DOCSLIB.ORG

Cathedral Choir Mark Potvin, Conductor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cathedral Choir Mark Potvin, Conductor Cathedral Choir Mark Potvin, conductor 2019 Wisconsin Tour From the Conductor CATHEDRAL CHOIR Cathedral Choir is one of five auditioned choirs at Luther Welcome, one and all! We are delighted you have chosen College. The ensemble is composed of select singers drawn to join us for this performance. mostly from the rich talent of the college’s sophomore class. Cathedral Choir participates actively in campus worship, Cathedral Choir’s program evokes faith experiences in Christmas at Luther, and at special events and concerts that stem from disparate emotional states and cultural throughout the academic year. backgrounds. In Praise and Petition, the choir explores Cathedral Choir has collaborated with Collegiate Chorale, prayers representative of deep despair and certain hope. Nordic Choir, and the Luther College Symphony Orchestra to perform major choral/orchestral works, such as Brahms’ Two of the selections in this selection—“Hear My Prayer” A German Requiem, Haydn’s Lord Nelson Mass, Handel’s and “Timor et Tremor”—are vastly different settings of Messiah, and the premiere of Luther Mass by Stephen similar texts. The first is a chromatic, angst-ridden prayer Paulus. In October 2017, Cathedral joined Collegiate Chorale of penitence. The second hearkens to divine mysteries and Concert Band to premiere a collage cantata composed by Luther alumni and students to commemorate the 500th through peaceful, crystalline tone clusters. The final piece anniversary of the Protestant Reformation. in the set offers the assurance of salvation in the midst Active in the creation of new music, Cathedral Choir has of trials and tribulation, a theme expanded upon in the premiered choral works by Ola Gjeilo, Mack Wilberg, Daniel remainder of the program. Kallman, Sir David Willcocks, Gwyneth Walker, Ben Allaway, Daniel Pinkham, Eric Whitacre, Stephen Paulus, Amy Adoration and Exaltation juxtaposes two settings of the Engelsdorfer, Sandra Peter, and Jennaya Robison. Gloria from the Mass Ordinary. Poulenc’s masterwork for The ensemble also takes great pride in reintroducing landmark, chorus and orchestra is angular, colorful, and exuberant, small-scale masterworks to contemporary audiences and evidenced even in the piano reduction accompanying the performing choral music from non-Western traditions. choir. Hyo Won Woo, a contemporary Korean composer, Cathedral Choir is proud of its commitment to the larger treats a truncated version of the same text to an a cappella community. In the past year, the ensemble has collaborated rhythmic and tonal firestorm. Each setting jubilantly and with over 500 high school students in workshops and shared performances, engaged in multiple service projects to benefit uniquely proclaims “Glory to God!” residents of Decorah and Winneshiek County, and partnered The third set, Dreams, Memories, and Disorientation, is with Minnesota Public Radio to produce Luther College’s first “Bring the Sing” community singing event. performed without pause to allow the overarching theme to emerge. These selections trace a narrative common to those of advanced age: recollections of childhood, dreams SPRING 2019 APPEARANCES from vibrant lives well-lived, and ruminations on waning bodies and minds. The set includes three folk songs/ Saturday, April 6, 12:00 p.m. dances from Islamic, Christian, and Jewish traditions. Informal performance Spencer High School Our final five selections provide reassurance of our richest Spencer, Wisconsin blessing—Faith That Abides—in the way only well-worn Saturday, April 6, 7:30 p.m. hymns and spirituals can. Concert Al. Ringling Theatre Finally, I offer a brief comment regarding the texts set in Baraboo, Wisconsin the music of this concert. Although scripture and texts †Sunday, April 7, 8:30 and 10:00 a.m. of historic, sacred pieces most often use male pronouns Worship services when referring to community and to God, it is helpful to Good Shepherd Lutheran Church remember that God is beyond human gender and that the Madison, Wisconsin promise of peace on earth is given to all people and all Sunday, April 7, 2:30 p.m. creation. Artistic choices are made, whenever possible, to Concert incorporate inclusive language. Baraboo High School Baraboo, Wisconsin —Mark Potvin *Wednesday, April 10, 7:30 p.m. Homecoming Concert Center for Faith and Life Luther College Decorah, Iowa *Live streamed at stream.luther.edu/music †worship services 2 Tour Program I. PRAISE AND PETITION With a Voice of Singing Kenneth Jennings (1925–2015) Text: Isaiah 48:20, Psalm 66:1–2 With a voice of singing, prepare ye and tell this; Utter it even to the end of the earth. Hallelujah! The Lord hath redeemed His servant Jacob. Hallelujah! Make a joyful noise unto God, all ye lands. Sing forth the honor of His Name; make His praise glorious. Glory be to the Father, and to the son, and to the Holy Ghost; MARK POTVIN, CONDUCTOR As it was in the beginning, is now, and ever shall be, world Mark Potvin is conductor of Cathedral Choir and the without end. Amen. Norsemen Choir at Luther College, where he also teaches conducting, secondary choral methods, and musical theatre. Potvin graduated from Luther College in 2001. He holds Hear My Prayer, O Lord a master of music degree from St. Cloud (Minn.) State Henry Purcell (c. 1659–1695) University. He is ABD in music education through Boston University. His conducting mentors include Weston Noble, ed. Watkins Shaw Timothy Peter, Lee Nelson, and Matthew Ferrell. Potvin is in Text: Psalm 102:1 high demand as a clinician and adjudicator throughout the Upper Midwest. Hear my prayer, O Lord, And let my crying come unto Thee. From 2001 to 2017, Potvin was director of choirs at Princeton (Minn.) High School. He served as the K–12 and high school department chair, taught three curricular choirs, four extracurricular jazz/pop choirs, two chamber ensembles, Timor et Tremor and music theory; and directed the district’s annual musical Terry Schlenker (b. 1957) theatre productions, madrigal dinner, and summer drama camp. Under Potvin’s direction, the Princeton High School Text: Psalm 54:6, 56:2, 30:3–4; 30:18 Concert Choir was invited to perform for three conferences Sung in Latin of the Minnesota Music Educators Association, two conferences of the American Choral Directors Association Fear and trembling have taken hold of me, (ACDA) of Minnesota, and the 2014 conference of North- And darkness has descended upon me. Central ACDA. Have mercy upon me, O Lord, have mercy, Aside from his duties at Princeton High School, Potvin For my soul has trusted in Thee. served as artistic director for the East Central Minnesota Hear, O God, my supplication, Chorale (ECMC) from 2007 to 2014. ECMC is a civic For Thou art my refuge and strength; choir representing more than ten east central Minnesota communities in Chisago, Isanti, Kanabec, Mille Lacs, and O Lord, I have called upon Thee, Pine counties. He is the founding director of Unum Vox, Let me never be confounded. ECMC’s regional high school honor choir, and led that ensemble through its first three seasons. From 2008 to 2011, Potvin fulfilled various teaching duties at St. Cloud Ndikhokhele Bawo State University (SCSU). His positions included assistant conductor of the SCSU Concert Choir and conductor of both Traditional Xhosa Prayer the SCSU Chamber Singers and Men’s Chorus. arr. Mzwandile Mabuza (b. 1991) An active member of ACDA, Potvin was named Outstanding Text: Traditional Xhosa Young Choral Director by the ACDA of Minnesota in 2008. Sung in Xhosa He edited ACDA–MN’s statewide journal, Star of the North, from 2008 to 2011, and served as repertoire and standards Guide me, O Lord, chair for men’s choirs from 2011 to 2013. He currently serves Guide me, O Great Redeemer the Iowa Choral Directors Association as repertoire and Through the troubles of this world. resources chair for college and university choirs. Lord, I thank you for watching over me thus far. Potvin is happily married to Susan Potvin, adjunct faculty You are forever by my side. in education and a member of the music marketing team at Luther College. They are the proud parents of Noah and Simon. 1 Tour Program II. ADORATION AND EXALTATION Excerpts from Gloria Francis Poulenc (1889–1963) Text: Mass Ordinary Sung in Latin I. Gloria Glory to God in the highest. And on earth, peace to all those of good will! II. Laudamus Te We praise Thee. We bless Thee. We worship Thee. We glorify Thee. NICHOLAS SHANEYFELT, PIANO We give thanks to Thee according to thy great glory. Nicholas Shaneyfelt is an assistant professor of music in III. Domine Deus collaborative piano at Luther College. He completed his doctoral studies in the collaborative piano studio of Martin Lord God, Heavenly King, Katz at the University of Michigan. Prior to Michigan, he God the Father almighty: Glory to Thee! served as staff accompanist for the Department of Music and Dance at the University of Massachusetts–Amherst, with IV. Domine Fili Unigenite regular involvements at the Northampton Community Music Lord Jesus Christ, the only begotten Son! Center. He regularly accompanies Luther College choirs and has accompanied the Chamber Choir and University V. Domine Deus, Agnus Dei Chorale at UMass under the direction of Tony Thornton, Lord God, Lamb of God, Son of the Father, the UMass Conducting Institute, the South Hadley Chorale, Who takes away the sins of the world: and regional honor choirs and choral societies in Iowa, Have mercy on us. Receive our prayer. Massachusetts, New Hampshire, Connecticut, and Maine. Shaneyfelt is codirector of the International Music Festival of VI. Qui Sedes ad Dexteram Patris the Adriatic, a summer festival for instrumentalists, vocalists, Thou who sittest at the right hand of the Father, and composers in Duino, Italy. Have mercy on us, for Thou alone are holy.
Load more

Recommended publications
  • REACHING out a Celebration of the Work of the Choir Schools’ Association
    REACHING OUT A celebration of the work of the Choir Schools’ Association The Choir Schools’ Association represents 46 schools attached to cathedrals, churches and college chapels educating some 25,000 children. A further 13 cathedral foundations, who draw their choristers from local schools, hold associate membership. In total CSA members look after nearly 1700 boy and girl choristers. Some schools cater for children up to 13. Others are junior schools attached to senior schools through to 18. Many are Church of England but the Roman Catholic, Scottish and Welsh churches are all represented. Most choir schools are independent but five of the country’s finest maintained schools are CSA members. Being a chorister is a huge commitment for children and parents alike. In exchange for their singing they receive an excellent musical training and first-class academic and all-round education. They acquire self- discipline and a passion for music which stay with them for the rest of their lives. CONTENTS Introduction by Katharine, Duchess of Kent ..................................................................... 1 Opportunity for All ................................................................................................................. 2 The Scholarship Scheme ....................................................................................................... 4 CSA’s Chorister Fund ............................................................................................................. 6 Finding Choristers .................................................................................................................
    [Show full text]
  • Location of Choir and Musical Instruments, January 2012
    ARCHDIOCESE OF PHILADELPHIA Office for Liturgical Music 222 North Seventeenth Street ! Philadelphia, Pennsylvania 19103-1299 215-587-3696 www.ArchPhilaMusic.org www.CathedralPhilaConcerts.org LOCATION OF CHOIR AND MUSICAL INSTRUMENTS COMMENTARY OFFICE FOR WORSHIP ARCHDIOCESE OF PHILADELPHIA Sacrosanctum Concilium, the document of the Second Vatican Council on the Sacred Liturgy, speaks clearly of the importance of music in the liturgy and, while urging that “choirs … be diligently promoted,” insists that “religious singing by the people … be skillfully fostered.” Implicit is the recognition of the special service and gift given to the people of God by skilled ministers of music who are, at the same time, members of the community at prayer. Subsequent Church documents and statements by the United States Conference of Catholic Bishops support, develop, and expand upon Sacrosanctum Concilium regarding music ministers. In particular, they speak of the proper location of the choir, cantor, and other musicians in the church building itself -- as both musicians and members of the assembly. The Office for Worship of the Archdiocese of Philadelphia, based upon the norms expressed in liturgical documents regarding the placement of musicians, offers the following guidelines to pastors, musicians, and worship committees. Musicians (choir, cantor, instrumentalists), recognized and appreciated for the special gift they bring to the celebration of the Sacred Liturgy, must be located in the church in such a way that they are also clearly perceived to be members of the worshipping assembly. While lending their special training and skill, they must also be servants of the Sacred Liturgy and members of the community at prayer.
    [Show full text]
  • The Acoustics of the Choir in Spanish Cathedrals
    acoustics Article The Acoustics of the Choir in Spanish Cathedrals Alicia Alonso * , Rafael Suárez and Juan J. Sendra Instituto Universitario de Arquitectura y Ciencias de la Construcción, Escuela Técnica Superior de Arquitectura, Universidad de Sevilla, Seville 41012, Spain; [email protected] (R.S.); [email protected] (J.J.S.) * Correspondence: [email protected]; Tel.: +34-954-559-51 Received: 13 November 2018; Accepted: 4 December 2018; Published: 6 December 2018 Abstract: One of the most significant enclosures in worship spaces is that of the choir. Generally, from a historical point of view, the choir is a semi-enclosed and privileged area reserved for the clergy, whose position and configuration gives it a private character. Regarding the generation and transformation of ecclesial interior spaces, the choir commands a role of the first magnitude. Its shape and location produce, on occasions, major modifications that significantly affect the acoustics of these indoor spaces. In the case of Spanish cathedrals, whose design responds to the so-called “Spanish type”, the central position of the choir, enclosed by high stonework walls on three of its sides and with numerous wooden stalls inside, breaks up the space in the main nave, thereby generating other new spaces, such as the trascoro. The aim of this work was to analyse the acoustic evolution of the choir as one of the main elements that configure the sound space of Spanish cathedrals. By means of in situ measurements and simulation models, the main acoustic parameters were evaluated, both in their current state and in their original configurations that have since disappeared.
    [Show full text]
  • Cathedral Statistics 2019
    Cathedral Statistics 2019 Research and Statistics Church House Great Smith Street London SW1P 3AZ Tel: 020 7898 1547 Published 2020 by Research and Statistics. Copyright © Research and Statistics 2020 All rights reserved. This document is available on line at https://www.churchofengland.org/researchandstats Any reproduction of the whole or any part of the document should reference: Church of England Research and Statistics, Great Smith Street, London SW1P 3AZ Email: [email protected] Twitter: @cofestats The opinions expressed in this booklet are those of the authors and do not necessarily reflect the official policy of the General Synod or National Church Institutions of the Church of England. 1 Summary This report presents information about worship and other activities taking place in Church of England cathedrals from 1st January to 31st December 2019. Data are collected from all 42 mainland Church of England cathedrals and from Westminster Abbey, through an annual cathedral statistics survey. Among other things, the survey asks about attendance at Sunday and midweek services; Easter and Christmas services; school visits; baptisms, marriages, and funerals; musical activities and volunteering. For reference, the survey form and guidance notes can be found in Appendix 2. Worship attendance (page 7) • A total of 37,300 people per week (82% adults and 18% children aged under 16) were reported attending usual cathedral services in 2019, a similar number to 2018 (37,100). Total weekly attendance is 13% larger in 2019 than it was a decade ago in 2009. • Weekly attendance at usual cathedral services is split fairly evenly between Sunday (47%) and midweek (53%) services.
    [Show full text]
  • Altar Server Guidelines for St. John the Baptist Catholic Church
    Altar Server Guidelines for St. John the Baptist Catholic Church Altar Servers Guidelines: St. John the Baptist, Dunnellon PRELIMINARIES: General Information Number of Servers Needed: Generally at weekend Masses, in the Catholic World, Altar Servers number from 2-6 servers. For pastoral reasons of promoting Children and Youth Ministry in the parish, as far as possible, we’ll need 3-5 “youth” Altar Servers for the Sunday 10.30 am Mass: three servers, if no incense is used and five servers if incense is used. If incense is NOT USED, we need only the Server Captain/Cross Bearer and the two Acolytes (Candle Bearers). If incense is USED, we need five servers, while three performs the roles already stated, the remaining two (only very mature and capable teenagers) will play the role of the Thurifer and the Incense Boat Bearer. In any case, three servers: the Server Captain/Cross Bearer and the two Acolytes sit on the altar, while the Thurifer and the Incense Boat Bearer both sit at the Baptistry area. NOTE: As a general rule, when the congregation stands or kneels, the Servers stand (except during the Consecration of the Bread and Wine: At this time, the servers should kneel, unless they are adults with knee problem). While standing and/or walking the Servers are to hold their hands in the praying position. The praying position is with palms of the hands together, fingers extended, thumbs crossed, hands chest high such that finger tips are about shoulder high. When the congregation sits, the Servers sit. In the sitting position the Servers’ hands should be on their laps.
    [Show full text]
  • The Unifying Role of the Choir Screen in Gothic Churches Author(S): Jacqueline E
    Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches Author(s): Jacqueline E. Jung Source: The Art Bulletin, Vol. 82, No. 4, (Dec., 2000), pp. 622-657 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051415 Accessed: 29/04/2008 18:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches JacquelineE. Jung Thomas Hardy's early novel A Laodicean (first published in in church rituals, "anti-pastoral devices"4 designed to prevent 1881) focuses on the relationship between Paula Power, a ordinary people from gaining access to the sacred mysteries.
    [Show full text]
  • Chancel Choir.Pub
    FAQS JUST THE FACTS ♪ Do you have to be a church mem- REHEARSALS ber to join? No . any adult who would like to Wednesdays, 7:30-9:00 p.m. in the Boston Avenue join us is welcome. Choir Room (childcare available) ♪ Will I have to audition? WORSHIP SERVICES Chancel Choir No . no audition or any type of “screening” process is required – Sundays, 11:00 a.m.-noon in the all are welcome. We are seeking Sanctuary; 10:30 robing & warm-up people who will offer their best ef- in the Choir Room (childcare fort and love to sing. available) ♪ I would like to sing but cannot leave my young children for the evening. HOW TO JOIN No problem . we have excellent Registration forms are available childcare available to choir mem- online at www.bostonavenue.org. bers during rehearsal and worship at no cost. If you have any questions or need further information, please contact ♪ Do you have to be an Ann White in the Music Office at “experienced” musician to sing in 918.699.0139 or choir? [email protected]. No . each section contains both leaders who have lots of music training and experience and novices who do not have any special training but just love to sing. This wide diver- sity adds richness and depth to our community. ♪ I would like to sing in choir but I have to travel/work at times. Should I join even if I know there will be chunks of time when I will be away? 1301 S. Boston Ave. | Tulsa, OK 74119 Absolutely .
    [Show full text]
  • Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church
    THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards.
    [Show full text]
  • Palladio's Religious Architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2012 Palladio's religious architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Fresina, Katherine, "Palladio's religious architecture in Venice" (2012). LSU Master's Theses. 3335. https://digitalcommons.lsu.edu/gradschool_theses/3335 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PALLADIO’S RELIGIOUS ARCHITECTURE IN VENICE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The School of Art by Katherine Fresina B.ID. Louisiana State University, 2009 May 2012 Table of Contents ABSTRACT……………………………………………………………………………………………………………..iii CHAPTER 1 INTRODUCTION…………………………………………………………………………………………1 2 VENETIAN ARCHITECTURE………………………………………………………………………..5 3 PALLADIO’S LIFE……………………………………………………………………………………...18 4 SAN FRANCESCO DELLA VIGNA………………………………………………………………...30 5 SAN GIORGIO MAGGIORE…………………………………………………………………………..40 6 IL REDENTORE …………………………………………………………………………………………52 BIBLIOGRAPHY……………………………………………………………….………………………………..…….67
    [Show full text]
  • The General Instruction on the Liturgy of the Hours
    The General Instruction on the Liturgy of the Hours Contents Chapter One The Importance of the Liturgy of the Hours or the Divine Office in the Life of the Church 1 I The Prayer of Christ 1 The prayer of Christ to the Father 1 II The Prayer of the Church 3 The obligation to pray 3 The Church continues the prayer of Christ 3 The action of the Holy Spirit 4 The community character of prayer 4 III The Liturgy of the Hours 5 The consecration of the course of the day 5 The relationship between the Eucharist and the Liturgy of the Hours 5 The exercise of Christ’s priestly office in the Liturgy of the Hours 5 The sanctification of man 5 The praise given to God, in union with the Church in heaven 6 Supplication and Intercession 7 The culmination and source of pastoral activity 7 Heart and voice are one 7 IV Those Who Celebrate the Liturgy of the Hours 8 a Celebration in Common 8 b The Mandate of Celebrating the Liturgy of the Hours 9 c The Structure of the Celebration 11 Chapter Two The Sanctification of the Day — The Various Liturgical Hours 12 I The Introduction to the Whole Office 12 II Lauds and Vespers 12 III The Office of Readings 14 IV Vigils 15 V Terce, Sext and None, or the Prayer During the Day 16 VI Compline 17 VII The Way of Joining Hours of the Office with Mass or Among Themselves 18 Chapter Three The Various Parts of The Liturgy of the Hours 20 I The Psalms and their Close Relationship with Christian Prayer 20 II The Antiphons and Other Parts which Help in Praying the Psalms 22 III The Way of Praying the Psalms 23 IV The Way the
    [Show full text]
  • RUSSIAN CHURCH SINGING the System of Orthodox Liturgical Singing 23
    MMMMMM~ M~,~. The Essence of Liturgical Singing The differences in the structure of Orthodox sevices, as compared to the services of the Roman Catholic Church and, even more so, to those of various Protestant denominations, both determine and reBect divergent viewpoints concerning the significance of the musical element in worship, and hence, concerning the essence, forms and liturgical function of church music. Unless these differences are clearly identified from the start, one risks falling into various misconceptions which would ultimately lead to erroneous conclusions. The first question that must be answered is: What is Orthodox liturgical singing in essence, and what role does it play in Orthodox worship? Such a question may appear, at first glance, to be superfluous; the answer seems to be obvious without any further discussion neces­ sary: Orthodox liturgical singing is vocal music-music produced by human voices alone-, which, in conjunction with words, accompanies worship services. This answer is understandable if one considers ex­ clusively the choral singing found in the Russian Orthodox Church during approximately the last three centuries. Thus, one often hears mention, especially in non-Orthodox circles, of "Orthodox church music," to which all of the concepts concerning music in general can be applied. Even present-day Orthodox tend to view their liturgical singing simply as a category of vocal music (and a rather insignificant one even in that capacity), in which one can observe the same musical-aesthetic relationships found in secular music-the only such relationships recognized. As a consequence of this viewpoint, singing at worship is often considered to be a facultative and non-essential element, instead of one that is immanent and inherent in worship.
    [Show full text]
  • Step-By-Step Guide
    Orientation for Altar Servers - Our Lady of Lourdes 2018 “Loving Father, Creator of the universe, you call your people to worship, to Be with you and each other at Mass. Help me to be prayerful and alert. Help me to help others in prayer. Thank you for the trust you’ve placed in me. Keep me true to that trust. I make my prayer in Jesus' name, who is with us in the Holy Spirit. Amen.” Preface: Serving at the Altar of the Lord is a special ministry not unlike that of the deacon. Like all ministries it is a Call that cultivates a desire for a more intimate union with our Lord, Jesus Christ. Our loving Savior Becomes present on the Altar, just as He was at the Last Supper and Calvary. Serving brings a solemn duty and responsibility to attend to with dignity and reverence. The unique call of the altar server is to focus the attention of the community on the Eucharistic Celebration, uniting their actions of service with that of the priest and deacon. All actions including posture, facial expressions, words, dress, and movements should Be prayerfully in sync with the movement of the Mass. STEP-BY-STEP GUIDE BEFORE MASS: 1. Arrive and Be dressed 15 minutes Before the Mass Begins. (Make sure the AlB is the RIGHT SIZE, the Bottom should Be right aBove the tops of the shoes) 2. Gather in the sacristy with the priest, deacon, lectors and anyone else who will be in the entrance procession. ENTRANCE PROCESSION: 1. After prayer, the group will move to the entrance of the church By the Baptismal font.
    [Show full text]