Friday, February 24, 2012

February 26, 2012 - Lent 1

Show Me Thy Ways - Walter L. Pelz
A Lenten Walk - Hal Hopson

Hymns: #150 Aus Der Tiefe Rufe Ich, #143 Erhalt Uns Herr, #142 St. Flavian

This week's notes will be short. We have a guest musician that will be playing the prelude and postlude so I will not comment on these pieces other than to say that I am looking forward to hearing them myself.
 
The gradual anthem is a setting of Psalm 25, Show Me Thy Ways. The setting is from the pen of Walter L. Pelz(b. 1926), a recitalist and Professor Emeritus of music at Bethany College. The setting is scored for SATB choir, guitar and oboe. This very short composition (only 38 measures), in ABA form very simply offers a prayer to God to "show me thy ways." The B section is a bit stronger than the A section and affirms why we are asking God to show us "for Thou art the God of my salvation." The guitar provides mostly chordal accompaniment to the choir's rather simple vocal lines which start on a single note and then move in opposite directions to create lines that move up and down and allow for a very beautiful growth to the line. The oboe adds a supportive counter melody throughout that weaves in and out of the choir's lines.
 
The communion anthem, A Lenten Walk is by the distinguished church composer, Hal Hopson. Mr. Hopson is the former chairman of the church music department of Westminster Choir College. His cantata, "God With Us" was chosen by the Kennedy Center to be placed in a time capsule to be opened in 2076 (at the tricentennial). Mr. Hopson has over 1,200 published works to his credit. This setting of the spiritual Jesus Walked This Lonesome Valley allows us to feature many different sections of the choir. The altos sing the first verse by themselves followed by a verse for full choir. The next verse features the "under 30 group" I thought we would give our younger choir members a chance to sing on their own. Then there is another verse for full choir. The piece starts and ends with the sopranos humming a lovely melody over sustained organ accompaniment accented by the occasional chime. This piece serves as an invitation for us to join Jesus on that walk. It is a reminder of the spiritual journey that we all have the opportunity to take during the Lenten season - whatever that may mean for each of us individually.

February 22, 2012 - Ash Wednesday

Jesu, Grant Me This I Pray - C.H. Kitson
Here, O My Lord - Alan Viner, Horatius Bonar

Hymns: #149 Old 124th, #475 Tysk

Jesu, grant me this, I pray is a lovely setting of Song 13 by Orlando Gibbons. This tune is found in The Hymnal 1982 as #670, Lord, forever at thy side. The anthem is really very straight-forward. The piece has four verses which are spread around the choir to everyone but the altos (sorry altos). The tune is first introduced by the tenors. They are joined for the second verse by the full choir singing flowing lines of countermelody while the sopranos sing the tune above the counterpoint. The third verse gives the basses a chance to sing the tune and the fourth verse presents the hymn in a simple and clear four part texture. The text of the hymn comes from the poet H.W. Baker who, from 1860-1877 edited Anglican Hymns Ancient and modern, a hymnal that sold 60 million copies. The arranger was an organist, teacher, and author of several books on theory and counterpoint. Charles Hebert Kitson taught at the Royal College of Music and Trinity College in Dublin.
 
Here, O my Lord is another piece that can be found in The Hymnal 1982 (#318) but with a different tune. The setting we are singing has a newly composed tune by the former Music Director of the Priory Boy's Grammar School and the Wakeman School, Alan Viner. This simple a cappella anthem uses unexpected harmonies and expressive moving lines to illustrate the emotion of this text by the 19th century poet and hymn writer, Horatius Bonar. Bonar was born into a long line of ministers. He was ordained in 1837 and maintained a healthy career both with the church and as an author and editor.

Friday, February 17, 2012

February 19, 2012 - Last Sunday after Epiphany

Sonate No. 2 Op. 15: "Adagio" - Jan Albert van Eyken
Elijah Rock - arr. Jester Hairston
Elijah: "Then Shall the Righteous Shine Forth" - Felix Mendelssohn
We're Marching to Zion - arr. Carlton R. Young

Hymns: #129 Mowsley, #126 Dundee, #123 Tibi, Christe, Splendor Patris

The prelude this week was picked because of the communion anthem so I will start there. This is the Last Sunday of Epiphany and the Sunday that we acknowledge the Transfiguration and the appearance of Moses and Elijah on the mountain. Naturally, I again turned to Mendelssohn's Elijah for the aria "Then Shall the Righteous Shine Forth," not only to capture the imagery of light that is so prevalent during Epiphany but also for the reminder that "All sorrow and mourning shall flee away forever," a message that we would do well to remember during the more somber Lenten season.
 
The prelude is by the Dutch composer Jan Albert van Eyken(1822-1868). I have frequently turned to Mendelssohn for service music when I have programmed other pieces by him and thought that this would be a nice change of pace but still, stylistically, a good match. Van Eyken was a highly sought after organist and composer throughout Holland and Germany during his short life. In 1845 (two years before Mendelssohn's death), he enrolled in the Leipzig Conservatory where his talent was recognized by Mendelssohn and encouraged. It was this encouragement that led him to devote himself to the organ. The second movement of his Sonata No. 2 in d minor Op. 15, alternates between a graceful melody played on a solo flute in the left hand and a more angular dotted figure played on the principals. The graceful flute melody returns and draws the piece to a quiet close.
 
For the gradual anthem and postlude I turned to the rich heritage of African American spirituals. The postlude is an arrangement of the gospel song "We're Marching to Zion" by Carlton R. Young(b. 1926). Mr. Young has served as professor of Church Music at several universities across the country. In addition to his work as a teacher and composer, Mr. Young has served as editor of two revisions (1966 and 1989) of the United Methodist Hymnal. Mr. Young continues to compose from his home in Nashville, TN. The arrangement features the tune prominently played in the left hand on the Trumpet stop while the right hand plays triplets accompanied by an "oom-pah" figure in the pedals. At the end it seems as though the pedals will have the last word until a high jazzy chord is played with the tremolo on (Hammond B-3 style) to finish.
 
The gradual anthem gives our bass section a thorough work out. "Elijah Rock" arranged by Jester Hairston - yes, that Jester Hairston, starts off with just the basses and builds to full choir in the middle before stripping parts away again and ending with the basses just as it started. The text of this piece often causes confusion. In doing some digging for the notes this week I found that a lot of people were inquiring on the meaning of the text. I also found that there really seemed to be no definitive answer. I do agree with the idea that some shared that the narrator is seeking help from these two Old Testament prophets. I also think that the reason these two were chosen is because they are both Biblical figures that were exiled and then taken by God into heaven. The reference of these two Biblical prophets - the ones that appeared on the mountain makes this an ideal piece for this week. Jester Hairston - whom I did not really remember, in addition to being a composer/arranger and choir director was also a very popular and will known film and TV star. His film credits include "To Kill a Mockingbird," "Lady Sings the Blues," and "Lilies of the Valley." He was probably best known for his roles on "Amos n' Andy" (radio and television) and "Amen" where he played deacon Rollie Forbes. Hairston has received honorary degrees from MAC, a school he enrolled in as a landscape architect as a very young man but, for financial reasons, was forced to leave and from his alma mater Tufts. Hairston has left a legacy as a choir director as well. He was known for his infectious energy and his ability to tell a story. in 1992 he was honored with a star on the Hollywood Walk of Fame.

Friday, February 10, 2012

February 12, 2012 - Epiphany 6

Suite No. 2 for Organ: "Lullaby" - Calvin Hampton
"Fight the Good Fight" - John Gardner
Mass in G Major: "Kyrie" - Franz Schubert

Hymns: #1 Christe Sanctorum, #734 Intercessor, #740 Wade in the Water

The gradual anthem for Sunday was written by John Gardner. It is the final movement in a set of “Five Hymns in Popular Style” Op. 54. The piece was written in 1964 and is dedicated to Malcolm Williamson, an Australian composer that was named Master of the Queen's Music in 1975.  John Gardner was born in Manchester in 1917. He was the Sir Hubert Parry Organ Scholar of Exeter College, Oxford from 1935-1939. During World War II he worked as a Bandmaster and Navigator. After the war he turned his attention to composition. In 1956 he joined the staff of the Royal Academy of Music. Despite his catalogue of 249 opus numbers, Gardner is an underappreciated composer. In 2007 in celebration of his 90th birthday he received renewed attention including the premeire of his Op. 249, a Bassoon Concerto. Gardner died in December of 2011. The text of the hymn was written by John S.B. Monsell (1811-1875), the son of the Archdeacon of Londonderry. Monsell wrote 11 volumes of poetry - many of which have been set as hymns. Fight the Good Fight has been included in The Hymnal 1982 paired with the tunes Pentecost and Rushford (552/553).

When searching for a prelude for this week I struggled a bit to find a piece that would fit musically with the Gardner. I decided on the Lullaby from Calvin Hampton’s Suite No. 2 for organ (1976). Calvin Hampton has been on my mind since we sang his setting of There’s a Wideness in God’s Mercy three weeks ago. I also thought that it might be interesting to program a piece that was written close to the time of the Gardner by another great church composer – but this one from the American tradition. Hampton studied the organ at Oberlin Conservatory with Fenner Douglas and later at Syracuse University with Arthur Poister. As a composer Hampton enjoyed bending, stretching, and breaking the traditional molds. He used synthesizers and quarter tones in some of his music but also made some of the first modern day organ transcriptions including Mussorgsky’s Pictures at an Exhibition, and Franck’s Symphony in d minor.  Hampton’s hymn settings can be found in nearly every hymnal currently on the market. Hampton was known for his Friday recitals at Calvary Episcopal church in New York City from 1974-1983. Hampton died of AIDS in 1984 at age 45. The Lullaby  is a set of variations that showcases the different solo reeds of the organ against an accompaniment of strings and flutes. The tune is passed from hand to hand until it disappears all together into a string of sixteenth notes played on a 4’ flute.

The Communion Anthem is taken from the Schubert Mass in G Major No. 2 D 167. The piece opens simply with homophonic statements of the “Kyrie” followed by the Soprano soloist singing the text “Christe eleison” with more agitated throbbing strings over a pizzicato cello line (all played this week on the organ). The choir returns at the end of this section and brings the return of the opening theme of the “Kyrie” to bring the piece to its gentle close.

Friday, February 3, 2012

February 5, 2012 - Epiphany 5

"Largo" from Xerxes - G.F. Handel
Chandos Anthem No. 9 "O Praise the Lord With One Consent" HWV 254 - G.F. Handel
"Oh, Rest in the Lord" from Elijah - Felix Mendelssohn
"Maestoso and Andante tranquillo" Sonata No. 3 in A Major Op. 65 - Felix Mendelssohn

Hymns: #423 St. Denio, #508 Nova Vita, #529 McKee

The music for this Sunday features the works of two composers that were born and raised in Germany but found much of their success in England. Handel and Mendelssohn both saw huge amounts of success through their composition of oratorios. Mendelssohn's oratorios are seen as a direct link to those of Handel as well as to the choral writing of J.S. Bach.
 
The prelude this week is a transcription of Ombra mai fu from Handel's opera Xerxes (or Serse, its Italian title.) Handel wrote this opera in 1738 when he received a commission from the King's Theatre in London. It was an enormous flop and received only five performances. The reason for its dismal reception is largely due to the fact that it combined elements of comic opera and serious opera - a big no-no of the time. It has received a much warmer welcome from 20th and 21st century patrons for the same reason that it was panned by Handel's critics. The inclusion of comic elements combined with shorter pieces of music have made it a favorite of modern audiences. The aria Ombra mai fu (Never was a shade) is sung by Xerxes about a tree. This piece has been arranged for several different combinations of instruments under the name Largo despite being marked Larghetto in Handel's score, and is very popular as an organ solo. This transcription is by Edwin Arthur Kraft (1883-1962) who was the organist at Trinity Cathedral in Cleveland for 50 years. The transcription first assigns the melody to solo oboe with accompaniment played on a soft flute but for the repeat of the theme
is placed in the pedals on a solo flute with accompaniment provided by a celesta stop (common on many turn of the century American organs) before returning to the fuller chords of the opening few measures.
 
The gradual anthem is also by Handel, and also the result of a commission. Henry James Brydges, Duke of Chandos(1673-1744) lived a princely life until the great South Sea bubble financial disaster. Brydges rose quickly through the ranks of society through force of personality, ability and marrying well. As part of the dowry for his first wife, Mary Lake, he received a manor known as Canons. Brydges enlarged this home to a palatial scale and surrounded himself with art and artists including Handel. The Chandos anthems (HWV 245-56) were commissioned for performance at the Church of St. Lawrence which was on the Canons estate. Despite the demolition of the palace in 1747 the church remains in tact today. Handel drew on the psalms as his source for these anthems, often combining them with little regard for the integrity of the text. He then composed music befitting the texts that he had assembled. O Praise the Lord with One Consent is a setting of Psalms 117, 135, and 148 in eight movements. The title anthem is in two parts. The first is a fugue on the text "O praise the Lord with one consent and magnify and magnify his name" the second a fugue on "let all the servants of the Lord His worthy praise proclaim."
 
The communion anthem for this week is  Oh, Rest in the Lord from Elijah by Felix Mendelssohn. This was one of Mendelssohn's best loved compositions. It was commissioned for the Birmingham Festival of 1846. Mendelssohn had the idea of an oratorio based on the Biblical prophet Elijah on his mind or ten years prior to this commission but had been unable to find a librettist that was willing to provide him with a text that was dramatic enough. This oratorio is a collection of scenes from the life of Elijah. This aria is sung by an angel to Elijah who is, once again, complaining about his circumstances and asking God to grant him death. The angel instructs him to find "rest in the Lord and wait patiently for him." This aria, one of the best known from the work was almost cut from Mendelssohn's revised version of the work.
 
The postlude is the second movement of Mendelssohn's third organ sonata in A major. Mendelssohn received a commission for a set of organ voluntaries in 1844. He drafted seven individual pieces but then decided to extend and regroup them into sonatas - not in the way that we think of sonatas but instead into groups of diverse pieces. The first movement of this sonata is based on the Lutheran chorale Aus tiefer not. The second movement is thought by some to have been composed for his sister, Fanny's wedding. The movement begins with large sweeping gestures but then changes character completely and becomes a gentle lilting minuet to finish out the sonata.