Music Notes: December 2nd, 2012

1st Sunday of Advent

I can't help but feel like the Gospel readings for the four weeks of Advent in the year C Lectionary are slightly disjointed.   Despite all coming from Luke, the first weekend features a rather general, yet still inspirational text describing *something* descending from the clouds and fulfilling the role as our savior and helper.  The following two weeks come from Luke 3, where we hear two vignettes from the life of John the Baptist, and finally, the fourth week has the familiar and much loved story of the annunciation, where Mary is bestowed with the news of the virgin birth of the Savior.

While the Gospel reading is easy to focus on throughout the Lectionary, for me, Advent is the time where the most inspirational, moving scriptures are found in the Old Testament and Epistles.  This week, we hear a short excerpt from Jeremiah... which says that the days are surely coming when the Lord will fulfill the promises made to the house of Israel.  This seminal Advent text is a beautiful, haunting way to begin the season.

 PRELUDE

Wachet Auf, BWV 645- J.S. Bach

This may be Bach's second most recognizable, familiar organ piece, behind only the Toccata and Fugue in D.  The difference in the two is that the Toccata is a stand-alone organ piece, where this piece is an organ arrangement of a movement from Bach's Cantata BWV 140.  While the original version is scored for strings, continuo, and the choral tenor section, the organ arrangement takes shape as a trio sonata-esque form.  Rather than having three independent, original melodic lines, the third line is based on the chorale tune of our opening hymn.

While most people are able to instantly hum the opening ritornello, that is most definitely not the melody.  The melody is of course contained in the tenor reed.  When you hear it, compare it to the opening hymn and you'll see the correlation.

OPENING HYMN

Wake, Awake, for Night Is Flying

I've always been skeptical of this hymn as a congregational song.  Despite its history in the Lutheran church and its use in many major choral works, it is rather difficult to perform congregationally due to its length, translation, and rhythmic complexities.

Like other hymns in the lexicon, this one describes the relationship between a bridegroom (Jesus) and a bride (the church).  The hymn calls for us to awake and prepare for the coming of Christ at the conclusion of Advent.

Despite the hymn being rather difficult to sing, I'm told it is a tradition here to kick off the Advent season with it, so it is being included here.

CHORAL ANTHEM

Thou Shalt Know Him- Mark Sirett

This anthem is a charming miniature by one of Canada's leading choral musicians, Mark Sirett.  The text is anonymous, but tells us that we shall know of the coming of Jesus not by any commotion, clanging of drums or otherwise, but rather the holy harmony that his presence grants in our lives.  The striking change in the music on the words "holy harmony" is a beautiful example of text painting.

HYMN OF THE DAY

The King Shall Come

An important metaphor for Advent is that of night, where the evening is manifest in Advent, and the dawning of the new morning is Christmas at the Holy birth.  This hymn touches on those evening themes in its opening line, "The King shall come when morning dawns and light triumphant breaks."

While most stanzas are rather self explanatory, stanza two is a bizarrely paradoxical stanza.  "Not as of old a little child to bear and fight and die," seems to refer to Christmas of the previous year, where a child was born, grew up, and was eventually crucified.  The second half, "... but crowned with glory like the sun that lights the morning sky," when combined with the first half, seems to indicate that we should celebrate the birth of Jesus not as someone who is born to die, but rather someone born to return as our King. 

COMMUNION HYMN

Lord,  Enthroned In Heavenly Splendor (7:45 AM only)

This hymn from around the turn of the century by George H. Bourn ties together two common hymnal themes, one being the life of Christ, and the other Holy Communion.  Each stanza touches on a portion of Christ's life, while the inner and outer stanzas proclaim this great life that now is manifest in our bread and wine at Communion.

The tune, BRYN CALFARIA, is a strong minor tune made up of three phrases.  The first two are identical notes and rhythms, while the third is extended, growing to its climax using the word "Alleluia."

CLOSING HYMN

Awake, O Sleeper, Rise From Death

In the opening line here, I don't believe the hymn writer implies that sleep and death are one in the same.  In 19th century poetry, death was often referred to in the context of sin, a dark place, depression, or other anomalies that keep us from being happy or at our best.  The opening here implies that we should muster our strength and courage and rise out of our dark places so that the light of Christ can envelop us.

Light is, of course, another important Advent theme.  While this hymn isn't necessarily an Advent text, the theme of light is an important one throughout the text.  It is also a beautiful example of making a new text instantly accessible by setting it to an old, familiar tune, in this case AZMON, known most commonly to "O For A Thousand Tongues To Sing."

POSTLUDE

Wachet Auf- Wayne Wold

This is a movement from a larger work based on this chorale tune.  It is tied together with a descending chromatic motive in the pedals with the tune present throughout the top voice.  The chromaticism, combined with a predominantly 5/4 time signature throughout, creates a unique, colorful modern take on the chorale tune.