New Providence Presbyterian, June 8 2014

Music for June 8, Pentecost, Communion

Prelude “Come Holy Spirit” (Friedrich Wilhelm Zachau (1663-1712)

Choral Introit “Psalm 84”  (arr. Bob Moody, b. 1941)

Hymn 126 “Come, Holy Spirit, Heavenly Dove”

Choral Response “Trinity Alleluia” (traditional)

Anthem:  “The Sanctus”  (Martin Luther, 1526 from his “German Mass.” arr. Philip Dietterich b.1931)

Hymn of Preparation 322: “Spirit of the Living God” 

Music during distribution: "Communion" (Leon Boellmann

Hymn 127: “Come, O Spirit”

Offertory: “Pièce pour Orgue”  (César Franck 1822-1890)

Hymn 128: “On Pentecost They Gathered”  

Choral Response “Go With Us, Lord”  (Thomas Tallis 1505-1585)

Postlude “Let Us All with Gladsome Voice Praise the Lord of Heaven”  (Healey Willan 1880-1968)

Wedding music on a 1802 English Chamber organ

On June 7 I had the pleasure of playing for a lovely wedding in the chapel at the Trump Winery out neat Ash Lawn-Highland outside Charlottesville VA.

The instrument is a one manual tracker chamber organ with the following stops:
Open Diapason 8'  (common basses with Stopped Diapason below Tenor C)
Stopped Diapason 8'
Principal 4'
Twelfth 2 2/3'  (from Tenor G)
Fifteenth 2'

The OHS database listing is here:
http://database.organsociety.org/SingleOrganDetails.php?OrganID=2679

The processional for the wedding party was Purcell's Fanfare in C, in E. Power Biggs' setting.  Stop changes provided variety.

For the bride it was "Trumpet Voluntary" (Prince of Denmark's March) by Jeremiah Clarke, from the Wedding Music volume of The Parish Organist.

The gathering music included one of the Elgar Vesper Voluntaries, and other Voluntaries by Jackson, Sechter, and Bossi.  A harmonium piece by Franck rounded out the lot.

The recessional was Marcello's Psalm 19, again from The Parish Organist.  Postlude was "Now Thank We All Our God" by Kauffmann from the Peters Edition "80 Chorale Preludes."

New Providence Presbyterian May 11, 2014

Sermon text:    Ruth 2 — Hope in Providence. 

Prelude:  “Hear O Israel, The Lord thy God is one God” (Jaomìr Weinberger (1896-1967)

Introit: “God His Own Doth Tend and Nourish”  (Traditional Swedish Melody)

Hymn 664 (Supplemental Hymnal) : “Great Is The Lord”

Sing all the way through twice, then go back to (D.S.) on the 3rd line

Prayer Response: “Hear Our Prayer O Lord”  (Whelpton)

Anthem: “Cast Thy Burden Upon The Lord” (Felix Mendelssohn (1809-1847)

Cast thy burden upon the Lord, and He shall sustain thee.  

He never will suffer the righteous to fall: He is at thy right hand.

His mercy ever sure, is greater than the heavens.

None e’er shall be ashamed that wait upon Him.

Look to Jesus in every need, and His love shall save thee.

What though the world be cruel and hard, His calm pervades thee.

With patient, gentle voice He whispers to our hearts,

“O weary toil-worn pilgrim, come unto Me and rest. 

Hymn 655 (Supplemental Hymnal)  : “O God Our Help In Ages Past”

Offertory:  “I Call To Thee, Lord Jesus Christ” BWV 639 (J. S. Bach 1685-1750)

Hymn 171:  Psalm 23: “The King of Love My Shepherd Is”

Choral Benediction:  “Go With Us Lord”  (Thomas Tallis 1505-1585) 

Postlude: “Now Thank We All Our God”  (Georg Friedrich Kauffman 1679-1735)

=========================

Music notes

Cast Thy Burden Upon the Lord is from the oratorio “Elijah” and is sung by a quartet representing angels. 

The text is loosely based upon Psalm 55:22 and Psalm 16:8.  Jakob Ludwig Mendelssohn Barthlody was born into a prominent Jewish family and later baptized as a Reformed Christian.  A child prodigy, he had early success in Germany where he revived interest in the music of Johann Sebastian Bach and was particularly well-received in England as a composer, conductor, and soloist.  Many of his major works were composed during his ten visits there.  

Kauffman left a legacy of ninety-eight preludes on sixty-three chorales in his Harmonische Seelenlust.  In mid-life he was one of nine prominent musicians competing for the position of Kappellmeister of Leipzig.  He was the prime contender for the job until April 1723, when the town council hired J. S. Bach for the position. 

Bach's chorale Prelude is on a prayer hymn asking for relief from despair, assurance that one would not be put to scorn, protection from misfortune, avoidance of temptation, and assurance of eternal life. 

Hear O Israel is the most theatrical of Weinberger's "Bible Poems" from 1939.  It features the melody from an old Jewish chant set in descending diminished seventh chords and a final chord that literally growls from the depths of the organ.  

New Providence Presbyterian May 4, 2014

Sermon Text: Ruth 1.
Sermon Topic:  Hope in Suffering.  (from Naomi's viewpoint.) 

Prelude:  Prelude #1  (Ernest Bloch 1880-1959)

Introit: “God His Own Doth Tend and Nourish”  (Traditional Swedish Melody)

Hymn 260: “A Mighty Fortress Is Our God”

Prayer Response: “Hear Our Prayer O Lord”  (Whelpton)

Anthem:  “Entreat Me Not To Leave Thee”  (Charles Gounod 1818-1893)

Bob Moody, baritone & organist

Hymn 361: “How Firm A Foundation”

Offertory:  Miniature in Lydian Mode, op 55 #8 (Flor Peeters 1903-1986)

Hymn 638 (Supplemental Hymnal) “Take The Name of Jesus With You” 

Choral Benediction:  “Go With Us Lord”  (Thomas Tallis 1505-1585) 

Postlude:  “Fughetta on A Mighty Fortress”  (Johann Pachelbel 1653-1706)

=====Music Notes===

Ernest Bloch was a Swiss-born American composer of Orchestral, choral, chamber, and instrumental works.  The first of “Six Preludes for Organ” was composed in 1949 and appears on the album “Organ Music from Israel.” 

Flor Peeters, a Belgian composer, organist, and teacher composed his Miniatures in 1955.  The Lydian Mode has the 4th note of the scale a half step higher than expected.   

Johann Pachelbel was a German Baroque composer, organist, and teacher who brought the South German organ tradition to its peak.  He uses the first phrase of the hymn as his fugue subject. 

Charles Gounod of Paris was a major classical composer of the 19th Century.  His output included 13 operas, and a large body of instrumental, orchestral, sacred and ballet works. 

Registrations: 

Bloch Prelude:  Swell:  Stopped Diapason 8.  Gt. Melodia 8.  Pedal: Bourdon 16

Peeters Miniature:  Melody on Swell:  Stopped Diapason 8, Harmonic Flute 4

Counterpoint on Great:  Melodia 8.   Pedal Point in Pedal:  Bourdon 16

Pachelbel Fughetta:  Swell:  Stopped Diapason 8, Harmonic Flute 4  

Great:  Open Diapason 8, Swell to Great 4.  Pedal:  Bourdon 16, Great to Pedal.

This gives 8.4.2 in the Great and 16.8.4.2 in the pedal. 

New Providence Presbyterian, April 27

Prelude:  Prelude and Fugue in G Major BWV 557 (J. S. Bach 1685-1750)

Introit: "Alleluia, Alleluia, Sing Praise to the Living God" (Donald Fishel b. 1950)

Hymn 108:  “Christ Is Alive!” 

Prayer Response: "Threefold Amen" (anon.)

Anthem:  Christ Is Made The Sure Foundation  (Dale Wood 1934-2003)

Hymn 446: “Glorious Things Of Thee Are Spoken”

Offertory:  “All Glory Be to God on High”  (Geog Phillip Telemann 1681-1767)

Hymn 165—Psalm 16 “When In The Night I Meditate”

Choral Benediction:  "Alleluia, Alleluia, Sing Praise to the Living God" (Donald Fishel)

Postlude:  Toccata in F Major (Deitrich Buxtehude  1637-1707)

Easter at New Providence Presbyterian

Pre-Service Music (10:50 am) by The Blue Ridge Brass:

 "My Spirit Be Joyful" from Cantata #146  (J. S. Bach 1685-1750)

  Psalm 19 "The Heavens Declare the Glory of God"  (Benedetto Marcello 1686-1739)

Chiming of the Hour-handbell

Bell Choir Prelude: "Enter With Joy" (Kathleen Wissinger b. 1956)

Introit: "Alleluia, Alleluia, Sing Praise to the Living God" (Donald Fishel b. 1950)

Hymn 123: "Jesus Christ is Risen Today"  (Lyra Davidica 1708)

Prayer Response: "Threefold Amen" (anon.)

Anthem: "Alleluia Praise the Risen King" (Lloyd Larson b.1954)

Hymn 122: "Thine Is The Glory" (Georg Frederick Handel 1685-1759)

Offertory: "The Heavens Are Telling" (Ludwig van Beethoven 1712-1773) 

Hymn 118: "The Day of Resurrection" (Henry Thomas Smart 1813-1879)

Choral Benediction:  "Alleluia, Alleluia, Sing Praise to the Living God" (Donald Fishel)

Postlude: Chorale and Prelude on "Good Christians All, Rejoice and Sing" (Chorale–Melchior Vulpius 1560-1615, Prelude–Healey Willan 1880-1968)  (Feel free to stay and enjoy the postlude.) 

=======================

Music Notes:

We welcome the Blue Ridge Brass to our service today.  The group formed from brass players in the Rockbridge Symphony and includes Lisa Forman–first trumpet,  Warren Ramp–second trumpet,  Fred Rickett–French Horn, David Krantz–trombone/euphonium, Roger Ergenbright–tuba.

Thanks to Betsy Reid for directing the bell choir.  

Composer Kathleen Wissinger lives in McGaheysville VA, east of Harrisonburg.  The pre-service selections by the brass were arranged by Douglas Smith (b.1963) who retired in 2010 as professor of Music at the Louisville Southern Baptist Theological Seminary.  The offertory was arranged for brass and organ by S. Drummond Wolff (1916-2004), English born and educated, teacher, organist in churches in England, Canada, Bermuda, and the US.   Bob Moody wrote the brass arrangements for the hymns, service music and postlude. 

April 13, 2014, New Providence Presbyterian Church

Chiming of the Hour.

Procession of the Palms--Bell Choir: "Procession" from "All Glory, Laud, and Honor"  (arr. Margaret R. Tucker b. 1936)

Announcements

Prelude--Bell Choir: "Prelude" from "All Glory, Laud, and Honor" (arr. Margaret R. Tucker)

Silent Prayer

Introit: Hosanna!  (Christian Gregor 1723-1801)

Hymn 88: "All Glory, Laud, and Honor"

Prayer Response:  "Kyrie"  (John Merbecke 1510-1585)

Anthem: "Ah, Holy Jesus, How Hast Thou Offended?" (Music by Johann Crüger 1598-1662, text by Johann Heermann 1585-1647, translated by Robert Bridges 1899, altered in Psalter Hymnal 1987.)

Hymn #98: "O Sacred Head, Now Wounded"

Offertory: Ostinato on "Ah, Holy Jesus, How Hast Thou Offended?"  (Helmut Walcha 1907-1991)

Hymn 101: "When I Survey the Wondrous Cross"

Benediction Response:  Go With Us, Lord (Thomas Tallis 1505-1585)

Postlude: Slow March (William Boyce 1711-1779)

Music Notes:

Margaret R. Tucker is a native of South Dakota where she attended Yankton College. She received the Bachelor of Music degree in organ from the American Conservatory of Music in Chicago. In addition, she holds masters degrees in cultural anthropology and choral conducting from the University of Houston. She has served as church organist and/or choir director in Chicago, Illinois; Owatonna, Minnesota; and Houston, Texas; taught music in United Church of Christ mission schools in Turkey; and was one of the first Commissioned Ministers of Music in the UCC.Margaret has more than forty handbell and children's choir pieces in print from fifteen publishing houses.

Christian Gregor was a prolific 18th century Moravian composer and hymnist.  He lived most of his adult life in around Herrnhut, Saxony. He was a liturgist and pastor and one of the first to compose music for the worship service in the Reformed denomination called Moravian. The Moravian church calls him the "Father of Moravian Music."  He left a legacy of over 700 manuscripts of hymns and anthems. 

Helmut Walcha was blinded at age 19 after vaccination for smallpox.  Despite his disability he entered the Leipzig Conservatory and became assistant organist at the Thomaskirche. He taught at the Hoch Consevatory, recorded the complete organ works of Bach twice, first in 1947-52 and again in stereo in 1956-71.  Walcha composed four volumes of chorale preludes for organ as well as arrangements for organ of orchestral works written by others. He taught many significant American organists as Fulbright Scholars, all of whom became major teachers and performers after their studies abroad.

William Boyce is widely regarded as one of the most important English-born composers of the 18th century.  Born in London, he was a choirboy at St. Paul's Cathedral.  His first professional appointment was in 1734 as organist at the Oxford Chapel, and was later appointed Master of the King's Musick and organist in the Chapel Royal. When his deafness became so bad that he was unable to continue in his organist posts he turned to editing the works of Maurice Greene, William Bird, and Henry Purcell.  Boyce is best known as a composer for his eight symphonies, his anthems, and his odes, as well as music for the theater.  Slow March was a movement from a suite for strings arranged for organ for his funeral.