Music for Sunday, August 28, 2022 + The Twelfth Sunday after Pentecost

Vocal Music

• Christ Has No Body Now but Yours – David Ogden (b. 1966)

Instrumental Music

• Aria – Flor Peeters (1903-1986)
• Prelude on “Michael” (hymn 665) – Charles Callahan (b. 1951)
• Voluntary on “Was Lebet” (Hymn 568) – Christopher Tambling (1964 - 2015)

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

• Hymn 423 - Immortal, invisible, God only wise (ST. DENIO)
• Hymn 598 - Lord Christ, when first thou cam’st to earth (MIT FREUDEN ZART)
• Hymn - From North and South (LASST UNS ERFREUEN)
• Hymn 321- My God, thy table now is spread (ROCKINGHAM)
• Hymn 477 - All praise to thee, for thou, O King divine (ENGLEBERG)
• Psalm 112 – Tone IIa

Christ Has No Body Now But Yours

Such a long, unwieldy title for simple tune. It's actually just the first line of the prayer attributed to Teresa of Ávila, a Spanish noblewoman who was called to be a nun in the 16th century. She wrote this prayer

Christ has no body but yours,

No hands, no feet on earth but yours,

Yours are the eyes with which he looks

Compassion on this world,

Yours are the feet with which he walks to do good,

Yours are the hands, with which he blesses all the world.

Yours are the hands, yours are the feet,

Yours are the eyes, you are his body.

Christ has no body now but yours,

No hands, no feet on earth but yours,

Yours are the eyes with which he looks

compassion on this world.

Christ has no body now on earth but yours.

It has been set to music by David Ogden, a professional conductor and composer based in Bristol, U.K. He is Director of Music at Holy Trinity Church, Westbury-on-Trym, Bristol where he trains and directs three choirs of young people and adults as part of the church’s active music program. In addition, he conducts the vocal ensemble Celestia, Exultate Singers, City of Bristol Choir, workplace choirs at Airbus, Arval and Bristol Beacon, and in his post of Head of the Bristol Choral Centre, he organizes and directs the 140 strong Bristol Youth Choirs in association with Bristol Music Trust.

One of the things that most fascinates me the most is that he was the Religious Music Adviser for the PBS series Call The Midwife. It is one of my most favorite shows, and I always admired how the sacred music employed on the show fit the storyline so well.

Aria

Flor Peeters was a Belgian composer, organist and academic teacher. He was director of the Conservatorium in Antwerp, Belgium, He retired in 1968 and was given the assignment of an International Masterclass in the cathedral of Mechelen by the Ministry of Flemish Culture. He fulfilled this task until his death. He was organist at Mechelen Cathedral from 1923 to his death in 1986. Each Sunday after High Mass, between 1968 and 1986, he performed a short recital for friends and tourists. He kept his large repertoire in good condition and this playing was a necessity for him as a mean of communicating beauty to others.

Flor Peeters was made doctor honoris causa in music by the Catholic University in Washington (1962) and by the Catholic University of Louvain (1971).Also in 1971 King Baudouin of the Belgians gave him the title of baron. A few weeks before his death he received the State Award for an artistic career from the Belgian Government.

Prelude on "Michael" and Voluntary on "Was Lebet"

Two of the hymns that were appropriate for the scripture readings this Sunday but remain unfamiliar to our congregation are hymns 665 (All our hope on God is founded, sung to the tune MICHAEL) and 568 (Father all loving, who rulest in majesty, sung to the German chorale WAS LEBET.) The text for hymn 665 is a translation of a German hymn from the 17th cenutry, but set to a tune from the 20th century. The text for 568 is a contemporary text from the 20th century but set to a German tune from the 18th century.

Music for August 9, 2020 + The Tenth Sunday after Pentecost

Vocal Music

• I Choose Love – Mark Miller

Instrumental Music

• Aria - Flor Peeters (1903-1986)
• Mohrentanz (La Mourisque) – Tyman Susato (c. 1510/15 – after 1570)

Congregational Music (all hymns from the Hymnal 1982.)

• Hymn 608 - Eternal Father, Strong to Save (MELITA)
• Song of Praise Hymn 421 - All Glory be to God on High (ALLEIN GOTT IN DER HÖH)

Mark Miller

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, and that's exactly what you'll hear this Sunday in the piece our choir will sing at the offering. This soulful anthem, written in response to the tragic events that occurred at Emmanuel African Methodist Episcopal Church in Charleston, North Carolina in 2015, is a testament to the power of forgiveness and peace. I chose it even as our community was still knee-deep (literally) in post-Harvey pain, and it is even more appropriate the week after the tragedy in Las Vegas.

It is written by the contemporary composer Mark Miller. He is on the faculty at both the Drew Theological School and the Institute of Sacred Music at Yale University where he teaches music and worship. He also is 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.  Miller received his Bachelor of Arts in Music from Yale University and his Master of Music in Organ Performance from Juilliard.

As the the son, grandson, brother, and cousin of United Methodist clergy, Mark Miller believes in Cornel West’s quote that “Justice is what love looks like in public.” He also passionately believes that music can change the world. This is never more obvious than today's anthem, I Choose Love. Here is
Miller’s Reflection on his composition:

“Father, forgive them for they know not what they do.”

The gospel stories of Jesus’ life, death, and resurrection continue to inspire, uplift, and amaze me. They inspire, uplift, and amaze because Jesus consistently chooses love. When it would be easier for him to appease with the powerful religious leaders and Roman backed authorities he chooses love. Even as his friends disappear and the crowds that once shouted “hosanna” turn on him with shouts of “crucify,” he chooses love. Even after betrayal and humiliation, even when he is dying, he chooses love.

The words to the song “I Choose Love” are by my friend Lindy Thompson, written in response to the murder of nine people who were at their church bible study. The people of Emmanuel African Methodist Episcopal Church of Charleston, S.C., chose love when they offered forgiveness in the face of hatred and violence.

We always have a choice. Every day we have a choice–how will the events of your day and your life affect you? It’s the challenge of the witness of Jesus–the challenge of a truly faithful life–a daily spiritual discipline for each of us to rise up every day and say “I choose love.”

Tylman (or Tielman ) Susato was a Renaissance composer, instrumentalist and publisher of music in Antwerp. In 1543, he founded the first music publishing house using movable music type in the Low Countries. Until Susato set up his press, music printing had been done mainly in Italy, France and Germany.

Susato was also an accomplished composer. He wrote (and published) several books of masses and motets which are in the typical imitative polyphonic style of the time. He also wrote two books of chansons which were specifically designed to be sung by young, inexperienced singers: they are for only two or three voices.

Susato also was a prolific composer of instrumental music, and much of it is still recorded and performed today. He produced one book of dance music in 1551, Het derde musyck boexken ... alderhande danserye, composed of pieces in simple but artistic arrangement. Most of these pieces are dance forms (allemandes, galliards, and so forth).

Tielman Susato offers his Chanson book to Maria
of Hungary, governess of the Netherlands.

Music for June 7, 2020 + Trinity Sunday

Vocal Music

• When You Believe from The Prince of Egypt - Stephen Schwartz (b. 1948) Emily VanNostrand, soloist

Instrumental Music

• We All Believe in One True God – J. S. Bach (1685-1750)
• Prelude on “Nicea” – Flor Peeters (1903-1986)

Congregational Music (all hymns from the Hymnal 1982)

• Hymn 362 -  Holy, holy, holy (NICEA)
• Hymn 421 - All Glory be to God on high (ALLEIN GOTT IN DER HOH)
• Hymn S-236 -  Canticle 13: A Song of Praise – John Rutter

It’s been 22 years since the animated feature film The Prince of Egypt debuted and won an Oscar for the ballad When You Believe, written by Wicked composer Stephen Schwartz. But its availability on DVD and streaming services has kept it in the eye and ear of the public. That's why when trying to think of a song for Emily VanNostrand to sing, the 10-year old could easily suggest When You Believe.

Stephen Schwartz

For those of you without a child (or grandchild) in the house, The Prince of Egypt is based on the Book of Exodus and follows the story of Moses and his brother, the Pharaoh Ramses. The movie has since been recrafted as a stage musical, premiering in California in 2017. (It had just had its London premiere at the end of February before becoming another casualty of Covid-19).


The lyrics as well as the music are by Stephen Schwartz. We decided that When You Believe would be a perfect song for us living through one of the most trying times of our recent history.

Many nights we've prayed,
With no proof anyone could hear.
In our hearts a hopeful song we barely understood.
Now we are not afraid,
Although we know there's much to fear.
We were moving mountains long before we knew we could

There can be miracles when you believe.
Though hope is frail it's hard to kill.
Who knows what miracles you can achieve
When you believe, somehow you will,
You will when you believe.

In this time of fear, when prayer so often proved in vain.
Hope seemed like the summer birds
Too swiftly flown away.
Yet now I'm standing here,
With heart so full I can't explain.
With heart so full,
Seeking faith and speaking words I never thought I'd say.

If you listen closely, after the second verse, you'll hear a fragment of the old hymn "There Is A Happy Land Far, Far Away." I don't know if it was Schwartz or the arranger of the music who decided to add this hint of hope to the music, but you'll hear it again in the piano part at the very end of the solo.

The opening voluntary is J. S. Bach’s setting of the chorale, “Wir glauben all’ an einen Gott (We all believe in one God, Father, Son, and Holy Ghost), the Lutheran version of the Catholic CREDO. All Bach’s skills converge in this setting to make it a perfect example of his fundamental appeal. The hands are playing a fughetta which begins on the offbeat, creating total rhythmic uncertainty with the syncopation maintained throughout .This is  against a recurrent pedal line which is  stamping up an octave in thirds and then bounding stepwise downward this utterly memorable shape. Edward Elgar likened it to “tumbling down stairs.” This recurs six times plus one wonderful final intensification.

I like to play this on Trinity Sunday, the day we meditate on the mystery of the God-head, one in three persons (though there is nothing meditative about this piece!).

The quintessential hymn for Trinity Sunday is "Holy, Holy, Holy," and not only are we singing that hymn in the service, but my closing voluntary is a short prelude based on the hymn's tune, NICEA, written by Flor Peeters, a Catholic organist from Belgium. He was organist at the same church, the National Cathedral in Mechelen, from the 1920s until his death in 1986.

Flor Peeters

My friend and colleague, Dr. Linda Patterson, at St. Andrew's in Bryan, Texas, wrote her dissertation on the music of Peeters. She told me that he excelled in settings of the Gregorian chant, and after it was successful, he took on the enormous Op. 100 collection (the largest collection of organ chorales by a single composer) based on tunes that were provided to him through his publisher, C. F. Peters, compiled by American Lutheran musician Walter Buzsin who knew which tunes would be the most-often-used in American churches.  That collection is in 24 volumes, with over 213 chorales!

He toured the US many times, giving 300 recitals in American venues, and did a yearly Church Music Conference at Boys' Town, Nebraska.

Music for February 28, 2016 + The Third Sunday in Lent

Vocal Music

• Lord, for Thy Tender Mercy’s Sake - – Richard Farrant (c.1530-1580) or John Hilton (1565-1708?)

Instrumental Music

• Prelude in Classic Style – Gordon Young (1919-1998)
• Aria (Op. 51) - Flor Peeters (1902-1986)
• My Shepherd Shall Supply My Need - Jessie S Irvine (1836 – 1887)

Congregational Music (all hymns from the Hymnal 1982.)

• Hymn 143 - The glory of these forty days (Erhalt uns, Herr)
• Hymn 648 - When Israel was in Egypt’s land (Go Down, Moses)
• Hymn 142 - Lord, who throughout these forty days (St. Flavian)
• Hymn 685 - Rock of ages, cleft for me (Toplady)
• Hymn 344 - Lord dismiss us with thy blessing (Sicilian Mariners)

I'm out of town for the weekend, and in my absence, Jill Kirkonis will be playing the organ, and Mac Jones will direct the choir. The choir's anthem will be a choral setting of a sixteenth century prayer by Henry Bull, set to music by either Richard Farrant or John Hilton, both English composers of sacred music. Farrant was organist at St. George’s Chapel, Windsor, in the middle of the sixteenth century, while Hilton was known as a counter-tenor and organist, most notably at Trinity College, Cambridge. In the beginning, the music is in a simple, a capella, hymn-like style which befits the reflective and restful mood of the text, but at the words "that we may walk in a perfect heart" the choir has a chance to play around with the rhythms of the words and sing much more independently of each other, finally ending with a contrapuntal "amen."

During communion you'll hear Aria by Belgian organist Flor Peeters. Peeters was one of the most renowned organists and composers for organ of the twentieth century. He attended the Lemmens Institute in Mechelen where he won the highest award, the Lemmens-Tinel Prize and at the age of twenty  was appointed a professor at the Institute. In addition, in 1923, he became assistant organist at the Cathedral of St. Rombout in Mechelen. In 1925, Peeters was appointed to succeed his former teacher at the Lemmens Institute as professor of organ.

He began to write what would become a large catalog of organ music and sacred choral works. He was particularly masterful in his use of the variation forms. Hi interest in Gregorian chant often influenced his slower music and sometimes forms the basis of longer compositions. In 1943, he completed his Practical Method for Accompanying Gregorian Chant.

Germany attacked and occupied both Belgium and the Netherlands in 1940. Peeters refused to perform for the German occupiers. As a result, his passport was confiscated. Nevertheless, he was permitted to travel regularly across the border between Belgium and the Netherlands in order to continue his teaching at Tilburg, and, in the course of doing this, he carried secret messages between the authorities of the cathedrals of these two countries.

Flor Peeters

The Aria dates from the War years; it originated in 1943 as the slow movement of a Sonata for trumpet and piano, and it is still a permanent fixture on exam syllabuses for aspiring young trumpeters. Peeters also arranged it for violin, for cello, and for solo organ, and it is in this form that we hear today. The expressive melody unfolds above an accompaniment of soft repeated chords—a technique that Peeters used to equally telling effect in the slow movement of the Organ Concerto. As in so much of his finest work, there is a simplicity and sincerity in this music that speaks directly to the heart.