Sound Theology by Colleen Butcher

Charles Wesley was an extraordinary poet and hymn-writer, penning (according to some estimates) over 6,500 poems! The majority of these were set to music, and intended for worship. This week’s focus is his Advent hymn “Come Thou Long Expected Jesus.” In “Let All Mortal Flesh Keep Silence,” we saw the hymn writer’s poetic connection between the theological longings for the incarnation and the second coming. Wesley’s hymn echoes these Advent themes, reminding us of the promises that were given to Israel, the freedom we have in Christ, the miracle of the infant-God, the wonder of Trinitarian life, and hope of eternity! The words hold together our deep longing and our joyful expectation. read more…

As Advent unfolds, and we continue to watch and wait, this ancient hymn calls to us: let all mortal flesh keep silence!

Silence is so difficult. Silence is so foreign. Silence is so … abnormal! But sometimes, silence is exactly what is required.

This text is a poetic rendering of Habakuk 2:20, “Let all the earth keep silence before Him.” Its earliest use was in the Byzantine liturgy, dating from about AD 245. The English translation of the Greek text shifts the emphasis toward the miracle of incarnation, a slight, but significant shift from the original, which was clearly a Eucharistic hymn focusing on Christ’s sacrifice, and presence in the bread and cup. Despite its establishment now as an Advent hymn, when we hear these words, we cannot help but be immersed in the whole story, from the separation of light and dark through the final celebration of the Lord Most High! read more…

Metaphors abound for the miracle of incarnation, and early hymn writers frequently rely on imagery that might seem unusual to our modern ears, to convey the message. Lo, How A Rose ‘ere Blooming is one of these texts. The poem relies on the image in Isaiah 11:1 – a branch shall grow from the root of Jesse – but draws our attention to the beauty and surprise of new life in unexpected places. This hymn’s first appearance in print is found in the 1599 German Speyer Hymnal. The tune is attributed to Michael Praetorius, one of the most important hymn writers of the early-reformation Lutheran church. Praetorius (1571?-1621), the son of a Lutheran pastor, held prominent musical roles in the courts in Germany. He was influenced by the emerging Italian choral school and produced a significant number of choral works, often utilizing the multi-phonic practice of placing small choral groups in different parts of the concert hall. read more…

This week we begin preparing ourselves for Advent – the most counter-cultural season of the Christian Year. Why counter-cultural? Because the readings and themes of the liturgy call us to wonder and wait, while all around us, the culture presses us to celebrate. The days are coming, but are not yet…

So, when all around us are the sounds of Christmas, let’s remember to wait: to ponder the promises, to prepare our hearts for the miracle.

Over the next five weeks I will present one song each week, in a variety of arrangements and settings. This week, we stand in awe with Mary as she receives and accepts the news of the coming Messiah. read more…

Last week we listened to an American Alleluia. This week, the echo of Canadian Leonard Cohen’s Halleluiah is still reverberating, many days after the announcement of his death. I attended one of Cohen’s performances in 2013. At 79, Cohen was full of joy, dancing onto the stage, delighting in the interaction with his musical partners, and engaging us with his stories and remarkable musicianship. The one thing that sticks out from that night is the level of respect, honor and, yes, even love, that was shared between musicians. There was no hurry, no tension, no counting the clock. Cohen was there for, and with, his musical partners until all of the songs had been sung, until the evening had been played to its conclusion, until the final notes were carried out of Copps Colliseum in our hearts. read more…