Music for October 29, 2017 + The Twenty-first Sunday after Pentecost

Vocal Music

Cantique de Jean Racine – Gabriel Faure (1845-1924)
The Lord Bless You and Keep You – Giles Brightwell (b. 1970)

Instrumental Music

A Mighty Fortress Is Our God, BWV 720 – Johann Michael Bach (1648-1694)
Deck Thyself, My Soul, With Gladness, BWV 654 – J. S. Bach (1685-1750)
Prelude and Fugue in C, BWV 547 - J. S. Bach

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

Hymn 688 - A mighty fortress is our God (EIN FESTE BURG IS UNSER GOTT)
Hymn 609 - Where cross the crowded ways of life (GARDINER)
Hymn 707 - Take my life and let it be (HOLLINGSIDE)
Hymn R145 - Lord, I want to be a Christian in my heart (LORD I WANT TO BE A CHRISTIAN)
Hymn 610 - Lord, whose love through humble service (BLAENHAFREN)
Psalm 1 - Tone VIIIa

Luther nailing his 95 Theses on the door of All Saints Church in Wittenberg

500 years ago, on October 31, 1517, Martin Luther published 95 criticisms of the Catholic Church practice of selling Indulgences. Although he intended to reform Catholicism, not break it apart, he accomplished both. Reformed congregations (such as Lutherans and Presbyterians) celebrate the tradition that grounds their faith on Reformation Sunday, which is always the last Sunday in October. Anglicans are not technically reformed, but we will honor this historic occasion by sing the most famous hymn of the Reformation, as well as hearing organ music by the most famous of all Lutheran musicians, J. S. Bach.

Martin Luther's hymn, Ein feste Burg (A Mighty Fortress) is often referred to as “the battle hymn” of the Reformation. Many stories have been relayed about its use. Louis Benson writes,

It was, as Heine said, the Marseillaise of the Reformation…It was sung in the streets…It was sung by poor Protestant emigres on their way to exile, and by martyrs at their death…Gustavus Adolphus ordered it sung by his army before the battle of Leipzig in 1631…Again it was the battle hymn of his army at Lutzen in 1632…It has had a part in countless celebrations commemorating the men and events of the Reformation; and its first line is engraved on the base of Luther’s monument at Wittenberg…An imperishable hymn! Not polished and artistically wrought but rugged and strong like Luther himself, whose very words seem like deeds (1). 

As you can see, this is a hymn close to the hearts of Protestants and Lutherans, a source of assurance in times of duress and persecution. The text is not restricted, however, to times of actual physical battles. In any time of need, when we do battle with the forces of evil, God is our fortress to hide us and protect us, and the Word that endures forever will fight for us. (2)

The opening voluntary, Ein feste Burg (A Mighty Fortress) can best be described as a chorale fantasia. This type of piece differs from other chorale preludes by its free treatment of the tune, often obscuring it with ornaments and improvisatory gestures.

For many years, it was believed that Ein feste Burg ist unser Gott was one of the miscellaneous chorales of Johann Sebastian Bach that was transmitted by Bach's students. It is known in four extant manuscripts, and at one time was known in two others; thankfully the latter of these lost items was microfilmed before the original disappeared. The main manuscript version known to Bach's editors in the nineteenth century was compiled before 1740 by Johann Gottfried Walther, Johann Ludwig Krebs and the latter's two brothers. There it appears as an unattributed work among a number of pieces known to have been written by Johann Sebastian Bach, and so it was included without comment in the 1893 collection of Bach's collected organ works as BWV 720.

The piece also appears in a manuscript collection compiled by F. A. Grasnick around 1800, seemingly with no attribution. But recent examination of that manuscript revealed that in this case the author's name was placed at the end - Johann Michael Bach, Johann Sebastian's uncle, who died in 1694. Checking against the little known microfilm of the lost source, which was copied by Johann Gottfried Walther, it was confirmed that Walther did indeed indicate that Johann Michael Bach was the composer of this little setting of Ein feste Burg. (3)

This being the case, I find it strange that the most famous hymn of the Reformation was never set for organ by the most famous Lutheran organist! (He did use the tune in a cantata and in two four-part settings.)

However, according to one of Bach's biographers, this setting of the hymn was played by Bach at the 1709 Reformation Festival at the St. Blasiuskirche in Muhlhausen. The organ had been rebuilt under Bach's (who was now stationed in Weimar) direction, and he was the first to demonstrate the "new" instrument.

The registration calls for the "Oberwerk Fagtto 16' " (bassoon) in the left hand and the "Sesquialtera" of the Brustpositif in the right. It also directs parts to be played on the Ruckpositif. Bach called the new Fagotto a "beautiful and wonderful reed," and described the Sesquialtera as being "sharp and lovely." It may have been Johann Walter who noted the registrations that Bach used. (4)

The communion voluntary is Bach's lovely ornamented setting of the great communion hymn, Schmücke dich, o liebe Seele. The ornamented chorale form was invented and popularized in Northern Germany by Heinrich Scheidemann, with the chorale melody taken by one voice in an elaborate and highly embellished form. Here we find the melismatic, ornamented chorale in the soprano, alternating with the dance-like ritornellos of the two intertwining lower parts above the bass line in the pedal; "the unearthly counterpoint between the four different parts creates an air of great serenity, a 'rapturous meditation' on the rite of communion. The adornment in the title is illustrated by the French-style ornamentation of the upper parts." (5)

The closing voluntary is the prelude from the Prelude and Fugue in C major, BWV 547. The 9/8 meter of the prelude is unusual, as are the repeated notes in the midst of the rising scale that begins the theme, allowing Bach to cover the range of an octave while playing ten notes. Its tame, pastoral atmosphere continues throughout, supported by masterful polyphony. The quasi-ostinato pedal part gives a constant reminder of the 9/8 meter and derives from the soprano voice in the second measure of the prelude.

Our offertory is the beautiful Cantique de Jean Racine by the French Composer Gabriel Fauré. We last sang this anthem in 2015, and you can read what I wrote about it here.

The communion anthem comes from the music of the 2017 Texas Diocesan Choir Festival, held last week at St. James Episcopal, Houston. The director, Giles Brightwell, wrote this short choral blessing for his mother, and was sung at the end of Evensong. In spite of its straight-forward setting, it is deceptively challenging, with its shifting tonal centers and four to six part harmonies sung unaccompanied (we hope.) Giles is the director of music and organist at St. Thomas Episcopal Church and School in Houston.

1. Benson, Louis, Studies in Familiar Hymns, First Series, pp. 159-60, 1903.

2. "A Mighty Fortress," [Web article] retrieved Oct 26, 2017 from Hymnary.org
3. Staff, Rovi, "Ein feste Burg ist unser Gott, chorale prelude for organ (by Johann Michael Bach, not JSB)" [Web entry] retrieved Oct. 24, 2017 from https://www.allmusic.com

4. "Ein feste Burg ist unser Gott, BWV 730 [web blog post] retrieved Oct 24, 2017 from http://www.contrebombarde.com/concerthall/music/6518
5. Scott, John, Progam notes to Eighteen Leipzig Chorales, June 14, 2014 retrieved from https://www.saintthomaschurch.org/uploads/calendar/20140614_Leipzig_Chorales_Program.pdf

Music for October 22, 2017 + The Twentieth Sunday after Pentecost

Vocal Music

• Give Almes of thy Goods – Christopher Tye (1505-1572)
• O For a Closer Walk with God – Charles Villiers Stanford (1852-1924)

Instrumental Music

• O Worship the Lord in the Beauty of Holiness – Darwin Wolford (b. 1936)
• On a theme of Orlando Gibbons – Charles Villiers Stanford
• Sortie – Denis Bédard (b. 1950)

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

• Hymn 377 - All people that on earth do dwell (OLD 100TH)
• Hymn R258 - To God be the glory (TO GOD BE THE GLORY)
• Hymn 408 - Sing praise to God who reigns above (MIT FREUDEN ZART)
• Hymn R269 - Let all that is within me (Melvin Harrell)
• Hymn R271 - Alleluia, alleluia! Give thanks to the risen Lord (ALLELUIA NO. 1)
• Hymn 544 - Jesus shall reign where’er the sun (DUKE STREET)
• Psalm 96:1-9 - ToneVIIIa

Last month marked the 165th birthday of Sir Charles Villiers Stanford, the Irish musician who, along with Edward Elgar and Charles H. H. Parry, helped create a renaissance in English music in the late 19th century.

C. V. Stanford

He was the only child of a prominent Dublin lawyer. His considerable musical talent gained him admission to Cambridge University at the age of 18 where he quickly established a commanding reputation, and was appointed organist of Trinity College while still an undergraduate. Afterward he studied in Leipzig and Berlin. He went on to compose in almost every music form including seven symphonies; ten operas; fifteen concertante works; chamber, piano, and organ pieces; and over thirty large-scale choral works.

Though his influence on the British music scene of his day was quite substantial, little of his popularity survived him, with only his voluminous sacred music remaining in the active body of works which is the foundation of the Anglican tradition.

Today you will hear two of his works during communion, both based on hymn-tunes. The organ voluntary is based on the tune by Orlando Gibbons, SONG 34, which can be found in our Hymnal 1982 at hymn 21. The anthem is his classic setting of hymn 684, O for a closer walk with God, paired with the hymn-tune CAITHNESS.

In addition to his musical prowess, one must admit that he was a snappy dresser. Gotta love those spats!

The opening voluntary is based on the Psalm appointed for today, Psalm 96.

Worship the LORD in the beauty of holiness;
    let the whole earth tremble before him. - Psalm 96:9

Darwin Wolford

It is written by Darwin Wolford, a composer, organist, and former music professor living in Idaho. He was Director of Organ Studies at Brigham Young University–Idaho before his retirement in 2004.

Born in Logan, Utah, he began piano lessons at the age of eight. Wolford earned his bachelor’s degree from Utah State University, his Master of Music degree and his PhD in organ composition from the University of Utah.  During college he studied organ with famed Mormon Tabernacle organists Robert Cundick and Alexander Schreiner and composition with Leroy Robertson, John LaMontaine, and Ned Rorem.

He has published more than 350 compositions for choir, orchestra, organ, piano, and other instruments. Wolford’s works are among those heard performed by the Mormon Tabernacle Choir. Wolford is a member of The Church of Jesus Christ of Latter-day Saints and served for many years as a member of the General Music Committee. he was a member of the Executive Hymnbook Committee and assisted with the publication of the 1985 LDS Hymnbook. He also helped prepare the LDS Children’s Songbook.

The anthem this morning is by the 16th century composer Christopher Tye. Tye was the choirmaster at Ely Cathedral during the reign of Henry the VIII, and as such contributed new music for the Anglican church, including this anthem, Give Almes of thy Goods. (The word almes being an Middle English spelling and pronunciation of alms, or charitable gifts.)

Give Almes of thy Goods is a short setting of an offertory sentence which appeared in both the 1549 and 1552 Books of Common Prayer. This is an Tudor creation in every way. Constructed in the ABB form of the early English anthem, this four-voice piece is entirely syllabic, exactly as Thomas Cramner, the architect of the Book of Common Prayer, required: "to every syllable a note."

Music for October 15, 2017 + Good Shepherd School Sunday

Vocal Music

• Rondo of Joy – Traditional, arr. Good Shepherd School
• Father God in Heaven – Suzanne Lord (b. 1946)

Instrumental Music

• Dona Nobis Pacem – Traditional, arr. Tom Anderson
• Symphony No. 9 (Ode to Joy) – Ludwig van Beethoven, arr. Tom Anderson
• The King of Love My Shepherd Is – Healey Willan

Congregational Music (all hymns from the Hymnal 1982)

• Hymn 7 - Christ, whose glory fills the skies (RATISBON)
• Hymn 645 - The King of love my Shepherd is (ST. COLUMBA)
• Hymn - The Lord is my Shepherd (traditional round)
• Hymn 708 - Savior, like a shepherd lead us (SICILIAN MARINERS)
• Hymn 325 - Let us break bread together on our knees (LET US BREAK BREAD)
• Hymn 376 - Joyful, joyful, we adore thee (HYMN TO JOY)

This Sunday we celebrate our church's preschool, and we are delighted to have the children of the Good Shepherd School provide the music for our services. They are under the direction of Karen Silva, who does a fabulous job of teaching rudiments of music to these preschool and kindergarten students, while getting them to sing on pitch!

The offertory is one of her creations, a medley of children's songs set in the form of a Rondo. The Rondo is a form where the a principal theme (sometimes called the "refrain") alternates with one or more contrasting themes, generally called "episodes". Possible patterns could be ABA, ABACA, or ABACABA. Today, you will hear the song Gaudeamus by Natalie Sleeth as the principal theme (A), with Praise Him, Praise Him All Ye Little Children, I've Got the Joy, Joy, Joy, Joy, and He's Got the Whole World in His Hands as the B, C, and D themes. 

The communion anthem is a beautiful anthem by Suzanne Lord, a flute player, teacher and musicologist who last taught at Southern Illinois University in Carbondale. It is a paraphrase of the Lord's Prayer. Listen to the children sing a smooth, legato musical phrase (in contrast to the jaunty melodies of the Rondo of Joy!)

I think you will really be intrigued by the opening and closing voluntaries. These will utilize tuned percussion tubes called Boomwhackers. Boomwhackers are lightweight, hollow, color-coded, plastic tubes, tuned to musical pitches by length. They produce musical tones when struck together, on the floor, or against nearly any surface (even heads!) They are most commonly used in elementary music classrooms as an inexpensive, unbreakable alternative or supplement to traditional pitched instruments such as xylophones and metallophones.

Craig Ramsell came up for the idea for his boomwhackers in 1994 while at home recovering from radiation therapy for cancer. While cutting cardboard tubes into shorter lengths for recycling he happened to notice the different pitches resulting from the different lengths and decided to investigate their creative potential. He and his partner, wife Monnie Ramsell, formed their own company to market the tubes.

It is a great way to teach pitch, harmony, and rhythm. Today you will hear the students accompany the tune Dona Nobis Pacem and Beethoven's Ode to Joy. 

Music for October 8, 2017 + The Eighteenth Sunday after Pentecost

Vocal Music

• I Choose Love – Mark Miller (21st C.)
• Let Thy Blood in Mercy Poured - Johann Crüger (1598-1662)

Instrumental Music

• Was Gott tut, das ist wohlgetan  (Whate'er my God ordains is right) – Johann Gottfried Walther (1684-1748)
• Concerto No. 4 in F Major:  III. Andante – G. F. Handel (1685-1759)
• Fantasia C-major BWV 570 – Johann Sebastian Bach (1685-1750)

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 474 - When I survey the wondrous cross (ROCKINGHAM)
• Hymn 495 - Hail, thou once despised Jesus! (IN BABILONE)
• Hymn R9 - As the deer pants for the water (AS THE DEER)
• Hymn 598 - Lord Christ, when first thou cam’st to earth (MIT FREUDEN ZART)
• Psalm 80:7-14 – Tone VIIIa

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.

Mark A. Miller

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.”

The other anthem this morning uses John Brownlie's communion text, Let Thy Blood In Mercy Poured. Brownlie was a Scottish Presbyterian minister who was interested in both education and hymnology. He wrote several original hymns, and translated many more from Latin and Greek. In addition, he wrote on the history of hymns. This hymn-text has been matched with a melody by Johann Crüger, one of the leading musicians in Germany during the early baroque period. Nine of his hymns are in our Hymnal 1982.

Music for October 1, 2017 + The Seventeenth Sunday after Pentecost

10:15 AM Eucharist

Vocal Music

• Lead me, Lord – Samuel S. Wesley (1810-1876)

Instrumental Music

• Out of the Deep I Cry to You – Johann Pachelbel (1653-1706)
• Suite du Premier Ton No. Récit – Denis Bédard (b. 1950)
• Toccata in E Minor – Johann Pachelbel (1653-1706)

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

• Hymn 450 - All hail the power of Jesus’ name! (CORONATION)
• Hymn 439 - What wondrous love is this (WONDROUS LOVE)
• Hymn 435 - At the name of Jesus (KING'S WESTON)
• Hymn 711 - Seek ye first the kingdom of God (SEEK YE FIRST)
• Hymn 554 - ‘Tis the gift to be simple (SIMPLE GIFTS)
• Hymn R26 - Jesus, name above all names (HEARN)
• Hymn 477 - All praise to the, for thou, O King divine (ENGLEBERG)
• Psalm 25:1-8 (Tone VIIIa)

St. Michael and All Angels  - 5:00 PM

Vocal Music

• Draw Us In the Spirit’s Tether – Harold Friedell (1905-1958)

Instrumental Music

• Adagio in E – Frank Bridge (1879-1918)
• Suite du Premier Ton No. Récit – Denis Bédard (b. 1950)
• Toccata in E Minor – Johann Pachelbel (1653-1706)

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

• Hymn 618 - Ye watchers and ye holy ones (LASST UNS ERFREUEN)
• Hymn 282 - Christ, the fair glory of the holy angels (CAELITES PLAUDANT)
• Hymn R-75 - Praise the Lord! O heavens adore him (AUSTRIAN HYMN)
• Hymn R-114 - Bless the Lord, my soul (Jacques Berthier)
• Hymn 410 - Praise, my soul, the King of heaven (LAUDA ANIMA)
• Psalm 103:19-22 (Tone VIIIb)

The anthem at 10:15 service this Sunday is the quiet, simple, Lead me Lord by S. S. Wesley.  Lead me Lord is an extract from a larger, longer anthem by Wesley called Praise the Lord.  This excerpt has proven to be so popular and accessible that it has been included as a hymn in several hymnals in the last 50 years.

The opening voluntary at 10:15 is based on the tune Aus Tiefer noth schrei Ich zu Dir, though not the tune found in our hymnal with the same name. (The one in our hymnal, found at 151, is thought to be composed by Martin Luther.)  The tune used in this chorale prelude is very similar to a tune the Lutherans used for the text Herr, wie du willst, so schicks mit mir (Lord, as Thou wilt, deal Thou with me - sort of the Lutheran answer to the Methodist hymn, "Have Thy Own Way, Lord.") In fact, the copy of the music lists both texts as the title for this piece.

In this setting by the South German organist Johann Pachelbel (of the Canon in D fame), you'll first hear a fragment of the tune as the subject of a fughetta, a short fugue, with exposition plus only a few restatements of the subject. The fughetta soon evolves into a chorale-prelude, with the entire tune heard in long notes in the soprano (top) voice, with a contrapuntal accompaniment in the lower voices.

Denis Bédard 

The communion voluntary at both services is a slow, lyrical movement from a Suite by the Canadian organist, Denis Bédard. This movement is titled récit, which has sort of a double meaning - on the French-syle organ, one of the divisions of the organ is called récit, and French organists would use the term when naming a composition to describe where and how it is to be played. The word also means "story" in French (I am told, as I barely speak English with fluidity), so this could refer to this piece as a lyrical story. The melody will be played on the oboe in the récit (swell) division of our organ, accompanied by a single flute at 8' pitch.

Denis Bédard, who was born in Quebec City in 1950, first studied music at the Conservatoire de musique de Québec, graduating with first class honours in organ, harpsichord, chamber music, counterpoint and fugue. He continued his studies in Paris and Montreal, as well as in Amsterdam with Gustav Leonhardt, and was laureate of the "Prix d'Europe" in 1975 and of the CBC Radio Talent Competition in 1978. A professor at the Conservatoire de musique de Québec from 1981 until 1989 and organ professor at the University of British Columbia in Vancouver from 2001 until 2004, Denis Bédard was organist at St-Coeur-de-Marie church in Quebec City for 19 years and then became organist at St-Roch church, also in Quebec City, in September 1997. Since September 2001 Denis Bédard has been organist and music director at Holy Rosary Cathedral in Vancouver. He is a very active concert artist and has given recitals across Canada, in the United States, in France and in Brazil.

This Sunday evening, as we dedicate the Acolyte Guild at our annual service, I have chosen the beautiful anthem by the American composer Harold Friedell for the offertory. Though it is not written specifically for either acolytes, youth, or Michaelmas, these words make it apt for a service calling our young men and women into service:

Draw us in the Spirit’s tether,

For when humbly in Thy name,

Two or three are met together

Thou are in the midst of them;

Alleluia! Alleluia!

Touch we now Thy garment’s hem.

As the brethren used to gather

In the name of Christ to sup,

Then with thanks to God the Father

Break the bread and bless the cup,

Alleluia! Alleluia!

So knit Thou our friendship up.

All our meals and all our living

Make as sacraments of Thee,

That by caring, helping, giving

We may true disciples be.

Alleluia! Alleluia!

We will serve Thee faithfully.

© 1957, 1985, Oxford University Press, The H.W. Gray Co. Used by permission.

This hymn was written by Percy Dearmer and first published in 1931. It gained popularity because of Harold Friedell’s 1957 anthem. Friedell (1905-1958) was a professor of theory and composition at the School of Sacred Music, Union Theological Seminary, New York City.

Jet E. Turner, a master of sacred music graduate at Union, arranged a portion of the music of the anthem as a hymn for the United Methodist Hymnal, and named the tune UNION SEMINARY. (1) Like the anthem Lead me, Lord, mentioned at the beginning of the article, it has since become a very popular hymn in new hymnals, being included in over 18 hymnals in recent years.

(1) Hawn, C. Michael, History of Hymns: Draw Us In the Spirit's Tether. Retrieved from https://www.umcdiscipleship.org/resources/history-of-hymns-draw-us-in-the-spirits-tether

Music for Sunday, September 24, 2017 + The Sixteenth Sunday after Pentecost

Vocal Music

• Steal Away – Joseph Jennings (b. 1954)

Instrumental Music

• Adagio in E – Frank Bridge (1879-1918)
• Erbarm dich mein, O Herre Gott  BWV 721– Johann Sebastian Bach (1685-1750)  
• Allegro con Spirito in B-flat – Frank Bridge

Congregational Music (all hymns from the Hymnal 1982)

• Hymn 414 - God, my King, thy might confessing (STUTTGART)
• Hymn 527 - Singing songs of expectation (TON-Y-BOTEL)
• Hymn 551 - Rise up, ye saints of God (FESTAL SONG)
• Hymn 482 - Lord of all hopefulness (SLANE)
• Hymn 404 - We will extol you, ever-blessed Lord (OLD 124TH)
• Psalm 145:1-8 – Tone VIIIa

The anthem this morning is an arrangement of the Negro spiritual, Steal Away, by American composer and arranger,  Joseph Jennings. A native of Georgia, he had degrees in choral conducting (Colorado State University) and music education (Case Western Reserve University, Cleveland, Ohio) when he auditioned as a counter-tenor for the all-male, a capella singing group, Chanticleer. Soon after, he became their musical director, where he led them to international renown. Under his direction, they produced 23 critically acclaimed recordings in works ranging from Gregorian chant to Renaissance masterworks to jazz. Many of the recordings became Billboard best sellers, including two Grammy winners. He retired from Chanticleer in 2009.

Joseph Jennings (Photo by Katy Raddatz--The San Francisco Chronicle)

In 2014 Chorus America conferred the inaugural Brazeal Wayne Dennard Award on Jennings to acknowledge his contribution to the African-American choral tradition during his 25-year tenure as a singer and music director with Chanticleer. The hundred plus arrangements of African-American gospel, spirituals and jazz made by Jennings for Chanticleer have been given thousands of performances worldwide by choirs such as ours worldwide.

Steal Away is a well known Spiritual, found in over 85 hymnals. The song is easily recognized by the chorus:

Steal away, steal away, steal away to Jesus!
Steal away, steal away home, I ain't got long to stay here

Songs such as "Steal Away to Jesus", "Swing Low, Sweet Chariot", "Wade in the Water" and the "Gospel Train" are songs with hidden codes, not only about having faith in God, but containing hidden messages for slaves to run away on their own, or with the Underground Railroad.

Steal Away gained world-wide recognition after the Civil War when the Jubilee Singers of Fisk University in Nashville, Tennessee included the song on their tours of the United States and Europe. 

An arrangement of the song is included in the oratorio A Child of Our Time, first performed in 1944, by the classical composer Michael Tippett.

The communion voluntary, Erbarm dich mein, O Herre Gott  (Have Mercy on Me, O Lord God), is an unusual work by J. S. Bach. This early work (believed to be c. 1703), has unusual harmonies and a texture unique among Bach's music. There are more minor 7th and 9th chords than usual; more chord progressions a 3rd apart than usual; more untied suspensions. It's in the phrygian mode, which means it's key signature is two sharps (normally D Major or b minor), but the base note is F-sharp.

It’s a unique texture comes from the three-or four part repeated chords in the accompaniment with no break, under the melody in the soprano. Some feel this is to give a sense of vibrato in the accompaniment. You don’t find this same texture in any other Bach work, or many other of his contemporaries. This manuscript is only found once, in a handwritten collection owned by J. G. Walther. Some think this is not an authentic Bach work.

The opening and closing voluntaries are both by the British composer and organist Frank Bridge. His Adagio in E Major is very popular among organist. I love the slow, wistful melody that begins softly on a low 'E' and begins a slow ascent, growing in volume as the melody line rises. It reminds me of incense that intensifies as it languidly climbs toward God. The music reaches full organ before it begins to die away, ending as quietly as it began.

Music for September 17, 2017 + The Fifteenth Sunday after Pentecost

Vocal Music

• There’s a Wideness in God’s Mercy – Maurice Bevan (1921-2006)

Instrumental Music

• Our Father, Who Art in Heaven – Johann Sebastian Bach (1685-1750)
• Sonata No. 1 in F minor: Adagio – Felix Mendelssohn (1809-1847)
• Grand Chœur alla Handel – Alexandre Guilmant (1837-1911)

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

• Hymn 400 - All creatures of our God and King (LASST UNS ERFREUEN)
• Hymn 648 - When Israel was in Egypt’s Land (GO DOWN, MOSES)
• Hymn 397 - Now thank we all our God (NUN DANKET ALLE GOTT)
• Hymn R184 - “Forgive our sins, as we forgive” (DETROIT)
• Hymn R192 - God forgave my sin in Jesus’ name (FREELY, FREELY)
• Hymn 690 - Guide me, O thou great Jehovah (CWM RHONDDA)
• Psalm 114 – Tone VIIIa

Many hymnals have the hymn There's a Wideness in God's Mercy within their pages, often to the tune WELLESLEY, though our hymnal uses the tune BEECHER. When we sing this text this Sunday, however, we will be utilizing the relatively new hymn-tune, CORVEDALE, by the Englishman Maurice Bevan. What I absolutely love about this setting, other than its beautiful, expansive melody which seems to keep reaching newer heights, is that it contains some sobering words which, when I first heard them, helped me to "wake up" to the all-encompassing mercy and love of God. (The stanzas I have highlighted are not found in The Hymnal 1982.)

1 There's a wideness in God's mercy
like the wideness of the sea;
there's a kindness in his justice
which is more than liberty.
There is no place where earth's sorrows
are more felt than up in heaven;
there is no place where earth's failings
have such kindly judgement given.

2 For the love of God is broader
than the measure of our mind,
and the heart of the Eternal
is most wonderfully kind.
But we make his love too narrow
by false limits of our own;
and we magnify his strictness
with a zeal he would not own. 

3 There is plentiful redemption
through the blood that has been shed;
there is joy for all the members
in the sorrows of the Head.
There is grace enough for thousands
of new worlds as great as this;
there is room for fresh creations
in that upper home of bliss.

4 If our love were but more simple,
we should take him at his word;
and our lives would be all gladness
in the joy of Christ our Lord.

The three+ verses of this version speak of God’s “plentiful redemption” and “grace for thousands / of new worlds as great as this”

The composer,  Maurice Bevan, was the son, grandson and great-grandson of Anglican clergymen. Well known as a singer, he was a member for forty years of both the Deller Consort, one of the first professional groups to revive interest in early music, and the Vicars Choral of St. Paul Cathedral in London. I am not sure if he arranged this hymn-tune into the anthem version we are singing today, or if the anthem came first, and the hymn-tune came out of it. At any rate, it is now included in 5 hymnals in the United Kingdom.

If you are interested, (and are not sitting in church during the service while reading this) you can hear a recording of Bevan singing a Handel aria with the Deller Consort here.

Speaking of Handel, the closing voluntary is an organ piece written by a late-nineteenth century Frenchman in the style of a minuet of G. F. Handel. The composer, Felix Alexandre Guilmant, was one of the greatest organists in the late nineteenth century. Born in Boulogne-sur-Mer (France) he studied with Lemmens in Brussels and from 1871 to his death lived and worked in Paris. Guilmant was world famous in his day and made three concert trips to the United States. Many organ concerts were played by him, including very special series in the Palais de Trocadéro in Paris.

Guilmant was a great improviser and a well-known teacher. Like Felix Mendelssohn, he performed and published old music that had long been forgotten. His own body of work is large: 94 opus numbers and many unpublished or unnumbered works.