The Fourth Sunday of Advent - December 22, 2024

The Fourth Sunday Of Advent

December 22, 2024

 

Here we are on the Fourth Sunday of Advent, where our readings are all about Mary. The Canticle for this Sunday is Canticle 15 – The Song of Mary, or Magnificat. The Magnificat is one of the Canticles used at Evening Prayer, and there are many setting composed specifically for use during Evensong. This Sunday we will use the setting found in the Hymnal 1982 on page S247.

 

The offertory anthem is by one of our favorite composers, Elaine Hagenberg. Based on the text O Come, O Come Emmanuel, Elaine has written a beautiful, haunting melody that beautifully enhances the text. Here are Elaine’s thoughts on the anthem:

In composing "O Come, Emmanuel," I sought to evoke the feeling of a desolate desert, capturing the profound sense of anticipation for a Savior. The opening measures feature the raw, open strings of the cello, while the low, understated tones of the piano ground the piece in somber depth. The soprano entrance portrays a distant voice crying out in the wilderness, and as the full choir enters, I aimed to create choral parts that embody the timeless hope and yearning echoing through generations, striving to tell the story of longing throughout the ages.

 

 

The Postlude is a piano/organ duet on the Ukrainian Bell Carol, more popularly known as Carol of the Bells. “Carol of the Bells" is a popular Ukranian Christmas carol, which is based on the Ukrainian New Year's song "Shchedryk". The music for the carol comes from the song written by the Ukrainian composer Mykola Leontovych in 1914. The song was first performed by the Ukrainian students at Kyiv University in December 1916. 

The song premiered in the United States on October 5, 1922,  to a sold-out audience at Carnegie Hall and the American audience fell in love with the Ukrainian song.

 

Prelude - On Jordan’s Bank the Baptist’s Cry                    arr. Charles Peery

Offertory – O Come, Emmanuel                                         Elaine Hagenberg

Communion – Even So Come

Postlude – Fantasy on “Carol of the Bells”                   arr. Sandy Wilkinson

Hymns –    Blest Be the King Whose Coming

                  Canticle 15 – The Song of Mary

                  The Angel Gabriel From Heaven Came

                  O Heavenly Word, Eternal Light

                  All Earth Is Waiting

                  Ye Who Claim the Faith of Jesus

                  Come, Thou Long Expected Jesus

 

The Third Sunday of Advent - December 15, 2024

The Third Sunday of Advent

December 15, 2024

We have quite a bit of music planned for this Sunday, the third Sunday in Advent.  I would like to share a little from our choir devotional book. In this Sunday’s gospel, John warns of the “wrath to come”, dismissing the people’s defense that being children of Abraham is enough to save them. They ask, “What should we then do?”. John answers that instead of self-examination or denial or penance, we should treat others with fairness and with benevolence. Giving something away to benefit someone else is the type of preparation he has in mind. 

 

As musicians, we certainly have something to give away to the benefit of others. We share our talents and our music, and we use melody, harmony, and rhythm to communicate God’s love.

 

So, this Sunday we are blessed to have the Trinity Orchestra and the Choristers sharing their gifts with you. You will also be gifted with the beautiful harp music by one of our vergers, Dustin Koonce. 

 

Prelude – O Come, O Come Emmanuel, arr. Jeff Cranfill.

Our orchestra is slowly growing, and this week we will play the most popular Advent hymn in Christendom! The hymn has it’s origins over 1,200 years ago in monastic life in the 8^th or 9^th century. Seven days before Christmas Eve monasteries would sing the “O antiphons” in anticipation of Christmas Eve when the eighth antiphon, “O Virgo virginum” (“O Virgin of virgins”) would be sung before and after Mary's canticle, the Magnificat (Luke 1:46b–55). The Latin metrical form of the hymn was composed as early as the 12th century. The 1851 translation by John Mason Neale from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist. Translations into other modern languages (particularly German) are also in widespread use. While the text may be used with many metrical hymn tunes, it was first combined with its most famous tune, often itself called Veni Emmanuel, in the English-language Hymnal Noted in 1851. Later, the same tune was used with versions of "O come, O come, Emmanuel" in other languages, including Latin. This is also our opening Processional hymn.

 

The Canticle this week is Canticle 9 – The First Song of Isaiah. We will chant it at the appointed time, and then at the offertory, the choir, joined by the Choristers, will offer Jack Noble White’s well-known arrangement.

Isaiah 12:2-6

Surely, it is God who saves me; *
       I will trust in him and not be afraid. 

For the Lord is my stronghold and my sure defense, *
       and he will be my Savior.

 

At communion, Dustin and Jack will offer a duet of Savior of the Nations, Come, arranged by Charles Peery. Peery is a graduate of the Cincinnati College-Conservatory of Music, University of Cincinnati, where he studied choral music education, organ, and composition. He has performed as harpist with the Webster University Symphony Orchestra, the Belleville Philharmonic Orchestra, Christ Church Cathedral (Episcopal), and the Gateway Men's Chorus. He is past Dean of the St. Louis Chapter of the American Guild of Organists, and director of the Gateway Ringers, St. Louis's premier community/auditioned handbell ensemble.

 

Savior of the Nations, Come also first appeared in hymnals in the 8^th or 9^th century. The original text is attributed to Ambrose of Milan (340-397), and then was translated into German by Martin Luther (1483-1546).

 

Prelude – O Come, O Come Emmanuel, arr. Jeff Cranfill

Offertory – The First Song of Isaiah, Jack Noble White

Communion Meditation – Savior of the Nations, Come, arr. Charles Peery

Postlude – Prepare the Way, O Zion, arr. Paul Manz

 

Hymns:

O Come, O Come Emmaunuel

Canticle 9

On Jordan’s Bank the Baptist’s Cry

Watchman, Tell Us Of the Night

Sleepers Wake! A Voice Astounds Us

What Is the Crying at Jordan

Rejoice, Rejoice Believers

 

December 14, 2024 - A Service of Leave-Taking for The Rev. Dr. Gerry Sevick

Passacaglia and Fugue BWV 582, J.S Bach

                  When Fr Gerry asked me to play for his farewell service, one of his requests was that the prelude be about 20 minutes long. As soon as he had asked of that, the first piece I considered was Bach’s Passacaglia and Fugue in C minor, and for good reason!

                  This work of Bach consists of 20 variations!!  Albert Schweitzer advised that "Each of the twenty sections ... must have its own characteristic tone colour (but) ... no colour must be sharply differentiated from its predecessor or its successor." The work opens with a stately eight-bar theme followed by the 20 variations and an overwhelming tutti. The double fugue is built on the first part of the passacaglia theme in combination with a countertheme in eighth notes. The work closes with a massive climax of suspended harmonies and full instrumental sonority.

                  Although this work has 20 variations, I thought it seemed necessary to add in representation to the 17 years Fr Gerry has been at Trinity, with each year he had served here having something unique to them and intensifying each year. And with the excitement and triumph of the last variation representing his last year spent here at Trinity before going out with great exultation.

 

Love, M. Balog

 Several years ago, Kay Sevick approached me about commissioning someone to compose an anthem for the occasion of Fr. Gerry’s 30^th Anniversary to the priesthood. She wanted to use his favorite George Herbert text, “Love Bade Me Welcome” from a collection of poems written in 1633. After discussing who could write it and the commission involved, we both agreed that I would write it! The song, written originally for solo voice, consists of 3 verses, the first two verses ending with Love (God) questioning the listener. These verses end on a dominant chord, leaving the listening waiting for the answer. The final verse ends on a Major Tonic chord, as in answer, Love invites us all to the table. Micki and Alyssa premiered this piece, 2017(?), and will offer it together at this service.

 

Lacrimosa, W.A.Mozart (From Requiem)

                  One of the requests Fr Gerry had asked me to play for him is an arrangement for solo organ on Mozarts Lacrimosa (from Requiem). This was requested by him shortly after I started my position here at Trinity as Organist. Mozart composed part of the Requiem in late 1791, but it was unfinished by the time of his death on December 5^th of that same year, We do know that Mozart did compose the first 8 bars of the Lacrimosa, one of the most beautiful movements of the Requiem. Lacrimosa translates to “Full of tears”, and the beauty of the music written shortly before Mozart’s own death brings to mind all of the emotions that a person can feel as they examine the joys and sorrows of their own life. The piece culminates in a crescendo to a final “Amen”. This will be the last prelude offered before the service.

 

I Can Only Imagine, Bart Millard

                  “I Can Only Imagine” was originally recorded in 1999 by the Christan band, Mercy Me. Written by lead singer Bart Millard, it imagines what it would be like to be in front of God in heaven. Released in 2002, it received Dove Awards for song of the Year and Songwriter of the Year. It is the most-played song in the history of Christan radio, as well as the best-selling Christian song of all time. I asked Fr. Gerry his thoughts on the song, and he explained that it brings to mind not only the times in the service that we want to raise our hands in praise, but also to kneel in reverence. On Saturday Alan will bless us with his singing of this song.

 

I Believe, Mark Miller

                  When Fr. Gerry and I pondered an anthem for this service, of course my mind went straight to “I Believe”, by Mark Miller. The first time I heard this anthem at a conference, I went immediately to the vendor booth and purchased their remaining copies. When I introduced it to the choir, it became a favorite. It was the first anthem that we recorded during Covid. The text is linked to writings found in a cellar where Jewish families hid during the Holocaust. “I believe in the sun, even when it is not shining," is a powerful phrase often used as a poem, signifying unwavering hope and faith, even amidst darkness. The music begins simply, with a solo voice. As the music swells and grows with additional voices, we sing about love. Finally, we return to the solo voice, and sing “I believe in God, even when God is silent”. Alyssa will be our soloist.

 

Rubrics- “The Peace Be Exchanged” Dan Locklair

                  This is the other organ compostion Fr Gerry had asked requested for his service of leaving (along with the Lacrimosa).  You will be hearing this during communion. The first time he heard this piece was during the organ installation concert here at Trinity, which was played by guest organist, Joseph Painter. Commissioned in 1988 for the Organ Artists Series of Pittsburgh, Rubrics has quickly become a staple in the American organ repertoire. Each of its five movements is based upon the rubrics (liturgical instructions) present in The Book of Common Prayer. “The Peace may be exchanged”
is the fourth movement in the suite, and its text is taken from a brief rite entitled “A Thanksgiving for the Birth or Adoption of a Child.” In this striking beautiful aria, Locklair utilizes simple rhythmic and melodic motives to great effect, using dense writing in the manuals and double pedal to create a sonic tapestry that is subtle and moving.

 

 

Finale - Organ Sonata No. 1, Alexandre Guilmant

                  For the postlude of this service, I decided on Alexandre Guilmants third movement “Finale”, from his Sonata No. 1. I couldn’t think of anything more fitting for Fr Gerry’s 17 years of service here at  Trinity, and over 30 years all together as priest. To me, this work expresses much of the emotion and challenges a rector could experience, as well as the uplifting and inspiring supernatural moments created working as a servant of the Holy Spirit and disciple of God. The frenetic Finale in D minor speeds along in an ABA-coda form, with the A sections almost entirely blanketed in running 16th notes, with the small finger of the right hand in charge of presenting a forceful tune by stretching and phrasing it all together. This momentum suddenly stops so that a solemn chorale can be heard in the B section, consisting of mostly half notes with a pedal flourish at the end of each phrase. The piece culminates in an overpoweringly visceral Maestoso as coda.

All of the hymns selected are Fr. Gerry’s favorites:

I Bind Unto Myself Today

The Servant Song

Now My Tongue the Mystery Telling

Let All Mortal Flesh Keep Silence

Be Thou My Vision

King of Glory, King Of Peace

I Want to Walk As a Child of the Light

December 8, 2024: The Second Sunday of Advent

Well, here it is. December 8. Fr. Gerry’s last Sunday with us before his retirement. We wish him well on this next stage of his life!

 

The Trinity Ringers will offer the Prelude this Sunday. We will be playing a piece by Judy Phillips – Advent Fantasy. Advent Fantasy combines the tunes GENEVAN 42 (Comfort, Comfort Now My People), PICARDY (Let All Mortal Flesh Keep Silence), NUN KOMM, DER HEIDEN HEILAND (Savior of the Nations, Come) and PUER NOBIS (On Jordan’s Bank the Baptist’s Cry). Fr. Gerry loves the Advent hymns, so it is particularly nice to offer a medley on his last Sunday. Following the service, the Trinity Ringers will be playing in Butler Hall as part of the Angel Gift Market.

 

The choir will sing  an anthem by John Ness Beck that directly quotes Sunday’s Gospel reading. It is my guess that a multitude of churches around the world will be singing Every Valley on this, the Second Sunday of Advent. It is one of his best known anthems. John Ness Beck was born in Warren, Ohio in 1930. After high school he enrolled at Ohio State University, graduating in 1952 with a BA in English. After a stint in the Army, he returned to OSU, graduating with a BA in Music with composition as his major. He spent 7 years teaching at OSU, then opened his own Music store in Columbus. As his compositions found their way into print and popularity, he joined forces in 1972 with John Tatgenhorst in the creation of Beckenhorst Press, my personal favorite music publisher. He remained active as a clinician and guest conductor until his death  in 1987.

The Postlude, Eternal Source of Light Divine forms the majestic opening statement of G.F. Handel’s cantata, Ode for the Birthday of Queen Anne, HWV 74. The aria is a kind of ceremonial call to order. The angelic vocal line is echoed by the trumpet, which seems to emerge from timeless, celestial expanses. Occasionally, the two voices weave together in near canonic counterpoint. Handel composed this music in January of 1713. It was intended to celebrate the Queen’s February 6 birthday, but Queen Anne took little interest in music, and her illness prevented the work from being performed. However, in gratitude, she awarded Handel an annual pension.

 

Eternal source of light divine
With double warmth thy beams display
And with distinguish’d glory shine
To add a lustre to this day.

Hymns:

65 – Prepare the Way, O Zion

75 – There’s a Voice In the Wilderness Crying

54 – Savior of the Nations, come

60 – Creator Of the Stars Of Night

67 – Comfort, Comfort Ye My People

657 – Love Divine, All Loves Excelling

October 27, 2024 - 23rd Sunday After Pentecost

Prelude

Every Praise  arr. Jeff Cranfill

Offertory

He Comes To Us  Jane Marshall

Communion Meditation

More Than Amazing  Lincoln Brewster and Mia Fieldes

Postlude

Toccata in D Minor, BWV 565  Johann Sebastian Bach

Hymns

7 - Christ, Whose Glory Fills the Skies 

371 - Thou, Whose Almighty Word 

466 - Eternal Light, Shine In My Heart 

538 - God Of Mercy, God Of Grace 

671 - Amazing Grace, How Sweet the Sound 

410 - Praise, My Soul, the King of Heaven

This Sunday will mark the debut of the Trinity Orchestra! They will play Jeff Cranfill's arrangement of "Every Praise', which incorporates the tune "Old 100th". The orchestra rehearses every 2nd and 4th Sunday at 3:00pm. If you play an instrument, we'd love to have you join us!

Jane Marshall

Albert Schweizer

The Offertory will be sung by the Trinity Choir. Written by Jane Marshall, "He Comes to Us" is rooted in the words written by Albert Schweitzer in his book, The Quest for the Historical Jesus. Schweitzer, who gave up two brilliant careers, one as a gifted writer and theologian, and that of an accomplished organist and musician, to become a medical doctor in Africa, wrote of what it means to hear and respond Jesus' call:

He comes to us as One unknown, without a name, as of old, by the lakeside. He came to those men who knew him not. He speaks to us the same word: "Follow thou me!" and sets us to the tasks which he has to fulfill for our time. He commands. And to those who obey Him, whether they be wise or simple, He will reveal Himself in the toils, the conflicts, the sufferings which they shall pass through in his fellowship, and as an ineffable mystery, they shall learn in their own experience who He is.

The anthem concludes with the famous chorale, "O Morningstar! How Fair and Bright"

O Morning Star, how fair and bright 

thou beamest forth in truth and light! 

O Sovreign meek and lowly.

Thou Root of Jesse, David’s Son, 

my Lord and Master, Thou hast won

my heart to serve Thee solely!

Thou art holy, fair and glorious, all-victorious, 

rich in blessing, rule and might o’er all possessing.

It's the Sunday before Halloween, so by popular request, Jack will play the Toccata in D Minor at the Postlude. The composition is widely accredited for its propelling rhythm, dramatic authority, and majestic notes, and rose to prominence when it appeared in “Fantasia,” a Disney cult classic. It was adapted by Leopold Stokowski for orchestra and was utilized in the opening sequence of the film. The piece was first published by Felix Mendelssohn in 1883 and went on to become one of the most celebrated creations in the organ repertoire. The first section of the composition, which you will hear on Sunday,  is a “toccata,” derived from the Italian word “tocacare,” which reads - “to touch.” It refers and represents a musical form that is crafted for keyboard instruments and is pre-designed to uncover the performer’s virtuosity - “touch.” Johann Sebastian’s take offers a typical essence, and is enriched with several fast “arpeggios,” - notes of the chord that is played in a series, not simultaneously. These notes are generally in a free form and provide the composer with more creative freedom. The Toccata starts in the upper ranges of the keyboard, predominantly with a single voice, which is subsequently doubled at the octave. It is then marked with the appearance of a diminished seventh chord, which is crafted “one note at a time.” This portion resolves into “D major.” It is further followed by three short passages, which are doubled at the octave and reiterates a short motif. The section reaches its climax by resolving into “D minor,” albeit with a flourish. The second section comprises of multiple figurations offering minimal connections, subsequently switching into “A minor,” the dominant key. The final section consists entirely of reiterations of the “three-figure note,” with profound similarity to the opening section. The piece concludes with “D minor,” which follows a short pedal flourish.

Twentieth Sunday After Pentecost

Prelude: Kingsfold Te Deum,   Sondra Tucker

 

The Prelude Sunday morning, Kingsfold Te Deum, will be offered by our Trinity  handbell ringers.  Both the KINGSFOLD (Hymn 292/480) and TE DEUM  (Canticle 21) tunes are heard separately in the beginning, then together in the final stanza. A great festival piece! This will be the Trinity Ringers first time playing together in service again since before summer, so we are excited to have them back! 

 

Processional Hymn: Christ Is Made the Sure Foundation/Westminster Abbey

 

The opening hymn Sunday morning is a very familiar hymn tune we know here at Trinity- Christ Is Made the Sure Foundation. The hymn tune was written by none other, Henry Purcell, who  was perhaps the greatest English composer who ever lived, though he only lived to the age of thirty-six. The hymn tune, Christ Is Made the Sure Foundation, was  translated in 1851 by John Mason Neale from the second part of the 6th- or 7th-century Latin monastic hymn Urbs beata Jerusalem.

 

Anthem: The Majesty and Glory of Your Name   Tom Fettke

 

The Choir Anthem on Sunday is the classic by Tom Fettke. The text is based on the Psalm appointed for Sunday, Psalm 8. This anthem came out in the early 90's and has become a favorite and church choirs throughout the world. Fettke took the text by Linda Lee Johnson and married it with music that paints a perfect picture of creation and our place in it. 

Tom Fettke

Here is a link to a story by Tom Fettke on the writing of this song.

https://marthagrimmbrady.com/2014/02/04/majesty-glory-name/

Be sure to listen to this arrangement sung on YouTube.  It is different from most because it sung by an all male group, but I found it to be most helpful because it helped me focus on the words, not the instruments. 

 

 

Closing Hymn: Hymn to Joy

Beethoven’s Ode to Joy is based on a simple musical theme, yet it has magic beyond words! Not only grabs the heart, but its message represents everything humanity should stand and fight for! The Ode to Joy (A die Freude) is an ode composed by the German poet and playwright Friedrich Schiller in the summer of 1785 and published the following year in the magazine Thalia. A slightly revised version was published in 1808, changing two lines of the first stanza and removed the last one.

Beethoven

The poem in the first version was composed of 9 stanzas of eight lines each and then reduced to 8 in the second version. Each verse is followed by a 4-line refrain, which is characterized as “chorus.”

It is well known throughout the World for having been used by Ludwig van Beethoven as a text of the choral part of the fourth and final movement of his Ninth Symphony. Micki was blessed to sing this with the Dallas Symphony in the early 90's!

 

 

Postlude: Concerto No II in a minor, Movement III,     J.S Bach/Vivaldi

 

Vivaldi's original concerto's figured bass continuo part was fleshed out by Bach, with the two solo parts and accompaniment spread out over the manuals of the organ. It is interesting to compare the original with Bach's transcription, as it gives some idea of Bach's skill and knowledge of what the organ was capable of. Bach was a literal 'one man band' when he played the instrument. Bach maintained the Italian style of the originals as well as most of the notes contained in the two solo violin parts. The violin and organ are two vastly differnet instruments, so the literal transrciption of most of the solo parts causes some real difficulties for the organist, but as Bach made these transcriptions for his own use, that was probably of no concern. The concerto is in three movements, but Sunday morning you will be hearing the third.

III. Allegro - The music returns to a brisk tempo and the key of A minor. After the initial statement is repeated, Bach changes the chords played by one of the solo violins to running sixteenth notes while keeping the original eighth notes of the original, one of the few actual alterations to the notes of the original. This adds brilliance to the music, perhaps Bach was flexing his organ playing muscles. He must have liked the effect for he repeats the changes later in the movement.

Songs for July 21st

Prelude: Prelude and Fugue in E minor “The Wedge” BWV 548, J.S Bach

 

                  Among the most expansive and complex organ works of J.S. Bach is the towering Prelude and Fugue in E minor, BWV 548.

 

The 19th century Bach biographer, Philipp Spitta, went so far as to call it “a two-movement symphony” for organ. According to the polymath musicologist, Albert Schweitzer, these two complimentary movements are “so mighty in design, and have so much harshness blended with their power, that the hearer can only grasp them after several hearings.” Maarten ‘t Hart considers the somber Prelude to be “a forerunner of the lament of the wounded Amfortas in Wagner’s Parsifal,” and describes the virtuosic Fugue as “bewildering.”

 

Bach wrote this bold music between 1727 and 1736 during his tenure in Leipzig. 

Formally, the somber Prelude resembles a concerto, with a recurring ritornello. The four-part Fugue’s striking subject unfolds with wedge-like chromatic outward motion. Its dramatic contour has earned BWV 548 the nickname, “The Wedge.” The Fugue’s three-part structure includes blazing toccata passages and, in the third section, a full de capo in which the haunting exposition returns.

For Bach, the purpose of all music was “the glorification of God, and the refreshment of the spirit.” The Prelude and Fugue in E minor, BWV 548 unleashes a thrilling and ferocious sense of divine energy.

 

Anthem: The King Of Love, My Shepherd Is (St. Columba) arr. Mark Schweizer        after J.S. Bach’s Prelude 1 in G Major

Mark Schweizer

This Morning's offertory is The King Of Love, My Shephard Is, Arr by Mark Schweizer
after J.S Bach’s Prelude 1 in C Major. A setting of the hymn tune St Columba, is sung by the choir in a two-partchoir (equal voices – in canon). This is accompanied by the organ over Bach’s Cello Prelude in C. With the combination of the two, one might exude a feeling of calmness and serenity. It speaks of freedom, of unhindered movement, and of beauty in its most serene, yet powerful form.

 

Recessional Hymn: O For a Thousand Tongues to Sing #493 (Azmon)

Though John Wesley is called the father of Methodism, his brother Charles Wesley (1707-1788) may be called the father of Methodist congregational singing. 

Wesley’s poetic response to his conversion is replete with literary elegance and beautiful control of language. In the text set in the UM Hymnal, Wesley employs hyperbole right from the start with “O for a thousand tongues to sing,” to heighten the emotional impact of the poem. According to several scholars, this famous opening line may have been inspired by Charles’ spiritual mentor, German-born Moravian missionary Peter Böhler, who said, “Had I a thousand tongues, I would praise him with them all!”

The original hymn had 18 stanzas. The seventh stanza became the first stanza of the hymn that we now know. 

Lowell Mason’s (1792-1872) arrangement of the Carl G. Gläser (1784-1829) tune AZMON is used with “O for a Thousand Tongues to Sing” in the UM Hymnal. Gläser was a German composer and contemporary of Beethoven. Though Charles Wesley’s text has been sung to a number of tunes through the years, AZMON is the dominant choice throughout the hymnody of the mainline denominations.

Since 1870, this hymn has been the first hymn in every Methodist hymnal. 

 

Postlude: Toccata (Suite Gothique, op.25) Leon Boellmann

His best-known composition is Suite Gothique (1895), now a staple of the organ repertoire, especially its concluding Toccata,

a piece "of moderate difficulty but brilliant effect", with a dramatic minor theme and a rhythmic emphasis that made it popular even in Boëllmann's day.

 

The suite consists of four movements:

1.        Introduction - Choral (C minor)

2.        Menuet gothique (C major)

3.        Prière à Notre-Dame (A-flat major)

4.        Toccata (C minor)

The first movement (Introduction - Choral) is in C minor and is made up of harmonized choral phrases that are first played in block chords on the great and pedals, and then repeated, piano, on the Swell. The second movement (Menuet gothique) is in 3/4 time and in C major. The third movement (Prière à Notre-Dame) is in A-flat major; it rarely uses dynamics above 'piano'. The final fourth movement (Toccata) is the best-known of the suite. This movement returns to C minor, ending with a Tierce De Picardie on full organ (Major chord!!).

Music June 30th- 6th Sunday after Pentecost

Prelude: Andante Sostenuto from Symphonie Gothique, Op.70, Charles WIDOR

 

The term “Gothic” in the title of Charles-Marie Widor’s (1844-1937) Ninth Organ Symphony originates from the distinctive Gothic architecture of the Church of St. Ouen in Rouen, where one of the most famous Cavaillé-Coll pipe organs in France is located. Widor called the instrument “a Michelangelo of an organ.”

The second movement of this organ symphony utilizes a distinctive E-flat-major melody with a few well-placed chromatic twists and turns supported by a repetitive accompaniment. The influence of César Franck is apparent, but the work stands on its own as arguably the most popular piece Widor ever wrote.

 

 

Anthem: Come Thou Fount of Every Blessing, Ronald E. Martin

 

This arrangement over the hymn, Come Thou Fount of Every Blessing, uses the hymn tune (Nettleton) in the voice line, with the accompaniment quoting the Prelude from Bach's Cello Suite No. 1 in G. Instead of a Cello, we will be using the Organ. One of the loveliest, easiest and most effective one-rehearsal anthems in the catalog. The second verse is in exact canon. 

 

Postlude: Fugue in G minor “Great Fugue”, BWV 542, J.S Bach

 

In 1720, J.S. Bach applied for the post of music director at St Jacob’s Church in Hamburg. As part of the audition, Bach performed an organ recital lasting more than two hours. In the end, establishment politics prevented Bach from winning the job, but the level of his playing left the audience stunned. After hearing Bach’s improvisations, the 97-year-old Dutch organist, Johann Adam Reinken, said, “I thought this skill had died out, but I see it lives on in you.”

It’s believed that one of the works Bach performed on this occasion was the mighty Fantasia and Fugue in G minor, BWV 542. This is surely some of the most haunting and tempestuous music in all of Bach’s output. The fugue subject is based on an ebullient Dutch song, Ik ben gegroet van. After two exhilarating trips around the circle of fifths, the fugue culminates in a triumphant resolution.

Music for June 10th, Third Sunday After Pentecost

Prelude: Praeludium in F major, BWV 540, J.S Bach

 

The Toccata/Praeludium in F,  is proportionally the largest of all Bach's works in the format of prelude-fugue. It is often treated as a show piece, with the ensuing fugue omitted. The Toccata's rhythmic signature suggests a passepied or a musette although the large scale of the movement does not support these characterizations.

 

The toccata starts with a large linear canon (first 6 bars shown above) over a pedal point in F major. It is then followed by a pedal solo based upon material from the canon. The canon is reiterated with some variations in the dominant in C major. This time the hands are switched, and the left hand leads the right. This is again followed by a long pedal solo. The two large canon flourishes cover 108 measures of the composition. The pedal solos cover 60 measures. The concerto movement exhibits a seven-part structure. The canons and pedal solos effect the departure from the home key of F to the dominant C, and the rest of the movement, with its concertante 3-part imitation and "proto-waltzes", constitute the harmonic return. This formal pattern is unique within all of Bach's works.

 

Processional: God of Grace, And God of Glory #594 (CWM RHONDA)

 

“God of grace and God of glory” was written in 1930 by Harry Emerson Fosdick (1878-1969) for the dedication of the famous Riverside Church in New York City.

Fosdick served as a chaplain during World War I and then was pastor of First Presbyterian Church in New York City. From this congregation he was called to pastor Park Avenue Baptist Church, which was renamed Riverside Church. 

As we sing this hymn, perhaps it is helpful to remind ourselves of the events that shaped the “hour” and the “days” that provide the context for this great hymn.

 

Offertory: Out of the Depths, Thomas Keesecker

 

This mornings offeratory is based off today’s psalm reading, psalm 130.

In this arrangement by Keesecker, you will hear a melody line in the form of 5 variations, alternating between the Soprano/Alto and Tenor/Bass. Each variation grows with more and more emotion and expression from the depths, to it’s conclusion “Redeem us, Lord, with steadfast love.”

 

Postlude: God of Grace, Paul Manz

 

All of us want the power of God upon us. The hymn arrangement, God of Grace, and God of Glory, originally improvised by Paul Manz as todays postlude, was chosen because of our opening hymn this morning.

The beginning of this postlude starts with the theme from Handel’s “Hallelujah” Chorus, that builds into the hymn theme played by a solo trumpet. This hymn arrangement/improv is a perfect way to go out on Sunday morning.