NOT YOUR FATHER'S CHURCH MUSIC + Music for Sunday, May 28, 2023 + Pentecost Sunday

Vocal Music

• Spirit in the Sky – Norman Greenbaum (b. 1942)
• Down to the River to Pray – arr. Robert Lee (b. 1951)

Instrumental Music

• Shall We Gather at the River – Joe Utterback (b. 1944)
• Every Time I Feel the Spirit – Dennis Janzer (b. 1954)
• Ton-y-botel – Craig Curry
• Every Time I Feel the Spirit – Richard Elliot (b. 1957)

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

• Hymn R283 Creating Spirit, holy Lord (PUER NOBIS)
• Hymn 513 Like the murmur of the dove’s song (BRIDEGROOM)
• Hymn From north and south and east and west (LASST UNS ERFREUEN)
• Hymn R248 Oh, let the Son of God enfold you (SPIRIT SONG)
• 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)
• Psalm 104 - Alexander Peloquin

Spirit in the Sky

The Priest walks into the Music Director's office and asks, "What would you think about singing "Spirit in the Sky" on Pentecost Sunday?" The Music Director, aware of his role as support for the pastoral staff and always willing to please, says, "I don't know it, but I am sure we can do it if you think it will work." So, after the Priest leaves, the Music Director searches online, listens to the YouTube video of the original and thinks, "Oh Sweet Jesus, what have I agreed to?"

Thus how it happened that this Sunday, Pentecost, the choir is singing what The Rolling Stone Magazine refers to as Norman Greebaum's "immortal boogie-rock anthem," "Spirit in the Sky."

The song came out in the U.S. in January 1970. Propelled by a chugging, bluesy riff and featuring lyrics about befriending Jesus and preparing for death, it peaked at Number Three on Billboard’s Hot 100 and was certified gold.

In the 50 years since its release, “Spirit in the Sky” has never really gone away. The song has appeared in more than 30 commercials and 60 films, including Wayne’s World 2, Apollo 13, Remember the Titans, and I, Tonya. “I’ve got an audience that’s coming around again,” Greenbaum, now 77, says over the phone from his home in California. “The song started with kids’ grandparents and then their parents and then they hear it in all these movies. Now there’s a whole young generation that is into the song.(1)

Norman Greenbaum
Photo by Jeff Fasano Photography

"Spirit in the Sky" makes several religious references to Jesus, although Greenbaum himself is Jewish. In a 2006 interview with The New York Times, Greenbaum told a reporter he was inspired to write the song after watching Porter Wagoner singing a gospel song on TV. Greenbaum said: "I thought, 'Yeah, I could do that,' knowing nothing about gospel music, so I sat down and wrote my own gospel song. It came easy. I wrote the words in 15 minutes."

This is not our usual anthem. As I began to think about it, I realized that just using piano to accompany the choir would not be satisfying, so I asked Margie (VanBrackle) if she thought she and her husband Hans would play bass and guitar, respectively, to provide the accompaniment. They agreed, then I recalled another church member, Mark McGinn, who had said he could play drums anytime we needed it. So I contacted him, and he agreed. Yours truly is playing tambourine. I am WAY outside my comfort zone. So is the choir.

Some of us (me included) were uncomfortable with the third verse. Greenbaum explained:

I know the line “Never been a sinner / I never sinned” upset Christians. It did upset some people. When I said I can do this, that didn’t mean I could do it perfectly. It wasn’t my religion; I just did it. I didn’t think twice about it. I took some of the seriousness out of it, but I didn’t do it as a joke or against anyone. I guess people can take offense to almost anything. There was the song about the plastic Jesus on your dashboard. They liked that one. (ibid.)

According to the Rolling Stone, this song is a popular choice for funerals.

Down to the River to Pray

Made famous in the film O Brother, Where Art Thou?, "Down to the River to Pray" is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a Southern gospel song. The exact origin of the song is unknown.

I think it is an African American spiritual. The earliest known version of the song, titled "The Good Old Way," was published in Slave Songs of the United States in 1867. And the lyrics fill the bill for a slave song - one that has double meaning.

Aside from the obvious meaning of baptism ("..down to the river"), many songs sung by victims of slavery contained coded messages for escaping. When the enslaved people escaped, they would walk in the river because the water would cover their scent from the bounty-hunters' dogs. Similarly, the "starry crown" could refer to navigating their escape by the stars. And "Good Lord, show me the way" could be a prayer for God's guidance to find the escape route, commonly known as "the Underground Railroad."

This setting is arranged by Robert E. Lee. No, not that one, but the irony does not escape me. This Robert is an Alabama native and has been a church organist from age 16. With a BMusEd in organ performance from Samford University and a MEd in history from Mississippi College, Mr. Lee has worked as a choral director and history teacher for 25 years. He has been active with college and professional musical theater groups and is currently the assistant organist at St. Francis in the Fields Episcopal Church in Louisville, KY.

The Voluntaries

Just a few short notes about the instrumental music this Sunday. Since our choir music departs greatly from our usual genres, the organ and piano music, too, will take on different forms. The first voluntary at the beginning is by noted jazz organist Joe Utterback. This sounds more like theatre organ than church organ.

The second opening voluntary is a setting of the Spirit-focused spiritual, "Every Time I Feel the Spirit." This setting, by Memphis composer Dennis Janzer, is the most traditional of all the keyboard music this Sunday, as it is more like a Bach two-part invention than a spiritual.

The piano piece at communion is pure jazz, from it's rhythms to its harmonies. Craig Curry is a widely-published composer, arranger, pianist and  recording artist, and a former worship pastor and university music professor. The tune is TON-Y-BOTEL, found twice in our hymnal (look at 381 or 527). 

The closing voluntary is a spirited setting of the same spiritual which opened the service, only this time by the organist at the Mormon Tabernacle in Salt Lake City, Richard Elliot. I hope you stay and listen!

 

(1) https://www.rollingstone.com/music/music-features/norman-greenbaum-interview-spirit-in-the-sky-934508/

Music for May 21, 2023 + Seventh Sunday of Easter: The Sunday after Ascension Day

Vocal Music

• The Seven Joys of Mary – arr. Richard Shepherd (1949 – 2021)
• I Will Not Leave You Comfortless – Everett Titcomb (1884-1968)

Instrumental Music

• Prière du Christ montant vers son Père – Olivier Messiaen (1908-1992)
• Sonata in G Major: Adagio – Josef Hector Fiocco (1703-1741)
• Prelude on "Deo Gracias" – Healey Willan (1880-1968)

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 215 See the Conqueror mounts in triumph (IN BABILONE)
• Hymn 450 All hail the power of Jesus’ name! (CORONATION)
• Hymn R37 Father, we love you (GLORIFY YOUR NAME)
• Hymn 460 Alleluia! sing to Jesus! (HYFRYDOL)
• Psalm 68 – tone VIIc

Ascension Day commemorates the Ascension of Jesus into Heaven. Happening 40 days after Easter, on a Thursday, it is one of the ecumenical feasts of Christian churches, ranking with the feasts of Easter and Pentecost.

We don't hold a separate service on Ascension Day, but we do acknowledge it on the Sunday after the Ascension with hymns and readings. The first reading from Acts is the story of Christ's departure. 

Prière du Christ montant vers son Père

Olivier Messiaen

French-Belgian composer Olivier Messiaen wrote an orchestral suite called L'Ascension in 1932-1933. The composer described the work as Four Symphonic Meditations and the sections are; 1) Majesty of Christ praying that His Father should glorify Him, 2) Serene Alleluias from a soul longing for Heaven, 3) Alleluia on the Trumpet, Alleluia on the Cymbal, and 4) Prayer of Christ ascending towards His Father. Messiaen arranged the suite for solo organ a year later. 

Our opening voluntary is that last movement, Prayer of Christ ascending to the Father. The subtitle is the words found in today's Gospel reading:

I have manifested Thy name unto men… And now I am no more in the world, but these are in the world, and I come to Thee. - John 17:6, 11

Messiaen is known for his unique composition style. Incorporating complex rhythms, harmony and melodies, Prière du Christ montant vers son Père is no exception to the composer's popular, distinctive style.  The extremely languorous tempo of the movement sustains the intense religious character of this work.

The Seven Joys of Mary

The Seven Joys of Mary is a traditional carol that tells of Mary’s joy at different points in Jesus’s life, probably inspired by the trope of the Seven Joys of the Virgin in the devotional literature and art of Medieval Europe. Though oft now heard in Lessons and Carol Services in December, it was not traditionally associated with the Christmas season. 

I chose to schedule it on this day because it ends with this stanza:

The next good joy that Mary had,

It was the joy of seven;

To see her own son, Jesus Christ

To wear the crown of heaven:

We believe Jesus now reigns in heaven, "that place where our Savior Christ has gone before; who lives and reigns with [God] and the Holy Spirit, one God, in glory everlasting." (Collect for Seventh Sunday of Easter: The Sunday after Ascension Day, BCP p. 226)

I Will Not Leave You Comfortless.

This short motet from the pen of American organist, composer, and church musician Everett Titcomb.

His music was very popular within the Anglican church, particularly the Episcopal Church, in the first half of the 20th century.

A product of New England, Titcomb's association with church music and the Anglican faith began as a child. Although his family was associated with the Unitarians, Everett was brought into the Episcopal church very early. Through the pervasive influence of a neighbor, he joined the boy choir of St. James' Episcopal Church in Amesbury at the age of nine. Singing in the boy choir was a part of his musical education until a changing voice led him in a new direction, playing the organ for Sunday School.

By the time he was fourteen, he had become parish organist at St. James'.

After high school he began working at at the Church of the Messiah in Auburndale, a suburb of Boston. After seven years in Auburndale, Titcomb knew he needed a change and by the fall of 1909 he had

accepted an appointment at Christ Church, Andover, Massachusetts. He moved to a new apartment which was also near  the Church of St. John the Evangelist in Boston, and in 1910 he was hired as organist-choir master at the church. Titcomb would serve this parish for fifty years, and this little church would become within two decades a leader in the United States in the revival of plainsong and of Renaissance polyphony.

The motet is an ABA form and opens quietly with the tenor section chanting the theme that is immediately taken up by the rest of the choir entering on a G minor chord to establish the key. The first section is set in a syllabic, chordal style while the florid B section consist of an imitative setting of the word “alleluia.” This florid style is typical for hallelujahs going back to the medieval plain chant settings. The Basses sing the plain chant tune Veni Creator Spiritus while the rest of the choir sings alleluias.

Everett Titcomb

I will not leave you comfortless made Titcomb well known in Anglican circles of the English-speaking world. The motet was chosen for performance at the Crystal Palace in London at the annual choir festival in 1936, where it was sung by a choir of 4000 members. The event marked the first time that a work by an American composer had been chosen for one of those festivals. 

Interesting note: Messiaen's Prière du Christ montant vers son Père and Titcomb's I Will Not Leave You were both written within two years of each other, but while Messiaen pushes the norms of harmony, rhythm and form, Titcomb reaches back to the music of the Renaissance. Both are still very much a part of sacred repertoire today.

Music for May 14, 2023 + The Sixth Sunday of Easter (Rogation Sunday)

Vocal Music

• Jesus Christ the Apple Tree – Sondra Tucker (b. 1957)
• Heidi Aulbach, flute
• If Ye Love Me – Thomas Tallis (1505-1585)

Instrumental Music

• Grazioso – Arnold B. Sherman (b. 1948)
• We Plow the Fields and Scatter – arr. Thomas Keesecker (b. 1956)
• Toccata – John Weaver (1937-2021)

Congregational Music (all hymns from The Hymnal 1982.)

• Hymn 398 - I sing the almighty power of God (FOREST GREEN)
• Hymn 455 - O Love of God, how strong and true (DUNEDIN)
• Hymn 288 - Praise to God, Immortal praise (DIX)
• Hymn 488 - Be thou my vision (SLANE)
• Hymn 400 - All creatures of our God and King (LASST UNS ERFREUEN)
• Psalm 66 - setting by Richard Proulx

Jesus Christ the Apple Tree

Today is Rogation Sunday on our liturgical calendar. The word rogation comes from the Latin verb rogare, meaning “to ask”, which reflects the beseeching of God for protection from calamities. As the Book of Common Prayer puts it: “Rogation Days are the three days preceding Ascension Day, especially devoted to asking for God's blessing on agriculture and industry.” 

They originated in Vienne, France, in the fifth century when Bishop Mamertus introduced days of fasting and prayer to ward off a threatened disaster. In England they were associated with the blessing of the fields at planting. The vicar “beat the bounds” of the parish, processing around the fields reciting psalms and the litany. In the United States they have been associated with rural life and with agriculture and fishing. The propers in the BCP (pp. 207-208, 258-259, 930) have widened their scope to include commerce and industry and the stewardship of creation. (https://www.episcopalchurch.org/glossary/rogation-days/)

For this reason, I have chosen a couple of hymns which talk about the wonders of Creation, an instrumental piece based on a good hymn for Rogation Sunday, and this anthem by my good friend, Sondra Tucker.

Jesus Christ the Apple Tree (also known as Apple Tree and, in its early publications, as Christ Compared to an Apple-tree) is a poem written in the 18th century. The first known publication, beginning The Tree of Life My Soul Hath Seen, was in London's Spiritual Magazine in August, 1761. This credits "R.H." as the submitter and presumed author. R.H. has been shown most likely to refer to Rev. Richard Hutchins, a Calvinist Baptist clergyman in Northamptonshire.

It has been set to music by a number of composers, most famously Elizabeth Poston and John Rutter. Sondra has set the words to an Scottish folk tune, O Waly, Waly. A flowing piano accompaniment and a lyrical flute part join together with the choir to make this an instant favorite among our choir.

The friendship between Sondra and me goes back over 26 years ago when we were both in Memphis. After I moved to Houston, her husband, Roger, got transferred to Houston, where they lived for many years. She was organist/choirmaster at Ascension Episcopal on the West side of Houston when Roger was transferred back to Memphis. Just this past week she described the horror and sadness when, in 2017, she saw on TV their neighborhood and former church under water from the flooding from Hurricane Harvey. She wrote this anthem for her former choir and their director, and it was published in 2022.

If Ye Love Me

Thomas Tallis was one of the greatest composers of Early English Music.  Most of his music was written for the church, which, at that time, did not use instrumental music, so almost all of his music is for singing without instruments. He composed music for all the Tudor kings and queens, except Henry VII (so he composed for Henry VIII, Edward VI, Mary and Elizabeth I). This can’t have been easy because different Tudor kings and queens had very different ideas about what church music should be like!

During the reign of Edward VI (1547-1553) it was mandated that the services be sung in English, and that the choral music be brief and succinct "to each syllable a plain and distinct note." If Ye Love Me is the classic example of these new English anthems: mainly homophonic, but with brief moments of imitation. Like many early Anglican anthems, it is cast in ABB form, the second section repeated twice.

Grazioso

The Handbell piece at communion is a beautiful work written in memory of Norma Taubert Brown, a handbell ringer, who died of cancer in 1988. The music tells the story of Norma's life, her struggle with illness, and her ultimate journey to heaven.  Each section of the music reflects this journey.

It was commissioned by Area 10 of the Handbell Musicians of America right after Norma had been in Seattle to share the podium with Arnold Sherman, the composer of Grazioso. She was ill at that time but wanted to keep her commitment to conduct at the Greater Puget Sound Festival. When she was not conducting, she would lay on a couch  that had been moved into the gym. When it  was her turn to conduct, she  seemed to have extra strength to ascend the podium,  conduct her rehearsal as if she were in perfect health and then return to the couch after she had finished.  She passed away two weeks later.

Arnold Sherman is director of Music and Fine Arts at Pollard United Methodist Church in Tyler, Texas as well as a free-lance composer and co-founder of Red River Music. His undergraduate work in music education was done at Montgomery College, Rockville, Maryland, and Baylor University, Waco, Texas. Arnold was the founder and Director of the East Texas Handbell Ensemble. A clinician and guest conductor, he has led choral and handbell workshops, festivals, and reading sessions throughout the United States, Canada, England, Japan and the Bahamas. Arnold has over four hundred choral and handbell pieces in print and has been an active member of the AGEHR where he has served as Area IX Chairman.

We Plow the Fields and Scatter

This setting of the hymn found in our hymnal (hymn 291), whose text affirms that, while we need to plow the land and sow the seed, it is God who provides the increase; he sends the rain and the sunshine to produce a harvest. God also sustains his creation, for "all good gifts around us are sent from heaven above." Thus praise bursts from our "humble, thankful hearts." It is a perfect hymn for Rogation Sunday.

This arrangement, by the American composer Thomas Keesecker, combines the tune in our hymnal with a Scottish Air. I am unaware if this folk tune is used as an alternate tune for the text, but it's still beautiful. So, there you have it!

Toccata

The closing voluntary is a toccata by the New York organist John Weaver, another giant among the organ world. For 35 years he was organist and director of music at Madison Avenue Presbyterian Church in New York City, while simultaneously serving on as Head of the Organ Department at the Curtis Institute of Music in Philadelphia (1972-2003), and Chair of the Organ Department at The Juilliard School (1987-2004). His students perform and teach all over the world. Ken Cowan, organist at Rice University (and Palmer Memorial Episcopal) is a former student of his.

This Toccata was written by him in 1954, when he was 17. 

Music for May 7, 2023 + The Fifth Sunday of Easter

Vocal Music

• Together – Dennis and Nan Allen (21st C.)
• Thou Art God – Lionel Bourne (b. 1960)

Instrumental Music

• Flute Solo – Thomas Arne (1710 – 1778)
• Kyrie from Missa della Domenica (Sunday Mass) – Girolamo Frescobaldi (1583-1643)
• Toccata in G Major – William Walond (1719-1768)

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

• Hymn 47 - On this day, the first of days (GOTT SEI DANK)
• Hymn R33- We will glorify the King of kings (WE WILL GLORIFY)
• Hymn 288 - Praise to God, Immortal praise (DIX)
• Hymn R220 - Let the hungry come to me (ADORO TE DEVOTE)
• Hymn 525 - The Church’s one foundation (AURELIA)

Today the Coventry Choir, our early elementary children's choir, sings at both the family service and the 10:15 service. This is our final performance for the year, which is the first full season we have sung since 2019! Thanks to the nine children and their families for making this happen!

Together

The anthem the children are singing is a "pop" style anthem, with words and music by the husband and wife team, Dennis and Nan Allen. The Allens have been writing for close to 40 years, with over 1200 songs, musicals, and drama projects to their credit. They have received multiple nominations and are 3-time winners of the GMA Dove Awards for Musical of the Year. 

Nan has also written five books, including three Christian nonfiction works and two novels. Dennis and Nan are now retired from teaching at Truett-McConnell University in Cleveland, Georgia and are back in the Nashville area resuming their writing careers.

Thou Art God

The anthem is a modern Celtic prayer set to music by Lionel Bourne, Organist and Master of Music at St John the Evangelist in London, after fourteen  years as Organist and Director of Music at St John the Divine, Kennington.  An experienced church musician, Lionel has held a number of organist posts over many years and has also enjoyed a career as teacher and BBC Music Researcher.

The prayer is from the book The Edge of Glory: Prayers in the Celtic Tradition, by Anglican priest David Adam (1936 – 24 January 2020). He was vicar of Danby-Castleton-Commondale in North Yorkshire for over 20 years, where he began writing prayers in the Celtic pattern. In the Celtic way of prayer, the divine glory was intertwined with the ordinariness of everyday events which hallows the everyday stuff of life, rather than irrelevances it in the way much church-centred spirituality does today. 

He later became rector of Holy Island, Lindisfarne, where he ministered to thousands of pilgrims and other visitors. He was made a canon of York Minster in 1989.

Organ Music

Ernest White was an American organist, choirmaster, organ designer, teacher, and music editor who flourished in the first half of the 20th century. For 25 years he was organist and/or music director at the Church of St. Mary the Virgin in New York City. He was a proponent of early music in an era when such music was ignored. In 1954 he published a book of such organ music called Graveyard Gems, so named as a nod to his friend Scott Buhrman, editor of The American Organist, who called pre-Bach music "Graveyard Music." The opening voluntary this morning is taken from that volume.

Flute Solo is actually the Allegro from Thomas Arne's Sonata in A Major. As the title implies, it is features the flute stop on the organ.

Thomas Arne was an English composer, best known for his tune, Rule, Britannia! Arne was the only native English composer of his day that was able to compete successfully with composers like George Frideric Handel who monopolized the British music scene during the eighteenth century.

The other organ music could also be categorized as "graveyard music." The communion voluntaries are three settings of the Kyrie from Girolamo Alessandro Frescobaldi's Fiori musicali (lit. 'Musical Flowers'), a collection of liturgical organ music first published in 1635. It contains three organ masses and two secular capriccios. Generally acknowledged as one of Frescobaldi's greatest works, Fiori musicali influenced composers during at least two centuries. Johann Sebastian Bach was among its admirers.

Frescobaldi was an Italian composer and virtuoso keyboard player who is considered one of the most important composers of keyboard music in the late Renaissance and early Baroque periods. Frescobaldi was appointed organist of St. Peter's Basilica from 21 July 1608 until 1628 and again from 1634 until his death.

The closing voluntary is another from an English organist William Walond. Walond was an organist who lived and died in Oxford in the 18th century. In 1752 he published a set of six voluntaries for organ or harpsichord, generally designated Opus 1 to distinguish them from the second set published in 1758. 

Voluntary V in G Major Op. 1 was written to be played without pedals, as English organs of the day were not as advanced as the organs in Germany. But today I am playing an arrangement of the second half of the voluntary arranged by the famed organist E. Power Biggs which includes pedals.