Music Notes: June 30, 2013

Prelude

Plainsong Preludes, no. 1 - Alec Rowley

Alec Rowley has definitely become one of my favorite composers for organ.  It is difficult to describe what makes his compositions so intriguing.  Without delving too far into it, his unique take on harmonic practices of early 20th century England are truly unique and wonderful, resulting in colorful, beautiful melodic and harmonic moments.

Another characteristic of Rowley's is that he travels through a variety of keys with his thematic structures.  While the piece begins and ends in G major, it also travels through Eb major and C major on its way.  

The plainsong that it is based on, titled "Resurgam," consists of only five notes.  With this minimilistic motive, it is able to be repeated in a variety of ways, in inversion, backwards, augmentation (twice as slow), diminution (twice as fast), and a variety of other ways.  This all blends together beautifully in a piece that is quintessentially Rowley.

Opening Hymn

Come, Gracious Spirit, Heavenly Dove

This wonderful German folk tune is paired with a slightly newer (though still from the 18th century) Pentecost text which requests that the Holy Spirit be our guardian throughout our lives.  The clean, discernable four part structure of the melody suits the AABB rhyme scheme of the text perfectly.

There is very little open to interpretation in this text.  The poetry is beautifully set and accessible to all.  

Hymn of the Day

Will You Come and Follow Me (The Summons)

John Bell (b. 1949), is one of the most well known and well respected ministers from the Iona Community out of Scotland.  Founded in 1938, the Iona Community is an ecumenical group of Christians from all denominations who are particularly involved in peace and justice causes throughout the world.  Outside of the community, The Summons may be John Bell's best known hymn, though his output within the community is very prolific.

The Summons is set to a traditional Scottish folk tune known as KELVINGROVE.  For the first four stanzas, The Summons is told from the point of view of Jesus, asking all of us (his disciples) if he calls our name, will we follow him?  Will we travel to unknown regions?  Will we show love and kindness to the world?  Will we use our faith to do our work?  Possibly the most profound question asked is at the beginning of stanza 4: "Will you love the YOU you hide if I but call your name?"  This is open to a lot of interpretation, but I feel that here, we are being challenged to explore and question our own faults... things about ourselves that we may not always be proud of.  They are still a part of us, and while we may like to keep them hidden deep away, we need to come to a true acceptance and understanding of them before we can fully be people of God.

In the closing stanza, the voice shifts to that of our own.  We respond to Jesus by taking up our cross and following him into the world wherever he goes.

Communion Hymns

God, Who Stretched The Spangled Heavens

This wonderful 20th century hymn, much like a similar one by Herb Brokering, Earth and all Stars, probes a very unique situation in the 20th century.  The second stanza references the splitting of the atom... "...probed the secrets of the atom, yielding unimagined power, facing us with life's destruction or our most trumphant hour."  The atom has certainly destroyed the lives of many.  Has it lead us to our most triumphant hour also?  It has certainly yielded many good things as well.

This is outside the point.  The point here is that the writer, Catherine Cameron, Herb Brokering, and others, such as Ruth Duck, Brian Wren, et. al., work to create hymnody that is relevant to our time and our society, which in turn gives us texts that are relatable to us.

Come To Me, All Pilgrims Thirsty

Though most of the hymn doesn't refer specifically to Eucharist, the stanza two line, "Drink the cup of life I offer; at this table be my guest," was certainly written with Communion in mind.  Stanza six again makes a direct reference to the capacity of Jesus to comfort children, "Come to me, abandoned, orphaned; lonely ways no longer roam."  The composer, Delores Dufner (b. 1939), continues to write hymns to this day.  She has published over 150 hymns.  It is set to the well-known Sacred Harp tune, BEACH SPRING.

Closing Hymn

Praise And Thanks and Adoration

The closing hymn at 9:00 AM is another example of a new text being set to an older tune, although even this “new” text was written in the late 17th century.  The tune, the German dance FREU DICH SEHR, dates from the mid 16th century, and is likely even older. 

This text is a hymn of praise and thanksgiving.  Like other hymns, the true intention of this one is contained not in the title, but rather in the second line, where we are giving thanks for God choosing “to serve creation.”  The second half of stanza one is a petition that Jesus guide our ways along his and follow his footsteps.  Stanza two continues and concludes this thought, as our faith is renewed due to all of Jesus’ life and actions.

Postlude

Festal Flourish - Gordon Jacob

Gordon Jacob, well known for his Toccatas and other incidental music for organ, provides this joyous piece  for us.  With a trumpet fanfare that begins and periodically punctuates the piece, it also contains various other motives throughout that are mainly based on harmonic sequences.  The second time, a pedal line is added that creates a wonderful new dynamic to the chords.  The piece concludes with ascending triads over a suspended Bb in the treble.

Music Notes: July 16th, 2013

Fifth Sunday after Pentecost

Prelude

Scottish Legend, op. 54, no. 1 – Amy Beach

Rachel Frantsen, piano

Rachel, daughter of our Youth and Family Director, Paul Frantsen, is back from her first year at St. Olaf and will share a couple of her piano pieces with us this week.

Amy Marcy Cheney Beach was the first female American composer who was successful at composing large scale pieces for the classical stage.  She was a child prodigy, beginning her composing at the age of 5.  She wrote in a largely Romantic idiom, often compared to Brahms or Schumann.  In addition to her large scale works, she was best known for her songs and short piano pieces, one of which is shared this morning.

The Scottish Legend draws its inspiration, appropriately, from Scottish music.  Dotted rhythms and melodic contour are reminiscent of Scottish folk music.

Opening Hymn

God of Grace and God of Glory

This well known hymn by Henry Emerson Fosdick is a great example of the power and grace of God being used against the evil in the world.  Though the more familiar text with this tune is probably "Guide Me Now, O Great Redeemer," this text has found a home with CWM RHONDDA based on the popularity of Paul Manz's organ setting of this piece, incorporating fragments of the Hallelujah chorus.

Each stanza ends with a petition for strength and courage ("Grant us wisdom, grant us courage...").  Each of those statements is followed by a qualifier that applies to each of the stanzas that precede it.    

Hymn of the Day

Rise, Shine You People

This hymn is programmed a lot around the Epiphany season, but it is appropriate for Easter and general times as well.  The idea that Jesus arrives and makes such a difference in such a dynamic way is very inspiring, bringing us “freedom, light, life, and healing.” 

In hymnody, we talk a lot about text matching with music.  In the very first line of this hymn, we run into a problem.  In the first line, the music indicates that the text accompanying it should be, "Rise, shine, you people, Christ the Lord has entered..."  The music leaves a space for a lift here.  But if the musical element is removed and the text is spoken, we see that the phrase in its entirety is "Rise, shine, you people, Christ the Lord has entered our human story."  It's unfortunate that the music does not allow for this text to be completely reflected, but it is still evident and clear if some thought is put toward it.

Despite this minor shortcoming, it is a wonderful text and a very dynamic, exciting tune to sing.

Offering

Bruyeres – Claude Debussy

Rachel Frantsen, piano

Claude Debussy's 2 books of 12 preludes each have become standards in the piano repertoire.  Unlike most standard piano sheet music, the titles of these pieces were actually included at the ends of the works in the original publications.  Debussy did this intentionally so a performer could then reflect on what he intended the piece to be about, rather than having that preconceived notion in their minds at the beginning.

The title Bruyeres is actually a town in Eastern France.  Cast in an ABA form, it uses a pentatonic melody, heard at the beginning of the piece, as a base for the entire work.

Communion Hymns

I Love to Tell the Story

Katherine Hankey, an English poet, was born in London in 1834.  Among her most popular poems is an expansive, two part poem about the story of Jesus.  From the second part of that poem, titled "The Story Told," was born this hymn as we know it today, "I Love To Tell The Story."

In the Anglican church at the time, there was very little, if any, congregational music.  The music mostly took form in chant or psalm singing.  Hankey was among the group of reformists that sought to put the Word of God into the voices of the people.  "I Love To Tell The Story" was one of the first hymns of this reformed tradition (soon to become Methodist), that was not written by someone named Watts or Wesley.

There is little to discuss in this text.  It is written in a very accessible, common style, which was the goal of the music in this movement.  The music matches suit, featuring a harmonic, four-part structure based around tonic and dominant harmonies.  The endearing simplicity of this text and tune (composed by German-American church musician William Fischer), has led to its enduring legacy, and its inclusion still in all modern hymnals, despite its antiquated style.

God, Whose Almighty Word

The most striking element of this tune is each stanza ending with the proclamation, “Let there be light.”  It adds a unifying element to the hymn, which is already unified by being based on the Trinity.  In standard Trinitarian hymn writing style, God is discussed in stanza one, Jesus in two, and the Holy Spirit in three.  As expected, all three are discussed in the fourth.

Most pertinent here is the second stanza about Jesus, discussing him as a healer, health to the troubled mind, and sight where illusions blind.

Closing Hymn

I’m So Glad Jesus Lifted Me

This is always a wonderful song to end a service with.  Even the most joyous of spirituals still reference the trials and tribulations that one has gone through, and that is in the case in the middle stanzas.  Jesus lifts us throughout times of trouble and when Satan has us down.   Also present in all spirituals is some aspect of “Glory, hallelujah.”  In other spirituals, it is harder to find, but it isn’t very subtle here!

The familiar structure is of course four phrases per stanza.  Each of the first three phrases has the same text and syllabic underlay.  Melodic contour is nearly identical, but the harmonic changes are what provide interest and excitement to this joyous tune.

Postlude

Rise, Shine You People – David Cherwien

David Cherwien’s organ works are some of the most virtuosic out there.  This is one of those that, while still very hard, is actually a little easier than it sounds.  The challenge lies in the double pedal line and one measure where the pedal plays quarters, right hand plays 8^th note chords, and left hand plays 32^nd note runs.  The piece is a wonderful explosion of joy and excitement.

Music Notes: July 16th, 2013

Fourth Sunday After Pentecost

Prelude

Ricercar in C - Johann Pachelbel

This three part piece is one of the more unique in Pachelbel's output.  While most renaissance/baroque forms are based on dance, the ricercar is unique to instrumental music.  The word ricercar means to search out, and in the case of a composition, it is searching for a certain mode, or key, to be placed in.

The Pachelbel Ricercar begins with an ascending minor third.  This indicates a minor key area, but the following note ascends another half step, immediately creating ambiguity in the mode.  The first third of the piece unfolds like a four voice fugue, using the ascending chromatic theme as the subject.

The second third is identical to the first.  The only difference is that the subject descends chromatically instead of ascending, creating a mirror of the first half.

The final third picks up considerably, combining both the ascending and descending chromatic themes with a more active, descending eighth note sequence.  The piece finally concludes with a resolution on a C major cadence, ending the ambiguity with the final chord.

Opening Hymn

Come Thou Fount Of Every Blessing

Anyone who reads Music Notes regularly knows that I think of this hymn as more of a hymn of praise, rather than something meditative or contemplative.  My evidence is right in the first stanza, "Streams of mercy, never ceasing, call for songs of loudest praise." 

This hymn has been oft criticized as being archaic or antiquated, due to its use of words like "ebenezer," "hither," and "fetter," among others.  There have been many revisions that have been done to this hymn over the years, but none of them have stuck.  There is something that rings so true with this passionate text that no alteration or change is able to capture.  That's why, despite the continued evolution of hymnody, this text has remained tried and true.

Hymn Of The Day

There's A Wideness In God's Mercy

This is an example of an early North American frontier tune with a later composed text by British theologian Frederick William Faber.  The contrast between the American tune and British vernacular are clearly evident.  The tune features a largely pentatonic melody (minus the B-flats in mm. 3, 7, and 15) and an AABA'* form, common for the time.  The text contains characteristically British language such as "kindly judgement given," "magnify its strictness with a zeal," and "greater good because of evil, larger mercy through the fall."  

The bulk of the theology is in stanza three, which speaks of the limitless, grand nature of the love of God.  The love of God is so wide and far reaching, our minds cannot even fathom its range.  The heart of the Eternal is so kind and wonderful that it was willing to sacrifice God's only son for all of us.  Unfortunately, we as humans, having human limits, can sometimes dilute this glorious love by putting our own limits on it, and "magnify(ing) its strictness" in a way that God would never endorse or support. 

Ultimately, thanks to Jesus sacrifice, we owe everything we have to him and are able to rejoice in the greater good brought on by the evil of others.  Through this, our love and faith in God is strengthened and we live lives of thanksgiving through the goodness of the Lord.   

* AABA' (A, A, B, A prime)- refers to the first two and final lines being (nearly) identical.  The reason for the "prime" on the final A line is the different beginning, which is actually identical to B.  It could be called B' as well.  Other early American tunes use this form, such as HOLY MANNA. 

Communion Hymns

O Jesus, Joy Of Loving Hearts

This poem, one of our oldest in the hymnal, was actually penned by Bernard of Clairvaux.  Bernard, one of the earliest reformers of Cisterian monks, was an extremely spiritual person, who emphasized the importance of Lectio Divina.

In this translated first stanza, it is clear that Bernard put Jesus first.  His opinion on the importance of the Holy Communion is emphasized in stanza two, and the spiritual importance we place in him is showed in stanza three.  The hymn concludes with a prayer that Jesus remain with us through our lives and he sheds his Holy light throughout the world.

My Faith Looks Up To Thee

In stark contrast to our hymn of the day tune, which can be sung beautifully in unison, the tune to this hymn, titled OLIVET, almost requires harmonization for it to be a moving experience.  The trend in the late 18th and early 19th centuries was for more hymn tunes to be set homophonically, with more straightforward harmonies, to lend themselves to four part singing.  There is not much to this melody by itself, but when harmonized, it becomes something truly beautiful.  

The text of this hymn asks for redemption, grace, and guidance.  Connecting with the hymn of the day, Jesus is at the right hand of God, and this is our prayer to him to continue watching over us, as we see in the final line, "O bear me safe above, a ransomed soul!"  

Closing Hymn

Praise The Lord, Rise Up Rejoicing

In reading through this text, it was pretty clear to me that it was composed in the 20th century, and not from the same era as the tune comes from.  The second person narrative, the Eucharist declaring the final victory, and going forth in the spirit are all subtle clues to this.  Together with the joyful German tune, its message of praise for the Eucharist declaring the final victory ring true at the end of our service.

Postlude

Now Thank We All Our God - Egil Hovland

Rachel Schulz, the bride for the wedding at St. Paul's this weekend, chose this as her recessional.  It is one of my favorite pieces for organ, so I thought I would use it again on Sunday (incidentally, it was also the recessional for my wedding!).

Form wise, the piece is quite simple.  It consists of four main parts, which each feature a different part of the chorale tune.  These portions of the tune are broken up with a unique, fantasia-like figure that ascends and descends beautifully.

Following the four sections, the piece concludes with a coda featuring the rising and falling motive that permeates the earlier sections.  It continues to grow in intensity until the final chord.

Music Notes: June 9, 2013

Synod Week/Third Sunday after Pentecost

With this being the convention week of the NE Iowa Synod, our pastoral leadership and several congregation members will be attending the Synod Assembly at Luther College in Decorah. 

Pr. Charles Infelt, a wonderful pastor and frequent worship leader at our REJOICE service will be leading our Sunday worship this week.  He has elected to depart from the Lectionary this week, and instead will be preaching on the Parable of the Mustard Seed, surrounded by the message I believe he will title “Increase Our Faith.”  The hymns and service music will reflect this concept.

Prelude
The Lord’s Prayer- Albert Hay Malotte

This week, a congregation member asked me why we never sing the Lord’s Prayer anymore.  Specifically, she was referring to this famous version penned in the 1930’s by Albert Hay Malotte.  Malotte, a church organist and film composer, is easily best known for this melodic setting, which features many features of 1930’s compositional techniques.  Specifically, the chord progression found in the climactic phrase heard in much of the music and many of the film scores from that time.

Rather than sing it specifically this week (I personally believe this melody is unsuitable for congregational singing), I found an organ version that I am more than happy to play this week. 

Opening Hymn
Open Now Thy Gates Of Beauty

Benjamin Schmolck wrote a great deal of hymns for the early Lutheran church, but this is one of the few that survives and remains in use.  This translation by Catherine Winkworth gives us a text of joy and gratefulness for the space in which we gather and the actions we do in that space.  Whether it be prayer or praise, our souls become interlaced with God as he acts as our "guiding star through life."  As is the theme for this Sunday, stanza four asks for God to increase and quicken our faith, so that we may use God’s gifts to the best of our abilities.

Hymn of the Day
Great Is Thy Faithfulness

Unlike many hymns that take years and years to compose the poem, music, and finally be published, Great Is Thy Faithfulness took less than a year to go from preliminary thought to publication.  Thomas Chisolm composed this poem in 1923, describing the faithfulness of God through his (and by extension, our) life/lives.  He sent the completed poem to composer William Runyan who set it to music and it was published shortly afterwards by Hope Publishing Company.  Thanks to exposure from various church groups, the Moody Bible Institute, and televangelist Billy Graham, Great Is Thy Faithfulness has gone on to become one of the most beloved hymns in the repertoire.

Offering
Si Mes Vers Avaient des Ailes! - Reynaldo Hahn

Though he was born in Venezuela, Reynaldo Hahn was naturalized in France, and went on to have a successful career in the French style of melodie.  This style is the French version of the popular German lied, and was usually serious in nature.  This contrasted from the more popular style of French song, the chanson.  

The melodie is intrinsically connected through text and tune.  The two are intertwined together in such a way that they support each other and make sense in the context of the entire song.  All the great French composers of the time (Berlioz, Debussy, Delibes, Ravel, et. al,) wrote melodies. 

This melodie with a poem by Victor Hugo, was composed when Hahn was only thirteen years old.  It became an instant hit, and assured Hahn a life time of success in the musical realm.  The poem is two verses, and the singer is pondering whether or not her words are actually strong and powerful enough to reach God.

Closing Hymn
How Firm A Foundation

As I have said in this blog in the past, How Firm A Foundation is a wonderful union of text and tune.  The early American tune is well supported by an inspiring, wonderful statement of faith.

The first stanza sets the tone for what is to come in the rest of the hymn.  The "firm foundation" is laid by our faith in the words of Jesus.  Stanzas two and three have Jesus speaking directly to us, saying that he will strengthen and guide us through trials and troubles.  Stanza four continues these words of Jesus, which brings life full circle, saying that even when we are grown and lived a full life, we will still be lambs in Jesus' flock.

Postlude
Toccata in E minor- Johann Pachelbel

Like most Pachelbel Toccatas, this piece has a lot of florid passagework in the manuals over a pedal tone.  Unlike several others, however, this one has a more imitative, contrapuntal nature to it, as opposed to scales in thirds, sixths, and tenths.  This toccata begins with a long flourish from the top of the organ down, and then settles into what seems like a typical form with an E pedal point.  However, it doesn't take long for Pachelbel to expand out into a fantasia-like period of imitative counterpoint, culminating in a circle of fifths sequence in a dialog between two of the organ manuals.  Towards the end of the piece, the two voices imitate each other in sequence, before finally resolving in major and coming together at the conclusion.