Music for September 11, 2022

Vocal Music

• Now Let Us All Praise God and Sing – Gordon Young

Instrumental Music

• Prelude and Fugue in D Minor – Clara Schumann (1819-1896)
• Prelude on St. Columba – Healey Willan (1880-1968)
• Sinfonie from Cantata 29: We Thank Thee, God – J. S. Bach (1685-1750)

Congregational Music (all hymns from The Hymnal 1982.)

• Hymn 410 - Praise, my soul, the King of heaven (LAUDA ANIMA)
• Hymn 470 - There’s a wideness in God’s mercy (BEECHER)
• Hymn 401 - The God of Abraham Praise (LEONI)
• Hymn 571 - Amazing grace (NEW BRITAIN)
• Hymn 708 - Savior, like a shepherd lead us (SICILIAN MARINERS)
• Psalm 51:1-4, 7-8, 11 – Tone VIIIb

Now Let Us All Praise God and Sing

This morning we sing an anthem by twentieth-century American organist and choral and organ composer Gordon Young.  Dr. Young was awarded 18 consecutive annual composition awards from The American Society of Composers, Authors, and Publishers. His works works total over 800, and a number of his church anthems such as this one have become standard repertoire.  These are Young's words which speak the praise of God within all our hearts expressed as “Alleluia”, an early Hebrew expression of praise which literally means "Praise to Yahweh" or "Praise God!"

Prelude and Fugue in D Minor

There are not many female composers, especially from the past. One of the few is Clara Schumann, the wife of the composer/pianist Robert Schumann. As a pianist, she was as good or better than Robert, but as a composer we will never know. He wrote over 150 pieces. She wrote only a fraction of that.

Though she had been encouraged by her father to compose as part of her musical education, she became more preoccupied with other responsibilities in life as she grew older, and found it hard to compose regularly. "I once believed that I possessed creative talent," she said, "but I have given up this idea; a woman must not desire to compose – there has never yet been one able to do it. Should I expect to be the one?" Her husband also expressed his concern:

"Clara has composed a series of small pieces, which show a musical and tender ingenuity such as she has never attained before. But to have children, and a husband who is always living in the realm of imagination, does not go together with composing. She cannot work at it regularly, and I am often disturbed to think how many profound ideas are lost because she cannot work them out."

The work you will hear today for the opening voluntary is a Prelude and Fugue which was originally written for piano, but I think it works equally well on the organ. The prelude and fugue form was an old compositional form, dating back to the days of Bach and Buxtehude. One can see in this composition that Clara was well-versed in music of other eras.

Sinfonie from Cantata 29: We Thank Thee, God, We Thank Thee

A concerto is a work for solo instrument or instruments accompanied by an orchestra, especially one conceived on a relatively large scale. Bach never wrote such a work for organ and orchestra, so the closest we can come is this Sinfonie (overture or prelude) to his Cantata 29 

This work may have a familiar sound to listeners who do not already know this cantata: it is an arrangement of the Prelude from the Partita in E major for unaccompanied violin: 

The treble of the obbligato organ part plays the famous partita tune, transposed here from E major down a step to D major. Bach added trumpet and drum parts here for punctuation, and to make the opening line even more festive than the mood created by the partita theme alone. String and oboe parts provided additional reinforcement. It is unusual to find an obbligato organ part – more importantly, an independent organ part which is separate from the continuo. Was this a showcase for Bach’s own organ virtuosity? Or did Bach serve as a conductor here for the larger than usual cantata ensemble, while someone else – one of his talented sons? – stood at the organ?

Music for Sunday, September 22, 2019

Vocal Music

• Psalm 113 – Edward Bairstow (1874-1946)
• I Choose Love – Mark A. Miller (21st Century)

Instrumental Music

• Solemn Melody – H. Walford Davies (1869-1941)
• Prelude in B-flat – Clara Schumann (1819-1896)
• Toccata in D Minor – Max Reger (1873-1916)

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

• Hymn 475 - God himself is with us (TYSK)
• Hymn 605 - What does the Lord require (SHARPETHORNE)
• Hymn R 255 - Give to our God immortal praise (DUKE STREET)
• Hymn 488 - Be thou my vision (SLANE)
• Hymn 676 - There is a balm in gilead (BALM IN GILEAD)
• Hymn 390 - Praise to the Lord, the Almighty (LOBE DEN HERREN)

This Sunday the choir is singing a very simple but powerful anthem written by Mark A. Miller, a Associate Professor of Church Music and Composer In Residence at Drew University in Madison, New Jersey. Written in response to the tragic massacre at the Mother Emanuel A.M.E. Church in Charleston, South Carolina in June 2015, this anthem represents our solidarity to love in the midst of pain, of war, of brokenness. We choose love. We choose community. What better way to share this message than through powerful song?  I have been humming the tune all week, and allowing the words to wash over me and nurture my soul. I hope they will do the same for you:

In the midst of pain, I choose love.
In the midst of pain, sorrow falling down like rain,
I await the sun again, I choose love.

In the midst of war, I choose peace.
In the midst of war, hate and anger keeping score,
I will seek the good once more, I choose peace.

When my world falls down, I will rise.
When my world falls down, explanations can’t be found,
I will climb to holy ground, I will rise.

In addition to his post at Drew, Miller is a Lecturer in the Practice of Sacred Music at Yale University and Minister of Music of Christ Church in Summit, New Jersey and Composer in Residence of Harmonium Choral Society in NJ. From 2002-2007 he was Director of Contemporary Worship at Marble Collegiate Church and from 1999-2001 was Assistant Organist and Music Associate at the Riverside Church, both in New York City. Since 1999 he has travelled to every part of the country delighting congregations with the power and joy of music making. Mark received his Bachelor of Arts in Music from Yale University and his Master of Music in Organ Performance from Juilliard.

Music for Sunday, April 22 + Good Shepherd Sunday

Vocal Music

• The Lord is My Shepherd – Allen Pote (b. 1945)
• Savior, Like a Shepherd Lead Us – William Bradley Roberts (b. 1947)

Instrumental Music

• Variations on “St. Columba” – Don Freudenberg (1939-2007)
• Prelude in D Minor, Op. 16, No.3a – Clara Schumann (1819-1896)
• Prince of Denmark’s March – Jeremiah Clarke (1674-1707)

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

• Hymn 518 - Christ is made the sure foundation (WESTMINSTER ABBEY) 
• Hymn 417 - This is the feast of victory (FESTIVAL CANTICLE)
• Hymn 208 - The strife is o’er, the battle done (VICTORY)
• Hymn 380  - From all that dwell below the skies (OLD 100th)
• Hymn R106 - The King of love my shepherd is (ST. COLUMBA)
• Hymn R226 - Ubi caritas (Taize)
• Hymn 343 - Shepherd of souls, refresh and bless (ST. AGNES)
• Psalm 23 - Dominus regit me - setting by Hal H. Hopson

The fourth Sunday after Easter is traditionally referred to as "Good Shepherd Sunday,"  the name coming from the gospel reading for the day, which is always the tenth chapter of John's Gospel. In this reading Christ is described as the "Good Shepherd" who lays down his life for his sheep. Our two anthems reflect that description, one being a setting of the 23rd Psalm, and the other a setting of the hymn "Savior, Like a Shepherd Lead Us." Both of these were composed by men who have Houston connections.

The Lord is My Shepherd was written by Allen Pote. A native of Halstead, Kansas, and educated at Texas Christian University, he has served Memorial Drive Presbyterian Church in Houston as director of music. He is currently a full-time composer living in Pensacola, Florida, where, with his wife Susan, he was founder of the Pensacola Children's Chorus, an organization of over 200 singers which has achieved national recognition. He has collaborated with Tom Long for several very successful children's musicals, including The Three Trees, which our children's choirs have performed several times.

The composer of the communion anthem, Savior, Like a Shepherd Lead Us, is William Bradley Roberts is an Episcopal priest who is Professor of Church Music at Virginia Theological Seminary (Episcopal) in Alexandria. Previously he was Director of Music at St. John's, Lafayette Square, in Washington, D.C. Prior to this, he was in similar positions in Tucson, Ariz., Newport Beach, Calif., Louisville, Ky., and Houston, where he got his undergraduate degree at Houston Baptist University. 

The opening voluntary is a set of variations on the communion hymn, The King of Love My Shepherd Is. This Gaelic hymn tune appears in over 125 hymnals under the tune name St. Columba after the Irish abbot and missionary credited with spreading Christianity in the 6th century in what is today Scotland. He founded the important abbey on Iona. These variations were written by Don Lee Freudenburg, a Lutheran pastor and musician who served churches in New York State and Missouri.

The communion voluntary is a piano piece by Clara Wieck Schumann, a German musician, who was one of the leading pianists of the Romantic era, as well wife of composer Robert Schumann.

Clara Schumann was trained from the age of 5 with her father, the well-known piano teacher Friedrich Wieck. She had a brilliant career as a pianist from the age of 13 up to her marriage to Schumann which was opposed by her father.

Clara Schumann

She continued to perform and compose after the marriage even as she raised seven children. An eighth child died in infancy.  In fact, she was the main bread winner, making money by performing - often Robert Schumann's music. She continued to play not only for the financial stability, but because she wished not to be forgotten as a pianist. She had grown up performing and desired to continue performing. Robert Schumann, while admiring her talent, wanted a traditional wife to bear children and make a happy home, which in his eyes and the eyes of society were in direct conflict with the life of a performer. Furthermore, while she loved touring, Robert Schumann hated it and preferred to sit at the piano and compose.

Clara Schumann considered herself a performing artist rather than a composer and no longer composed after age 36. It is suggested that this may have been the consequence of the then prevalent negative opinions of women's ability to compose, which she largely believed as her statements show: "I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose - there has never yet been one able to do it. Should I expect to be the one?" 

However, today her compositions are increasingly performed and recorded. Her works include songs, piano pieces, a piano concerto, a piano trio, choral pieces, and three Romances for violin and piano. Inspired by her husband's birthday, the three Romances were composed in 1853 and dedicated to Joseph Joachim who performed them for George V of Hanover. He declared them a "marvelous, heavenly pleasure."

If you don't know the closing voluntary, go back under your rock. You may, however, think of it as the Trumpet Voluntary by Henry Purcell, but it is really the The Prince of Denmark's March written c. 1700 by English baroque composer Jeremiah Clarke (who was the first organist of the then newly rebuilt St Paul's Cathedral). I'm not going to tell the story here, but there is a fun piece in the Houston Press about Clarke which you can read here: Why you shouldnt play trumpet voluntary at your wedding.. I disagree. It's better than "Here comes the Bride." (and I KNOW you finished that title in your head.)