February 15, 2015 - Last Sunday of Epiphany

Sonata No. 4: "Andante Religioso" - Felix Mendelssohn

Elijah: "Then Did Elijah" - Felix Mendelssohn

Messe Solennelle: "Sanctus" - Charles Gounod

Marche Solennelle - Charles Gounod

Hymns: #427 Laudes Domini, #129 Mowsley, 

              #123 Tibi, Christe, splendor Patris

The music this week is from two great composers, Felix Mendelssohn (1809-1847) and Charles Gounod (1818-1893). The music is firmly rooted in the Romantic tradition and sounds more like large opera arias and choruses than the typical liturgical fare.

The prelude and gradual anthem are both from the pen of the German born Felix Mendelssohn. Despite Mendelssohn’s German heritage, like Handel and Haydn he found much of his success in England; and a fair bit of it through his oratorios. Then Did Elijah from the oratorio Elijah makes extensive use of text painting to show the fantastical nature of this part of the story. The piece begins with active accompaniment supporting the voices who are singing large chords (many of them diminished) and moving through several keys. After two short fugal sections the basses proclaim a break out of the previous idea to start the second half of the piece a cappella. The strings begin to play swirling triplets as the choir describes the “fiery chariot and horses” in a Gilbert and Sullivanesque fashion. The basses again take us to the next section, this time with an ascending line to illustrate the “whirlwind” which would “take him away to heaven.” The piece ends a bit abruptly because it goes directly into the tenor aria Then Shall the Righteous Shine Forth.

The prelude is taken from Mendelssohn’s fourth organ sonata. These “sonatas” are sonatas in name only.  The pieces were assembled by Mendelssohn’s London publisher Coventry and Hollier who asked for “a set of voluntaries.” This second movement of the Sonata in Bb is marked “andante religioso” and sounds like a hymn. Its simple harmonies and delicate beauty make it a fitting start to this service on Transfiguration Sunday as we look toward the child like faith of the disciples and the mystery and majesty of the events of the day.

The communion anthem and postlude were written by the French composer Charles Gounod. Gounod is perhaps best known for his setting of the Ave Maria which uses the Bach C Major prelude from the Well Tempered Clavier as accompaniment. This music was introduced to him by Felix’s sister Fanny. Gounod’s music is often seen as less serious in nature than that of his contemporaries but some of that could be due to the popularity of it. Most of us recognize his Funeral March of the Marionette as the theme song of the Alfred Hitchcock Show. The anthem is taken from the Messe Solennelle for SATTBB choir and STB soli. The Sanctus alternates between a solo tenor aria and the full choir. The B section stacks dissonant parts and obscures the key before leading to a restatement of the theme, this time by the full choir.

The postlude is the Marche Solennelle by Gounod. This march was originally written for full organ but is more often heard in its arrangement for organ solo. As with most of Gounod’s works, there is a memorable melody that is present throughout. It is accompanied by florid arpeggios at times and stately block chords at other times. The “solemnity” of the piece has more to do with the weightiness of the piece. It is interesting that he gave both the march and the mass the distinction of “solennelle” when they are so different in nature. A common thread that is easily is the highly sing able melody that can be found in both pieces. The music is still very dramatic in nature, building to a fortissimo climax and resolving the tension that he so carefully built throughout the earlier portions of the pieces.