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