PIPES, PEDALS AND MOON PIES

HIGHLANDS UNITED METHODIST CHURCH 1045 SOUTH TWENTIETH STREET BIRMINGHAM, ALABAMA

Richard C. Phillips, Organist

Sunday, November 15, 2020 Half-past Two o’clock in the afternoon

To comply with current COVID-19 guidelines, we ask that you wear a mask the entire time you are in the church and practice safe social distancing. Please do not congregate in Narthex or Greeting Space after the service. If you wish to talk with fellow parishioners, please move outside. Thank you.

Please turn off all electronic devices.

(Please hold all applause, until the program has concluded.)

Trumpet Tune in D Major David N. Johnson (1922-1987)

Andantino in G Minor César Franck (1822-1890) FWV 25

Three American Songs Arranged by Hans Uwe Hielscher (b.1945) Opus 51 I. Amazing Grace II. Somebody’s Knockin’ at Your Door III. Deep River

Chorale-Improvisation on "Nun danket alle Gott" Sigfrid Karg-Elert (1877-1933) Op. 65 No. 59

Elegy Sir Alfred Herbert Brewer (1865 –1928)

Richard ‘Rick’ Phillips (b. 1959) Choirmaster and Organist Highlands United Methodist Church Birmingham, Alabama

Rick returned to Highlands in January of 2000, after the retirement of Amos Hudson, former Choirmaster. He was previously on the Highlands staff as Associate Choirmaster and Organist in the late seventies through the late eighties under the direction of Mr. Hudson. A student of Dr. Hugh Thomas’, Rick graduated from Birmingham-Southern College (B. M. Ed.). He was awarded a full tuition scholarship to Birmingham Southern College and he also received The United Methodist Women’s Scholarship of Highlands United Methodist Church. Rick was fortunate to be mentored by several influential musicians in his young life. His high school music teacher, Tom Schwartz, arranged for him to meet Robert Shaw, conductor of the Atlanta Orchestra and Chorus. Mr. Phillips became the youngest singer to join this acclaimed choir and was able to study choral conducting privately with Mr. Shaw. Mr. Shaw recommended that he attend Birmingham Southern College where he continued his choral studies under Hugh Thomas and organ studies with James. H. Cook. He was awarded The Pi Kappa Lambda award in music for undergraduate studies. (This is a national music award which honors and recognizes the scholastic and performance accomplishments of the recipient.) In addition, Mr. Phillips studied with Paul Manz and John Rutter. Post graduate studies were completed at the University of Montevallo (M. M. Ed.). Mr. Phillips was awarded The Pi Kappa Lambda award in music in graduate studies. In 1992, Mr. Phillips founded and directed the Birmingham Choral Guild (a community group). He served in that capacity, frequently working with the Alabama Symphony Orchestra, until 2004. Retiring in 2019, Rick was also the Choirmaster and Organist of The Advent Episcopal School, where he taught since 1982. In his free time, Rick enjoys being with his family. He and his wife Suzanne have two grown daughters, Lucy and Gracie.

Memberships in Professional Organizations: American Guild of Organists (Birmingham Chapter) American Choral Directors Association Choristers Guild American Guild of English Handbell Ringers Royal School of Church Music

HIGHLANDS UNITED METHODIST CHURCH THE NELSON PAGE HILL, JR. MEMORIAL ORGAN

M. P. Möller (1952, Opus 8320) Three Manuals and Pedals 75 stops, 35 ranks, 24 registers

In 2005, the console was rebuilt, and renovations were made by R. A. Colby, Inc. of Johnson City, Tennessee.

Voicing Daniel Angerstein and Walker Technical Pipe Company

• 3 manuals – 4 divisions • 75 stops • 35 ranks, 24 registers, 2230 pipes • 61-note bone manuals with ebony sharps, 32-note pedals • Electro-pneumatic chests • The organ pipes are in chambers (on the north side) located at the front of the room • There are no visible pipes • Traditional style console with roll top • Console is moveable • Adjustable bench • Adjustable music rack with light • Hand turned drawknobs in vertical rows on angled jambs • Balanced swell shoes/pedals, standard AGO placement • Adjustable combination pistons • AGO Standard (concave radiating) pedalboard • Programmable Crescendo Pedal and Sforzando • Reversible full organ/tutti thumb piston • Reversible full organ/tutti toe stud. • 1-12 – General Pistons affecting all stops and couplers, duplicated by toe studs • 1-6 - Local Pistons each for Great, Swell, Choir, and Pedal • 15 – Levels of Memory for Combination Action • Reversible Pistons for Full Organ • Pedal Couplers • Zimbelstern • 3 - Reversible Toe Studs for Pedal 32’s • 2 - Different/Programmable Crescendo Settings • Great to Choir manual arillon • Record and Playback System • Interface providing: Instrument In and Out, Sequencer In and Out • MIDI on all manuals and pedal

THE SPECIFICATION

REAT RGAN CHOIR ORGAN G O 8 Concert Flute *16 Violone (Pedal) 8 Viola 8 Principal 8 Dulciana 8 Bourdon 8 Unda Maris T.C. 8 Gemshorn *4 Principal *8 Flute Celeste II 4 Concert Flute 4 Octave 2 2/3 Nazard 4 Flute 2 Blockflöte 2 2/3 Twelfth *16 Bassoon 2 Super Octave *8 Trumpette *IV Fourniture *8 Bassoon 8 Trumpet 8 Clarinet 8 Festival Trumpet (Choir) *8 English Horn *Chimes *4 Rohr Schalmei *Harp *8 Festival Trumpet Tower Bells Tremulant 4 Great to Great 16 and 4 Choir to Choir Midi 1 & 2 Choir Unison Off Midi 1 & 2 SWELL ORGAN PEDAL ORGAN 16 Rohr Bourdon 8 Geigen Diapason *32 Bourdon 8 Rohr Flute *32 Contra Violone 8 Salicional 16 Contrabass 8 Celeste T.C. 16 Rohr Bourdon (Swell) 4 Octave Geigen 16 Bourdon 4 Flute Triangular *16 Violone *2 2/3 Nazard 8 Principal *2 Flautino 8 Bourdon 3/5 *1 Tierce 8 Rohr Flute (Swell) III Plein Jeu 4 Choral Bass 16 Fagott *4 Nachthorn 8 Trompette *II Rausch quint 8 Oboe *32 Posaune 8 Vox Humana *32 Contra Fagotto 4 Clarion 16 Posaune *8 Festival Trumpet (Choir) 16 Fagott (Swell) Tremulant 8 Tromba 16 and 4 Swell to Swell *8 Trompette Swell Unison Off 4 Clarion Midi 1 & 2 *4 Rohrschalmei Midi 1 & 2

Couplers

8 and 4 Great to Pedal 8 and 4 Swell to Pedal 8 and 4 Choir to Pedal 16, 8, 4 Swell to Great 16, 8, 4 Choir to Great 16, 8, 4 Swell to Choir

Great to Choir Transfer Zimbelstern

*Walker Technical Pipe Company

Trumpet Tune in D Major (1962)

Johnson’s Trumpet Tune in D is the opening and closing theme for the weekly radio show With Heart and Voice, with host Peter DuBois. Johnson’s Trumpet Tune in D was also the first of two processionals used for the 1971 wedding of Richard Nixon’s Daughter, Tricia, who was married in the White House Rose Garden with music provided by a string orchestra. Since this work was originally composed for organ, it was transcribed for string orchestra for its performance at the wedding.

David N. Johnson (born June 28, 1922, San Antonio, Texas; died August 2, 1987) in Tempe, Arizona) was an American organist, composer, educator, choral clinician, and lecturer. He studied organ and composition at Curtis Institute of Music (1940–1942). Between 1942 and 1946 he served in the U.S. Army Signal Corps/Air Corps in India, Burma, and China, receiving a Meritorious Service Award and campaign ribbons. He continued his music studies at Trinity University (Texas) (Bmus 1950) and Syracuse University (Mmus 1951, PhD 1956). He also held the associate certificate from the American Guild of Organists (AAGO).

He was a lecturer at Syracuse University (1951). From 1960–1967, he was college organist and organ instructor at St Olaf College, Northfield MN. He was named music department chair at St Olaf in 1965. In 1967, he succeeded Arthur Poister as professor of music and university organist at Syracuse University. He moved to Arizona in 1969, where he taught at Arizona State University, Tempe. He died in Tempe on August 2, 1987. He was married to Margaret S. Teal, and was the father of six children. Johnson published well over 300 compositions, most of them for church use, and was author of an Instruction Book for Beginning Organists (1964) and an Organ Teacher’s Guide (1971).

Andantino en sol mineur pour orgue (1858) FWV 25

This composition in is in ABAB Form. It utilizes the solo stop – the beautiful 8-foot trumpet in the Choir division. This stop is heard in the “A” section. In the “B” sections you will hear the 8-foot flutes and the unique triangle 4-foot flute in the Swell Division.

César Franck (10 December 1822 – 8 November 1890) was composer, pianist, organist, and music teacher who worked in Paris during his adult life.

He was born at Liège, in what is now Belgium (though at the time of his birth it was part of the United Kingdom of the Netherlands). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception for an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by Aristide Cavaillé-Coll.

In 1858, he became organist at the Basilica of St. Clotilde, Paris, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872. His pupils included Vincent d’Indy, Ernest Chausson, Louis Vierne, Charles Tournemire, Guillaume Lekeu and Henri Duparc.

Three American Songs (2003) Opus 51

Amazing Grace

“Amazing Grace” was written to illustrate a sermon on New Year’s Day of 1773. It was first published as a hymn in 1779, written by the English poet and Anglican clergyman John Newton (1725–1807). It debuted in print in 1779 in Newton and Cowper’s Olney Hymns but settled into relative obscurity in England. In the United States, “Amazing Grace” became a popular song used by Baptist and Methodist preachers as part of their evangelizing, especially in the South, during the Second Great Awakening of the early 19th century. In 1835, American composer William Walker set it to the tune known as “New Britain” in a shape note format. This is the version most frequently sung today.

Somebody’s Knockin’ at Your Door

A common feature of African American songs was the call-and-response format, where a leader would sing a verse or verses and the others would respond with a chorus. This came from African traditions of agricultural work song and found its way into the spirituals that developed once Africans in bondage began to convert to Christianity and from there to both gospel music and the blues. The call and response format showcases the ways in which work songs foster dialogue. You will hear this in this spiritual. At times, there will be a solo line. This is to represent the Call and then you will hear the answer or response.

This text and melody are for Lent or for other times that emphasize our cry for the mercy of God and the ongoing invitation to discipleship.

Somebody’s knocking at your door, Somebody’s knocking at your door, O sinner, why don’t you answer? Somebody’s knocking at your door.

Deep River

“Deep River” is also an anonymous African-American spiritual, popularized by Henry Burleigh in his 1916 collection Jubilee Songs of the USA. The song was first mentioned in print in 1876, when it was published in the first edition of The Story of the Jubilee Singers: With Their Songs, by J. B. T. Marsh. By 1917, when Harry Burleigh completed the last of his several influential arrangements, the song had become very popular in recitals. It has been called “perhaps the best known and best-loved spiritual”.

Deep river, my home is over Jordan. Deep river, Lord, I want to cross over into campground. Oh, don’t you want to go to that Gospel-feast? That Promised Land, where all is peace?

Hans Uwe Hielscher (born 1945) is a German organist and composer. He was organist and arillonneur at the Marktkirche in Wiesbaden, Hesse, Germany, from 1979 to 2009, and has played internationally as a concert organist. He retired from the position at the Marktkirche in 2009 but has kept the tradition of Orgelmusik zur Marktzeit. Hielscher is active as a concert organist and has played more than 3000 organ concerts worldwide. In this arrangement, you hear fresh twentieth century harmonies mixed with the haunting and beautiful melodies of these spirituals.

Chorale-Improvisation "Nun danket alle Gott" (1909) Op. 65 No. 59 In general terms, Karg-Elert musical style can be characterized as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of allowed him to stretch the limits of traditional harmony without losing tonal coherence. One can hear the entire tonal resources of the organ in this composition – (Now Thank We All Our God)- Nun danket alle Gott. The 66 Choral- Improvisations for organ, Op. 65, were composed between 1906 and 1908, and first published in six volumes in 1909. The composition was dedicated to "the great organist Alexandre Guilmant".

Sigfrid Karg-Elert (November 21, 1877 – April 9, 1933) was a German composer in the early twentieth century, best known for his compositions for organ and harmonium. The family settled in in 1882, where Siegfried received his first musical training and private instruction. At a gathering of composers in Leipzig, he presented his first attempts at composition to the composer , who arranged a three-year tuition-free scholarship at the Leipzig Conservatory. This enabled the young man to study with Salomon Jadassohn, , Alfred Reisenauer and Robert Teichmüller. From August 1901 to September 1902 he worked as a piano teacher in Magdeburg. Encouraged by the organist , he wrote compositions for the organ, composing his first original organ piece, 66 Chorale Improvisations, Op. 65 in 1909. In 1910 Karg-Elert married Luise Kretzschmar (1890–1971); four years later their daughter Katharina was born. He was appointed instructor of music theory and composition at the Leipzig Conservatory in 1919. The cultural climate in Germany in the 1920s and 1930s was very hostile to the internationally oriented, French- influenced Karg-Elert; and although his works were admired outside Germany, especially in the U.K. (the Organ Music Society of London held a ten-day festival in his honor in 1930) and in the United States, in his home country his music was almost completely neglected. All this led to him accepting an invitation for an organ concert tour of America in the spring of 1932. He was suffering from diabetes, which would soon kill him, and his limited powers as an organist compared unfavorably to the virtuoso standard of organ performance (set by the likes of Marcel Dupré and Louis Vierne) to which American audiences had grown accustomed. After his return to Leipzig, his health started deteriorating rapidly. He died there in April 1933. The popularity of his compositions declined before a successful revival in the late 1970s; today his works for the organ are frequently included in recitals.

Elegy (1916)

This piece uses the gorgeous solo clarinet 8-foot stop in the Choir division. It is accompanied by the strings the 8-foot flute and the 8-foot diapason in the Swell division. The melody is extremely beautiful and melancholy.

Sir Alfred Herbert Brewer (21 June 1865 – 1 March 1928) was an English composer and organist. As organist of Gloucester Cathedral from 1896 until his death, he contributed a good deal to the Three Choirs Festival for 30 years. Brewer lived in Gloucester his whole life. He was the organist at two of its churches, and founded the city’s choral society in 1905. He had been a Gloucester Cathedral chorister in his boyhood, and began his organ studies there under C. H. Lloyd. He was educated at the Cathedral School, Oxford and at the Royal College of Music. He matriculated at Exeter College, Oxford in 1884. In 1913, at the Three Choirs Festival in Gloucester, Brewer was entrusted with conducting the premiere of Sibelius’s tone-poem for soprano and orchestra, Luonnotar, Op. 70.

As a composer, Brewer was fairly conservative. His output includes church music of all types. The greater part of his life was devoted to the advancement of the standards of ecclesiastical music. His Magnificat and Nunc Dimittis in D Major are in the standard repertoire of Anglican church music. He was knighted in 1926.

This piece is played in memory of Scott M. Welch (1969-2020). He was a dear friend and devoted parishioner and choir member of Highlands United Methodist Church.

The Paschal Candle is lit in his memory.

You may pick up a Moon Pie, as you exit the concert.

Staff of Highlands United Methodist Church

THE REVEREND MIKAH HUDSON SENIOR PASTOR

THE REVEREND HENRY GIBSON PASTOR OF YOUTH, EVANGELISM, AND INCLUSIVE MINISTRIES

REGGIE HOLDER DIRECTOR OF GROWING MINISTRIES

RICHARD PHILLIPS CHOIRMASTER AND ORGANIST

DICK L'EPLATTENIER CHURCH ADMINISTRATOR

TYRA JOHNSON PIRTLE FINANCE MANAGER

MARY ELIZABETH NEAL COMMUNICATION DIRECTOR & CHILDREN AND YOUTH COORDINATOR

DRAKE ROBERTS WELCOMING MINISTRIES

Highlands United Methodist Church

1045 South Twentieth Street South Birmingham, Alabama www.highlandsumc.net