WORSHIP NOTES Ministers the Text of the Processional Hymn,Immortal, Invisible, God Only Wise, Was Written Douglas T

Total Page:16

File Type:pdf, Size:1020Kb

WORSHIP NOTES Ministers the Text of the Processional Hymn,Immortal, Invisible, God Only Wise, Was Written Douglas T WORSHIP NOTES ministers The text of the processional hymn,Immortal, Invisible, God Only Wise, was written Douglas T. King, Adam D. Gorman, Rebekah McLeod Hutto by Walter Chalmers Smith. Smith (1824-1908) was born in Aberdeen, Scotland, and was Herbert B. Anderson, Pastor Emeritus educated at the University of Aberdeen and New College, Edinburgh. He was ordained in Brian K. Ballard, Chase Dost, Max M. Hill, Gabrielle Sclafani, Student Ministers 1850 and served churches in London, Glasgow, and Edinburgh. He was Moderator of the Free Church of Scotland in 1893 in its 50th anniversary year. Among Smith’s publications ministry of music are The Bishop’s Walk (1860), North Country Folk (1883), Poetical Works, Olrig Grange (1872), Keith S. Tóth, Minister of Music and Organist Borland Hall (1874), Hilda Among the Broken Gods (1878), and A Heretic and Other Poems Amanda Page Smith, Director of Children’s Music Ministries (1891). The tune of the hymn, St. Denio, also known as Joanna, is a Welsh folk melody from Dr. John B. Herrington III, Assisting Organist the early 19th century. The text of the middle hymn, In the Cross of Christ I Glory, is loosely based on Galatians ushers Officer-in-Charge: Joseph G. Sauvage; Team Captain: James D. Lindemuth Jr.; 6:14 which was written by John Bowring. Bowring (1792-1872) was born at Exeter and Robert E. Callahan, Andrew Curry, Samuel R. Enders, R. Scott Froehlich, studied philology, poetry, and politics, and edited the Westminster Review. A student of William J. Gambrill, Lisa A. Gustin, Benjamin C. Huneke, Thomas D. Robinson, languages, by the time of his death he knew two hundred and could converse in one Frederic S. Sater, G. R. Sam Seraphim, Francis H. Tucci, Charles S. Van Cott, hundred. He held several official appointments: commissioner to France, British consul at Ryan E. Widener, Suzanne W. Wilson, Samuel K. Won. Hong Kong, and governor of Hong Kong. He was twice a member of Parliament and was knighted by Queen Victoria (1854). order of st. paul My Hope Is Built on Nothing Less The word of the hymn, , were written by an English Michael J. Appleby, Nathan P. Appleby, Leah C. Lee, Deborah M. Li, Caroline C. clergyman, Edward Mote (1797-1874), who based them on the Gospel reading from Pickering, Alexander N. Rahman, Ellsworth G. Stanton III, Beadle. Matthew. Mote was born in London to into a family of non-church-going salon keepers. He rebelled in his late teens after hearing the great John Hyatt preach, went to seminary, chancel choir — the order of service for — and served as minister of the Horsham Baptist Church for 26 years. Soprano: Isabella Livorni, Tonna L. Miller-Vallés, Artemisz Polonyi, Elizabeth Grayston Ives O sacrum convivium (born England, 1948), composer of , is director Smith, Catherine Thorpe. Alto: Sónia Batten, Agueda Fernández-Abad, Allison Third Sunday in Lent of Magdalen College Choir, Oxford, where he has held the post of Organist, Informator Gish, Mary Runyan Marathe, Melissa Raymond. Tenor: Richard Liebowitz, — eleven o’clock — Choristarum and Tutor in Music. From 1978-85 Ives was a member of the celebrated British Jeremy Little, Johnny Maldonado, Jeffrey Taveras. Bass: William S. Crutchfield Ride On, vocal group, The King’s Singers. His sacred choral compositions, including are III, Daniel Hoy, Steven Moore, Ryan Stoudt, Nathaniel Sullivan. gaining in popularity in the UK and abroad. Thomas Morley (born Norwich 1557 or 1558; died London, early October 1602) was session welcome The moments before worship are a transition from “getting here” an English composer, editor, theorist and organist. He was the most influential figure, as Patrick A. F. Blott, Anita J. Brickell, Chloe G. Chun (Youth Elder), Susan P. Crary, to “being here.” Since it usually takes a few minutes to quiet one’s mind, and writer and editor as well as composer, in the Elizabethan vogue for the Italian madrigal. He Paul J. Elmlinger, Scripture Z. Gonzalez, Mimi K. Hah, Shannon D. Henderson, to become open to the Spirit, it is most appropriate to give one’s friends a silent was organist at St. Paul’s Cathedral, London and a Gentleman of the Chapel Royal. Morley wave of the hand, a nod of the head, or a friendly smile in lieu of initiating a William S. Hilburn, Anne R. Huneke, Stefan Krüger, R. Lynne Lee, Sue-Peng and Robert Johnson are the composers of the only surviving contemporary settings of verse conversation. Li, Guillaume A. Malle, Robert D. McCrie, Elizabeth M. Philipp, Brian J. Pitz, by William Shakespeare. Debra N. Seraphim, Richard H. Stowe, Mario J. Verdolini, Jr., Katherine C. after the processional hymn, in order not to disrupt the Sir John Stainer (born Southwark, London, June 6, 1840; died Verona, Italy, March Vosters, Cynthia Watson, Marjorie G. Widener, Roland L. Wikström, Suzanne worship service, latecomers will be seated by the ushers only at times when the 31, 1901.) As a boy, he sang in the choir of St. Paul’s Cathedral. At the age of 16, he was W. Wilson, Ellsworth G. Stanton III, Clerk of Session. congregation is standing, either during the Congregational Response following appointed by Sir Frederick Ouseley to the post of organist at the newly founded St. the assurance of forgiveness or during the second hymn. Michael’s College, Tenbury. In 1860 he became organist at Magdalen College, Oxford, deacons , please know how welcome you are. Please sign the Friendship moving to St Paul’s Cathedral in 1872. He became professor of music at Oxford University visitors Linda R. Arnold, Bret M. Barasch, Arthur W. Bingham, Nancy T. Blair, Elizabeth Book when it passes you during the service of worship and identify yourself with a in 1889. He conducted pioneering research into early music. In recognition of his services A. Boehmler, Carl C. Cordova III, Anne M. Christon, E. Graham Clark, David name tag to be found in the book. You are also cordially invited to attend Coffee to British music, he received a knighthood from Queen Victoria in 1888. God So Loved the M. Darst, Pamela J. Dickson-Thorpe, James B. Doswell, Helen T. W. Elmiger, Hour following worship. World is Stainer’s most famous anthem and it is taken from his passion meditation The Marc T. Engberg, John W. Frehse, Joseph A. Galloway, Jeffrey B. Gower, William Crucifixion. in the order of worship that follows, an asterisk invites all P. Hah (Youth Deacon), Cathy Leonhardt, Jane B. Lowry, Katrina K. Masterson, to stand; items in bold type face indicate that the congregation participates in Amelia McDonald, Oliver T. Moses, Sabina Rahman, M. Paige Rustum, Linda word or song. A. Simpson, Andrew R. Skobe, John W. Steen II, David M. Wells. THE FLOWERS in the Sanctuary are given to the glory of God and in loving memory of lectionary scripture readings for the day Myrtle Samuels, beloved mother of Gloria Bryce. Exodus 20:1-17 Psalm 19:1-14 1 trustees Charles S. Anderson, Kenneth W. Austin, Constance K. Dalvito, Kevin R. 1 Corinthians 1:18-25 John 2:13-22 NEXT SUNDAY’S PREACHER will be the Rev. Dr. Kimberly L. Clayton. Greene, Linda B. Gridley, Timothy D. Haskin, Charles C. Higgins, Helen M. Lynch, Valerie S. Mason, Willis G. Ryckman IV, Henry C. Barkhorn III, The Brick Presbyterian Church President, Richard A. Miller, Secretary, Louisa J. Palmer, Treasurer. Parish House: 62 East 92nd Street, New York, New York 10128-1398 | On the web at www.brickchurch.org Vol. CXXVIII March 4, 2018 Number 27 phone: 212-289-4400 day school: 212-289-5683 email addresses: www.brickchurch.org/contact THE GATHERING THE WORD THE LORD’S PRAYER Our Father, Who art in heaven, hallowed be Thy name. Thy kingdom come, Thy will be done on earth as it is in heaven. Give us this day our daily bread, and PRELUDE Johann Sebastian Bach (1685-1750) After the singing of the congregational response, all children are invited to forgive us our debts, as we forgive our debtors. And lead us not into temptation, “Wenn wir in höchsten Nöten sein, BWV 641” come forward and sit on the chancel steps for the Children’s Message. but deliver us from evil, for Thine is the kingdom and the power and the glory forever. Amen. WELCOME AND INVITATION TO THE LIFE OF THE CHURCH CHILDREN’S MESSAGE AND PRAYER INSTITUTION CHORAL INTROIT Fleurs des noëls, 1535 * HYMN 84 Rathbun “Kind Maker of the World” “In the Cross of Christ I Glory” HOLY COMMUNION Kind Maker of the world, O hear the fervent prayer with many a tear poured forth Communion will be served in the pews. All who would humbly put their trust in Christ, by all the penitent who keep this holy fast of Lent! SCRIPTURE LESSON Cosette M. Penna First Corinthians 1:18-25 (Pew Bible, page 166 N.T.) whatever their church or denominational affiliation, are invited to participate. Gluten- Reader: The Word of the Lord. free bread is available from servers who are standing in the north and south aisles. These CALL TO WORSHIP (based on Job 38-39) * servers will have crystal rather than silver dishes. Please signal one of these servers by raising Leader: Lord, we were not there when You laid the foundation of the earth. All: Thanks be to God! People: We have not commanded the morning since days began nor caused your hand. the dawn to know its place. SERMON Douglas T. King COMMUNION MUSIC Thomas Morley (c.1557-1602) Leader: You are the One with wisdom to number the clouds. “The Cross as Koan” People: You are the One who gives the horse its might.
Recommended publications
  • A Eric an Choral Review
    A ERIC AN CHORAL REVIEW JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XIX • NUMBER 3 • JULY, 1977 AMERICAN CHORAL REVIEW ALFRED MANN, Editar ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD JACKSON MARTIN PICKER JACK RAMEY The AMERICAN CHORAL REVIEW is published quarterly as the official journal of the Association of Choral Conductors sponsored by The American Choral Foundation, Inc. The FOlmdation also publishes a supplementary Research Memorandum Series and maintains a reference library of current publications of choral works. Membership in the Association of Choral Conductors is available for an annual contribution of $20.00 and includes subscriptions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's Advisory Services Division and reference library. All contributions are tax deductible. Back issues of the AMERICAN CHORAL REVIEW are available to members at $2.25; back issues of the Research Memorandum Series at $1.50. Bulk prices will be quoted on request. THE AMERICAN CHORAL FOUNDATION, INC. SHELDON SOFFER, Administrative Director 130 West 56th Street New York, New York 10019 Editorial Address 215 Kent Place Boulevard Summit, New Jersey 07901 Material submitted for publication should be sent in duplicate to the editorial address. All typescripts should be double-spaced and have ample margins. Footnotes should be placed at the bottom of the pages to which they refer. Music examples should preferably appear on separate sheets. Copyright 1977 by THE AMERICAN CHORAL FOUNDATION, INC. Indexed in MUSIC INDEX and MUSIC ARTICLE GUIDE Second-class Postage Paid- New York, New York AMERICAN CHORAL REVIEW July, 1977 CONTENTS The Madrigals of Thomas Morley A Survey Daniel R Salotti 3 Notes on Renaissance Performance Practice Joel Kramme 7 Choral Performances New York Donal Henahan 13 Allen Hughes 13 Peter G.
    [Show full text]
  • The Life of Professor John Stuart Blackie, the Most Distinguished
    7'aken at his Highland hi.me, Alt-ra-Craig, Olan THE LIFE OF PROFESSOR joe mm THE MOST DISTINGUISHED SCOTSMAN OP THE DAT BY VARIOUS EMINENT WRITERS.. EDITED BY REV. JOHN G* DUNCAN, SPR1NGBURN. JOHN J. RAE, 127 STOCKWEU, STREET UA 031 b PREFACE. THIS book is not intended to be a full and continuous biography of the late Professor John. Stuart Blackie. So serious a work as that de- mands the services of one who, admitted to a closer friendship than I can claim, has also a greater literary power. I aim rather at giving the impressions left on my own mind and the minds of others, by a study of the life and work,, the sayings and sermons, the songs and lectures, the literary and other achievements of the late Professor. This volume is but a humble attempt to a to estimate give popular sketch of the man ; as far as possible the value of his contributions to life to contemporary thought and ; present within brief limits a picture of what he was and what he has done. To relate the story of the origin of this book and how I have been led to undertake the work of its Editor, would be an apology to myself rather than to the public ; but I may say that the task was not sought by, but was offered to^ me. At the time of the Professor's death I tried! in a sermon to point the lessons and the signifi- 959G34 cance of his life. Much of this sermon is included in the introductory chapter, and with slight alterations, is printed as it was delivered.
    [Show full text]
  • LCOM182 Lent & Eastertide
    LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas
    [Show full text]
  • August 2, 2020 Nineth Sunday After Pentecost to Eighteenth Sunday in Ordinary Time Proper 13 SUNDAY WORSHIP SERVICE Prelude: “How Wonderful Is Thy Name” E.L
    ORDER OF WORSHIP First Presbyterian Church WELCOME ALL August 2, 2020 Nineth Sunday after Pentecost TO Eighteenth Sunday in Ordinary Time Proper 13 SUNDAY WORSHIP SERVICE Prelude: “How Wonderful Is Thy Name” E.L. Ashford, 1908 Welcome and Announcements Call to Worship One: The Lord gives food in due season. All: God satisfies the desire of every living thing. Opening Hymn: “Sing Praise to God Who Reigns Above” No. 483 Prayer of the Day (unison) Almighty God, your Son Jesus Christ fed the hungry with the bread of his life and the Word of his kingdom. Renew your people with your heavenly grace, and in all our weakness sustain us by your true and living bread, Jesus Christ our Lord, who lives and reigns with you in the unity of the Holy Spirit, one God, now and forever. Amen. Invitation to Confession The promise of our faith is this: for all who call out in truth, God is near. Therefore let us honestly confess our sin. Prayer of Confession (unison) God of justice and mercy, we admit that we are not always free of deceit. AUGUST 2, 2020 We are fooled by the false promises of the world into pursuing things that do not truly nourish us. FIRST PRESBYTERIAN CHURCH | 2408 N. NAVARRO ST. | VICTORIA, TEXAS 77901 Hear our cry and save us, dear God, in Jesus’ name. Amen. Kyrie Eleison (singing in unison) Lord, have mercy upon us. Christ, have mercy upon us. First Scripture Reading: (continued) Lord, have mercy upon us. The LORD watches over all who love him, Assurance of Pardon but all the wicked he will destroy.
    [Show full text]
  • The Crucifixion: Stainer's Invention of the Anglican Passion
    The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras.
    [Show full text]
  • A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten Through Analysis of Their Festival Te Deums
    A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums Item Type text; Electronic Dissertation Authors Jensen, Joni Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 21:33:53 Link to Item http://hdl.handle.net/10150/193556 A COMPARISON OF ORIGINS AND INFLUENCES IN THE MUSIC OF VAUGHAN WILLIAMS AND BRITTEN THROUGH ANALYSIS OF THEIR FESTIVAL TE DEUMS by Joni Lynn Jensen Copyright © Joni Lynn Jensen 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joni Lynn Jensen entitled A Comparison of Origins and Influences in the Music of Vaughan Williams and Britten through Analysis of Their Festival Te Deums and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: July 29, 2005 Bruce Chamberlain _______________________________________________________________________ Date: July 29, 2005 Elizabeth Schauer _______________________________________________________________________ Date: July 29, 2005 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • John Stainer Michael Tippett Lennox Berkeley George Dyson
    Hampstead Chamber Choir Musical Director Dominic Brennan The Sun, 1909 by Edvard Munch John Stainer Like as a ship I saw the Lord Michael Tippett Five Negro spirituals Lennox Berkeley Four poems of St Teresa of Avila George Dyson Hierusalem Maud Millar – soprano Celia Walser – alto Hampstead Sinfonietta Rosslyn Hill Chapel Saturday 21 March 2015 Programme John Stainer (1840–1901) Like as a ship I saw the Lord Soprano: Maud Millar – Alto: Celia Walser Tenor: Nick Walser – Bass: Tim Shelton Michael Tippett (1905–1998) Five Negro spirituals 1. Steal away 2. Nobody knows 3. Go down, Moses 4. By and by 5. Deep river Soprano: Maud Millar – Alto: Celia Walser Tenor: Nick Walser – Bass: Ben Posen, Richard Harris INTERVAL Lennox Berkeley (1903–1989) Four poems of St Teresa of Avila 1. If, Lord, Thy love for me is strong 2. Shepherd, shepherd, hark that calling! 3. Let mine eyes see Thee, sweet Jesus of Nazareth 4. Today a shepherd and our kin Alto: Celia Walser George Dyson (1883–1964) Hierusalem Soprano: Maud Millar Stainer: Like as a ship / I saw the Lord We start the evening with John Stainer’s little-known and unpublished madrigal Like as a ship, written in 1867 for the Bristol Madrigal Society prize and edited recently by noted Stainer authority Jeremy Dibble. Based on Edmund Spenser’s Amoretti: Sonnet xxxiv, the text compares the loss of a lover to a ship lost at sea in a storm. Stainer uses the vast expanse of eight voice parts and harmonic devices to bring the text to life.
    [Show full text]
  • ST. GEORGE's ANGLICAN CHURCH 15Th SUNDAY AFTER
    ST. GEORGE’S ANGLICAN CHURCH WARNCLIFFE ROAD EAST IVANHOE 15th SUNDAY AFTER PENTECOST 17th SEPTEMBER 2017 SUNDAY 8:00 am Said Eucharist 10:00 am Sung Eucharist WEDNESDAY 10:00 am Said Eucharist FRIDAY 10:00 am Holy Communion – Dowell Court Vicar: Fr Stuart Gardiner 0407888903 Email [email protected] Bulletin/Prayer list: r,[email protected] 0438455641 Church Website: stgeorgeseastivanhoe.org Sacristan: Lila Sanders Orgnist/ Choir Director Roger Brown 0419390563 SERVICE ROSTER FOR TODAY Celebrant: Fr Stuart Gardiner Organist: Cyril Thomas Servers: Joan Skene, Sandra O’Grady Eucharistic Assistants: Server Readers: Mary Hoy, Roger Brown Sidesperson: Bob Hill, Rosemary Cotter Morning Tea: Denise and George Hall Flowers: Anne Hill Hall Cleaning: Meron Pitcher SERVICE ROSTER FOR NEXT SUNDAY 24th SEPTEMBER Celebrant: Fr Stuart Gardiner Organist: Roger Brown Servers: Joan Skene, Sandra O’Grady Eucharistic Assistants: Alan Tracey Readers: Steve Howard, Meron Pitcher Sidesperson: Bob Hill, Robert Stevens Morning Tea: Mario Christodoulou Flowers: Betty Bibo Hall Cleaning: George Hall Church Cleaning: Alison Smart St George Op Shop 9499 5166 Manager 94992268 Assistant Manager 94590325 Volunteers needed for working in the St George’s Op Shop Building Maintenance EMERGENCY contacts: Steve Howard 9499 6410 or 0400 890020, Alison Smart, Vince Cristiano, George Hall. Any person welcome to join, just ask anyone on the BMC. Please write NON urgent maintenance items on the Building Maintenance List found on the table in the church. STATIONS OF THE CROSS All are welcome to follow the Way of the Cross at any time that the Church is open. A booklet is available as a guide to your meditation.
    [Show full text]
  • Choir Anthem Schedule
    Cathedral Choir Schedule Fall 2019 -- Summer 2020 (Track 1, ST) - Year C to Year A (Track 2, GT) Date Event Time Music Notes September Sunday 1 Proper 17 Ps 81:1, 10-16 (Anglican – John Stainer) Offertory Sing We Merrily (Sydney Campbell) Communion Lord For Thy Tender Mercy’s Sake (Richard Farrant) Sunday 8 Proper 18 10 AM call Ps 139:1-5, 12-17 (Anglican – Ralph Vaughan Williams) Sylvia gone Choristers Offertory Let My Heart and Soul Praise the Lord (G.F. Handel) Communion Pilgrims’ Hymn (Stephen Paulus) Sunday 15 Proper 19 10 AM call Ps 14 (Anglican – Henry Smart) Sylvia gone Offertory See What Love (Felix Mendelssohn) NEW Sunday 22 Proper 20 10 AM call Ps 79:1-9 (Anglican – T. Tertius Noble) set Anthem Be Thou My Vision (Bob Chilcott) NEW Communion Lift Thine Eyes (Felix Mendelssohn) SSA Sunday 29 Proper 21 10 AM call Ps 91:1-6, 14-16 (Anglican – Kellow John Pye) set Anthem Poor Man Lazrus (Jester Hairston) Scholars Communion Grant, We Beseech Thee (Francis W. Snow) October Sunday 6 Proper 22 10 AM call Ps 137 (Anglican – George Mursell Garrett) Anthem Behold, The Tabernacle Of God (William Harris) Sunday 13 Proper 23 10 AM call Ps 66:1-11 (Anglican – William Russell) expand from 1-8 Offertory Jubilate Deo (Benjamin Britten) in Anthems 4, pg 140 Sunday 20 Proper 24 10 AM call Ps 119:97-104 (Anglican – William Crotch) Steve gone Anthem I Lift Up My Eyes To The Hills (Maggie Burk) Zachary directs Sunday 27 Proper 25 10 AM call Ps 65 (Anglican – Edward John Hopkins) use 9-14 only Offertory Fight the Good Fight (John Gardner) Communion
    [Show full text]
  • Interpreting John Stainer's “Crucifixion”
    T A Composer at the Cross: Interpreting John Stainer’s “Crucifixion” Louise Joy Lawrence Introduction T Few could hear John 3:16–17 in quite the same way after witnessing Sir John Stainer’s 1887 setting of it.2 This Victorian composer’s oratorio The Crucifixion, of which God so Loved the World is the centrepiece, is largely based on a synthesis of the gospel accounts of the passion. These are interspersed by chorales and hymns devised by the librettist Rev. William Sparrow-Simpson. This oratorio has single-handedly kept Stainer’s legacy flourishing today. Its dramatic, meditative and memorable choruses have endeared it to many churches’ celebrations of Holy Week and instituted it as one of the most widely sung Passion oratorios in Britain. Stainer’s Crucifixion however, has not always enjoyed universal appeal. It was severely derided by some quarters in his own time. The libretto especially fuelled vehement criticism from those who found Sparrow-Simpson’s words too evocative of the liturgical styles of his time. The relative simplicity of Stainer’s score likewise came in for a measure of elitist condemnation, being variously described as ‘vulgar’ and ‘theatrical’3. If ‘vulgarity’ however, is the fiercest charge to be brought against the work, it is ‘vulgar’ in the best sense of the term4. Vulgar at base denotes association with the common people. If Stainer’s oratorio achieves anything, it fosters communion between participants, functions as a tool for worshipping God and is accessible to amateur singers in common parish choirs and congregations. The present discussion will seek to document the oratorio’s biblical antecedents.
    [Show full text]
  • SPRING TERM REVIEW 2019 Evensong at Winchester Cathedral
    SPRING TERM REVIEW 2019 Evensong at Winchester Cathedral supporting a piano masterclass in May with pianist Caroline Palmer, CHAIR'S LETTER who is Professor of Piano and Chamber Music at the Guildhall, and Dear Members, who will also give a public recital in the evening. Hopefully we will see Wow! What a term that was! As predicted in my last letter, the Spring you all at one or more of these events. Term showcased both the breadth and depth of musical talent at the The HSMS committee continues to meet twice a term, and we school. Audiences were treated to chamber, rock, jazz, choral and remain very grateful for the ongoing support of members who volun- classical performances during the term, with truly impressive musi- teer behind the bar, write concert reviews and help with other tasks. cianship demonstrated by many soloists and ensembles. It is hard to Our thanks to everyone who has played a role over the last term. choose a favourite event so I will remain neutral and trust that the Summer is, of course, the time when U6 boys (and therefore their reviews in this newsletter will transport you back to relive some of parents!) leave the school, so we will be looking for new committee your personal highlights. members over the coming months. If you would like to know more The Summer Term will be slightly less busy, but will include the about what that would involve, we would love to hear from you. Leavers’ Concert on the 7th May, a new event in the music calen- With best wishes for a happy and musical summer term, dar.
    [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]