A Pastor Appreciates the Hymns: Benedictions and Farewells

By Joe LaGuardia

A Pastor Appreciates the Hymns is a series on hymnody and worship in the church.  By incorporating personal testimony and theological reflection, the series draws meaning and strength from sacred songs past and present.  This article concludes the series.

Benedictions are important in every Order of Worship.  Whether tied to a traditional or contemporary service, the last words that a pastor or music leader says to her congregation or the final words that a congregation sings together is often remembered long after the words of the sermon fades.

For some pastors, the benediction is a blessing–a final word echoing the blessings of the Bible like those from St. Paul for the churches to whom he wrote, or the one that God commanded Moses to say to the people of Israel:

The Lord bless you and keep you;
The Lord make his face to shine upon you and be gracious to you…
And give you peace” (Numbers 6:22-27).

For others, the benediction is a charge or commission to empower people for the week ahead.  Reminiscent of the Lord’s “Great Commission” in his blessing to the disciples in Matthew 28, this type of benediction serves to inspire confidence that God is active in the world.  It is a final reminder that the real work of the church happens beyond the church campus where people spend a majority of their time.

For many of us pastors, the benediction is a little bit of both: We bless our churches with a word of peace, but we also encourage each parishioner to see that they too are agents of blessing and peace for others.  We hope that in blessing and charging our congregation, people will live for Christ, represent Christ, and put faith into action–that they may live the Gospel, not merely believe in it.

Benedictions are often coupled with benediction hymns.  One such hymn is a classic in Baptist life- Blest Be the Tie That Binds.  I guess it is a Baptist classic precisely because a Baptist minister wrote it.

In the mid-1700s, John Fawcett served a poor congregation in Wainsgate, England.  He was offered a job at a larger, more affluent church but was grieved to leave Wainsgate.  He declined the offer and, instead, stayed with that little church until his death in 1811.

Legend has it that it was in the throes of indecision and anxiety over leaving Wainsgate Baptist that Reverend Fawcett wrote this brief hymn.  It expresses charity and unity of the Body of Christ, the power of prayer and intercession, of mutual encouragement — even unto “sympathizing” tears — and includes the hope that believers will come together whether in this life or the next.

The song balances the longing we have of sharing time with our church family, as well as the call to bear the burdens of others in the world.  All of this, of course, is to take place in the posture of blessing and “kindred minds,” a clarion call for any benediction hymn worth its salt.

Another favorite benediction hymn is the concise “Christian goodbye”* hymn, God Be With You, by Congregational pastor Jeremiah Rankin.  The song was first sung in Washington D.C., making it a perfect chorus to conclude worship, as well as a treasure born in the heart of a nation still healing from Civil War.

The words speak of Old Testament images of a Shepherd-God who provides, secures, protects, and guides.  It is a perfect addendum to Psalm 23 or the Exodus story, in which the provision of God’s promises and blessings to Israel take center stage.

A last type of benediction hymn is that which challenges and commissions.  A contemporary hymn by Ken Medema, penned in 2003, Let Truth and Mercy Find Here*, charges the church with putting feet to faith.  It is not enough for people to meet at church–they must transform that time of fellowship into friendship and push the bounds of justice beyond brick and mortar.

The last verse is particularly challenging:

So now let peace and justice be never far apart,
but flowing like a river for every thirsty heart.
These two shall be united, a mighty moving stream,
Upon whose bands we gather to work and pray and dream.

Set to the tune of AURELIA, the words may be foreign but the tune familiar.

That is what benedictions are, after all–familiar.  They are the earworms that stick with people, the melodies that carry us into a new week, and the words that ring over and over again for a people who are defined not always by their diversity, but their unity in spite of it.

 

*William Reynolds, Companion to Baptist Hymnal (Nashville: Broadman Press, 1976): 72.
*Let Truth and Mercy Find Here
is hymn # 692 in the Celebrating Grace hymnal published by Celebrating Grace, Inc., Macon, GA.

 

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A Pastor Appreciates the Hymns: Songs of Christmas, Part 2

By Joe LaGuardia

A Pastor Appreciates the Hymns is a series on hymnody and worship in the church.  By incorporating personal testimony and theological reflection, the series draws meaning and strength from sacred songs past and present.

So the shepherds went with haste and found Mary and Joseph, and the child lying in the manger.  When they saw this, they made known what had been told them about this child, and all who heard it were amazed” (Luke 2:16-18).

Christmas is a magical time of year.  Many people decorate with lights and greenery.  Ugly seasonal sweaters are common and unashamedly adorned, and the smell of hot chocolate and peppermint fill the air.  There is something communal about the season, and even Black Friday–which stands a week before Advent–has a charm to it as people begin their gift collecting.

Yet, the hustle and bustle of Christmas can be overwhelming and distracting.  Just as Christmas gifts collect under Christmas trees, crowding the porcelain nativity and keeping it from view, so too our shopping and cooking rituals–and all the Christmas parties!–can get in our way of remembering the reason for the season.  It does not take store clerks and coffee cups to remind us to put “Christ” back in Christmas–we need to do it for ourselves: Don’t worry about putting Christ back in “Christmas”; we should be focused on putting Christ back in “Christian.”

Lessons and carols that we hear and sing during this time draw our attention back to Jesus.  In fact, very many of the most beloved hymns of the church are those that we sing at Christmas time.  For some of us, that means rushing to church on Christmas Eve–(for others, its the only time to go to church–a travesty, by the way!)–to sing our favorite carols such as It Came Upon a Midnight Clear and Silent Night, Holy Night.

Even then, the more we sing these songs over the years, the more they seem to lose their meaning.  (Some songs have words that lost their meaning ages ago: Take The First Nowell, for instance — we have no idea what a “nowell” is!)

We need to take a second look at these hymns too.  A deeper look reveals the rich theological tradition that accompanies Christmas, the many reasons why we should be at church and put Christ back in focus.  This theology is more than the stuff of a greeting to the grocer or a pithy poem on a Hallmark card, it makes up the difference between a life short-lived and an eternal life well-lived in which God embraces us in the person of Jesus our Lord and Savior.

It Came Upon a Midnight Clear is one of my personal favorites.  It is a perfect song to sing in the solemn shadows of a sanctuary on Christmas Eve, an expression that peace comes with the coming Prince of Peace to a world that toils with fragile haste.

This song has everything you might expect in a Christmas carol: Angels singing, heavenly music, peace on earth, ancient splendors, and glad and golden hours.  Its invitation to “rest beside the weary road” challenges us to put aside the hot chocolate and the latest fads we purchase for our children, and reflect on Jesus, our Lord.

What makes this hymn so unique, aside from its content, is that it is uniquely American.  Edmund Sears, a Unitarian minister penned the poem in 1849, with an emphasis on the work that Christmas inspires–not a work that is toilsome, but one that promotes “peace on earth and goodwill toward” others.  This, in opposition to the pain and suffering in a world that is lowly, crushing, and painful.

I cannot endure solemn assemblies with iniquity.  Your new moons and appointed festivals, my soul hates…Learn to do good, seek justice, rescue the oppressed, defend the orphan, plead for the widow” (Isaiah 1:13C-14a; 17).

Oddly enough, Jesus is nowhere mentioned in the hymn.  For me, this reminds me of nativities under our trees that are crowded out and hidden by the hullabaloo of Christmas.  The angels sing just as we sing, but we need to look carefully and find Christ behind the veil of our seasonal traditions.  Christ may not be in the hymn as an explicit Savior, but the hymn affirms that the Savior is present if we slow down and experience the stillness that we only find in that lowly manger.  Then, and only then, will our darkness and midnight of the soul become ever “clear.”

All this talk of stillness, silence, and midnight reminds me of another favorite hymn appropriate for Christmas day: Silent Night, Holy Night.  Among the most popular of Christmas carols, this hymn comes to us from the darkest pinnacles of the Alps, the very geography from whence our traditions of evergreens and Christmas trees arose.

It was there that two clergymen, Joseph Mohr and Francis Gruber, wrote and scored the hymn in 1818.  Silent Night, Holy Night actually came about by accident.  Before service, they found the organ broken, and Father Mohr went for a walk to clear his head.  On the journey, he enjoyed the silence of the evening and wrote the poem that very night.  The next day, Francis Gruber wrote the score with his guitar, and the two men saw it as a gift to the community and the “perfect Christian hymn” for Christmas Mass (Osbeck, 101 Hymn Stories, p. 222).

When the repairman came to repair the pipe organ, he took copies of the music and spread it across Austria in his travels.  An English translation came two years later at the gifted hands of Episcopal priest John Young (Bishop of Florida), and it became an instant Christmas classic.

People who gather at candlelight services and get to sing Silent Night, Holy Night acapella have experienced first-hand the power of this famous carol.  It puts us in the Christmas story, sets us beside the Christ child, encourages us to feel shepherds quaking, and implores us to see that wondrous star that wise men beheld so many centuries ago.  Its repetition of the simple refrain, “Christ the Savior is born” is a truth that echoes through the ages and rings deep in our hearts.  It is a truth that is personal, yet grand, filling all of creation–if not the entire cosmos–with the beauty of Christ’s birth.

The song is not merely reflective; it also demands a response.  In its singing, we are to quake too.  We are to receive Christ’s light and love, to look upon his gleaming face and discover radiant beams of a personal relationship with him.

Our response can be spurned by questions: Will the dawn of God’s grace rise in your heart this season?  Will you finally push aside the busyness and consumerism that plagues your life that you may be filled with God’s love?  Will you come to the manger in silent repose, focusing on Christ, and humbly submitting your life to the Savior born unto us, God with us, Redeemer for us?

Our response can be inspired by shepherds.  In The Stories Behind the Magic, Luke and Trisha Gilkerson write:

The song describes the moment when the shepherds stood before the baby Jesus and all was silent.  They just stood in awe thinking about the angels and staring into the face of the baby Jesus…How could someone so important be so small, so helpless, so sweet? (p. 47)

So the shepherds don’t remain at the manger; rather, they go and tell others about Jesus.  Just as a traveling pipe-organ repairman took Silent Night, Holy Night to churches across Austria, so too does God challenge us to spread the gospel to a land in need.

A Pastor Appreciates the Hymns: God’s Promises

By Joe LaGuardia

A Pastor Appreciates the Hymns is a series on hymnody and worship in the church.  By incorporating personal testimony and theological reflection, the series draws meaning and strength from sacred songs past and present.

Every believer has seasons of doubt.  No matter how strong our faith or our relationship to Christ, hardship comes and discipleship wavers.  We wonder where God is, and we question the very possibility of salvation itself.  Perhaps that is why God is a God of promises.  From the earliest covenants that God made with Cain and Noah to the New Covenant in which Jesus’ sacrifice bridged the divide between God and us, God is unrelenting in pursuit of our hearts and souls.

Sacred music is a reassuring resource for a waning sense of faith.  Hymns can communicate God’s sure foundation as well as Jesus’ promise to never leave us nor forsake us.  It nurtures us in the church and surrounds us with songs both challenging and familiar to let us know that God is still with us even in the face of opposing evidence.

Many songs that communicate God’s promises come in the form of what many call the great “gospel hymns” of old.  These hymns, spanning the 18th to early-20th centuries are remarkable theological powerhouses that act as a balm to our deepest spiritual wounds.  They are not just for funerals, they also intend to play in our mind like earwigs when times get tough.

Fanny Crosby, author of thousands of hymns and poems, gifted us with one of the most meaningful of gospel hymns, Blessed Assurance.  It is a love song between Savior and saved, a promise that “Jesus is mine!”, a Jesus who whispers love and mercy in the midst of night.  Though times of distress, doubt, and hardship threaten to silence us, God’s promises give us a story to tell and a song to sing.  If nothing else, we can “praise our Savior all day long” even if it seems fanciful to those who have no belief at all.

A memorable hymn is Great is Thy Faithfulness, penned by pastor-turned-insurance salesman Thomas Chisholm.  For me, doubt does not exist throughout the year, but in waves and seasons.  At times, my faith crushes all doubt; at other times, my faith may exist as a mere flicker of light in a sea of darkness.  No matter, faith incorporates a seasonal rhythm of highs and lows, and Great is Thy Faithfulness affirms it as such: “Summer and winter, and springtime and harvest…join with all nature in manifold witness to Thy great faithfulness, mercy, and love!”

There is another set of hymnody that reassures believers and expresses God’s promises. The great reformer Martin Luther penned A Mighty Fortress is Our God in times of trouble, arrest, and persecution.  His own bouts of depression and anxiety needed a poetic outlet, and “God’s truth abideth” seemed appropriate for a time of spiritual warfare.

Three similar songs include How Firm a Foundation, Rock of Ages, and The Solid RockHow Firm is an early hymn overshadowed by mystery.  The author is only known as “K” while the author of the tune FOUNDATION is also anonymous.  Perhaps that is intentional as it is God, not the author, who speaks to us in four of the five verses: “Fear not, I am with thee, O be not dismayed.”

Rock of Ages has a livelier history, if not for content, then for author Augustus Toplady, who feuded with the Wesley brothers.  Several things catch my attention: (1) Augustus Toplady is, like, the coolest name ever, (2) who else would have the audacity to call John Wesley (founder of Methodism) the “most rancorous hater of the gospel”, and (3) there is a theory that Toplady plagiarized some of the lines of Rock of Ages from a poem that Charles Wesley wrote some three decades earlier. (All of this is recorded with no small drama in Kenneth Osbeck’s 101 Hymn Stories, pp. 215-217).  The dude had nerve.

And the last, The Solid Rock, is just a good song altogether.  Published in one of the only hymnals to be distributed during the Civil War, its clear and concise message summarizes everything these gospel hymns mean to me.  As a way to end, allow me to quote the first verse in full:

My hope is built on nothing less
Than Jesus’ blood and righteousness;
I dare not trust the sweetest frame,
But wholly lean on Jesus’ name.

On Christ, the solid Rock, I stand;
All other ground is sinking sand,
All other ground is sinking sand.

Thank God for God’s promises!