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]).

Music for OT-7-B (Feb 19)

Prelude:           Palace Beautiful: Shephard
Processional Hymn: 382: I Danced In The Morning
Gloria:            94: Mass of Creation: Haugen
Readings:          597
Offertory:         468: Healer Of Our Every Ill
                   (11) (NCAB p 77) Blessed is he: Wise
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    357: You Are Mine
Post-Communion:    (5) Cares Chorus
Final Hymn:        321: Now Thank We All Our God
Postlude:          Pastorale: Shephard

Music Notes:


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


The English Baroque encompasses a major period of social unrest.
After death of Elizabeth I (1533-r1558-1603, daughter of Henry VIII),
England was ruled by the Stuarts: James I (1566-r1603-1625, son of Mary
Queen of Scots, Calvinist, responsible for "King James Version" Bible
translation) and Charles I (1600-r1625-1649, son of James I, high
church Anglican) during which Puritans migrated to New England (1620),
Civil War (1642-5) of King/Cavaliers vs Parliament/RoundHeads/Puritans/Cromwell,
and Puritan values contributed to general suppression of liturgical
and other music. During the Protectorate (1653-60, Lord Cromwell) public
forms of music for the people developed. During the Restoration, Charles II
(1630-r1660-1685, Catholic sympathies) and James II (1633-r1685-1688,
brother of Charles II, Catholic), there was a turn from Puritan austerity
toward expanded musical life, the Chapel Royal was reorganized under
Henry Cooke (1647-1674) as a new major center for liturgical music;
three of his pupils became distinguished musicians: Pelham Humphrey,
John Blow, Michael Wise.


Michael Wise (1629?-1687) worked in: Chapel Royal
(163?-44 chorister); St George Chapel Windsor (1663-6 lay
clerk = paid professional singer); Salisbury Cathedral
(1668-76 organist and chorister instructor); Chapel Royal
(1675-78 organist, 1676-85 gentleman and countertenor);
St Paul Cathedral (1687- almoner = distributer of alms,
Master of Choristers); shortly thereafter killed by a
night-watchman. Composed services, verse anthems with organ
which featured melodic solos, ensembles for treble voices which
show unusual qualities of pathos and expression.


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 OT-6-B (Feb 12)

Prelude:           Solemn Introduction: Tambling
Processional Hymn: 352: Love Divine All Loves Excelling
Gloria:            94: Mass of Creation: Haugen
Readings:          594
Offertory:         (11) Lectio octava "Pelli meae": Lasso
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:        342: Amazing Grace
Postlude:          Tuba Tune: Tambling

Music Notes:


Roland de Lassus (c1530-1594), born in Mons Belgium, worked
for several patrons from age eight, giving rise to the legend
that he was three times abducted for his beautiful voice. In Italy
he adopted the name by which he is best known, Orlando di Lasso,
and obtained his fist post as choirmaster at St John Lateran Rome.
The bulk of his career was spent in Munich (1556/7-, 1560- head of
chapel) in service of Duke Albrecht V of Bavaria, and it was there
that he wrote the "Lectiones novum ex libris Hiob (1582)". The eighth
lesson, "Pelli meae", sets Job 19:20-27, in which Job laments his boils,
the last of a series of afflictions. When the Bible speaks of leprosy
it is not clear that what is specified is what we know as Hansen's
disease, so the leper of today's Gospel might very well have thought
of himself as a modern Job, in which case he must have remembered the
second half of the passage, beginning at the words "Scio enim quod
redemtptor meus vivit..." This has also been famously set by Handel
in Messiah: "I know that my redeemer liveth, and that He shall stand
at the latter day upon the earth: And though worms destroy this body,
yet in my flesh shall I see God."
--Richard Mix, director.


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. [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 parishes and missions in the area.]
--Ed Teixeira, organist.

Weekly Holy Hour Begins (every Wed 6:30 pm)

Today the parish begins a weekly Holy Hour
caused by parishioner desires and willingness to persevere.

Exposition followed by one hour of silence.

Benediction will conclude the hour
if a priest is available.
It is unlikely due to regularly scheduled classes and meetings
and offering Mass at other locations.

http://www.catholic.org/featured/headline.php?ID=616

http://www.usccb.org/liturgy/holyhours.shtml

Music for OT-5-B (Feb 5)

Prelude:           Avant-propos: Lloyd
Processional Hymn: 288: The King Of Glory
Gloria:            94: Mass of Creation: Haugen
Readings:          591
Offertory:         (5) Christ Be Our Light: Farrell
                   (11) Geistliches Lied: Brahms
Acclamations:      103-104-105: Mass of Creation: Haugen
Agnus Dei:         108: Mass of Creation: Haugen
Communion Hymn:    468: Healer Of Our Every Ill
Final Hymn:        (5) Lord I Lift Your Name On High: Founds
                   286: Jesus Shall Reign
Postlude:          Sortie: Lloyd

Music Notes:


At the Sat 5 pm Vigil Mass the School Choir (directed by
Rebecca Monson) leads the music, and members of the
Faculty are lectors.


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. As 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 15 organ pieces. Geistliches Lied (1856, "Sacred Song")
is one of several pieces which he wrote to improve his contrapuntal
skill; it looks back to earlier ages in its use of strict double
canon in the vocal parts with canonic writing in the organ too,
as well as in the choice of a poem by Paul Flemming (1609-1640)
who spent the end of his life in Hamburg.


Translation (by John Rutter):
Let no sad thoughts oppress thee, / Distress thee; / Fear nothing,
trust God’s own will, / And be thou still / My spirit. // Heed
not with care and sorrow / The morrow: / Our Father who all doth
see / Shall give to thee / Thy portion. // From righteous paths
then range not, / And change not; / Be steadfast, for God is
just; / Give him thy trust / Forever.


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. Despite their thoroughly English sound, 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.