Music for April 10, 2016 + The Third Sunday of Easter

Vocal Music

• A Song to the Lamb – Donald Pearson (b. 1953)
• Dona Nobis Pacem – traditional round

Instrumental Music

• Second Suite: Air – Jean Joseph Mouret (1682-1738)
• Premiere Suite: Rondeau – Jean Joseph Mouret

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

• Hymn 182 - Christ is Alive! Let Christians sing (Truro)
• Hymn 255 - We sing the glorious conquest before Damascus’ gate (Munich)
• Hymn R18 - Come, let us with our Lord arise (Sussex Carol)
• Hymn R202 - Sing alleluia to the Lord (Sing Alleluia)
• Hymn 535 - Ye servants of God, your Master proclaim (Paderborn)

Easter joy continues this Sunday with a festive anthem by Donald Pearson, Director of Music and Organist at St. Ignatius of Antioch Catholic Parish, Antioch, California. He had been Director of Music and Organist for the Episcopal Cathedral of St. John the Evangelist in Denver, Colorado for almost 25 years and had established a program of national and international prominence. It was for this choir that he wrote his setting of the canticle Dignus Est, which is based on the verses from Revelation that we will hear today in worship. Though written for congregational involvement, we are singing it as a choir anthem. Listen for the antiphon (refrain) which begins the piece and appears after every few verses. Handbells and finger cymbals give the anthem a truly festive touch.

Long-time fans of PBS's Masterpiece Theater will no doubt recognize the closing voluntary this Sunday. It is the theme song of that venerable series, often referred to as "Theme from Masterpiece Theatre." However, it's originally from one of the two Suites de symphonies (1729) by the French Baroque composer Jean Joseph Mouret. The first suite, renowned for its Masterpiece Theatre theme, is entitled "Fanfare for trumpets, timpani, violins, and oboes" and dedicated to the son of the Duchess of Maine, the Prince of Dombes.  The Second Suite contains the opening voluntary for this Sunday, a lyrical if unassuming piece simply entitled Air. Unlike the rich chords of the Rondeau, it is only in two parts, played on nothing but 8' and 2' flutes on contrasting manuals.

Mouret is an interesting subject. He had a career including vast popularity and a sudden fall from success. His father was a silk merchant and avid amateur violinist who saw to it that his son received complete instruction in music. Details of this education are unknown, but musical historians consider it likely that it occurred in the choir school of Notre Dame des Doms, an important regional church.

Mouret's family's wealth, his charm, and his lovely singing voice made him welcome in the best company. By 1707, he was in Paris, where he was appointed music master for the Marshall of Noailles. By 1709, he had the position of Director of music at the court of Sceaux. In 1714 to 1718, he was the orchestra director of the Paris Opéra and in 1717 he became director of the Italian Theater. In an age when Greek tragedies, pastoral romances, and historical operas were de rigeur, Mouret was bold enough to introduce comedy into his operas.

In 1718, he was given a royal privilege to publish music and in 1720 was appointed an ordinaire du Roy, as singer in the King's chamber. He was music director of the Concert Spirituel from 1728 to 1734. This appointment marked the beginning of the end of his great success, for the Concert Spirituel had financial and legal problems that affected him personally. In 1734, the troubled institution was taken over by the Académie Royale de Musique, which fired Mouret. In 1736, the Duke of Maine died and Mouret lost his position at Sceaux. In 1737, the Italian Theater had a change of policy that resulted in Mouret losing that job as well. Within four years, he had lost all sources of income and was essentially maintained as a charity case by the Prince of Carignan, who annually gave him a pension.

It is intriguing to note that George Frideric Handel went through periods of such reverses but was able to find a way to have a comeback. Mouret was not as fortunate or resilient; his spirit was progressively broken by all of these career misfortunes and in 1737, he began to go mad. Just after his 50th birthday, he was placed in the care of the Fathers of Charity at Charenton and died in that institution eight months later. (from the AllMusic.com biography by Joseph Stevenson.)