever such love and sorrow meet Or thorns compose so rich a crown Were the whole realm of nature mine That were a present (an offering) far too small Love so amazing so divine Demands my soul my life my all Passage: 7 But whatever gain I had, I counted as loss for the sake of Christ. 8 Indeed, I count everything as loss because of the surpassing worth of knowing Christ Jesus my Lord. For his sake I have suffered the loss of all things and count them as rubbish, in order that I may gain Christ 9 and be found in him, not having a righteousness of my own that comes from the law, but that which comes through faith in Christ, the righteousness from God that depends on faith— 10 that I may know him and the power of his resurrection, and may share his sufferings, becoming like him in his death, 11 that by any means possible I may attain the resurrection from the dead. 12 Not that I have already obtained this or am already perfect, but I press on to make it my own, because Christ Jesus has made me his own. 13 Brothers, I do not consider that I have made it my own. But one thing I do: forgetting what lies behind and straining forward to what lies ahead, 14 I press on toward the goal for the prize of the upward call of God in Christ Jesus. 15 Let those of us who are mature think this way, and if in anything you think otherwise, God will reveal that also to you. 16 Only let us hold true to what we have attained. (Philippians 3:7–16 ESV) Musical Reflection: All to Jesus I Surrender (SURRENDER) by Winfield S. Weeden Reflection Notes: This tune was originally intended to have two-part harmonies on the verse and four-part harmonies of the refrain; the additional harmonic fullness adds to the repeated emphasis of the words “I surrender all.” Prayer: Almighty God, you alone can bring into order the unruly wills and affections of sinners: Grant your people grace to love what you command and desire what you promise; that, among the swift and varied changes of this world, our hearts may surely there be fixed where true joys are to be found; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
Opening Song: When I Survey the Wondrous Cross by Isaac Wardell and Lowell Mason, arranged by Keith and Kristyn Getty (https://open.spotify.com/track/1HJJ7VbGM17QxqrcWUR5cx?si=ae6485140ee64e23) Lyrics: When I survey the wondrous cross On which the Prince of glory died My richest gain I count but loss And pour contempt on all my pride Forbid it Lord that I should boast Save in the death of Christ my God All the vain things that charm me most I sacrifice them to His blood See from His head His hands His feet Sorrow and love flow mingled down Did ever such love and sorrow meet Or thorns compose so rich a crown Were the whole realm of nature mine That were a present (an offering) far too small Love so amazing so divine Demands my soul my life my all Passage: 7 But whatever gain I had, I counted as loss for the sake of Christ. 8 Indeed, I count everything as loss because of the surpassing worth of knowing Christ Jesus my Lord. For his sake I have suffered the loss of all things and count them as rubbish, in order that I may gain Christ 9 and be found in him, not having a righteousness of my own that comes from the law, but that which comes through faith in Christ, the righteousness from God that depends on faith— 10 that I may know him and the power of his resurrection, and may share his sufferings, becoming like him in his death, 11 that by any means possible I may attain the resurrection from the dead. 12 Not that I have already obtained this or am already perfect, but I press on to make it my own, because Christ Jesus has made me his own. 13 Brothers, I do not consider that I have made it my own. But one thing I do: forgetting what lies behind and straining forward to what lies ahead, 14 I press on toward the goal for the prize of the upward call of God in Christ Jesus. 15 Let those of us who are mature think this way, and if in anything you think otherwise, God will reveal that also to you. 16 Only let us hold true to what we have attained. (Philippians 3:7–16 ESV) Musical Reflection: All to Jesus I Surrender (SURRENDER) by Winfield S. Weeden Reflection Notes: This tune was originally intended to have two-part harmonies on the verse and four-part harmonies of the refrain; the additional harmonic fullness adds to the repeated emphasis of the words “I surrender all.” Prayer: Almighty God, you alone can bring into order the unruly wills and affections of sinners: Grant your people grace to love what you command and desire what you promise; that, among the swift and varied changes of this world, our hearts may surely there be fixed where true joys are to be found; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
Each podcast in the Songs Of The Season series will feature a Christmas hymn. Join me all month long as we dive into the background, context, and timeless truths of these beloved carols. JOY TO THE WORLD (SONGS OF THE SEASON)Joy to the world, the Lord is come Let earth receive her King Let every heart prepare Him room And Heaven and nature sing And Heaven and nature sing And Heaven, and Heaven, and nature sing Joy to the World, the Savior reigns! Let men their songs employ While fields and floods, rocks, hills and plains Repeat the sounding joy Repeat the sounding joy Repeat, repeat, the sounding joy He rules the world with truth and grace And makes the nations prove The glories of His righteousness And wonders of His love And wonders of His love And wonders, wonders of His love Lyrics: Isaac Waats Musical Arrangement: arranged by Lowell Mason with melody from George Frederick Handel (“Antioch”) LISTEN TO AND WATCH DEREK'S COVER OF THIS SONG: https://www.youtube.com/watch?v=hUU1aZP9J9o
This is the fourth episode of the month, which means we will be looking at a story of a great song or hymn of the Christian faith. We will look at the people who wrote these beautiful hymns, we will read the lyrics, and I'll provide a link below to click where you can listen to the hymns we talk about. Scripture references: Psalm 98 Genesis 3:17-19 Romans 5:20 This time we are talking about the hymn “Joy to the World” by Isaac Watts, arranged first by George Frederic Handel , then by Lowell Mason. You can listen the the tune, read the lyrics, and more at the Hymnology Archive site. Here is a link on YouTube to listen to Joy to the World by Anthem Lights rendition of this hymn. I referenced the book, “Then Sings My Soul, Book 2” by Robert J. Morgan. {This is an affiliate link, which means if you purchase the book through this link, I will get a small compensation at no extra cost to you.} Keep reading your Bible!
This is the fourth episode of the month, which means we will be looking at a couple stories of our great songs and hymns of the Christian faith. We will look at the people who wrote these beautiful hymns, we will read the lyrics, and I'll provide a link in the show notes to click where you can listen to the hymns we talk about. Scripture references: Acts 16:22-30 Colossians 3:16 Genesis 4:21 Exodus 15:20-21 Galatians 6:14 This time we are talking about the hymn "When I Survey the Wondrous Cross" by Isaac Watts, arranged by Lowell Mason. You can listen the the tune, read the lyrics, and more at the Hymnology Archive site. Here is a link on YouTube to listen to Fernando Ortega's rendition of this hymn. I referenced the book, "Then Sings My Soul, Book 2" by Robert J. Morgan. {This is an affiliate link, which means if you purchase the book through this link, I will get a small compensation at no extra cost to you.} Keep reading your Bible!
We've made it to the end of our Christmas Journey for this season of Comfort and Joy! And what better song to end with than "Joy to the World! The Lord Is Come"? But what if I told you this carol really had NOTHING to do with Christmas? What if I told you, it's melody was STOLEN from a great composer? Let's take a deep dive into one of the most famous Christmas Carols of all time! Don't forget to check out meadowsbaptist.org for our live stream services every Sunday at 9am and 11am Notes, preparation and quotes from: Peterson, William J. and Randy Petersen. The One Year Book of Hymns. Edited and Compiled by Robert K. Brown and Mark R. Norton. Wheaton, IL: Tyndale House Publishers, Inc., 1995. https://www.amazon.com/dp/1496428269/ref=cm_sw_em_r_mt_dp_j0HQFbNWAJKFZ?_encoding=UTF8&psc=1 Phillips, Kenneth H. Directing the Choral Music Program. New York, NY: Oxford University Press, Inc., 2004. https://www.amazon.com/dp/B019NEOGLW/ref=cm_sw_em_r_mt_dp_YZHQFb5MK5AD2 Reynolds, William Jensen Reynolds. Hymns of Our Faith: A Handbook for the Baptist Hymnal. Nashville, TN: Broadman Press, 1964. https://www.amazon.com/dp/B000JJM2DK/ref=cm_sw_em_r_mt_dp_sZHQFbC38MFEZ www.umcdiscipleship.org/resources/history-of-hymns-joy-to-the-world Sources to reference: Moody, Valerie. The Feats of Adonai: Why Christians Should Look at Biblical Feasts. Gibbora Productions, 2009. https://www.amazon.com/dp/0982433573/ref=cm_sw_em_r_mt_dp_HYHQFb2XK9FA8 Joy to the World by Nat King Cole https://open.spotify.com/track/1VuAamHM7P3VQQEXYGG3Uu?si=2xad4DCSRmOL80alCjGRew Messiah, HWV 56 : Part II: Lift up your heads, O ye gates (Chorus) https://open.spotify.com/track/6YhkhEJsUszpUdKfde2mqc?si=3lx00OS-T9KIAWmqmRjqog Messiah, HWV 56 : Part I: Accompanied: Comfort ye, my people (Tenor) https://open.spotify.com/track/5ad8xYHMymySV6bDLEGiS9?si=JFobKTlPQuafI-9DWHG6Hg Joy to the World (arr. J. Rutter) - Lowell Mason, The Cambridge Singers, City of London Sinfonia, John Rutter https://open.spotify.com/track/0tKQ3h7CemmhpoLFVrv9Px?si=NINd-KjZTbisjqJDfQvFZQ Joy to the World (arr. J. Wachner for choir and orchestra ) - Lowell Mason, Julian Wachner, Choir of Trinity Wall Street https://open.spotify.com/track/0sWlU6yuGJr0RpPbLeJxW7?si=EV4axIXMQWCwQnhwXaB8-g Joy to the World - Steve Morse https://music.apple.com/us/album/merry-axemas-a-guitar-christmas/197986461 Joy to the World - Whitney Houston with the Georgia Mass Choir https://open.spotify.com/track/0sKAxwRubZuqKadRspVY96?si=dQGK7SpfQ0W_3_pZBpOMHQ
The original words were by George Heath (1750-1822) but have been slightly modernized for this episode. Music by Lowell Mason (1792-1872).
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