E'en So, Lord Jesus, Quickly Come - Paul Manz
God of Grace - Paul Manz
Prelude on "Land of Rest" - Leo Sowerby
Hymns: #397 Nun Danket, #382 General Seminary,
#598 Mit Freuden Zart
November has been a celebration of American music at St.
David’s. This’s weeks selections come from three of the most influential
composers of church music in the last century. Paul Manz and Leo Sowerby made
their careers as church composers and musicians, although Sowerby also wrote a
number of secular compositions and symphonic works it is for his advances in
church music that he is best remembered today. Randall Thompson is among the
most important choral composers of all time. Like Sowerby, he wrote for a
variety of ensembles but his chief successes were in the world of academia and
composition rather than as a church musician.
Leo Sowerby (1895-1968) is closely associated with the city
of Chicago where he spent the majority of his career. He was born in Grand
Rapids, MI and began his piano studies at age seven but taught himself theory
and organ. He served in the US Army as a clarinetist and bandmaster and in 1921
he was awarded the Prix de Rome and studied in Italy for three years. Upon his
return to the US he was appointed choir director and organist of St. James
Episcopal Cathedral where he served from 1927-1961. In 1932 he joined the
composition faculty of the American Conservatory where he taught until 1962. He
also helped to found and served as director of the College of Church Musicians
in Washington D.C. until his death in 1968. Throughout the fall we have been
using the tune “Land of Rest” as the Sanctus. This Prelude on “Land of Rest” is dedicated to Richard Wayne Dirksen
(1921-2003), the then Assistant Organist at Washington National Cathedral. He
was promoted to organist and choirmaster of the cathedral in 1977 and served in
that capacity until 1988. This composition on Land of Rest passes the tune, often in canon between right or left
hand and pedal throughout the many different stops of the organ. The
registrations and solos called for in the piece would certainly show off the
versatility of the large Skinner organ at Washington National Cathedral.
The gradual anthem is the chestnut of the choral literature
(or warhorse depending on your feelings about the piece) The Last Words of David. Randall Thompson (1899-1984) was
commissioned to write this by the Boston Symphony Orchestra for the 25th
anniversary of Koussevitzky’s directorship. This is the second major commission
associated with Koussevitzky, the first being the Alleluia written for the opening of the Berkshire Music Center at
Tangle wood in 1940. One of the most admirable characteristics of Thompson’s
writing is his connection to the texts that he chooses. The text for this
anthem comes from 2 Samuel 23:3-4 and, as far as I know this is the only
musical setting of this text. It seems odd that Thompson chose this text to
honor a conductor – someone that “ruleth over men (musicians).” This is also a
timely piece to come at the end of a long election year. It is a reminder of
some of the Biblical tenants of leadership. Thompson’s use of text painting
after the opening is a beautiful depiction of the images of nature that David
paints. The piece ends with a peaceful “Alleluia, amen” which seems like an
intentional reference to his own Alleluia
written for Koussevitzky nine years earlier.
The postlude and communion anthem were written by Paul Manz
(1919-2009). E’en So, Lord Jesus Quickly
Come occupies a prominent place in choral literature. It was one of only a
handful of anthems to be included regularly in the King’s College Lessons and
Carols service. The piece was written in 1953 while Manz and his wife Ruth were
at the bedside of their gravely ill three-year-old son, John. Ruth adapted the
words from Revelations 22 and gave it to her husband to work on and he wrote
this Advent anthem which was published after their son had recovered. The
anthem reads like a psalm of praise until you get to the last few lines “E’en
so, Lord Jesus, quickly come, and night shall be no more; they need no light
nor lamp nor sun, for Christ will be their all.” It is easy to see why the Manz
family would look to this text at a time of great personal difficulty. The text
is filled with hope. Not in a bombastic triumphant way, but in a dark and quiet
way; a way that conveys that we don’t know what the future holds or why things
are the way they are but that they are alright.
Paul Manz is best known for his contributions to the world
of liturgical organ music. Manz received a Fulbright Grant to study in Europe
with the great organists and composers Flor Peeters and Helmut Walcha. Manz
short “choral improvisations” bear a great deal of similarity to those of his
teachers but have a uniquely American flare to them. Manz went on to become a
tireless advocate of quality church music and creative hymn playing. He taught
and served churches and universities in the Lutheran tradition for the majority
of his career and was the recipient of several awards and honorary degrees. His
setting of Cwm Rhonda features a bold
and energetic pedal line as well as quotes from Handel’s Hallelujah Chorus at the opening. This original material alternates
with the chorale tune being played in the tenor register on a big solo trumpet.
It is a fun piece to play and hear and works well as a hymn introduction as
well.
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