In the liturgy of the early church, the Kyrie was sung before the Gloria.* This order of the Christian liturgy captures the depth of God-fearing worship. Rev. J.T. Oldenhuis regrets that this depth is not embedded in today’s worship as it was in the early church. He writes about that in the reformed periodical “De Reformatie” (Dutch).

Kyrie Eleison – “Lord have mercy” – is the call for grace, in the knowledge that we deserve nothing, and that God would turn away from us in anger, seeing what we, people, have done with his perfect creation. After we realize the consequence of this, the Gloria follows, in full amazement, that God took away the sins of this world.

In our churches today, we often start with Gloria, without the deep tones of the Kyrie of the church of all ages. The catchy rhythms and superficial, easy melodies that are fitted with ditto song texts are surrounding us.

However, listening to radio, watching TV, reading newspapers... there are wars around the world, people are being killed in our cities, women molested, children disappear, money is wasted, animals cloned, unborn children adopted, and so on. It is raining disasters around us – the misery of this world. Power, money, and sex are the powers that control society. Why would God not put an end to all of this instantly?

We, we live in this world.

Do we feel the misery of this world?

Should we not start with singing Kyrie Eleison?

Or, do we Praise and Worship instead…?

Note: This is based on an article that was written for an audience in our sister churches in the Netherlands. Although the relevancy of this article in our churches could be challenged, I think that it is valuable to reflect on the perspective that given in this article.

* The fourth- century nun Egeria reported in her Travels (25: 5) that worshippers employed the acclamation kyrie eleison during the lamplighting ceremony of vespers in Jerusalem.

This was the reaction from Denis Bedard yesterday after being asked what he thought about the organ. The Inauguration event was successful, I think, based on what I heard and saw. Our pastor Wes Bredenhof put the new organ and our church in perspective in his welcome/opening word.

Denis Bedard was our guest organist.

Denis Bedard played from his own works, and at the end of the evening, he played his new composition: Quatre Psaumes. He first spoke a few words about the Quatre Psaumes, followed by the playing of them. Prior to the variation, he requested the audience to sing the Psalm, as the theme for the music he wrote.

The Sheet Music of Quatre Psaumes was sold out during the evening, but there will be more available soon. Either directly from Editions Cheldar, or just contact myself.

On the title page it states the reason for composing this music.

As an example herewith Psalm 124. It is written in baroque style (Buxtehude), using the Trumpet 8 as solo stop.  Psalm 91 is written in the style of a Renaissance dance. Psalm 86 has rich harmonic chords and you can clearly recognize Denis' characteristic style of composing. A sparkling and joyfull Psalm 100 with full organ completes this work.

In the audience was a great-granddaughter of Joseph Casavant, one of the two founding brothers of the Casavant firm. She showed me a book with family history which was really neat!

Another lady had already called the church earlier in the week. She came from Regina and in her church they also had a Casavant organ from the 60s. They had just completed a total cleaning job (needs to be done every 50 years) and the organ sounded as new. She had planned her trip to Langley, staying with relatives, just because of our Organ Inauguration.

I was totally surprised, and honoured by the presence of Terry Fullerton from St. Johns Shaughnessy church in Vancouver. I received lessons from him a few years ago. Another music teacher was Mrs. Mary McTier, who has taught and still teaches several members of our congregation.

There was a large group of RCCO members had come from Vancouver, Richmond, and North Vancouver. It was great to see their response and reactions to the new organ. "Very nice, such broad base"; "Clear and distinctive sound"; "Transparent throughout"; "Beautiful Trumpet"... It was great to hear so many knowledgeable people that are used to sometimes much larger instruments, discuss our organ after the program. (see picture below).

Some people called ahead about the ticket price, and it was really nice to tell them that this was free. It was about celebrating, joy and sharing...

Denis Bedard's sheet music was for sale: he had brought quite a few books, as well as CD's. We had some items for fundraising for sale: Delft Blue tiles and specially made organ pens.

Many thanks to all the people involved: the collective efforts made this a success!

Although it was said that this was the finish or end of a project... true, but I see it more as the beginning or start of enjoying this new instrument and sharing its beautiful sounds.

Invitation

Organ Inauguration Recital

D.V. Friday September 19 2008 (8 PM) is the Inauguration Recital for the new Casavant organ in Langley church. Our guest organist is Denis Bedard of Vancouver. Mr. Bedard will play parts of his own compositions which he selected to demonstrate the variety in sound colours of the new organ.

Mr. Bedard has been commissioned to write a new work for our new organ. This evening will be the premiere of this new work, called: "Quatre Psaumes". Quatre Psaumes arevariations on four Genevan tunes. Wen played in a concert setting these four variation make up a Sonata of four pieces!

The sheet music of Quatre Psaumes can be purchased as well, and autographed by the composer if you wish. (Denis Bedard will have more sheet music with his own compositions avalable to purchase.)

Other highlights of the program are a live virtual reality tour inside the organ, a slide presentation from the old to the new organ. I will also play piece myself.

Refreshments will be served after the program. Invitations have gone out to the community (music schools, music teachers, city halls, organists, etc.)

(Although we received confirmation that Jacquelin Rochette of Casavant Freres would demonstrate the organ, answer questions and play for us, he did send an email to inform us that he is not able to come due to other commitments.) 

Evening of Music and Song - SUNDAY NIGHT Sept 21
You are also invited to join for an evening full of music and song Sunday September 21, DV.

We will raise our voices in songs of praise from the Psalms and Hymns, and several musicians are accompanying. We'll use the new organ with other instruments as well (guitar, voice, piano, trumpet, violin).

In between there will be a short demonstration of organ pipes.

This evening starts at 7:30 PM and is for the whole family.

Refreshments served after the program.

If time permits, there is an opportunity for organists (and pianists?!) to "try out" the new organ after the program. 
 

A retired and passionate theologian, who has spent his entire life studying the Psalms, transferred his knowledge and expertise to paper. Prof. Niek Schuman displays in "Drama van crisis en hoop" (Drama of crisis and hope) a thrilling view on the Psalms.

For many years Prof. Dr. Niek Schuman (1936) researched the Psalms as professor Old Testament and Liturgy. His book can be considered the fruit of his labour of many years. Niek Schuman is emeritus partime Professor at the Theologische Universiteit Kampen (syn) and professor Liturgy at the Vrije Universiteit Amsterdam, where he also taught the Old Testament before his retirement.

It is a moving book. Schuman takes a long road along which he shows how the Book of Psalms a dramatically written composition is, which has an open end towards the future. And that in every Psalm has a language of faith that within the global communion of saints (and outside) is recognized.

Schuman himself experienced different ways of interacting with the Psalms in the singing of the isometric Psalms in a cathedral in Tholen, accompanied by dramatic organ playing on one hand, and the intimate and intense character of the Psalm Symphony of 20^th century composer Huub Oosterhuis on the other hand. Both experiences are melting together in Schuman’s own being.

He explicitly states that the Psalms are not statements of faith but poems of faith. “They express poetry of faith what people had in their deepest thoughts, what the feared the most, and what they hoped for until the end.” At the same time they are “words that “challenge the experience, and point to a reality which is not easily attainable, yet does not become unrealistic.”

DAVID

Schuman builds his book up towards the central chapter, about the Psalter as a compostion. Before that he deals with the two different genres that can be recognized in the Psalms. He also gives a lot of attention to the person of David, who should not be seen as author of many psalms, but as an orientation figure. The pointers to David (“of David” or “for David” are, according to Schuman, meant as instructions for the reader.

Next he identifies an number of old testament themes that melt together in the Psalms. As an umbrella the author recognizes the theme “justice and righteousness”.

Then he focuses on the individual psalm: as a pieces of art and as chain links. A piece of art: many psalms contain beautiful poetic and literary elements: parallels, number composition, acrostic, climax effect, repetition of words. A chain link: in many consecutive psalms we can find a relationship through links, according to Schuman. By repetition of words creates a dovetail construction between the psalms. Schuman points this out in Psalms 3 to 9 and 15 to 24.  

In the Book of Psalms there several collections. In addition to the well-known five collections, Schuman recognizes four David collections, two collections of the Levites, the Egyptian song of Praise (113-118), psalms of Zion (120-134) and the Doxology (146-150).

CANON

The author reaches the heart of his book in chapter five. We have to read the psalms as part of a canon, i.e. as part of one, ordered but continuous series. Although much stays hidden regarding the creation of the Psalms, yet we recognize “contours of a carefully composed dramatic structure of the book of Psalms as a whole and of series and collections within it.

Schuman assumes that the “final editors” added their own interpretation of the Psalms. Although the psalms were composed in the Persian time (538-333 before Christ), Schuman points out that only in the Greek period (333-64 before Christ) the final structure of the Psalms was established. The “final editors” lived from 250-150 before Christ and were part of a group that was obedient to the law.

These people organized the Psalms into a poetic drama, that deals with the critical question whether and how the way of the Thora will ever reach its goal. For that reason the royal psalms (18, 72, 93-100, 110, 132, and 144) are spread out subtlety throughout the entire book.

In this framework two psalms are a “low point”, the Psalms 88-89. After the lament about the destruction of David’s kingdom, a new perspective of hope appears. And step by step the praise prevails. But not only that. The book also has an open ending, a fading perspective so that all ages can join in.

Whether the “final editors” have done this on purpose is not important. As it is with all good literature, it is less important what the author meant: more important is what the texts evoke with the reader, according to Schuman.

TRADITION

Next Schuman deals with the tradition. How did the Jewish and Christian tradition deal with the Psalms? He travels through the centuries –somewhat fragmented – and finds much information to answer the question he struggles with: Can Christians adopt these poems of the Jewish tradition with no reserve?

His answer: If interpreted correctly, these poems of faith can be read and experienced by non-Jewish believers, and even by non-believers. Both Jews and Christians can hold on to their own interpretation, through David or through Christ.    

But how do you read the Psalms correctly? Schuman seems to appreciate Augustine’s method of explaining the Psalms. According the church father, when we read “I” or “we” in the Psalms we are to consider the “total Christ” (Head and members). “All of the righteous in the history of the world are gathered in this totus Christus. Augustine surpasses the question who actually should read the Psalms.

Bonhoeffer provides a wider perspective off this view. “The Psalter is the Book of Prayer of Jesus Christ”. The communion of saints, which is Christ body, prays on earth Jesus prayer. And that communion reaches out to all who do hunger and thirst after righteousness.” Schuman makes the application: “All calling from the depths, all jubilation in redemption, in the end they all sound like one voice of the messianic body.” And with that the Psalter is available to anyone who wants to use, as far as Schuman is concerned.

INTRIGUING
“Drama of crisis and hope” is a comprehensive book that was written after a lot of research and study. It is also an intriguing book that raises some questions. I will mention two.

Schuman shows with conviction that there are many connections and relations between the psalms. But his suggestion that the entire book with every Psalm carefully placed is like a “drama”, I do not recognize. In between Psalm 1 and 150 much needs to be modified to make this work. I agree that the Psalter is more than a random collection of Psalms, but that every consecutive Psalm is purposely placed in order, I am not convinced about.

One aspect Schuman could have emphasized more in his interpretation of the Psalms. The fact that the Psalms, just like the rest of the Old Testament, point to and result in the New Testament, in which Jesus says that everything must be fulfilled that is written about Him in the Law of Moses, the Prophets and the Psalms. The Psalms cannot be disconnected. Who disconnects the Psalms, is left with a beautiful poetic bundle, but will miss the essence of the Psalms: life with God who came to us in Jesus Christ.

Nevertheless, “Drama of crisis and hoop” is a book that is very much worthwhile to read, study and discuss!

Review by Jaco van der Knijff / source: Reformatorisch Dagblad

"Drama van crisis en hoop. De psalmen: gedicht, gebundeld en gebeden", written by Niek Schuman; publisher: Meinema, Zoetermeer, 2008;
ISBN 978 90 211 4169 5; 329 blz.; € 25,-.

This video I took this week on an evening. You may recognize the tune of Hymn 48 and the music is by Jan Mulder, but the reason I played it was that it was also a favorite Dutch hymn of my oma. Sadly I can't translate the hymn, but it is about John 15. Her wish to be with the Lord was very clear, she followed in His footsteps, knowing that he carried her if she could not walk. She is Home now.

Laat me in U blijven, groeien, bloeien,

o Heiland die de wijnstok zijt!

Uw kracht moet in mij overvloeien,

of 'k ben een wis verderf gewijd.

Doorstroom, beziel en zegen mij,

opdat ik waarlijk vruchtbaar zij!

 

Ik kan mijzelf geen wasdom geven:

niets kan ik zonder U, o Heer!

In Uw gemeenschap kiemt er leven

en levensvolheid meer en meer!

Uw Geest moet in mij uitgestort:

de rank die U ontvalt, verdort.

Neen, Heer, ik wil van U niet scheiden,

'k blijf de Uw' altijd, blijf Gij de mijn'!

Uw liefde moet alom mij leiden,

Uw leven moet mijn leven zijn,

Uw licht moet schijnen in mijn huis

bij kruis naar kracht en kracht vaar kruis.

 

Dan blijft mijn ziel voor U gewonnen,

dan wint mijn ziel door U in kracht!

Het werk in need'righeid begonnen,

wordt dan in heerlijkheid volbracht!

Wat in de winds'len sliep, ontbot,

en komt in 't licht en rijpt voor God.

Before reading the Psalms recite all three verses:

Come, glorify the Lord with our songs, acclaim the Rock of our salvation!
Let's come in His presence with deeds of grace, sing hymns in His honor!
For the Lord God is a great, great King above all gods.

I translated this roughly from French:
Allons, glorifions le Seigneur par nos chants, acclamons le Rocher de notre salut ! Présentons-nous devant Lui avec des actions de grâce, entonnons des hymnes en Son honneur !
Car l'Eternel est un grand Dieu, un grand Roi, au-dessus de toutes les divinités.

It can be found on the menu card of an establishment in Paris:

We're talking Psalms... well, in Paris the Psalms are so part of daily life that there is even a Cafe des Psaumes!

(also on the menu you will read: Strictement CACHER Sous la surveillance du Grand Rabbin de la communauté Israélite Orthodoxe de Paris, Rav M. ROTTENBERG Chlita.)

How many people like old stuff? Almost everywhere you go you will find an antique store. Often not real antique but just used stuff. Sometime you have to pay a lot of money for that... Often you wonder whether it is worth it... sometimes you just want it...

We have gotten some of that stuff. Old tools, frames, pots and pans, you name it. But we also have an old Psalmbook from 1868 (interesting that Scripture is printed in the margin of the pages of the rhymed psalms!), and a few more very interesting old things. I am happy that my wife appreciates old stuff now too (although she still cleans things up (too) quickly) .

Recently I thought I would benefit from her new appreciation, and I brought home a few antiques. They did not cost anything... And you can't get them in any store.... Very unique! They are from 1920 from a pipe organ from the Brandon Manitoba area...

A trumpet pipe, a Vox Humana pipe, a Flute pipe with antique dust on it.

More flute pipes...

Pure antiques and with a beautiful sound. Interesting shapes. You can see that the metal for the pipes was poured on linnen (zoom in on second picture). These pipes are heavy, much heavier than we had in our old organ.

Someone would make the comment: maybe this would have been a nice organ for Langley church... first of all people have been shopping inside this organ already for the last 30 years, so much is missing... and on the other hand, I don't think that our church would have been too happy with the sound as this was also part of it:

Again pure antique! Has been in use since 1920's! Never restored, completely original. There is a complete band inside this organ (1920's so no amplifiers and so on...) It made me think about the Dutch street organs in Amsterdam... I might go back and get the other things too (they were too big for my little car). I don't know all the names but a Marimba and Xylophone I remember...

I plan to make a small display for these pipes for in our music room.

I love antiques! (and so does my wife... )

This afternoon on of the things that was said about the Lord Jesus was that he was a carpenter. By the Romans and Greeks this job was not in high esteem. Imagine being a carpenter... it brought back some memories later this afternoon.

When I was in High School I had to make a choice about what to do when I would be a big boy... At that moment a music study in organ/piano would be the obvious choice. However, there were many organists and many organs and a decline in church attendance already then. Organist of name, such as Piet van Egmond, Feike Asma, the Zwarts, Klaas Jan Mulder, etc. were followed by a generation of countless good organists... I decided that I would not be good enough to make a difference and I went into a School of Business in Rotterdam.

This school was (privately) founded by business people and there were also organbuilders amongst them. Therefore there was an option to specialize in organ building. I never choose this specialization. I spend my last two of the four years with Business Management, English and programming of CNC machines and computers. (Organs are built like high class ship interiors and the skills and craftmanship I could appreciate, but I could not see myself do that the rest of my life...)

I can't turn the clock back (and become a professional musician instead), but looking back, I don't regret what I was led to do... I have learned a lot and I could give back a lot too.

It is impossible to build my own home pipe organ or harpsichord (yet some people pull it off...!), a few years ago I really wanted to prove to myself that I could make some wooden organ pipes. From oak of course. It was fun to do and it really worked! I first made a small pipe (1' tall) then a longer one (2' tall). Now I know that I can build 61 of them and even more... just if there was more time...

The small pipe left, the bigger one on the right...

This summer I had fun with powertools and the old reliable chisels again. I built a playhouse for Michael in the back yard. This design is based on Dutch houses from the province Noord-Holland. There are no organ pipes and no piano in the playhouse, but you never know what the next step is. (My father in law did the painting...)