Music for May 1, 2022 + The Third Sunday of Easter

Vocal Music

• An Easter Greeting – Martin How (b. 1931)

Instrumental Music

• Christ Lay in Death’s Strong Bands – J. S. Bach (1685-1750)
• Chorale – Michael Larkin (b. 1951)
• Premier Suite: Rondeau – Jean Joseph Mouret (1682-1738)

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

• Hymn 374 Come, let us join our cheerful songs (NUN DANKET ALL UND BRINGET EHR)
• Hymn 417 This is the feast of victory (FESTIVAL CANTICLE)
• Hymn 255 We sing the glorious conquest (MUNICH)
• Hymn R202 Sing alleluia to the Lord (SING ALLELUIA)
• Hymn 535 Ye servants of God, your Master proclaim (PADERBORN)
• Psalm 30:1,3-6, 12-13– Tone Ib

Martin How

Easter is not just a day. It is a season, and we continue that season by singing An Easter Greeting by the modern English composer Martin How. How has spent most of his career with the Royal School of Church Music where he was known principally as a choir trainer specializing in the training and motivation of young singers. In this capacity he initiated and developed the RSCM Chorister Training Scheme which has since been used in various forms in many parts of the world. Since his retirement from the RSCM he has returned to organ playing as an honorary member of the music staff at Croydon Minster.

The anthem today is evidence of his interest and devotion to writing music for young or beginning singers. While An Easter Greeting may be easy to put together as a choir, it is still quality music which is fun to sing and interesting to listen to.

The opening voluntary is Christ lag in Todesbanden, BWV 625, a selection from the Orgelbüchlein (Little Organ Book) by Johann Sebastian Bach. Orgelbüchlein is a collection of 46 preludes for organ almost exclusively written during the 1708-1717 period, while Bach was court organist in Weimar. The collection is defined by Bach himself  as '[a book] in which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obligatory'. 

The English translation of the title is "Christ lay in death's bonds." It's an Easter hymn by Martin Luther with a melody is by Luther and Johann Walter. The melody as set by Luther (with help from Walter) seems to have strong correlations with parts of the Easter chant, Victimae paschali laudes. It's in a minor key, but it's joyful 16th-note motif in the accompaniment helps to give this work a sort of dignified elation.

Michael Larkin

Michael Larkin, Director of Music Ministry St. Mary Anne's Episcopal Church in North East, MD, has written a contemplative piano piece called Chorale which I am using as a communion voluntary today. In addition to his church work, he is chairperson of the vocal/choral department and a voice teacher at the Wilmington Music School in Wilmington, DE. He also is founder and music director of the New Ark Chorale of Newark, DE. In addition, Dr. Larkin is Eastern Division Chairperson for Music and Worship for the American Choral Directors Association. He is known nationally as a clinician and adjudicator in various aspects of vocal/choral music as well as the church music profession, especially the subjects of liturgy, worship planning, and musical and professional concerns for the church musician.

While you may not recognise the name Jean-Joseph Mouret, you'll surely recognize his music. Mouret  was a French composer whose dramatic works made him one of the leading exponents of Baroque music in his country. Even though most of his works are no longer performed, Mouret's name survives today thanks to the popularity of the Rondeau from his first Suite de symphonies, which has been adopted as the signature tune of the PBS program Masterpiece and is a popular musical choice in many modern weddings. It is the closing voluntary this morning.

Music for April 24, 2022 + Easter II

Vocal Music

• Most Glorious Lord of Life – William H. Harris (1883-1973)

Instrumental Music

• Variations on "O Filii et Filiae"– Wilbur Held (1914-2015)
• Salzburg– Rudy Davenport (b. 1948)
• Good Christians all, rejoice and sing– Healey Willan (1880-1968)

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

• Hymn 182 Christ Is Alive! (TRURO)
• Hymn R119 Psalm 150: Hallelujah, praise the Lord (ORIENTIS PARTIBUS)
• Hymn 206 Alleluia! O sons and daughters, let us sing (O FILII ET FILIAE)
• Hymn 205 Good Christians all, rejoice and sing (GELOBT SEI GOTT)
• Hymn R29 He is Lord, he is Lord (HE IS LORD)
• Hymn R91 Open our eyes, Lord (OPEN OUR EYES)
• Hymn 178 Alleluia, alleluia! Give thanks

Music for Easter 2022

Vocal Music

• Tell the News – David Ashley White (b. 1948)
• Alleluia – Rick Sowash (b. 1950)
• I Know that My Redeemer Liveth (Messiah) – G. F. Handel (1685-1759)

Instrumental Music

• Let Heaven and Earth Rejoice – J. S. Bach (1685-1750)
• Prelude in G, BWV 541 – J. S. Bach

Congregational Music (all hymns from The Hymnal 1982.)

• Hymn 179 - “Welcome, happy Morning!” (FORTUNATUS)
• Hymn 207 - Jesus Christ is risen today (EASTER HYMN)
• Hymn 180 - He is risen, he is risen! (UNSER HERRSCHER)
• Hymn - Doxology (LAAST UNS ERFREUEN)
• Hymn 193 - That Easter day with joy was bright (PUER NOBIS)
• Hymn 210 - The day of resurrection (DIADEMATA)
• Psalm 118 – Tone VIIIa

My friend David Ashley White has written an Easter anthem for choir and organ that sounds like it came out of the 19th century shaped-note tradition. (We talked about that tradition several months ago, here.) It is a rugged original tune with an equally athletic organ accompaniment. This was commissioned by the Mississippi Conference on Church Music and Liturgy in 2003

The communion anthem is an a cappella setting of the single word, "Alleluia." It was written by Cincinnati composer Rick Sowash, and published last year for choirs struggling to meet and rehearse in the pandemic. Written for two voices (women and men), it is an ingenious canon where the women begin with the melody, and men come 4 beats later, singing an exact duplication of the treble part. I thought it would be easy for the choir, but it has taken us one year to learn it! It is much harder than it looks!

The communion solo is that perennial favorite from Messiah, I Know that my Redeemer Liveth. Handel's masterpiece includes several movements that become required listening during the seasons of the church year. This beautiful soprano solo was last sung in 2020, at our virtual Easter service. Amy Bogan will again sing it in person for us this year.

I'm playing two pieces by Bach for Easter. The opening voluntary is actually an arrangement of a choral piece from his cantata for Trinity Sunday, but it's so festive and it's theme "Let Heaven and Earth Rejoice" is perfect for Easter. And the closing voluntary is the Prelude in G, with it's opening passage that just shoots upward like a rocket, reminding me of the resurrection.

Music for Holy Week

Maundy Thursday

Vocal Music

• As In that Upper Room – Carl Haywood (b. 1949)
• Three Holy Days Enfold Us Now – Carl Haywood
• According to thy Gracious Word – W. A. Mozart (1756-1791)

Instrumental Music

• Ubi Caritas – Gerald Near (b. 1942)
• Adoro te Devote – Gerald Near

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

• Hymn 439 - What wondrous love is this (WONDROUS LOVE)
• Hymn R289 - Jesu, Jesu, fill us with your love (CHEREPONI)
• Hymn R148 - Brother, let me be your servant (THE SERVANT SONG)
• Hymn R226 - Ubi Caritas et amor (UBI CARITAS)
• Hymn R235 - O sacred head, now wounded (HERZLICH TUT MICH VERLANGEN)
• Hymn 171 - God to dark Gethsemane (PETRA)
• Psalm 22 – IVe

Good Friday

Vocal Music

• Were you there? – Negro Spiritual
• Richard Murray, baritone

Instrumental Music

• As Jesus Stood Beside the Cross – Samuel Scheidt (1587-1654)
• O Sacred Head, Sore Wounded – Dietrich Buxtehude (1637-1707)

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

• Hymn 158 - Ah, holy Jesus, how hast thou offended (HERZLIEBSTER JESU)
• Hymn 474 - When I survey the wondrous cross (ROCKINGHAM)
• Hymn 441 - In the cross of Christ I glory (RATHBUN)

On Maundy Thursday the choir will sing two hymns by Carl Haywood, an eminent African-American composer in the Episcopal Church.

Carl W. Haywood, a native of Portsmouth, Virginia, has degrees from Norfolk State University, Southern Methodist University, (Master of Sacred Music in organ and Master of Music in choral conducting), and a Doctor of Musical Arts degree from the University of Southern California. 

Dr. Haywood is recognized as a superb choral conductor/organist with superior musical acumen.  His anthems, spirituals, and organ music are published by GIA, Walton, and Alliance Publishing companies. 

For twenty-six years he served as organist/choir director at Grace Episcopal Church, Norfolk and has served on the Liturgical Commission for the Diocese of Southern Virginia, the Standing Commission on Liturgy and Music for the Episcopal Church of America and as Director of Music for the Union of Black Episcopalians.

Dr. Haywood, who has sustained a long tenure at Norfolk State University, is a devoted teacher and friend of students and young musicians. A dynamic advocate of NSU, he is Director of Choral Activities and conducts the NSU Concert Choir and the Spartan Chorale. Dr. Haywood frequently serves as a clinician, adjudicator, guest conductor, and lecturer for schools, colleges, and churches throughout the country. He also serves as a National Conductor for the 105 Voices of History, the Historically Black Colleges and Universities Choir.

Music for April 10, 2022 + The Sunday of the Passion

Vocal Music

• Ride On, King Jesus – arr. Hall Johnson (1888-1970)
• O Savior of the World – John Goss (1800-1880)

Instrumental Music

• O Sacred Head, Now Wounded – Johannes Brahms (1833-1897)
• Ah, Holy Jesus – Johannes Brahms

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

• Hymn 154 - All glory, laud, and honor (VALET WILL ICH DIR GEBEN)
• Hymn 435 - At the name of Jesus (KING’S WESTON)
• Hymn R235 - O sacred head, now wounded (HERZLICH TUT MICH VERLANGEN)
• Hymn R214 - Your only Son, no sin to hide (LAMB OF GOD)
• Hymn R227 - Jesus, remember me (Taizé)
• Hymn 474 - When I survey the wondrous cross (ROCKINGHAM)

Two composers of the Romantic era are featured in the 10:15 service this Sunday, one of them being arguably more famous than the other. Let's look at the music of the lesser known composer.

Sir John Goss was an English composer, chiefly of English cathedral music and hymnody. His position in the London musical world was an influential one as a teacher, writer, composer and critic.

Born to a musical family, Goss was a boy chorister of the Chapel Royal, London, and later a pupil of Thomas Attwood, organist of St Paul's Cathedral. After a brief period as a chorus member in an opera company he was appointed organist of a chapel in south London, later moving to more prestigious organ posts at St Luke's Church, Chelsea and finally St Paul's Cathedral, where he struggled to improve musical standards.

As a composer, Goss wrote little for the orchestra, but was known for his vocal music, both religious and secular. In The Hymnal 1982 his tune LAUDA ANIMA is used as the setting for the hymn "Praise, My Soul, The King of Heaven" (#410). The music critic of The Times described him as the last of the line of English composers who confined themselves almost entirely to ecclesiastical music. One such composition is today's anthem, O Savior of the World. 

O Savior of the World uses as a text the prayer of adoration of the cross found in the Good Friday service (as well as the laying on of hands in the Ministration of the Sick in the Book of Common Prayer, p. 455). This had become one of the most popular Passiontide anthems, as much for congregations as for choirs. It has just the right combination of melodic interest and chordal structure, the later emphasising key words in such a way as to make the whole readily relevant to the listener. There is also just enough repitition of the words to emphasize the poignancy of "save us and help us."

The two organ voluntaries are settings of hymns commonly associated with the Passion, HERZLIEBSTER JESU (Ah, Holy Jesus, how hast thou offended, #158) and HERZLICH TUT MIR VERLANGEN (O Sacred head, sore wounded, #168), from Johannes Brahms's collection Eleven Chorale Preludes, Op. 122. 

Brahms may well be the greatest composer of the Romantic period. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. He wrote symphonies, concerti, chamber music, piano works, choral compositions, and more than 200 songs. The only major form in which he did not write was opera.

Brahms was the great master of symphonic and sonata style in the second half of the 19th century. His music is rooted in the structures and compositional techniques of the Classical masters such as Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven in a period when the standards of this tradition were being questioned or overturned by the Romantics.

Unlike the great classical masters, Brahms wrote several works for organ. The collection I am drawing from this morning, the Eleven Chorale Preludes, is a work written in 1896 at the end of the composer's life and published posthumously in 1902. They are based on verses of nine Lutheran chorales, two of them set twice, and are relatively short. 

The communion voluntary is the second of two variations on the PASSION CHORALE (O Sacred Head). This setting of the “passion” melody is remarkably uniform in texture.  The melody itself is placed in the pedals.  In the manuals, the almost hypnotic motion begins in an introduction.  The right hand, set in the tenor register, piano and molto legato, plays flowing, winding arpeggios in sixteenth notes.  The left hand has two voices, most notably a throbbing bass line with repeated notes. The changes of pitch in this bass line are slow and deliberate, but they actually reflect the notes, and even the rhythm, of the first line from chorale melody itself.  The upper left hand line is in longer notes.  

The closing voluntary is  based on hymn 158. The melody is heard in long, sustained notes on top, while the accompaniment has a three-note upbeat pattern throughout, while a shorter, downward leap pattern appears in the pedal. It is slow, majestic, and tragic.

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.

Music for Sunday, March 27, 2022

Vocal Music

• Lord, For Thy Tender Mercy’s Sake – Richard Farrant (c. 1525-1580)

Instrumental Music

• Rhosymedre – Ralph Vaughan Williams (1872-1958)
• My Song Is Love Unknown
• Prelude au Kyrie – Jean Langlais (1907-1991)
• Cwm Rhondda – Paul Manz (1919-2009)

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

• Hymn 690 - Guide me, O thou great Jehovah (CWM RHONDDA)
• Hymn R249 - Great is thy faithfulness (FAITHFULNESS)
• Hymn 686 - Come, thou fount of every blessing (NETTLETON)
• Hymn 693 - Just as I am, without one plea (WOODWORTH)
• Hymn 411 - O bless the Lord, my soul (ST. THOMAS (WILLIAMS))
• Psalm 32 – tone IIa

The English composer Ralph Vaughan Williams is the composer of this morning's opening voluntary. Vaughan Williams is one of the first composers who wrote in what you could call a “distinct English style”; he made a point of breaking away from the German style which had a profound influence on classical music forms like symphonies, concertos, and chamber music. His studies with Ravel likely had something to do with this. He was also interested in folk tunes of the British Isles, as evidenced by today's prelude.

"RHOSYMEDRE" is Vaughan Williams's best-loved work for organ. It is sometimes used for the Lenten hymn "My Song is Love Unknown." (Our hymnal uses the tune LOVE UNKNOWN.) Though originally written for pipe organ, it's been arranged for orchestra and almost every ensemble possible. (I've even heard it played by a saxophone quintet.) As usual, in his arrangements of British folk music, Vaughan Williams succeeds here in turning an apparently simple tune into a work of profound emotional impact. Renaissance cadences much in evidence, in this short but sweet work Vaughan Williams crafts a wistful piece of great beauty. It's one of my favorites, and one that I want played at my funeral one day.

Ralph Vaughan Williams in World War I

Vaughan Williams had a strong sense of integrity, in that he believed music should be accessible to everyone. He also believed in being of service to his fellow citizens, to the point that he signed up at age 42 when World War One broke out. He was an ambulance wagon driver and became a lieutenant in the Royal Artillery, being sent to fight in France in 1918. The constant sound of guns damaged his hearing and lead to his deafness in his old age. The war had an impact on his music, culminating in his Dona nobis pacem (“Grant us peace”) completed in 1936, at a time there must have been speculation of another war brewing.

A humble man, Ralph Vaughan Williams declined the honor of a knighthood. His ashes were interred at Westminster Abbey.

The communion voluntary is part of a larger work by French composer Jean Langlais called Hommage à Frescobaldi, written in 1952. This is the first piece in that collection, entitled, appropriately enough, "Prélude au Kyrie." It begins with a slowly-ascending melodic figure against suspended chords. When the opening material returns, halfway through, it is now accompanied by the pedal, which plays the chant theme from the Kyrie of the Mass "Cunctipotens genitor Deus."

Born in La Fontenelle, Brittany, France, a small village near by the Mont Saint-Michel, Jean Langlais became blind from the age of two. At the age of eleven, he was sent to the Paris National Institute for the Young Blind where he studied piano, violin, harmony and organ. Later, he entered the Paris National Conservatory of Music, obtaining a First Prize in 1930. 

In 1945, he became the successor to Cesar Franck and Charles Tournemire at the prestigious Sainte-Clotilde in Paris. He left that position in 1987 at the age of 80, having been organist for 42 years!

The closing voluntary is the well-known (at least among organists!) improvisation on our opening hymn this morning, CWM RHONNDA. (Guide me, O thou great Jehovah). It is by the American Lutheran composer Paul Manz. 

It's a little exuberant for the season of Lent, but today is Laetare Sunday, or the fourth Sunday in the season of Lent. Traditionally, this Sunday has been a day of celebration, within the austere period of Lent. It gets its name from the first few words of the traditional Latin Introit of the day from the Roman Catholic Mass, "Laetare Jerusalem" ("Rejoice, O Jerusalem"). Hence, I don't feel too badly that the opening of the piece sounds a lot like Handel's "Hxllelujxh" from Messiah.