Music for Christmas-1-C (Dec 31) Holy Family

Prelude:           Puer nobis nascitur: Lebegue
Processional Hymn: 215: Good Christian Friends Rejoice
Kyrie:             -spoken-
Gloria:            Gloria de Lourdes: Lecot/Berry
Readings:          493 or 495
Intercessions:     115: Lord hear our prayer
Offertory:         207: Awake Awake And Greet The New Morn
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    221: What Child Is This
Final Hymn:        417: Sing Of Mary Meek And Lowly
Postlude:          Les Cloches: Lebegue

Music Notes:


Nicholas-Antoine Lebegue (1630-1702), organist to Louis XIV,
and organist at Saint-Merry (Paris), was also a harpsichordist.
With Nivers and Gigault, he evolved music forms to exploit the
technical developments of the French organ (more manuals, more
stops, interesting sound combinations). He composed three volumes
of organ works: Book One contains suites based on each of the
eight liturgical tones; Book Two contains settings of Mass parts
(Kyrie, Gloria, Sanctus, Agnus Dei) and a Magnificat for each tone;
Book Three contains pieces usable as Preludes or Postludes, several
Offertories and Elevations, and Noels (sets of variations on popular
French Christmas Carols).


"Puer nobis nascitur (A child is born for us)" presents the tune
four times: slightly ornamented above a light accompaniment;
majestically; floridly (melody hidden among many other notes);
rhythmically altered with suspensions and resolutions.


"Les Cloches (The Bells)" is a character piece based on a four-note
carillon (bell tower) sequence; it begins softly, imitating the small
bells, and gradually builds, introducing more and more of the larger
bells into the joyous clamour.

Music for Advent-4-C (Dec 24)

Prelude:           Pastorale: Zipoli
Processional Hymn: 200: Savior Of The Nations Come
Kyrie:             Missa XVII (salve): chant
Gloria:            -none-during-Advent-
Readings:          488
Intercessions:     115: Lord hear our prayer
Offertory:         217: Lo How A Rose E'er Blooming
Acclamations:      185: Missa XVIII (simplex): chant
                   104-105: Mass of Creation: Haugen
Agnus Dei:         Missa XVII (salve): chant
Communion Hymn:    196: O Come Divine Messiah
Final Hymn:        193: The King Shall Come
Postlude:          All' Elevazione II: Zipoli

Music Notes:


Domenico Zipoli (1688-1726) born in Prato Tuscany Italy,
studied in Florence (with cathedral music director) and Naples
(with Allesandro Scarlatti) and Bologna (with Lavinio Vannucci)
and Rome (with Bernardo Pasquini); became a Jesuit novice (1716);
went to Seville Spain to await passage to Argentina (1717,
Buenos Aires and Cordoba); continued his musical activities while
completing his philosophical and theological studies; died (Jan)
of tuberculosis before ordination. Old World works include
oratorios (only libretti survive), pieces for harpsichord and
organ (published 1716); New World works include masses and motets,
which have been found in missions in Argentina, Bolivia, Peru.


"Pastorale" has two rustic shepherd's pipe tunes separated by
a dance tune carried on the wind from a village to the grazing field.


"All' Elevazione II" is the second of two gentle meditations
intended for use during the Eucharistic Prayer.


On Christmas Eve starting at 11:30 pm, as a prelude to the
Midnight Mass, the Parish Choir will be accompanied by a chamber
ensemble (violins, recorders, cellos, harpsichord, organ) to present
music by Charpentier, Buxtehude, Bach, Purcell, Callaway.


Christmas Carols will be sung during Masses throughout the
Christmas Season (continues through Sun Jan 8 Epiphany).

Music for Advent-3-C (Dec 17) Gaudete

Prelude:           Conditor alme siderum: Dupre
Processional Hymn: 198: Come O Long Expected Jesus
Kyrie:             Missa XVII (salve): chant
Gloria:            -none-during-Advent-
Readings:          485
Intercessions:     115: Lord hear our prayer
Offertory:         x
                   (11) Rejoice in the Lord alway: Purcell
Acclamations:      185: Missa XVIII (simplex): chant
                   104-105: Mass of Creation: Haugen
Agnus Dei:         Missa XVII (salve): chant
Communion Hymn:    190: O Come O Come Emmanuel
Final Hymn:        6: Now Bless The God Of Israel
Postlude:          Reveillez-vous, la voix des veillerus: Dupre

Music Notes:


Marcel Dupre (1886-1971) spent much of his life at the
Paris Conservatoire: as student (1902-14) under Guilmant,
Vierne, Widor; as Professor of organ (1926-54); as Director
(1954-56). He was also at St Sulpice: as assistant organist
to Widor (1906-34), then his successor (1934-71).


"Conditor alme siderum" is the first of his "Sixteen Chorales"
(opus 38, 1942); the pieces span the liturgical year from Advent
to All Saints. Composed for students, he demands an increasing
technical skill to play each succeeding piece.


"Reveillez-vous, la voix des veillerus" is one of his
"Seventy-nine Chorales" (opus 28, 1931); the set was composed
during the Summer months and dedicated to Gustave Ogier, his banker,
who was an aspiring organist. This tune is known in German as
"Wachet auf, ruft uns die Stimme" and in English as "Sleepers wake".

Music for Advent-2-C (Dec 10)

Prelude:           Messiah "Sinfonia": Handel
Processional Hymn: 191: People Look East
Kyrie:             Missa XVII (salve): chant
Gloria:            -none-during-Advent-
Readings:          482
Intercessions:     115: Lord hear our prayer
Offertory:         x
                   (11) Messiah "Lift up your heads": Handel
Acclamations:      185: Missa XVIII (simplex): chant
                   104-105: Mass of Creation: Haugen
Agnus Dei:         Missa XVII (salve): chant
Communion Hymn:    199: Wait For The Lord
Final Hymn:        194: On Jordan's Bank
Postlude:          Messiah "Pifa": Handel

Music Notes:


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 became George I of England.


His oratorio "Messiah (Dublin 1742)", with its power, lyricism,
sincerity, profundity, make it one of the supreme musical creations
as well as an outstanding example of devotional art. 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-C (Dec 3) Sunday C, Weekday 1

Prelude:           Conditor alme siderum (verset 1): Titelouze
Processional Hymn: (5) Stay Awake Be Ready: Walker
                   195: Creator Of The Stars Of Night
Kyrie:             Missa XVII (salve): chant
Gloria:            -none-during-Advent-
Readings:          479
Intercessions:     115: Lord hear our prayer
Offertory:         (5) 195: Creator Of The Stars Of Night
                   (11) (CFC p 206) Lo he comes: Wesley/Cennick/Willcocks
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         Missa XVII (salve): chant
Communion Hymn:    197: My Soul In Stillness Waits
Final Hymn:        371: City Of God
Postlude:          Conditor alme siderum (verset 3): Titelouze

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 C" and "Weekday 1".


During Advent, our Introductory Rite is noticeably more penitential:
the Kyrie becomes more prominent as we set aside the Gloria except
for feast days (Dec 8 Solemnity of the Immaculate Conception,
Dec 12 Feast of Our Lady of Guadalupe).


This weekend at the Sat 5 pm Vigil Mass, the Music is led by the
School Choir (directed by Rebecca Monson); and Lectors are from
Grade Two and Grade Six.


We begin the seventh year of use of our
hymnals (blessed and distributed Advent-1 2000); during the past
year, of the 294 hymns available (#190 to #475 plus 8 on rear cover),
our weekend use included 156 hymns (115 sung one time, 34 sung two
times, 7 sung three or more times).


The prelude and postlude this weekend use
the melody of Hymn 195 (melody in pedals, melody hidden among
other notes in manuals and pedals).

USCCB Ordo 2007

http://www.usccb.org/liturgy/current/2007cal.pdf

Music for OT-34-B (Nov 26) Christ The King

Prelude:           Avant-propos: Lloyd
Processional Hymn: 444: Alleluia Sing To Jesus
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          678
Offertory:         (11) (NCAB p 201) King of glory: Herbert/Bach
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    353: What Wondrous Love Is This
Final Hymn:        852: At The Name Of Jesus
Postlude:          Sortie: Lloyd

Music Notes:


This weekend the liturgical year comes to a close;
it is an appropriate moment to thank members of the parish
(and friends) who have sung with us during the past year:
Director (Ondine Young), Sopranos (Mary Bulkley, Ann Callaway,
Virginia Cooke, Gina DeLucchi, Betty DeOrian [cantor]), Mary Peters),
Altos (Susan Hernandez, Sue Jones, Roddy Raikow, Shirley Siljeg),
Tenors (Jordan Fong, Chang Hyun "Robin" Lee [cantor],
Brendan O'Brine, David Ryther), Basses (Asher Davison,
Richard Mix [cantor], William Skeen).


"King of Glory, King of Peace" is the result of W H Harris
combining poetry and music: George Herbert (1593-1632) was born
in Montgomery Wales, and became a poet, orator, and Church of
England minister who wrote a collection of poems entitled
"The Temple (1633)" in which is found the text entitled "Praise";
J S Bach (1685-1750) harmonized the hymn tune to "Jesu, meine
Herzens Freud" (BWV 361, "Jesus my heart's joy").


Richard H Lloyd (1933-), born near Manchester England,
attended: Lichfield Cathedral (1942-47 chorister), Rugby School
(music scholar), Jesus College Cambridge (organ scholar).
Held posts at: Salisbury Cathedral (assistant organist),
Hereford Cathedral (organist and master of choristers),
Durham Cathedral (1974-85 organist), Salisbury Cathedral
(school). Now divides his time between examining and composing.
The prelude and postlude bear French titles: Avant-propos
("preface") is a gentle introspective piece; Sortie ("exit,
departure") is confident and march-like with opportunities for
melodic fragments to be played on the gallery Fanfare Trumpet.

Music for OT-33-B (Nov 19)

Prelude:           Jesu meine Zuversicht & Erbarm dich mein: Bach
Processional Hymn: 315: Sing A New Song
Kyrie:             -spoken-
Gloria:            (5) Gloria Gloria: Anderson
                   113: Glory To God: Andrews
Readings:          675
Offertory:         (5) In The Day Of The Lord
                   847: Immortal, Invisible
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    450: Song Of The Body Of Christ
Final Hymn:        318: Let All Things Now Living
Postlude:          Plein jeu & Fugue sur le trompette: Couperin

Music Notes:


At the Sat 5 pm Vigil Mass, the Music is led by the School
Choir (directed by Rebecca Monson). This weekend Richard Mix
is organist for all three weekend Masses; I am "on holiday".
Ed Teixeira, organist


J S Bach (1685-1750), "the supreme arbiter and lawgiver
of music" as Baker's Dictionary defines his name, spent the
second half of his career at St Thomas' in Leipzig, where he
completed a cycle of some 198 surviving cantatas for the 3 year
lectionary cycle. A famous improvisor, he only published one
volume of organ music; that we have many more compositions in
manuscript form is thanks to his activity as a teacher of his
children as well as pupils from all of Germany. Two such works
are the hymn-based preludes "Jesu meine Zuversicht" (BWV 728,
"Jesus Christ my Sure Defense") and "Erbarm dich mein" (BWV 721,
a paraphrase of Psalm 51, the introit for Ordinary Time XXXIII:
"Have mercy on me, Lord, according to your loving kindness").
It is not clear whether Bach actually corresponded with the
Parisian Francois Couperin (1668-1733) (the family tradition
of the latter's descendants has it that the letters were used
as jam-pot lids in the 1830's) but he was certainly aware of his
music, some of which he copied by hand. The "Plein jeu & Fugue sur
le trompette" heard as today's postlude are drawn from Couperin's
"Messe pour les couvents" (Agnus & Kyrie, respectively), published
when he was twenty years old.
Richard Mix, deputy organist

Music for OT-32-B (Nov 12)

Prelude:           Allegro Pomposo: Adams
Processional Hymn: 388: God Whose Purpose Is To Kindle
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          672
Offertory:         27: The Cry Of The Poor
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    437: Taste And See
Final Hymn:        405: God Of Day And God Of Darkness
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 Era" music even
found in the present day. His music is easy on the ears,
and his stylistic characteristics clearly reflect his
Victorian age.

Music for OT-31-B (Nov 5)

Prelude:           Adagio: Becker
Processional Hymn: (5) Saints Of God
                   310: Sing Praise To God Who Reigns Above
Kyrie:             -spoken-
                   (11) Missa De Angelis: chant
Gloria:            (5) Glory To God: Anderson
                   113: Glory To God: Andrews
Readings:          669
Offertory:         (5) I will call upon the Lord
                   351: Where Charity And Love Prevail
Acclamations:      103-104-105: Mass of Creation: Haugen
                   (11) Missa De Angelis: chant
Agnus Dei:         187: Agnus Dei: chant
                   (11) Missa De Angelis: chant
Communion Hymn:    429: You Satisfy The Hungry Heart
Final Hymn:        312: Sing Of The Lord's Goodness
Postlude:          Christus, der ist mein Leben: Becker

Music Notes:


This weekend at the 5 pm Vigil Mass, the Music is led
by the School Choir; and Lectors are from Grade Seven.


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. A music
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.


His chorale "Christus der ist mein Leben" sets the 1609
hymn tune of Melchior Vulpius (c1560-1615); the hymn text
by an unknown German poet adapts the Song of Simeon (Nunc
dimittis), here translated: "Christ is my life, to die is
my gain, to him I surrender myself, with joy I depart.
With joy I depart from here to Christ, my brother, so that
I may come to him and be with him for ever. Now I have
overcome affliction, suffering anxiety and distress; through
his five holy wounds I am reconciled with God. When my
strength breaks, my breathing becomes difficult and I can no
more say a word: Lord, accept my sighs! When my heart and
thoughts fade away like a light, that must flicker here and
there as the flame fails: then gently and calmly, Lord, let
me fall asleep according to your plan and wish, when the hour
of my death comes. And let me stick to you like a burr to
cloth and live forever with you in heaven's joy and bliss.
Amen, that you will, Christ, grant mercifully! Arm me with
your spirit so that I may go blessedly."

Music for OT-30-B (Oct 29)

Prelude:           Prelude in Eb Major: Webb
Processional Hymn: 320: Come Ye Thankful People Come
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          666
Offertory:         328: We Walk By Faith
                   (11) x
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass Of Creation: Haugen
Communion Hymn:    294: I Have Loved You
Final Hymn:        298: Praise To You O Christ Our Savior
Postlude:          Postlude in A Major: Webb

Music Notes:


George James Webb (1803-1887) born in Wiltshire (near Salisbury)
England; was organist in Falmouth then emigrated (1830) to Boston.
Organist of Old South Church (almost 40 years), and Boston Church of
the New Jerusalem. From 1832 onward he collaborated with Lowell Mason
(1792-1872) in a number of enterprises: founded the Boston Academy
of Music; prepared the first edition of "The Boston Academy Collection";
published at least ten sacred and secular collections.
Independently published "Scripture Worship (1834)" and tune books and
pedagogical texts; president of the Boston Handel and Haydn Society
which published "The Massachusetts Collection of Psalmody (1840)"
to which he contributed 99 tunes. Spent his last years in Orange NJ.
Despite his prolific output, only a tune originally in his secular
collection "The Odeon (1837)" as "This Dawn, the Lark is Singing"
appears in some present-day hymnals (WEBB) with words
"Stand up, stand up for Jesus".

Music for OT-29-B (Oct 22)

Prelude:           Voluntary # 9 in A minor: Boyce
Processional Hymn: 444: Alleluia Sing To Jesus
Kyrie:             -spoken-
Gloria:            (5) Glory To God; Anderson
                   113: Glory To God: Andrews
Readings:          663
Offertory:         379: Only This I Want
                   (11) (NCAB p 110) Comfort O Lord: Crotch
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass Of Creation: Haugen
Communion Hymn:    376: Two Fishermen
Final Hymn:        389: We Are Called
Postlude:          Voluntary # 10 in G major: Boyce

Music Notes:


This weekend at the Sat 5 pm Vigil Mass, the Music is led
by the School Choir (directed by Rebecca Monson).


William Crotch (1775-1847) born in Greens Lane Norwich
England to a master carpenter; age 2 played upon the home
organ something like the tune of "God Save The King"; age 4
in London (Picadilly) gave daily recitals on home organ of
milliner; early aptitude for drawing; 1788 Oxford; 1790
Christ Church organist; 1797 Oxford music instructor;
1799 Oxford PhD Music; also produced many fine paintings;
1817 Royal Institution music lecturer; 1822- London Royal
Academy of Music principal; died suddenly in Taunton at
house of his son Rev W R Crotch. Wrote: oratorios ("The
Captivity of Judah (1789)", "Palestine (1812)", "The
Captivity of Judah (1834)"); piano arrangements (Handel
oratorios and operas; symphonies and quartets of Haydn,
Mozart, Beethoven); textbooks ("Specimens of Various Styles
of Music vol 1-3 (<1831)", "Elements of Musical Composition
and ThoroughBass (1812)").


"Comfort O Lord the soul of thy servant" is a short
extract from a longer anthem "Be merciful to me" and sets
Psalm 86:4 in brevity and simplicity. Although the text
is repeated four times, each section is treated in such
a way as to draw new emphasis and meaning from the words.

Music for OT-28-B (Oct 15)

Prelude:           Voluntary # 7 in Eb major: Greene
Processional Hymn: 317: We Gather Together
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          660
Offertory:         377: The Love Of The Lord
                   (11) (NCAB p 201) King of glory, king of peace: Bach
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass Of Creation: Haugen
Communion Hymn:    355: Eye Has Not Seen
Final Hymn:        287: To Jesus Christ Our Sovereign King
Postlude:          Voluntary # 6 in Bb major: Greene

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 but it was
left incomplete and finished by William Boyce (c1710-1779).
"Twelve Voluntaries" were published posthumously (1799-80)
by John Bland; each is in two complementary sections (slower
section then faster section).

Music for OT-27-B (Oct 8)

Prelude:           Voluntary # 4 in G minor: Greene
Processional Hymn: 292: Canticle Of The Sun
Kyrie:             -spoken-
                   (11) Missa VIII (de angelis): chant
Gloria:            (5) Gloria Gloria: Anderson
                   113: Glory To God: Andrews
Readings:          657
Offertory:         (5) (OCP _) Like a child rests: Walker
                   (11) (NCAB p 38) Ave verum corpus: Byrd
Acclamations:      103-104-105: Mass of Creation: Haugen
                   (11) Missa VIII (de angelis): chant
Agnus Dei:         108: Mass Of Creation: Haugen
                   (5) Missa XVIII (simplex): chant
                   (11) Missa VIII (de angelis): chant
Communion Hymn:    440: Take Our Bread
Post-communion:    (5) (CCH 296 gr 4) This Little Light Of Mine
Final Hymn:        295: We Are The Light Of The World
Postlude:          Voluntary # 5 in G major: Greene

Music Notes:


This weekend at the Sat 5 pm Vigil Mass, the Music is led by the
School Choir; and the Lectors are from Grade Four.


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 but it was
left incomplete and finished by William Boyce (c1710-1779).
"Twelve Voluntaries" were published posthumously (1799-80)
by John Bland; each is in two complementary sections (slower
section then faster section).

Music for OT-26-B (Oct 1)

Prelude:           Voluntary # 11 in D minor: Croft
Processional Hymn: 301: Praise My Soul The King Of Heaven
Kyrie:             spoken
Gloria:            135: Angels and Saints: Janco
Readings:          654
Offertory:         x
                   (11) (NCAB p 228) Lord I trust thee: Handel
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    470: O Lord With Wondrous Mystery
Final Hymn:        312: Sing Of The Lord's Goodness
Postlude:          Voluntary # 12 in D major: Croft

Music Notes:


William Croft (1678-1727) was born in Nether Eatington (Warwickshire England) and was a choirboy at the Chapel Royal under John Blow (1649-1708). As an adult: first organist at St Anne (Soho 1700-12); Gentleman of the Chapel Royal (1700-); Chapel Royal organist (1704-8) jointly with Jeremiah Clarke (c1673-1707); at death of John Blow, succeeded him as Westminster Abbey organist, Chapel Royal Master of the Children, Chapel Royal official composer; edited a Psalter (1708); graduated Oxford (PhD Music 1713); cofounder (1726) of Academy of Vocal Music (renamed 1731 to Academy of Ancient Music, continued until c1797). Composed: sonatas (flute, organ, harpsichord); theater songs and instrumentals; "Twelve Voluntaries" are found in a manuscript now in the British Library. His sacred music includes anthems, Anglican services (morning, communion, evening, burial); hymn tunes (e.g., see Hymnal # 343).

Music for OT-25-B (Sep 24)

Prelude:           Voluntary in A minor: Croft
Processional Hymn: 388: God Whose Purpose Is To Kindle
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          651
Offertory:         (11) (NCAB p 62) Blest are the pure: H Walford Davies
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    335: Seek Ye First
Final Hymn:        391: Let There Be Peace On Earth
Postlude:          Voluntary in D major: Croft

Music Notes:


William Croft (1678-1727) was born in Nether Eatington
(Warwickshire England) and was a choirboy at the Chapel Royal
under John Blow (1649-1708). As an adult: first organist at
St Anne (Soho 1700-12); Gentleman of the Chapel Royal (1700-);
Chapel Royal organist (1704-8) jointly with Jeremiah Clarke
(c1673-1707); at death of John Blow, succeeded him as
Westminster Abbey organist, Chapel Royal Master of the Children,
Chapel Royal official composer; edited a Psalter (1708);
graduated Oxford (PhD Music 1713); cofounder (1726) of Academy
of Vocal Music (renamed 1731 to Academy of Ancient Music,
continued until c1797). Composed: sonatas (flute, organ,
harpsichord); theater songs and instrumentals; "Twelve Voluntaries"
are found in a manuscript now in the British Library. His sacred
music includes anthems, Anglican services (morning, communion,
evening, burial); hymn tunes (e.g., see Hymnal # 343).

Non-Liturgical Music In Cathedrals

Item (2006-09-19):
http://www.zenit.org/article-17019?l=english
Sacred Music, Volume 114, N. 4 (Winter) 1987.
http://www.musicasacra.com/publications/sacredmusic/pdf/sm114-4.pdf
Adoremus.org
http://www.adoremus.org/concerts.html


Item (2006-10-03):
http://www.zenit.org/article-17817?l=english

Music for OT-24-B (Sep 17)

Prelude:           Voluntary # 7 in D minor: Croft
Processional Hymn: 852: At The Name Of Jesus
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          648
Offertory:         (5) Cares chorus: Willard
                   (11) The heavens are telling: Haydn
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    384: Take Up Your Cross
Final Hymn:        397: They'll Know We Are Christians
Postlude:          Voluntary # 8 in C major: Croft

Music Notes:


This weekend at the Sat 5 pm Vigil Mass, the music is led by
the Children's Choir (Rebecca Monson, dir).


William Croft (1678-1727) was born in Nether Eatington
(Warwickshire England) and was a choirboy at the Chapel Royal
under John Blow (1649-1708). As an adult: first organist at
St Anne (Soho 1700-12); Gentleman of the Chapel Royal (1700-);
Chapel Royal organist (1704-8) jointly with Jeremiah Clarke
(c1673-1707); at death of John Blow, succeeded him as Westminster
Abbey organist, Chapel Royal Master of the Children, Chapel
Royal official composer; edited a Psalter (1708); graduated
Oxford (PhD Music 1713); cofounder (1726) of Academy of Vocal
Music (renamed 1731 to Academy of Ancient Music, continued
until c1797). Composed: sonatas (flute, organ, harpsichord);
theater songs and instrumentals; "Twelve Voluntaries" are
found in a manuscript now in the British Library. His sacred
music includes anthems, Anglican services (morning, communion,
evening, burial); hymn tunes (e.g., see Hymnal # 343).

Music for OT-23-B (Sep 10)

Prelude:           Voluntary # 5 in C Major: Croft
Processional Hymn: 403: Gather Us In
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          645
Offertory:         O Lord open thou our lips: Carter
                   (11) How Firm A Foundation: Busarow
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    851: Draw Near and Take
Final Hymn:        316: Thanks Be To You
Postlude:          Voluntary # 6 in G Major: Croft

Music Notes:


William Croft (1678-1727) was born in Nether Eatington
(Warwickshire England) and was a choirboy at the Chapel Royal
under John Blow (1649-1708). As an adult: first organist at
St Anne (Soho 1700-12); Gentleman of the Chapel Royal (1700-);
Chapel Royal organist (1704-8) jointly with Jeremiah Clarke
(c1673-1707); at death of John Blow, succeeded him as Westminster
Abbey organist, Chapel Royal Master of the Children, Chapel
Royal official composer; edited a Psalter (1708); graduated
Oxford (PhD Music 1713); cofounder (1726) of Academy of Vocal
Music (renamed 1731 to Academy of Ancient Music, continued
until c1797). Composed: sonatas (flute, organ, harpsichord);
theater songs and instrumentals; "Twelve Voluntaries" are
found in a manuscript now in the British Library. His sacred
music includes anthems, Anglican services (morning, communion,
evening, burial); hymn tunes (e.g., see Hymnal # 343).

Music for OT-22-B (Sep 3)

Prelude:           Voluntary # 9 in A minor: Boyce
Processional Hymn: 331: A Living Faith
Kyrie:             spoken
Gloria:            (5) Glory To God: Anderson
                   135: Angels and Saints: Janco
Readings:          642
Offertory:         (5) Christ Be Our Light
                   (11) Jesu Joy Of Man's Desiring: Bach
Acclamations:      (5) 103-104-105: Mass Of Creation: Haugen
                   140-141-145: Angels and Saints: Janco
Agnus Dei:         (5) 187: Agnus Dei: chant
                   146: Angels and Saints: Janco
Communion Hymn:    (5) 357: You Are Mine
                   351: Where Charity And Love Prevail
Final Hymn:        323: For The Beauty Of The Earth
Postlude:          Voluntary # 10 in G major: Boyce

Music Notes:


William Boyce (1711-1779), born in London, the youngest
of four children of a cabinet-maker. St Paul Cathedral Chorister
under Charles King (1687-1748), then pupil of Maurice Greene
(1695-1755), and Johann Christoph Pepusch (1667-1752) who was
one of the more influential foreign composers and teachers
flourishing in England at the time. Despite hearing loss from
age 24 which worsened over his lifetime, had remarkable career:
Oxford Chapel organist (Vere Street 1734-36); Chapel Royal
composer (1736-); St Michael organist (Cornhill 1736-38);
Cambridge graduate (PhD Music 1749); All Hallows organist
(Thames Street 1749-69); Master of the King's Music (1755);
Chapel Royal organist (1758-79). The collection of English
Cathedral Music started by Greene (left unfinished at death)
was willed to Boyce, who completed and published it in several
volumes (1760-78); reprinted and added to until 1849; it is the
first publication of English church music in score form
(Soprano, Alto, Tenor, Bass voice parts on a page) rather
than in part form (each part in a separate book). His own
compositions include: services, anthems, oratorios, symphonies,
chamber music, opera, theater music. His "Ten Voluntaries" were
published posthumously (c1779-1793); each is in two sections.

Thirty-Five Years of the BCL Newsletter 1965-2000

Thirty-Five Years of the BCL Newsletter 1965-2000
Hardcover
ISBN:1-57455-402-6
Product: 5-402
Price: $129.95

http://www.usccbpublishing.org/productdetails.cfm?PC=294

Purchased a copy.

Music for OT-21-B (Aug 27)

Prelude:           Voluntary # 6 in C: Boyce
Processional Hymn: 452: At That First Eucharist
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          639
Offertory:         319 Father We Thank Thee
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    368: Keep In Mind
Final Hymn:        286: Jesus Shall Reign
Postlude:          Voluntary # 8 in C: Boyce

Music Notes:


William Boyce (1711-1779), born in London, the youngest
of four children of a cabinet-maker. St Paul Cathedral Chorister
under Charles King (1687-1748), then pupil of Maurice Greene
(1695-1755), and Johann Christoph Pepusch (1667-1752) who was
one of the more influential foreign composers and teachers
flourishing in England at the time. Despite hearing loss from
age 24 which worsened over his lifetime, had remarkable career:
Oxford Chapel organist (Vere Street 1734-36); Chapel Royal
composer (1736-); St Michael organist (Cornhill 1736-38);
Cambridge graduate (PhD Music 1749); All Hallows organist
(Thames Street 1749-69); Master of the King's Music (1755);
Chapel Royal organist (1758-79). The collection of English
Cathedral Music started by Greene (left unfinished at death)
was willed to Boyce, who completed and published it in several
volumes (1760-78); reprinted and added to until 1849; it is the
first publication of English church music in score form
(Soprano, Alto, Tenor, Bass voice parts on a page) rather
than in part form (each part in a separate book). His own
compositions include: services, anthems, oratorios, symphonies,
chamber music, opera, theater music. His "Ten Voluntaries" were
published posthumously (c1779-1793); each is in two sections.

Music for OT-20-B (Aug 20)

Prelude:           Voluntary # 2 in D: Croft
Processional Hymn: 352: Love Divine All Loves Excelling
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          636
Offertory:         301: Praise My Soul The King Of Heaven
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    430: Let Us Break Bread Together
Post-Communion:    (11) 435: Eat This Bread: Taize
Final Hymn:        395: In Christ There Is No East Or West
Postlude:          Voluntary # 3 in D: Croft

Music Notes:


William Croft (1678-1727) was born in Nether Eatington
(Warwickshire England) and was a choirboy at the Chapel
Royal under John Blow (1649-1708). As an adult: first
organist at St Anne (Soho 1700-12); Gentleman of the Chapel
Royal (1700-); Chapel Royal organist (1704-8) jointly with
Jeremiah Clarke (c1673-1707); at death of John Blow, succeeded
him as Westminster Abbey organist, Chapel Royal Master of the
Children, Chapel Royal official composer; edited a Psalter
(1708); graduated Oxford (PhD Music 1713); cofounder (1726)
of Academy of Vocal Music (renamed 1731 to Academy of Ancient
Music, continued until c1797). Composed: sonatas (flute, organ,
harpsichord); theater songs and instrumentals; "Twelve Voluntaries"
are found in a manuscript now in the British Library. His sacred
music includes anthems, Anglican services (morning, communion,
evening, burial); hymn tunes (e.g., see Hymnal # 343).

Music for OT-19-B (Aug 13)

Prelude:           Voluntary in G: Smart
Processional Hymn: 300: All Creatures Of Our God And King
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          633
Offertory:         437: Taste And See
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    449: I Am The Bread Of Life
Post-Communion:    (11) Adoramus te: Palestrina
Final Hymn:        318: Let All Things Now Living
Postlude:          Voluntary in C: Smart

Music Notes:


Henry Thomas Smart (1813-1879) was born in London England,
the son of Henry Smart (music publisher, orchestra director,
violinist) and nephew of Sir George Thomas Smart (conductor,
organist at St George in Windsor). He studied first for the law,
but soon gave this up for music. He was organist at: Blackburn
Lancashire (1831-), St Giles Cripplegate London (1836-),
St Philip Regent Street (1838-), St Luke Old Street (1844-),
St Pancras (1865-). He was organ installation superintendent
for Leeds Town Hall (1858) and St Andrew Hall Glasgow (1877);
one of five performers at the Great Exhibition (1851); editor of
"Psalms and Hymns for Divine Worship (1867)" and "Presbyterian
Hymnal (1875)"; music critic for the weekly journal "Atlas".
His eyesight began to wane at age 18, and he was completely blind
by age 52 (1865) at which he began to dictate his compositions
to his daughter. He composed pieces for organ, part-songs,
cantatas, opera, services, hymns (see Hymnal # 219).

Music for OT-18-B (Aug 6) Transfiguration

Prelude:           Prelude in A minor: Marcello
Processional Hymn: 847: Immortal Invisible
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          756
Offertory:         413: Tis Good Lord To Be Here
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    311: Let All Mortal Flesh Keep Silence
Post-Communion:    (11) Psalm 97 The Lord is King: Purcell
Final Hymn:        287: To Jesus Christ Our Sovereign King
Postlude:          Psalm XIX The Heavens Declare: Marcello

Liturgical Notes:


This weekend the Feast of the Transfiguration (August 6)
supercedes the Sunday Vigil/Day of Ordinary Time (Week 18).


Music Notes:


Benedetto Marcello (1686-1739) was born in Venice Italy
into an aristocratic family, studied music with his father
and with Gasparini (1668-1727); became a lawyer, and held
government jobs in Venice (1703-30), Pola (1730-37), Brescia
(1737-39). He wrote oratorios, operas, cantatas, chamber and
orchestral music, including paraphrases on the First Fifty Psalms
(Estro poetico-armonico (1724-26)). 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 holder of
continuing royal appointments until his death, while also
working as organist (1679-) at Westminster Abbey. He wrote
music for dramas, chamber instruments, and voice.

Music for OT-17-B (Jul 30)

Prelude:           Fantasia: Pachelbel
Processional Hymn: 319: Father We Thank Thee Who Hast Planted
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          627
Offertory:         432: Shepherd Of Souls In Love Come Feed Us
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    387: The Harvest Of Justice
Post-Communion:    (11) What A Friend We Have: Scriven/Converse
Final Hymn:        321: Now Thank We All Our God
Postlude:          Chromatic Fugue: Pachelbel

Music Notes:


Johann Pachelbel (1653-1706) was born in Nuremberg Germany.
He attended Universities in Altdorf and Regensberg, then went to
Vienna and worked as deputy organist (1671-3 Imperial Chapel,
1673-6 St Stephen Cathedral), then moved several more times,
working as organist in: Eisenach (1677 Court); Erfurt (1678-90
Protestant Predigerkirche, during which wife and child died of
plague in 1683, then remarried and had 7 children); Stuttgart
(1690-2 Wurttemberg Court, then left due to threat of French
invasion); Gotha (1692-5 town organist); Nuremberg (1695-1706
St Sebald). He had close connections with J S Bach's parents
(they selected him to be godfather to a daughter, and music teacher
to a son). J S Bach had access to his music and admired his work.
Wrote: motets, spiritual songs, Masses, Magnificats, sacred concertos,
harpsichord suites, sets of variations, various instrumental works,
~250 organ pieces.


Liturgical Notes:


General Instruction of the Roman Missal (2003 GIRM # 45):
"Even before the celebration itself, it is commendable that silence
be observed in the church, in the sacristy, in the vesting room,
and in adjacent areas, so that all may dispose themselves to carry out
the sacred action in a devout and fitting manner."

Music for OT-16-B (Jul 23)

Prelude:           Voluntary # 4 in G minor: Boyce
Processional Hymn: 849: The King of Love (vv 1-2-5-6)
Kyrie:             spoken
Gloria:            135: Angels and Saints: Janco
Readings:          624
Offertory:         356: I Heard The Voice Of Jesus Say
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    344: Shepherd Me O God
Post-Communion:    (11) Ave Verum Corpus: Mozart
Final Hymn:        348: There’s A Wideness In God’s Mercy
Postlude:          Voluntary # 5 in D major: Boyce

Music Notes:


William Boyce (1711-1779), born in London, the youngest of four
children of a cabinet-maker. St Paul Cathedral Chorister under Charles
King (1687-1748), then pupil of Maurice Greene (1695-1755), and Johann
Christoph Pepusch (1667-1752) who was one of the more influential
foreign composers and teachers flourishing in England at the time.
Despite hearing loss from age 24 which worsened over his lifetime,
had remarkable career: Oxford Chapel organist (Vere Street 1734-36);
Chapel Royal composer (1736-); St Michael organist (Cornhill 1736-38);
Cambridge graduate (PhD Music 1749); All Hallows organist (Thames
Street 1749-69); Master of the King's Music (1755); Chapel Royal organist
(1758-79). The collection of English Cathedral Music started by Greene
(left unfinished at death) was willed to Boyce, who completed and published
it in several volumes (1760-78); reprinted and added to until 1849; it is
the first publication of English church music in score form (Soprano,
Alto, Tenor, Bass voice parts on a page) rather than in part form
(each part in a separate book). His own compositions include: services,
anthems, oratorios, symphonies, chamber music, opera, theater music.
His "Ten Voluntaries" were published posthumously (c1779-1793);
each is in two sections.

Music for OT-15-B (Jul 16)

Prelude:           Voluntary # 3 in A minor: Greene
Processional Hymn: 267: Lord You Give The Great Commission
Kyrie:             spoken
Gloria:            135: Angels and Saints: Janco
Readings:          621
Offertory:         373: Here I Am Lord
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    375: The Summons
Post-Communion:    Voluntary # 2 in F minor: Greene
                   (11) Children's Prayer: Humperdinck
Final Hymn:        374: Go Make Of All Disciples
Postlude:          Voluntary # 1 in A major: Greene

Music Notes:


Through the Summer months we will be singing Mass of the
Angels and Saints by Steven R Janco.


During July, music leadership at Mass: Saturday Vigil 5 pm
(cantor Betty DeOrian), Sunday 8:30 am (cantor Chang "Robin" Lee),
Sunday 11 am (choir members, as their vacation plans permit).


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 but it was left incomplete and finished
by William Boyce (c1710-1779). His "Twelve Voluntaries" were
published posthumously (1799-80) by John Bland. Each of these
twelve voluntaries is in two complementary sections (a slower
section followed by a faster section): Number One (Andante-Vivace),
Number Two (Largo-Andante), Number Three (Largo-Andante).

Music for OT-14-B (Jul 9)

Prelude:           Voluntary in G: Linley
Processional Hymn: 395: In Christ There Is No East Or West
Kyrie:             spoken
Gloria:            135: Angels and Saints: Janco
Readings:          618
Offertory:         358: There Is A Balm In Gilead
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    311: Let All Mortal Flesh Keep Silence
Post-Communion:    (11) The Prayer: Sager/Foster
Final Hymn:        298: Praise To You O Christ Our Savior
Postlude:          Trumpet Voluntary in A: Linley

Music Notes:


Through the Summer months we will be singing Mass of the
Angels and Saints by Steven R Janco.


During July, music leadership at Mass: Saturday Vigil 5 pm
(cantor Betty DeOrian), Sunday 8:30 am (cantor Chang "Robin" Lee),
Sunday 11 am (choir members, as their vacation plans permit).


Francis Linley (1771(4?)-1800), born in Doncaster England,
was blind from birth, nonetheless carved out for himself a
successful career as organist, publisher, composer.


While living in Pentonville (named after Member of Parliament
(MP) Henry Penton, but now unrecognizable, a suburb of London),
he was organist at St James Chapel (near Grimaldi Park) and
some time music agent for John Watlen of Edinburgh.


Later, in London, he was owner of the third of at least five
consecutive businesses to publish and sell music at 45 High Holborn:
(1) John Bland "music seller, engraver, printer and publisher"
(c1778-95) who claimed to be the first music printer to publish
singly the works of Handel and other celebrated composers;
(2) succeeded by Lewis, Houston and Hyde "music sellers" who went
bankrupt 4 Feb 1797;
(3) succeeded by Linley "music seller and publisher" who purchased
in March 1797 the stock and business of 12,000 engraved plates;
(4) succeeded by William Hodsoll "music seller" (1798-1831);
(5) succeeded by Z T Purday "publisher" (at least through 1840).


During his ownership, Linley added volumes 17-20 to the collection
"Bland's Collection of Divine Music". After he sold the business,
he emigrated to America (1798-99), but then returned to Doncaster
England. Among his own published works are a collection of organ
voluntaries, a harpsichord tutor, and "A practical introduction
to the organ" (Opus 6, 9th ed, c1800).

Music for OT-13-B (Jul 2)

Prelude:           Jig: Selby
Processional Hymn: 463: The King Of Glory
Kyrie:             spoken
Gloria:            135: Angels and Saints: Janco
Readings:          615
Offertory:         468: Healer Of Our Every Ill
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         146: Angels and Saints: Janco
Communion Hymn:    450: Song Of The Body Of Christ
Post-Communion:    (11) Christ's Peace: Ridge
Final Hymn:        305: Praise To The Lord
Postlude:          A Fuge or Voluntary: Selby

Music Notes:


Through the Summer months we will begin singing Mass of the Angels
and Saints by Steven R Janco.


During July and August at the 5 pm Vigil and 8:30 am Sunday Masses,
our Cantors (Betty DeOrian, Chang "Robin" Lee) continue to lead the music.
At the 11 am Mass, the Choir is officially "on holiday", but members are
still present as their vacation plans permit!


William Selby (1738-1798) emigrated from England to Newport RI
(1771/4?), went to Boston MA (1776/7?), became organist at present-day
King's Chapel and composed music, became a storekeeper during the
Revolutionary War, resumed organist duties (1783), became active as
impressario and teacher. "Ode to Independence" by Thomas Dawes
(1757-1825) was set to music by Selby and performed (1787) at the
Chapel "by a select company of singers". Among his achievements is
one of the first Sacred Concerts ever to be given in Boston.

Music for OT-12-B (Jun 25)

Prelude:           Aria: Peeters
Processional Hymn: 343: O God Our Help In Ages Past
Kyrie:             -spoken-
Gloria:            135: Angels and Saints: Janco
Readings:          612
Offertory:         345: How Firm A Foundation
                   (11) How Firm A Foundation: Busarow
Acclamations:      140-141-145: Angels and Saints: Janco
Agnus Dei:         148: Angels and Saints: Janco
Communion Hymn:    346: Be Not Afraid
Final Hymn:        338: How Can I Keep From Singing
Postlude:          Festival Voluntary: Peeters

Music Notes:


Through the Summer months we will begin using Mass of the Angels
and Saints by Steven R Janco (Hymnal 135-136, 140-141-145-146).


Donald Busarow (1934-) was born in Racine WI; received a
BS degree from Concordia Teachers College, a MM degree from the
Cleveland Institute of Music, a PhD from Michigan State University.
Since 1975 he has served as Professor of Music at Wittenberg
University at Springfield OH, where he directs the Wittenberg Choir,
the Chapel Choir, teaches music theory, and serves as University
Organist. Since 1976 he has held positions as Director of Music
at churches in Michigan, Wisconsin, and Ohio. In 1996 he was awarded
an Honorary Doctor of Letters by Concordia University in River Forest IL.
He regularly presents papers at professional meetings, gives annual
organ recitals throughout the country, and is in frequent demand as a
choral and organ clinician in church music workshops.
He has published more than 50 choral works, a sacred opera,
100 compositions for organ, and four volumes of works for organ
and instruments.


Franciscus Florentinus (Flor) Peeters (1903-1986), born in Tielen
Belgium (near Antwerp), graduated Lemmens Institute, organist at
St Rumoldus Cathedral (Mechelen), taught at Lemmens Institute and
Royal Conservatory (Antwerp). Composed for keyboard, voice (songs,
masses), orchestra, chamber instruments, using a familiar but rich
musical language and adopting classical forms. Aria (1945, opus 51)
has a lyrical melody supported by repeated chords; Festival Voluntary
(1957, opus 87) is a joyous piece featuring tonal ambiguity, syncopated
rhythms, chordal fanfares.

Music for OT-11-B (Jun 18) Corpus Christi

Prelude:           Elevation ou Communion: Saint-Saens
Processional Hymn: 256: At The Lamb's High Feast We Sing
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          576
Offertory:         x
                   (11) Panis Angelicus: Saint-Saens
Sanctus/Mem/Amen:  Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    850: Adoro Te Devote
Final Hymn:        306: Holy God We Praise Thy Name
Postlude:          Fugue in Eb Major (Opus 99 n 3): Saint-Saens

Music Notes:


This weekend the Solemnity of Corpus Christi
supercedes the Sunday Vigil/Day of Ordinary Time (Week 11).


Franz Schubert (1797-1828) composed "Deutsche Messe (D 872)"
in 1826 and Richard Proulx adapted its music to English Mass texts
in 1985.


We have used this Mass Setting throughout the Easter Season
(and last weekend and this weekend because of their special
character); next weekend we will begin using Mass of the Angels
and Saints by Steven R Janco (Hymnal 135-136, 140-141-145-146).


Charles Camille Saint-Saens (1835-1921) had piano lessons with
Stamaty (1842) and Boely; entered Conservatoire (1848) and studied
with Halevy; his dazzling gifts early won him the admiration of Gounod,
Rossini, Berlioz, Liszt. Organist (1857-75) at the Madeleine; teacher
(1861-5) at the Ecole Niedermeyer. Organized concerts, revived interest
in older music (Bach, Handel, Rameau), wrote on topics (musical,
scientific, historical), traveled often and widely (Europe, North
Africa, South America), co-founded (1871) Societe Nationale de Musique.
Wrote sonatas, chamber music, symphonies, concertos, symphonic poems,
operas, choral works, organ pieces.

Music for OT-10-B (Jun 11) Trinity

Prelude:           Aria: Tambling
Processional Hymn: 280: Come Now Almighty King
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          573
Offertory:         (sheet) Firmly I Believe And Truly
                   (11) O Savior and Redeemer: Mozart
Sanctus/Mem/Amen:  Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    278: How Wonderful The Three In One
Final Hymn:        279: O God Almighty Father
Postlude:          Tuba Tune: Tambling

Music Notes:


This weekend the Solemnity of the Most Holy Trinity
supercedes the Sunday Vigil/Day of Ordinary Time (Week 10).


Franz Schubert (1797-1828) composed "Deutsche Messe (D 872)"
in 1826 and Richard Proulx adapted its music to English Mass texts
in 1985; we have used this Mass Setting throughout the Easter
Season (and this weekend and next weekend because of their special
character); June 24-25 we will begin using Mass of the Angels
and Saints by Steven R Janco (Hymnal 135-136, 140-141-145-146).


Wolfgang Amadeus Mozart (1756-1791), child prodigy, taught by
father Leopold (musician and composer at Salzburg court of
Prince-Archbishop Sigismund von Schrattenbach). Toured Austria,
Germany, France, England, Holland, Italy; later worked in Salzburg
court; went to Vienna (1781), worked as teacher, pianist, concert
promoter, composer. Wrote 600+ works (symphonies, oratorios, operas,
concertos, sonatas, chamber music, keyboard music, sacred music).


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.

Music for Easter-8-B (Jun 4) Pentecost

Prelude:           Nun Bitten Wir Den Heilgen Geist: Buxtehude
Processional Hymn: 276: Come Holy Ghost
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          vigil 569, day 570
Offertory:         308: Abba Father
                   (11) Apparuerunt Apostolis: Froberger
Sanctus/Mem/Amen:  Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    273: Veni Creator Spiritus
                   265: Regina Caeli
Final Hymn:        369: God's Blessing Sends Us Forth
Postlude:          Trumpet Tune In D: Johnson

Music Notes:


This weekend the Easter Season concludes after Sunday Vespers
(Evening Prayer). On Monday we resume Ordinary Time (Week 9) at
which the traditional sunrise-noon-sunset prayer changes from
"Regina Caeli" to "Angelus" until next year (Easter Vigil 2007).
After Communion, please do join in singing #265 "Regina Caeli"
for the final time this year!


Franz Schubert (1797-1828) composed "Deutsche Messe (D 872)"
in 1826. Richard Proulx adapted its music to English Mass texts
in 1985.


David N Johnson (1922-1988), prolific and highly regarded
composer of church music. "Trumpet Tune in D" is heard as the
theme music to a weekly PBS classical radio program ("With Heart
and Voice", Rochester NY, station WXXI).


Johann Jakob Froberger (1616-1667) born in Stuttgart Germany;
court organist in Vienna (1637, 1641-45, 1653-57), and during the
gaps studied in Germany and Italy and toured throughout Europe. Known
primarily as a keyboard virtuoso, composed pieces for organ and
harpsichord (partitas, ricercars, canzonas, fantasias, capriccios,
fugues, toccatas) and developed the harpsichord suite genre. Only two
non-keyboard works survive ["Alleluia Absorpta est mors" (Cor 15: 54-55)
for All Souls, and "Apparuerunt Apostolis" (extracts of Acts 2: 3-11)
for Pentecost]; both are motets in the Italian style written in the
1640s for soprano, bass, two violins, cello, organ.


"Apparuerunt Apostolis" is presented on Sunday at 11 am: "Tongues
as of fire appeared to the Apostles, and the Holy Spirit came down
upon them; they spoke in different tongues of the glory of God. Alleluia."

Music for Easter-7-B (May 28) Ascension

Prelude:           Voluntary # 3 in C: Boyce
Processional Hymn: 268: A Hymn Of Glory Let Us Sing
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          565
Offertory:         Voluntary # 2 in D: Boyce
                   (11) Alleluia: Boyce
Sanctus/Mem/Amen:  Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    435: Eat This Bread
                   265: Regina Caeli
Final Hymn:        267: Lord You Give The Great Commission
Postlude:          Voluntary # 1 in D: Boyce

Music Notes:


The Solemnity of the Ascension of the Lord has been transferred
from Thursday May 25 to this weekend and takes precedence over Easter-7.


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826. Richard Proulx adapted its music to English Mass texts in
1985; these easy-to-sing melodies will be used throughout the Easter
Season; please use the heavy-stock music cards in the pews (and leave
them there for the next Mass!).


William Boyce (1711-1779), born in London, the youngest of four
children of a cabinet-maker. He was a chorister at St Paul Cathedral
under Charles King (1687-1748), then became a pupil of Maurice Greene
(1695-1755), and Johann Christoph Pepusch (1667-1752) who was one of
the more influential foreign composers and teachers flourishing in
England at the time. Despite a hearing loss from age 24 which worsened
over his lifetime, he had a remarkable career: organist at Oxford Chapel
(Vere Street 1734-36); Chapel Royal composer (1736-); organist at
St Michael (Cornhill 1736-38); graduated Cambridge (PhD Music 1749);
organist at All Hallows (Thames Street 1749-69); succeeded Greene
as Master of the King's Music (1755); principal organist of Chapel Royal
(1758-79). The collection of English Cathedral Music started by Greene,
and left unfinished at his death, was willed to Boyce, who completed and
published it in several volumes (1760-78); it was reprinted and added
to until as late as 1849; it is the first publication of English church
music in score form (Soprano, Alto, Tenor, Bass voice parts all together
in one place on a page) rather than in part form (each part in a separate
book). His own compositions include: services, anthems, oratorios,
symphonies, chamber music, opera, theater music. His "Ten Voluntaries"
were published posthumously (c1779-1793); each is in two sections:
Voluntary One (larghetto-vivace), Voluntary Two (larghetto-moderato),
Voluntary Three (grave-moderato).

Music for Easter-6-B (May 21)

Prelude:           Trio: Tambling
Processional Hymn: 466: The Master Came To Bring
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          563
Offertory:         335: Seek Ye First
                   (11) Jesus came that all: Knoxville Harmony
Sanctus/Mem/Amen:  Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    431: O Lord I Am Not Worthy
                   265: Regina Caeli
Final Hymn:        427: I Come With Joy
Postlude:          Trumpet Tune

Music Notes:


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826. Richard Proulx adapted its music to English Mass texts in
1985; these easy-to-sing melodies will be used throughout the Easter
Season; please use the heavy-stock music cards in the pews (and leave
them there for the next Mass!).


At Offertory during the 11 am Mass, the choir presents a piece included
in a rare and little known book "The Knoxville Harmony of Music Made Easy:
Which is an Interesting Selection of Hymns and Psalms, Usually Sung in
Churches: Selected from the Best Authors in General Use" published in
1838 by Southern tunebook compiler John B Jackson (no dates available).


This is one of several sources of shape-note music, which has enjoyed a
continuous tradition of use in the United States, handed down since Colonial
times and still practiced at hundreds of annual singing meetings, conventions,
and local singing groups throughout the USA. This type of music can be directly
traced as a distinct musical thread before the American Revolution, through to
rural England, back to Reformation psalmody, and earlier to Renaissance polyphony.


The largest surviving branch of traditional American Shape Note Singing
uses another book of the period, "The Sacred Harp". These books have
standard five-line and four-space staffs for treble and bass clefs,
but give note heads various shapes (triangle, circle, square, diamond)
to aid in pitch identification. The complete text: "Jesus came that
all men might / perfect be in God's own sight. / Healer, preacher, teacher,
He / bought for us eternity. / What did Jesus come to say? / Words still true
for us today! / Give yourself, your heart to me. / I alone can set you free."

Music for Easter-5-B (May 14)

Prelude:           Minuete em La Menor: Anonimo
Processional Hymn: 350: Lord Of All Nations
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          560
Offertory:         Ave Maria: Schubert
                   (11) Ave Maria: Mozart
Sanctus/Mem/Amen:  Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    381: We Have Been Told
                   265: Regina Caeli
Final Hymn:        420: O Most Virtuous
Postlude:          Batalha de 6 Tom: Araujo

Music Notes:


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826. Richard Proulx adapted its music to English Mass texts in
1985; these easy-to-sing melodies will be used throughout the Easter
Season; please use the heavy-stock music cards in the pews (and leave
them there for the next Mass!).


In honor of all mothers on this Mother's Day weekend, at Offertory
we offer two settings of "Ave Maria": at 5 pm and 830 am, the familiar
solo of "Ave Maria" by Schubert; at 11 am a round in four parts
"Ave Maria" by Mozart.


In honor of Our Lady of Fatima (Feast Day May 13), at the Prelude and
Postlude we hear music from Portugal. The Prelude is by an anonymous
composer of the 1700s. The Postlude is by Pedro de Araújo (??- after 1704)
who lived in Braga Portugal, and was a music teacher at its priests'
seminary and organist at its cathedral. In his compositions, Portuguese
organ music reached its zenith, achieving a level of quality and formal
variety that made it the equal of Spain's. He was the leading figure of
a school of secular and monastic organists active in the arch-bishopric
of Braga during the late 1600s and early 1700s. His "Batalha de 6 Tom
(Battle scene on the sixth tone)" makes use of the highly impressive
timbres of cornets (mixtures) and horizontal reeds.

Music for Easter-4-B (May 7)

Prelude:           Sonata em La maior: Carlos Seixas
Processional Hymn: (5) 421: Immaculate Mary
                   447: Shepherd Of Souls
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          557
Offertory:         (5) 414: On This Day O Beautiful Mother
                   (11) Hospodin jest muj pastyr (Psalm 23): Dvorak
Acclamations:      Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    849: The King Of Love
                   265: Regina Caeli
Final Hymn:        417: Sing Of Mary
Postlude:          Preludio: Jose Marques e Silva

Music Notes:


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826. Richard Proulx adapted its music to English Mass texts in
1985; these easy-to-sing melodies will be used throughout the Easter
Season; please use the heavy-stock music cards in the pews (and leave
them there for the next Mass!).


Antonin Dvorak (1841-1904) born in Nelahozeves Czechoslovakia;
1857-9 studied at Prague Organ School; played viola in nucleus of new
Provisional Theatre orchestra; 1873- private teaching and composing;
1874-76-77 won Austrian State Stipendium; 1878 Simrock published some
works. Foreign performances multiplied (e.g., Slavonic Dances, Sixth
Symphony, Stabat mater). Well received in England; 1884 The Spectre's
Bride; 1885 Seventh Symphony; 1886 St Ludmilla; 1890 Requiem Mass;
honorary doctorate from Cambridge. 1890 visited Russia; continued to
launch new works in Prague and London; 1891 began teaching at Prague
Conservatory. Came to USA; 1892-95 director of National Conservatory
in New York, taught composition; Ninth Symphony ('From the New World'),
String Quartet in F, String Quintet in E-flat, Cello Concerto. Financial
strain and family ties took him back to Prague, where he began to write
symphonic poems and finally had his efforts at dramatic music rewarded
with success of fairytale opera Rusalka (1901).


Carlos Seixas (1704-1742) born in Coimbra Portugal, assumed the
position of cathedral organist in his native town at age 14. From 1720
he was active at Santa Maria Cathedral and the court chapel in Lisbon,
where he was a highly regarded harpsichordist and a keyboard teacher
much sought after by the noble families of the capital.


José Marques e Silva (1778-1837) was a member of the Barnabite monastery
in Lisbon Portugal, and perhaps the most influential Portuguese musician
of the early nineteenth century in his dual capacity as teacher at the
Lisbon Cathedral music school and, from 1808, mestre de capela of the court
chapel.

Music for Easter-3-B (Apr 30)

Prelude:           Slow March: Shephard
Processional Hymn: 252: Come Ye Faithful Raise The Strain
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          554
Offertory:         x
                   (11) Stetit Jesus: Jacob Handl
Acclamations:      Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    446: In The Breaking Of The Bread
                   265: Regina Caeli
Final Hymn:        259: I Know That My Redeemer Lives
Postlude:          Pastorale: Shephard

Music Notes:


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826. Richard Proulx adaptated its Mass-Songs, replacing German
poetry with English Mass texts (Kyrie, Gloria, Sanctus, Memorial
Acclamation, Amen, Agnus Dei). These easy-to-sing melodies will
be used throughout the Easter Season; please use the heavy-stock
music cards in the pews (and leave them there for the next Mass!).


Jacobus Petelin/Handl/Gallus (1550-1591) born in Ribnica Carniola
Slovenia; Cistercian monk; traveled in Bohemia, Moravia, Silesia;
Melk Abbey (lower Austria); 1574 Vienna court chapel; 1579-85
choirmaster to Bishop of Olomouc Moravia. The ambiguity in his name
is due to translating the original name Petelin (meaning rooster)
into the German diminutive Handl and the Latin equivalent Gallus at
different times in his life. Writing at the end of the Renaissance,
he was able to avail himself of musical ideas that had matured over
two centuries, crafting a sophisticated synthesis of Franco-Flemish,
German, and Italian styles. Contemporaries admired his music for its
beautifully woven counterpoint (sometimes calling him "The Bohemian
Palestrina") and for his command of rhythm (alternating between double
and triple meter) and using word accents to enhance rhythmic variety
and create moments of excitement or serenity within the relatively
static harmony and dense polyphonic texture.


His most notable work is a six volume collection of Latin motets
to cover the liturgical needs of the entire ecclesiastical year
("Opus musicum (1587)"); volume three contains "Stetit Jesus" here
translated: "Jesus came and stood in the midst of his disciples
and said to them: Peace be to you. Alleluia. Look upon my hands
and my feet for it is I. Alleluia. The disciples were glad at the
sight of their Lord. Alleluia."


Richard Shephard (1949-), born in England, began his career in
Anglican church music at Gloucester Cathedral as a chorister; attended
Corpus Christi College Cambridge (receiving MA ARSCM) as choral scholar;
has held posts at Salisbury Cathedral (music teacher, composer, choir
member), Godolphin School (music director), York Minster (1995, school
headmaster, church sub-chamberlain, etc). Received Lambeth Degree
(2001 DMus); appointed Fellow of the Royal School of Church Music (2004).
Composes anthems and liturgical settings for choir, pieces for organ.

Music for Easter-2-B (Apr 23) Divine Mercy

Prelude:           Voluntary # 1.1 in C (Adagio): Stanley
Processional Hymn: 328: We Walk By Faith
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          552
Offertory:         These things did Thomas: Troeger/Sacred Harp
Acclamations:      Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    260: O Sons And Daughters
                   265: Regina Caeli
Final Hymn:        348: There's A Wideness In God's Mercy
Postlude:          Voluntary # 1.1 in C (Andante): Stanley

Music Notes:


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826, setting devotional poetry by Johann Philip Neumann (1774-1849),
professor of Physics at the Vienna Polytechnical Institute; the
collaboration resulted in an Austrian folk-style Mass practical
for use by that student congregation. It consists of eight songs,
titled according to the appropriate points during the Mass at which
they are to be sung. Richard Proulx adaptated these Mass-Songs,
replacing German poetry with English Mass texts (Kyrie, Gloria,
Sanctus, Memorial Acclamation, Amen, Agnus Dei). These easily-learned
melodies will be used throughout the Easter Season; please use the
heavy-stock music cards in the pews (and leave them there for the
next Mass!).


At Offertory we hear a Thomas H Troeger (1945-) text ("These things
did Thomas count as real") from 1984 set to a tune (DISTRESS LM) from
"The Sacred Harp", a book first published in 1844 and frequently
updated since. Along with other hymn books from the era, its repertoire
of 550 four-part a cappella (unaccompanied) hymns, odes, anthems,
is part of the foundation of a vibrant oral tradition in the United
States, handed down since Colonial times and still practiced at hundreds
of annual singing meetings, conventions, and local singing groups
throughout the country. This type of music can be directly traced as a
distinct musical thread before the American Revolution, through to
rural England, back to Reformation psalmody, and earlier to Renaissance
polyphony. Sacred Harp singing is the largest surviving branch of
traditional American Shape Note Singing, which uses the standard five-line
and four-space staff for treble and bass clefs, but gives the note heads
various shapes (triangle, circle, square, diamond) to aid in pitch
identification.


John Stanley (1713-1786), born in London, wrote much music, including
three sets of Ten Voluntaries which, when published, made him the most
influential composer of the form, and the format was often imitated by
his contemporaries. His Voluntary Set One Number One (1745) is in four
sections and provides tempos and registrations: (1) Adagio [diapasons],
(2) Andante [trumpet], (3) Lento [swell], (4) Allegro [flute]; in the
second and fourth he also indicated that some phrases were to be "eccho"
and therefore both gallery and antiphonal organ stops will be heard in
alternation.

Music for Easter-1-B (Apr 16) Easter

Prelude:           xxx
Processional Hymn: 266: The Strife Is O'er
Kyrie:             Deutsche Messe: Schubert/Proulx
Gloria:            Deutsche Messe: Schubert/Proulx
Readings:          vigil 533, day 551
Offertory:         x
                   (11) When Mary thro' the garden went: Stanford
Acclamations:      Deutsche Messe: Schubert/Proulx
Agnus Dei:         Deutsche Messe: Schubert/Proulx
Communion Hymn:    263: That Easter Day With Joy Was Bright
                   265: Regina Caeli
Final Hymn:        261: Jesus Christ Is Risen Today
Postlude:          xxx

Music Notes:


Franz Schubert (1797-1828) composed his "Deutsche Messe (D 872)"
in 1826, setting devotional poetry by Johann Philip Neumann (1774-1849),
professor of Physics at the Vienna Polytechnical Institute; the
collaboration resulted in an Austrian folk-style Mass practical
for use by that student congregation. It consists of eight songs,
titled according to the appropriate points during the Mass at which
they are to be sung. During the Easter Season we will be using the
Richard Proulx adaptation of these Mass-Songs to the texts of the
Kyrie, Gloria, Sanctus, Memorial Acclamation, Amen, Agnus Dei;
the congregation music is on heavy-stock pew-cards.


Charles Villiers Stanford (1852-1924), born in Dublin, grew up in
a prosperous home (attorney father); studied at Cambridge University,
selected as Trinity College Cambridge organist (age 18);
traveled to Germany, studied composition under Carl Reinecke and
Friedrich Kiel, became friends with Johannes Brahms.
Held music posts at Trinity College Cambridge and Royal College of
Music (London). Along with Parry and Elgar initiated a remarkable
revival in English choral music which had languished since Purcell.
Enormous influence on the next generation (Vaughan Williams, Holst,
Howells, Bridge, Butterworth, Moeran, Bliss, Grainger). Wrote
symphonies, concertante works, chamber works, operas, solo organ music;
best known for his choral music.


"When Mary thro' the garden went" is the third of "Eight Part-Songs
(1910, Opus 123)" setting a text by poet Mary E Coleridge (1861-1907).
It is fanciful, imagining Mary Magdalene, on the first Easter morning,
walking sadly and reflectively through the garden of Gethsemane, and
anticipates in its closing measures the great joy a moment away.

Music For Lent-6-B (Apr 9) Palm-Passion

Prelude:           (5) Lift up your heads: Kendrick
                   A Palm Sunday Antiphon: Morgan
Palm Blessing:     517
Processional Hymn: (5) Mantos y Palmas: Avila
                   244: All Glory Laud And Honor
Readings:          521, gospel 523
Offertory:         (5) 246: Jesus Remember Me
                   250: O Sacred Head Surrounded
Acclamations:      (5) Mass of Creation: Haugen
                   185: Missa XVIII (simplex): chant
                   Missa XVIII (simplex): chant
Agnus Dei:         187: Missa XVIII (simplex): chant
Communion Hymn:    251: Were You There
Final Hymn:        -silence-
Postlude:          -silence-

Music Notes:


This weekend (Saturday 5pm Vigil Mass) the music is led by
the School Choir and the lectors are members of Grade Three.


Palm-Passion Sunday starts joyfully with Christ's "triumphant"
but misunderstood entry into Jerusalem recalled through a Blessing
of palms and Antiphon and Gospel and Processional Hymn, but the
liturgy soon becomes somber especially with St Mark's Passion
narrative (at 11 am chanted by Betty DeOrian, Chang "Robin" Lee,
Richard Mix). We use a chant mass setting for its simplicity and
brevity; sheets are in the pews. All are strongly urged to depart
in silence after Mass concludes.


Spy Wednesday (a name better known in England and Ireland than
in America) recalls Judas agreeing to betray Jesus to the chief
priests in exchange for 30 silver pieces; our 7 pm Penance Service
of communal prayers and private confessions is accompanied by English,
French, German, Italian organ works connected with the Lenten Season.


Maundy Thursday (from Latin "mandatum", mandate) recalls the Gospel
command to wash each other's feet and the institution of the Eucharist;
music includes "Ave verum corpus" by William Byrd (1543-1623).


Good Friday music includes St John's Passion narrative chanted by
cantors and choir singing crowd sections by Claudio Monteverdi
(1567-1643), "Crux fidelis" by John IV of Portugal (1604-1656),
"Adoramus te, Christe" by Orlando de Lassus (1532-1594).


Holy Saturday is celebrated with 8:30 am Morning Prayer (cantor,
organ); the 8:30 pm Easter Vigil music is led by choir and organ.


Easter Sunday at 8:30 am, music is led by cantor and organ.


Easter Sunday at 11 am, the liturgy will be enhanced with string
quartet, trumpet, handbells.


Do invite family and neighbors and friends to attend these
central moments of our Redemption and join with us in solemn and
joyous prayer and song.

Music for Lent-5-B (Apr 2)

Prelude:           -silence-
Processional Hymn: 237: From Ashes To The Living Font
Penitential Rite:  Missa XI (orbis factor): chant
Gloria:            -none-during-Lent-
Readings:          515
Offertory:         384: Take Up Your Cross
                   (11) (sheet) Schaffe in mir: Brahms
Acclamations:      185: Sanctus: chant
                   Missa XI (orbis factor): chant
Agnus Dei:         Missa XI (orbis factor): chant
Communion Hymn:    242: Tree Of Life
Final Hymn:        316: Thanks Be To You
Postlude:          -silence-

Music Notes:


Johannes Brahms (1833-1897) born in Hamburg Germany
to a 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,
organ works, art songs, etc.


"Schaffe in mir, Gott" (Opus 29 n 2, written 1856/7, published 1864)
is one of three a cappella motets for chorus that were the crowning
achievement of "his painstakingly acquired skill in the 'archaic'
techniques of Renaissance polyphony [biographer Malcolm MacDonald]".
It is divided into three brief sections, each corresponding to a
verse from Psalm 51. The first section is presented this weekend
("Schaffe in mir, Gott, ein rein Herz, und gib mir einen neuen
gewissen Geist.")("Create in me O God a pure heart, and grant a
right spirit within me"). It is written for five voices (SATBB)
and based on a canon by augmentation (i.e., strict imitation between
Soprano and Bass, but doubled note durations).

Music for Lent-4-B (Mar 26) Laetare

Prelude:           -silence-
Processional Hymn: 239: The Glory Of These Forty Days
Penitential Rite:  Missa XI (orbis factor): chant
Gloria:            -none-during-Lent-
Readings:          512
Offertory:         (11) (sheet) God So Loved the World: Stainer
Acclamations:      185: Sanctus: chant
                   Missa XI (orbis factor): chant
Agnus Dei:         Missa XI (orbis factor): chant
Communion Hymn:    353: What Wondrous Love Is This
Final Hymn:        423: Lift High The Cross
Postlude:          -silence-

Music Notes:


We have reached the mid-point of our Season of Lent,
having completed three weeks, with three weeks remaining.
Today is "Laetare Sunday", so named from the opening word
of the Introit (Isaiah 66:10-11 and Psalm 121:1):
"Laetare Jerusalem (Rejoice Jerusalem)". The special
signs of joy (flowers, rose vestments, organ) permitted this
day encourage us in our course through this season of penance.


Sir John Stainer (1840-1901), born in London England,
lost an eye in a childhood accident but persevered in a
successful musical career. Chorister (1848-) at St Paul
Cathedral, organist at St Benet and St Paul (Upper Thames
Street, 1855-), St Michael College (Tenbury Wells, 1856-),
Christ Church (Oxford, 1859-), Magdalen College (1860-),
St Paul Cathedral (London, 1872-88) reforming the musical
service and increasing the number of musicians and expanding
the repertory. Founded the Oxford Philharmonic Society;
knighted (1888) by Queen Victoria; resigned from St Paul's
because of failing eyesight; Professor of Music (Oxford, 1889-).
A pioneer in the world of English musicology, noted collector
of music especially 18c English songbooks; made editions of
music (1901) of composers pre-dating Palestrina and Tallis.
Wrote over 230 services for St Paul's choir as well as
oratorios, anthems, hymns and cantatas; "The Crucifixion (1887)"
remains one of his best known works.

Not for weddings Handel Where Eer You Walk

Text seems appropriate ...
tune sounds nice ...
but the libretto tells a story that contradicts
Catholic love and marriage.

http://www.karadar.com/Librettos/handel_SEMELE.html
45. Air
Jupiter
Where'er you walk, cool gales shall fan the glade;
Trees, where you sit, shall crowd into a shade.
Where'er you tread, the blushing flow'rs shall rise,
And all things flourish where'er you turn your eyes.
   Where'er. . .

http://www.culturevulture.net/Opera/Semele.htm
Semele was a Theban princess and the only mortal to be
the parent of a god, that God none other than Dionysus/Bacchus,
offspring of Semele's union with Zeus/Jupiter. Of course, Zeus'
wife Hera/Juno was less than pleased with the goings on, so
she schemed Semele to a nasty end, consumed in flames
from the lightning that radiated from her lover. Dionysus,
a heaven-sent son, rescued his mother from Hades, made
her a goddess, and set her up in style on Mount Olympus,
a very good address indeed.
...
Handel begins with Semele abandoning her betrothed, Athamas,
in favor of her celestial lover and ends with her death. (Dionysus
has been left out, though in the Copley production he is given a
token appearance in the final tableau.) This Semele, initially
motivated by passionate love, later becomes dissatisfied, coveting
the immortality of the gods. Her presumption and vanity are in the
classic model of hubris, so that her fate - death resulting from
exposure to the full godliness of her lover - constitutes a fitting
and ironic resolution in the traditional classical mode.

Music for Lent-3-B (Mar 19)

Prelude:           -silence-
Processional Hymn: 238: Lord Who Throughout These Forty Days
Penitential Rite:  Missa XI (orbis factor): chant
Gloria:            -none-during-Lent-
Readings:          509
Offertory:         232: Somebody's Knocking At Your Door
                   (11) Zum Eingang: Schubert
Acclamations:      185: Sanctus: chant
                   Missa XI (orbis factor): chant
Agnus Dei:         (5) Missa XVIII (simplex): chant
                   Missa XI (orbis factor): chant
Communion Hymn:    335: Seek Ye First
Final Hymn:        388: God Whose Purpose Is To Kindle
Postlude:          -silence-

Music Notes:


At the Sat 5 pm Vigil Mass the Children's Choir leads the music.


Franz Peter Schubert (1797-1828) born in Vienna Austria, at a young age studied music (violin, piano) and was a choirboy; attended (1808-13) Stadtkonvikt. Worked as schoolteacher (1814-17), thereafter lived a modest bohemian existence largely supported by friends; noticed (1823) declining health. Throughout his short life, bridging classical and early romantic music periods, he wrote prolifically for: orchestra (9 symphonies), chamber instruments (piano, strings, winds), voice (600+ songs, choral, opera, 7 masses). His works were catalogued in chronological order by Otto Erich Deutsch (hence identified by "D" and number).


Schubert's "Deutsche Messe (D 872)", composed in 1826, consists of settings of devotional poetry by Johann Philip Neumann (1774-1849), who was a professor of Physics at the Vienna Polytechnical Institute; the collaboration resulted in a practical Austrian folk-style Mass for use by that student congregation. It consists of eight songs; these are titled according to the appropriate points during the Mass at which they are to be sung (e.g., "Zum Eingang" is translated "at the entrance" and was intended as its processional hymn). During the Easter Season we will be using the Richard Proulx adaptation of these Mass-Songs to the texts of the Kyrie, Gloria, Sanctus, Memorial Acclamation, Amen, Agnus Dei.

Music for Lent-2-B (Mar 12)

Prelude:           -silence-
Processional Hymn: 329: Beautiful Savior
Penitential Rite:  Missa XI (orbis factor): chant
Gloria:            -none-during-Lent-
Readings:          506
Offertory:         x
                   (11) O Wondrous Sight: Monteverdi
Acclamations:      185: Sanctus: chant
                   Missa XI (orbis factor): chant
Agnus Dei:         Missa XI (orbis factor): chant
Communion Hymn:    413: Tis Good Lord To Be Here
Final Hymn:        298: Praise To You O Christ Our Savior
Postlude:          -silence-

Music Notes:


During the Season of Lent our music becomes more reflective.
Our instrumental music is reduced to a minimum; the "fasting"
from solo organ works provides a silence before and after Mass;
all are encouraged to prepare for the Sacred Mysteries, and to
give proper thanks at the end, without distraction. We use the
ancient chants of the Church. Our hymns help us express the themes
of the season and day; this weekend two pieces hilight the Gospel.


"Tis Good Lord To Be Here" summarizes the event and petitions
for Jesus' abiding presence. The tune was composed in 1745 by
Johann Martin Speiss (1715-1772) who also wrote numerous solos,
motets, sonatas, masses, requiems, when not performing his duties
as prior of the Benedictine Irsee Monastery (near Kaufbeuren
Schwaben Germany, from whence the tune has the title SWABIA).
The tune was adapted by Anglican pastor and hymnist (writer of
poetry and hymn tunes and harmonies) William Henry Havergal
(1793-1870); his daughter Frances was also a hymnist. The text
is a poem written in 1888 by Joseph Armitage Robinson (1858-1933),
an Anglican scholar of New Testament and Patristics.


"O Wondrous Sight" is by Claudio Monteverdi (1567-1643) who
was born in Cremona Italy and received his earliest training
from Marc' Antonio Ingegneri, head of music at Cremona Cathedral.
In 1590 he entered the service of the Gonzaga Dukes of Mantua
(Vincenzo, Francesco, Ferdinando) as a viol/violin player;
in 1599 he married court singer Claudia de Cattaneis (who bore
him three children before dying in 1607); in 1602 he became
master of the ducal chapel. From 1613 until his death he was
choirmaster at St Mark's in Venice; in 1632/33 he was ordained a
Catholic priest. One of the major composers in the history of
western music, he served as a transitional figure from the
Renaissance to the Baroque. His compositions were varied and many,
including: the earliest opera to retain a place in modern repertoire
[L'Orfeo (1607)]; collections of canzonettas, motets, madrigals;
service music such as Vespers for the Blessed Virgin Mary (1610); masses.

Music for Lent-1-B (Mar 5)

Prelude:           -silence-
Processional Hymn: 243: Forty Days And Forty Nights
Penitential Rite:  Missa XI (orbis factor): chant
Gloria:            -none-during-Lent-
Readings:          503
Offertory:         240: Hosea
                   (11) Serenity: Ives
Acclamations:      103-104-105: Mass of Creation: Haugen
                   Missa XI (orbis factor): chant
Agnus Dei:         (5) Missa XVIII (simplex): chant
                   Missa XI (orbis factor): chant
Communion Hymn:    469: Ashes
Final Hymn:        356: I Heard The Voice Of Jesus Say
Postlude:          -silence-

Music Notes:


During the Season of Lent our music becomes more reflective. Our instrumental music is reduced to a minimum; the "fasting" from solo organ works provides a silence before and after Mass; all are encouraged to prepare for the Sacred Mysteries, and to give proper thanks at the end, without distraction. We use the ancient chants of the Church. Our hymns help us express the themes of the season and day.


Charles Edward Ives (1874-1954) was born in Danbury Connecticut, studied music first with his musician-banker father George [Union Army bandmaster, cornet player, band director, theater orchestra leader, choir director, teacher], and later at Yale (1894-8) with Horatio Parker, and showed some sign of becoming a relatively unconventional composer. After graduation he went into insurance, and was organist at several churches; in 1907 he opened his own insurance company (Ives and Myrick) and was an innovator in the field.


Composition remained a weekend activity but he created works that anticipated some of the most radical developments of 20th century music [dissonance, polytonality, polyrhythm, experimental form]. Most pieces were written between 1890 and 1922, and include 200+ songs, 5 violin sonatas and other chamber music, 2 piano sonatas, 5 symphonies, other orchestral music, 2 organ pieces. Most of his music had been written without prospect of performance, and public recognition of his achievements came only in the 1930s.


"Serenity" was written in 1909 for choir and orchestra, and rewritten in 1919 for voice and piano.

Music for OT-8-B (Feb 26)

Prelude:           Reflective Processional: Mawby
Processional Hymn: 284: Christ Is The King
Gloria:            94: Mass of Creation: Haugen
Readings:          600
Offertory:         294: I Have Loved You
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    428: O Breathe On Me
Final Hymn:        300: All Creatures Of Our God And King
Postlude:          Festive Recessional: Mawby

Liturgical Notes:


This is the last weekend of the short segment of Ordinary Time.
Mid-week the Penitential Season of Lent begins with Ash Wednesday
and the character of our liturgies changes: no flowers; no organ
preludes, interludes, postludes; the Gloria is suspended except
for Solemnities; the Alleluia is not said or sung from Tue Feb 28
after Compline (Night Prayer) until well after sunset Sat Apr 15
(Easter Vigil).


Music Notes:


This weekend is the last chance to sing the Gloria and Gospel
Acclamation for about seven weeks; do sing well and strongly at
these moments! On Ash Wednesday (7pm Mass) the choir will sing
the Miserere (Psalm 51) by Gregorio Allegri.


Colin Mawby (1936-) born in Portsmouth England, attended (1946-51)
Westminster Cathedral Choir School in London, from age 12 played
organ to assist its Master of Music (George Malcolm); attended Royal
College of Music (RCM), studied with Gordon Jacob, Adrian Boult,
Malcolm Sargent. He has held various posts: Westminster Cathedral
(1961-78); Sacred Heart Wimbledon; an inner-city London parish;
a suburban parish; provincial cathedral parish. Moved to Ireland
to be Choral Director at Radio Telefis Eireann (RTE); founded (1991)
National Chamber Choir of Ireland; currently resides in a rural
Irish parish. He has written 25 Masses, 5 song cycles, many settings
for choir, pieces for children (2 operas, Christmas cantata), organ
pieces. His music is widely known, extensively published and recorded
(e.g., "The Lord Is My Shepherd (Psalm 23)" is on "Voice of an Angel"
[1998 Sony CD with Charlotte Church]).