Music for July 3rd, 2022 + The Fourth Sunday of Pentecost. Independence Sunday

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

• Hymn 718    God of our Fathers (National Hymn)
• Hymn           In our hearts, Lord (LORD BE GLORIFIED)
• Hymn R202 Sing Alleluia to the Lord (SING ALLELUIA)
• Hymn 719    O Beautiful for Spacious Skies (MATERNA)

There is only once service this Sunday, at 10:15. We will be blending styles from the 8 AM and the 9:15 Family Service in this one service. We are happy to have Bernice Satterwhite from our 8 AM service playing piano, and Danny East, guitarist for the Family Celebration service, playing a couple of songs from that service.

I will be flying up to Seattle for the Biennial Convention of the American Guild of Organists, so I will not be here for this service OR the picnic. Eat a hot dog for me!
 

Music for Sunday, June 26, 2022 + The Third Sunday after Pentecost

Vocal Music

• Ride On, King Jesus – Hall Johnson (1888-1970)
• Calvary – Paul Rodney (d. 1910)

Instrumental Music

• Hyfrydol – Paul Manz (1919-2009)
• Praise to the Lord – Paul Manz

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

• Hymn 525 - The church’s one foundation (Aurelia)
• Hymn R 37 - Father, we love you (Glorify Your Name)
• Hymn - I have decided to follow Jesus (Spiritual)
• Hymn - From North and South (Lasst uns erfreuen)
• Hymn R149 - I, the Lord of sea and sky (Here I Am, Lord)
• Hymn 550 - Jesus calls us o'er the tumult (Galilee)
• Psalm 77:1-2, 11-20 – Tone IIa

This Sunday we are fortunate to have my friend Edward Gibson come to sing for us at the 10:15 service. Ed is also a graduate of the Sacred Music Program at Southern Methodist University, and has served churches in Texas, most recently at Christ United Methodist in the Woodlands. He is now an elementary music specialist in Conroe ISD. He will be singing two diverse pieces for us.

Edward Gibson

Ride On, King Jesus

This great Negro Spiritual is a favorite of our congregation, especially in this arrangement by Hall Johnson (You can read about him here in a previous post on this blog.)

Calvary

This is what we call an old chestnut. Written in 1887, it was a standard for many years in Protestant churches in the English speaking world. It was written by an man named Harry W. Hopkins, who wrote under the pseudonym of Paul Rodney. Though he was a popular writer of English Ballads, not much can be found about him other than he died in 1910. The lyrics are by Henry Vaughan.

The pilgrims throng thro' the city gates
While the night is falling fast;
They go to watch on Calvary's hill
Ere the twilight hours are past;
Though dark be the way, with eyes of faith,
They gaze on His Cross above;
And, lo! from each heart, The shadows depart,
As they list to His words of love,
As they list to His words of love.

"Rest, rest to the weary, Peace, peace to the soul;
Tho' life may be dreary, Earth is not thy goal,
O lay down thy burden, O come unto Me,
I will not forsake thee, I will not forsake thee,
I will not forsake thee, Tho' all else should flee."

Far, far, away, o'er the dream of years
They hear the voice of the King
Where, O Grave, where is thy victory,
And where, O Death is thy sting?
Captive He leads them for evermore;
While weary pilgrims rejoice;
For looking on high to the Cross He bore,
The faithful shall hear His voice,
The faithful shall hear His voice.

"Rest, rest to the weary, Peace, peace to the soul;
Tho' life may be dreary, Earth is not thy goal,
O lay down thy burden, O come unto Me,
I will not forsake thee, I will not forsake thee,
I will not forsake thee, Tho' all else should flee."

Music for Sunday, June 19, 2022 + The Second Sunday after Pentecost

Vocal Music 

• Litany to the Holy Spirit – Peter Hurford (1930-2019)
• Bruce Bailey, baritone

Instrumental Music

• Fanfare-Improvisation on "Azmon" – Alec Wyton (1921-2007)
• How Can I Keep from Singing? – arr. Lani Smith (1931-2015)
• Trumpet Tune in D – Sam Batt Owens (1928-1978)

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

• Hymn 388 O worship the King (HANOVER)
• Hymn R37 Father, we love you (GLORIFY YOUR NAME)
• Hymn 658 As longs the deer for cooling stream (MARTYRDOM)
• Hymn 529 In Christ there is no East or West (MCKEE)
• Hymn From North and South (LASST UNS ERFREUEN)
• Hymn R9 As the deer pants for the water (Martin Nystrom)
• Hymn 493 O For a thousand tongues to sing (AZMON)

Litany to the Holy Spirit

Peter Hurford

English organist Peter Hurford was one of the leading organists of his day, concertizing in places such as Royal Festival Hall, the Sydney Opera House, and St. Albans Cathedral, just north of London, where he started the St. Albans International Organ Festival in 1963. He was known for for his incisive, buoyant recordings of Bach’s complete organ works for Decca in the late 1970s and early ’80s.

But he was also the director of music at St. Alban's, where he was credited with raising the standard of the abbey choir to that of the best cathedral and collegiate choirs in the country. He also initiated a choir camp at Luccombe, Somerset, and in 1958 brought together parish choirs from Hertfordshire and Bedfordshire for the first biennial diocesan choirs’ festival. He also published choral music for the Anglican liturgy, notably the Litany to the Holy Spirit, to a text by Robert Herrick, which Bruce Bailey will be singing for us today.

The Litany is a lovely, simple hymn which was originally written for the treble choir at St. Alban's, but since then has become so popular that an arrangement for full choir has been produced.

Fanfare-Improvisation on "Azmon"

AZMON is the tune name for our closing hymn this morning. Alec Wyton has taken this tune and used it for this extended prelude on that tune. Upon hearing it, you won't immediately hear the melody you connect with the words "O For a Thousand Tongues to Sing." Instead, the first thing you hear is a fanfare, followed by a leaping melodic line ("...and leap, ye lame, for joy." Pretty clever, huh?) that repeats over and over again. This is a compositional technique called ostinato (a continually repeated musical phrase or rhythm). Then comes a slowly moving melodic line that is reminiscent of the tune for "O for a thousand tongues," but not quite. In fact, in won't be until the third time that the melody is played that it begins to follow the familiar tune, and then it comes in with several iterations. At one point, the manuals are playing the tune in one key while the feet are playing it in another!

Alec Wyton

Alec Wyton was a ground breaking Anglican musician who for twenty years was Organist and Master of the Choristers at the Cathedral of St. John the Divine in New York City and Headmaster of the Cathedral Choir School. Grove's Dictionary of Music and Musicians described him by saying, "Wyton has brought together and caused to flourish three separate traditions: English church music, American church music and music from outside the churches." In his obituary, The New York Times called him the "Organist who updated church music."

Wyton was born in London, England. He was educated at the Royal Academy of Music, London and Oxford University. In 1950 he moved to America to take a position as Organist Choirmaster at Christ Church Cathedral, St. Louis, MO. Four years later he to St. John the Divine, where he remained for the next twenty years. He served as President of the American Guild of Organists and was a part of the editorial team that produced the influential ECUMENCIAL PRAISE hymnal in 1977. From that collection came the tune SHORNEY which is tune is #369 in THE HYMNAL 1982 set to Isaac Watts Holy Trinity text "How Wondrous Great, How Glorious Bright." 

During his time at St. John the Divine, Wyton tried to incorporate a variety of musical traditions into the music of the church. He provided a performing platform for emerging artists as well as collaborated with such performers as Eubie Blake, Duke Ellington, Leopold Stokowski, and the cast of “Hair.”

Trumpet Tune in D

The closing voluntary was written by another great Anglican musician, Sam Batt Owens, and like the opening voluntary, it is based on another great hymn tune, LOBE DEN HERREN ("Praise to the Lord, the Almighty").

Music for Sunday, June 12, 2022 + Trinity Sunday

Vocal Music

• Missa Brevis No. 4 – Eleanor Daley (b. 1955)
• A Ukrainian Prayer – John Rutter (b. 1945)
• Give Me – Carson P. Cooman (b. 1982)

Instrumental Music

• All Glory be to God on High – Georg Philipp Teleman (1681-1767)
• We All Believe in One True 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 362 - Holy, holy, holy! Lord God Almighty! (NICEA)
• Hymn S-236 - Canticle 13: Benedictus es, Domine - setting by John Rutter
• Hymn 371 - Thou, whose almighty word (MOSCOW)
• Hymn 295 - Sing praise to our Creator (CHRISTUS, DER IST MEIN LEBEN)
• Hymn R206 - Holy, holy (Jimmy Owens)
• Hymn 368 - Holy Father, great Creator (REGENT SQUARE)

This Sunday is Music Sunday. Our music ministry will be honored as part of the worldwide Music Sunday Celebration of the RSCM (The Royal School of Church Music). 

There are so many special days in the calendar, but Music Sunday is a day to connect in spirit with the whole of the RSCM. It is heart-warming to know that churches around the country, and indeed the world, are focusing on the role of music in worship and the dedicated church musicians who lead this. 

Here at Good Shepherd, we will take the opportunity to acknowledge and thank the many people who work in music leadership in our church. We will also sing a Missa Brevis by Canadian composer Eleanor Daley and a new anthem by John Rutter, written as a prayer for the people of Ukraine.

Missa Brevis No. 4

The Service Music (Kyrie, Sanctus, and Agnus Dei) is the Missa Brevis No. 4 by Canadian composer Eleanor Daley. Missa Brevis means "brief mass," and was written for her own church choir. The three movements are written for a 4-part acapella choir. 

Born and raised in Parry Sound, Ontario, Daley received her Bachelor of Music Degree in Organ Performance from Queen’s University in Kingston, Ontario and holds diplomas in piano and organ from the Royal Conservatory of Music, Toronto and Trinity College, England. She has been the Director of Music at Fairlawn Heights United Church in Toronto, Ontario since 1982. During this time, she has established a thriving choral program for which much of her music has been composed, thanks to the continuing support and talent of her choirs.

A Ukrainian Prayer

The offertory anthem is a new work by the English composer John Rutter. Rutter was moved to write "A Ukrainian Prayer" when Ukraine was attacked by Russia. As Rutter says, "How can a composer respond to a global tragedy? By writing music is the most obvious thing. Like everybody, I’ve been shocked and dismayed by the events of recent days, and the first thing I wanted to do was write some music that would respond in my own way."

"I went to a late night service in my old college chapel, where they sang a setting of a lovely Ukrainian prayer. So, having encountered the text in another musical setting on Wednesday night, on Thursday, I wrote my own music. I hope the meaning of the text will resonate in people’s hearts."

The anthem is written in an acapella, Eastern Orthodox style. The text is an old Ukrainian prayer:

Боже, Україну храни

Дай нам силу, вірі, й надії

Отче наш, Отче наш

Амінь

A literal translation of the text is:

Good Lord, protect Ukraine.

Give her strength, courage, faith, hope. Amen.

Give Me

During communion, the choir will sing a round written by American composer Carson Cooman on a text by Khwaja Abdullah Ansari (1006–1088), a Muslim Sufi saint who lived in the 11th century. The choir has been closing their rehearsals each week by singing this round as part of our closing prayers.

O God, give me a heart that I can pour out in thanksgiving.

Give me life that I can spend it working for the salvation of the world.

Music for June 3, 2022 + Pentecost

Vocal Music

• Veni Creator Spiritus – Stephen Sturk (b. 1950)
• Come, Holy Ghost – Thomas Attwood (1795-1838)
• Psalm 104:25-35, 37 – setting by William Crotch (1775-1847)

Instrumental Music

• Tongues of Fire (Pentecost Dance) – Alfred V. Fedak (b. 1953)
• Come, God Creator, Holy Ghost – Johann Gottfried Walther (1684-1748)
• Improvisation on “Veni Creator Spiritus” – Alfred V. Fedak

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

• Hymn 509 - Spirit divine, attend our prayers (NUN DANKET ALL UND BRINGET EHR)
• Hymn 20 - Now Holy Spirit, ever One (WAREHAM)
• Hymn - Through north and south (LASST UNS ERFREUEN)
• Hymn R90 - Spirit of the Living God (IVERSON)
• Hymn R168 - If you believe and I believe (Traditional, Zimbabwe)
• Hymn 511 - Holy Spirit, ever living (ABBOT’S LEIGH)

Today is Pentecost Sunday, the day we commemorate the appearance of the Holy Spirit on the disciples after Christ ascended into heaven. It is considered the birthday of the church, and a major holiday in the history of the church.

One of the oldest and most widely used hymns in the Christian church is Veni, Creator Spiritus, with a text attributed to Rabanus Maurus (776-856) and a chant melody from around the same time. This text and/or tune permeates our music this morning.

Veni Creator Spiritus

This anthem by the California composer Stephen Sturk begins with the original chant in Latin, sung simply as is fitting for a chant. Interspersed with the hymn are verses of Psalm 36 set to the same chant, but this time in a rhythmic setting, much like a modern hymn.

Stephen Sturk is cofounder and artistic director of the Pacific Academy of Ecclesiastical Music (PACEM), music director at Saint Thomas of Canterbury Episcopal Church in Temecula, California, as well as composer in residence at St. Paul’s Episcopal Cathedral and conductor of Cappella Gloriana in San Diego. He previously was artistic director of the San Clemente Choral Society, and from 1993 to 1997 he served on the faculty of the University of San Diego, where he was director of the Choral Scholars Program. Prior to settling in California in 1991, Sturk was music director of the New York Motet Choir and associate conductor of the choirs at the Cathedral Church of St. John the Divine. From 1980 to 1983, he was director of The Juilliard Singers at The Juilliard School. 

Come, Holy Ghost

Thomas Attwood wrote this now classic English anthem in 1834, after he had left St. Pauls and begun teaching at the Royal Academy of Music. While the music is newly composed by Attwood, it uses a translation of the Latin text by Maurus.

The son of a musician in the royal band, Attwood was born in London. At the age of nine he became a chorister in the Chapel Royal. In 1783 he was sent to study abroad at the expense of the Prince of Wales (afterwards George IV), who had been favorably impressed by his skill at the harpsichord. After two years in Italy, Attwood proceeded to Vienna, where he became a favorite pupil of Mozart. On his return to London in 1787 he held for a short time an appointment as one of the chamber musicians to the Prince of Wales. In 1796 he was chosen as the organist of St Paul's Cathedral, and in the same year he was made composer of the Chapel Royal. Soon after the institution of the Royal Academy of Music in 1823, Attwood was chosen to be one of the professors. He wrote an anthem for the coronation of William IV, and was composing a similar work for the coronation of Queen Victoria when he died on March 24, 1838. Attwood's funeral took place at St. Paul's Cathedral. He is buried in the Cathedral, in the crypt, under the organ.

Tongues of Fire (Pentecost Dance)
Improvisation on “Veni Creator Spiritus” 

The opening and closing voluntaries are by the American organist and composer Alfred Fedak. He recently retired as Minister of Music and Arts at Westminster Presbyterian Church on Capitol Hill in Albany, New York, but continues to teach at SUNY Schenectady. On June 1, 2021, he assumed the post of organist at First Reformed Church of Scotia, New York. 

The opening voluntary (Tongues of Fire) has a driving rhythm in the left hand, with the 'E' below middle C heard repeatedly throughout the entire piece. The first part is the dance movement, signifying the tongues of fire. Then the volume gets softer as the chant tune Veni Creator Spiritus appears, still as a dance.

Fedak uses the same chant tune in more traditional form in his Improvisation on “Veni Creator Spiritus” which I'm playing for the closing voluntary. Listen for a rippling melody which starts softly buts comes roaring into prominence before the plainchant enters in the pedals. It certainly sounds like a roaring fire!