The Eastern Orthodox Cross is a
fascinating cross that has three bars crossing the main vertical. The lowest bar
is slanted because the Russians believed that Christ’s limbs were of unequal
length.
The Maltese Cross has four arms of
equal length, with each arm becoming progressively broader as it leaves the
center. Two points at the end of each arm, a total of eight, represent the
beatitudes. It is also an emblem of John the Baptist.
St. Andrew’s
Cross, the
national cross of
The Celtic Cross. Its
distinguishing characteristic is a circle, signifying eternity, around the
middle part of the cross. It is also sometimes called the Cross of Iona, the
Irish Cross, or the Wheel Cross.
Sources:
Friedrich Rest, Our Christian Symbols, pp. 19-26.
The Book of Confessions, The Presbyterian Church (
PLEASE
NOTE: Where Hymn numbers are
printed, the Congregation is invited either to join in singing or in following the words of the Hymn or both. Congregation, choirs and
instruments join together to worship God who is the Audience, the One to Whom we
sing our “Alleluia.”
PRELUDE
“To God Be the Glory”
arr. Cynthia Dobinski
Hand Bells and Organ
William Doane
1875
INTROIT
“With A Voice of Singing”
(Excerpt)
Martin Shaw
*PROCESSIONAL HYMN # 150 “Come, Christians, Join to
Sing”
Choir only on “Alleluia,” except on
3rd stanza when all join in.
*CALL TO
WORSHIP/LIGHTING OF THE CHRIST CANDLE
O come, let us sing to the
LORD; Psalm 95: 1
Let us make a joyful noise to the
rock of our salvation!
Make a joyful noise to the Lord, all the earth. Psalm 100
Worship the Lord with gladness; come into his
presence
with singing.
Know that the LORD is God. It is he that made us, and we are
his;
we are his people, and the sheep of his
pasture.
Enter his gates with thanksgiving, and his courts with praise.
Give thanks to him, bless his name.
For the LORD
is good; his steadfast love endures forever,
and
his faithfulness to all generations.
INTRODUCTION
OF FESTIVAL THEME
Christians
have been singing, using music and other art forms to worship God for more than
2000 years. Today in our worship we have not only the beauty of this room but
also banners displaying symbols of our faith and hymns to experience in various
settings. We will share hymns from our Hymnal that are our heritage from the
4th Century to the present. There will be a brief word about the
background or historical context of each hymn or hymn
arrangement.
I. THE EARLY
CHURCH
HYMN #
309 “Of
the Father’s Love Begotten”
Aurelius Prudentius
Chancel Choir
(348-413)
Congregation
follow the words.
II. CLERGY
WRITE THE HYMNS TO BE SUNG IN LATIN
HYMN #
88 “All
Glory, Laud and Honor”
Theodulph of
Refrain: Carol Choir
Stanza 1: All
Stanza 2: Men
Stanza 3: Women
Stanza 4: All
Final
Refrain: All
THE
BANNERS
As you enter
the Sanctuary, you encounter eight banners hanging from the wooden cross beams
above your head.
The Budded Cross. This cross is
often used on top of the Christian flag.
The Greek Cross, with four arms of
equal length, has been used for years as the symbol of the Red Cross. When five
Greek crosses appear together, they represent the five wounds of Christ’s
crucifixion.
The Jerusalem Cross, is made up of
four Tau crosses which meet in the center, and with four small crosses appearing
in the four corners. It was originally known as the Five-Fold Cross,
representing the five wounds of our Lord’s crucifixion. It was later used by the
Crusaders and was said to be symbolic of
The Tau Cross, shaped like the Greek
letter T, was often used by early Christians as a disguised form of the
traditional cross in order to avoid persecution by non-sympathetic
non-Christians. It is also known as the Old Testament, Advent, or Saint
Anthony’s cross.
Elder Edith Patton
Rev. William R.
Leety
Choirs:
Chancel Chimes
Overbrook Belles &
Beau
Chancel Choir
Carol Choir
Celebration Singers
Instrumentalists:
Dan Laciano –
Trumpet
John Wyckoff
– Timpani
Leaders:
Sarah Shaffer
– Director/Soprano Soloist
III. REFORMATION: CONGREGATIONAL
SINGING
RETURNS WITH
PSALMS
HYMN # 220
“All People That on Earth Do
Dwell”
William
Kethe
1560
Stanza 1: Unison
Stanza 2: Read together
Stanza 3: Choir –
accapella
Stanza 4: All and in
harmony
IV. BRITISH HYMNS: ISAAC WATTS &
CHARLES WESLEY
HYMN # 155
“Rejoice, the Lord Is King” arr. Larry
Shackley
Darwall/Charles
Wesley
Anthem by the Chancel Choir and
Trumpet,
Congregation follows the
text
V. GOSPEL SONGS, AMERICAN REVIVAL
MOVEMENTS
HYMN # 485
“Great Is Our God”
Craig Courtney
“To God Be the Glory”
Fanny Jane Crosby
1875
Hand
VI. UNIQUELY NORTH AMERICAN:
SPIRITUALS
“I Want Jesus to Walk with Me” arr. Edward
Boatner
African-American
Tradition
Solo - Sarah
Shaffer
VII. 20TH CENTURY HYMNS –
BRITISH AND AMERICAN
HYMN #
469
“Morning Has Broken” arr. Cat
Stevens
Eleanor Farjeon, 1931
With old
Gaelic melody
OFFERING
OURSELVES TO GOD’S PURPOSES
Call for Response
Offertory:
“Wake Up, Church”
Pepper Choplin
Celebration Singers
2005
*Prayer of Dedication
PRAYERS OF
INTERCESSION AND THANKSGIVING
VIII.
INTERNATIONAL TEXTS AND TUNES
HYMN #
589 “The
Lord’s Prayer” West Indian Folk
Melody
Carol and
Stanzas 2-5:
Congregation joins the response
IX. SUMMARY –
WE OFFER OUR SONGS TO GOD
HYMN #
264 “When in Our Music God is
Glorified”
Fred Pratt Green 1972
Choirs and
Congregation
CHARGE AND
BENEDICTION
X. CHORAL
RESPONSE
HYMN #
432 “Song of Hope” Alvin
Schutmaat
Argentine
folk melody
1984
First Time - Choirs only
Second time -
Congregation and Choirs in Spanish or English
POSTLUDE
Fantasia on “Madrid” –
Allegro
John Weaver
1996
COME,
CHRISTIANS,
JOIN
TO
SING!
HYMN
FESTIVAL
November 6,
2005
Overbrook Presbyterian
Church
614-261-1040
www.overbrookchurch.org