Mid-Saturday musings

It's THAT day of the week.  I'll give you a hint:  opposite of church-musician Wednesdays and not quite our Sundays either.  After a quick stint as a person of Pinterest and oaty kitchen experimentation (and inventing the word "oaty"), I ran my usual 5k+, practiced Jan Bender's imitative, quartally-infused prelude on "Come, Ye Faithful," and read young-adult fiction on a sunny, cavernous library chair.

It could have held five of me.  At least one of us would have finished before dozing off.

I discovered ten other things this week:

1.  My usual running route, going down the parkway on the hill and turning around, has multiple ways of getting back up the hill. What.

2.  When I forget my music in choir, my sightreading experience is such that I can read my line off of a Soprano II's score across the room.

3.  Universal justification and objective justification differ from one another.

4.  Tiffany blue is one of the prettiest and most versatile colors.

5.  You miss the little, fidgety characteristics that bother you about someone first when he or she leaves.  Think about it.

6.  You can derive an individual's entire personality from how they sneeze.  I double-sneeze, so that must mean I'm bipolar.

7.  Tropical fruit topped with flake coconut, molasses and sunshine is the best antidote to a reluctant spring.

8.  One of the first classes taught in Music Skills should be standing in front of the photocopier, figuring out what way to turn the music book.

9.  Having a leaky sanctuary ceiling over where the baptismal font sits can be a self-fixing problem.

10.  Johann Gerhard's Theological Commonplaces set forth doctrine a lot more accessibly than other dogmatic expositions.  He likes to make lists, just as I do.  :)

How about you?

Mission Theology and the Image of God

A proper, Lutheran theology of missions easily centers around the concept and image of God because His being and attributes, as the source of everything good, contain everything needed to know about salvation. 

First, one should learn of His triune nature and its specific connection with the redemption story:  the Father sending His Son, the Son’s vicarious work, and the Holy Spirit’s bringing to faith and sanctifying.  Studying His power, one sees that He is able to provide everything necessary for salvation, and anything outside of Him is weak and powerless.  Examining His eternal nature, one understands Him as being beyond time, before sin started and lasting after sin ends.  In His immutability, the person should realize that He is the One that never changes, letting go of love for changeable, temporal possessions.  Connecting His immutability with His truthful nature, the new believer should understand that God is just, rewarding good and punishing evil, and that no error can be tolerated in His sight – unlike our wavering sense of morals.  Noting His omniscience, the person could and should see that the just Lord of all knows about every sin, closing any path of escape, but also that He knows the condition of the sinner’s deep degradation and exactly how to rescue him or her.  In His omnipresence, any place of “hiding” proves to be of no avail, but this also assures that God always knows our situation and how to protect us from any harm and danger. 

Looking at God’s love, anyone ought to be moved to love Him more and carry out love for others, knowing that He has set the ultimate example in the sending and self-sacrifice of His Son, and noticing nothing but self-service in the world.  Learning about His goodness, one should recognize that He alone supplies good in the world, and all other motivations and acts of men are driven by an evil, sinful heart. In His graciousness, one should compare His bestowing of goodness (ultimately eternal life) as a free gift aside from merit, whereas any human being requires some self-gratifying deed in return for another. 

Most of all, the person reached by this missionary theology should be taught that these features of the image of God are for him or her.  God’s image is the way it is without being dependent on man’s need or humanity, but He particularly determined for His attributes to work together, as we speak of it, to bring about our salvation as He willed it from eternity in time.  With instruction about the image of God, the new convert must discover that His characteristics that motivated our redemption from sin are like no other religion’s deity, including the theology of self.  

Cantata No. 31: The heavens laugh, the earth rejoices!

How do you get an SATB choir to laugh in sync?  Bach figured it out.  No, it has nothing to do with backrubs.

Cantata No. 31 lands on Easter in the liturgical year, rendering its D-major, brass-amplified quality fitting.
Excitedly, the trumpets blast three times, giving Christ's resurrection a worthily royal fanfare akin to
While the choir awaits springing upon the congregation in jubilatory noise, the orchestra builds the excitement with a symbolically rising fanfare motif.  When the voices do enter, the hearers are not disappointed!

As if to explain, the bass tells the good news that Jesus, the "A and O," has risen, and because of this fact each of the "letters" in-between, the limbs to the Head, must share in this life.  Praising the "Prince of Life" directly, the soloist rhetorically asks in a laughing, dotted rhythm about the events intended to mock Him. Does the cross upraise him to the highest throne (melisma rocketing upward on "highest")?  Are his bonds now His majestic decoration?  Are His purple wounds now His clear radiance?  Yes., yes, and yes.

Now, pointing to the believer's life in sanctification, the tenor jumps in instead with a recit and aria, exhorting to see the third function of the law.  As Colossians 3:1 admonishes, "If you then be risen with Christ, seek those things which are above, where Christ sits on the right hand of God."  Likewise, he gives the listener a nudge to run from the tomb and graveclothes as Jesus has done, because they are among the living.  With the strings scrubbing busily away, he explains that the Adam within must die before life as Christ's member begins.  

Recalling Job's words, "For I know that my Redeemer lives, and He shall stand at last on the earth;

26 and after my skin is destroyed, this I know, that in my flesh I shall see God" (Job 19:25-26), the soprano's plaint to be drawn together with the Lord ensues.  Turning to joy, the vocalist realizes that suffering with Him leads to honor, glory, and seeing God in the flesh, culminating on sudden leaps to lofty notes.  

Next, the accompanying aria "Last hour, break forth!" includes an echoing, clock-like oboe pattern and simple, plodding continuo as the person asks for closed eyes so that Jesus and His glow might appear instead.  At that moment, the string "halo" drifts in, quoting a later verse of Nikolaus Herman's "When My Last Hour Is Close At Hand," beginning "Since You have risen from the grave..." and stating faith in the believer's own resurrection.  

To close, the whole choir in five parts completes the instrumental chorale, commending their spirits to Jesus' care with outstretched arms, and trusting that He will open Heaven's gate to them - the strength of their own pulling and knocking is not necessary.  

So many contrasts and paradoxes:  heaven and earth, the Alpha and Omega, humiliation and exaltation, stained robes and bright glory, Adam and the Son of Man, death and life, eyes closed and opening again, and the sinner's misdeeds covered by Christ's righteousness.  Definitely something to laugh (jubilantly) over! 

Translation:  http://emmanuelmusic.org/notes_translations/translations_cantata/t_bwv031.htm

Score: http://conquest.imslp.info/files/imglnks/usimg/f/fb/IMSLP00920-BWV0031.pdf

Recording:  http://www.youtube.com/watch?v=TybhYCwTN30

Sunday morning in paradise

So, today where I live, it is -7 degrees outside.  When I arose this morning, this is what I saw from my lofted bed:

The completely frozen-over parking lot looked like this.

Then, I had one of these for breakfast:

Accompanied by something refreshing to wake me up for 9:40 senior choir rehearsal:

 Looking out from the kitchen, I mused how I might get to church three-quarters of a mile away.  The windchill was -30 below.

Then, I bundled up and made a wild leap of faith into the frigidness.

At church, everyone was still in early service for Communion Sunday.  Surrounding it, the snowbanks and roads were clearly a mess.  I'm amazed they all got there all right!

Yet, nonetheless, I got inside, un-mummified myself with winter garments, and warmed up on the keys.

The Lord was certainly watching over me all the way there!

Have dessert for breakfast every day.

Think of a dessert you really want, then figure out how to craft its counterpart using oatmeal.  My other life philosophy.

The perfect companion to some Samoas oatmeal?  Sudoku, of course!

This is the obligatory post about my other passion:  oatmeal.  If I wasn't a graduate church-music student, I'd open an all-oatmeal cafe, no brown sugar and raisins allowed.  With a plain bowl of cooked oats, quick, old-fashioned, or steel-cut, you can do just about anything.  Including kicking your craving in the backside first thing in the morning.

Preparing the materials:
- Put a half-cup dry oats and 1 cup of water in a large enough bowl, and blast it in the microwave until oats are fluffy.  If it's too thick, you can add more liquid.  I like it thick.

What am I supposed to do with this fluffy bowl of oats?!


- COCOA MIX.  That and peanut butter is the miracle food that introduced me to oatmeal (thank you, Devin Alexander).  I submitted this combo to my college's cookbook, and they changed it to chocolate syrup so it could be made in the caf.  NOT THE SAME.
- Peanut butter + yogurt in place of water.
- Coconut before cooking, then cocoa and almond extract.
- Butterscotch chips and cashew butter.  When you find the latter in a store, buy the whole shelf and hoard it in your trunk.  Or make your own.
- Chopped dates before the microwave; that's it.
- A couple tablespoons of cake mix, and some for crumbliness on top.
- Blueberries and cinnamon.  Purple oatmeal!
- Brownie batter: 1 cup of pumpkin, then oats and minimal water, and stir in cocoa.
- Oatmeal a la mode?
- Top with edible cookie dough:  flour, brown sugar, applesauce, almond milk, vanilla, salt, and mini chocolate chips.  The brown sugar makes it taste authentic.
- Cocoa, caramel, and coconut.
- Swirled-in cream cheese, fruit, and crushed graham crackers.
- Crushed pretzels.
- Coffee, definitely,
- Cocoa, cherries, almonds, coconut, and a lot of cinnamon.
- Pineapple or mango with white chocolate chips and coconut.

You get the idea.  The rule is:  it must not be boring and hence something you dread eating.  Consume with vigor and relish.  Whenever I get up, I think, "Oh good - it's morning.  I get to have amazing oatmeal!"

I'm so glad God created oats.  They are the perfect blank canvas.  :)

Valentines from hymn (and Him)

A blessed Valentine's Day to you all!  As of yet, I don't have a "special someone" in my life with whom to share it, but that simply means more surprises left for the future.  Overall, I enjoyed a day full of organ practicing, a good chapel sing, class, an organ lesson of Jan Bender awesomeness, and going home for some chocolate cake.  

Still, I'm very glad aside from this notable date of 2.14.2014 that the Lord extends His love the other 364 days of the year.  These hymnwriters definitely did, in all seasons of life.  So, enjoy these very old Valentine notes from a few friends we'll get to meet someday!

Dearest Jesus, draw Thou near me,
Let Thy Spirit dwell with mine;
Open now my ear to hear Thee,
Take my heart and seal it Thine;
Keep me, lead me on my way
Thee to follow and obey;
E'er to do Thy will and fear Thee,
And rejoice to know and hear Thee.
- Thomas Kingo

I lay my wants on Jesus,
All fullness dwells in Him;
He healeth my diseases,
He doth my soul redeem.
I lay my griefs on Jesus,
My burdens and my cares;
He from them all releases,
He all my sorrows shares.
- Horatius Bonar

Lord, by love and mercy driven
Thou hast left Thy throne in heaven
On the cross for me to languish
And to die in bitter anguish,
To forego all joy and gladness
And to shed Thy blood in sadness.
By this blood, redeemed and living,
Lord, I praise Thee with thanksgiving.
- Johann Franck

None shall ever be confounded,
Who in God will freely trust;
Though they be by woes surrounded,
God's a Rock to all the just.
Though you deem He hears you not,
Still your wants are ne'er forgot;
Cry to Him when storms assail you,
Let your courage never fail you.
- Johann Olearius

Hence, all earthly treasure!
Jesus is my Pleasure,
Jesus is my Choice.
Hence, all empty glory!
Naught to me thy story
Told with tempting voice.
Pain or loss, 
Or shame or cross,
Shall not from my Savior move me
Since He deigns to love me.
- Paul Gerhardt

What to me may seem a treasure,
But displeasing is to Thee--
O remove such harmful pleasure;
Give instead what profits me.
Let my heart by Thee be stilled;
Make me Thine, Lord, as Thou wilt.
- Ludamilia Elisabeth, Countess of Rudolstadt

As a branch upon a vine,
In my blessed Lord implant me;
Ever of my Head divine
To remain a member grant me.
O let Him, my Lord and Savior,
Be my Life and Love forever!
- Caspar Neumann

I trust in Him with all my heart;
Now all my sorrow ceases.
His words abiding peace impart;
His blood from guilt releases.
Free grace through Him I now obtain;
He washes me from ev'ry stain,
And pure I stand before Him.
- Johann Heermann

Oh, teach me, Lord, to love Thee truly
With soul and body, head and heart,
And grant me grace that I may duly
Practice fore'er love's sacred art.
Grant that my ev'ry thought may be
Directed e'er to Thee. 

Thee will I love, my Crown of gladness,
Thee will I love, my God and Lord,
Amid the darkest depths of sadness,
Not for the hope of high reward,
For Thine own sake, O Light Divine,
So long as life is mine.
- Johann Scheffler

When darkness round me gathers,
Thy name and cross, still bright,
Deep in my heart are sparkling
Like stars in blackest night.
O heart, this image cherish:
The Christ on Calvary,
How patiently He suffered
And shed His blood for me!
- Valerius Herberger

Cracking the Bach Code

J.S. Bach possessed an amazingly comprehensive musical "toolbox."  If, say, he was trying to get across the idea of the Holy Spirit's Pentecost descending, the crucifixion's agony, or the love of Jesus for the Christian, he took out all 64 musical Crayolas and went to work associating certain elements of the piece with Biblical concepts.  The incredible thing:  subconsciously, it did and still does carry across the meaning of the work effectively.

Some things I keep in mind while listening and studying Bach (that you can use, too!):

1.  What is the instrumentation?  Oboes usually denote a countrylike, shepherd atmosphere; trumpets and timpani accompany festival pieces and also mean it is in D Major (the sunny, happy key in which they could play).  Sometimes, the basso continuo or plucked strings can act as a heart pulse or walking rhythm.  Groups of three might signify the Trinity.
2.  What vocal parts are employed?  Sopranos, originally boy trebles, are the Christian nature of the soul.  Altos generally sing about repentance and God's forgiveness.  Evangelists and other heroic characters are played by tenors, and basses often represent Jesus.  Soprano and bass duets typically act as conversations between the Christian and the Lord.
3.  What key is it?  That sounds really picky, but to the Baroque people and their doctrine of affections associated with each tonality, this was extremely meaningful.  A key like A or E-flat Major might hint at the Trinity.
4.  What individual genre does the piece employ?  Almost all of Bach's pieces fit under some component of the dance suite structurally.  Gigues usually indicate confidence and lightheartedness about the topic - a 12/8 pastorale like the opening of BWV 244 hints at the Lamb of God.  Others could be sarabandes (very slow), minuets (the precursor of the waltz, in 3/4), gavottes (in 4/4 with an upbeat on 3), or airs (the catch-all category :) )
5.  What is the shape of the melody?  Does it draw "crosses" with chromaticism on the score?  Does it descend to earth or ascend to heaven?  Bouncy, joyful leaps or gradual stepwise motion?  A twisting, "wandering" feeling? For instance, the Cross Motif:

6.  Of course, where does it fit in the church year?  What is the main idea of the hymn of the day?  If the chorale choice seems somewhat unusual, how could Bach have connected that with the Scriptural readings?
7. Numerically, are there any patterns?  In Baroque times, letters where associated with numbers; "Bach" adds up to 14 and "J.S. Bach" equals 41 in this system.  During any given piece, he seems to have a preoccupation with what goes on in those respective measures, as well as including them in other ways.  On top of that, he likes putting in significant moments at important mathematical divisions like the halfway-point or third.

Once you've scratched the surface, it's kind of hard to stop.  There are lots of great books and papers out there written on the subject, especially the St. Matthew Passion.  The Emmanuel Bach Choir (emmanuelmusic.com) has great, concise notes for every cantata and motet, and bach-cantatas.com contains a variety of resources and discussions.  Have fun!