June 8, 2014

Pentecost Sunday

Each week, you may find information here about the organ music and hymns in the traditional worship services at First United Methodist Church in Lewisville, Texas.  Some of this information is original; much of it is "borrowed" from other sources such as Wikipedia, GBOD, and hymnary.org.  It is my hope that this information will enhance your understanding and enrich your worship experience.  


About the Organ Music:

Spirit of God, Descend Upon my Heart – Joe Utterback

 

George Croly was born in Dublin, Aug. 17, 1780, and educated at the Dublin University. After taking Holy Orders, he laboured in Ireland till about 1810, when he took up his residence in London, and devoted himself to literature. In 1835 he succeeded to the united benefices of St. Stephen's, Walbrook, and St. Benet Sherehog, retaining the same till his death, which occurred suddenly in the public street, Holborn, Nov. 24, 1860. His prose publications, in addition to contributions to Blackwood's Magazine, were numerous, and dealt with biographical, historical, and scriptural subjects. His hymns were published in Psalms and Hymns for Public Worship. Written and compiled by the Rev. George Croly, LL.D. London Kendrick, 1854.

 

This hymn is an intense, personal prayer for the working of the Holy Spirit (st. 1), for illumination (st. 2), for more fervent love for Christ (st. 3), for greater holiness in our walk with the Lord (st. 4), and for the fullness of the Spirit (st. 5). The first line was changed from "Spirit of God, descend upon my heart" to "Spirit of God, who dwells within my heart."  The original text of the first verse was:

 

Spirit of God, who dwells within my heart,
wean it from sin, through all its pulses move.
Stoop to my weakness, mighty as you are,
and make me love you as I ought to love.

 

Joe Utterback (b. 1944) has been a compelling artist on the American jazz scene for more than fifty years, which have included European and American tours, as well as long-term gigs in the jazz centers of Kansas City, St. Louis, San Francisco, and currently New York City.  His piano style has been greatly influenced by Bill Evans, Oscar Peterson, Erroll Garner, and Art Tatum.  Utterback’s nearly 400 published compositions reflect the energy, color, and moods of his improvisations. His many jazz-influenced works for piano, voice, chamber music, organ, and choir have been performed throughout the United States and in more than fifty foreign countries.

 

 

Song 13 – Eric Thiman

 

Orlando Gibbons composed SONG 13 in soprano and bass parts. Used as a setting for a text from the Song of Songs, the tune was published in George Withers' Hymnes and Songs of the Church (1623) as hymn number 13 (hence the tune name).  In hymnals, the melody is presented in a simplified isorhythmic (all equal rhythms) form; the more rhythmically varied original also had more notes and was better suited to solo singing.

Samuel Longfellow (b. Portland, ME, 1819; d. Portland, 1892) wrote this text with the heading "Prayer for Inspiration." It was published in the Unitarian hymnal Hymns of the Spirit in 1864.  Like "O Come, O Come, Immanuel" (328), this text is a catalog: it lists attributes of the Holy Spirit in successive stanzas. The text is a prayer that the application of the Spirit's attributes may result in more vibrant Christian living, which will then be manifest in discernment of God's will (st. 1), holiness and purity (st. 2), courageous servanthood (st. 3), obedience to God's rule (st. 4), peace and restfulness (st. 5), and the experience of joy (st. 6). The final stanza alludes to Numbers 21:17 ("song of the well") and to John 4:10 ("living water"). Note that this hymn addresses the Holy Spirit without any reference to the Trinity, a Unitarian position that should not, however, hamper its use.

Samuel Longfellow is not as famous as his brother, poet Henry Wadsworth Longfellow, about whom he wrote a biography that was published in 1886. In his time, however, Samuel was well known as a Unitarian preacher and hymn writer. Educated at Harvard College and Harvard Divinity School, he became a minister in 1848 and served Unitarian congregations in Fall River, Massachusetts (1848-1851), Brooklyn, New York (1853-1860), and Germantown, Pennsylvania (1860-1883). With Samuel Johnson he compiled two hymnals: A Book of Hymns for Public and Private Devotion (1846) and Hymns of the Spirit (1864). He also published a number of his hymn texts in A Book of Hymns and Tunes (1860).

Holy Spirit, Truth Divine, Dawn upon this soul of mine; Word of God, and inward light, Wake my spirit, clear my sight.

 Eric Harding Thiman (1900 – 1975) was an English composer and organist.Largely self-taught, he was awarded an FRCO in 1921. From 1930 he was Professor of Harmony at the Royal Academy of Music and later, from 1956 to 1962, was Dean of the Faculty of Music at the University of London. From 1958, having moved from Park Chapel (a Congregational Church in Crouch End, later to join with Ferme Park Baptist Church to form a Union Church in the same district, he was organist of the City Temple in London, a Congregational Church where he increased his renown as an improviser of great skill. He was a keen advocate of amateur music-making and in the 1960s was the conductor and Musical Director of the Purley Choral Society.  A prolific composer of small-scale works, he wrote much educational music for piano and other instruments, as well as accessible music for church choirs.

 

Komm Heiliger Geist, Herre Gott – J. S. Bach

Johann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period.  He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France.  Bach's compositions include the Brandenburg concertos, the Mass in B minor, The Well-Tempered Clavier, two Passions, keyboard works, and more than 300 cantatas, of which nearly 100 cantatas have been lost to posterity.  His music is revered for its intellectual depth, technical command, and artistic beauty.  Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth century.  During the late eighteenth and early nineteenth century, Bach was recognized by several prominent composers.  Wolfgang Amadeus Mozart, Ludwig van Beethoven,  Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.  Beethoven described him as "Urvater der Harmonie", the "original father of harmony".  He is now generally regarded as one of the main composers of the Baroque period and as one of the greatest composers of all time.  A highly devout Christian, Bach signed all of his compositions “soli Deo Gloria”  (to God alone be the glory).  

For centuries, "Komm, Heiliger Geist, Herre Gott" ("Come, Holy Ghost, God and Lord") has been the prominent hymn (Hauptlied) for Pentecost in German-speaking Lutheranism.  The hymn inspired composers from the Renaissance to contemporary to write chorale preludes and vocal compositions. The first stanza is a translation of the Latin antiphon for Pentecost "Veni Sancte Spiritus, reple tuorum corda fidelium" (Come, Holy Spirit, fill the hearts of your faithful) from the 11th century.

Martin Luther added two more stanzas, keeping not only the meter and the tune, but also the structure, with acclamations at the beginning of lines 1 and 5, and the final Halleluja. In his stanzas, the group of "deiner Gläubigen" (your believers) is speaking directly, stating "wir" and "uns" ("we" and "us"). Luther alludes to several of the seven gifts of the Holy Spirit, according to Isaiah 11:2: wisdom, understanding, counsel, knowledge, fortitude, piety, and fear of the Lord. He also drew on Galatians 4:6 ("because ye are sons, God hath sent forth the Spirit of his Son into your hearts"), Matthew 23:8-10 ("for one is your Master"), and Romans 8:26 ("the Spirit also helpeth our infirmities"). In the second stanza, Luther uses the attributes "heiliges Licht, edler Hort" (holy light, precious refuge) and words the request "protect us from strange doctrines / so that we may never look for any teacher / except Jesus in true belief". In the last stanza, the Spirit's "ardent love" and "sweet consolation" are named, asking for help "always to remain joyful and comforted / in your service" and "so that we may bravely struggle / through life and death to reach you!"

The hymn appeared first in 1524 in Eyn geystlich Gesangk Buchleyn (de), (booklet of spiritual song), collected by Johann Walter.^[4] The same year it appeared also in Eyn Enchiridion in Erfurt, titled "Der gesank Veni sancte spiritus".   It has been translated, for example by Catherine Winkworth as Come, Holy Spirit, God and Lord! in 1855, and has appeared in hymnals of various denominations.

Johann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period.  He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France.  Bach's compositions include the Brandenburg concertos, the Mass in B minor, The Well-Tempered Clavier, two Passions, keyboard works, and more than 300 cantatas, of which nearly 100 cantatas have been lost to posterity.  His music is revered for its intellectual depth, technical command, and artistic beauty.  Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth century.  During the late eighteenth and early nineteenth century, Bach was recognized by several prominent composers.  Wolfgang Amadeus Mozart, Ludwig van Beethoven,  Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.  Beethoven described him as "Urvater der Harmonie", the "original father of harmony".  He is now generally regarded as one of the main composers of the Baroque period and as one of the greatest composers of all time.  A highly devout Christian, Bach signed all of his compositions “soli Deo Gloria”  (to God alone be the glory).   

Komm, Heiliger Geist, Herre Gott, Erfüll mit deiner Gnaden Gut Deiner Gläubigen Herz, Mut und Sinn, Dein' brünstig Lieb' entzünd' in ihn'n! O Herr, durch deines Lichtes Glast Zu dem Glauben versammelt hast Das Volk aus aller Welt Zungen; Das sei dir, Herr, zu Lob gesungen! Halleluja! Halleluja! Come, Holy Spirit, Lord God, Fill with the goodness of your grace The heart, spirit and mind of your believers, Kindle in them your ardent love! O Lord, through the spendour of your light You have gathered in faith People from all the tongues of the world; So that in your praise, Lord, may there be sung Halleluja! Halleluja!

About the Choral Music:

Cantique de Jean Racine – Gabriel Faure

Gabriel Fauré (1845-1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers.  Fauré was born into a cultured but not especially musical family. His talent became clear when he was a small boy. At the age of nine, he was sent to a music college in Paris, where he was trained to be a church organist and choirmaster. Fauré was a precociously brilliant composer. By his late teens, he had already developed his own unique and utterly assured musical voice.  Cantique de Jean Racine (Op. 11) is a work for mixed chorus and piano or organ by Gabriel Fauré. Written by the nineteen-year-old composer in 1864-5, the piece won Fauré the first prize when he graduated from the École Niedermeyer de Paris and was first performed the following year on August 4, 1866, with accompaniment of strings and organ. It was first published around 1875 or 1876 (Schoen, Paris, as part of the series Echo des Maîtrises) and appeared in a version for orchestra (possibly by the composer) in 1906. The text, "Verbe égal au Très-Haut", is a paraphrase by Jean Racine (Hymnes traduites du Bréviaire romain, 1688) of the pseudo-ambrosian hymn for Tuesday matins, Consors paterni luminis.

            O Redeemer divine, our sole hope of salvation,

            Eternal Light of the earth and the sky, we kneel in adoration.

            O Savior turn on us Thy loving eye!

            Send down on us the fire of Thy grace all consuming,

            Whose wondrous might dispersed the powers of hell,

            And rouse our slumbering souls with Thy radiance,

            That they may waken Thy mercy to tell,

            O Christ, bestow Thy blessing on us, we implore Thee,

            Who here are gathered on penitent knee. 

            Accept the hymns we chant to Thine eternal glory

            And these Thy gifts we return unto Thee.

 

About the Hymns:

O Spirit of the Living God

Henry Hallam Tweedy (1868-1953) hailed from the northeast, born in Binghamton, N.Y. He was granted degrees from Phillips Andover Academy, Yale University, Union Theological Seminary and the University of Berlin.  A Congregational pastor, he served churches in New York and Connecticut, and later taught practical theology from 1909-1937 at Yale Divinity School.  He co-authored several books, including Training the Devotional Life (1919) and Religious Training in School and Home (1917). His most important contribution, however, was as editor of the hymnal Christian Worship and Praise (1939).
In addition to editing a hymnal, Tweedy published a practical volume, The Minister and His Hymnal, and won several hymn contests sponsored by the Homiletic Review and the Hymn Society of America.

Tweedy said he composed “O Spirit of the Living God” because “some of the old Pentecostal hymns were to me unsatisfactory, and I was eager to interpret the symbolism of the story in Acts in a way that modern men could understand and sincerely mean.”  The text is an exposition of Acts 2, a passage focused on Pentecost. The hymn was first published in the Methodist Hymnal (1935).

Spirit of God, Descend upon my Heart

The words of this sung prayer are among the most passionate in the history of hymnody.  This masterpiece of Christian devotional poetry is the work of George Croly (1780-1860), an Anglican minister born in Dublin, Ireland, but whose ministry took place in London. Having served a small parish in Ireland, he moved to London to pursue a literary career where he wrote in several mediums including poetry, novels, history and biography.  In 1835, Croly accepted the challenge to reopen a church in one of the worst slum areas of London, that had been closed for over a century. He was known among his peers as thoroughly conservative in theology with no tolerance for liberal views. Through personal charisma and dynamic preaching, he attracted large crowds to St. Stephen’s Church.  Croly prepared a new hymnal in 1854 for his congregation and published it as Psalms and Hymns for Public Worship. “Spirit of God, Descend upon my Heart” first appeared in that hymnal under the title “Holiness Desired.” It is the only hymn by Croly to have survived. 

O Church of God, United

"O Church of God, United" was composed for a hymn search conducted by The Hymn Society of America (now The Hymn Society in the United States and Canada) for the Second Assembly of the World Council of Churches, meeting in Evanston, Illinois, on the campus of Northwestern University, August 15-31, 1954, on the theme, "Jesus Christ – the Hope of the World." This contest attracted nearly 500 submissions. Though the hymn did not win the competition, its merit was recognized, appearing in the July 1954 issue of The Hymn, the journal of the Society, and included in a small collection entitled Eleven Ecumenical Hymns; written at the invitation of The Hymn Society of America in recognition of the Second Assembly of the World Council of Churches, Evanston. Illinois. August, 1954.

The author, Frederick B. Morley (1884-1969) was born in Canada and educated at Syracuse University and Boston University School of Theology. He was ordained as a Methodist minister in 1915 and served churches in New Jersey and New York.

June 1, 2014

Each week, you may find information here about the organ music and hymns in the traditional worship services at First United Methodist Church in Lewisville, Texas.  Some of this information is original; much of it is "borrowed" from other sources such as Wikipedia, GBOD, and hymnary.org.  It is my hope that this information will enhance your understanding and enrich your worship experience.  

About the Organ Music:

Sweet Hour of Prayer – Wihla Hutson

William W. Walford (1772-1850), a blind preacher of England, is the author of the hymn beginning "Sweet hour of prayer." This hymn first appeared in print in the New York Observer September 13, 1845.  Rev. Thomas Salmon, who was settled as the pastor of the Congregational Church at Coleshill in 1838, is believed to have been the contributor who says of the hymn: " During my residence at Coleshill, Warwickshire, England, I became acquainted with W. W. Walford, the blind preacher, a man of obscure birth and connections and no education, but of strong mind and most retentive memory. In the pulpit he never failed to select a lesson well adapted to his subject, giving chapter and verse with unerring precision, and scarcely ever misplacing a word in his repetition of the Psalms, every part of the New Testament, the prophecies, and some of the histories, so as to have the reputation of knowing the whole Bible by heart.I rapidly copied the lines with my pencil as he uttered them, and send them for insertion in the Observer if you think them worthy of preservation."

Wihla Hutson was born in 1901 in East Gary, Indiana. In 1929, when she was 28 years old, Wihla became the organist at All Saints Church in Pontiac, Michigan, about 25 miles from Detroit. The pastor at All Saints was the Rev. Bates Burt, Alfred Burt’s father. Wihla retained her residence in Detroit, and drove from there to Pontiac for music rehearsals and services. However, when weather was poor, and at Christmas (when there was both a Christmas Eve service and a morning prayer service), she stayed at the rectory with the Burt family. In so doing, she became like a member of the family, many of whom called her “Aunt Wihla.” She and her mother enjoyed vacations with the Burts at their summer home in Marquette, Michigan.

At his father’s invitation, Al Burt began writing the music for the Burt family Christmas cards in 1942, with Bates continuing to supply the lyrics. (From 1922 to 1941, Rev. Bates Burt had produced both the words and the music). The new collaboration ended in 1948, when Bates Burt died of a heart attack.  In 1950, Wilha began writing the lyrics for Al’s tunes.  Because Al’s work as a trumpet player and arranger for some of the big bands of the day required extensive travel, Wihla arranged to mail the lyrics for each year’s card to wherever the Burts happened to be.

The 1950 carol was “This Is Christmas,” sometimes also referred to as “Bright, Bright the Holly Berries, which is the first line of the lyric.” In 1951, Wihla wrote “Some Children See Him,” one of the most beloved of the Burt carols. With the U.S. engaged in the Korean War--following so closely after the Second World War with Germany and Japan--the simple but moving lyric of this carol affirmed that children of any nationality could imagine Jesus to be like them, with the underlying message that love is more important than any claim of race or nationality.  Wihla’s 1952 lyric was also about children. “Come, Dear Children”.   Among other lyrics, she wrote “O Hearken Ye”, “We’ll Dress the House”, “Caroling, Caroling”, and “The Star Carol.”  “The Star Carol” graced the final Burt Christmas card in 1954. Al realized that death was near, and he was no longer concerned with all the hustle and bustle of this world. He was closer to spiritual things. ‘The Star Carol’ reflects his state of mind at that time. It is so beautiful and pure.” In “The Star Carol,” Wihla Hutson’s tender, sensitive lyrics are combined with one of Al Burt’s most perfect melodies. He labored over the song right up until his death. A few years after Al’s death, Wihla Hutson began to write her own Christmas carols, for which she also composed the music. Eighteen of those carols were printed in 1982. In 1994, she wrote the lyrics for a melody composed by Steven SeGraves called “Away to the Piney Wood.” It carries the dedication “In memory of Alfred Burt.” Wihla Hutson died March 24, 2002 in Southfield, Michigan, just a few days short of her 101st birthday. Largo, from “New World Symphony” – Antonín Dvořák Antonín Leopold Dvořák (1841-1904) was a Czech composer. Following the nationalist example of Bedřich Smetana, Dvořák frequently employed features of the folk music of Moravia and his native Bohemia.  He graduated from the organ school in Prague in 1859. In the 1860s, he played as a violist in the Bohemian Provisional Theater Orchestra and taught piano lessons. In 1873, he married Anna Čermáková, and left the orchestra to pursue another career as a church organist.  After the premiere of his cantata Stabat Mater (1880), Dvořák visited the United Kingdom and became popular there; his Seventh Symphony was written for London. After a brief conducting stint in Russia in 1890, Dvořák was appointed as a professor at the Prague Conservatory in 1891. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City, where he also composed. However, shortfalls in payment of his salary, along with increasing recognition in Europe and an onset of homesickness made him decide to return to Bohemia. From 1895 until his death, he composed mainly operatic and chamber music. At his death, he left several unfinished works. Dvořák's main goal in America was to discover "American Music" and engage in it, much as he had used Czech folk idioms within his music. Shortly after his arrival in America in 1892, Dvořák wrote a series of newspaper articles reflecting on the state of American music. He supported the concept that African-American and Native American music should be used as a foundation for the growth of American music. He felt that through the music of Native Americans and African-Americans, Americans would find their own national style of music. Here Dvořák met Harry Burleigh, his pupil at the time and one of the earliest African-American composers. Burleigh introduced Dvořák to traditional American spirituals.  The symphony was commissioned by the New York Philharmonic, and premiered on December 16, 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on December 15, 1893, Dvořák further explained how Native American music had been an influence on this symphony:  “I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.” The theme from the Largo was adapted into the spiritual-like song "Goin' Home", often mistakenly considered a folk song or traditional spiritual, by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. This is part of what Fisher wrote in the published sheet music of his song, "Goin' Home":  “The Largo, with its haunting English horn solo, is the outpouring of Dvorak's own home-longing, with something of the loneliness of far-off prairie horizons, the faint memory of the red-man's bygone days, and a sense of the tragedy of the black-man as it sings in his "spirituals." Deeper still it is a moving expression of that nostalgia of the soul all human beings feel. That the lyric opening theme of the Largo should spontaneously suggest the words 'Goin' home, goin' home' is natural enough, and that the lines that follow the melody should take the form of a negro spiritual accords with the genesis of the symphony.”  Dorian Trumpet on the Agincourt Hymn – John Barr The Agincourt Carol (sometimes known as the Agincourt Song, the Agincourt Hymn, or by its chorus and central words, Deo gratias Anglia) is an English folk song written some time in the early 15th century. The carol is one of thirteen on the Trinity Carol Roll, probably originating in East Anglia.  The tune has been given various texts over centuries, beginning with the Latin original through to one of its more often used translations by Benjamin Webb (1819-1885), "O Love, How Deep How Broad, How High!" Other texts include one titled "God of our fathers, known of old" by Rudyard Kipling, 1897, as well as titles such as "Jehovah, my God, on Thy Help I Depend" (1912) and "O God, thy soldiers' great reward".  In recognition of Ascension Sunday, it has been selected today for the text:           A hymn of glory let us sing           New hymns throughout the world shall ring           By a new way none ever trod           Christ takes His place, the throne of God! John Barr (b. 1938) studied organ and composition at Manchester College and Union Theological Seminary. Dr. Barr was music teacher at Hillcrest School for Missionary Children in Jos, Nigeria, 1962-65.  He later became Professor of Organ and Piano at Bridgewater College, Bridgewater, VA, until his retirement. He is organist at Bridgewater Church of the Brethren. About the Hymns: Holy, Holy, Holy Reginald Heber  (1783-1826) wrote this text for Trinity Sunday, the day for which lectionary in the Church of England's Book of Common Prayer prescribes the reading of Revelation 4. Using reverent and apocalyptic language, "Holy, Holy, Holy!" alludes to Revelation 4:6-11; 5:13; 15:2-4; and Isaiah 6:1-3 to sing the great majesty of the triune God. Note the cosmic scope of the text: human beings (st. 1), saints and angels in glory (st. 2), and all creation (st. 4) praise the name of the Lord. Though God's holiness, love, and purity are cloaked in mystery, we can still experience God's mercy and mighty power, and we can participate in praising God.  It references the Sanctus, which is often called the "Holy holy holy" in English. The name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325. It was first published in the third edition (1826) of  A Selection of Psalms and Hymns for the Parish Church of Banbury  and was also published posthumously in Heber's Hymns Written and Adapted to the Weekly Church Services of the Year (1827). The unusual single rhyme (all on the "ee" sound) and the uneven number of syllables in some lines have not detracted from the hymn's popularity.  It was soon adopted by hymn-book compilers, and is the best known and most widely used of the author's hymns. I Come with Joy “I Come with Joy” was written in 1971 by Brian Wren (b. 1936), Emeritus Professor of Worship, Columbia Theological Seminary, Decatur, Georgia. He is a writer, preacher, worship and workshop leader, and internationally published hymn-poet, with entries in most recent denominational hymnals in North America, Britain and Australia. Some of his hymn-poems have been translated into Finnish, French, Japanese, Mandarin, Spanish and Korean. Brian holds undergraduate and doctoral degrees from Oxford University. He is a Minister of the United Reformed Church (UK). His publications include What Language Shall I Borrow? - God-Talk in Worship: A Male Response to Feminist Theology (1989 and 2009), Praying Twice: The Music and Words of Congregational Song (2000), Advent, Christmas and Epiphany: Liturgies and Prayers for Public Worship (2008), Hymns for Today (2009) and seven hymn collections totaling 250 hymns. One Bread, One Body John Foley, S. J. (born 1939) is an American composer of Catholic liturgical music and a professor of liturgy at St. Louis University.  Written in 1978, “One Bread, One Body” is based on I Corinthians 10:16-17, ”Is not the cup of blessing which we bless a sharing in the blood of Christ? Is not the bread which we break a sharing in the body of Christ? Since there is one bread, we who are many are one body; for we all partake of the one bread.”