Christmas Eve, 6:30

Vocal Music

• Ding Dong Merrily on High – Charles Wood (1866-1926)
• On Christmas Night – Ralph Vaughan Williams (1872-1958)
• Infant Holy, Infant Lowly – arr. David Willcocks (1919-2015)
• Christmas Mass for St. William’s – Richard Shephard (1949-2021)
• Psalm 96 (based on "Vom Himmel Hoch") – Thomas Pavlechko (b. 1962)

Instrumental Music

• Vom Himmel hoch, da komm ich her– Johann Pachelbel (1653-1706)
• In the Bleak Midwinter – Allen Orton Gibbs (1910-1996)
• Festive Flourish On 'Joy To The World' – Michael Dell (b. 1959)

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

• Hymn 83 - O come, all ye faithful (ADESTE FIDELIS)
• Hymn 87 - Hark! The herald angels sing (MENDELSSOHN)
• Hymn 96 - Angels we have heard on high (GLORIA)
• Hymn 101 - Away in a Manger (CRADLE SONG)
• Hymn 111 - Silent night, holy night (STILLE NACHT)
• Hymn 100 - Joy to the world (ANTIOCH)

This has been a tough year for the choir, rebuilding from the year of no rehearsals. We've lost people to sickness, retirement, or refusal to vaccinate. So the choir anthems are familiar carols from years past. New to us this year is a setting of the ordinary of the mass (Gloria, Sanctus, and Agnus Dei) which is based on traditional but lesser known carols. (Besançon; Sussex Carol; Joseph Dearest; This Endris Night). 

Christmas Mass for St. William's was written by English composer Richard Shephard, who died this year. He is acclaimed as one of the most significant composers of church music today. Dr. Shephard was educated at The King’s School, Gloucester and Corpus Christi College, Cambridge. His anthems and service settings are sung widely in the cathedrals and churches of the UK and they have a considerable following in the USA. He held the Lambeth Doctorate of Music from Oxford University and two Honorary Doctorates from the University of the South (Sewanee, TN) and the University of York (York, UK).

Like the choral music, the organ works are all based on Christmas hymns. The first is based on a traditional German Chorale (text by Martin Luther) arranged by Johann Pachelbel of the Canon fame. It has two settings, actually. The first is a trio, with the pedal carrying the melody. The second begins as a fughetta, using the opening phrase of the hymn as its subject. It then turns into a brilliant toccata, again with the melody in the pedal.

The second organ prelude is on the tune Cranham by Gustav Holst. It is by Alabama composer Allen Orton Gibbs. She was a graduate of the Birmingham Conservatory of Music (now the Music Department of Birmingham-Southern College), where she later became a member of the faculty. An organist and pianist, for many years she was organist at McCoy United Methodist Church in Birmingham, Alabama. Her compositions include works in a variety of genres: choral anthems, organ works, vocal solos, hymn tunes, and music for handbells. Most of her compositions were written for her own use, or for friends and colleagues, or to fulfill commissions. Since her death in 1996, many of these have been published.

The closing voluntary is one of my favorite Christmas works for organ. Micahel Dell used Henri Mulet's toccata Tu Es Petra (Thou art the Rock) as an outline for his flourish on "Joy to the World." The melody can be heard as a canon, alternating between the hands and the feet

Music for December 19, 2021 + The Fourth Sunday of Advent

Vocal Music

• There Is No Rose of Such Virtue – Jessica Nelson (b. 1983)

Instrumental Music

• My Soul Doth Magnify the Lord, BWV 648 – Johann Sebastian Bach (1685-1750)
• Savior of the Nations, Come! BWV 659 – Johann Sebastian Bach
• Fuga sopra il Magnificat, BWV 733 – Johann Sebastian Bach

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

• Hymn 75 Blest be the King whose coming (VALET WILL ICH DIR GEBEN)
• Hymn R-129 Sing, my soul, sing out my praises (PLEADING SAVIOR)
• Hymn 54 Savior of the nations, come (NUN KOMM, DER HEIDEN HEILAND)
• Hymn 56 O come, O come, Emmanuel (VENI, VENI, EMMANUEL)
• Hymn 66 Come, thou long expected Jesus (STUTTGART)

A new melody and enticing harmonic language bewitchingly transform the traditional 15th century text, "There Is No Rose," which is our offertory anthem this Sunday. It is by a good friend of mine, Mississippi native Jessica Nelson. Jessica currently serves as organist/choirmaster of St. Andrew's Episcopal Cathedral in Jackson, MS. (where Bill Richter first served as a priest). She also directs the Mississippi Conference on Church Music and Liturgy, which many of you have heard me talk about as I attend almost every year. 

She holds degrees from Millsaps College and Seabury-Western Theological Seminary, as well as the Colleague Certificate from the American Guild of Organists. In 2015, she was appointed to the Standing Commission on Liturgy and Music of the Episcopal Church in the United States and also serves on the board of the Leadership Program for Musicians. Jessica has taught on the music faculties of the University of North Alabama and Northeast MS Community College. She has a wicked sense of humor and a feisty fur-baby named Eloise.

The text for "There Is No Rose" is from the earliest collection of polyphonic music written in English, the Trinity Carol Roll, a collection of thirteen English carols held by the Wren Library at Trinity College, Cambridge. The texts are all composed in Middle English, but several, such as "There Is No Rose," are macaronic, incorporating Latin phrases from the liturgy of the Catholic Church. You'll hear these Latin phrases at the end of each verse.

Mary's Song of Praise, the Magnificat, is the focus of  the service this Sunday. The Gospel reading relates the meeting of Mary and her cousin Elizabeth, both great with child, when Mary comes forth with the words, "My soul doth magnify the Lord, and my spirit rejoices in God my savior." We'll sing a paraphrase of that great hymn, and hear organ works based on a German choral setting of the text. 

The closing voluntary is actually a fugue over the Gregorian Chant theme. With the title Fuga sopra il Magnificat (Fugue over the Magnificat), you would expect a more prominent placement of the melody in this compact organ prelude. But the Gregorian Magnificat melody that Bach uses here is persistent. It was written when Bach was still a young man, during his time in Weimar.

Music for Sunday, December 12, 2021 + The Third Sunday of Advent

Vocal Music

• Lo! He Comes, an Infant Stranger – Simon Mold (b. 1957)

Instrumental Music

• Fantasy on “Veni Emmanuel” – Robert C. Lau (1943)
• Savior of the Nations, Come! – Dietrich Buxtehude (1637-1707)
• Lord Jesus, the Only Son of God – Johann Sebastian Bach (1685-1750)

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

• Hymn 616 - Hail to the Lord’s anointed (ES FLOG EIN KLEINES WALDVÖGELEIN)
• Hymn R-122 - Canticle 9: The first song of Isaiah (Jack Noble White)
• Hymn R-26 - Jesus, name above all names (Nadia Hearn)
• Hymn R-278 - Wait for the Lord (Taizé)
• Hymn 59 - Hark! A thrilling voice is sounding (MERTON)

The choir introduces a new Advent carol at the 10:15 service this Sunday. Using a text from the 1800s, English Simon Mold has written a grand tune in the Anglican tradition, which makes sense, as he started singing as a boy when he was a chorister at Peterborough Cathedral. 

Simon Mold

After reading English Language and Medieval Literature at Durham University, where he was a cathedral choral scholar, Simon embarked upon a teaching career principally in the south of England, and sang in several cathedral choirs. His interest in composition began at Peterborough where he directed a performance of one of his own choral pieces in the cathedral whilst still a boy chorister, and subsequently Simon’s music has been widely published, performed, recorded and broadcast by groups such as the St Paul’s Cathedral Choir, London, and Lesley Garrett’s BBC television series Christmas Voices. 

In addition to his sacred music Simon’s output includes secular choral pieces, instrumental works and contributions to the organ repertoire; he has also written a number of song cycles. Simon has additionally been a regular contributor to various musical and literary magazines, and has written widely on diverse aspects of music, language and literature. A verse collection, Poetry of the Peak, was published in 2019.

Robert Lau

At last week's concert by the choirs of Lone Star College, Kingwood, they sang a beautiful setting combining the 15th century chorale "Lo, How a Rose E'er Blooming" with "The Rose" that Bette Midler made famous. Afterwards, one of the concert goers remarked, "That was really interesting." 

I cautioned that he be careful with that word. It could mean, "That was different, captivating, attention grabbing" or it could mean, "Well, that was weird. What were they drinking?" (For the record, the "Rose" mash-up that Evok sang was in the first catergory.)

"Different" could be said about the opening voluntary this Sunday. The fantasy on the Advent hymn "O Come, O Come, Emmanuel" is certainly different. The work opens with the melody in the pedal, on a plaintive sounding reed stop, while the hands accompany on the string sound of the organ. So far so good. 

But then there is a new chant-like melody, interspersed with loud, wild chords. I like to think this sympbolizes the shape the world was in with a Savior. There is a lot of struggle and strife as the phrase "Rejoice, rejoice, Emmanuel Shall Come to Thee" comes to a climax. Then it all stops before we hear a soft echo of the "Rejoice" theme as the piece comes quietly to a close.

Robert Lau, the composer holds degrees from Lebanon Valley College, The Eastman School of Music and The Catholic University of America. He was a member of the faculty of Lebanon Valley College from 1968-89, holding the academic rank of professor and chairing the Department of Music. He is currently an adjunct member at Penn State - Harrisburg where he teaches in the School of Humanities. Dr. Lau was Organist/Choirmaster at Mt. Calvary Episcopal Church, Camp Hill

Music for December 5, 2021 + The Second Sunday of Advent

Vocal Music

• Come, Though Long Expected Jesus – Marty Wheeler Burnett (b. 1961)

Instrumental Music

• Benedictus – Alec Rowley (1892-1958)
• Partita on Comfort, comfort, ye my people (PSALM 42) – Johann Pachelbel (1661–1733)
• Prepare the Way, O Zion – Paul Manz (1919-2009)

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

• Hymn 76 - On Jordan’s bank the Baptist’s cry (WINCHESTER NEW)
• Hymn R-128  - Blessed be the God of Israel (FOREST GREEN)
• Hymn 67 - Comfort, comfort, ye my people (PSALM 42)
• Hymn R-92 - Prepare the way of the Lord (Taizé)
• Hymn 65 - Prepare the way, O Zion (BEREDEN VAG FOR HERRAN)

Marty Wheeler Burnett

This Sunday the choir sings a new anthem by Houston native (and friend of mine), Marty Wheeler Burnett. It is a lush setting of the famous Charles Wesley text, "Come, thou long expected Jesus," with a melody more suited to the feeling of longing and hope found in Wesley's words that the plodding tune found in our hymnal.

Marty got her degrees in organ performance from Rice University in 1988, and in 2010 she received her doctoral degree, with a liturgical music focus, from Sewanee: The University of the South. In 2020 Marty joined the faculty of  Virginia Theological Seminary as the Associate Professor of Church Music and Director of Chapel Music.

Prior to her appointment at VTS, Marty led and coordinated the music ministry at Trinity Episcopal Cathedral in Omaha, Nebraska. An award-winning educator, Burnett previously served as Director of Fine Arts and Associate Professor of Music at College of Saint Mary in Omaha. She is the immediate past-president of the Association of Anglican Musicians, an organization of musicians and clergy serving the Episcopal Church.

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As you know, each Sunday we sing a Psalm that is part of the lectionary readings for the day, but this year, three of the four Sundays in Advent designate a Canticle be sung instead of a Psalm. (A Canticle is a hymn or chant, typically with a biblical text, forming a regular part of a church service. The most common Canticle is Glory to God in the highest (Gloria in excelsis), which is Canticle 6 (Rite I) or 20 (Rite II). The canticle for Advent II is Canticle 4 or 16, The Song of Zechariah (Benedictus Dominus Deus). That's why I am playing a piece called Benedictus for the opening voluntary. However, it is not based on the canticle, but on two lines from a poem by Christina Rossetti, a litany of praise entitled: "All Thy Works Praise Thee, O Lord: A Processional Of Creation".  Those two lines are

Christina Rossetti

I bring refreshment —  I bring ease and calm.

Because so much of Rossetti's poetry is Christian, one can assume that Rossetti is talking about Christ. But in this poem (very much like a canticle, actually), Rossetti has each individual piece of creation sing a three line hymn of praise, starting with seraphs, cherubs, angels, heavens, sun, moon, comets, winds, fire, heat, winter, spring, frost, night, light, thunder, clouds, until we finally get down to Medicinal Herbs, who sing:

I bring refreshment,—

                      I bring ease and calm,—

I lavish strength and healing,—

                                I am balm,—

We work His pitiful* Will and chant our psalm.

Alec Rowley was an English composer, organist, and pianist who taught composition at Trinity College in London. His name was known to many through his writing and through the many educational pieces that he wrote, staple fare for many a beginner or amateur player. His more demanding work as a composer has been unfairly neglected, save for the music he wrote for choirs and organ.

* at Rossetti's time, 'pitiful' still had the alternate meaning of 'compassionate.'

Music for November 28, 2021 + The First Sunday of Advent

Vocal Music

• Never Weather-beaten Sail – Thomas Campion (1567-1620)

Instrumental Music

• Sleepers, Wake! A Voice is Crying – Johann Gottfried Walther (1684-1748)
• Sleepers, Wake! A Voice is Crying – Johann Sebastian Bach (1685-1750)
• Sleepers, Wake! A Voice is Crying – Paul Manz (1919-2009)

Congregational Music (all hymns from The Hymnal 1982.)

• Hymn 73 - The King shall come when morning dawns (ST. STEPHEN)
• Hymn 57 - Lo! He comes, with clouds descending (HELMSLEY)
• Hymn 436 - Lift up your heads, ye mighty gates (TRURO)
• Psalm25:1-9 – Tone VIIIa

Today marks the first Sunday of Advent, and the theme of the Day can be discovered by reading the collect for the day:

Almighty God, give us grace that we may cast away the works of darkness, and put upon us the armor of light, now in the time of this mortal life in which thy Son Jesus Christ came to visit us in great humility; that in the last day, when he shall come again in his glorious majesty to judge both the quick and the dead, we may rise to the life immortal; through him who liveth and reigneth with thee and the Holy Ghost, one God, now and for ever. Amen. (BCP p. 159)

Thomas Campion

With that in mind, I have chosen the anthem a song by the English Renaissance composer, poet, and physician Thomas Campion. While other poets and musicians talked about the union of poetry and music, only Campion produced complete songs wholly of his own composition, and only he wrote lyric poetry of enduring literary value whose very construction is deeply etched with the poet’s care for its ultimate fusion with music.

The song "Never Weather-beaten Sail," from his first Booke of Ayres, is a prayer that Jesus come and take the poet away to heaven, for no tired pilgrim nor worn out boat is as ready to leave this mortal coil as is the author. The second stanza describes the joys of heaven, the "life immortal."

    Never weather-beaten sail more willing bent to shore,
    Never tired pilgrim’s limbs affected slumber more,
    Than my wearied sprite* now longs to fly out of my troubled breast.
    O come quickly, sweetest Lord, and take my soul to rest!

    Ever blooming are the joys of heaven’s high Paradise,
    Cold age deafs not there our ears nor vapour dims our eyes:
    Glory there the sun outshines; whose beams the blessed only see.
    O come quickly, glorious Lord, and raise my sprite to Thee!
      
    *sprite = spirit

All the organ music is based on the Advent Chorale, Wachet Auf! Ruft uns die stimme! Two of the works are by J.G. Walther and J.S Bach. Not only were they almost exact cotemporaries, they were also cousins. In 1707, Walther was made organist at the Church of St. Peter and St. Paul, Weimar. Bach became the Capellemeister at the court of the Duke of Weimar. The two became friends, and on September 27, 1712 Bach stood godfather to Walther’s son. A story is told of how J.G. Walther played a trick on Bach, to cure him of boasting that there was nothing he could not read at sight. 

Music for Sunday, November 21, 2021 + Christ the King

Vocal Music

• With a Voice of Singing – Martin Shaw (1875–1958)

Instrumental Music

• Praeludium in A – Johann Krieger (1651-1735)
• The Peace May Be Exchanged – Dan Locklair (b. 1949)
• Praeludium from Suite in D Minor – Johann Krieger

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

• Hymn 494 Crown him with many crowns (DIADEMATA)
• Hymn 645 The King of love my shepherd is (ST. COLUMBA)
• Hymn 488 Be thou my vision (SLANE)
• Hymn R227 Jesus, remember me (Jacques Berthier)
• Hymn 544 Jesus shall reign where’er the sun (DUKE STREET)

Music for Sunday, November 14, 2021 + The Twenty-fifth Sunday after Pentecost

Vocal Music

• Dear Lord and Father of Mankind – C. H. H. Parry (1848-1918)

Instrumental Music

• Mensch, Willst Du Leben Seliglich – Dieterich Buxtehude (c. 1637 – 1707)
• Prelude on Michael – Charles Callahan (b. 1951)
• “Little” Prelude and Fugue in G Minor – attr. J. S. Bach (1685-1750)

Congregational Music (all hymns from The Hymnal 1982.)

Hymn 51- We the Lord’s People (DECATUR PLACE)
Hymn 686 - Come, thou font of every blessing (NETTLETON)
Hymn 301 - Bread of the world in mercy broken (RENDEZ À DIEU)
Hymn 307 - Lord, enthroned in heavenly splendor (BRYN CALFARIA)
Psalm 16 Tone II, refrain by James E. Barrett

The choir sings one of the beautiful hymn anthems arranged from the British composer Charles H. H. Parry. We are singing it this afternoon as part of the Diocese of Texas' Choral Festival, which I am directing. You can learn more about this anthem by reading this post from January 2020 when we last sang it.

Buxtehude

The opening voluntary is one of the lesser known chorale preludes of  Dietrich Buxtehude, but a very fine one. The melody and text of this hymn, Mensch, willst du leben seliglich, are probably from Martin Luther. The text is referring to the ten commandments. Buxtehude puts the beautiful melody in the center and creates a fine, lyrical piece from it. The English translation is roughly, "Man, do you want to live happily?" That just doesn't sound very poetic, so I left it in German.

The communion voluntary is an organ arrangement of Herbert Howell's hymn tune, MICHAEL. It was originally called 'A Hymn Tune for Charterhouse' but when Howells' son Michael died of polio at the age of nine in 1935, Howells re-named it after him. 

The text, "All My Hope on God is Founded" is an English translation, by the poet Robert Bridges, of a German hymn,  "Meine Hoffnung stehet feste" written around 1680 by Joachim Neander. Here is the text. It is a beautiful marriage of text and tune, and one that deserves to be better known.

1 All my hope on God is founded;
he doth still my trust renew,
me through change and chance he guideth,
only good and only true.
God unknown, he alone
calls my heart to be his own.

2 Mortal pride and earthly glory,
sword and crown betray our trust;
though with care and toil we build them,
tower and temple fall to dust.
But God's power, hour by hour,
is my temple and my tower.

And I am continuing my (almost) montly series of playing the so-called "8 Little Preludes and Fugues" by (supposedly) J. S. Bach. Though they are included in the Bach catalogue (BW 553-560), it is presumed today that Johann Sebastian Bach did not compose the "eight." Composition of the eight have been attributed to one or more of Bach's students, including both JohannTobias Krebs or his son Ludwig [Krebs], or Johann Caspar Ferdinand Fischer. 

Today you will hear the sixth installment, the Prelude and Fugue in G Minor. The conventional formulaic cadences and simple one-bar sequences over a basso continuo seem like a composer "consciously creating a series of samples". The subject of the fugue is composed of three separate motifs, all of which can be found in canzonas and ricercars. The 19th-century Bach scholar Philipp Spitta praised the fugue, particularly its modulations. Contemporary Bach scholar Peter Williams has suggested that "perhaps the imaginative penultimate bar was inspired by J. S. Bach"

Music for Sunday, November 7, 2021 + The Commemoration of All Saints Day

Vocal Music

• Requiem – Giacomo Puccini (1858-1924)

Instrumental Music

• Elegy – George Thalben-Ball (1896-1987)
• O Love, That Wilt Not Let Me Go – arr. Hal H. Hopson (b. 1933)
• Allegro Vivo e Maestoso - Paul Benoit (1893-1979)

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

• Hymn 287 -  For all the saints, who from their labors rest (SINE NOMINE)
• Hymn R-276 -  Soon and very soon (SOON AND VERY SOON)
• Hymn 293 -  I sing a song of the saints of God (GRAND ISLE)
• Hymn 618 -  Ye watchers and ye holy ones (LASST UNS ERFREUEN)
• Psalm 24 - Simplified Anglican chant by Jerome Meachem

This Sunday is All Saints Sunday - All Saints is actually November 1, of course, but we can transfer the day anytime after within the week. We'll commemorate all the saints of God, and remember those of our church family who have joined the church eternal. 

The choir will sing a short work by Giacomo Puccini, called Requiem, which was written at the request of the Italian Music publisher G. Ricordi to commemorate the fourth anniversary of the death of Guiseppi Verdi, who had died in 1901. Both Verdi and Puccini were composers whose operas were published by Ricordi, (Verdi: Rigoletto, Il Trovatore, La Traviata, and Aida; Puccini: La Bohème, Tosca, Madama Butterfly, Gianni Schicchi, and Turandot.) Verdi was also idolized by the Italian People, who loved his operas as much as they loved his politics. He was a national hero.

Puccini at his piano

Puccini himself was the last of a musical dynasty that had been prominent in the life of Lucca for several generations. The fifth of seven children, he lost his father at the age of six. His maternal uncle taught him the rudiments of music, and he then continued his studies with Carlo Angeloni, director of the Istituto Musicale “Pacini”, and played the organ in churches in Lucca and the surrounding area. He did not tackle composition until he was about sixteen, but in 1876 he showed the progress he had made with a Preludio sinfonico, followed the next year by a cantata for solo voices and orchestra. 

His church background showed up in his next compositions, but it was the theatre that particularly attracted him (a performance of Aida in 1876 was a revelation for the young composer); he moved to Milan in 1880 in pursuit of a more intense musical life where he enrolled at the Conservatory. He graduated in 1883 with the Capriccio sinfonico whose theme he was later to use in La bohème.

In the same year he wrote his first opera, Le Villi, for a competition, but he did not win.  However, his friends put together a performance at the Teatro Dal Verme in Milan the next year where the publisher Ricordi  immediately acquired the rights of the score, commissioned a second opera from Puccini for La Scala, and provided him with a monthly stipend of 200 lire for a year. After that, his career took off.

George Thalben-Ball

The opening voluntary is a work by the the English organist George Thalben-Ball. He was born in Australia, but lived in the UK for most of his life, becoming well-known as something of a “showman” recitalist in the grand late Victorian/Edwardian style. He became Director of Music at the Temple Church in London. He dedicated his Elegy, apparently conceived as an improvisation to fill in time at the end of a BBC-recorded service during the war, to Walford Davis who preceded him as organist at the Temple Church. 

This piece is quintessential English. It has a beautiful melodic line, beginning softly, building to full organ and then diminishing again; ending with a fragment of the melody in a whisper. It’s an appropriate piece for Remembrance or All Soul's services, and was played during Princess Diana’s funeral.

The Communion voluntary is based on a hymn not found in either of our hymnals. The hymn, "O Love that wilt not let me go" has appeared in 58 hymnals since 1979, and was written in 1883 by George Matheson, a minister in the Church of Scotland. The tune, ST. MARGARET, was written for this hymn for its inclusion in the Scottish Hymnal of 1884. The tune was arranged for piano and viola by Dallas composer Hal. H. Hopson.

The closing voluntary includes, as the theme in the pedal, the chant used at Vespers on All Saints Day in the Roman church. It is by Paul Marie-Joseph Benoit, OSB, a Benedictine monk, organist, and composer. Born in Nancy, France, Benoit first began to feel called to the vocation of a Benedictine monk during World War I,. After the Armistice of 1918, he entered a retreat at the Benedictine Abbey of St. Maurice and St. Maur, at Clervaux in Luxembourg, and he joined the abbey in 1919, taking his vows in 1921 and being ordained into priesthood in1926.

Music for Sunday, October 31, 2021 + + The Twenty-third Sunday after Pentecost

Vocal Music

• I Give to You a New Commandment – Peter Nardone (b. 1965)

Instrumental Music

• A Mighty Fortress Is Our God – Dieterich Buxtehude (c. 1637 – 1707)
• Let Us Break Bread Together – Charles Callahan (b. 1951)
• Toccata and Fugue in D Minor – J. S. Bach (1685-1750)

Congregational Music (all hymns from The Hymnal 1982.)

• Hymn 688 - A mighty fortress is our God (EIN FESTE BURG)
• Hymn 424 - For the fruit of all creation (EAST ACKLAM)
• Hymn 602 - Jesus, Jesus, fill us with your love (CHEREPONI)
• Hymn 551 - Rise up, ye saints of God! (FESTAL SONG)

There are three things we are focusing on musically today. First is the Gospel reading. In Mark 12:28-31we read, 

One of the scribes came near and heard them disputing with one another, and seeing that he answered them well, he asked him, “Which commandment is the first of all?” Jesus answered, “The first is, ‘Hear, O Israel: the Lord our God, the Lord is one; you shall love the Lord your God with all your heart, and with all your soul, and with all your mind, and with all your strength.’ The second is this, ‘You shall love your neighbor as yourself.’ There is no other commandment greater than these.” 

This reminded me of the passage in John 13 where Jesus gives a new commandment, that we love one another as Jesus has loved us. I therefore looked to Peter Nardone's anthem setting of that scripture which pairs those words with an original tune with the Roman Catholic chant, Ubi Caritas.

Where charity and love are, there God is.

The love of Christ has gathered us into one.

Let us exult, and in Him be joyful.

Let us fear and let us love the living God.

And from a sincere heart let us love each other.

You'll hear the tenors and basses sing that chant in Latin while the trebles sing the scripture.

Peter Nardone is a free-lance conductor, singer and composer who has sung with the Monteverdi Choir, The King’s Consort and the Tallis Scholars. He has been Director of Music at Chelmsford Cathedral and was subsequently Organist and Director of Music at Worcester Cathedral.

The second thing we focus on today is the Reformation. Today is Reformation Day, a Protestant Christian religious holiday celebrated on October 31st in remembrance of the onset of the Reformation. According to Philip Melanchthon, All Hallows' Eve 1517 was the day German monk Martin Luther nailed his Ninety-five Theses on the door of the All Saints' Church in Wittenberg, Electorate of Saxony. His famous hymn “A Mighty Fortress Is Our God” is considered to be the great Reformation hymn. We will sing the hymn at the opening of the service, preceded by Dietrich Buxtehude's elegant chorale prelude based on the hymn. Just don't expect to recognize the melody in Buxtehude's setting

The third thing we focus on today (at the end of the service) is All Hallows' Eve, better known as Halloween. It is liturgical in as far as the day is the Eve of All Hallows' Day (or All Saints' Day). It's roots are Christian, but it's modern reflection is more secular, or at least Pagan. And of all the music for organ, the pièce de résistance is Bach's Toccata and Fugue in D Minor. Whenever I meet new people and tell them I am an organist, more often than not they will ask "Can you play the Phantom of the Opera?" - meaning, "can you play Bach's Toccata and Fugue in D Minor, BWV 565?" Whatever. It's a fun piece to play, and if I'm ever going to play it in church, today is the day. 

me, practicing this Sunday's closing voluntary.

Music for Sunday, October 24, 2021 + The Twenty-second Sunday after Pentecost

Vocal Music

• Jesus, the Very Thought of Thee – Glenn L. Rudolph (b. 1951)

Instrumental Music

• Messe de 8th Tone: Gloria - Duo – Gaspard Corrette  (c. 1671 – before 1733)
• Prelude on “London New” – Robert Groves (1912-1994)
• Messe de 8th Tone: Sanctus - Duo – Gaspard Corrette

Congregational Music (all hymns from The Hymnal 1982.)

• Hymn 410 Praise, my soul, the King of Heaven (LAUDA ANIMA)
• Hymn 679 Surely it is God who saves me (THOMAS MERTON)
• Hymn 773 Heal me, hands of Jesus (SHARPE)
• Hymn 460 Alleluia, sing to Jesus (HYFRYDOL)
• Psalm 126 simplified Anglican chant by Jerome Webster Meachen

written in 1998 for Kirk of the Hills Presbyterian Church in Bloomfield Hills, Michigan, 

Glenn L. Rudolph has been active in choral music in the Pittsburgh area since 1977. He began his church choir directing career at Freeport United Methodist Church in Freeport, PA, was a member of the Mendelssohn Choir of Pittsburgh professional core from 1983 through 1991 and served as Conducting Assistant to Music Director, Robert Page for the 1990-1991 concert season. Mr. Rudolph joined The Pittsburgh Camerata in 1993 as a professional core member and served as Assistant Conductor to Artistic Director, Gayle Clark Kirkwood for the 1994-95 concert season. He was employed as tenor soloist at Trinity Episcopal Cathedral from 1985 through 1994 and at Temple Rodef Shalom from 1993 through 2003.

Mr. Rudolph received his B.M. in Music Composition from the College-Conservatory of Music, University of Cincinnati, where he graduated Magna cum Lauda in 1973. While at CCM, he studied voice throughout his undergraduate education, and was a member of the 32 voice Chamber Choir under the direction of Dr. Elmer Thomas. He was awarded a graduate scholarship in composition and a teaching assistantship in music theory at the College-Conservatory of Music. Mr. Rudolph studied composition with Paul Cooper and T. Scott Huston in Cincinnati, and with Lynn Purse and David Stock at Duquesne. He received his M.M. in Composition the Mary Pappert School of Music, Duquesne University, in 2011.

Gaspard Corrette (c. 1671 – before 1733) was a French composer and organist. About his youth there is not so much to find but he was organist in a few churches in Rouen until in 1720 he left as many others did before him to Paris to try to catch the glamour. From that time on we lose track of him. He died around 1733 in Paris.

Father of the better-known Michel Corrette, Gaspard's surviving musical output is this one work, Messe du 8e Ton, published at the beginning of 1703. It is the last of the great French organ masses, a tradition that began in the 1660s and which has an impeccable pedigree that includes the composers Guillaume-Gabriel Nivers, Nicolas Lebègue and François Couperin. 

Corrette’s music is both erudite and colourful

Since he belongs to the classic French organ school we can expect the typical music although in contrast to the very known music (e.g. F. Couperin, N. Lebegue) his music is less severe... the typical modal parts makes it a bit nostalgic. His music suffers also from “nonchalance” but this style makes him different from other little French organ composers.

Music for Sunday, October 17, 2021 + Good Shepherd School Sunday

Vocal Music

• Seek To Serve – Lloyd Pfautsch
• Song of Peace – Donnelly and Strid
• Good Shepherd School Children

Instrumental Music

• Andante Tranquillo – Charles Villiers Stanford
• Cantabile – Alexandre Guilmant
• March in D Major – Alexandre Guilmant

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

• Hymn 376 - Joyful, joyful, we adore thee (HYMN TO JOY)
• Hymn R158 - Meekness and majesty (TUNE)
• Hymn 708 - Savior, like a shepherd lead us (SICILIAN MARINERS)

The composer of this morning's anthem is 20th Century composer, choral director, and teacher Lloyd Pfautsch, who was one of my professor's at Southern Methodist University in Dallas.

Lloyd Pfautsch

Born in a little Missouri town where the primary industry was the manufacture of corncob pipes, Pfautsch was raised within the rich cultural, musical and hymnic tradition of German Evangelical churches which then extended from Pennsylvania across the mid and upper Midwest.  His worship-song roots were the Lutheran-style chorale, and he often reminded his students and colleagues that music is a living voice of the Gospel, a gift from God never to be trivialized.

When teaching aspiring vocal professionals, Pfautsch challenged the frequent assumption that one's solo voice could be damaged by singing in choirs, proving that solo and choral singing need never be incompatible.  And to his students studying choral conducting he often said: “Your choirs can sing anything you can teach them.”

The music says the text is from the scriptures, but I cannot find any direct references. Dr. Pfautsch was an ordained minister, so he may have used his knowledge of scripture to put together this text with the theme of service. For the melody, he chose a chant from a twelfth century Latin mass to carry the words.

Music for Sunday, October 10, 2021 + The Twentieth Sunday after Pentecost

Vocal Music

• O For a Closer Walk with God – Charles Villiers Stanford (1852-1924)

Instrumental Music

• Partita on “St. Anne” – Paul Manz (1919-2009)
• I. Theme
• II. Adagio
• IV. Presto
• V. Pastorale
• VI. Fugue-Finale

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

• Hymn 475 - God himself is with us (TYSK)
• Hymn 615 - “Thy kingdom come!” on bended knee (ST. FLAVIAN)
• Hymn R114 - Bless the Lord, my soul (Jacques Berthier)
• Hymn 680 - O God, our help in ages past (ST. ANNE)
• Psalm 90:12-17 simplified Anglican chant by Jerome Webster Meachen

The offertory anthem is a setting of a of a hymn by the poet William Cowper. From the handbook to the Psalter Hymnal we learn that he wrote this text on December 9, 1769, during the illness of his long-time friend and housekeeper, Mrs. Unwin. "In a letter written the next day Cowper voiced his anxieties about her condition and about what might happen to him if she died. Saying that he composed the text "to surrender up to the Lord" all his "dearest comforts," Cowper added,

Her illness has been a sharp trial to me. Oh, that it may have a sanctifying effect!. . . I began to compose the verses yesterday morning before daybreak, but fell asleep at the end of the first two lines; when I awoke again, the third and fourth were whispered to my heart in a way which I have often experienced.

C.V.Stanford

"Although Cowper frequently battled depression, doubt, and melancholy, this text speaks of a very intimate walk with the Lord. That walk is rooted in Scripture (st. 1), rejoices in conversion (st. 2-3), and denounces all idols that would usurp God's sovereignty (st. 4). The text concludes with a return to the prayer of the first stanza, but now that prayer is sung with increased confidence and serenity." -Psalter Hymnal Handbook

The tune, CAITHNESS, is Scottish, but the arranger, Charles Villiers Stanford, was not. Stanford was born in Ireland and received his early musical training at St. Patrick's Cathedral, Dublin. He studied composition in both England and Germany. He taught at both the Royal College of Music and Cambridge University, and among his students are such notable musicians as Samuel Coleridge-Taylor, Gustav Holst, Ralph Vaughan Williams, John Ireland, Frank Bridge, Charles Wood, and Herbert Howells. His compositions include works for organ, piano, symphony orchestra, and chamber ensembles, as well as many works for Anglican church choirs. Stanford was knighted in 1902 and his ashes are buried beside Henry Purcell in Westminster Abbey. 

The Psalm for today is the last six verses of Psalm 90. The closing hymn is a paraphrase of the first five verses of Psalm 90. Thus we get to sing almost the entire Psalm. For this reason I have chosen to play  Paul Manz's partita (or variations) on ST. ANNE, which is the tune used for the hymn. Paul Manz was a Lutheran organist, who had a particular talent of improvising organ music based on hymns. These variations were probably improvised by Manz during a recital or one of his Hymn Festivals, and later published as Partita on St. Anne.

There are six movements which may or may not correspond to the six stanzas of Watt's hymn. I am playing five of those. The first movement is very straightforward, with an underlying rhythmic motive reminiscent of J. S. Bach's organ setting of the German Choral WER NUR DEN LIEBEN (BWV 642). The second movement also harkens back to music of Bach and German baroque composers with its ornamented solo line over an imitative accompaniment. You'll still be able to hear the melody if you listed closely.

The fourth movement is much lifelier, as you can tell by its title, Presto. The accompaniment will be in both hands, featuring a spinning counter-melody against a leaping part in the other hand. These melodic fragments bounce back and forth between the two hands while the feet play the melody.

One of the loveliest movements is the Pastorale (fifth movement), which I will play during communion. Pastorales are generally in 6/8 or 9/8 metre, at a moderate tempo, and this is no exception. The accompaniment has a lyrical melody which could stand alone by itself, without the addition of the hymn-tune that comes in, played by the left hand.

I'll play the last movement as the closing voluntary, for it's drive and excitement is perfect for music that should encourage us to leave this place with joy and commitment.

Music for Sunday, October 3, 2021 + The Nineteenth Sunday after Pentecost

Vocal Music

• JLM – Bradley Phillips (b. 1955)

Instrumental Music

• Festival Piece – Craig Phillips (b. 1961)
• Prelude based on “Seelenbräutigam” – Gordon Young (1919-1998)
• Now thank we all our God – J. S. Bach (1685-1750)

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

• Hymn 495 - Hail thou once despised Jesus (IN BABILONE)
• Hymn 480 - When Jesus left his Father's throne (KINGSFOLD)
• Hymn R217 - You satisfy the hungry heart (GIFT OF FINEST WHEAT)
• Hymn 397 - Now thank we all our God (NUN DANKET ALLE GOTT)
• Psalm 26 – simplified Anglican chant by Jerome Webster Meachen

Cranach, Lucas, 1515-1586. Christ Blessing the Children,
from Art in the Christian Tradition,
a project of the Vanderbilt Divinity Library, Nashville, TN. [retrieved September 30, 2021].

What's one of the best-known, well loved children's hymns you can think of? Chances are it's Jesus loves me, that old Sunday School favorites by the gospel hymn writer William Bradbury.

Whenever I hear or read the passage from Mark where Jesus welcomes the little children, I always think of this hymn. Well, those words have taken on new life in an original tune by Atlanta composer Bradley Phillips, and we will sing it at the offertory this Sunday. (That's what the "JLM" in the title stands for - "Jesus Loves Me." List for a fragment of the familiar hymn-tune at the end when we sing, "the Bible tells me so."

A native Texan, Phillips studied oboe and organ at Baylor University (BM) and Florida State University (MM). He composes for both commercial and sacred spaces.

Another composer named Phillips wrote the opening voluntary this Sunday. Craig Phillips is the organist -director of music for All Saints Episcopal in Beverly Hills. A prolific composer, he was named the American Guild of Organists Distinguished Composer for 2012 — the seventeenth recipient of this special award, joining an illustrious list that includes past honorees Virgil Thomson, Ned Rorem, Daniel Pinkham, Stephen Paulus, David Hurd and others. In 2015 Dr. Phillips was named an honorary canon of the Cathedral Center of St. Paul, Diocese of Los Angeles, at a gala event at Walt Disney Concert Hall, and in 2016 he was awarded an honorary Doctorate from Virginia Theological Seminary.

Dr. Phillips holds the degrees Doctor of Musical Arts, Master of Music, and the Performers Certificate from the Eastman School of Music, Rochester, New York, where he studied with the great pedagogue Russell Saunders. His Bachelor of Music Degree is from Oklahoma Baptist University, and his early musical studies were at the Blair School of Music in Nashville. 

SEELENBRÄUTIGAM is a German hymn tune written by Adam Dreese, a 17th Century German pietist. It is most often heard with the words

Jesus, still lead on till our rest be won.
And, although the way be cheerless,
we will follow, calm and fearless;
guide us by Your hand to our Fatherland.

The American compose Gordon Young has written an impressionistic prelude based on the tune which doesn't express the complete tune but gives us fleeting hints of it. Neither the tune nor the text are found in our hymnal

Music for Sunday, September 26, 2021 + The Eighteenth Sunday after Pentecost

Vocal Music

• Wash Me Throughly (Chandos Anthem No. 3) – George Frideric Handel 

Instrumental Music

• Prelude on “Mit Freuden Zart – T. Frederick H. Candlyn (1892-1964)
• If Thou But Trust in God to Guide Thee – Johann Ludwig Krebs (1713-1780)
• If Thou But Trust in God to Guide Thee – Johann Sebastian Bach (1685-1750)

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

• Hymn 408 Sing praise to God who reigns above (MIT FREUDEN ZART)
• Hymn R168 If you believe and I believe (trad. Zimbabwe)
• Hymn 343 Shepherd of souls, refresh and bless (ST. AGNES)
• Hymn R291  Go forth for God (GENEVA 124)
• Psalm 19:7-14 Psalm Tone VIIIa

In 1717, George Frederick Handel became the composer in residence at Cannons, the court of James Brydges, who became the First Duke of Chandos in 1719. As part of his responsibilities, he wrote eleven "anthems" for use in the chapel there, but these are more than just a simple anthem. They are multi-movement works which foreshadow the greatness found in his oratorios. Handel was limited in the resources available to him, so it was written for only three voices (soprano, tenor, and bass) with intimate instrumental forces of oboe, two violins, and basso continuo (usually the organ with the bass line doubled by an instrument). It is true chamber music.

G. F. Handel (without his wig)

The choir will sing the third movement of the third Chandos anthem, which is based on verses from Psalm 51. Originally written for alto and tenor, today the entire choir will be singing together. Handel himself chose the texts for all the Chandos Anthems, using primarily as his source the Psalter of the 1662 Book of Common Prayer.

The opening voluntary is a organ prelude on the Bohemian Brethren tune from the 16th century, MIT FREUDEN ZART. It is set for organ by the esteemed former organist of St. Thomas Church, New York City, T. Frederick H. Candlyn. Born in England, he moved to the United States at age 23 to become the organist/choirmaster at St. Paul's, Albany. He moved to St. Thomas in 1943, where he stayed until his retirement in 1954. His name is still prominent in the choral libraries of church choirs in this country.

The accompanying photo shows the rector of St. Pauls, George Taylor, presenting Candlyn with an umbrella in recognition of 25 years of perfect attendance in Sunday School! 

If Thou But Trust in God to Guide Thee is hymn 635 in the Hymnal 1982, and its lyrics are especially appropriate for the scripture readings this Sunday. Since we won't get a chance to sing it, I encourage you to read the text while waiting during communion, or after you get back to your seat. I'm playing two different settings of the German chorale, Wer nur den lieben Gott, both by German composers of the Late Baroque. Johann Ludwig Krebs (composer of the communion voluntary) was held in high regard by his contemporaries, including the older musician J. S. Bach, who made up a play on their two names ( Krebs [crab or crayfish] and Bach [brook or stream]) by saying "He is the only crayfish in my stream." It is not surprising that many of his works, especially his organ compositions, are very much like those of Bach

Music for September 19, 2021 + The Seventeenth Sunday after Pentecost

Vocal Music

• Grant Us Thy Peace – Felix Mendelssohn (1809-1847)

Instrumental Music

• Was Gott tut, das is wohlgetan – Johann Gottfried Walther (1684-1748)
• Song Without Words: Consolation, Op. 30, #3 –Felix Mendelssohn
• Allegro in B flat Major – Felix Mendelssohn

Congregational Music (all hymns from the Hymnal 1982.)

• Hymn 390 - Praise to the Lord, the Almighty (LOBE DEN HERREN)
• Hymn 636 - How firm a foundation, ye saints of the Lord (FOUNDATION)
• Hymn 660 - O Master, let me walk with thee (MARYTON)
• Hymn 482 - Lord of all hopefulness (SLANE)
• Psalm 54 - Psalm Tone VIIIa

Felix Mendelssohn was exposed to Lutheran hymns during his musical studies, which included the music of Johann Sebastian Bach. He was then inspired to try his hand at writing chorale cantatas as part of his musical Studies in 1831.  He composed today's anthem, Verleih uns Frieden (Grant Us Thy Peace) in 1831 as one of eight chorale cantatas based on Lutheran hymns. He later chose only Verleih uns Frieden for publication.

The text is Martin Luther's "Verleih uns Frieden", a paraphrase of Da pacem Domine, a Latin prayer for peace from the 6th or 7th century based on biblical verses 2 Kings 20:19, 2 Chronicles 20:12,15 and Psalms 72:6–7. It was a regular close of church services in Luther's time. Surprisingly, Mendelssohn did not use the melody which was associated with Luther's text, but composed a  new melody following the style of recent hymns in clear major-key tonality.

Felix Mendelssohn

The melody appears three times, rendering the complete text each time. It is introduced by the men alone, then repeated by the trebles, with the men singing counterpoint, and finally appears in the sopranos in a mostly homophonic four-part setting.

Robert Schumann said about the composition: "The small piece deserves to be world famous and will become so in the future; the Madonnas of Raphael and Murillo cannot remain hidden for long."

The communion voluntary is another piece by Mendelssohn, this time on the piano. Songs Without Words (Lieder ohne Worte) is a series of short lyrical piano songs by Mendelssohn written between 1829 and 1845. The works were part of the Romantic tradition of writing short lyrical pieces for the piano, although the specific concept of "Songs Without Words" was new. 

Mendelssohn resisted attempts to interpret the songs too literally, and objected when his friend Marc-André Souchay sought to put words to them to make them literal songs:

What the music I love expresses to me, is not thought too indefinite to put into words, but on the contrary, too definite. (Mendelssohn's own italics)

However, that has not kept people from doing that very thing. The melody from Opus 30, No. 3 has been turned into a hymn-tune called CONSOLATION, which is used for several texts, the most prevalent being "Still, still with thee, the purple morning breaketh," by Harriet Beecher Stowe. (Extra points if you can tell me what famous novel she wrote.) It has published in several older hymnal, but is now out of fashion.

Music for Sunday, September 12, 2021 + The Sixteenth Sunday after Pentecost

Vocal Music

• The Mind of Christ – K. Lee Scott (b. 1950)

Instrumental Music

• Lord Jesus Christ, Be Present Now – Georg Philipp Telemann (1681-1767)
• God Extends an Invitation – Anne Krentz Organ (b. 1960)
• Trumpet Tune – Georg Philipp Telemann

Congregational Music (all hymns from the Hymnal 1982 with the exception of  "I have decided" which is from Lift Every Voice and Sing.)

• Hymn 525 - The church’s one foundation (AURELIA)
• Hymn 675 - Take up your cross, the Savior said (BOURBON)
• Hymn - I have decided to follow Jesus (ASSAM)
• Hymn 473 - Lift high the cross (CRUCIFER)
• Psalm 116:1-8

K. Lee Scott

Birmingham, Alabama composer Lee Scott has taken the hymn "May the mind of Christ, my Savior" and set it to the tune BATTY for a lovely anthem.  The text is called a "catalog" hymn, which list different things the believer asks: "May the mind of Christ," the "word of God," the "peace of God," and the "love of Jesus." The hymn was first published in the London children's hymnbook Golden Bells (1925) and has gained popularity in recent hymnals.

This text is attributed to Kate Barclay Wilkinson, an English woman from the turn of the 20th century. Little is known about Wilkinson's life: a member of the Church of England, she was involved in a ministry to girls in London and a participant in the Keswick Convention Movement. She was married to Frederick Barclay Wilkinson.

The tune is a Moravian melody by the German composer Johann Christoph Kühnau

Anne Krentz Organ

The communion voluntary is a setting of a Brazilian hymn, Nuestro padre nos invita,  arranged for the piano by the Lutheran composer Anne Krentz Organ, the Director of Music Ministries at St. Luke's Lutheran Church in Park Ridge, IL.  She holds a Bachelor of Music degree in Piano Performance from Valparaiso University, a Master of Music degree in Piano Pedagogy from the University of Illinois, and a Certificate of Advanced Studies in Church Music from Concordia University in River Forest, IL.

She came to a career in church music in a roundabout way.  She says,

I have a bachelor’s degree in piano performance, and a master’s degree in piano pedagogy. Piano teaching was my intended career. But the Spirit works in mysterious ways, and I began subbing for a Saturday evening service. Attendance was around 40-50 people, all of whom went up for communion at the same time, none of whom brought their hymnals along with them. There I would be, week after week, playing the communion hymn(s) verse by verse. That didn’t seem helpful, and at the same time, I was considering what to propose for my final project at Concordia [University]. It occurred to me that some “Reflections” on hymn tunes for holy communion might be useful. I arranged five communion tunes for piano, which were subsequently published by Augsburg Fortress as my first collection of piano arrangements.

Music for Sunday, September 5, 2021 + The Fifthteenth Sunday after Pentecost

Vocal Music

• O Christ, the Healer, We Have Come – Richard W. Gieseke (b. 1952)

Instrumental Music

• Jesus, be in My Heart - Arranged by Kim Robertson
• What Wondrous Love is This - Arranged by Carol Kappus:
• Dance of the Fairy Folk - Carol Kappus
• Ned of the Hill , Ireland, arranged by Kim Robertson
• Fantasy on “Nun Danket All” – Aaron David Miller (b. 1972)
• Hymn 374, Come, let us Join Our Cheerful Songs

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

• Hymn 371 Thou, whose almighty word (MOSCOW)
• Hymn R266 Give thanks with a grateful heart (GIVE THANKS)
• Hymn 493 O for a thousand tongues to sing (AZMON)
• Psalm 146 - Tone VIIa

folk lever harp

This Sunday we welcome Kingwood resident Miriam Freiter to our 10:15 service. Miriam is a folk harpist who will be playing the harp before the service and during communion.

The folk harp is smaller than it's cousin, the orchestral harp. It's what you often hear when listening to Celtic Music. That's why you'll be hearing several pieces this weekend from Ireland, or written in that style. The pieces Mim will be playing are written by two of America's leading folk harpists.

Kim Robertson  is an American Celtic harp player from Wisconsin. Classically trained on piano and orchestral harp, her work encompasses over 20 album projects, several volumes of harp arrangements, instructional videos, and an international itinerary of concerts and retreats. 

Carol Kappus  is an award-winning Celtic harper and singer specializing in Scottish music including traditional songs, songs of Robert Burns, and songs in Scots Gaelic. Based in Michigan, she gives performances, teaches private lessons, and leads workshops.

The choir will be singing an original setting of the hymn Oh Christ, the Healer, We Have Come. It is written by Missouri composer Richard W. Gieseke. Gieseke attended Concordia Teachers College in River Forest, studying under Dr. Carl Schalk and Dr. Richard Hillert. Now retired, he  has served in several Lutheran congregations with smaller church choirs, providing the opportunity to write for unison and three-part choirs. 

The closing organ voluntary is a bold, splashy arrangement of hymn 374 (Come, Let Us Join Our Cheerful Songs) by another midwestern composer, Aaron David Miller. Miller serves as the Director of Music and Organist at House of Hope Presbyterian Church in St. Paul, Minnesota and maintains an active recital schedule. 

Aaron David Miller

Dr. Miller began his studies in organ performance under the guidance of Carlene Neihart in Kansas City and continued in Chicago with David Schrader. At this time, he attended the Chicago Academy for the Arts, where he studied composition with Bruce Horst. He received his Bachelor of Music degree in 1995 from the Eastman School of Music, studying organ performance with David Craighead, Russell Saunders, David Higgs, and Michael Farris, and composition with Samuel Adler and Joseph Schwantner. Dr. Miller completed his graduate studies at the Manhattan School of Music, earning his Master of Music degree in 1997 and his Doctor of Musical Arts in 1999. He studied composition and organ performance with McNeil Robinson.

Music for Sunday, August 29, 2021 + The Fourteenth Sunday after Pentecost

Vocal Music

• Bread of the World, In Mercy Broken – arr. Carlton Young (b. 1926)

Instrumental Music

• Flourish and Chorale – Michael McCabe (b. 1941)
• Vater Unser im Himmelreich – Johann Sebastian Bach (1685-1750)
• Allegro – Charles Villiers Stanford (1852-1924)

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

• Hymn 423 - Immortal, invisible, God only wise (ST. DENIO)
• Hymn 707 - Take my life, and let it be (HOLLINGSIDE)
• Hymn R145 - Lord, I want to be a Christian (I WANT TO BE A CHRISTIAN)
• Hymn 344 - Lord, dismiss us with thy blessing (SICILIAN MARINERS)
• Psalm 15 - Psalm tone VIIIa

The anthem is a rather simple setting of the one-stanza hymn found in our hymnal at hymn 301, "Bread of the world in mercy broken," using the same tune.

Written by the 19th century English Bishop Reginald Heber, the text, "Bread of the World" was first published posthumously in 1827, subtitled "Before the Sacrament." The first two lines of this hymn refer to the bread, representing Jesus' broken body, and to the wine, representing Jesus' shed blood. Later, the parallel structure of the lines referring to the broken heart and shed tears of repentant sinners emphasizes the sorrow of the believer over the sin that necessitated Christ's suffering. Through our confession of sin and participation in Communion, we remind ourselves that it is only “by Thy grace our souls are fed.”

The tune, RENDEZ À DIEU, was one of the tunes used in the Genevan Psalter, a hymnal published in 1551 that presented the psalms in a metrical form in French. It was created under the supervision of John Calvin for liturgical use by the Reformed churches of the city of Geneva.

Carlton "Sam" Young

Carlton R. Young,  a teacher, editor, composer, and conductor, set the hymn for a mixed choir of two parts. He has the unique distinction of serving as editor of two revisions of hymnals for Methodists: The Methodist Hymnal, 1966; and The United Methodist Hymnal, 1989.

Professor Young has served on the faculties and directed graduate studies in church music at Perkins School of Theology, Southern Methodist University; and Scarritt College; and is Emeritus Professor of Church Music, Candler School of Theology, Emory University. He was visiting professor of church music, Tainan Presbyterian College and Seminary, 1995-2004, and The Methodist School of Theology, Sibu, Sarawak, Malaysia, 2004, and 2007.

Dr. Young is an ordained elder in the United Methodist Church, East Ohio Conference. He is married to the former Marjorie Lindner. They have four children: Robert, James, Carol, and Richard; and six grandchildren: Brook, Rebecca, Dyami, Kirby, Lena, and Raymond.

The opening voluntary is an exhilarating piece by Nebraska composer and organist Michael McCabe. McCabe began his study of piano and organ as a child. As a student at Creighton University, McCabe was appointed university organist and choir director. During a 20 year military career, various assignments provided McCabe with unique opportunities to study with leaders in the field of Anglican church music, including Leo Sowerby, David McK. Williams, Thomas Matthews, and Dale Wood. McCabe has served numerous churches, including Grace Cathedral in San Francisco. As a published composer, McCabe was elected to ASCAP in 1972, and his ASCAP credits include NBC Television, foreign and domestic recordings, and the Stockholm and Stuttgart Music Festivals.

The communion organ voluntary is a quiet setting of the German chorale Vater unser im Himmelreich. The original text is Martin Luther's paraphrase of the Lord's Prayer. In our hymnal, this tune may be found at hymn 575 with the text “Before thy throne, O God, we kneel.” We encourage you to read and meditate on the words to this hymn in light of today’s Gospel reading. 

Music for August 22, 2021

Vocal Music

• Love the Lord – arr. Mark Schweizer (1956-2019)

Instrumental Music

• Prelude and Fugue in G – attr. J. S. Bach (1685-1750)
• Meditation on “Simple Gifts” – Michael Larkin (b. 1951)
• Rondeau – Henry Purcell (1659-1695)

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

Hymn 440 - Blessed Jesus, at thy word (LIEBSTER JESU)
Hymn 561 - Stand up, stand up for Jesus (MORNING LIGHT)
Hymn R232 - There is a Redeemer (Keith/Melody Green)
Hymn R233 - Glory be to Jesus (CASWALL)
Hymn 460 - Alleluia, sing to Jesus (HYFRYDOL)
Psalm 34:15-22 - Tone VIIIa

I have programmed two pieces written by men born in the 1950s, and two men born in the last half of the 17th century. First the contemporary pieces.

Mark Schweizer

The choir sings a setting of a tune from the Sacred Harp, a ubiquitous and historically important tunebook, first published in 1844, which was the backbone of the Sacred Harp singing schools that originated in New England and later perpetuated and carried on in the American South. The tune is both rugged and vigorous, changing between slow and quick sections. The text is one that we usually associate with Lent, but with the upbeat refrain which compares Jesus to no other, it is perfect for any time of the year.

This arrangement is by Mark Schweizer, a native of Florida who received music degrees from Stetson University in Deland, Florida and the University of Arizona including a doctoral degree in vocal performance. He returned to teach at Stetson University from 1982 to 1985 followed by eight years on the music faculty of Louisiana College. Mark lived in North Carolina where he served as editor of St. James Music Press. He is also the author of fifteen “Liturgical Mystery” novels, as well as other books, and several opera and musical librettos.

The communion voluntary is a meditation on another American folk tune from the Shaker tradition, "Simple Gifts." It is by the Delaware composer and musician, Michael Larkin, who serves as organist and director of music ministry at St. Barnabas Episcopal Church in Wilmington, Delaware.  

The opening voluntary is the fifth installment of my playing the complete (so-called) Eight Little Preludes and Fugues, which were attributed for years to J.S. Bach, but now thought to be by one of his pupils. 

This week it's the Prelude and Fugue in G. The prelude is a "miniature toccata" which, after a stately, big chordal introduction, evolves into freely-composed improvisatory passages which just ripple over the keyboard. It reflects the musical influence of Johann Kuhnau, Johann Sebastian Bach, and J. K. F.. Fischer. 

The English composer Henry Purcell wrote incidental music for a revival of the play Abdelazer, or The Moor's Revenge in the summer of 1695, including the movement entitled Rondeau. A Rondeau is an instrumental musical form in which a principal theme (sometimes called the "refrain") alternates with one or more contrasting themes, generally called "episodes." The form is outlined such as A - B - A - C - A.

Purcell's Rondeau was used by Benjamin Britten as the theme for his set of variations The Young Person's Guide to the Orchestra (1946).

Music for August 15, 2021 + Rally Day

Vocal Music

• For the Beauty of the Earth – David Ashley White (b. 1944)

Instrumental Music

• Galliard on Gather Us In – James Biery (b. 1956)
• I Have Decided to Follow Jesus – Arr. David Gale (21st c.)
• Carillon de Longpont – Louis Vierne (1870 - 1937)

Congregational Music (all numbered hymns are from the Hymnal 1982 with the exception of those marked “R” which are from Renew. Everything else is from other sources)

• Hymn  Jesus in the morning (African-American Spiritual)
• Hymn R37  Father, we love you (GLORIFY YOUR NAME)
• Hymn Let  There Be Peace on Earth (WORLD PEACE)
• Hymn 711  Seek Ye first the kingdom of God (SEEK YE FIRST)
• Hymn R147  Here I am, Lord (HERE AM I LORD)

The choir returns to our services after a brief summer break, singing a simple setting of a familiar hymn hymn with new music by Houston composer David Ashley White. David is Professor of Composition and the C. W. Moores, Jr. Endowed Professor of Music in the Moores School of Music, University of Houston, and Composer-in-Residence at Palmer Memorial Episcopal Church. He served as Director of the Moores School from 1999-2014.

He wrote this charming setting of For the Beauty of the Earth for his parent's 50th wedding anniversary. It includes a flute solo and handbells.

A galliard was a popular dance from the Renaissance period. It was an athletic dance, characterised by leaps, jumps, hops and other similar figures. Similarly, the music was just as athletic, providing an exuberant tune for dancing. The term is borrowed from the Anglo-French word gaillard, which means "vigorous, lively."

You can hear the lively vigor in today's opening voluntary, an arrangement of the contemporary hymn, Gather Us In, by Marty Haugen (b.1950) It is found in the Renew Hymnal at no. 14. Its energetic text is personified by a rolicking romp for organ and trumpet. Here are the words; they are perfect for Rally Day:

1. Here in this place new light is streaming,

Now is the darkness vanished away,

See in this space our fears and our dreamings,

Brought here to you in the light of this day.

Gather us in' the lost and forsaken,

Gather us in' the blind and the lame;

Call to us now, and we shall awaken,

We shall arise at the sound of our name.

2. We are the young' our lives are a myst'ry,

We are the old' who yearn for your face,

We have been sung throughout all of hist'ry,

Called to be light to the whole human race.

Gather us in' the rich and the haughty,

Gather us in' the proud and the strong;

Give us a heart so meek and so lowly,

Give us the courage to enter the song.

3. Here we will take the wine and the water,

Here we will take the bread of new birth,

Here you shall call your sons and your daughters,

Call us anew to be salt for the earth.

Give us to drink the wine of compassion,

Give us to eat the bread that is you;

Nourish us well, and teach us to fashion

Lives that are holy and hearts that are true.

4. Not in the dark of buildings confining,

Not in some heaven, light years away, 

But here in this place the new light is shining,

Now is the Kingdom, now is the day.

Gather us in and hold us for ever,

Gather us in and make us your own;

Gather us in' all peoples together,

Fire of love in our flesh and our bone.

Text: Marty Haugen, © 1982, GIA Publications, Inc.

For communion, I am playing a piano setting of the Indian folk tune, I have decided to follow Jesus. It is arranged by David Gale, a composer, arranger, pianist and choir director from Tucson, Arizona. His education includes a bachelor's and master's degrees from Texas Tech University, and a doctorate in music composition from Northwestern University. Retired from 26 years at Flowing Wells Junior High School, Dr. Gale is currently in his 24th year as music director for First Christian Church in Tucson, where he focuses on creating music for the church service including piano arrangements and choir pieces.

The closing voluntary is a carillon by Louis Vierne. At the beginning of the 20th century, Vierne was the organist of Notre Dame of Paris.  A great friend of the Montesquiou family, he was regularly invited to the Château in Longpont in the month of August.  The 15th August was an especially important religious festival.  There was a grand procession through the village, and through the grounds of the Château.  Louis Vierne naturally contributed to the festivities.  A harmonium (reed organ) was fixed to a cart pulled by two donkeys; safely installed on this mobile stage, he accompanied the singing, and added brilliant improvisations.

On hearing the church bells on the 15th August 1913, Louis Vierne was inspired to write the Carillon de Longpont.  It was later dedicated to his brother René Vierne, killed on the 29th May 1918, not far from Longpont. The pedal part is a repeated ostinato of eighth notes under big, crashing chords on the manuals.