Hymn of the Week: May 4-8 LSB 458: Christ Jesus Lay in Death’s Strong Bands

“Christ Jesus Lay in Death’s Strong Bands” is Martin Luther’s hymn for Easter Day. It is still the Easter season, so we are still singing Easter hymns! The first half of stanza 1 tells us the story of Easter, how Christ who once was dead—he “lay in death’s strong bands”—now is risen and reigns at God the Father’s right hand in heaven. Luther then tells us that because of this, we should be joyful and sing Alleluia!

Luther describes death as strong—“death’s strong bands”. We certainly know this is true. Death seems scary and final. But Jesus went to suffer and die for us—“for our offenses given”. Because of Christ’s sacrifice for us, we are joyful. Death has been defeated! Jesus rose again and destroyed death’s strength. Now, even though we die, we shall live.

Comp. of the Week: April 27-May 1 Georges Bizet (1838-1875) Prélude to Carmen

Georges Bizet (George BEE-zay) wrote the opera Carmen. An opera is a story told through song. An opera prelude is the music that you hear right before the opera begins. Preludes generally include the melodies of songs you will hear later in the opera. Bizet’s Prélude to Carmen has a lively and energetic opening marked with the use of timpani, cymbals, and triangles. The opening is followed by a more lyrical aria that you will hear later in the opera, and the prelude concludes with more fast and exciting music. Bizet wants the music to sound like crowds gathering for a bullfight.

Hymn of the Week: April 27-May 1 LSB 709: The King of Love My Shepherd Is

The Latin name given to this past Sunday is “Misericordias Domini”, mercies of the Lord, taken from the first line of the Introit: “The earth is full of the steadfast love of the Lord”; however, Sunday is commonly referred to as “Good Shepherd” Sunday based on the Gospel reading (John 10). It makes sense, then, that we would sing “The King of Love My Shepherd Is”.

This hymn is a paraphrase of Psalm 23: “The Lord is my shepherd; I shall not want.” The “King of love” is Jesus, also called our shepherd. His goodness never stops, and he provides us with everything we need. The final line of stanza 1, “I am His and He is mine forever”, reminds us of part of Sunday’s Gospel: I am the good shepherd. I know my own and my own know me” (John 10:14). We are still celebrating Eastertide, and this hymn reminds us that Jesus has risen and so grants us eternal life with him in heaven.

Comp. of the Week: April 20-24 Franz Joseph Haydn (1732-1809) Cello Concerto No. 2 in D Major - 3. Rondo: Allegro

Franz Joseph Haydn was a Classical composer: Classical composers were “Enlightened” men, developing sonata form like Franz Haydn. Mozart was another who liked clarity. Such balanced melodies occurred until 1830. Ohhhh, this is the musical timeline! It starts with the Early Age. Then it’s Renaissance, Baroque, and Classical, Romantic, and not to forget the Modern Day!

It’s another concerto! Do you remember what a concerto is? A concerto is a piece of music in which the whole orchestra plays but one instrument gets a special part. In this piece, “Cello Concerto No. 2”, it is the cello that gets the special part. The tricky part about a cello concerto is that it is difficult for a cello to be heard above the other instruments because it is so low. It is much easier for us to hear instruments that are higher-pitched, instruments like the piccolo. Haydn solved this problem by having the rest of the orchestra only play light, musical decorations while the cello is playing. In this piece, we hear the cello and orchestra taking turns to play, almost like they are having a musical conversation.

Hymn of the Week: April 20-24 LSB 471: O Sons and Daughters of the King

“Blessed are those who have not seen and yet have believed” (John 20:29).

So says Jesus to the well-known “doubting” Thomas, the story which this week’s hymn details. “O Sons and Daughters of the King” is an Easter hymn which tells how, when the disciples were gathered in fear one night, Jesus appeared to them. When they later told the story to Thomas who was not with them, he told them he would not believe unless he saw and touched the crucifixion marks on Jesus’ body. Jesus again appeared to the disciples, this time with Thomas present. He then invited Thomas to touch the marks in his hands and side.

In Your Own Words: ILS Impact

Especially in these challenging times, we remain deeply grateful for this special ILS community. We warmly invite you to participate in our ILS 2020 Auction - happening online now through May 8th.  Although we are socially distant, we remain together in Christ. This year, we celebrate the 150th anniversary of the founding of Immanuel Lutheran Church and School. Throughout our history, Immanuel has weathered formidable challenges, including world wars, global health pandemics and major societal changes and yet, through it all, Immanuel has not only survived, but by God's grace and the perseverance of its people. 

We wanted to continue to share some of the videos from our Immanuel community so you can hear from current students, current and former teachers, parents, and alumni about the impact of ILS and how your support makes a difference every day. Today, one of our current ILS parents shares some of what she loves most about ILS.

Check out our ILS 2020 Auction online today!

Comp. of the Week: April 13-17 Aaron Copland (1900-1991) Appalachian Spring Excerpt: "Simple Gifts"

Aaron Copland chose a folk song, “Simple Gifts” for this part in his ballet Appalachian Spring. You may have heard this tune before. He starts the song off gently and gradually adds more and more instruments before the gentle part returns. You will hear the whole orchestra join to play the folk tune: the clarinet starts followed by the oboe, the strings, the trumpets, the woodwinds, and then the whole orchestra. Copland keeps his music interesting by having each instrument play the tune at a different tempo—either faster or slower.

Hymn of the Week: April 13-17 LSB 457: Jesus Christ Is Risen Today

Alleluia! Christ is risen! He is risen indeed! Alleluia!

The “Easter ‘A’ word” returns in full force in our Hymn of the Week: Jesus Christ Is Risen Today. We sing it four times in each stanza. Why? We are celebrating! Easter has come, and our Lord has risen!

Johann Sebastian Bach's St. Matthew Passion: Day 5 (Good Friday)

In the cool of the evening, God walked in the Garden of Eden, and Adam hid from him. The man was ashamed, for he had fallen into sin.

In the cool of the evening, Jesus died upon the cross, accomplishing the salvation of the world. He crushed the Old Adam and brought peace between God and man.

In Bach’s St. Matthew Passion this recitative contemplates and praises the evening hour:

O schöne Zeit! O Abendstunde! Der Friedensschluß isn nun mit Gott gemacht, Denn Jesus hat sein Kreuz vollbracht.

O lovely time! O evening hour! The peace treaty is now made with God, for Jesus has accomplished his [Godly aims in dying on the] cross. (Marissen 70)

Johann Sebastian Bach's St. Matthew Passion: Day 4 (Maundy Thursday)

“Bach sets the words of institution as a love song,” writes Markus Rathey (134).

This initially sounds strange to us. After all, we are not used to categorizing Jesus’ words as “love songs”. That seems more in the realm of secular musicians, especially pop singers. I encourage you, though, to listen to this movement of the St. Matthew Passion; the video is helpful in guiding you along. This is the moment Christ institutes the Lord’s Supper on the evening of Maundy Thursday, the moment he speaks the words of institution. The movement begins a little earlier, however, when Jesus tells his disciples that the man who dips his hand in the bowl with him will betray him.

As you listen to the Evangelist narrate the action and listen to Jesus sing his words, note the difference between the accompaniments. As the Evangelist sings, we hear sparse accompaniment from the instruments, mostly a few chords. This “secco” (dry) recitative characterizes much of the biblical text in the passion. Jesus’ words, on the other hand, are always accompanied by string instruments, creating, as Rathey puts it, “the impression of a halo around his words” (114). There is only one exception to this: the words “Eli, Eli, lama asabthani” (My God, my God, why have you forsaken me?).