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).