Music for April 3, 2022 + The Fifth Sunday in Lent

Vocal Music

• Wash Me Throughly – David Halls (b. 1963)

Instrumental Music

• Jesus, I Will Ponder Now – Robert Below (1934-2021)
• Wenn Wir In Höchstein Nöten Sein – J. S. Bach (1685-1750)
• When we are in utmost need
• Toccata on “In the Cross of Christ I Glory” – David Cherwien (b. 1957)

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

• Hymn 398 - I sing the almighty power of God (FOREST GREEN)
• Hymn 441 - In the cross of Christ I glory (RATHBUN)
• Hymn 476 - Glory be to Jesus (WEM IN LEIDENSTAGEN)
• Hymn 610 - Lord, whose love through humble service (BLAENHAFREN)
• Psalm 126 – Tone IIa

In 1888, the eccentric French composer Erik Satie (1866-1925) published three short, atmospheric piano solos called Gymnopédies. The first, marked Lent et douloureux (“slowly with pain/grief”), is perhaps one of the most famous piano solos penned during the late Romantic era. (You can listen to it here - just NOT during church!) Gymnopédie No. 1 is a simple piece, and that’s where the beauty comes from. The melody is a single, flowing line of quarter notes, raising and lowering like ocean waves. The rhythms are long and sustained, creating a sense of floating through time.

The piece begins with two alternating chords: Gmaj7 (G-B-D-F#) and Dmaj7 (D-F#-A-C#). The melody floats over these two chords, slowly raising and lowering and expanding in dynamics.

I tell you all this because in the anthem this week, composer David Halls has written what could be a companion composition for choir, using the penitential Psalm 51.

Wash me thoroughly from my wickedness, and forgive me all my sin.

For I acknowledge my faults, and my sin is ever before me. (Psalm 51:2-3)

This simple piece begins not with two alternating chords, but with a four bar chordal progression over two alternating bass notes, D and A. The single melody line enters over this basso ostinato in much the same way as the melody in the Satie piece. The tempo never varies, never hurries, just moves gracefully and peacefully along. After the first line of the Psalm text is repeated (the only difference from the first time is that the lower choir voices add a harmonic line), we move to a new section of music, where the upper choir voices (sopranos and tenors) present a new melodic line which is then echoed by the altos and basses. All four voices join together to proclaim "my sin is ever before me." Then the first section is repeated almost note for note.

David Halls is the Director of Music at Salisbury Cathedral.  Whilst a pupil at Harrogate Grammar School, he was Assistant Organist at St Wilfrid’s, Harrogate, and studied the organ with Adrian Selway at St Peter’s Church, Harrogate, Ronald Perrin at Ripon Cathedral and later with Thomas Trotter in London. In addition to his daily duties in the cathedral, David has toured Austria, Estonia, France, Holland, Italy, Latvia, Sweden and the USA with the Cathedral Choir and has appeared as conductor, accompanist and soloist in many concerts and recordings. In demand as a recitalist in cathedrals and churches throughout the UK, he has recorded two solo CDs and a DVD on the Willis Organ in Salisbury Cathedral. He is active as a composer with many choral and organ works published in the UK and USA.

The opening voluntary is a chorale prelude on Jesus, I Will Ponder Now (JESU KREUZ, LEIDEN UND PEIN), a hymn that is quite popular in Lutheran churches but not many other places. The tune was written in the late 16th Century, then paired with a 17th century text. This organ arrangement was composed in the early 21st century by Robert Below, a piano professor at Lawrence University in Appleton, Wisconsin. He taught in their Conservatory of Music for 32 years before retiring in 1996. Known as a prolific performer and composer, His numerous anthems, hymns, and other sacred works were used at his beloved All Saints Episcopal Church in Appleton.

The communion voluntary is the beautiful chorale prelude from Bach's collection, Orgelbüchlein.  Bach wrote “Wenn wir in höchsten Nöten sein,” BWV 641, when he was in his thirties. It's a tender and delicate ornamented chorale. Here’s the first phrase of the original melody:

And here’s that phrase as it practically disappears under Bach’s fanciful ornamentation:

There’s an obvious motivation for writing an ornamented melody line here. The chorale text begins, “Wenn wir in höchsten Nöten sein, / Und wissen nicht, wo aus noch ein” (When we are in utmost need, and are completely at a loss). So the profuse ornamentation, and the way it disguises the tune, may represent uncertainty or restlessness.