Music for Sunday, October 2, 2022

Vocal Music

• O Lord, Increase My Faith – Henry Loosemore (c.1600 - 1670) (fl. 1627-1670)

Instrumental Music

• An Wasserflüssen Babylon (By the Waters of Babylon), BWV 653 – J. S. Bach (1685-1750)
• Ich ruf zu dir (I call on Thee, Lord Jesus Christ) – J. S. Bach
• Finale and Fughetta in C – Johann Kaspar Ferdinand Fischer (1656-1746)

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

• Hymn R 49 Let the whole creation cry (LLANDFAIR)
• Hymn 535 Ye servants of God, your Master proclaim (PADERBORN)
• Hymn From North and South (LASST UNS ERFREUEN)
• Hymn R 249 Great is thy faithfulness (FAITHFULNESS)
• Hymn 551 Rise up, ye saints of God (FESTAL SONG)
• Psalm 37:1-10 – Tone VIIIa

O Lord, Increase My Faith

In Sunday's Gospel, the apostles said to the Lord, “Increase our faith!” The Lord replied, “If you had faith the size of a mustard seed, you could say to this mulberry tree, ‘Be uprooted and planted in the sea,’ and it would obey you. (Luke 17:5-6)

The Good Shepherd Choir asks the same thing in this Sunday’s anthem.

O Lord, increase my faith,
strengthen me and confirm me in Thy true faith;
endue me with wisdom, charity, and patience,
in all my adversity, Sweet Jesu, say Amen.

Attributed for many years to the English composer Orlando Gibbons (1583-1625), modern scholarly research reveals the composer as Henry Loosemore, an English composer and organist. His father, John Loosemore, built the organ at Exeter Cathedral. Henry Loosemore served as the organist at King's College, Cambridge. In 1640, Loosemore was granted the degree of B.Mus by the University, on the supplication of King's College avowing that 'he had studied the art of musical composition for seven years, together with its practice, and has achieved approval of those skilled in the art.'

An Wasserflüssen Babylon

This chorale prelude by Johann Sebastian Bach is from a set known as The Great Eighteen, a set of chorale preludes for organ prepared by Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein (see below), the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ.

The hymn "An Wasserflüssen Babylon" is a paraphrase of Psalm 137, a lament in exile in Babylon. The gentle ritornellos of the accompanying parts in the two upper parts and pedal of this sarabande, anticipate the ornamented chorale in the tenor, evoking the mournful tone of the hymn, the "organs and harps, hung up on willow trees", based on Psalm 137. In a famous concert in 1720 on the great organ in St Catherine's Church in Hamburg, Bach had improvised for almost half an hour on the same hymn tune as a tribute to the church's organist Johann Adam Reinken and his celebrated fantasy on the same theme.

Ich ruf zu dir

At communion you will hear "Ich ruf zu dir" (BWV 639) from Orgelbüchlein by Bach, a famous collection of 46 Chorale Preludes for organ. The melodies of these Chorale Preludes are not by Bach, they are from the tradition of the Lutheran Church, but Bach works his magic on these miniatures. The music is in the key of F minor, described by J. P. Kirnberger, a pupil of Bach, as "the least pure, and thus the saddest."

The text was written by Johann Agricola (1494-1566) and published before 1530.

I call to You, Lord Jesus Christ!
I beg, hear my complaint!
Grant me grace at this time;
let me not despair!
The pure faith, Lord, I wish
that You would give me:
to live to You
to help my neighbor,
and to keep Your Word faithfully.

There are three voices - the bass line in the pedal, played as a steady, pulsating beat; the middle line, written in flowing 16th notes, imitative of the bowing style of a viola player, and the top line, playing the melody. The first half of the tune is somewhat ornamented, while the second half, curiously, is plain. This may be a signal to the performer to improvise similar ornamentation for the second half. On the other hand, it may be an intentional reflection of the shift of emphasis that occurs half way through the text, from a plaintive to a more sturdy and confident character. ("The pure faith..." "to keep your word faithfully.")

This work was included in the zero gravity scene in Andrej Tarkowski's movie "Solaris".

Finale and Fughetta

Johann Caspar Ferdinand Fischer was a German composer who influenced composers in the generation before J.S. Bach. He composed Italianate vocal compositions, liturgical organ works in the German tradition, and orchestral and keyboard works. Fischer was responsible for bringing a French influence into German music.

July 5, 2020 + The Fifth Sunday after Pentecost

Vocal Music

• The House I Live In – Music by Earl Robinson (1901-1991); words by Abel Meeropol (1903 –1986), Bruce Bailey, baritone

Instrumental Music

• Variations on “America” – Gary R. Smoke (21st C.)
• Prelude and Fughetta in C Major – Johann Kaspar Ferdinand Fischer (1656-1746)

Congregational Music (from the Hymnal 1982)

• Hymn 716 - God bless our native land (AMERICA)

The solo this Sunday is not a “sacred song,’ per se. It became a patriotic anthem in America during World War II, so I thought it would be good to remind us, today, what America means to us, all “races and religions,” as the song says.  The lyrics describe the wonderful things about the country, with images of the era like the grocer, the butcher, and the churchyard. The "house" is a metaphor for the country.

First introduced in the 1942 revue, Let Freedom Ring, it has lyrics by Abel Meeropol and music by Earl Robinson. Meeropol, who wrote it under the pen name Lewis Allan, had very liberal views and mixed feelings about America. He loved the constitutional rights and freedoms that America was based on, but he hated the way people of other races, religions, and political views were often treated. His lyrics do not reflect the way he thought America was but what it had the potential to be. With the country under attack, he wanted to express why it was worth fighting for.

It was first sung by Frank Sinatra for the 1945 short-subject film, The House I Live In. Made to oppose anti-Semitism at the end of World War II, the movie received an Honorary Academy Award and a special Golden Globe Award in 1946.

The song became a hit for Sinatra and was recorded by him several times. It was performed on radio, television, and in concert throughout his career, including at every stop of his 1974 national “Main Event” tour. Significantly, it was one of his final recordings (for the electronic duet with Neil Diamond).

Here's Sinatra's introduction to this song, live at Madison Square Garden in 1974:

It's a song about this great, big, wonderful, imperfect country. I say imperfect because if it were perfect it wouldn't be any fun trying to fix it, trying to make it work better, trying to make sure that everybody gets a fair shake and then some. My country is personal to me because my father, who wasn't born here, rest his soul, he made sure that I was born here. And he used to tell me when I was a kid that America was a land of dreams and a dreamland, well I don't know if our country fulfilled all of his dreams while he was alive, but tonight with all of us together for this hour, it sure fulfills my dreams. And to all of you in the country and all of you watching tonight, here's a song about a place we call home, probably the greatest nation ever put on this earth.

Our Handbell Choir includes two mother/daughter combinations, the Jenkins (Kathy, Bryn, and Meredith) and the Wilsons (Missy and Celeste). We could safely rehearse in three groups, 6 feet apart from each other, so we gathered to learn some arrangements of Patriotic songs for the Fourth of July.

The set of variations on “America” (or “God Save the Queen,” if you are a Royalist) is arranged by Gary Smoke, an organist, composer, and church musician from Alabama. He received a BM in Organ Performance and a MM and DMA in Music Composition from The University of Alabama.  His catalog of works includes an opera, orchestral music, choral music, organ music, piano music, and a large quantity of chamber music. He owns High Meadow Music Publishing, which specializes in handbell music.

He has been the organist at Mountain Brook Presbyterian Church near Birmingham since August 2004. 

Music for May 6, 2018 + The Sixth Sunday of Easter

Vocal Music

• Thanks be to God – Andreas Hammerschmidt (1611–1675)
• The Peace of God – John Rutter (b. 1945)

Instrumental Music

• Prelude on Dunedin – David Dahl (b. 1937)
• Communion – Richard Purvis (1913-1994)
• Finale and Fughetta in C– Johann Kaspar Ferdinand Fischer (1656 – 1746)

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

• Hymn 8 - Morning is broken (BUNESSAN)
• Hymn 455 - O love of God, how strong and true (DUNEDIN)
• Hymn 705 - As those of old their first fruits brought (FOREST GREEN)
• Hymn R249 - Great is thy faithfulness (FAITHFULNESS)
• Hymn 400 - All creatures of our God and King (LASST UNS ERFREUEN)
• Psalm 98:1-6 Cantate Domino – Tone IIa

We have two totally different choral offerings this morning. The first is an extroverted, almost bouncy anthem of thanksgiving by the German Bohemian composer and organist Andreas Hammerschmidt. Musicologists regard Hammerschmidt as the most representative composer of middle 17th century German church music, but his works are hardly known today, as he is overshadowed by the towering figure of Heinrich Schütz, whom he greatly admired and who once wrote a laudatory poem for one of Hammerschmidt's publications.

Hammerschmidt was born in Brüx in Bohemia, where his family belonged to the Protestant community. During the Thirty Years War Bohemia became Catholic again, and Hammerschmidt's father decided to move to Freiberg in Saxony. Very little is known about his musical education.

This happy looking man is Andreas Hammerschmidt. He's still mad that Schutz gets more attention.

In 1635 Hammerschmidt was appointed organist at the Petrikirche, and in 1639 he moved to Zittau, where he became the organist of the Johanniskirche. It was his last position, and here he composed the largest part of his music. The position of organist was increasingly important, as he was responsible for composing and performing all church music and directing the soloists from the school choir and the instrumental ensemble of town musicians. His activities as composer and performer not only made him a man of reputation, but also brought him considerable wealth.  His tombstone calls him the Orpheus of Zittau.

The other anthem which will be sung at communion is the lovely, lyrical The Peace of God by the English composer John Rutter. His gift of melody and captivating harmonies is evident in this quiet little peace based on a prayer from the 1662 Book of Common Prayer.

The peace of God which passeth all understanding, keep your hearts and minds in the knowledge and love of God, and of his Son Jesus Christ our Lord. and the blessing of God Almighty, the Father, the Son, and the Holy Ghost, be amongst you and remain with you always. Amen.

The opening voluntary is the Chorale Prelude on DUNEDIN, by Washington composer David Dahl. I'm playing it because this is the tune of the hymn prior to the Gospel this morning. This work was commissioned in 2016 by the Houston American Guild of Organist's National Convention, and had its premier at Christ Church Cathedral in  Houston.

David P. Dahl

You'll hear the tune three times. First, it is played on the oboe stop (left hand) against a obbligato on the flute (right hand.) Then the tune is heard in canon (like a round) with the right hand playing on a combination of flute sounds at different pitches, and the left hand coming in a measure later using the principals. The third and final reiteration combines the melody, this time played by the feet on a loud trumpet sound, while the hands play bold, fanfare-like interjections.

David P. Dahl is Professor of Music and University Organist Emeritus from Pacific Lutheran University, Tacoma, WA, retiring in 2000 after thirty-five years of teaching. In August, 2010, he retired as Director Emeritus of Music Ministries at Christ Episcopal Church, Tacoma, where served for forty years. 

Here's a NERD ALERT. When I was a teenager, and first interested in the organ, my grandmother had a Reader's Digest Record Collection called "The Organ Plays Golden Favorites," four LPs of four well-known American organist of both the legit (classical) and theatre organ worlds. One of the artists I was introduced to was Richard Purvis, the long-time organist of Grace Cathedral in San Franciscon. One of the things that intrigued me about Purvis was the story on the album sleeve that, years ago, as a high school boy, he was well known as a theatre organist under the name "Don Irving." Don Irving dissappeared, but Richard Purvis went on to study at the Curtis Institue of Music in Philadelphia. It also said he was well known as a composer, particularly famous for two compositions, his setting of "Greensleeves" and "Communion." I've heard several people play "Greensleeves" over the years, but the only person I know that plays "Communion" is me!

"Communion" is a quiet, contemplative piece, with a melody in the style of Gregorian Chant, accompanied by sustained chords played on the strings. This work was no doubt written for the organ at Grace Cathedral, an Aeolian-Skinner pipe organ with over 7000 pipes, with a string division larger than most normal-sized church organs!

Music for October 9, 2016 + The Twenty-first Sunday after Pentecost

Vocal Music

• Amazing Grace – arr. Ed Lojeski
• Hide Me Under the Shadow of thy Wings – John Ebenezer West (1863-1929)

Instrumental Music

• Adagio – Franz Liszt (1811-1886)
• Fantasy – Daniel Elder (b. 1986)
• Praeludium and Fughetta in E – Johann Kaspar Ferdinand Fischer (1656-1746)

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

• Hymn 427 - When morning gilds the skies (Laudes Domini)
• Hymn 424 - For the fruit of all creation (East Acklam)
• Hymn R4 - Lord, I lift your name on high (Rick Founds)
• Hymn R191 - O Christ, the healer (Erhalt uns, Herr)
• Hymn R232 - There is a redeemer (Green)
• Hymn 397 - Now thank we all our God (Nun danket alle Gott)
• Psalm 111 Confitebor tibi – Tone IVe

Ed Lojeski

The choir is back down by the piano this Sunday as we sing a gospel-style arrangement of that old favorite Amazing Grace. It is arranged by Ed Lojeski, Director of Music at Westminster Presbyterian Church in Westlake Village, CA. But he is much more than a typical church choir director; in addition to being a choral/vocal arranger and composer, he has served as accompanist and musical consultant for movie productions and on TV films. Mr. Lojeski has served as pianist-conductor and/or vocal coach for Elvis Presley, Johnny Mathis, Kathryn Grayson, The Lettermen, Tony Martin, Cyd Charisse and many others. Choral groups under his direction have appeared on television, at the Hollywood Bowl, and on tour in Europe, Australia and Hawaii.

Ed Lojeski is acknowledged as one of the finest choral arrangers of pop music in the business today. Admittedly, this arrangement of the old hymn has more Hollywood than heaven about it, but it's fun to sing and is a nice change from our usual, more sophisticated fare.

Franz Liszt as a young virtuoso

The most famous of piano virtuosos of the Romantic era (19th century) and still one of the most highly regarded was Franz Liszt. Born in Hungary but educated in Paris, he began touring across Europe to the same kind of adulation that later pop stars such as Frank Sinatra and The Beatles experienced in their concerts.) He was a spectacular pianist, and his dashing good looks made the women swoon even more. He continued touring until 1848,  when Liszt gave up public performances on the piano and went to Weimar, acting as conductor at court concerts and at the theatre. He also gave lessons to a number of pianists and wrote articles championing the music of Berlioz and Wagner.

Liszt in 1886, after taking
holy orders.

In 1861 Liszt retired from music and joined the Franciscan order in 1865, receiving four Minor Orders of the Catholic Church (namely, Porter, Lector, Exorcist and Acolyte). He had always felt a calling to the church, being a devout Roman Catholic, and in his retirement was no longer hindered in his quest. It was during this time that he wrote many of his smaller organ organ works which fit in with the religious aesthetic needed for liturgical use. The piece I am playing for the prelude this morning comes from the first year of his retirement. In it, you can hear the same harmonies, chord progressions, and melodic turns that one comes to expect from the late Romantic music of Wagner.

 I love finding new composers. Recently, I ran across some You Tube videos of some choral music by a young man from Atlanta named Daniel Elder. His choral music was beautiful (look for something in the coming months sung by the GS Choir). I also found his "Piano Rhapsody," his first composition for the instrument, written while he was a student at the University of Georgia in 2008. In true Rhapsody style, it has several different sections which it doesn't strictly follow any real form.

Daniel Elder,
(c) 2016 Natalie Watson Photography

Critics have hailed his works as “deeply affecting” and "without peer," with emotional evocations ranging from lush lyricism to jagged polyphony. Daniel’s compositions have been performed extensively in the USA and abroad, including a recording at Abbey Road Studios by the Grammy-award-winning Eric Whitacre Singers. The first commercial album of Daniel's choral works, "The Heart's Reflection: Music of Daniel Elder," was released in October 2013 by Westminster Choir College (Princeton, NJ) and Naxos of America, and debuted at #53 on the overall classical Billboard chart. Daniel’s choral music is currently published by Carus Verlag, Edition Peters, GIA Publications, and Walton Music, and his instrumental music by Imagine Music and Wingert-Jones Publications.
He's a year younger than my oldest child. I feel old.

Check out his You Tube channel here.