Idea Transcript
April 2016
Liturgy Lessons, April 24 Call to worship: 1 Chronicles 29:10b-13 Hymn: “Come, Thou Almighty King” (#101) Confession of Sin: Jeremiah 13: 5-10 & 14 Assurance of Pardon: Hebrews 10: 19-23 Hymn of Assurance: “It is Well with my Soul” (#691)* Catechism/Congregational Prayers Tithes and Offerings Doxology: #731 Sermon Meditation Supper: “Praise, I will Praise you Lord; My Jesus, I Love Thee” (#648)* Closing Hymn: “Guide me, O Thou Great Jehovah” (#598)* Benediction But now thus says the Lord, he who created you, O Jacob, he who formed you, O Israel: “Fear not, for I have redeemed you; I have called you by name, you are mine. When you pass through the waters, I will be with you; and through the rivers, they shall not overwhelm you; when you walk through fire you shall not be burned, and the flame shall not consume you. For I am the Lord your God, the Holy One of Israel, your Savior. I give Egypt as your ransom, Cush and Seba in exchange for you. Because you are precious in my eyes, and honored, and I love you, I give men in return for you, peoples in exchange for your life. Fear not, for I am with you; I will bring your offspring from the east, and from the west I will gather you. I will say to the north, give up, and to the south, Do not withhold; bring my sons from afar and my daughters from the end of the earth, everyone who is called by my name, whom I created for my glory, whom I formed and made.” Isaiah 43:1-7 I love considering that the cosmos was created when love overflowed. God, the triune God, was not an isolated architect, but a lover who couldn’t help but express the abundance of grace. Abundance. It’s etched all throughout Scripture and embodied in Christ our Savior, who gave his own body and blood as bread and wine for the whole world. Consider the 5 loaves and 2 fishes He used not merely to quell the hunger of the 5,000, but to shower them with overflowing excess (Mk. 6:41). Recall the disciples’ fish nets suddenly full with more than they could possibly consume, preserve, or sell (Luke 5:6). Then there was Jesus’ response to the woman who poured out a year’s salary worth of perfume over him: “Leave her alone,” he said, “she has done a beautiful thing!” (Mk. 14:3-6). And what about that infamous wedding feast at which Jesus made wine in an abundant excess of quality AND quantity. In light of such overflow, such generosity, how do we respond? What sense to we make of it all? Perhaps the following observation will help: “This was simply a superfluity, a luxury. They had no wine, and what does this mean? For it is a sign, and it must signify something. That God created man not merely that he should endure existence, that he should drag through life, but that there should be a festivity, a gladness within him, not only that he should be reconciled to his existence and have what is needful, but that he should feel within it a music, so
that he may say ‘it is a joy to live.’ The world is not wrong when it seeks for the ornamental and the beautiful; it is an instinct of what is true, that God created us for brightness and glory” Adolf Saphir, 19th Cent. Presbyterian Minister So we gather for our weekly feast, to worship the God of abundant grace who continues to pour out His love into our hearts (Titus 3:6). It was for this we were created!
“Come, Thou Almighty King” Text: Anonymous (ca. 1757)
Tune: Felice de Giardini (1769)
Much like “Holy, Holy, Holy,” this is a true Trinitarian hymn. It is an anonymous prayer found in a leaflet and then published in the 1757 edition of George Whitefield's Collection of Hymns for Social Worship. The text is saturated with names for members of the Godhead and addresses each member exclusively in individual stanzas: God the Father (vs. 1), God the Son (vs. 2), and God the Holy Spirit (vs. 3, based on John 15:26). The hymn concludes with a doxology to the Trinity (vs. 4). Due to its odd meter, this hymn text has only historically been “fit” with one tune, composed by the very famous Italian violinist Felice de Giardini. After studying in Italy, Giardini went to London where he achieved great musical fame locally and also throughout Europe. It is doubtful that the composition of this tune was made with any consideration for this particular text, but whomever originally paired the two must have been an expert matchmaker with a keen eye for marrying form and content. The tune is written in 3/4 meter and flooded with descending and ascending triads. You can almost hear the Sesame Street announcer proclaim, “Today’s hymn is brought to you by the number 3!” I also love the winsome simplicity of measures 7 and 8 of the hymn. All voices in unison descend from the upper octave to its lower by way of intervals that outline the basic C-chord (Do-sol-mi-do). This seems the perfect musical gesture for the text “Help us to pray,” and especially fitting overall for a hymn asking help from on high. Just like the medieval gothic cathedral tried to illuminate theological truths and physically manifest Pythagorean principles of harmonious proportions, music can often “preach” of things that are beyond words. Here in this hymn we step into a cathedral-like place of wonder. After all, how can anyone fully understand the mystery of the Trinity? Sheet music: http://www.hymnary.org/media/fetch/100131 Text and piano accompaniment: http://www.opc.org/hymn.html?hymn_id=132 *These hymns covered in previous liturgy lessons (archived on CPC website): “My Jesus, I love Thee” – Jan. 24th “It is well with my soul” – Nov. 1st “Guide Me, O Thou Great Jehovah” – Nov. 8th
Liturgy Lessons, April 17 Call to Worship: Romans 11:33-12:1 and Psalm 95:1 Hymn: “Holy, Holy, Holy” (#100) Confession of Sin: Luke 18:9-14 and Assurance of Pardon: Titus 3:3-7 Hymn of Assurance: “Blessed Assurance” (#693) Catechism/Congregational Prayers Tithes and Offerings Doxology: #733 Sermon: Eric Irwin Meditation Supper: “Jesus, Lover of my Soul” (#508); “There is a Redeemer” Closing Hymn: “How Firm a Foundation” (#94) Benediction “As God is infinitely the greatest being, so He is allowed to be infinitely the most beautiful and excellent. And all the beauty to be found throughout the whole creation is but the reflection of the diffused beams of that Being who hath an infinite fullness of brightness and glory.” Jonathan Edwards The Nature of True Virtue “I have tried…to make every pleasure into a channel of adoration. I don’t mean simply by giving thanks for it. One must of course give thanks, but I mean something different. How shall I put it? We can’t – or I can’t – hear a song of a bird simply as a sound. To receive (hear) it and to recognize its divine source are a single experience. This heavenly fruit is instantly redolent of the orchard where it grew. This sweet air whispers of the country from whence it blows. It is a message. We know we are being touched by a finger of that right hand at which there are pleasures for evermore. There need be no question of thanks or praise as a separate event, something done afterwards. To experience the tiny theophany is itself to adore. Gratitude exclaims, very properly, ‘How good of God to give me this.’ Adoration says, ‘What must be the quality of that Being whose far-off and momentary coruscations are like this!” One’s mind runs back up the sunbeam to the sun.” C.S. Lewis Letters to Malcolm: Chiefly on Prayer My parents live in Ft. Worth, Texas, and will be joining us in worship this week as they prepare to take our boys, Daniel and Benjamin, on a special 10th birthday trip to Colonial Williamsburg. My parents are passionate music educators, but even more passionate lovers of Christ. They taught all four of their children instruments from an early age. I started on piano at age 3, cello at age 4. Playing my quarter-size cello (barely bigger than a viola) in our family quartet, I must have gone through hours of humdrum bass-parts out of the hymnal, not to mention the mindnumbing, sleep-inducing Pachebel’s Canon. But life on stage as a member of the Hauck-estra was never boring. I always loved making music, particularly in church, where there was an obvious confluence of music and faith. It was from my parents that I learned about the Great Composer, but church was where His music being written on my young heart was brought to life. I am so grateful for God’s people, for the covenant love of Christ that we celebrate together, and for the gift of music to express that shared devotion. What would we do without song? Would we explode? May our worship this week be soul-swelling. May the Spirit of our Lord enlarge our capacity for praise and adoration of Christ, enabling deeper and richer enjoyment of Him. He is the source of all beauty. He is the sun. He is…
“Blessed Assurance” Tune: Phoebe P. Knapp (1873) (1873)
Text: Fanny Crosby
Along with “To God Be the Glory,” this text is probably the most well-known hymn by Fanny J. Crosby. It is a rare example of hymn text being composed for the music. Of its inspiration, Fanny Crosby said, “Sometimes a tune is furnished me for which to write the words. My dear friend Phoebe Palmer Knapp had composed the tune; and it seemed to me one of the sweetest I had heard for a long time. She asked me what it said. I replied, "Blessed assurance." I felt while bringing the words and tones together that the air and the hymn were intended for each other.” Brought to popularity through many of the Billy Graham crusades, the hymn was originally published in John R. Sweney's Gems of Praise (1873) and Ira D. Sankey’s hymnals in America and England. It is one of those hymns that every churchgoer of a certain generation would know, and it was my Grandfather Harold “Sandy” Snowden’s favorite. A typical Crosby evangelical hymn, it is more testimonial and emotional than theological. Though the hymn does focus on Christ’s redemptive work (mostly verse 1), it’s primarily about the joyful personal experience of serving Jesus and praising him “all the day long” as one awaits the glories of heaven. It is this “foretaste of glory divine” that we all share in during corporate worship. For those of us in the reformed tradition, there may be discomfort with the use of the word “rapture” in the second verse. “Perfect submission, perfect delight, visions of rapture now burst on my sight; angels descending, bring from above echoes of mercy, whispers of love.” I would argue that associated claims of dispensationalist thinking are unmerited here. Without going into too much detail, it is unlikely that this is what Crosby meant by the word. Rather, in keeping with the spirit of the hymn, and remembering that Fanny Crosby was blind most of her life, it is more likely that the word took on its non-theological definition, meaning “expression of ecstatic delight.” I encourage you to sing it in context with this understanding. “Though you have not seen him, you love him. Though you do not now see him, you believe in him and rejoice with joy that is inexpressible and filled with glory, obtaining the outcome of your faith, the salvation of your souls”(1 Peter 1:8). Link to sheet music: http://www.hymnary.org/media/fetch/97642 Link to “Billy Graham Crusade” recording: https://www.youtube.com/watch?v=C1x66L8t0lI
“Jesus, Lover of my Soul” Tune: Joseph Parry (1876) (1740)
Charles Wesley
There is perhaps no better hymn to recall in times of temptation than this one. In fact, the original title under which the hymn was published was “In Temptation.” After its publishing, this haunting hymn was left out of many hymnals because the language was deemed too “pietistic” and “intimate.” Those claims are hard to imagine in our modern context, for it is precisely this desperate cry for deeper union with Christ that we need. Phrases like “Thou, o Christ, art all I want” and “Thou of life the fountain art, freely let me take of thee” make singing this hymn powerful during the sacrament of communion, arguably the most intimate moment of our entire liturgy. This solidly structured and singable tune is stunning and stormy. It does not shy away from the realities of the soul wrestling with sin. Similar to “O the deep, deep love of Jesus,” there is a foreboding feeling of waves or rapids flowing throughout the melody. But the drowning soul is not without hope. Halfway through the hymn verse, the melody shifts from minor to major. The rhythmic “rapids” calm down to simple half notes before climbing to the phrase’s peak in a delayed climax. When I sing this hymn, I am always inspired towards greater intimacy and union with Christ. Its theme is reminiscent of John Donne’s poetry, written 150 years earlier: Batter my heart, three-person'd God, for you As yet but knock, breathe, shine, and seek to mend; That I may rise and stand, o'erthrow me, and bend Your force to break, blow, burn, and make me new. I, like an usurp'd town to another due, Labor to admit you, but oh, to no end; Reason, your viceroy in me, me should defend, But is captiv'd, and proves weak or untrue. Yet dearly I love you, and would be lov'd fain, But am betroth'd unto your enemy; Divorce me, untie or break that knot again, Take me to you, imprison me, for I, Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me. Link to sheet music: http://www.hymnary.org/page/fetch/TH1990/528/high Fernando Ortega recording: https://www.youtube.com/watch?v=ffUsrMJAxeQ Link to accompaniment in “congregation-friendly” key: http://www.opc.org/hymn.html? hymn_id=371
“How Firm a Foundation” Tune: Traditional American Melody (1787)
Text: from Rippon’s Selection of Hymns
Full disclosure here: I knew my parents were coming to worship with us this Sunday, so I called them and asked them each to share with me their five favorite hymns. I did not disclose to them the reason I was asking them. They answered separately, and gave me very honest and varied answers. One hymn was on both of their lists, “How firm a Foundation.” So, this week, I’m exercising MDP (Music Director Privilege), and at my parents’ unwitting request, have put this classic as our closing hymn. If you think my selection criteria to be too shallow, just read through the six verses to see how laden they are with scriptural promises. In fact, if you visit Isaiah 43:1-5, you will see some powerful parallels. In addition, I encourage you to read the following scriptures, followed by a strong singing of each accompanying verse. May your souls be encouraged, and please make sure to thank my parents for their inadvertent advice after the service. Scripture References: Vs. 1 - 1 Cor. 3:11 Vs. 2 – Isaiah 41:10 Vs. 3-4 - Isaiah 43:2 Vs. 5 - Rom. 8:35-39, Heb. 13:5 Link to sheet music: http://www.hymnary.org/page/fetch/TH1990/98/high Suggested recording: https://www.youtube.com/watch?v=rwGW8qRqz4I
Liturgy Lessons April 10 – combined service at Pickering Barn Call to Worship: John 17:1-2, 22-26 – Jesus’ Prayer of Unity Hymn of Unity: We Gather Together(#363) Psalm 133 and 134 (Responsorial) Hymn of Adoration: We will glorify Confession of Sin: Genesis 4:6-10 Assurance of Pardon: 1 Peter 2:4-10 Song of Response: Thy Mercy, my God Belgic Confession, Article 27 Catechism/Congregational Prayers Tithes and Offerings: TBD Doxology: #731 (a capella) Sermon: Pastor Irwin Meditation: TBD Supper: Blest Be the Tie that Binds (vs. 1-3, 6); Great is Thy faithfulness (#32) Closing Hymn: The Church’s one foundation (#347) Benediction According to a NAE (National Association of Evangelicals) survey from 2013, roughly 40% of American churches now offer separate Sunday worship services under the category of “contemporary”, “traditional”, or “blended”. Supporters of this trend state that is missionfocused and based in an effort to glorify God by reaching people in a “language”(a.k.a. “style”) they understand. Critics of this trend use terms like “worship wars”, “worship apartheid”, or even “Baskin Robbins worship”(choose your flavor). Ed Stetzer, in a fabulous piece for Christianity Today encourages churches to “rally around the truth, not a truce”, and to “embrace humility” while seeking “consensus, not compromise”. Regarding music in worship, he urges us to hold onto our personal preferences loosely, reminding us that they are merely preferences disguised as principles: “what is revealed is an idolatry of music. And music is just... well, music. As my colleague Mike Harland, president of LifeWay Worship has said, ‘You will never achieve spiritual goals with a musical means.’ We see music as important in Scripture but never a particular form or function as necessary for discipleship. And never does God dictate a particular style, rhyme pattern, or lyrical format. Pastored well, a healthy congregation will seek consensus on the positives of God's glory and mission rather than settle for compromise on the negatives of personal preferences and styles. A church in consensus would rather have Jesus than the hymn "I'd Rather Have Jesus." A church in consensus will sing of God's greatness rather than need "How Great is Our God" as their anthem. Music will not bring unity in of itself. Worship brings unity. So long as it is the worship of Jesus.” I am grateful that here at Covenant Presbyterian Church there is a prayerful and thoughtful pursuit of unified worship, expressed in the exaltation of Christ above all. Our recent move to two services was not taken lightly, and even now our two services are identical in form and content. Indeed, our once-a-season combined worship as the “Pickering Presbyterian Church” is an intentional reminder that we are one in Christ. So, our purpose in gathering to boldly bellow
at the barn is an effort to glorify God as one body, even if our personal preferences are as varied as animals on the farm. This week’s special liturgy of unity opens with Jesus’ prayer that His church would be one (John 17:22-26). Earlier in the same passage, Jesus prayed that we would be sanctified by the truth of God's word (John 17:17). May it be so. Yes, Lord Jesus, make it so. Blest Be the Tie that Binds Text: John Fawcett (1782)
Music: attr. Johann G. Nageli (1828)
The following account is from the Psalter Hymnal Handbook: An orphan at the age of twelve, John Fawcett (b. Lidget Green, Yorkshire, England, 1740; d. Hebden Bridge, Yorkshire, 1817) became apprenticed to a tailor and was largely self-educated. He was converted by the preaching of George Whitefield at the age of sixteen and began preaching soon thereafter. In 1765 Fawcett was called to a small, poor, Baptist country church in Wainsgate, Yorkshire. Seven years later he received a call from the large and influential Carter's Lane Church in London, England. Fawcett accepted the call and preached his farewell sermon. The day of departure came, and his family's belongings were loaded on carts, but the distraught congregation begged him to stay. In Singers and Songs of the Church (1869), Josiah Miller tells the story associated with this text: This favorite hymn is said to have been written in 1772, to commemorate the determination of its author to remain with his attached people at Wainsgate. The farewell sermon was preached, the wagons were loaded, when love and tears prevailed, and Dr. Fawcett sacrificed the attraction of a London pulpit to the affection of his poor but devoted flock. Fawcett continued to serve in Wainsgate and in the nearby village of Hebden Bridge for the remainder of his active ministry. Fawcett titled this hymn "Brotherly Love." Based on Galations 3:28 and 6:2, it is essentially about the communion of saints, bound together in love (st. 1), united in worship (st. 2), sharing each other's burdens (st. 3), and encouraging each other with the hope of eternal life in glory, where we will be reunited with departed friends and freed "from sorrow, toil, and pain and sin (st. 4-6). He wrote most of his hymns to be sung by his congregation at the conclusion of the sermon. They were published in Hymns adapted to the Circumstances of Public Worship and Private Devotion (1782). In the preface to his collection Fawcett apologized to "persons of an elevated genius" for his "plain verses" but expressed the hope that they would edify "humble Christians." Link to sheet music: http://www.hymnary.org/media/fetch/96036 Recording of “plain and humble” music: https://www.youtube.com/watch?v=P6lzTJfWdmk
Great is Thy Faithfulness (#32) Text: Thomas O. Chisholm (1923) (1923)
Music: William M. Runyan
Thomas Chisholm was a simple, poor poet who was born in a log cabin in Kentucky in 1866. Throughout his life he wrote 1200 hymns and poems when not working as an insurance agent, teacher, or editor. A victim of fragile health, Thomas Chisholm always lived on a meager salary, and never had much. He wrote, "My income has not been large at any time due to impaired health in the earlier years which has followed me on until now. Although I must not fail to record here the unfailing faithfulness of a covenant-keeping God and that He has given me
many wonderful displays of His providing care, for which I am filled with astonishing gratefulness." I recommend you read Lamentations 3:22-25 before singing this Gratit-ode! Sheet music: http://www.pmcc4w.org/downloads/file/1161/great-is-thy-faithfulness-musicsheet.jpg
The Church’s One Foundation(#347) Text: Samuel J. Stone (1866)
Music: Samuel S. Wesley (1864)
You may be delighted to know that Pastor Irwin calls this “one of the big-boy hymns”. It’s got a real fight-song quality about it, in both the music and text. The one-year book of hymns provides the following information on this stalwart staple of English hymnody: “Windsor on the Thames, with its royal castle, is one of the England’s most popular tourist attractions. Samuel Stone’s ministry was located here, among the poorer people at the outskirts of town. Samuel Stone was a fighter. He stood up for what he believed, and if the local “toughs” threatened the neighborhood, he was not afraid to take them on. In the church of England, Stone was regarded as a fundamentalist, opposing the liberal theological tendencies of his day. When he was just twenty-seven, he wrote a collection of hymns based on the Apostles’ Creed. This hymn, taken from that collection, is based on the article in the Creed regarding the church as the body of Christ. Two years later, Anglicans from around the world met to discuss the crucial theological issues that were raging in the church. Significantly, they chose Stone’s hymn as the processional for their historic conference.” In 1868, the Anglicans used it as the opening of their unified service of worship, and in 2016 we use it at our closing. May this poetic reaffirmation of Ephesians 2:19-22 rekindle a spirit of vigor and vitality worthy of our identity in Christ. Link to text and piano accompaniment: http://www.opc.org/hymn.html?hymn_id=682
Liturgy Lessons – April 3rd, 2016 (week after Easter) Call to Worship: John 20:19-20 and Psalm 118: 14-24, 28-29 Hymn: Worship Christ, the Risen King (#286) Confession of Sin/Assurance of Pardon: Revelation 1:5b-8, 17-18 Hymn of Assurance: Christ, Whose Glory fills the Skies (Morton) Catechism/Congregational Prayers Tithes and Offerings: TBD Doxology: Gloria Patri (#735) Sermon: Meditation: TBD Supper: Jesus, thou Joy of Loving Hearts (#646, vs. 1-3, 5); To God be the Glory (Andre Crouch) Closing Hymn: Jesus Shall Reign (#441) Benediction Each Easter, over ninety million chocolate bunnies and 700 million marshmallow peeps are produced in America. If you visited your local grocery store on Easter evening, you may even find the excess on clearance. For about a week out of every year, our Walgreens and Safeways become a pastel paradise of disposable delicacies, cheap confections, and throwaway treats. And then there is the stress-inducing, injury-laden egg-hunt (which always reminds me of a kid-version of the Oklahoma land rush of 1889). How long does it take for those hard-won Easter eggs to be forgotten and discarded? In such a culture of non-stop novelty, how do we faithfully serve our risen King who declares, “You did not choose me, but I chose you and appointed you that you should go and bear fruit, fruit that will last.” (Jn. 15:16)? I find that reading the twelfth chapter of Hebrews is a perfect defense against my own tendency to doddle in disposable distraction. It ends with this harderthan-diamond truth: “Therefore
let us be grateful for receiving a kingdom that cannot be shaken, and thus let us offer to God acceptable worship, with reverence and awe, for our God is a consuming fire.”
His kingdom cannot be shaken. His word shall not return void (Isaiah 55:11). His faithfulness is from everlasting to everlasting (Psalm 90:2). His truth forever stands (Psalm 111:8). His love endures forever (Psalm 100:5). In grateful response, standing on the Rock of Ages, cleft and now become the cornerstone, we offer him our wholehearted worship. In a recent e-mail exchange, Kurt Krieger called Easter “the most important event in history!” We know that to be true. For us it is as if a glorious musical chord has struck, and the resonance of the resurrection spins on unfading and
without decay in the temple of the redeemed. And so, this Sunday we continue our Easter celebration. Our liturgy reflects that resonance as we hold tightly to the truth we profess. May our singing be more than just peeps! Worship Christ the Risen King(#286) Words: Jack Hayford (1986) (1867)
Music: Regent Square, Henry Smart
Henry T. Smart composed this tune for a doxology setting of "Glory be to God the Father.” It was first published in the English Presbyterian Church's Psalms and Hymns for Divine Worship (1867), of which Smart was music editor. The tune was named after Regent Square Church, the “Presbyterian cathedral” of London. A prolific composer of hymn settings, Mr. Smart gave us many other beloved tunes, including “Fairest Lord Jesus” and “Lead on, O King Eternal.” The arc and shape of his writing is like musical caffeine, full of lift and surge. This tune, sometimes associated at advent with the text “angels from the realms of glory,” has three distinct lifts in each phrase of music, each one rising higher than the last. When I sing this tune I feel like a kid in a swing, being gently pushed higher with each measure. Jack Hayford has gifted us with an encouraging text that brings focus and clarity to the uplifting music. Fittingly, the first line is “Rise, O church, and lift your voices.” Already he has used two words (“rise” and “lift”) that perfectly mirror and mandate what the music is already encouraging us to do. The final phrase of each verse starts on the highest note in the entire hymn, elevating heart and voice in a call to “worship Christ, the risen King!” We open our worship with this resurrection hymn as a potent reminder that Easter is ongoing in our hearts, and we once again have the privilege of joining the unending symphony of praise that is forever unfolding around the throne of the Risen lamb! sheet music: http://www.trinitypresri.org/music/th-286-worship-christ-the-risenking.pdf accompaniment recording: https://www.youtube.com/watch?v=TqrHNY_7P3w Jesus Shall Reign (#441) Words: Isaac Watts (1719) (1793)
Music: Duke Street, John Hatton
Isaac Watts, famous for his psalm paraphrases, wrote this text based on Psalm 72. It was one of many in his publication, Psalms of David, Imitated. Focused on Christ’s dominion over the whole earth, this is a stately and majestic hymn. The tune is a sweeping line that covers an entire octave in regular stepwise climbs. I think it is an intuitive and brilliant melody that really “sings” in full sentence phrases, rather than the
unfortunate plodding on every syllable that is so common to 4-part hymn settings. In order that the word might “dwell in you richly” (Col. 3:16), I encourage you to use the following guide as a devotional tool in learning this hymn. Read the scripture references, and then sing each corresponding hymn verse: Vs. 1 = Ps. 72:5, 8, 17
Vs. 2 = Ps. 72:15
Vs. 3 = Ps. 72:10-11
Vs. 4 = Ps. 72:12-14
Vs. 5 = Ps. 72:19, Rev. 5:11-14 One note of clarification. In verse 5, we are told to bring “peculiar honors to our King.” The word “peculiar” is frequently changed to “highest” in some hymnals. It basically means “set apart” or “exclusively for.” It doesn’t mean to bring “odd” or “strange” gifts to worship. We wouldn’t want all those leftover marshmallow peeps to end up in the offering plates. Sheet music: http://www.hymnary.org/media/fetch/96123 Suggested recording: https://www.youtube.com/watch?v=yJYLXUovpjw