Music for October 14, 2018

Vocal Music

• Prayer – Mark Schweitzer (b. 1956)

Instrumental Music

• Partita on “St. Anne” – Paul Manz (1919-2009)
• I. Theme
• II. Adagio
• V. Pastorale
• VI. Fugue-finale

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

• Hymn 680 - O God, our help in ages past (ST. ANNE)
• Hymn 488 - Be thou my vision (SLANE)
• Hymn 707 - Take my life, and let it be (HOLLINGSIDE)
• Hymn R145 Lord, I want to be a Christian (I WANT TO BE A CHRISTIAN)
• Hymn R152 I want to walk as a child of the light (HOUSTON)
• Hymn 408 Sing praise to God who reigns above (MIT FREUDEN ZART)
• Psalm 90:12-17 – Tone VIIIa

North Carolina composer Mark Schweitzer has written a lovely, gentle setting of the hymn "King of Glory, King of Peace" which is deceptively simple sounding. It's easy to listen to because of the lyrical melody which beautifully aligns with the lyrics, as well as the luscious harmonies that support the melody, but it is much harder to sing than it would appear because of those harmonies. You have different parts singing suspensions, appoggiaturas, and other challenging harmonic devices. You have an accompaniment that, which supporting the singers, is still very independent.

George Herbert

The hymn King of glory, King of peace is by the British poet and priest George Herbert. Born to a wealthy Welsh family in 1593, he attended Trinity College, Cambridge in and graduated with a Bachelor's and a master's degree in 1616 at the age of 23. It looked like he was headed to a career in public service with his appointment to Parliament in 1624, but God had other plans, and he entered the priesthood in 1629. He was appointed as rector of the small rural parish of St. Andrew's in  Bemerton,  Wiltshire, near Salisbury. Here he preached and wrote poetry in Latin, Greek, and English.

His time at Bemerton was short-lived, however.  Having suffered for most of his life from poor health, in 1633 Herbert died of consumption only three years after taking holy orders. Shortly before his death, he sent a collection of his English poems, called The Temple to a friend, reportedly telling him to publish the poems if he thought they might "turn to the advantage of any dejected poor soul", otherwise to burn them. Thankfully, they were published not long after his death.

King of Glory, King of Peace can be found as a hymn in our hymnal, at no. 382, sung to another tune. In fact, we have two other settings of this text in our choir library, composed by Harold Friedell and Gerald Near.

The opening hymn for Sunday is the grand old hymn, O God, our help in ages past, by Issac Watts. Since the Psalm for this Sunday is the last half of Psalm 90, I decided to sing this hymn, which is considered to be one of the best paraphrases of the first six verses of Psalm 90 by Watts.  All of the organ music will be from Paul Manz's set of variations on the hymn tune forever associated with that text, St. Anne. These variations were probably improvised by Manz during a recital or one of his Hymn Festivals, and later published as Partita on St. Anne.

Music for January 28, 2018 + The Fourth Sunday after the Epiphany

Vocal Music

• Jesus Christ, the Apple Tree – Mark Schweitzer (b. 1956)

Instrumental Music

• Wo soll ich fliehen hin? (Whether Shall I Flee?) – Johann Sebastian Bach, BWV 694 (1685-1750) 
• Sonata No. 51 in B-flat Major – Domenico Scarlatti (1685-1757)
• Praeludium and Fugue in E Minor – Johann Sebastian Bach, BWV 533

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

• Hymn 493 - O for a thousand tongues to sing (AZMON)
• Hymn 536 - Open your ears, O faithful people (TORAH SONG)
• Hymn 380 - From all that dwells below the skies (OLD 100TH)
• Hymn R201 - Be still, for the Spirit of the Lord (BE STILL)
• Hymn R266 - Give thanks with a grateful heart (GIVE THANKS)
• Hymn 530 - Spread, O spread, thou mighty word (GOTT SEI DANK)
• Psalm 111 – Confitebor tibi – Tone IVe

The anthem this morning is a simple but beautiful setting of an anonymous poem, The Apple Tree. We first sang this setting three years ago, and I wrote about it and its composer then, so if you want to read what I wrote, click here. It's worth it. I really did a good job. 😀

The opening voluntary is an early work of Johann Sebastian Bach on the Lutheran Chorale Wo soll ich fliehen hin, a hymn about the fearful sinner who diligently tries to escape the clutches of the devil, and finds redemption and peace in the blood of Jesus. Those happy Lutherans! Bach must not have been too keen on this arrangement, for he never tried to publish it, and it was only because one of his students, Johann Kirnberger, who discovered it among twenty-four organ compositions following Bach's death, that we even have access to it today.

The piece is a trio, meaning that there are three parts, or lines of music; two played by each of the hands, and the third, the chorale-melody, played by the feet.  "Above the doom-laden chorale melody in the pedal, which unfurls frightfully slowly and is therefore unrecognisable, the right hand plays a hurried escape motif. Nevertheless, the cheerful undertone in the left hand reveals that there will be a satisfactory outcome.melody." (1) Organist Leo van Doeselaar compares the two manual parts to a duel: "The two parts... are fighting out a duel, allowing each other no rest at all. Wide leaps, continuing musical lines, lots of syncopation, hard leaps... and that's all logical, because the text is so emotional: 'Where can I go, with all my sins?" (2)

Wo soll ich fliehen hin,
weil ich beschweret bin
mit vielen grossen Sünden ?
Wo kann ich Rettung finden ?
Wenn alle Welt herkäme,
mein Angst sie nicht wegnähme.

Where should I fly from here since I am burdened with many great sins? Where can I find rescue? If everybody in the world came to help, they would not take away my anguish. 

Another early work of Bach is his so-called "Little" Prelude and Fugue in E Minor, one of the best known and most widely played of Bach's early works. Mendelssohn was said to have introduced it to St. Paul's Cathedral in London. (Probably leading to its other nick-name, the "Cathedral.") It's form shows an immaturity, but that's overlooked by its strong spirit and drive. The work begins with a section of passage-work, which acts as an introduction and firmly sets the key. This is followed by a section of extended elaboration derived from the opening material. The second section, the fugue, contrasts with first by its thicker texture and stricter rhythm.

A contemporary of Bach named Domenico Scarlatti was living and writing music at the same time in Italy and Spain. Scarlatti churned out an enormous number of keyboard sonatas — more than 550.  If we believe the tales that are told, we have Scarlatti's gambling habit to thank for that number. One story has it that Scarlatti needed help from his patroness, the Queen of Spain, to pay off his gambling debts.  In return, she asked the composer to write down his improvised keyboard music.  The manuscripts containing the keyboard sonatas were given first to the queen and then, when the queen died in 1758, to the great singer Farinelli.  Soon thereafter, Scarlatti’s sonatas became known and loved across Europe.

Domenico Scarlatti

Scarlatti's sonatas all fall into the same form as the typical early 18th century keyboard sonata, the two-part binary form in two related sections, both of which are usually repeated. That is true of today's sonata, No. 51. The majority of Scarlatti's sonatas are brisk, energetic pieces, but since I am playing during communion, I've chosen one of his slower pieces marked Cantabile, which means "in a smooth singing style."

1. Bierman, Marloes. “Wo Soll Ich Fliehen Hin.” All of Bach, 15 May 2015, allofbach.com/en/bwv/bwv-694/. accessed 25 January 2018
2. van Doeselaar, Leo. “Wo Soll Ich Fliehen Hin.” All of Bach, 15 May 2015, allofbach.com/en/bwv/bwv-694/.

Music for January 8, 2016 + The First Sunday after the Epiphany

The Baptism of our Lord Jesus Christ

Vocal Music

• Christmas Joy – Mark Schweitzer (b. 1956)

Instrumental Music

• Christ Our Lord to Jordan Came, BuxWV 180 – Dietrich Buxtehude (1637-1707)
• When Christ’s Appearing Was Made Known,– attributed to Dietrich Buxtehude
• Præludium in C Major BuxWV 137 – Dietrich Buxtehude

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

• Hymn 76 - On Jordan’s bank, the Baptist’s cry (WINCHESTER NEW)
• Hymn R157 - We believe in God Almighty (DIVINUM MYSTERIUM)
• Hymn 135, st. 1&2 - Songs of thankfulness and praise (SALZBURG)
• Hymn - Shall we gather at the river (HANSON PLACE)
• Hymn 132 - When Christ’s appearing was made known (ERHALT UNS, HERR)

The first Sunday after the Epiphany is the Sunday when we remember Christ's own baptism. It marks the beginning of his ministry on earth, and reminds us of our own call to be his followers. Epiphany itself marks the end of the Christmas Season. It is fitting and proper to remove all Christmas decorations.

But the spirit of Christmas should not be taken down. That's why we are singing this beautiful anthem by composer, author, and publisher Mark Schweitzer, using a text by African-American author, theologian, and educator Howard Thurman. He served as dean of Rankin Chapel at Howard University from 1932 to 1944 and as dean of Marsh Chapel at Boston University from 1953 to 1965. It was his theology of radical nonviolence that influenced and shaped a generation of civil rights activists, including Martin Luther King, Jr. The text  follows:

When the song of the angels is stilled,
When the star in the sky has withdrawn,
When the kings see their prophesy rightly fulfilled,
When the princes and shepherds have gone;

 Then the true work of Christmas begins.

To find the lost,
To heal the broken hearts,
To feed the hungry,
To rebuild the nations,
To bring peace among all brothers,
To make music in the heart.

All of the organ music today is by Dietrich Buxtehude, the North German organist who served as an inspiration to a young Johann Sebastian Bach.
Two of the pieces are based on German chorales that refer to Christ's baptism. The communion voluntary is based on a hymn that is not well known among Episcopalians, but is in our hymnal. You'll discover the tune and a contemporary translation of the hymn at number 139 in the Hymnal 1982. The other hymn is also in our hymnal, but is better known among us Anglicans. Hymn 132, When Christ's appearing was made known, is set to the tune ERHALT UNS, HERR, which we also use for the Lenten hymn The glory of these forty days (hymn 143) and the baptism hymn Descend, O Spirit, purging flame (hymn 297).
The setting which I am playing has been attributed to Buxtehude, but many authorities doubt that claim, thinking it may by by Samuel Scheidt or another long-forgotten church musician.

Music for Christmas Weekend 2016

December 24, 2016 – 4 PM

Pamela Saxon King, soloist
The Good Shepherd Bell Choir
The Good Shepherd Liturgical Dance Company

Vocal Music

• Mary, Did You Know? – Buddy Greene
• Do You Hear What I Hear? - Gloria Shayne Baker (1923 – 2008)

Instrumental Music

• Go, Tell It on the Mountain – Patricia A. Sanders
• Away in a Manger – Patricia A. Sanders
• Chorale partita on From heaven above to earth I come – Paul Manz
• I. Theme
• II. Allegro
• III. Andante Sostenuto
• IV. Allegro Moderato
• V. Adagio
• VI. Toccata

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

• Hymn 86 - O come, all ye faithful (Adeste Fidelis)
• Hymn 96 - Angels we have heard on high (Gloria)
• Hymn 115 - What child is this? (Greensleeves)
• Hymn 111 - Silent night, holy night (Stille Nacht)
• Hymn 99 - Go, tell it on the mountain (Go Tell It on the Mountain)

December 24, 2016 – 6:30 and 10 PM

The Good Shepherd Choir
Allison Gosney, soprano

Vocal Music

• Adam Lay Ybounden – Richard Shephard (b. 1949)
• What Is This Lovely Fragrance - Healey Willan (1880-1968)
• Hail, Blessed Virgin Mary – Italian Carol, arr. Charles Wood (1866-1926)
• Ding Dong, Merrily on High– French tune, arr. Charles Wood
• What Sweeter Musick - William Bradley Roberts (b. 1947)
• Ave Maria – César Franck (1822 – 1890)
• Christmas Joy - Mark Schweitzer (b. 1956)

Instrumental Music

• Chorale partita on From heaven above to earth I come – Paul Manz
• I. Theme
• II. Allegro
• III. Andante Sostenuto
• IV. Allegro Moderato
• VI. Toccata

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

• Hymn 86 - O come, all ye faithful (Adeste Fidelis)
• Hymn 96 - Angels we have heard on high (Gloria)
• Hymn 87 - Hark! the herald angels sing (Mendelssohn)
• Hymn 115 - What child is this? (Greensleeves)
• Hymn 79 - O little town of Bethlehem (St. Louis)
• Hymn 111- Silent night, holy night (Stille Nacht)
• Hymn 99- Go tell it on the mountain! (Go Tell It on the Mountain)

December 25, 2016 – 10:15 AM

Instrumental Music

• Good Christian Friends, Rejoice – Marcel Dupré (1886-1971)
• In the Bleak Midwinter—John Purifoy 
• O Little Town of Bethlehem – Jim Brickman (b. 1961)
• Prologue – Traditional, arr. Joseph W. Clokey (1890-1960)

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

• Hymn 107 - Good Christian friends, rejoice (In dulci jubilo)
• Hymn 96 - Angels we have heard on high (stanzas 1, 2, 3) (Gloria)
• Hymn 102 - Once in royal David’s city (Irby)
• Hymn 115 - What child is this? (Greensleeves)
• Hymn 100 – Joy to the world (Antioch )

Music for February 1, 2015 + The Fourth Sunday after Epiphany

Vocal Music

• The Apple Tree – Mark Schweizer (b.1956)

Instrumental Music

• Trio in D minor – Johann Ludwig Krebs (1713-1780)
• Deck Thyself, My Soul, With Gladness – Johann Sebastian Bach (1685-1750)
• Prelude in G Major, BWV 568 – J. S. Bach

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

• Hymn 493 O for a thousand tongues to sing (AZMON)
• Hymn R115 Psalm 111: God’s holy ways are just and true (LASST UNS ERFREUEN)
• Hymn 536 God has spoken to his people (TORAH SONG)
• Hymn 530 Spread, O spread, thou mighty word (GOTT SEI DANK)

Mark Schweizer, the composer

There is a beautiful poem that has become popular as a text for Christmas Carols called "Jesus Christ the Apple Tree." Many composers have set this anonymous 18th century poem as a choral work, including Elizabeth Poston, whose setting was made famous by the Choir of Kings College, Cambridge, with its inclusion in their yearly Christmas Lessons and Carols. Our choir has sung that one, but this week we are singing a simple a capella setting by Mark Schweizer. But more about him in a moment.

I've always found it curious that "The Apple Tree" was thought of as a Christmas Carol, when it mentions nothing about the incarnation or birth of Jesus. The text is, however, full of allusions to both the apple tree (such as in Song of Solomon 2:3 which has been interpreted as a metaphor representing Christ), and to Jesus' description of his life as a tree of life.There was an old English tradition of wassailing or wishing health to apple trees on Christmas Eve, so that may be where the Christmas connection came in.

The tree of life my soul hath seen,

Laden with fruit, and always green,

The trees of nature fruitless be,

Compar'd with Christ the appletree.

His beauty doth all things excel,

By faith I know, but ne'er can tell,

The glory which I now can see,

In Jesus Christ the appletree.

For happiness I long have sought,

And pleasure I have dearly bought;

I missed of all but now I see

'Tis found in Christ the appletree.

I'm wearied with my former toil,

Here I will sit and rest awhile;

Under the shadow I will be

Of Jesus Christ the appletree.

This fruit doth make my soul to thrive,

It keeps my dying faith alive;

Which makes my soul in haste to be

With Jesus Christ the appletree.

Mark Schweitzer, the author

Mark Schweizer is an interesting man. A native of Florida, he received music degrees from Stetson University in DeLand and the University of Arizona including a doctorate in vocal performance. He went on to teach voice and perform professionally before starting his own publishing company which publishes church music AND murder mysteries. That sounds like an unusual combination, but if you've ever worked in a church, it makes perfect sense. Read more about him from his bio on the Goodreads page.

• O for a thousand tongues to sing (AZMON) “If I had a thousand tongues, I would praise Christ with them all.” So said Peter Böhler to Charles Wesley, inspiring the first line of the classic hymn, “Oh, for a thousand tongues to sing, my great Redeemer’s praise” (Psalter Hymnal Handbook.) Written to celebrate the one year anniversary of Charles’ conversion to Christianity, this declaration of Christ’s power and victory in his own life, rich in Biblical imagery of the Kingdom of God, becomes our own hymn of praise. We stand with the angels before the throne of God, lifting our voices as one church to glorify the one who “bids our sorrows cease.” (from Hymnary.org) I am using it today because of its reference to healing in the fifth stanza.
• Psalm 111: God’s holy ways are just and true (LASST UNS ERFREUEN) This is a relatively recent poetic paraphrase of Psalm 111 (the psalm appointed for this day) by Barbara Woollett (b.1937), a full-time housewife and mother as well as a hymn writer.  The tune for this Psalm setting is the great German chorale "Laast uns erfreuen."
• God has spoken to his people (TORAH SONG)  Catholic priest Willard Francis Jabusch (b. 1930) wrote this text for his congregation in Chicago in 1966, using the Israeli tune, TORAH SONG (or YISRAEL V'ORAITA, as it is known in other hymnals.) The tune is not in a typical major or minor key, but is instead in a strange mode which may sound foreign to our ears, but is prominent in the synagogue music of Eastern Europe, as well as Jewish folk and Hasidic music.
• Spread, O spread, thou mighty word (GOTT SEI DANK) This hymn expresses a worldwide concern for education and mission. Originally in German by J. F. Bahnmeaier with seven stanzas, the Catherine Winkworth translation of the first three stanzas made it into the hymnal, along with a new fourth verse  by modern hymnist F. Pratt Green.