Music for Advent-4-B (Dec 18)

Prelude:           Nun Komm, der Heiden Heiland: Bach
Processional Hymn: 200: Savior Of The Nations Come
Penitential Rite:  Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Gloria:            -none-during-Advent-
Readings:          487
Intercessions:     115: Lord hear our prayer
Offertory:         (11) (ESM p 167) Ave Maria: Desprez
Acclamations:      185: Missa XVIII (simplex) Sanctus: chant
                   104-105: Mass of Creation: Haugen
                   (11) Missa Emmanuel: Proulx
Agnus Dei:         Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Communion Hymn:    191: People Look East
Final Hymn:        211: Of The Father's Love Begotten
Postlude:          The King Shall Come: Johnson

Music Notes:


Johann Sebastian Bach (1685-1750) planned a set of 164 chorale Preludes which included a set of four for Advent; "Nun Komm, der Heiden Heiland (BWV 599)" is the German equivalent of our Processional Hymn (#200).


David N Johnson (1922-1988) a prolific and highly regarded church music composer, was music department chairman (Alfred University in New York, St Olaf College in Minnesota) and organ department chairman (Syracuse U), professor of music (Arizona State U). Composer of much music for church choirs and organ; author of "Instruction Book of Beginning Organists (1964)" and "Organ Teachers Guide (1971)".


"The King Shall Come (1973)" presents the hymn tune (#193) in A-B-A form: melody as topmost voice with thick chordal harmonic support; melody played by the feet with
toccata-like figurations for the hands; a repeat of the beginning.


Josquin Desprez (c1440-1521) perhaps a native of the Vermandois region of Picardy Italy; sang (1459-72) at Milan Cathedral, cantor (1476) for Galeazzo Maria Sforza, and (1476-1504) for Cardinal Ascanio Sforza, during which he spent some time in Rome.
Went to France, probably at Louis XII court; choirmaster (1503) at Ferrara court; then (1504) in Conde at Notre Dame; maybe at court (1508-11) at Margaret of Austria. Several portraits survive, one attributed to Leonardo da Vinci.


The "Ave Maria" text is: "Hail Mary, full of grace, the Lord is with you, fair virgin,
Hail to you whose conception, of holy joy, fills heaven and earth with new rejoicing. Hail to you whose birth we celebrated, like the day-star rising, foretelling the true Sun. Hail, holy and humble one, fruitful without a man, you whose annunciation was our salvation. Hail, true virginity, spotless chastity, whose purification cleansed us also. Hail to you who excel in all the angelic virtues, you whose assumption glorified us also. O Mother of God, remember me. Amen."

Music for Advent-3-B (Dec 11) Gaudete

Prelude:           Es ist ein Ros' entsprungen: Brahms
Processional Hymn: 194: On Jordan's Bank
Penitential Rite:  Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Gloria:            -none-during-Advent-
Readings:          484
Intercessions:     115: Lord hear our prayer
Offertory:         (CFC p 210) Lo, how a rose e'er blooming: Praetorius
Acclamations:      185: Missa XVIII (simplex) Sanctus: chant
                   104-105: Mass of Creation: Haugen
                   (11) Missa Emmanuel: Proulx
Agnus Dei:         Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Communion Hymn:    196: O Come Divine Messiah
Final Hymn:        6: Now Bless The God Of Israel
Postlude:          Schmucke dich, o liebe Seele: Brahms

Music Notes:


Michael Praetorius (1571-1621) born in Creuzburg an der Werra, Thuringen Germany. At University of Frankfurt an der Oder, studied theology (1585-) and was an organist. In Wolfenbuttel, became organist (1592/5?) then master of choir music (1604-13) to Duke Heinrich Julius von Braunschweig. In Dresden, court musician (1613-16) for Kurfurst
von Sachsen (Elector of Saxony). Returned to Wolfenbuttel, but from that time on traveled frequently in central Germany and was very active as a musical adviser and organizer.


Johannes Brahms (1833-1897) born in Hamburg Germany to musical but poor family; his father (a double bass player) encouraged his piano and composition lessons. He desired to be conductor and composer; worked in Dusseldorf, Detmold, Hamburg, Vienna; his "German Requiem (1869)" brought critical acclaim and financial security. Wrote symphonies, concertos, chamber pieces, art songs, etc., and a very few organ works including "Eleven Chorale Preludes (Opus 122, Summer 1896)".


Please join us on Sunday at 5 pm for Solemn Vespers (~35 min) in the Church, followed by a Dessert Social and Holiday Sing-along in the School Hall. Please bring a holiday dessert to share; we will provide beverages (hot chocolate, tea, cider, eggnog, etc).

Music for Advent-2-B (Dec 4)

Prelude:           Sinfonia: Handel
Processional Hymn: (5) Stay Awake: Walker
                   194: On Jordan's Bank
Penitential Rite:  Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Gloria:            -none-during-Advent-
Readings:          481
Intercessions:     115: Lord hear our prayer
Offertory:         (5) Everyday God: Farrell
                   (11) Comfort ye my people: Goudimel
Acclamations:      Missa XVIII (simplex): chant
                   104-105: Mass of Creation: Haugen
                   (11) Missa Emmanuel: Proulx
Agnus Dei:         Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Communion Hymn:    193: The King Shall Come
Post-Communion:    (5) Listen My Friends: Ding/Hawn
Final Hymn:        198: Come O Long Expected Jesus
Postlude:          Pifa: Handel

Music Notes:


This weekend at Sat 5 pm Vigil Mass, Grade Two members are lectors, the School Choir leads our music.


Georg Friedrich Haendel (1685-1759) was born in Halle Germany, and started his music lessons at age 7. In 1702 the death-bed wish of his barber-surgeon father obligated him to divert his attention to law school; within a year he dropped out and went
to Hamburg as a violinist and composer. In 1706 he went to Italy and became a master of its opera, chamber, vocal music; in 1710 he returned to Germany and was appointed Kappellmeister to the Elector of Hanover, and made a brief visit to England. In 1712
he again went to England; his visit became permanent as the Elector begame George I of England.


His oratorio Messiah (Dublin 1742) uses the text of today’s First Reading (Isaiah 40:1-5,9-11) for movements 2, 3, 4, 9; the Sinfonia is the overture; the Pifa (pan-pipes) suggests the pastoral scene just before the angels announce the birth of Jesus.

Music for Advent-1-B (Nov 27)

Prelude:           Lob sei dem allmachtigen Gott: Bach
Processional Hymn: 195: Creator Of The Stars Of Night
Penitential Rite:  Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Gloria:            -none-
Readings:          478
Intercessions:     115: Lord hear our prayer
Offertory:         (NCAB p 201) King of Glory: Herbert/Bach
Acclamations:      185: Missa XVIII (simplex): chant
                   104-105: Mass of Creation: Haugen
                   (11) Missa Emmanuel: Proulx
Agnus Dei:         Missa XVII (salve): chant
                   (11) Missa Emmanuel: Proulx
Communion Hymn:    308: Abba Father
Final Hymn:        190: O Come O Come Emmanuel
Postlude:          Herr Christ, der ein'ge Gottes Sohn: Bach

Music Notes:


Happy Liturgical New Year to all! The New Church Year begins today, and for the next twelve months our Scripture texts will be found in the Hymnals under the headings "Sunday B" and "Weekday 2".


This year we will experience a full four weeks of Advent since Christmas falls on a Sunday. The Season of Advent is quieter and hope-filled and our music expresses our introspection and expectation through chants and hymns and gentle smaller organ works. Our Introductory Rite is noticeably more penitential: the Kyrie becomes more prominent as we set aside the Gloria (except for Dec 8 Solemnity of the Immaculate Conception, and Dec 12 Feast of Our Lady of Guadalupe).


Johann Sebastian Bach (1685-1750) planned a collection of 164 chorale preludes (a short piece based on a hymn tune, to be played before the congregation sings the hymn), but completed only 45 of the contemplated number, apparently concentrating on hymns of the main feasts of the church year. The melodies are treated directly, without episodes between verse lines, and only slightly adorned with passing notes (notes inserted between melody notes). Two of his four Advent chorales are heard today as our prelude and postlude.


At Offertory, "King of Glory, King of Peace" combines an English poem by George Herbert (1593-1632) with music by Bach.

Music for (Nov 24) Thanksgiving Day

Prelude:           Prelude in F: Thayer
Processional Hymn: 320: Come Ye Thankful People Come
Penitential Rite:  -spoken-
Gloria:            Gloria de Lourdes: Lecot/Berry
Readings:          771 (weekday one)
Intercessions:     -spoken-
Offertory:         (NCAB p 484) Thou visitest the earth: Greene
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    358: There Is A Balm In Gilead
Final Hymn:        474: America The Beautiful
Postlude:          Festival Postlude in G: Thayer

Music Notes:


Maurice Greene (1695-1755), born in London, was a chorister at St Paul Cathedral; took organ lessons (1710) and became organist at St Dunstan in the West (1716) then at St Andrew (1717); appointed Master of the King's Band (1718); published 40 anthems (1743); inherited a large estate (1750) which enabled him to work on a collection of Cathedral music with publication in mind, it was left incomplete at his death and finished by William Boyce (c1710-1779).


Whitney Eugene Thayer (1838-1889) born in Mendon MA, studied with John Knowles Paine at Harvard (after 1862), then studied two years in Germany; organist of several Boston churches; faculty member of New England Conservatory (opened 1867); published a comprehensive course of organ study (1874, five volumes); opened a private organ studio in Boston (1875); edited two periodicals for organists and choir directors, directed various musical organizations, composed many pieces for church and recital use; much in demand as a recitalist in his younger years. Spent latter part of his life in New York as teacher and composer, and was organist of Fifth Avenue Presbyterian Church (1881-86).

Music for OT-34-A (Nov 20) Christ The King

Prelude:           Vesper Voluntaries VI: Elgar
Processional Hymn: 283: Crown Him With Many Crowns
Penitential Rite:  -spoken-
Gloria:            Gloria de Lourdes: Lecot/Berry
Readings:          677
Intercessions:     -spoken-
Offertory:         (CFC p 206) Lo he comes with clouds descending: Wesley/Willcocks
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    366: Whatsoever You Do
Final Hymn:        287: To Jesus Christ Our Sovereign King
Postlude:          Imperial March: Elgar

Music Notes:


Sir Edward William Elgar (1857-1934), born in Broadheath England, had a few music lessons with his father [music shop keeper in Worcester, organist (1846-85) at St George Catholic Church] but was mostly self-taught (violinist, bassoonist, conductor);
succeeded his father as organist (1885-88). Slowly his reputation spread; "Enigma Variations (1899)" launched his international fame. National awards: Knight (1904); Order of Merit (1911); succeeded Sir Walter Parratt as Master of the King's Musick (1924); Baronet (1931). Wrote songs, oratorios, cantatas, symphonies, overtures, concertos, marches, chamber music.


The "Vesper Voluntaries (Opus 14, 1889)" for organ were composed in Upper Norwood, South London, shortly after his wedding; the set has eleven sections (Introduction, I-IV, Intermezzo, V-VIII, Coda).


The "Imperial March (Opus 32, 1897)" for orchestra was composed for the Diamond Jubilee of Queen Victoria (1819-r1837-1901 at whose death it was said had a worldwide empire on which the sun never set); it was arranged for organ by Sir George Clement Martin (1844-1916) who in 1888 succeeded Sir John Stainer (1840-1901) as organist of
Saint Paul Cathedral.

Music for OT-33-A (Nov 13)

Prelude:           Allegro Pomposo: Adams
Processional Hymn: 290: The Works of the Lord Are Created
Penitential Rite:  -spoken-
Gloria:            Gloria de Lourdes: Lecot
Readings:          674
Intercessions:     -spoken-
Offertory:         (score p 1) Requiem-Kyrie: Rutter
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    346: Be Not Afraid
Final Hymn:        318: Let All Things Now Living
Postlude:          Grand Choeur: Adams

Music Notes:


Thomas Adams (1850-1918) was born in England, and was one of many composers to contribute to the large volume of organ music composed for concert performances and church services in the 1800s. The prelude and postlude are part of an unbroken
strand of English "Romantic" music even found in the present day. His music is easy on the ears, and his stylistic characteristics clearly reflect his Victorian age.


John Rutter (1945-) born in London England, received his first musical training as a chorister at Highgate School; studied music at Clare College (Cambridge) where he wrote his first published compositions and conducted his first recordings; Director of Music at Clare College (1975-79); formed Cambridge Singers as a professional chamber choir primarily dedicated to recording; divides time among composing, conducting, lecturing (concert halls, universities, churches, music festivals, conferences) in Europe, Scandinavia, North America. Honorary Fellow of Westminster Choir College Princeton (1980); Fellow of the Guild of Church Musicians (1988); Lambeth Doctorate of Music (1996). Compositions: large and small choral works, orchestra and instrumental pieces, piano concerto, two children's operas, television music. "Sanctus" is from his
"Requiem (1985)".

Music for OT-32-A (Nov 6)

Prelude:           Introductory Voluntary: Rowton
Processional Hymn: 315: Sing A New Song Unto The Lord
Penitential Rite:  -spoken-
Gloria:            (5) Gloria: Anderson
                   Gloria de Lourdes: Lecot/Berry
Readings:          671
Intercessions:     -spoken-
Offertory:         (5) 344: Shepherd Me O God
                   (score p __) Sanctus: Rutter
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    (5) Give Me Jesus
                   848: Soul Of My Savior
Final Hymn:        (5) 297: I Want To Walk
                   425: Ye Watchers And Ye Holy Ones
Postlude:          Allegro Alla Marcia: Peace

Music Notes:


At the Sat 5pm Vigil Mass, members of Grade Seven will be lectors, and the School Choir will lead our singing.


Samuel James Rowton (1844-1930) was educated at the University of Durham (1871 BA, 1874 MA, 1890 BMus, 1891 DMus) and Trinity College Dublin (1889 BMus, 1890 DMus). A Church of England priest (ordained 1872), he served as: assistant master at Epsom College (1872-1901), precentor of Bradfield College (1901-1907), curate of Christ Church Scarborough (1907-8), curate of St Michael and All Angels Folkestone (1908-15), rector of Wicken Bonant (1915-16), Fulletby (1916-22), curate-in-charge of Orby (1922-27).


Albert Lister Peace (1844-1912) born in Huddersfield Yorkshire England; age 5 showed extraordinary musical talent; from age 9 organist at several churches in Yorkshire and Glasgow; after Church of Scotland lifted ban on organs he was much in demand for dedication recitals (1865-); graduated Oxford (1870 BMus 1875 DMus); Glasgow University organist and several minor posts (1870-80); first post-Reformation organist at Glasgow Cathedral (1879-97) then at St George Hall Liverpool(1897-).


John Rutter (1945-) born in London England, received his first musical training as a chorister at Highgate School; studied music at Clare College (Cambridge) where he wrote his first published compositions and conducted his first recordings; Director of Music at Clare College (1975-79); formed Cambridge Singers as a professional chamber choir primarily dedicated to recording; divides time among composing, conducting, lecturing (concert halls, universities, churches, music festivals, conferences) in Europe, Scandinavia, North America. Honorary Fellow of Westminster Choir College Princeton (1980); Fellow of the Guild of Church Musicians (1988); Lambeth Doctorate of Music (1996). Compositions: large and small choral works, orchestra and instrumental pieces, piano concerto, two children's operas, television music. "Sanctus" is from his
"Requiem (1985)".

Music for OT-31-A (Oct 30)

Prelude:           When I am laid in earth: Purcell
Processional Hymn: 388: God Whose Purpose Is To Kindle
Penitential Rite:  -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          668
Intercessions:     -spoken-
Offertory:         (score p 11) Out of the deep: Rutter
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    295: We Are The Light Of The World
Final Hymn:        397: They'll Know We Are Christians
Postlude:          The Triumphing Dance: Purcell

Music Notes:


Henry Purcell (c1659-1695) was born in London England,
the son of a court musician. In his youth he was a Chapel
Royal chorister, and later the holder of continuing royal
appointments until his death. He also was organist (1679-)
at Westminster Abbey. Among his compositions was music for
dramas; the prelude and postlude are transcriptions of two
pieces from his opera "Dido and Aeneas (1689)".


John Rutter (1945-) born in London England, received his first
musical training as a chorister at Highgate School; studied music
at Clare College (Cambridge) where he wrote his first published
compositions and conducted his first recordings; Director of Music
at Clare College (1975-79); formed Cambridge Singers as a
professional chamber choir primarily dedicated to recording; divides
time among composing, conducting, lecturing (concert halls,
universities, churches, music festivals, conferences) in Europe,
Scandinavia, North America. Honorary Fellow of Westminster Choir
College Princeton (1980); Fellow of the Guild of Church Musicians
(1988); Lambeth Doctorate of Music (1996). Compositions: large and
small choral works, orchestra and instrumental pieces, piano concerto,
two children's operas, television music. "Out of the deep" is from his
"Requiem (1985)".

Synod on Eucharist recommendations published

http://www.zenit.org/article-14338?l=english

Benedict XVI Publishes Synod's Recommendations

Only Available in Non-official Translation

VATICAN CITY, OCT. 23, 2005 (Zenit.org).- In an unprecedented move, Benedict XVI published the 50 propositions presented by the Synod of Bishops on the Eucharist.

The propositions, which will be the basis for the Pope's postsynodal apostolic exhortation, will only be presented in a non-official Italian translation of the Latin original, in order to preserve some confidentiality, reported the General Secretariat of the Synod of Bishops on Saturday.

Benedict XVI said today that the postsynodal exhortation will "portray the face of the 'Catholic' community," which finds its strength and unity in the Eucharist.

-----
Prop 1-4
http://www.zenit.org/article-14353?l=english

Prop 5-10
http://www.zenit.org/article-14365?l=english

Prop 11-15
http://www.zenit.org/article-14385?l=english

Prop 16-20
http://www.zenit.org/article-14396?l=english

Prop 21-25
http://www.zenit.org/article-14410?l=english

Prop 26-30
http://www.zenit.org/article-14421?l=english

Prop 31-36
http://www.zenit.org/article-14431?l=english

Prop 37-40
http://www.zenit.org/article-14452?l=english

Prop 41-45
http://www.zenit.org/article-14462?l=english

Prop 46-50
http://www.zenit.org/article-14475?l=english

-----
See also:
http://www.fdlc.org/Synod.htm

-----
2007-02-22 Sacramentum Caritatis
http://www.vatican.va/holy_father/benedict_xvi/apost_exhortations/documents/hf_ben-xvi_exh_20070222_sacramentum-caritatis_en.html




-----
Proposal 36 The Use of Latin in Liturgical Celebrations
To express better the unity and universality of the Church in the celebration of the Eucharist during international meetings, ever more frequent today, it is proposed:
-- to suggest that the concelebration of the Mass be in Latin (except Readings, the homily and the Prayer of the Faithful). So also should be the prayers of the tradition of the Church, and musical compositions of Gregorian chant should eventually be sung;
-- to recommend that priests be prepared in the seminary to understand and celebrate the Mass in Latin, as well as to use Latin prayers and know how to value Gregorian chant;
-- to not neglect the possibility that the faithful themselves be educated in this respect.

Music for OT-30-A (Oct 23)

Prelude:           Solemn Introduction: Tambling
Processional Hymn: 350: Lord Of All Nations
Penitential Rite:  -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          665
Intercessions:     -spoken-
Offertory:         (score p 45) The Lord is my shepherd: Rutter
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    27: The Cry Of The Poor
Final Hymn:        352: Love Divine All Loves Excelling
Postlude:          Tuba Tune: Tambling

Music Notes:


Christopher Tambling (1964-) attended (1976-82) Christ's
Hospital School (founded 1552 by King Edward VI) and was
organ scholar at St Peter's College Oxford. In Scotland
(1991-), he was conductor of Perth Symphony Orchestra,
Perth city organist, choirmaster and music director at
Trinity College Glenalmond. In England (1995-), he is
Director of Music at Downside School and Master of the
Schola Cantorum of Downside Abbey. Compositions: musicals,
pieces for organ, service music, several books of arrangements
and anthems for choirs, music theory resource book.


John Rutter (1945-) born in London England, received his first
musical training as a chorister at Highgate School; studied music
at Clare College (Cambridge) where he wrote his first published
compositions and conducted his first recordings; Director of Music
at Clare College (1975-79); formed Cambridge Singers as a
professional chamber choir primarily dedicated to recording; divides
time among composing, conducting, lecturing (concert halls,
universities, churches, music festivals, conferences) in Europe,
Scandinavia, North America. Honorary Fellow of Westminster Choir
College Princeton (1980); Fellow of the Guild of Church Musicians
(1988); Lambeth Doctorate of Music (1996). Compositions: large and
small choral works, orchestra and instrumental pieces, piano concerto,
two children's operas, television music.

Music for OT-29-A (Oct 16)

Prelude:           Gloria tibi trinitas: Tallis
Processional Hymn: 398: Diverse in Culture, Nation, Race
Penitential Rite:  -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          662
Intercessions:     -spoken-
Offertory:         (NCAB p 177) If ye love me: Tallis
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    336: On Eagle's Wings
Final Hymn:        321: Now Thank We All Our God
Postlude:          Iste confessor: Tallis

Music Notes:


Thomas Tallis (c1505-1585) born in Kent England, was chorister
(St Paul Cathedral London), organist (Dover Priory 1532-7,
St Mary-at-hill 1537-8, Waltham Abbey 1538-40), lay clerk
(Canterbury Cathedral 1541-2). Due to his musical eminence,
he held a Chapel Royal appointment (1542-85) even though
remaining Catholic (as did his pupil William Byrd) during the
religious turbulence under Henry VIII, Edward VI, Mary I,
Elizabeth I. The last connived and granted Tallis and Byrd
a joint State monopoly of printing music-paper and music.


Tallis wrote both sacred (Latin and English)(masses, motets,
services) and secular (vocal, keyboard, viol, etc) music,
among which are the earliest datable English plainsong settings;
his best contrapuntal work may be placed almost on a par with
that of Palestrina. His compositional style adjusted to the Royal
leanings: post-Cramner (1533) Anglican Services have little polyphony;
with Mary (1553) again florid; with Elizabeth (1575) homophony,
simplicity. "If ye love me (c1546-8)" sets John 14:15-17 simply.


The prelude and postlude were both written for use in the Divine
Office (Liturgy of the Hours), and are among his few surviving
organ works (most were improvised). Originally, all Hymn and Antiphon
verses were only plainchant; later, alternating (odd) verses were
replaced with choral polyphony or short organ pieces such as these.


The Antiphon "Gloria tibi trinitas" is in a gaunt two-part idiom
(plainchant much disguised in the bass); its text is still used at
Trinity Sunday First Vespers (first psalm).


The Hymn "Iste confessor" begins by intoning the chant, then powerfully
moves forward with chant fragments and other material often in canon;
its text remains the hymn for Feast of Confessors (Common of Holy Men).


Some Tallis is more frequently heard:
"Canon" (from a set of psalm-tunes (1567), now hymn tune #398);
"Theme" (now "Fantasia on a Theme of Thomas Tallis (1910)"
by Ralph Vaughan Williams).

Music for OT-28-A (Oct 9)

Prelude:           Prelude: Purcell
Processional Hymn: 292: Canticle Of The Sun
Penitential Rite:  -spoken-
Gloria:            (5) Gloria: Anderson
                   113: Glory To God: Andrews
Readings:          659
Intercessions:     -spoken-
Offertory:         (5) All Things Bright And Beautiful
                   (11) Rejoice in the Lord alway: Purcell
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    429: You Satisfy The Hungry Heart
Final Hymn:        278: How Wonderful The Three In One
Postlude:          Trumpet Voluntary: Purcell

Music Notes:


At the Sat 5pm Vigil Mass, the School Choir will lead the
singing. Members of Grade Four will be lectoring, and leading the
singing at the Offertory (joined by the Choir).


Henry Purcell (c1659-1695) was born in London England,
the son of a court musician; in his youth was Chapel Royal chorister,
and later holder of continuing royal appointments until his death,
and Westminster Abbey organist (1679-); wrote music for dramas
(e.g., the "Prelude" heard today is from "The Fairy Queen"),
chamber instruments, and voice.


"Rejoice in the Lord alway" is a large-scale anthem typical of
the English Restoration period (post-Cromwell, i.e. King Charles II)
and exhibits many French influences.


Special thanks to Tony Higgins, frequent Sunday 11 am Lector,
who joins the choir to play the melodic interludes of the anthem
on one of his "whistles".

Music for OT-27-A (Oct 2)

Prelude:           Adagio: Becker
Processional Hymn: 320: Come Ye Thankful People Come
Penitential Rite:  -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          656
Intercessions:     -spoken-
Offertory:         The heavens are telling: Beethoven
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    381: We Have Been Told
Final Hymn:        319: Father We Thank Thee Who Has Planted
Postlude:          Christus, der ist mein Leben: Becker

Music Notes:


Carl Ferdinand Becker (1804-1877), born in Germany;
studied piano, harmony, composition; in Leipzig, became
organist at Petrikirche (1825) then Nikolaikirche(1837-54);
organ professor (1843-56) at Leipzig Conservatory from its
founding as requested by Felix Mendelssohn; collaborator
on Robert Schuman’s Neue Zeitschrift fur Musik (New Journal
for Music); drew attention to 16c and 17c music. In music
field: a collector, writer, bibliographer, editor;
his extensive library of music scores and theoretical works
attracted musical scholars of his time, he donated it (1856)
to the City Library of Leipzig where it remains to this day.

Music for OT-26-A (Sep 25)

Prelude:           Trio: Tambling
Processional Hymn: 285: All Hail The Power Of Jesus Name
Penitential Rite:  -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          653
Intercessions:     -spoken-
Offertory:         Lead me Lord: Wesley
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    850: Adoro te devote
Final Hymn:        362: The Church's One Foundation
Postlude:          Trumpet Tune: Tambling

Music Notes:


Samuel Sebastian Wesley (1810-1876) was born in London England, started (1819) music as a choir boy in the Chapel Royal, by age 16 was organist and began writing sacred music; his contributions include hymn texts (e.g., Hymnal 362) and anthems. Characterized by some as the first great composer of sacred music in the Victorian era, his career took him through Hereford (1832-), Exeter (1835-), Leeds (1842-), Winchester (1849-), Gloucester (1865-). His anthem "Lead me Lord" with its text from the Psalms (5:8 and 4:9) is part of a large-scale almost cantata-like work entitled "Praise the Lord, O my soul".


Christopher Tambling (1964-) attended (1976-82) Christ's Hospital School (founded 1552 by King Edward VI) and was organ scholar at St Peter's College Oxford. In Scotland
(1991-), he was conductor of Perth Symphony Orchestra, Perth city organist, choirmaster and music director at Trinity College Glenalmond. In England (1995-), he is Director of Music at Downside School and Master of the Schola Cantorum of Downside Abbey. Composed: musicals, pieces for organ, service music, several books of arrangements and anthems for choirs, music theory resource book.


His "Trio" has three concurrent lines of music, one for the feet and one for each hand (played on separate manuals with contrasting registrations) while his "Trumpet Tune (1981)" has several alternating solo and interlude sections (it is interesting to note that it was written in September of his senior year of high school!).


Downside Abbey was founded 1605 by English Benedictines in Douai France (due to Henry VIII and Reformation) and provided a school for English gentry; the monks suffered during the French Revolution; they returned to England, first to Shropshire (1795), then Downside (1814); community status raised (1899) from Priory to Abbey; the monks teach and supply priests for parish churches and mission churches in the area.

Bp Vigneron: Ten rules for handling disagreement like a Christian

1. The Rule of Charity:
"Charity is primary."
2. The Rule of Publicity:
"Think with the mind of the Church."
corollary: "Measure everything against the authoritative documents of the Magisterium."
3. The Rule of Legitimate Freedom:
"What the Church allows is not to be disallowed."
4. The Rule of Catholic Freedom:
"There's something for everybody, but not everything is for everybody."
5. The Rule of Modesty:
"Not all of my causes are God's causes."
6. The Rule of Integrity:
"To do evil in order to accomplish good is really to do evil."
7. The Rule of Realism:
"Remember that Satan is eager to corrupt my efforts to build up the Kingdom,
and he's smart enough to figure out a way to do it."
8. The Rule of Mystery:
"Not all the habits and attitudes which belong to a society governed
by a representative democracy are appropriate in the Church."
9. The Petrine Rule:
"Nobody ever built up the Church by tearing down the pope."
10. The Eschatological Rule:
"The victory is assured; my job is to run out the clock with style."

Bishop Vigneron has a column in (almost) every issue of The Catholic Voice, the Oakland diocese newspaper. The above is a summary of the article containing the list, and his explanatory commentary.

http://www.catholicvoiceoakland.org/05-09-19/bishopscolumn.htm

Calendar 2005

                              2005                              

      January               February               March        
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24 25 26 27 28 29 30  29 30 31              26 27 28 29 30

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31
      October               November              December      
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