Showing posts with label Mohr. Show all posts
Showing posts with label Mohr. Show all posts

Saturday, August 31, 2019

Find Us Faithful -- John Mohr


John is a voiceover professional, so if you’ve ever heard a pleasing, resonant baritone voice in a commercial, it just might be his. His might be called a ‘velvet’ voice. But there’s another voice that John Mohr has used, one with a background story that he may sometimes wish had never moved him to speak – one that  admitted betrayal. What he felt in the wake of his admission of guilt spurred the words he penned in “Find Us Faithful”, a hope that he indicates has grown over the succeeding years as he watches a couple of generations proceed in his footsteps. Having bloodlines to those he wanted to motivate was undoubtedly part of the impetus for John’s words and notes in 1988, but the rest of us can broaden the audience to whom we look as we think about the coming journey of offspring – spiritual or not, those we may not have even met or imagined yet.

It’s not clear where John Mohr was when he wrote “Find Us Faithful” – perhaps he was in our near California (see its seal here), where he has lived much of his life with his family – but the story he tells indicates it was a life chapter that developed while he was in many places. It’s a story that John says emerged as he looked back on several years of marital unfaithfulness. After many years of deceit, John says multiple friends convinced him that he needed confession – complete and brutally straightforward – in order to make his life right. He describes his wife Luanne’s forgiveness as nothing short of miraculous, analogous to what he reflects upon is true for all those who confess and trust God’s leading – that freedom is the reward. In the wake of this realization, John composed ‘Find Us…’, probably because he already had children whom he wanted to impress with the importance of being in touch with a godly faith. He evidently did not expect that a journey that has included touring with the Gaither Vocal Band; or singing among other believers in various venues in the Nashville area; or even living in Ukraine where he worked with hospitals and orphanages with Luanne and their six kids was a guarantee of the message’s transmission. Even though the voice he has used most often in the last 10 years (2010-19) has been in thousands of commercials and even in an audio version of the bible, John’s words in the song he wrote in 1988 still resonate perhaps most loudly and personally. They are about himself, but invite others to personalize them.    

Think about what voice you want them to hear. That’s what John Mohr might say best sums up the poem he wrote as he felt the release from a guilty conscience and considered how others might listen to his words of encouragement. You and I may not have physical offspring, as John Mohr does. But, my own experience in faith has had me crossing paths with others whom I never knew until I was an adult – friends, church leaders, ministers, and others. I hear their voices, too. And, whether I appreciate this much, others may pay attention to my voice also. The trick is to get them to hear not me, but Him. John Mohr reminds me that I’m part of a ‘heritage of faithfulness’ (v.2), a group of ‘pilgrims on the journey’ (v.1), not a lonesome soul drifting into nothingness. Join the crowd, and grab some others to bring along!   


See the author’s home page here, and imagine his ‘voiceover’ voice singing the words he wrote in 1988: https://www.jonmohr.com/

Saturday, June 15, 2019

Silent Night! Holy Night! -- Joseph Mohr


A parish priest asked a schoolteacher and organist in a nearby town to put his poem to music at Christmastime in 1818 in Austria, and that’s the very briefest way to tell the story of “Silent Night! Holy Night!” A broken organ, ironically, also played a part in how Joseph Mohr decided to craft a new song for the season. And, not to be left out of the story, the organ repairman should also get his share of credit for spreading this simple new song, which needed little or no musical accompaniment from an organ, throughout the mountains of the central European country where it originated (see the coat of arms here of Oberndorf, where the author and composer first performed the song). Perhaps the three men were struck by the pure nature of the song’s historical setting – Bethlehem – and how unadorned was the earthly entrance of One so special. He needs no fanfare, though He deserves everyone’s attention.

The 26-year old Joseph Mohr had been serving at the mountain village church of St. Nicholas in Oberndorf (in far northwestern Austria) only about a year, reportedly, when he discovered that the organ that he desperately needed in just a few days for the Christmas Eve service was out of commission. How could a proper worship on so special an occasion take place with no musical accompaniment? It is notable that the song-poem that Joseph had first written some two years earlier while in Mariafarr (in central Austria), before he was even ordained into the priesthood, became the vehicle for this priest’s epiphany in his moment of need. With no organ, but just a guitar available, he asked his friend and local schoolmaster-organist Franz Gruber if he could write some easy music for the words he already had on hand. The fusion of Mohr’s words and Gruber’s music needed little else to become a resonant voice that Christmas of 1818. Yet, the organ repairman, Karl Maurachen who showed up a few days later, gave the song legs outside of that small mountain village, when he took the Mohr-Gruber invention and introduced it to the Tyrol region of the country (western Austria). Since that time, the song has travelled throughout the world, though each year its inception, and the Christ-child whom it magnifies, are celebrated where it was first vocalized, on the site of the small Oberndorf St. Nicholas church. Perhaps that small setting, or one like it in Mariafarr where its words were actually written, prompted the poetry that Mohr penned. A small, seemingly insignificant spot on the globe, high in the mountains and quite remote to most people, allows the attentive believer to calm the spirit and gaze at Him. Is that what Joseph and Franz and Karl all experienced, a silent, pretty special – holy – moment, just to look at his radiant beams (v.3), imagine the shepherds (v.2) and angels (v.4), and of course the mother and this most unusual babe (v.1)? No organ, and no other instrument needed, just the heart of the stilled believer.      

Who isn’t moved each year when Joseph Mohr’s words are sung once again? Get into the moment, and look at the faces around, perhaps lit only by a candle flame. That’s likely all that Joseph and Franz had available in 1818 to provide any light, that and maybe some stars or a moon above. It must have struck those fellows in the 19th Century that removing some of the familiar musical trappings of Christmas, like their organ, actually improved the experience that they’d tried to steer on previous occasions. Take away the encumbrances, and what is left? My creator and me. That will be enough, someday. Christmas is when I can remind myself of that, thanks to a silent night.

See more information on the song story in these sources: The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs by William J. Petersen and Ardythe Petersen, Tyndale House Publishers, 2006; Amazing Grace: 366 Inspiring Hymn Stories for Daily Devotions by Kenneth W. Osbeck, Kregel Publications, 1990; 101 Hymn Stories, by Kenneth W. Osbeck, Kregel Publications, 1982; and Then Sings My Soul – 150 of the World’s Greatest Hymn Stories, Robert J. Morgan, Thomas Nelson Publishers, 2003.

Also see this link, showing all four original verses: http://www.hymntime.com/tch/htm/s/i/l/silnight.htm

Also see this site for song information: https://en.wikipedia.org/wiki/Silent_Night
See this site for details on the place where the song made its premier: http://www.oberndorf.co.at/museum/StilleNacht/defaultgb.htm