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.