A few years ago, I was transfixed and moved by the story of the 20 Christian martyrs who were beheaded by Islamic terrorists in Libya by the shore of the sea. Their crime: Refusing to curse Christ. There were some powerful things I learned about these brave men.

First: they were, as Christians, only allowed to work in certain jobs, mostly menial. But one of the men captured, imprisoned, and killed wasn’t Christian. He was a Muslim from a neighboring country. Not speaking the language well, he, too, was forced to take menial work.

When the captors learned this, they begged their “brother” to reassert his faith in Allah and Mohammed. He refused. While in prison, he was amazed by the faith and the compassion of his cellmates. There with freedom being offered on a platter, he shook his head, pointed to the others, and said, “Their God.”

Finally, some folks wondered why there was only video, no audio, of the actual beheading. The sound was turned off deliberately – for one thing, that brave Muslim had just confessed faith in Jesus. And only skilled lip-readers in their language could make out what the martyrs were saying in their last seconds of life. They were not cursing God – or their captors. They were not begging for mercy. Their words were, “O Jesus! Lord!” Their executioners thought that confession of faith could be silenced by flicking a button. It could not!

The Holy Spirit inspired me to write a poem-hymn in their honor. Only after I’d finished it did I wonder if it fit any halfway familiar, suitable hymn tune! Actually, there are TWO. The first is less familiar but very powerful. It would be perfect for a choir to sing as an anthem. The tune is “Das Neugeborne Kindelein,” and its most familiar use is in the beautiful Communion hymn, “Victim Divine, Your Grace We Claim.” The other is Melita, AKA the Navy Hymn, most familiar to most Lutherans in the hymns “Eternal Father, Strong to Save,” and “My Hope Is Built on Nothing Less.”

I think the Holy Spirit knew those melodies, associated with such noble hymns already, would be perfect for this new  hymn.

Download “O Jesus, Lord” (Tune: Das Neugeborne Kindlein) here.

Download “O Jesus, Lord” (Tune: Melita) here.

You’ll see that I have “recycled” the words from the Advent Nunc Dimittis by setting them to a different tune: Von Himmel Hoch, or “From Heaven Above to Earth I Come.” What would a Lutheran choral setting of the liturgy be without a tune by Martin Luther, after all?! And I try to stay pretty faithful to the classic texts for these principal parts of the service, so I don’t get real “creative!” But since many hymns share the same “meter” (the number of beats, or syllables, per line), it means that one set of words can be used to different hymns, depending on the season of the church year and the familiarity of a given tune. Now you know my secret.

Download it here. 

The “OLD Red Hymnal,” AKA SBH, AKA Service Book and Hymnal, was where I first encountered the lovely Christmas carol, “Love Came Down at Christmas.” The tune is a gentle Irish lullaby. The words were from a poem of, I believe, Christina Rosetti, a renowned 19th century poet. Go look it up if you’re not familiar with it. Anyhow, with this paraphrase of the Agnus Dei, I had a wonderful excuse to highlight a lovely tune.

Download it here.

I think this was the first hymn paraphrase of the liturgy that I ever did, and it was for a Christmas Eve service at the church where I was the associate pastor. I’ve always loved the tune “Divinum Mysterium,” better known as the hymn, “Of the Father’s Love Begotten.” Simple, meditative, and lovely, it seemed the perfect melody for my paraphrase of the Sanctus. The only catch: trying to score it was more difficult than anticipated, so I just kept the melody line!

Download it here. 

I had fun with this. You can use this as the Prayers of the Church, or as an extended Kyrie, especially on the Sunday after Christmas (when many congregations have a services of lessons and carols anyway). It’s set to the tune, “God Rest Ye Merry, Gentlemen” (a sadly overlooked carol in politically correct times!).  The petitions are sung by the cantor, assisting minister, or someone else who can enunciate and get the words out briskly. The refrain is done by the whole assembly. It’s written so that almost every syllable has its very own note, until the refrain, so that even though the words certainly march along, the cantor doesn’t have to think hard about what syllable goes with what note!

Download it here.

The Gloria in Excelsis is the quintessential Christmas carol, being sung over shepherds and flocks near Bethlehem the night of Jesus’ birth. This paraphrase of the Gloria (pretty much the exact same version as for Advent) now uses, appropriately, the tune “Carol,” usually known as “It Came Upon the Midnight Clear.” Enjoy!

Download it here.

As it was in the beginning, is now, and ever shall be…. In the Kyrie, we begin, “In peace, let us pray to the Lord.” In the Gloria, we echo the angel’s sweet words, “peace to those whom God favors.” In the Agnus Dei, we pray that the Lamb of God should grant us peace. And now that the service is ending, we echo Simeon’s words: Lord, now you let your servant go in peace. For my hymn paraphrase of Simeon’s song, the Nunc Dimittis, I selected a tune that also echoes the theme of early American tunes I’ve used throughout the hymn paraphrases of the liturgy. It’s called “Distress,” and despite that name, it’s a plaintive but peaceful tune. We use it for 2 hymns: “We Place Upon Your Table, Lord,” and “O Christ the Healer, We Have Come.” As we indeed have received healing at our Savior’s table, that seems fitting.

Download it here.

“Lamb of God, you take away the sin of the world. Have mercy on us. Grant us peace.” One of the simplest and most eloquent of prayers, we sing it just before receiving the Body and Blood of this Lamb, slain before the foundation of the world to do just that – forgive our sins, and make peace between us and God, us and one another, and even us and our own restless and broken hearts. For my simple paraphrase of this simple prayer, I used a simple tune: Southwell, often set to the words, “Lord Jesus, Think On Me.” Which seems eminently appropriate, doesn’t it?

Download it here.

“Holy, holy holy is the Lord God of hosts! Heaven and earth are full of his glory!” Isaiah heard the angels crying out to one another, and this hymn shook the very foundations of the Temple – and of Isaiah’s own soul. I believe the Sanctus (“Holy!”) ought to convey awe in the face of the profound mystery of our Lord’s self-giving revelation in the Sacrament. And it should convey deep love: God’s love for us, and our response of love for Him. What better hymn tune to convey all this than yet another early American tune: Wondrous Love? My feeble words lean totally on Scripture, and are carried by this lovely melody.

Download it here.

When Bach and others composed their Masses, they always included the “Credo” – the Nicene Creed. Martin Luther wrote a paraphrase of the Apostles’ Creed (We All Believe in One True God). Singing the core of our faith is a good way to embed it deep within. We don’t just memorize – we “sing it by heart!”  Well, I’m not in the same league as Bach or Luther. But I did decide to write several paraphrases of the Nicene Creed for use at different times of the year. Here’s the one most suitable for Advent and Lent. It uses a stately (but not dirge-like) tune: Old 124th, often set to the hymn, “Turn Back, O Man, Forswear Thy Foolish Ways.” Don’t let the tempo drag!

Download it here.