New Providence Presbyterian June 22, 2014

Music for June 22.

(Chiming of the Hour--handbell)

(Welcome and Announcements)

Prelude by The Stonewall Flutes of the Shenandoah: 

Beautiful Savior (arr. Bob Moody, b.1941)

El Shaddai (Michael Card and John Thompson)

(Silent Prayer)

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

(Call to Worship)

Hymn 371:  Lift High the Cross

(Concerns, Pastoral Prayer, Lord’s Prayer)

Choral Response “Trinity Alleluia” (traditional)

(First Scripture)

Anthem:  “Wonderful Grace of Jesus” (Haldor Lillenas 1865-1959)

(Second Scripture)

(Sermon with prayer following)

Hymn “ Take Up Your Cross, the Savior Said (Charles William Everest, 1833)

To the tune of “The Doxology”

1 Take up your cross, the Sav-ior said,

If you would My dis-ci-ple be:

Take up your cross with will-ing heart, 

And hum-bly fol-low after me. 

2. Take up your cross, let not its weight

Fill your weak spir-it with a-larm;

Christ’s strength shall bear your spir-it up

And brace your heart and nerve your arm.

3. Take up your cross, heed not the shame,

And let your fool-ish heart be still;

The Lord for you ac-cept-ed death

Upon a cross, on Cal-vary’s hill.

4. Take up your cross, then,

In Christ’s strength, 

And calm-ly ev-ery dan-ger brave;

It guides you to a-bun-dant life

And leads to vic-tory o’er the grave. 

Offertory by The Stonewall Flutes of the Shenandoah:

    Jesu, Joy of Man’s Desiring  (J. S. Bach 1865-1750)

(Doixology and prayer)

Hymn 361:  How Firm a Foundation

(Please be seated for the concluding voluntary)

Concluding Voluntary by the Stonewall Flutes of the Shenandoah

Bourée  (J. S. Bach, arr. Amy Rice Young b.1952)

(Benediction)

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

Closing Voluntary:  Toccata in F Major BusWV157 (Dietrich Buxtehude 1637-1707)  

Music Notes

The Stonewall Flutes of the Shenandoah is a full-range flute choir including bass flute, alto flute, soprano flute, and piccolo.  Most are members of The Stonewall Brigade Band of Staunton.  The flute choir practices at 6:30 every Monday, before the 8pm band rehearsal or concert.  Members come from Staunton, Waynesboro, Augusta County, Albemarle County, Nelson County, and Charlottesville.  Playing today are Amelia Ammons, Pami Brown-Gaines, Maggie Clower, Don Davis, Jean LaMastra, Pam Mason, Sara Reynolds, Sara Robertson, Sarah Snead, Suzi Wisler, Austin Wood, and Christine Wood.  Conducting today is Spencer Moore. 

Music for June 15-- Trinity Sunday--New Providence Presbyterian.

Music for June 15 — Trinity Sunday

Prelude:  Two variations on “Old Hundredth”  (Dudley Buck 1830-1909)

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

Hymn 138: “Holy, Holy, Holy” 

Choral Response “Trinity Alleluia” (traditional)

Anthem: “I Sing As I Arise Today”  (Text: attr. St. Patrick 460-535; Music arr. Joseph Clokey 1890-1960)

Hymn 220: Psalm 100 “All People That On Earth Do Dwell”

Offertory:  “All Glory Be to God On HIgh” (Georg Philipp Telemann 1681-1757)

Hymn 429: “Lord, You Give the Great Commission”  

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

Postlude: “Psalm 19—The Heavens Declare the Glory of God” (Benedetto Marcello 1686-1739)

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

Music Notes:

Dudley  Buck was America’s most prolific 19th Century composer.  Born in Hartford Ct, he was educated in Germany, and taught in his own organ studio in Chicago until it was destroyed in the Great Fire.  He returned to New England as composer, concert organist, and conductor, and also conducted and was organist in New York City.

The introduction to “Holy Holy Holy” is by Dr. Joyce Jones, who recently retired as head of the organ department at Baylor University. Her most recent CD was recorded on the organ in the Cadet Chapel at West Point. 

The text of the anthem is known as Saint Patrick’s Breastplate.  The musical setting includes two traditional Irish melodies—St. Patrick and Deidre.  It speaks not only to the Trinity but also to God’s Omnipresence. 

Benedetto Giacomo Marcello was an Italian composer, writer, advocate, magistrate and teacher.  Psalm 19 was originally for chorus and orchestra.  This organ score was arranged by Thomas Gieschen (1936-2006.)  

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)