November 30, 2014 - Advent 1

Passacaglia - Douglas E. Wagner

Advent Passacaglia - Mark Schweizer

Passacaglia in c minor BWV 582 - J.S. Bach

Hymns: #640 Aberstwyth, #721 Ton-Y-Botel, 

              #73 St. Stephen

This week’s music with the exception of the communion anthem is held together by form. 

The passacaglia is a form that originated in the 17^th century. These pieces are typically in triple meter (i.e. 3/4) and have a somber basso ostinato (a repeated bass line). The pieces are often written as a set of variations of ever increasing intricacy and complexity. The repeated idea does not always need to be a bass line but can present itself in any voice part.

The prelude is taken from Douglas E Wagner’s (b. 1952) set of Eight Psalm Impressions. This “Passacaglia”  is inspired by Psalm 52 “The goodness of God endureth continually.” The passacaglia is an ideal form for this verse. Just like God’s goodness, ostinato “endureth continually” through the set of eight variations and the coda. One noticeably different quality of this passacaglia is that the theme is in a major key rather than the more common minor key. Wagner began his career as a high school music teacher that composed on the side but with more than 2,500 publications to his credit he has become a full time composer. He currently resides in Indianapolis with his wife.

The gradual anthem by Mark Schweizer (b. 1956) is another excellent example of a passacaglia with a few interesting features. Schweizer is a native of Florida and holds degrees from Stetson University and the University of Arizona. He has held many university positions and is the owner and editor of St. James’s Press. In addition to his musical accomplishments Schweizer is the author of the St. Germaine mystery series including titles like The Alto Wore Tweed and The Tenor Wore Tap Shoes. The anthem is a set of nine variations in which the ostinato takes as a repeated harmonic structure rather than a bass line. The piece opens with the women singing a chain of suspensions a cappella in three parts. The organ joins the ladies of the choir for the second variation. The next variation is for a solo baritone with a new theme followed by the entrance of all the men. The women return with the same notes as the opening but with text. Variation six varies the men’s initial themes which are combined with the previous variation to make up variation seven.  The last two are further variations on numbers five and seven with an increased drive to the end before the sudden halt and concluding chords.

The postlude is Bach’s magnificent Passacaglia and Fugue in c minor BWV 582. I will only be playing the passacaglia because of time. Pieces like this and the ciaconas of Buxtehude make use of common improvisatory techniques and figures. Bach’s piece is a set of 21 variations (20 variations and the fugue which is the final variation) of varied texture, rhythm, and placement of the theme. The piece is in c minor, a key associated with longing which seems appropriate as we begin Advent. The work is rife with pent up tension that is released but not quite as the final chord normally goes into the fugue. It is easy to see why this is the standard for most pieces written in this form and why so many arrangements for orchestra and other ensembles exist. 

November 23, 2014 - Christ the King Sunday

Trumet Tune in C Major - David N. Johnson

Lauda Sion - Felix Mendelssohn

In Nomine Jesu - Jacob Handl

Hymns: #494 Diademata, #382 General Seminary, 

              Soon and Very Soon

This week’s choral music is heavily influenced by the choral music of early Italian masters but neither piece was written by them. The Lauda Sion of Felix Mendelssohn (1809-1847) owes a great deal to the settings of Palestrina and Gibbons despite the lack of 16^th century counterpoint in this movement the influence of Gabrieli’s homophonic antiphonal style is evident and the presence of the chant melody later in the work is also a nod to the Venetian masters. In Nomine Jesu by Jacob Handl (1550-1591) combines the Franco-Flemish tradtion with that of the Venetian school. The prelude was written by American organist and teacher, David N Johnson (1922-1987.)

Mendelssohn is most often remembered for his symphonies, his Songs Without Words for the piano and for his choral music. His two large scale oratorios, Elijah, and St. Paul along with dozens of other psalm settings and cantatas. Lauda Sion Op. 73 was written in 1846 while Mendelssohn was hard at work on his oratorio Elijah. It was written for the 600^th anniversary of Corpus Christi and has a text by Thomas Aquinas. This text is one of only four sequences that survived The Council of Trent (another being the Dies Irae.) This lesser known work examines the mysteries of the Eucharist and utilizes the familiar chant melody associated with this text later on in the piece. The joyful homophonic opening in C major calls to mind the writings of Gabrieli for organ, brass, and choir with their big, full sounds.

Jacob Handl [Gallus] was born in 1550 in what is now Ribnica, Slovenia. He was educated at the Cistercian Monastery and went on to live at the Benedictine Melk Abbey. His career included Viennese Court composer, Kapellmeister to the Bishop of Moravia, and organist in Prague.  He composed more than 500 pieces during his short life of only 41 years and was known for his combination of Franco-Flemish style and the music of the Venetian school.

The prelude was written by David N. Johnson (1922-1987) and is one of his many Trumpet Tunes, this one in C major. As with most pieces in this style the piece goes back and forth between solo trumpet with accompaniment in the left hand and pedal to loud bold statements on the full chorus of the organ. David N. Johnson has ties to the Syracuse area. In 1951 he received his Master’s degree and in 1956 his PhD from Syracuse University. From 1960-1967 he was a lecturer at the university and in 1967 he succeeded Arthur Poister as professor of organ. In 1969 he moved to Arizona to teach at Arizona State at Tempe.

November 16, 2014 - Proper 28

Cantata 140 "Wachet auf, ruft uns die Stimme" - JS Bach

Hymns: #536 Torah Song, #490 Houston, 

              #290 St. George's, Windsor

This week the choir and soloists will present movements 1, 3, 4, and 7 of BWV 140 “Wachet auf, ruft uns die Stimme.” This cantata is based on the parable from Matthew 25, the parable of the ten virgins. In this parable Christ is warning that because no man knows the day or the other of the Lord’s return that we must be ready at any moment for Christ to return to claim his church. J.S. Bach sets this story in a bit more positive light using Philipp Nicolai’s (1556-1608)chorale as the musical basis of the piece he constructed a cantata in seven movements. The overall structure of the piece is interesting in that it is symmetrical:

             

               1.)    Chorale fantasy

               2.)    Recitative

               3.)    Duet

               4.)    Chorale

               5.)    Recitative

               6.)    Duet

               7.)    Closing Chorale

The two duets are for soprano and bass. Traditionally bass solos in the writing of Bach are associated with the voice of Jesus and this cantata is no different. The soprano sings the role of the “soul of the believer.” In the first duet the soprano is pleading and longing for Jesus but in the second duet the soprano sings with joy for the arrival of Christ and the union of the two.

In movement one Bach uses the French overture style of angular dotted rhythms to propel the piece forward adding even more rhythmic interest as the voices prepare to enter. The sopranos sing the chorale tune in long notes above the dialogue of the lower three voices. Calvin R. Stapert points out in his book My Only Comfort that Bach increases the excitement and impatience of the lower voices in the two A sections by having them enter closer and closer to the soprano’s entrance on the tune.  On the first phrase the sopranos sing two measures alone in the second only one and in the third phrase all voices enter together. In the B section the lower three parts enter before the chorale tune. This bursts into a melismatic cry of “Alleluia.” The lower three parts are then so excited that they continue to emphatically repeat “make you ready” before finally finishing the sentence “for the wedding.”  The piece ends as it began with the dotted rhythms of the French overture style erupting into running sixteenth notes in the violin and reaching an exciting climax.

As previously stated, the third movement is a duet for soprano (soul of the believer) and bass (Jesus). This movement follows a tenor recitative where the tenor tells the hearer that the Bridegroom is coming. The duet is a constant back and forth with Jesus reassuring the soul that he is coming and that the soul will join him which she does only once on the text “the heavenly meal.”

The tenor solo (which can be sung by all of the tenors in the choir) is perhaps one of the best known of Bach’s chorale settings. He thought highly enough of it to transcribe it for solo organ as one of the six Schubler chorales. The steady rhythmic nature of the piece suggests the processional to the wedding feast and the dance-like obbligato adds a sense of joy that was missing from the previous movement.

The final movement is Bach’s stunning four part setting of the chorale that is filled with images of the glory of heaven. A satisfying end to the cantata that starts as a warning and ends in eternal celebration; a reminder of the promise of heaven and the reward of the watchful. 

November 9 2014 - Proper 27

Prelude on "Dundee" - Gordon Young

Psalm 100 - John Weaver

Pie Jesu - Charles Gounod

Marche Solennelle - Charles Gounod

Hymns: #709 Dundee, #324 Picardy, #57 Helmsley

The music this week is from three organists that also composed, the Americans John Weaver and Gordon Young, and French composer Charles Gounod. These pieces show some of the rich history and tradition of church musicians that also composed music for the groups that they served and added to the literature for their instruments.

John Weaver (b. 1937) is an American organist, choir director, teacher, and recitalist that has enjoyed an extensive career throughout the world. He was educated at the Curtis Institute where he later became a professor.  He has also served at Julliard, Westminster Choir College and the Manhattan School of Music. In addition to his academic positions he served as organist at Madison Avenue Presbyterian Church in NYC from 1970-2005. Although Weaver has few compositions to his credit the pieces all make use of the organ. This setting of Psalm 100 was dedicated to Dr. Ross H. Stover and the choir of the now closed Messiah Lutheran Church in Philadelphia. This psalm seems to be giving instructions to the listener. We are told to “make a joyful noise” the psalmist then goes on to remind us why we should praise God. Psalms like this are nice reminders for those of us that fall into the habit of church. It is easy to just do and not to think about why we do the things we do. We sing because we are his people, he hath made us. We sing because he is good and his mercy is everlasting. These reminders when viewed freshly can serve to rejuvenate even the most disenfranchised worshipper.

Gordon Young (1919-1998)was born in Kansas and like Weaver was educated at the Curtis Institute. Young has published more than 800 pieces and many of his choral and organ works have become standard repertoire. His Prelude on Dundee shows his straight-forward but tastefully artistic compositional style. The piece alternates between a clarinet solo on the hymn tune and the lush string celeste of the swell division.

Charles Gounod (1818-1893) was educated like most French musicians at the Paris Conservatoire. He served at the Church of the Foreign Missions. Gounod wrote two symphonies, operas, cantatas, works for choir and organ. The Marche Solennelle is dedicated to the pedal piano virtuoso Lucie Palicot and the piece can be played on organ or pedal piano. The piece is a fanfare like march with pedal flourishes that you could easily hear on the pedal piano as well as the organ. Pie Jesu is a part of the set Chants Sacres for solo soprano or tenor. This piece is beautiful for its simplicity. Beautiful rising and falling lines that are shaped by gentle subtle by the tenor and the organ are not showy but beautiful for their simple illustration of a simple text. Like the more well known Faure, this piece has a simple lyrical melody that is not overtly virtuosic but instead allows the text to be easily conveyed.

November 2, 2014 - All Saint's

Gloria FP177 - Francis Poulenc

Requiem Op.9 - Maurice Durufle

This week for the feast of All Saint’s the choir of St. David’s will present the Gloria by Francis Poulenc (1899-1963) and the Requiem by Maurice Durufle (1902-1986) both with organ accompaniment. These monumental pieces of 20th century French choral literature showcase the beauty of Gregorian chant and lush jazz influenced harmonies.

The Gloria of Francis Poulenc was commissioned by the Koussevitsky Foundation in honor of Sergei and Natalia Koussevitsky. It was premiered on January 21, 1961 by by the Boston Symphony Orchestra and the Chorus Pro Musica under conductor Charles Münch with Adele Addison as soloist. The piece was written with Leontyne Price in mind but when she was unavailable Addison was contracted for the performance.

The piece in six movements is a setting of the Gloria from the Latin mass. The music is heavily influenced by the extended harmonies of jazz that are prevalent in all of Poulenc’s compositions. The piece opens with fanfare but a fanfare that already shows us the rather “crunchy” harmonies in store. Laudamus Te, the second movement has criticized for its totally irreverent word stress. It is a joyous romp that gives way to a plaintive alto solo before return to the jovial material of the opening.

The soprano soloist enters for the first time in movement three, Domine Deus, Rex coelestis in b minor. The choir serves primarily as background here occasionally doubling with the soloist or adding colorful countermelodies. The joy of the opening returns in Domini Fili in a bright G major despite the chorus’s minor entrance and a very catchy recurring theme.

Movement five resembles movement three in that both feature the soprano soloist in a minor key on the text “Domine Deus” (this time followed by “Agnus Dei”). The winding chromatic line is reminiscent of a sweeping film score rather than a setting of a religious text. This piece winds its way around until finally settling on an eerie final chord. The last movement begins with an a cappella fanfare like section that is punctuated by dissonant chords. This movement perfectly combines the spritely characteristics of the fast movements with the lush string sounds of movements 3 and 5 in the B section. The fanfare returns just before the meditative final chord is held under the pianissimo soprano solo.

Durufle’s Op. 9 Requiem was commissioned in 1947 by the French publisher Durand. It is sited as being in memory of the composer’s father but is just as much inspired by the very music that it is based on. When Durufle received the commission he had already begun work on a suite for organ based on the Gregorian chants for the Mass for the Dead but had decided that these pieces are too wedded to the texts that they set to be separated. He then used them as the basis for his Requiem.

Three versions of the work were written and published. The first is the version for full orchestra written in 1947. The second (which will be the one that we present) is for organ only. A third version was written which preserves much of the organ part from the version for solo organ and adds a small orchestra (trumpets, timpani, harp and strings) for color.

The piece is based primarily on traditional Gregorian chants. Like Faure’s Requiem (which it is often [mistakenly] compared to) this piece does not set the Dies Irae but does include a portion of it in the Libera Me. The use of chant in this work is very interesting. It is usually sung at least once in each movement but Durufle is inconsistent about his treatment of it. In some movements like Lux Aeterna it seems clear that the meter is completely defined by the word stress of the chant while in other movements like the Sanctus and portions of Libera Me the word stress is completely disregarded.

The sectional nature of some of the movements shows the way that Durufle dealt with the different aspects of diverse texts. The most disparate movements, Domine Jesu Christe and Libera Me both employ a baritone soloist to deliver a portion of the text as well as a change of character. In some movements such as the Kyrie Durufle adhered to the traditional form (a fugue) but disregarded the tripartite iteration of each plea. It seems that while much of the work is inspired and informed by the traditions of these texts that they only serve as a guideline for the composer’s writing.