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.