Music for June 28, 2015 + The Fifth Sunday after Pentecost

Vocal Music

• Swing Low, Sweet Chariot – arr. Harry T. Burleigh (1866-1949) - Richard Murray, soloist

Instrumental Music

• Tune in E (in the style of John Stanley) – George Thalben-Ball (1896-1987)
• Prelude in E-Minor (op.28 no. 4) - Frédéric Chopin (1810-1849)
• Tuba Tune in D – Craig Sellar Lang (1891-1971)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 493 O for a thousand tongues to sing (AZMON)
• Hymn 533 How wondrous and great (LYONS)
• Hymn R 23 The Steadfast love of the Lord never ceases (THE STEADFAST LOVE)
• Hymn 411 O bless the Lord, my soul (ST. THOMAS[WILLIAMS])
• Hymn R 281 Broken for Me (BROKEN FOR ME)
• Hymn 610 Lord, whose love through humble service (BLAENHAFREN)

From A Land Down Under 

George Thalben-Ball was an incredible force in the organ world of Great Britain. Though originally born in Australia, his family moved to England when he was four. He entered the Royal College of Music in London at the incredibly early age of 14, and upon graduation, the young man was asked to deputise as organist at London's Temple Church by its then organist, Sir Henry Walford Davies. In 1923, he succeeded Walford Davies as organist and director of the Temple Church choir, a post he held for nearly 60 years. Under his direction, the choir attracted such a following that queues for services often spilled out of the Temple into Fleet Street. He was appointed a Commander of the Order of the British Empire (CBE) in 1967 and knighted in 1982.

He was also well known as a virtuoso organist, playing on the daily BBC radio broadcasts. He could sight-read, transpose and improvise in any style and at any length to the highest standard without perceptible effort. The opening voluntary today is a piece he wrote in the style of John Stanley, an 18th century English organist and composer. It's really rather stylized, and romantic in its idea of what the music of Stanley was like, but it's still a lovely, stately piece. It's in three parts, with the first and last being almost identical.

Likewise, C. S. Lang (known to his friends as Robin) was born in New Zealand but moved with his family to London where he also studied at The Royal College of Music. His best-known work is the Tuba Tune for organ, Opus 15, a favorite of recitalists. This dashing little piece, which owes its title to the boisterous melody sounded forth on the organ's tuba stop, begins in the style of Handel but, in its central section, has some brief key changes that could belong to no century except the 20th.

Hymn of the Day

Lord, whose love through humble service

Albert F. Bayly wrote this text in response to a Hymn Society of America search for new hymns on social welfare in 1961. The text begins with recognition of Christ's ultimate sacrifice on the cross and then points to the continuing needs of the homeless, the hungry, the prisoners, and the mourners. Bayly's words remind us of modern refugees, AIDS patients, and famine victims who are as close as our doorstep or who are brought to our attention via the news media. The final two stanzas encourage us to move from Sunday worship to weekday service; such integrity in the Christian life is truly a liturgy of sacrifice, pleasing to God.

The tune BLAENHAFREN is a Welsh melody in a rounded barform (AABA), making it easy to learn and easy to sing. The rhythmic accents propel the melody forward, providing a fitting setting for this challenging text.

Music for June 21, 2015 + The Fourth Sunday after Pentecost + Confirmation

Confirmation Sunday

Vocal Music

• O Thou Who Camest from Above – Philip W. J. Stopford (b. 1977)
• Gracious Spirit, Dwell With Me – K. Lee Scott (b. 1950)

Instrumental Music

• Symphony No. 5: IV. Adagio– Charles Marie Widor (1844-1937)
• Symphony No.5: V. Toccata – Charles Marie Widor

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 688 A mighty fortress is our God (EIN FESTE BURG)
• Hymn 297 Descend, O Spirit, purging flame (ERHALT UNS, HERR)
• Hymn 608 Eternal Father, strong to save (MELITA)
• Hymn 535 Ye servants of God, your Master proclaim (PADERBORN)

The choir makes a rare summer appearance this Sunday as Bishop Andy Doyle visits Good Shepherd to confirm new members to Christ's church.  We'll be singing two anthems based on hymns dealing with the Holy Spirit.

Our offertory anthem is a well-known text by Charles Wesley set to an original new tune by English composer Philip W. Stopford. Listen for the interval of a rising fourth (the same notes as "Here Comes the Bride") sung as an opening motif which is used throughout the piece. The men of the choir sing the first stanza in unison. The treble voices join the men on stanza two, still in unison, but in the second half of the piece you'll hear a deviation from the original melody, taking us to the feeling of a higher key. At the phrase "in humble prayer and fervent praise." the organ drops out and the choir sings in four-part harmony for the first time in this piece. Stanza three starts with the women singing the motif in unison to be joined by the men for four part harmony, a capella, while they modulate to a new key. The final stanza starts with choir in unison except for a soaring descant from the sopranos.

We sang this just a month ago, but are repeating it now as the third stanza speaks so well to the confirmands:

Jesus, confirm my heart's desire
to work and speak and think for thee;
still let me guard the holy fire,
and still stir up thy gift in me.

K. Lee Scott wrote the communion anthem, a pairing of the text "Gracious Spirit, Dwell in Me" with the Gregorian chant tune "Adoro te devote."  We sang this anthem on Pentecost, but since it has great relevance to confirmation (and Pentecost was on Memorial Day weekend, when half of you weren't here), we are singing it again.

Scott was born in Langdale, Alabama and earned his Bachelor's and Master's degrees in Choral Music from the University of Alabama at Birmingham. He later became the Director of Choral Music there. Today he is still on the faculty at the university as a part-time instructor as his work as a freelance composer keeps him busy. He has had over 100 of his works published, through 11 different publishing companies.

Our opening hymn, A Mighty Fortress is Our God, is often referred to as “the battle hymn” of the Reformation. Many stories have been relayed about its use. Albert Bailey writes,

It was, as Heine said, the Marseillaise of the Reformation…It was sung in the streets…It was sung by poor Protestant emigres on their way to exile, and by martyrs at their death…Gustavus Adolphus ordered it sung by his army before the battle of Leipzig in 1631…Again it was the battle hymn of his army at Lutzen in 1632…It has had a part in countless celebrations commemorating the men and events of the Reformation; and its first line is engraved on the base of Luther’s monument at Wittenberg…An imperishable hymn! Not polished and artistically wrought but rugged and strong like Luther himself, whose very words seem like deeds. (The Gospel in Hymns, 316)

As you can see, this is a hymn close to the hearts of Protestants and Lutherans, a source of assurance in times of duress and persecution. The text is not restricted, however, to times of actual physical battles. In any time of need, when we do battle with the forces of evil, God is our fortress to hide us and protect us, and the Word that endures forever will fight for us.

Music for June 14, 2015 + The Third Sunday after Pentecost

Vocal Music

• Be Still, My Soul – Jean Sibelius (1865 - 1957), arr. Sally DeFord (b. 1959)

Instrumental Music

• Come, Holy Ghost, Lord God – Georg Philipp Telemann (1681-1767)
• Prayer/Prelude in E-flat Major – Michael Larkin (b. 1951)
• Prelude on “Hyfrydol” – Healey Willan (1880 -1968)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 252  - The Church’s on foundation (AURELIA)
• Hymn 533 -  How wondrous and great (LYONS)
• Hymn 178 -  Alleluia, alleluia! Give thanks to the risen Lord (ALLELUIA NO. 1)
• Hymn R 206 - Holy, holy (HOLY HOLY)
• Hymn 657 -  Love divine, all loves excelling (HYFRYDOL)

Jean Sibelius, looking rather serious
(as usual)

Jean Sibelius (1865 - 1957) was a Finnish violinist and composer from the first half of the 20th century who became the musical emblem of Finland. Meant by his family to become a lawyer, he switched to music in his twenties, mainly to become a violin virtuoso, but found himself increasingly drawn to composition. His music contributed to the development of a feeling of national identity in Finland where he is now celebrated as the country's greatest composer.

In 1899 Sibelius wrote a musical score for six historical tableaux in a pageant that celebrated and supported the Finnish press against Russian oppression. In 1900 Sibelius revised the music from the final tableau into FINLANDIA, a tone poem for orchestra. The chorale-like theme that emerges out of the turbulent beginning of this tone poem became the hymn tune FINLANDIA.

FINLANDIA was first used as a hymn tune in the Scottish Church Hymnary (1927) and the Presbyterian Hymnal (1933). This tune was  set to the hymn text of Katharina Von Schlegel, "Stille, mein Wille, dein Jesus hilft siegen" (Be Still, My Soul, The Lord Is On Thy Side) which we hear today in a solo setting by Sally DeFord, an American composer from Eugene, Oregon. It will be sung by Bidkar Cajina.

2015 marks the 150th anniversary of the birth of Sibelius.

The opening voluntary is two chorale preludes for manuals only (no pedals) by the German Baroque composer Georg Philipp Telemann. A contemporary and friend of both G. F. Handel and J. S. Bach (he was god-father to one of Bach's sons), he was one of the most prolific composers in history. Like Sibelius, he entered the University of Leipzig to study law at his mother's insistence, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches.

We open the service singing one of my most favorite hymns, The church's one foundation. In the mid-nineteenth century, Bishop John William Colenso of Natal raised a ruckus in the Catholic Church when he challenged the historicity and authority of many of the Old Testament books. Bishop Gray of Capetown wrote a stirring response of defense, which, in 1866, inspired Samuel Stone, to write this beloved hymn, basing his text on Article 9 of the Apostle’s Creed: “The Holy Catholic (Universal) Church; the Communion of Saints; He is the Head of this Body.” Now an affirmation of Christ as the foundation of our faith, we sing this hymn with those who have gone before us and with Christians around the world, declaring that beyond any theological differences, cultural divides, and variances in practice, we are all part of the same body, the body of Christ. 

The tune that most often accompanies this text is AURELIA, composed in 1864 by Samuel S. Wesley and first published as a setting for “Jerusalem the Golden.” It was paired with Stone’s text shortly after, to the chagrin of some: Dr. Henry Gauntlett was apparently very annoyed by this match-up, as he thought Wesley’s tune was “inartistic, secular twaddle.” Dr. Gauntlett was not to have the last word however, and the tune has stuck.

Music for June 7, 2015 + The Second Sunday after Pentecost

Vocal Music

• Gloria (from Heilemesse) – Franz Josef Haydn (1732-1809)
• Thy Perfect Love – John Rutter (b. 1945)
• Jesu, Joy of Man’s Desiring – Johann Sebastian Bach (1685-1750)
• Heilig – Felix Mendelssohn (1809-1847)
• Ave Verum Corpus – Wolfgang Amadeus Mozart (1756-1791)

Instrumental Music
Organ Concerto in F Major, Op. 4 No. 4 – George Frederick Handel (1685-1759)
I. Allegro
II. Andante

   

Congregational Music

• Hymn 391 - Before the Lord’s eternal throne (WINCHESTER NEW)
• Hymn 594 - God of grace and God of glory (CWM RHONDDA)

We usually end the choir year singing a mass setting by a major composer. In the past we have sung works by Haydn, Mozart, Schubert and others. This year, since we had already sung a Missa Brevis by Canadian Healey Willan and A Little Jazz Mass by Bob Chilcott, we decided to sing a few of our favorite anthems with strings. There will be lots of music this Sunday as we will have an eight piece string orchestra to accompany some well known sacred works as well as on organ concerto by Handel.

J. S. Bach

The most well known work we are singing is Jesu, Joy of Man's Desiring, which is often heard this time of year in weddings. It is from Bach's Cantata No. 147, Herz und Mund und Tat und Leben (Heart and mouth and deed and life), written in 1714 for an Advent Service and later expanded. It is the sixth and tenth movement of the cantata. The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and in Wendy Carlos' recording of Switched-On Bach on the Moog synthesizer in 1968. In 1973 the British group Apollo 100 recorded a version called "Joy" which peaked at number six on the Hot 100 and number two on the Easy Listening chart, and was featured in the film Boogie Nights (1997). Even The Beach Boys used the melody as a basis for the song "Lady Lynda", but without the words.

Franz Josef Haydn

At communion will sing Ave verum, a motet by Wolfgang Amadeus Mozart. It is a setting of the 14th century Eucharistic hymn in Latin "Ave verum corpus". Mozart wrote it in 1791 for Anton Stoll, the musical coordinator in the parish of Baden bei Wien while in the middle of writing his opera Die Zauberflöte, and while visiting his wife Constanze, who was pregnant with their sixth child and staying in a spa near Baden. It was fewer than six months before Mozart's death. 

We will sing the Gloria from Haydn's Missa sancti Bernardi von Offida in B-flat major (or Heiligmesse) for the Song of Praise. This Mass was written in honor of St. Bernard of Offida, a Capuchin monk who devoted himself to helping the poor. The 'Sanctus' section of the mass is a setting of a then-popular Austrian tune to the German translation of Sanctus, Heilig. The Mass takes its popular German title, Heiligmesse, from this section. In the original mass, the Gloria was comprised of three sections. We are only singing the first section.

The Young John Rutter

The choir will also sing Thy Perfect Love by the British composer John Rutter. Rutter takes the anonymous 15th century text and writes a lyrical piece in 3/4 time. The strings start out accompanying a soprano soloist, who sings the entire text. Then, as the choir comes in, the strings drop out and the full choir sings the text again, to be joined by the orchestra as the choir hits the apex of the piece on the words "That I may reign in joy evermore with thee." Rutter wrote this piece in 1975 for the choir of Meopham Parish Church in the U.K.

Felix Mendelssohn

The only piece we are singing this Sunday without the strings is the 8 part acapella chorus by Felix Mendelsohn, Heilig. Sung in German, it is the text of the Sanctus, so we will sing it at that time. This may be on of the most challenging things we have sung to date at Good Shepherd. Composed as part of Three Sacred Pieces in 1846, towards the end of Mendelssohn's short life, it is a perfectly conceived miniature showing a sheer mastery of choral writing and effortless command of musical expression and structure.

The relatively brief Heilig, heilig ist Gott, der Herr Zebaoth is an extrovert call to rejoice. The opening, in particular, is unforgettable in the overlapping vocal entries combining to produce a glorious suspension at the final exhortations of ‘Heilig’. The dotted rhythms which dominate the remainder of the setting help to create a sense of strong forward movement towards the joyous final cadence.