CELEBRATE THE RESURRECTION Trinity United Methodist Church Alexandria, Virginia Easter Sunday April 7, 2019 Eleven o’clock in the morning Music Notes In Joseph’s Lovely Garden is a traditional Spanish melody arranged by Clarence Dickinson. A founder of the American Guild of Organists and the School of Sacred Music at Union Theological Seminary, Clarence Dickinson (1873-1969) was known as the Dean of American Church Musicians. He reminisced, “I played several recitals on the organs in Spain —not very long after the close of the Spanish War. It was in Spain that we first began to collect folk songs. One of the earliest was In Jo- seph’s Lovely Garden. His wife, Helen Dickinson, was a well known lyricist, translator, and art historian. She, inspired by the Gospel accounts of Mary Magdalene at the tomb on Easter morning, wrote the words to this carol. Helen and her husband Clarence wrote hundreds of chorales and anthems for church choirs. Their work is well-represented in many choral libraries, including ours. Trinity’s Dr. Paul Taylor has arranged the violin descant for the fourth verse of this lovely Easter carol. Scatter the Darkness, Break the Gloom is a setting by Ralph Schultz of text by Stephen Starke. This joyous hymn pairs East- er text with the bright familiar Bensaçon tune, found in our hymnal at #202 (titled “People, Look East”). Schultz adds an in- strumental descant to his Easter carol setting. This traditional French carol from the eastern part of France, appeared in the "Recueil de Noëls anciens au patois de Besançon," which was published in 1842. Now Glad of Heart: This is a traditional 16th century German Easter carol. It’s text is a loose translation by Arthur Henry Fox-Strangways of the German hymn 'Wir wollen alle fröhlich sein', which, according to the Oxford Book of Carols, "was 'an old song' already in Spangenberg's Christlichs Gesangbüchlein, 1568." We have added handbell accompaniment. Alleluia from Motet VI: The Alleluia is from the motet Lobet den Herrn, alle Heiden, BWV 230 composed by Johann Sebas- tian Bach (1685-1750). The word “motet” (from the French mot, “word, saying”) usually refers to a sacred composition in Lat- in. However, Bach’s six motets are in German. Bach’s first biographer, Forkel, refers to “many single and double choir mo- tets,” implying that there were many others, though only six complete ones and a few scattered movements survive today. Un- like Bach’s other five motets, Bach uses no chorale. He sets Psalm 117 as a double fugue with an extended coda in triple meter for the final Alleluia. It is common for a continuo group to double the voices as support for the choral parts, even where con- tinuo is not explicitly indicated in the score. However, this motet has a written continuo which is different from the vocal bass line. This has led some scholars to believe that “Lobet den Herrn” may actually be a part of a larger undiscovered Bach work, perhaps a cantata. It is interesting to note that, as few and as difficult as they are, Bach’s motets continued to be performed even during the eighty-year eclipse of his works after his death. They enthralled the young Mozart when he visited Leipzig in 1789, and they were among the first Bach works that Breitkopf & Hartel published in 1803. O Risen Lord by K. Lee Scott (b. 1950) sets text by John Mason Neale (1818-1866) in a lilting choral work celebrating the Easter story. Scott, known for his compositions for the church, has published over 300 anthems, hymns and works for ensem- ble. I Know That My Redeemer Liveth from Messiah: When Charles Jennens presented Handel (1685-1759) with his text for Messiah in 1741, Handel’s fortunes were so low that he was considering leaving England. Jennens hoped to persuade Handel to return to writing English oratorios. In the summer of 1741 came a fortuitous invitation to give a series of concerts in Dublin. With these concerts in mind, Handel set to work on the music for Messiah on August 22, completing the enormous work on September 14, a mere three weeks later. (It should be noted that it was common practice to use materials from previous works as well as the works of others.) The first performance of Messiah took place in Dublin on April 13, 1742. Handel performed it some three dozen times—every time around Easter. Messiah is divided into three sections. The first is concerned with the prophesy of the coming of a Messiah and then with Christ's Nativity. Part II deals with Christ's suffering and death. The con- cluding section offers an affirmation of Christian faith and glimpses of Revelation. Part II concludes with “Hallelujah,” and Part III begins with the soprano aria “I know that my Redeemer liveth,” which takes its text from Job 19:25-26 and 1 Corinthi- ans 15:20. Worthy Is the Lamb from Messiah: When Handel brought his oratorio to Covent Garden in London, it was not well re- ceived. It was thought unseemly that a sacred work should be performed in a theater. It closed after only three performances, despite the presence of King George II who attended the first performance. When Messiah was scheduled to be performed in Westminster Abbey, other members of the clergy declared it sacrilege for a public entertainment to take place in a consecrated church! And Jennens wasn’t entirely pleased with what Handel had done with his text either. After initially expressing thorough disappointment with the musical treatment, Jennens later declared Handel’s composition “a fine Entertainment, tho’ not near so good as he might & ought to have done.” In Messiah, Part III is often considered Handel’s best writing. In the words of one writer: “However, it is in the towering final choruses, ‘Worthy is the Lamb’ and ‘Amen’, that Handel truly surpasses himself with music that carries all before it in an exultant affirmation of faith.” Hallelujah Chorus from Messiah: Almost certainly, the Hallelujah Chorus is the most frequently-sung choral selection in all of classical music. Composed by George Frideric Handel in 1741 when he was 56, he used a libretto created from a collection of Bible texts about the life of Christ by friend and patron Charles Jennens. The tradition of standing during the Hallelujah Chorus began during a performance on March 23, 1743. King George II was attending, and when the Chorus began, he rose. It is unclear why he stood, however people around the world still rise to their feet whenever they hear the first notes! THE ORDER OF SERVICE EPlease stand in body and/or spirit. Out of reverence for God and respect for fellow worshipers, please silence all electronic devices. Childcare for preschool aged children (birth-preK) is available in our nursery (downstairs, room 105). Children’s Worship (for elementary aged children) meets immediately following Children’s Time upstairs in room 206. Please see an usher for more information. E E E CHORAL PRELUDE In Joseph’s Lovely Garden arr. Clarence Dickinson Scatter the Darkness, Break the Gloom setting by Ralph C. Schultz Now Glad of Heart German, 16th century Alleluia from Lobet den Herrn J.S. Bach Morning Canticle Sondra Tucker Trinity Ringers WELCOME AND ANNOUNCEMENTS Pastor Grace Han Welcome to Trinity United Methodist Church. God’s love be in us and among us as we greet all who enter our doors as children of God. Please take a moment to complete the Connection Card and prepare to place it in the offering plate later in the service. INTROIT O Risen Lord K.Lee Scott O risen Lord, O glorious Son, Now is the mighty battle won: Songs of praising, we are raising: Alleluia! On the third morning he arose, shining in vict’ry o’er his foes: Earth is singing, heaven is ringing: Alleluia! After the death that him befell,Christ our Lord, has harrowed hell. Sing with gladness, gone is sadness: Alleluia! The Lord of all things lives anew, And all his saints are rising, too; May our living be thanksgiving: Alleluia! E OPENING LITANY Greg Saunders Christ is Risen! The Lord is risen indeed! Come, O people, fall down before Christ and glorify this resurrection from the dead. Behold Christ who has nailed our sins to the cross and has destroyed death. We have been freed from suffering by your suffering, O Christ. We have been restored from our brokenness by your death, Our Lord. We have been delivered from corruption by your resurrection, Lord God. The Lord is King! He is robed in majesty! Glory and honor, dominion and power, be to God forever and ever. Christ is risen! Alleluia! E HYMN Christ the Lord is Risen Today Hymnal no. 302 E PASSING OF THE PEACE Please exchange signs and words of reconciliation and love. CHILDREN’S TIME Jill Robinson, Holly Stowell, Tom Tyler Immediately following Children’s Time, elementary aged children are welcome to participate in Children’s Worship upstairs in room 206. Children will return to worship after the sermon. ANTHEM I Know That My Redeemer Liveth from Messiah G.F. Handel Carol Bowers, soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep. SCRIPTURE LESSON Isaiah 65:17-25 Pew Bible, OT, Page 695 Greg Saunders 17 For I am about to create new heavens and a new earth; the former things shall not be remembered or come to mind.