Friday, July 20, 2012

July 22, 2012 - Proper 11

Wenn wil in hochsten Noten sein BWV 641 - J.S. Bach
Vergnugte ruh', Beliebte Seelenlust BWV 170 - J.S. Bach

Hymns: #493 Azmon, #586 Pleading Savior, #653 Repton,
              #708 Sicilian Mariners

This Sunday we turn again to the writings of J.S. Bach. The selections for this week reflect the contemplative side of Bach’s writings. The prelude is BWV 641, Wenn wir in höchsten Nöten sein (Whenever we are in deepest need). This prelude, like the cantata to follow, is based around the idea that God is our help in troubled times and that it is only through Him that we can hope to arrive at peace. The cantata takes it a step further and states that this peace is something that we will only get in heaven. This chorale prelude from the Orgelbuchlein features one of the most heavily ornamented chorale lines in the whole collection. The influence of French harpsichord writing can be seen in this piece. Despite the ten plus years separating the composition of the two pieces, the similarity in Bach’s treatment of an introverted and introspective text can clearly be seen in the way that he makes use of quick, flowing, ornamented lines against throbbing steady eight notes. This intimate chorale setting shows off the tender side of Louis Bourgeois’ angular chorale tune and clearly illustrates the images of Paul Eber’s text.

The communion anthem and postlude are taken from Cantata 170: Vergnugte ruh’, Beliebte seelenlust (Rest contented, beloved soul) for the Sixth Sunday after Trinity Sunday (technically last Sunday). This cantata for solo alto and chamber orchestra (oboe d’amore, 2 violins, viola, organ obbligato and continuo) has a rather somber text by the poet Georg Christian Lehms (1684-1717) the pet and librarian at the Darmstadt court. Bach drew from Lehms’ 1711 collection of cantata texts for several of his cantatas. These texts have an intimate quality that lends itself to use in solo and dialogue based writing. This cantata is very creative for a number of reasons. It is one of six cantatas for alto solo and features the organ as an obbligato (solo) instrument rather than merely as part of the continuo group. This cantata is from Bach’s Leipzig period and is one of only two written for this specific Sunday. The cantata is comprised of three arias connected by recitatives.

The opening movement in 12/8 emotes a pastorale feeling but with a great deal of intensity. In this movement the first violin and oboe d’amore (the alto member of the oboe family pitched between the oboe and English horn) double each other on a twisting and sometimes chromatic solo line. The second violin, viola, and continuo play throbbing sixteenth notes. The solo line dialogues back and forth with the solo alto supported by the throbbing strings. The text of this movement states that we will find rest only in heaven, far from the mischief of hell. Julian Mincham states: “The feeling of quiet, almost introverted elation is the principal image depicted throughout.” This idea clearly identifies not only the character of this movement; but of the text and the cantata as a whole.

The recitative which precedes the final aria sets up the feeling of release that is the central idea of the closing aria. The aria has a rather dark text. “I'm sick to death of living, So take me, Jesus, hence! I fear for mine offenses, Let me find there that dwelling Wherein I may have rest.” Despite the intensity of these verses, Bach chooses to focus on the rest that heaven will bring rather than the desire to be done with life. This sense of being “heavenly minded” can be heard especially in the obbligato organ writing. The organ plays light fast passages that evoke a celestial image of peace combined with joy. The aria feels more like the last movement of a double concerto for alto and organ than the closing movement of a cantata. The turbulence of the text is not completely glossed over in the music. The opening interval of the augmented fourth in the instrumental line, referred to as diabolus in musica (the devil in music) illustrates the idea of being “sick of living.” This alto soloist is on the fence between the despair of life and the hope found in heaven.


Sunday, July 15, 2012

July 15, 2012 - Proper 10

Etude - Joannes Rochut
Adagio and Allegro - Benedetto Marcello
Toccata per l'Elevazione - Girolamo Frescobaldi
Hymns: Bunessan, #589 Walden, #232 Nyland,
              #779 Dunedin

This week’s music is all Italian influenced. We also have the opportunity to hear the euphonium, an instrument that closely resembles a small tuba in a person but plays in the warm rich range of the cello. This instrument is almost exclusively found in band settings (as opposed to orchestra). It has a rich singing tone that lends itself to solos and has been used extensively in marches and the music of the British band tradition. The euphonium does occasionally appear in the orchestra, often being substituted for similar instruments such as the “baryton” and the “Wagner tuba.”

The prelude this morning is an etude; a short but difficult musical composition designed to practice or develop a specific skill. This etude is from the book Melodious Etudes for the Trombone by Joannes Rochut (1881-1952). Rochut was educated at the Paris Conservatoire and from 1925-1930 served as principal trombonist for the Boston Symphony Orchestra under the baton of Serge Koussevitzky.

In 1928 Rochut published his Melodious Etudes 1-3 which are transcriptions of Vocalises by the famed Italian tenor, Marco Bordogni (1789-1856). Bordogni was a singing teacher that spent much of his career in Paris. He originated several roles in the operas of Rossini. He taught at the Paris Conservatoire from 1820 until shortly before his death.

The postlude is a transcription of an Adagio and Allegro by Benedetto Marcello (1686-1739). The piece was originally written for bassoon but because the bassoon and euphonium have similar ranges the transcription works well. Marcello was an Italian composer, magistrate, writer, advocate, and teacher. His older brother, Alessandro was also a composer and many of Benedetto’s compositions have been misattributed to his brother. In addition to his instrumental music, B. Marcello is remembered for his sacred vocal music including his collection of settings of the first 50 Psalms.

The communion music this week is Girolamo Frescobaldi’s Toccata Per l’Elevazione. Frescobaldi (1583-1643) was perhaps the most famous and revered keyboardist of his time. His music served as an instruction book on counterpoint for composers for years to come. His influence can be seen in the writings of Bach, Purcell and countless other composers. This “elevation toccata” is from the Mass of the Apostles, one of three organ masses published in Frescobaldi's 1635 publication Fiori Musicali (“Musical Flowers”). These pieces are typically played slowly on the voce umana stop, a principal stop which was tuned slightly sharp so that when played along with the principal it would produce a soft undulating effect. This piece is filled with dissonances that do not fully resolve until the end. It has several chains of suspensions that “resolve” falsely from when chromatic chord to another before reaching the final cadence. These pieces are some of Frescobaldi’s most intimate and personal works. The key that the piece is in often symbolizes the mystical and is especially appropriate for the elevation of the Blessed Sacrament.