October 19, 2014 - Proper 24

Prelude in G - Henry Purcell

Rejoice in the Lord Alway - Henry Purcell

Cantata 52: "Ich halt es mit dem lieben Gott" - J.S. Bach

Fugue in g minor BWV 578 - J.S. Bach

Hymns: #375 Du Lebensbrot, Herr Jesu, #602 Jesu, Jesu,

              #680 St. Anne

The music this week is from two different traditions in the Baroque period, the English world of Henry Purcell and the Lutheran traditions of J.S. Bach.

Henry Purcell (1659-1695) was born the son of a court musician and started his career as a chorister at the Chapel Royal. He studied with John Blow and in 1679 succeeded him as organist of Westminster Abbey. Blow stepped down from the job in favor of his more talented student. Upon Purcell’s death Blow returned to the post and composer Ode on the Death of Purcell. During his lifetime Purcell wrote chamber music, keyboard music, choral anthems, songs and music for the theatre. The anthem Rejoice in the Lord Alway Z49 was written between 1682 and 1685. It is a verse anthem setting of Philippians 4:4-7. The work opens with an orchestral (strings and continuo) prelude that has earned the piece the nickname Bell Anthem. The writing is reminiscent of the pealing of bells. As is the case with verse anthems, solo voices alternate with the full choir, in this case, a trio (alto, tenor, bass) which delivers the majority of the text while the full choir sings “Rejoice in the Lord alway and again I say rejoice.” In the full version there are instrumental interludes before each occurrence of the refrain but they have been cut in this version.

The prelude is also by Purcell. This Prelude in G can work as a piece for harpsichord or organ. Although written before the paired preludes and fugues of the later Baroque period, which is essentially what this is. The piece starts freely on the “diapasons;” a combination of the 8’principal and the 8’stopped diapason which is a flute. The fugue is played on a brighter registration with a combination of light principal stops. This gives a bit more clarity to the lines and allows the counterpoint to shine through.

The communion anthem is taken from Cantata 52 Falsche Welt, dir trau ich nicht “False word, I don’t trust you” by J.S. Bach (1685-1750). This cantata for solo soprano, two horns, three oboes, bassoon, strings and continuo was written in Leipzig and first performed on the November 24, 1726 for the 23 Sunday after Trinity. This was Bach’s first solo cantata to be presented in Leipzig  and was not particularly well received. The piece has seven movements. The opening Sinfonia is an early version of Brandenburg Concerto No. 1 without the violin piccolo solo. The fifth movement, Ich halt es mit dem lieben Gott , is accompanied by the trio of oboes. This is something that Bach did more with bass arias. One commentator wrote that the trio of oboes give is “a sense of solidarity, aligning oneself with the Lord and letting the world operate as it may.” The text for this aria, “I stay beside this dear God, let the world remain on its own. With God beside me, and me beside God, thus I myself can dispel the mockery of deceptive tongues.” paints a picture of a person that has found a sense of purpose and grounding in her faith to keep her from the false words of the world.

The postlude is Bach’s “Little” g minor fugue. The designation little is to differentiate it from the fugue paired with the fantasia that makes up BWV 542. This piece has been arranged for every medium imaginable from saxophone quartet to marching band and even as a piece for full orchestra. Its length coupled with the very clear entrances in the exposition and bouncy episodes makes it an ideal piece for teaching fugue in a theory class. Despite the somewhat boxy nature of the fugue theme, the piece has a great deal of energy and lightness, especially in the episodes with their cascading sixteenth notes. This piece is brilliant; it is musical and exciting without being long and rambling.