If you missed our Kirking of the Tartans or wanted a narrative history to explain the order of worship, here you go, long and glorious: :Kirking of the Tartans Kirk is the Scottish word for church, and the Tartan, with its distinctive cross-lined patterns, represents Scottish clans, families, regions, and regiments. The Kirking of the Tartans began as a Scottish-American service, originating with the Rev. Dr. Peter Marshall on April 27, 1941 at New York Avenue Presbyterian Church, Washington, D.C. Its purpose then was to raise funds to aid Scottish churches during World War II. The idea grew and many congregations now have Kirking services to celebrate the Scots’ religious heritage and historical devotion to God and country. Tartans: Perhaps no symbol is more associated with Scotland and Scottish history than the colorful traditions of Highland dress. The tradition of the tartan is ancient, and there are many references to it in early Scottish literature. Ancient tartans were described as “chequered” or “striped” or “sundrie coloured”. The basic pattern of the tartan is the sett, and a sett is repeated until the desired length of material is achieved. For centuries, tartans were part of the everyday attire of the Highland people, and it was there that its use continued and developed to become recognized as a symbol of clan kinship. Tartans are still being developed and registered with the Scottish Tartan Society. A specific tartan exists for those in the ministry and a red, white, and blue tartan was created for the Bicentennial of the United States in 1976. Beadle: During the Middle Ages and throughout the Reformation, ownership of a Bible was rare among the common people. Thus, the Bible of a Kirk was a treasured possession. The reverence toward sacred Scripture and the scarcity of Bibles led to the establishment of a special lay office within the Kirk, known as the Beadle. The Beadle, whose primary duty was to guard and protect the Bible, was usually elected by the Session of the Kirk. The beginning of Worship was marked by the reverent carrying of the Bible into the Kirk and its opening for the morning readings. As the Bible was carried by the Beadle into the Kirk, the people stood in respect for the Holy Book. At the conclusion of Worship, the Beadle removed the Bible for safekeeping. Bagpipes: Although bagpipes are ancient and derive from several international sources, the instrument is most frequently associated as the national instrument of Scotland. It has been used for centuries in folk and military music. Clans took great pride in their pipers and the reputation of a clan was based to some extent on the abilities of its pipers. John Knox ~ Scottish Reformer: Knox studied under John Calvin (the father of Reformed/Presbyterian theology and worship) in Geneva, Switzerland in the 1550s. Upon returning to Scotland, he wrote the Book of Common Order, a directory for public worship, and established the first Presbyterian churches. The denomination spread to Ireland, and it was immigrants from Scotland and Ireland who brought the Presbyterian Church to America. Celtic Cross: The Celtic Cross has long been established with Celtic Christians who trace their origins to the earliest centuries of the Church. Notable examples of this form of the cross are found in Scotland, Wales, and Ireland. The design focuses attention on the head of the cross (which is the junction between the shaft and the crosspiece) which is enclosed within a circle. It is this circle which is the most distinctive and differentiating feature of the Celtic version. Although the significance is not known with certainty, it likely derives from a Constantinian symbol in which the Chi Rho monogram was surrounded by a golden crown. The circle as a representation of infinity is an emblem of eternal life in Christ’s victory over sin and death. Traditions in Music Music is an important part of our reformed Scottish and Welsh traditions and the influence of those traditions can be found throughout the world. The music for the Gathering is traditional Scottish tunes piped by Michael Grest and Scott Grest. Worship begins with the Opening Voluntary. Rondo Campano is an original composition for handbells by Malcolm Wilson, a Scottish composer born in 1962 in Dunblane in central Scotland. Educated at the University of Sterling with a graduate degree in Music Education from the University of Edinburgh, he is renowned for his dedication to advancement and enhancement of handbell ringing in England and Scotland. The Processional, Highland Cathedral, was composed by Uli Roever and Michael Korb in 1982. Although Roever and Korb were convinced of its chances of success, publishing companies were not. In spite of their rejection at that time, the tune has found its way into peoples hearts. The composers produced their own CD with Korb performing. Since then, the composition has been published on various sound media about 80 times by different artists (e.g. in the Netherlands, South Africa, UK and USA). It is played by virtually all Scottish bagpipe bands and has become one of the best known bagpipe tunes in the world. The Introit is from an original setting of the tune Bryn Calfaria. The music was composed by the Welshman William Owen (1814-1893), who also composed the well-known hymntune Hyfrydol. The name of the tune means “Mount Calvary” and the text is an adaptation from a Gaelic rune. A rune is a poetic form of Nordic origins. Let All Things Now Living is sung to the tune Ash Grove, a traditional Welsh melody the source of which is unknown. The tune is found in the collection Book of National Songs published in England by Novello & Co. The words were written specifically for this tune by the American composer Katherine K. Davis (1892~1980) in 1920. Although the composer of more than eight hundred pieces of music, she is perhaps best known as the composer of The Little Drummer Boy. The sung response to the Assurance of Pardon & Reading of the Decalogue is from a tradition of chanting unique to the churches of England and Scotland. A chant is not a hymn melody to which a text has been fitted, but rather a series of tones to which the words of a psalm or canticle are recited. Therefore, chanting is a rhythmic reading in which the text is of prime importance. The setting is the Gloria in excelsis, based on a tune which by tradition has become known as Old Scottish Chant. The Psalter is based on the tune known as Brother James’ Air, attributed to James Leith Macbeth Bain, a well-known Scottish cleric (1840-1925). The tune is best known as a setting for the metrical version of the Twenty-third Psalm from the Scottish Psalter of 1615 This setting was arranged for mixed voices in 1934 by the American composer, Gordon Jacob. The Hymn The Lord Is God, is a paraphrase of the Shema (Deuteronomy 6:4-9), the ancient Jewish affirmation of faith that Jesus called the first great commandment as recorded in Matthew, Mark, and Luke. It is set to the Scottish tune Dundee which is from the Scottish Psalter (properly known as The One Hundred Fifty Psalms of David), a collection of metrical settings published by Andro Hart in Edinburgh in 1615. Dundee is one of the twelve common tunes in the collection, important because so many of the Psalms could be sung to them. The Offertory, Togail Curs Air Leodhas, is an Air in traditional form composed by Dòmhnull Mac Ghille Mhoire (Donald Morrison), from Na Cóig Peighinnean, Ness in the early 20th centuryfor shuttle pipes. Shuttle pipes, sometimes referred to as “small pipes” or “house pipes” are played in the same manner as the Great Highland pipes except the drones are much smaller, banded together in a single resonator, and each is tuned by means of a slide or shuttle, hence the name. The Offertory Response, the Doxology sung to the tune Old Hundredth, is the most frequently sung hymn tune in Christendom and dates to the roots of Presbyterianism. The tune was composed by Louis Bourgeois (1510-1561), the chief musician of John Calvin’s church in Geneva, Switzerland. Calvin (1509-1564) allowed only the Old Testament Psalms to be sung in church and enlisted French poets to cast the Hebrew into French verse; Bourgeois composed tunes for the singing of these metrical psalms. The tune was first named Old Hundredth in England because of its association with the metrical version of Psalm 100. The Choral Benediction, entitled Deep Peace, is a setting of words adapted from an old Gaelic rune by Benjamin Harlan in 1998. Dr. Harlan is Dean of the School of Church Music at Southwestern Theological Seminary The Postlude, The Rose of Kelvingrove, is an arrangement by David Knox. Although the tune is from an unknown source, it was introduced to Knox by Ronnie Henderson, the Pipe Major of the Gordon Highlanders, in 1985. Knox was so impressed with the melody that he arranged the tune for Bagpipes and Wind Band. It was an immediate success and was featured in the opening ceremony of the Commonwealth games, held in Edinburgh, in 1986.
Posted on: Fri, 31 Oct 2014 20:12:41 +0000
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