Not Another Recruitment Attempt!

I don't have a problem admitting that I am a lousy recruiter when it comes to recruiting new choir members.  Through the years I have tried all the different methods I can think of and that the various leadership books tell you to try. I have had the recruitment suppers, breakfasts, and lunches.  I have done the impassioned appeals from the pulpit.  I have done the mail-outs to new church members.  I have even tried the church member interests surveys to pinpoint potential targets... I mean candidates for choir membership.  On occasion one of these has actually drummed up a new choir member.  For some reason, those I managed to conjure up using any one of these methods eventually disappeared.

Now from my perspective, I cannot imagine why everyone is not in the choir.  There is something very special about the connection people in the choir have.  Of course, the first connection they have is their shared faith in Christ.  The automatic sense of brotherhood that comes from the shared experiences of walking in Christ is like no other.  The environment of the choir rehearsal allows for opportunities for members to spontaneously share prayer requests, family concerns, personal victories, and personal anecdotes. There is also something very special about the fellowship that comes from working side by side week after week in rehearsal time.  As you get more and more familiar with the people you are working with week after week toward a common goal, a natural affinity and comradery develops that I have seldom experienced outside of this special group.  Through the years I have heard people talk about the experience of joining a church but never really feeling a part of that church.  I have often asked them, "Did you try joining the choir?"  The answer has always been, "No," usually followed by the question, "What's that got to do with it?"

The fact is people join the choir because there is a song in their heart.  In the Old Testament, the prophets using picturesque language described times of oppression by Israel's enemies as times where music and singing ceased.  Isaiah 24:8 and Ezekiel 26:13 respectively describe such a occasions as a time in which, "the joy of the harp ceaseth," and "...shall be no more heard." Psalm 137 describes the journey into Babylonian captivity as a time in which they hung up their harps and could not muster the songs of Zion.  It is hard to sing without a song in your heart.  Likewise, if you have a song in your heart it is hard not to sing.  People who join the choir do so because you really can't keep them out.

So, all this rambling is really about one thing.  If you have not yet found your place of service where you are being used effectively by the Lord, you have a longing for a closer fellowship with your brothers and sisters in Christ, and you do have a song in your heart, then maybe choir is the place for you.  We meet every Sunday morning at 9:00 A.M.  Yes, that is early, but that time has been selected by our Choir members because with all our various work schedules and church activities, it was the most convenient for all.  We work each week not only on the anthem for that day, but also on those for the coming weeks.  We look at the hymn selections for that Sunday and go over those we think will be challenging to ourselves or the congregation.  We do have time to share prayer requests, usually some devotional thoughts or history associated with the songs and we pray.  In the middle of all this there is usually a lot of hard work, and hard laughing and a whole lot of fun.  I can say that at 9:00 A.M. in the morning, it is the most fun you can have at church.

If you are interested then talk with me or one of our choir members, or even better yet, show up Sunday at 9:00 AM upstairs in the choir room.  I promise it won't hurt, and you might even like it.

A Very Belated Father's Day Message

This past Father's Day was the thirty-first on which I have failed to send my Dad a Father's Day Card.  Of course that is because it is the thirty-first in which I have been fatherless.

I was blessed to have two wonderful parents who raised me in as traditional an American home as anyone ever had.  I had all the blessings of home, love, security, and family one could possibly wish for.  Though my father had been married before, the idea of divorce or the fear of it in our home was something I do not recall ever seriously considering a threat.  My two older brothers were from his previous marriage, and although 15 and 16 years older than me,they were simply, my brothers.  We never used terms like, "half-brother".  We were a family.  Of all the nightmarish childhood fears and insecurities one may have, I can remember only one genuine anxiety beyond the usual, "What's living in my closet or under my bed," and that was the fear of loosing one or both of my parents to death.  I was doubly blessed to be able to finish high school before I had to face that fear.

Boeing B-17 (Flying Fortress)

My father, Olen B Simpson, known to all who knew him as simply, "B", was a World War II Veteran.  Yes, I say that with great pride.  While not an armed soldier, he served in the Army Air Corp as a Master Sergeant over a team of mechanics responsible for keeping a group of B-17 (Flying Fortress) bombers in the air reigning terror down on the Axis.  I have always been fond of the fact that I am in the last of the Baby Boomers.  I fit the definition both by the fact I was born in early 1964, and my father was a WWII Vet. While he was also particularly proud of his contribution to the war effort, that experience was not what defined him as a man.

B Simpson was also not defined by the fact he had lived through the great depression and had memories of that experience.  Born in 1919, and raised in rural Mississippi, he knew what poverty was and had experienced his share as most of his generation.  His memories of the experience were quite clear often telling stories about hunting for small game to survive and being chastised by his father whose repeated instruction to "Peg 'em in the head!" so as to not ruin the meat of the squirrel, or rabbit.  Though he taught me to shoot, we never went hunting.  I would ask him why he did not hunt.  His response was always the same, "I had to hunt to survive when I was a kid, and now I don't." He had no problem killing an animal to have something to eat. One year he bought some live turkeys which he killed, dressed and prepared for Thanksgiving.  I remember him shooting some ducks at my grandfather's pond once because he got a notion to cook duck, which he had not had in years. But B did not find enjoyment in the killing of anything.

Though he was a believer and in later life a leader in his church, I would have to say that while his religion was quite real and genuine, it did not define him.  It was a great part of him, and I was thrilled to see him become a very good lay Bible scholar and a respected teacher at our church.  When he was asked to become a deacon he agreed, although he was always concerned that the stigma of his divorce; though many, many years behind him and unknown to most people; would impair his work as a deacon, or reflect badly on the church.

I suppose the over-riding thing that defined my father was probably his work ethic.  He served our community as an installer repairman for South Central Bell.  He was The Telephone Man.  As the article below from the CWA (Communications Workers of America) newsletter shows, for at least 17 years he was the only telephone repairman in the community.  He was known by his co-workers as a man who would do anything to get the job done.  I remember him coming home hot, cold, dirty, smelly, and exhausted.  It was not unusual for him to step inside the kitchen door, drop his clothes, and walk straight to the bathroom to clean up.  I remember clearly the smell of creosote, and sweat.  One of the favorite stories he would tell and often shared by his co-workers was of an occasion in which an identified case of trouble was on a pole near a railroad track.  The pole was in a low spot and high water from recent rains had created a waist high reservoir around the base of the pole.  The gathered workers could not figure out how to get to the pole to get the work done.  My father, reportedly, stripped down, carried his tools over  his head, and then climbed the pole to fix the trouble to the laughter of his co-workers.  His favorite part of the story was the part about the train passing by while he was on top of the pole doing the repair.  When I would ask him, "What did you do then?" he would laugh and say, "I kept the pole between me and the train."  Even at his funeral, one of the men he worked with took time to reminisce with me about that story.

Article from October 8, 1976 CWA newsletter.

I graduated from high school in 1982.  That same spring Dad retired from the phone company and took a part time job at the local post office as a janitor.  He had always said that the reason so many men died soon after retirement was because they quit doing anything.  He had it all figured out.  He would retire from the phone company, but would continue to work.  We had no idea that he would soon get sick that November, spend about 9 weeks in the hospital, and then die February 14, 1983.  

For many years I resented greatly those who have had the blessing of their father in their adult life.  I suppose I still do. I appreciate greatly the blessing it is to have my mother still with me.  But when I see those who don't appreciate what they have in having both parents there for their adult life I can't help but get angry.  As an 18 year old, I had only begun to make plans and set a direction for my life.  I never got to discuss the call to the ministry I was beginning to experience at that time.  I never had the chance to talk to my father about the woman I planned to marry or how much it hurt me when we divorced.  I never got to share with him the birth of my son, or the thrill and the redemption I experienced with a second chance with a new wife and new family and change of career.  I know he would be proud of all three of my boys, but of course I never got to introduce them.  He would be proud to know one who is in college working diligently on finishing his first degree and making plans for his next step to prepare for his future.  He would be proud of the other about to launch out into the Navy, starting life even as he did in the military.  He would be proud of the other, though autistic and challenged, diligent at his work at the local center and a blessing to be around.

I have, however, had to learn to accept and not resent.  I find comfort in the fact I was blessed with a good father and I had him for 18 years.  That is far much more than many people can claim.  I was blessed to have him pass on that work ethic that so defined him, and I hope I have been able at least in part to do it for my boys.  He was by no means perfect, and often frustrated me with his narrow viewpoint.  He was quite a man.  If I have been able to be half the man he was, then I know my life has been a blessing too.  

Thanks Dad.  We miss you.  I miss you.  Happy belated Father's Day.  I love you.

Let Not Your Heart Be Troubled

The anthem we are preparing for Sunday, June 2, 2013 is a bit of a departure from most of our repertoire.  Let Not Your Heart Be Troubled, by Tina English (copyright 1983) has the feel of a 1970's or 80's youth musical, and the incomparable beauty of a text lifted right out of John 14 in the King James Version.  We have chosen this piece for this service because the preacher, Dr. Guy Waters, will be bringing a message from the very same text.

Tina English, born 1952 is an ASCAP composer with over 200 published choral anthems, musicals, hymns, children's songs and works recorded by the Imperials, Larnelle Harris and other artists. (Shawnee Press)
This particular composition has a very natural flow, which is particularly astounding when you notice that her text is the first 11 verses of John 14, with only minimal changes to the text.  But, the text flows right with the music.

While the composition calls for a solo, we have chosen to have our ladies sing in unison the lengthy solo which comprises 28 of the pieces 94 measures (approximately 30% of the piece).  The men join in singing with the ladies in unison, "I am the way, the truth and the life."  Then in measure 37 the first utilization of vocal harmony is provided by the men on the phrase, "No one comes to the
Father but through me."  Primarily a two part piece, four part harmony is used in key areas to emphasize the message of the text. Finally the piece climaxes as the two part choir sings a two part text.  The ladies sing, "I am in the Father and the Father in me. The words I speak the Father speaks through me." while the men sing another melody for the text, "I am the way, the truth and the life, no one comes to the Father but through me.  Finally the choir comes together on the text, "From now on you know Him and have seen Him."

While not the most challenging of choral compositions, truly it has a unique beauty and worshipful feel which the composer has intentionally brought to the piece that truly allows the text to take center stage and proclaim the peace, love, and comfort the Savior surely intended we hear in these words.

Let not your heart be troubled, 
you believe in God believe also in me.
In my Father's house are many mansions. 
If it were not so, I would have told you, 
for I go to prepare a place for you. 
And if I go to prepare a place for you, 
I will come again and receive you to myself.
That where I am there you may be also,
and you know the way where I am going.

I am the way, the truth and the life,
no one comes to the Father but through me.
If you had known me, you would have known my Father.
From now on you know Him and have seen Him.

I am in the Father and the Father in me.
The words I speak the Father speaks through me.
I am in the Father and the Father in me.
He abides in me, and I in Him.

From now on you known Him and have seen Him.

Soul, Adorn Yourself with Gladness

From time to time I come across what I call a forgotten hymn or a lost jewel.  Usually, it is one I have never heard of, and few or none of the people in my immediate life are familiar with.  Many such hymns have been pushed aside and, to our loss, lost from our church worship repertoire.   Located in the Trinity Hymnal on page 421, Soul, Adorn Yourself with Gladness, is one such lost jewel.  The text of this hymn, our April 7, 2013 anthem, was authored by 17th century poet and hymn writer, Johann Franck (1618-1677) with music composed by his friend, Johann Cruger (1598-1662). The website, hymnary.org lists 76 different hymn texts associated with Franck and 27 tunes associated with Cruger.  Only one other of Franck's text made it into our Trinity Hymnal, while 7 of Cruger's tunes made the 1990 cut.  The one other Franck text in our hymnal, #656, Jesus, Priceless Treasure, is another example of a  Franck-Cruger duo.

Johann Franck

Sources I have read indicate that while Frank was theologically sound, his poems tended to depart from a rigid objective text and often allowed his pen to paint emotive pictures of his subject matter, which made his hymn material unique in his day.  Soul, Adorn Yourself with Gladness is such a hymn.  He paints a beautiful picture of the marriage supper of the Lamb.  In his first verse the lawyer from Guben, Brandenburg, Germany encourages the reader to adorn himself with gladness and abandon the haunts of sadness.  "Come into the daylight's splendor," he calls to us.  Why? Because, the founder of this banquet has condescended to such as we are and desires to dwell among us.  The figurative language depicts a bride hastening to her groom, a marriage feast complete with bread and wine, and a day when we will be with our Lord in heavenly bliss forever.

Johann Cruger

Praxis pietalis melica, the most
influential Lutheran songbook
of the second half of the
17th century.

Cruger's tune, officially cataloged as Schmucke Dich varies from many of his other hymn tunes which tended to be simple and contemplative in style.  Apparently he thought Soul, Adorn Yourself with Gladness, needed to be much more celebrative.  With a Baroque flair the piece explodes sounding more like a piece of chamber music to be played on a harpsichord rather than a chorale to be sung in a cathedral.  Truly the artist and editor of Praxis pietalis melica, achieved the goal of bringing a tune of jubilation to a text that so beautifully paints a picture of the church reunited with the Lord in holy festivity forever.  This is a far cry from the tune Cruger is most well known for, Nun Danket, our Hymn#98, Now Thank We All Our God.

It is a shame that hymns of such richness in music, poetic beauty, and theological content can become lost jewels.  I don't have anything against new beautiful theologically rich hymns.  But I am concerned when  the big overhead screen, modern pop-worship flavor of the week ditties threaten to take the place of our worship heritage. 

---

Sources:

hymnary.org

A History of Western Music, Donald Jay Grout, W. W. Norton & Co., 1980

My Eternal King

My God, I love Thee;

not because I hope for heav'n thereby,

Nor yet because who love Thee not

Must die eternally,

Thou, O my Jesus, Thou didst me

Upon the cross embrace;

For me didst bear the nails, the nails and spear,

And manifold disgrace.

Why, then why, O blessed Jesus Christ,

Should I not love Thee well?

Not for the hope of winning heav'n,

Or of escaping hell;

Not with the hope of gaining aught,

Not seeking a reward;

But as Thyself hast loved me,

O ever-loving Lord!

E'en so I love Thee, and will love,

And in Thy praise will sing;

Solely because Thou art my God,

And my Eternal King.

Jane Marshall
b. 1924

 The first time I ever heard  Jane Marshall’s My Eternal King, was while attending Blue Mountain College whose music degree program required participation in the College Choral.  As could be expected, the music in a college choir full of music majors was often beyond challenging.  I was introduced to styles, settings, and texts I never imagined existed.  While all of the styles and selections were extremely educational and useful in a collegiate setting not all would have been desirable in every church setting.  My Eternal King, however, stood out as an incredible sacred piece any theologically sound church would embrace but, due to its wondrous complexities, few would be able to experience.

Before going further, I must take a brief moment to brag on our choir.  I have had the privilege to serve in both music and pastoral leadership duties in a number of churches for over 30 years.  In all that time, the only choir I have ever had privilege to work with who had the technical proficiency to rehearse and present a piece as challenging as My Eternal King is our own adult choir here at Main Street Presbyterian Church.  The evidence of that proficiency and ability long precedes my involvement with this special group and its extensive history.  They continue to amaze me week after week.  They are the reason our church will have the opportunity to experience My Eternal King on Easter Sunday, March 31, 2013.  Though I do not mean to state this is the most difficult piece our choir has ever presented, it does rank very high on the list.

Rev. Edward Caswell
(1814-1878)

You may wonder what makes this choir piece by Jane Marshall (b. 1924) so special.  Although it will sound somewhat silly, I’d have to say, “Everything!” The text of the piece is based on a 17^th century Latin prayer/poem of response to the work of Christ on the cross translated into English by Rev.Edward Caswell (1814-1878).  The music, while maintaining a very classical style utilizes a wide range of modern music composition elements.  The time signature, tempo, and chord structures seem to be in constant shift and change as the piece progresses through a minefield of accidentals and dynamic changes.  A cappella sections are used to highlight the text as well as intensify the emotive elements throughout the piece.  This is not a piece of music for the novice choir.  There are a multitude of details to not only work out in preparation but remain mindful of through the duration of the piece.

Accompanied best with organ, the piece opens with a fairly simple sounding introduction that builds and grows to the first of many climaxes, and then the first surprise. In a cappella the voices in awe barely whisper the thesis of the text, “My God I love thee.”

So in awe of God and overwhelmed by the need to make this declaration, the music and text quickly move forward, almost apologetically clarifying that this declaration is not an attempt at gaining special favor from God, or dodging any impending judgment.  Then a near heartbeat-like pulse of the organ is set in motion.  The male voices, who begin to paint the picture of Christ upon the cross, are then joined by the female voices, all enraptured at the image of Christ embracing our sinful nature while hanging in disgrace.

Without any sort of transition the pulse of the accompaniment changes in texture and is augmented with the voices of the choir and the text to simulate the sound of a hammer declaring, “For me didst bear the nails and spear and manifold disgrace.”

In response to the image of Christ paying for our sins on the cross, in an a cappella section the choir whispers, this time asking a rhetorical question, “Why, O blessed Jesus”, should I not love thee?”  The text further clarifies that the love being expressed has nothing to do with gaining or loosing heaven or hell or with some vile attempt at obligating God to us.  The one and only foundation of this pronouncement of love for God is simply because He first loved us and gave himself on the cross.  The final declaration of the text states, “Solely because Thou art my God, and my Eternal King!”

For those of you who will be with us Sunday Morning, I hope you experience as much joy in worshipping our Lord and expressing love to him as we will as we share this piece.  May God bless you and your family as we worship God in awe and wonder.

Seek the Lord

Anthem for Sunday, 10/14/2012

Text: Isaiah 55:6-7

Music: John Carter (No, not the one who visited Barsoom)

MSCL#0172

Composer’s Biography: 

John Carter and Mary Kay Beall are not only husband and wife, but they collaborate on a full-time basis on musical works of all kinds. They have been writing as a team since 1978 and have created several hundred pieces of music together. John Carter is recognized as one of the most productive and skillful writers in choral composition today. Before he and Mary Kay began their collaboration, he had nearly 200 published works to his credit.

Together, John and Mary Kay have over 30 years experience writing and directing music for choirs of all types and of all ages: elementary, junior high, high school, college and church. Many of their works are commissioned by various groups across the country to be performed for commemorative occasions. As a team, the Carters have produced a dozen musicals and a sacred opera in addition to their many choral works. They have been widely performed, and their music exhibits a broad versatility in writing styles.

The Carters have been involved in church music as soloists, Directors of Music and Sacred Choral Editors. Presently, John is Director of Music at the University Baptist Church in Columbus, Ohio and serves as Editor Emeritus at Hope Publishing.

John and Mary Kay are members of ASCAP and the American Choral Directors Association. They have received ASCAP awards annually since 1984 for their ongoing contributions to choral literature. (http://www.alfred.com/Company/Authors/JohnCarter.aspx)

An Offer Ya Canna Refuse

The message of Isaiah 55 is about being restored into a right relationship with God.  It opens with the assumption of hunger and thirst for the things of God, a characteristic our society currently ignores being satisfied temporarily by the many diversions our western culture provides us.  Verses 1-4 call for us to come and receive the free things of God, His water, food, wine and milk that cannot be purchased, rather than spend our hard earned funds on the things that do not satisfy.

His message, primarily to Israel who is facing imminent judgment from God, includes a promise and an encouragement that one day Israel will summon nations they do not even know of unto themselves.  This is a prophetic picture of the gentiles being grafted into the promises of Israel as the church. (vs.3-5)

Then, in our key passage the promise to the wicked and the evil that God can be found “while he is near”.  This serves as a reminder to us that repentance is not on our time table or merely at our convenience.  The opportunity for this repentance and restoration must be grabbed, “while He is near.”  The repentance should be characterized by not only a surrendering of how one thinks, but also how he acts.  We must “forsake (our) way” as well as “(our) thoughts”.  Christ said his sheep hear his voice and respond.  Here in Isaiah the sheep are encouraged to “return to the Lord that He may have mercy on (them)… for He will abundantly pardon”.  Who can resist this offer?  Quit spending your money to be happy.  Come get free pardon and restoration from God and you won’t need the diversions that our technology, fads, clothing, cars, and entertainment provide. (vs. 6-7)

Having made an offer you can’t refuse, the message of Isaiah goes on to explain why the God of heaven would make such an offer.  This fact is a mystery that confounds all people, but perhaps our age more than any.  Why would the Holy God of heaven who is creator, judge, jury and executioner and hates and despises sin offer pardon?  He offers these things to us because; He is so different from us. (vs8-9)

How secure can we be of this incredible offer?  If it is too good to be true, then it probably is, right?  But we have an illustration given in vs. 10-11 that God’s word is as secure and definite as the water cycle.  The agrarian world knows that the rains and snows come.  The waters provide nourishment for the seeds and plants, thus sustaining life and nourishment.  Then and only then does the water return and do it all over again.  God’s Word is even more dependable than that.  As the going forth of the rains and snows give life, so the going forth of God’s Word gives life.

Lastly, a celebration is in order.  Vs. 12-13 picture a celebration of man and nature together worshiping God.  When man gets right with God, the blessings of God are poured out on the world around him.  As the creation fell with man and is corrupted, so it is blessed when man is in a right relationship with God.

Create in Me a Clean Heart O God

Anthem for Sunday, 10/07/2012

Text: Psalm 51: 10-13

Music: Carl F. Mueller

MSCL#0236

Composer’s Biography: Carl F. Mueller

Born:  Sheboygan, Wisconsin, August 12, 1892.

Graduated: Elmhurst College in 1910

Career info: organ recitalist, having studied with C. G. Stranger, Wilhelm Middelschulte, Clarence Eddy and Clarence Dickinson.

Key Dates/events:

1915 :             Married Lenore Ann Eckardt and became the Director of Music at Grand Avenue Congregational Church in Milwaukee, Wisconsin.

1927:              Moved to New Jersey where he met John Finley Williamson, founder of Westminster Choir College. Mueller attended Williamson’s Summer Schools for church musicians, studying with Williamson, which greatly enhanced his understanding and interest in choral music. Mueller began to compose and arrange for choirs.

1927-1953:    Organist/Choir Director Central Presbyterian Church, Montclair, NJ

1928-1954:    Taught at Montclair State College and Union Theological Seminary’s School of Sacred Music

1931:              Founded Montclair Acapella Choir (a community choir)

1937:              Mueller obtained Westminster’s earned Fellowship

1940:              Became member of ASCAP

1941:              Published Create in Me a Clean Heart O God (2 million copies sold)

1953-1962:    Organist/Choir Director First Presbyterian Church, Red Bank, NJ

Appox. 500 compositions published; held honorary doctorate from Strassberger Conservatory of Music in St. Louis, Missouri.

1982:              Died, November 2, Lakewood, NJ

(from http://beta.rider.edu/sites/default/files/Carl_F._Mueller_Finding_Aid.pdf)

The Text in Context of the Whole Psalm

Psalm 51 is of course the Psalm David gave to the chief musician when Nathan the prophet came unto him after he had gone in to Bathsheba.   The Psalm can easily be divided into three main sections.  Verses 1-6 deal with confession of the sin.  Verses 7-15 deal with purification from the sin.  Verses 16-19 deal with worship of God. 

Confession VV. 1-6

Have mercy upon me, O God, according to thy lovingkindness: 

according unto the multitude of thy tender mercies blot out my transgressions.

 Wash me throughly from mine iniquity, and cleanse me from my sin.

For I acknowledge my transgressions: and my sin is ever before me.

Against thee, thee only, have I sinned, and done this evil in thy sight: 
that thou mightest be justified when thou speakest, and be clear when thou judgest.

Behold, I was shapen in iniquity; and in sin did my mother conceive me.

Behold, thou desirest truth in the inward parts: and in the hidden part thou shalt make me to know wisdom.

Our worship and adoration of God is impeded by the sin and filth of our lives.  Once confronted with his sin David took the steps to bring himself back into a right relationship with God.  Calling on the mercy of God he honestly confessed his wrong.  David recognized his sin was his own and it was against God. He attempted to hide his sin so he would not be ruined politically, but he could not hide from God.  Exposed there was nothing else to do but confess and come clean.  Notice that David’s journey of repentance did not begin until he was first convicted of his sin by the Lord through the word of the prophet.  In our depravity, we too are not able to recognize our sin and respond to it apart from the Lord’s intervention in our hearts and spirits. 

Purification VV. 7-15

Purge me with hyssop, and I shall be clean: wash me, and I shall be whiter than snow.

Make me to hear joy and gladness; that the bones which thou hast broken may rejoice.

Hide thy face from my sins, and blot out all mine iniquities.

Create in me a clean heart, O God; and renew a right spirit within me.

Cast me not away from thy presence; and take not thy holy spirit from me.

Restore unto me the joy of thy salvation; and uphold me with thy free spirit.

Then will I teach transgressors thy ways; and sinners shall be converted unto thee.

Deliver me from bloodguiltiness, O God, thou God of my salvation: 
and my tongue shall sing aloud of thy righteousness.

O Lord, open thou my lips; and my mouth shall shew forth thy praise.

David also recognized his inability to be purified through his own actions.  In verses 7-15 he uses the visual illustration of being purged by hyssop.  Hyssop is used to apply blood ceremonially throughout the Old Testament and draws its historical beginning from when it was used to apply the blood of the paschal lamb on the doorposts of the Israelites before the exodus.  Like the Israelites of old David did not deserve the mercy of God, but seeks it by the power of the blood.  He turns to God so the “bones which (God) has broken may rejoice”.  Here the cry of our anthem is uttered.  A call for God to create a new heart and renewal for the spirit that is dark and low.  A plea to not be cast away as is deserved, but rather that God would restore and uphold.  He desires this that he may once again be a teacher and instructor to sinners.  This may sound like David is making a deal with God.  “Lord, forgive me and I’ll be a missionary!”  No, David is not making a deal.  The natural progression for one forgiven should be from confession to purification to proclamation.  David desires to be able to live beyond his error, learn from it, and help others to find their way back to God when they err as well.

Worship VV. 15-19

For thou desirest not sacrifice; else would I give it: thou delightest not in burnt offering. 
The sacrifices of God are a broken spirit: a broken and a contrite heart, O God, thou wilt not despise. 
Do good in thy good pleasure unto Zion: build thou the walls of Jerusalem.

Then shalt thou be pleased with the sacrifices of righteousness, with burnt offering and whole burnt offering: then shall they offer bullocks upon thine altar.

The final verses of the Psalm deal with the restoration of worship of God.  God is not impressed with sacrifices of animals or great deeds or actions.  Those are important parts of the worship of God in the Old Testament and have their place, but they mean nothing without a broken, contrite repentant heart offering them up.  Likewise, our walk and worship is meaningless if we are not broken before God over our own sin. 

It is a fitting prayer/anthem on the day we celebrate the Lord’s Supper.  A time in which we should be reminded of our sin and recognize our need for forgiveness and the uplifting hand of God to heal us, restore us, and create within us the new heart of salvation and purification we so desperately need to be able to show light to others and worship our Lord.