Farewell to a music scholar

Justin Lance has been singing with the chancel choir the entire time he has been enrolled at Montreat College, 4.5 years. I heard him audition for scholarships at the school and mentioned to him that if he matriculated, he should consider taking a scholarship with us also. He did, and he did! We have enjoyed him immensely, and have been delighted to share his college tribulations and triumphs. He leaves this month to take a job in Charlotte. He managed to score the big three goals for anyone graduating: full-time, in his field, with benefits. We wish him well.

Choir Anthem Connection: Fall, 2014

The choir is learning a fairly new setting of "O God our help in ages past" by Rhonda Woodward. It's a really nice a capella setting in D major, with a flatted seventh. Altos begin, followed by tenors and sopranos and finally basses. The piece is in two large sections with fairly closely-related thematic material. Both sections have that flatted seventh thing going on. Last night at rehearsal, one of the singers remarked that it reminded her of "The Wreck of the Edmund Fitzgerald." It does indeed have that similar folk-y sound, characterized by the flatted seventh, without the rhythmic drive of the popular song. The Woodward setting is remarkable for how it works with a very confined musical theme, but does so much with it. While I can't really call it a perfect piece of choral music, a distinct category in my imagination, it really is commendable. Woodward's setting has been recorded by the BYU choir in 2003. Luckily the publisher provided a demo recording of the complete arrangement at the time of publication, which I still have. (Don't tell anyone, but I dubbed it onto my personal "great choral music" compilation!) Woodward herself, according to the bio on the musical score lives nearby in SC; I don't know if she is still there. So here are some links to listen to and compare and contrast.

Woodward, "O God our Help in Ages Past" (excerpt), Brigham Young University Choir ("The Road Home")
(scroll down the playlist and click on the title to hear the excerpt)
Gordon Lightfoot, "The Wreck of the Edmund Fitzgerald"

Review: Valentin Silvestrov, Sacred works

Under a cloudy sky with sleet and freezing rain in the forecast, I am listening to a CD of Russian choral music. Almost cliche in its symbolism! I had not heard of Silvestrov before reading about this CD in Choir and Organ magazine. He has, before this CD, been known mostly for instrumental/secular works. But the present album takes us into his spiritual side with a collection of 23 works for unaccompanied choir. I wish the CD came with texts and translations. The wonderful article (in German and English) on Silvestrov's musical style doesn't make up for not having the songs' lyrics at hand. Aside from that oversight, this is an incredible undertaking. The Kiev Chamber Choir under the direction of Mykola Hobdych sings with remarkable clarity, subtlety and precision. The recording (ECM 2117) was made 2006/7 in the Cathedral of the Dormition, Perchersk Lavra, Kiev, Ukraine.

It's obvious one is listening to Russian choral music: the is plenty of stereotypical basso profundo present. But it's also readily apparent that this is distinctly modern music. The music is at once tuneful, dissonant and atmospheric, sung with pathos and conviction by the choir with Orthodox priests serving as soloists in some instances. It is equally at home in church and on stage. A couple of the musical riffs became a little too familiar upon listening to the whole CD without interruption. But aside from that, this is a recording well-worth securing. Study it for the vocal technique; use it to accompany meditation or reading. But anyone interested in choral music, especially as it is finding expression in modern Russia (is that an oxymoron?) will enjoy this. + + + +

Virtual Choir 2.0

Eric Whitacre developed the concept of a virtual choir better than a year ago and saw it come to fruition with an Internet performance of his work Lux Arumque last fall. This evening the 2.0 version makes its debut. The first venture included 185 singers; this year's numbers 2052 from 50 countries, with about 400 tenors!

From the WQXR site:

For the Virtual Choir 2.0 Whitacre posted a video online of himself conducting Sleep with a simple piano accompaniment. Choristers were invited to obtain the printed music and record themselves singing their individual part in front of a webcam, following his cues on screen and listening to the accompaniment in earphones. The closing date for entries was December 31, 2010.

In 2010 singers sent video recordings of themselves performing the anthem; Whitacre melded the videos into a single unit and added himself as conductor. The atmospheric nature of Lux Arumque lends itself to less precision than one would expect in other settings, so the piece works just fine. One suspects something similar with the new work, Sleep, and this second venture into virtual choral music. Below is last year's video. Click here and follow the links to listen this evening.

Glee-ks in da house

Thanks to Choralnet for sharing this great article on the resurgence of interest in glee club singing due in part to the popularity of the TV show Glee. All I can say is that Fox television had better move the show back to 9PM on Tuesdays so I can watch it. I had a near-rebellion last night at 8PM! Or else we'll have to bring a TV into the rehearsal room. Drop a note in the comm-box with your glee club pedigree!

Three Choral Anthems

Harold Friedell's "Draw us in the Spirit's tether" has been for me, for quite some time, a "perfect piece of choral music (even with the somewhat dated 6-5 suspension at the end). The tune (UNION SEMINARY) is drop-dead gorgeous (usually in luscious A-flat major), and the text for communion, with its numerous and subtle allusions to scripture is glorious. (Published: HW Gray)

Several years ago Mike Bedford wrote "Now to praise the name of Jesus" as his answer to the Friedell anthem. It has the same stately feel, flowing in triple meter. The text has just a couple of weak turns of phrase, but is all in all fine, fine poetry. The piece (in stately F major) includes a soaring descant, including a high-A for the sopranos. It concludes with a solemn "amen." (For those who know me, you know that in my book this would be the only draw-back: I hate "amens.") But all in all a very nice piece. (Published: Presser)

This winter I discovered Philip Young's new setting of the text "O the deep, deep love of Jesus." Again in triple meter, with a beautiful melody. I only wish the text were explicitly eucharistic: it would make a perfect match to the other two. Alas, it joins their ranks missing that one hallmark. Yet, it still makes the cut. The melody is just that pretty. The only real drawback to the piece is that it changes key for each stanza (B-flat, C, D, not even interesting key relations). One key would have been ideal, two tolerable. It misses greatness by relying on too many changes in key. It has a very nice counter-melody at the end. No "amen." (Published: Lorenz {I know!})

I have not had to introduce any choir I've worked with to the Friedell piece. It's that much of a choral repertoire staple. I have purchased Bedford's anthem everywhere I've been staff musician. With the caveats noted above, I would commend the third to my colleagues. And to any chorister, I would commend the text of all three anthems. "Read, mark, learn and inwardly digest them." You owe it to yourself.

Choir Party

These are a couple of pictures from the Chancel Choir's party at the end May last year! I can't believe it took me this long to post them! We've already had our Christmas party; maybe I can find some pictures from that and post them before too long!

Meet the musicians

As part of an on-going series introducing our church's musicians, this week I’d like to introduce to you the members of the bass section of our Chancel Choir. This is a very talented group of men, who enjoy singing and delight in offering their musical gifts in worship. Bass section singers include: Terry Soll (husband of our staff educator, Ginny Soll), Ken Scott Jr., Joe Standaert, Jim Layman (joining us new this winter), Lamar Williamson, Carl Murray, and Jim Field (Jim told us last year he’s been singing in one music group or another for more than 70 years!!) As always we welcome new voices to our choir, or any of our music ensembles. Please speak any musician or to Mike Barker for more information.

Choir Retreat

I am home today with a sick kid, so I have a couple of minutes to catch up. Here are a couple of nice shots from the Choir Retreat in October at Lake J. Hope you can join us next year!

A Choir Director's Beatitudes

.... And, seeing the long Church Year before them, and knowing the awesome role that music must play in the worship services that lay ahead, the Choir Director called together the singers and spake to them, saying:

Blessed are the poor in spirit, those who are willing to blend their voices into a harmonious ensemble, for theirs is the music of heaven.

Blessed are they that mourn when forced to miss rehearsal, but call to inform the Director of their anticipated absence, for in these faithful few shall the Director find comfort.

Blessed are the meek, who submit themselves to following the Director, for they shall merit great worth.

Blessed are they which do hunger and thirst after rehearsals are concluded, bringing with them neither gum nor goodies, for they shall be filled with music.

Blessed are the merciful, who take pity on the music's composer, careful to read the original notes, follow the original time, proclaim resoundingly the original message, for they shall obtain mercy from discriminating critics.

Blessed are the pure in pitch, in tone, in enunciation, for their voices shall blend in moving harmonies, enabling others to envision God.

Blessed are the music-makers, for they shall be called the heralders of God.

Blessed are ye singers when the Director shall seem to persecute you for the sake of the final rendition; be patient and rejoice, for of such perfection is the music of heaven.

Blessed are ye when other choirs shall revile you, and turn their ears from you, and say all manner of evil against you jealously.

Rejoice, and be exceedingly glad, for great is your reward in heavenly satisfaction that you have sung faithfully and well - for so disparaged they the great singers who were before you ... perhaps even that Bethlehem choir of Angel voices!

John Clayton, a retired Presbyterian minister and former concert singer wrote the Beatitudes for a newsletter for some "pre-ordained" and just plain ordained Presbyterians, but found others were interested in them also. They have been reproduced many times. Thanks to K. Knowles for sending them to me.

Choir Retreat

Members of our Chancel Choir took part in the Choir Music Weekend a few weeks ago at Lake Junaluska. In addition to a great weekend of music with some wonderful clinicians, it was peak weekend for fall colors. Many thanks to those who gave up several hours of a lovely weekend to work on music!

Choir Music Weekend

There will be a choir music event at Lake Junaluska October 23-25. I am intending that most of our Chancel Choir singers will participate, and that this will serve as our fall retreat. We'll be working on a wide range of music. The setting and fellowship time with other church musicians promises to be a highlight of the weekend.

You can read about the event here. From here you can click through and see the event leadership (Ginger Wyrick is one) and see the schedule for the event.

Please download a registration form here. Fill it out and return it to me.


Spouses are welcome; add their name to your registration. There is no cost to them (aside from housing/meals).

Registration for the event is $40 which covers costs of the program. Housing and meals are additional. The two primary locations are Terrace and Lambuth, these are most like a motel/hotel setting and have dining rooms within the facility. Of the two, I suspect that Terrace will be the preference because I suspect it will be closest to reeharsal spaces. I havea wee bit of money available for those who could use a hand with expenses. I can cover registration fees for 3-4 individuals. Please ask me about that.

I am waiting on details about where on the grounds rehearsals will be held. Once I have that information I will be able to make a strong reccommendation regarding where we should book our rooms.

I think most of us will stay one night only, and not participate in any of the Sunday activities. that means for us the weekend event will end with a rehearsal on Saturday night at 8PM.

Rooms most convenient to the rehearsal space will go fast (persons who have attended before will have a head start on us). So please complete your registration and get it to me, so I can move quickly on making revervations.

Please contact me with any questions.

Charles Perry Sprawls, bass-baritone soloist

The adult choir will be joined by Charles Perry Sprawls next Sunday January 18 for special music during the 11AM service. They will sing a movement from the Haydn Second Mass in C, "Qui Tollis" (Thou who takest away the sins of the world...) and the William Dawson spirtual, Every time I feel the spirit. Charles is the son of our own Charlotte and Perry Sprawls. He is in town next weekend for a concert at Montreat College (read below). We are excitedly looking forward to worship next week because of this special musical addition.



From the Montreat College Friends of Music press release:
The spring concert season opens on Monday, January 19 at 7:30 in the Chapel of the Prodigal with bass-baritone Charles Perry Sprawls. Mr. Sprawls will give a performance of songs, arias, hymns and spirituals, with works by Schubert, Strauss, Verdi and others.

Mr. Sprawls, a native of Atlanta, GA, has been enjoying a busy concert career since moving to New York City in 1997. Recent performances include the Beethoven Missa Solemnis, Raphael in Haydn’s Die Schöpfung, the Szymanowski Stabat Mater, and Rossini’s Petite Messe Solennelle
on the Sacred Music in a Sacred Space series at St. Ignatius Loyola, the Mozart Requiem on the Great Performances series at St. Bartholomew’s Church, and Chausson’s Le Roi Arthus with Leon Botstein and the American Symphony Orchestra. He has performed regionally as a
soloist with the Berkshire Bach Society and at the Bard Music Festival. He is a previous district winner of the Metropolitan Opera’s National Council Auditions. While in Atlanta, Mr. Sprawls performed as soloist in a number of performances with the late Robert Shaw, including the annual Christmas with Robert Shaw concerts and as part of the Robert Shaw Festival Singers, including performances of Britten’s Rejoice in the Lamb and the Faure Requiem. He can be heard on the recording A Robert Shaw Christmas —Angels on High on the Telarc label. In previous seasons Mr. Sprawls has performed on stage as a member of the associate chorus at both the Metropolitan Opera and New York City Opera. He has appeared as a member of the ensemble of Sweeney Todd in Concert with the New York Philharmonic and the Lincoln Center Festival production of Goldenthal’s Grendel, but his first love is choral, small ensemble, and oratorio performance.

Ensemble credits include concerts with New York Choral Artists, Concert Chorale of New
York, The Choir of St. Ignatius Loyola, Voices of Ascension and recording projects with Alice
Parker and Melodious Accord.

Worship Music: Advent I 2007

It was the week that was: I missed a day at the beginning of the week with a stomach ailment. I was over it pretty quickly, but I was playing catch up the rest of the week. So instead of a preview of the music from this morning, here's a review!

To help us set a contemplative tone for Advent, FirstLight did away with our usual sung music set at the beginning of worship. We opened worship with a dramatic reading of the genealogy of Jesus from Matthew 1. Clay H. did a super job of naming the names, and was ably assisted by Barbara F. and Annie H. The reading proceeded through the names, but paused at the mention of each of the women in the history: Tamar, Rahab, Ruth and Mary. These phenomenal women had hard lives (read about in Genesis 24, Joshua 2, Ruth and Matthew 2), and thereby epitomized for the worship planners the “troubling times” we are seeking to plumb during this season. The reading was accompanied by equally mesmerizing drumming by Andy G. We explored the notion that through the troubled lives of these women, God was yet at work, bringing about our salvation in the birth of Jesus the Messiah. (Here's a shout out to Deke in Roanoke, VA and Eric W in A'ville who in various ways helped me create this element of worship.) We used the Korean worship song, “Come Now, O Prince of Peace” as the first song for worship, to set a contemplative tone for the reading. The Gateway youth did a sacred dance as our response to forgiveness following the confession. Caroline P. had done a wonderful job choreographing this piece, and coaching the dancers; it truly stirred the soul in just the right way! For our Advent wreath ceremony this year, we are using characters from the Bible to light the candle. Today Heather P. and Lizzie W. conveyed to us the message and meaning of the prophecy of Isaiah. Following the proclamation, the Prophets introduced us to the song “He is our peace,” which suited the message and season quite well. Instead of one of our more familiar Doxologies, we began using today the Iona song, “Glory and gratitude and praise,” a decidedly upbeat and exuberant song for our worship. During communion we sang the Taize song “Eat this bread,” with the soloists taking the verses. Finally we ended the service with the ever-popular “King of kings and Lord of Lords.” We were counting on high-energy participation from the crowd on that song, and we got it! Cecil J. wanted to shake Perrin T.'s hand after worship, but was worried his might get singed from Perrin, because of the heat he generated playing the last song! We ran late, as we hoped we wouldn’t but knew we would, but no one seemed to care. The spirit in worship today was a beautiful thing. Music, message, youth and adults and a powerful sense of the presence of the Spirit made for a wonderful service.

At 11 AM worship began with a word of appreciation from Sandee H. regarding her ministry in Columbia, SC. BMPCNC gave a sizable chunk of change to that ministry earlier in the fall. Sandy and some of the kids were in town for the weekend, and visited with us to say thanks, and to let us see what that ministry is all about. They brought the house down with the "Jubilee Creed;" you guys ROCK!!! The adult handbells rendered a mighty fine performance of Cynthia Dobrinski’s setting of “Lo how a rose e’er blooming.” Libby B. filled out the arrangement by playing the flute part. It was a sublime beginning to worship. We used the same dramatic reading of the Matthean genealogy at this service, this time with Ken S., Jr., Betsy M. and Annie H. covering the speaking parts, and Andy G. again on drum. We used the Korean song at this service also, and enjoyed Heather and Lizzie as wreath lighters at 11 also. At the readings David S. soared through a great performance of “Comfort Ye” and “Every Valley” from “Messiah.” The vocal flourishes helped us appreciate the good news of the comfort provided in the coming of the Messiah. At the offering the choir blew us away with a gutsy rendition of “And the glory of the Lord” also from Messiah. There was a decided thaw amongst the “frozen chosen” as shouts of “amen!” and applause rang out on the last chord! We used the Iona “Glory and gratitude and praise” at this service also, a rousing statement for the congregation to sing in response to the choir’s offering and in response to a stirring of the Spirit in our midst. Congregational hymns at this service included “O come, O come Emmanuel” (Veni Emmanuel) and Come, thou long-expected Jesus” (Hyfrydol). The choir sent us out the shouts of “King of kings and Lord of Lords” in our heads; it didn’t have quite the gusto as at FirstLight, but I’m betting by next week, the whole congregation will thrill to singing us home with that song! The organ postlude was supposed to have been Ralph Vaughan Williams setting of ‘Hyfrydol.” The music must have gotten lost in the move; we enjoyed a festive improvisation on that tune instead!

What a breadth of music today. We had global worship music (The Korean song); we had music in the modern contemplative tradition (Taize and Iona); we had a contemporary ballad, and a rousing contemporary chorus. You had to attend 11 AM to get the complete picture but we continued with an ancient chant melody (O Come, O Come Emmanuel), classic English hymnody, the best of bell ringing, and the classics ably represented by the venerable Mr. Handel. Add the Jubilee Creed and we had rap no less! It was one of those days that makes it difficult for me to go to sleep: so many, many memorable tunes and images running through my head, and my heart filled in thanksgiving for the musicians and other worship leaders who brought it together for our worshiping congregation. Somebody say "Amen!"

Review: Lux Aurumque, Dale Warland Singers

The final concert performance by the Dale Warland Singers took place on May 30, 2004, ending a 31 year tradition of choral excellence. The 40-voice choir (based in Minneapolis-St. Paul, MN) was renowned for their clarity, precision and breadth of expressive capabilities. Dale Warland continues to guest conduct and lead clinics for singers around the world. Lux Aurumque ("golden light") is the last album the group made before their disbandment. The album pulls together a seemingly disparate range of composers and music, yet the total effect is one of absolute cohesion in expressing a musical statement.

As a child beginning piano study I remember discovering a copy of "Salvation is created" (Chesnokov, track 5) amongst my parents community chorus music. As I played through it I remember being struck by the incredible tonality and the surprising but imminently gratifying changes in tonal color. The chorus gives a wonderful rendition, taking me back many years, but further bringing to mind immediately the distinctive pathos of Russian choral music.

Herbert Howells suffered an unbelievable loss in the death of his young son Nicholas in 1935. In 1964 he composed "Take him, earth, for cherishing" for the funeral of President John F. Kennedy in the US. Reflective of his personal loss, and sensitive to the loss suffered by the American people, this anthem is a powerful tapestry of grief and faith, innately bound in sonorities stark and lush.

In addition to some standard choral writers (Gretchaninoff, Rachmaninoff), Lux Aurumque includes a couple of important contemporary composers in Morten Lauridsen and Eric Whitacre. Beyond the capabilities of many average church choirs, the present recording makes their music worth listening to for the sake of hearing and studying excellent choral style. Blend, expressive range and communication of sentiment are hallmarks of the best choirs, and can be achieved in even simple song. Here the Dale Warland Singers accomplish it with incredibly difficult music (sometimes in 16 distinct vocal parts, compared to the standard 4).

The album was recorded in stages in 2001, 2002 and 2004 at the Chapel of Saint Thomas Aquinas at the University of Saint Thomas, St. Paul Minnesota. The room has just the right balance of acoustic zing to let the music ring in the space, while allowing for the singers' precision to be utterly plain. The album notes include the pieces' lyrics in the original languages and in translation where needed. Also included are publication information for each work. Gothic Recordings has produced an admirable recording for an estimable choral ensemble.

Hymns of praise, music for communion, for funerals, for Christmas and for Lent all combine to make this an album for any season, and any moment one might wish to plumb the depths of one's appreciation of the choral art. + + + +

Music for Sunday 9/23

Congregational song at FirstLight will begin with Laurie Klein's passionate chorus, "I Love, You, Lord," followed by "I Give You My All," "Reign In Me," and "Open the Eyes of My Heart, Lord." The third song will be new to some, but is easily learned. The concluding song will be Dan Schutte's hymn of call and commitment, "Here I Am, Lord." The Prophets will be singing a Brazilian worship song, "Cantad al Senor" at the offering. Perrin Todd has been working overtime, brushing up his Hispanic-style playing skills!

The Chancel Choir will sing John Rutter's "Te Deum" at 11 AM. Accompanied by organ (our own Carla Sperry) and brass, this will be a thrilling musical element in our worship this week. Brass players contracted for this presentation include Julie Howard, David Pressley, our own Anna McClintock, Peter Schlecht, Todd Sessoms, Dave Oakley and Will Talley. We welcome these players as part of this special music presentation. Hymns for worship will be "Ye Servants of God" (Hanover), "God, Whose Giving Knows No Ending" (Beach Spring), and "My Hope Is Built on Nothing Less" (Solid Rock). Organ music by Flor Peeters, Max Reger, and John Heron is also part of the musical lineup.

Understanding Your Choir (humor alert!)

Please receive this in the spirit intended! It's all humorous. Please don't take offense or take this seriously (especially you members of the choir!). Do enjoy!


"A View of Choral Singers" (Author Unknown)
In any choir or chorus, there are four voice parts: soprano, alto, tenor, and bass. There are also various other parts, such as baritone, countertenor, contralto, mezzo-soprano, etc., but these are mostly used by people who are either soloists, or belong to some excessively hot-shot classical a cappella group (this applies especially to countertenors) or are trying to make excuses for not really fitting into any of the regular voice parts, so we will ignore them for now.

Each voice part sings in a different range, and each one has a very different personality. You may ask, "Why should singing different notes make people act differently?" and indeed this is a mysterious question and has not been adequately studied, especially since scientists who study musicians tend to be musicians themselves and have all the peculiar complexes that go with being tenors, French horn players, timpanists, or whatever. However, this is beside the point; the fact remains that the four voice parts can be easily distinguished, and I will now explain how.

SOPRANOS are the ones who sing the highest, and because of this they think they rule the world. They have longer hair, fancier jewelry, and swishier skirts than anyone else, and they consider themselves insulted if they are not allowed to go at least to a high F in every movement of any given piece. When they reach the high notes, they hold them for at least half again as long as the composer and/or conductor requires, and then complain that their throats are killing them and that the composer and conductor are sadists. Sopranos have varied attitudes toward the other sections of the chorus, though they consider all of them inferior: The altos are to sopranos rather like second violins to first violins -- nice to harmonize with, but not really necessary. All sopranos have a secret feeling that the altos could drop out and the piece would sound essentially the same, and they don't understand why anybody would sing in that range in the first place -- it's so boring. Sopranos think tenors, on the other hand, can be very nice to have around; besides their flirtation possibilities (it is a well-known fact that sopranos never flirt with basses), sopranos like to sing duets with tenors because all the tenors are doing is working very hard to sing in a low-to-medium soprano range, while the sopranos are up there in the stratosphere showing off. To sopranos, basses are the scum of the earth -- they sing too darn loud, are useless to tune to because they're down in that low, low range -- and there has to be something wrong with anyone who sings in the F clef, anyway. One curious fact is that although the sopranos swoon while the tenors sing, they still end up going home with the basses.

ALTOS are the salt of the earth -- in their opinion, at least. Altos are unassuming people who would wear jeans to concerts if they were allowed to. Altos are in a unique position in the chorus in that they are unable to complain about having to sing either very high or very low, and they know that all the other sections think their parts are pitifully easy. But the altos know otherwise. They know that while the sopranos are screeching away on a high A, they are being forced to sing elaborate passages full of sharps and flats and tricks of rhythm, and nobody is noticing because the sopranos are singing too loud (and the basses usually are, too). Altos get a deep, secret pleasure out of conspiring together to tune the sopranos flat. Altos have an innate distrust of tenors, because the tenors sing in almost the same range and think they sound better. They like the basses, and enjoy singing duets with them -- the basses just sound like a rumble anyway, and it's the only time the altos can really be heard. Altos' other complaint is that there are always too many of them and so they never get to sing really loud.

TENORS are spoiled. That's all there is to it. For one thing, there are never enough of them, and choir directors would rather sell their souls than let a halfway decent tenor quit, while they're always ready to unload a few sopranos or altos at half price. And then, for some reason, the few tenors there are always seem to be really good -- it's one of those annoying facts of life. So it's no wonder that tenors always get swollen heads -- after all, who else can make sopranos swoon? The one thing that can make tenors insecure is the accusation (usually by the basses) that anyone singing that high couldn't possibly be a real man. In their usual perverse fashion, the tenors never acknowledge this, but just complain louder about the composer being a sadist and making them sing so damn high. Tenors have a love-hate relationship with the conductor, too, because the conductor is always telling them to sing louder because there are so few of them. No conductor in recorded history has ever asked for less tenor in a forte passage. Tenors feel threatened in some way by all the other sections -- the sopranos, because they can hit those incredibly high notes; the altos, because they have no trouble singing the notes the tenors kill themselves for; and the basses because, although they can't sing anything above an E, they sing it loud enough to drown the tenors out. Of course, the tenors would rather die than admit any of this. It is a little-known fact that tenors move their eyebrows more than anyone else while singing.

BASSES sing the lowest of anybody. This basically explains everything. They are solid, dependable people, and have more facial hair than anybody else. The basses feel perpetually unappreciated, but they have a deep conviction that they are actually the most important part (a view endorsed by musicologists, but certainly not by sopranos or tenors), despite the fact that they have the most boring part of anybody and often sing the same note (or in endless fifths) for an entire page. They compensate for this by singing as loudly as they can get away with -- most basses are tuba players at heart. Basses are the only section that can regularly complain about how low their part is, and they make horrible faces when trying to hit very low notes. Basses are charitable people, but their charity does not extend so far as tenors, whom they consider effete poseurs. Basses hate tuning with the tenors more than almost anything else. Basses like altos -- except when they have duets and the altos get the good part. As for the sopranos, they are simply in an alternate universe which the basses don't understand at all. They can't imagine why anybody would ever want to sing that high and sound that bad when they make mistakes. When a bass makes a mistake, the other three parts will cover him, and he can continue on his merry way, knowing that sometime, somehow, he will end up at the root of the chord.


(This piece came to me from a friend, who got it from a friend, who got it from a friend, via email and the Internet. I have searched high and low for the author to no avail; if you know, please contact me so I can give proper credit.)

Rutter: Te Deum on 9/23

The Chancel Choir will sing John Rutter's "Te Deum" for 11 AM worship on the 23rd of September. Rutter's setting, written for use in English-speaking churches, uses the English translation of the text. The original Latin carries a certain beauty, such that it is worth reading on its own right. Here is a favorable review of the work, and other music on the CD Rutter has completed of this work.

Wikipedia says the following about this ancient hymn: "The Te Deum is an early Christian hymn of praise. Though its authorship is traditionally ascribed to Saints Ambrose and Augustine, on the occasion of the latter's baptism by the former in AD 387, contemporary scholars doubt this attribution, many assigning it to Nicetas, bishop of Remesiana in the late 4th to early 5th centuries. The hymn follows the outline of the Apostles' Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. Naming God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to the Church spread throughout the world. The hymn then returns to its credal formula, naming Christ and recalling his birth, suffering, and glorification. At this point the hymn turns to the subjects declaiming the praise, both the Church in general and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with the elect."

Here is the original Latin text:
Te Deum laudámus: te Dóminum confitémur. Te ætérnum Patrem, omnis terra venerátur. Tibi omnes ángeli, tibi cæliet univérsæ potestátes: tibi chérubim et séraphimincessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt cæli et terra maiestátis glóriæ tuæ. Te gloriósus apostolòrum chorus, te prophetárum laudábilis númerus, te mártyrum candidátus laudat exércitus. Te per orbem terrárum sancta confitétur Ecclésia, Patrem imménsæ maiestátis; venerándum tuum verumet únicum Fílium; Sanctum quoque Paráclitum Spíritum. Tu rex glóriæ, Christe. Tu Patris sempitérnus es Filius. Tu, ad liberándum susceptúrus hóminem, non horrúisti Virginis úterum. Tu, devícto mortis acúleo, aperuísti credéntibus regna cælórum. Tu ad déxteram Dei sedes, in glória Patris. Iudex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni, quos pretióso sánguine redemísti. Ætérna fac cum sanctis tuisin glória numerári. Salvum fac pópulum tuum, Dómine, et bénedic hereditáti tuæ. Et rege eos, et extólle illosusque in ætérnum. Per síngulos dies benedícimus te; et laudámus nomen tuumin sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodíre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te. In te, Dómine, sperávi: non confúndar in ætérnum.

And in English:
We praise thee, O God: we acknowledge thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud, the Heavens, and all the Powers therein. To thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy glory. The glorious company of the Apostles
praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; the Father of an infinite Majesty; thine honourable, true and only Son; also the Holy Ghost the Comforter. Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man thou didst not abhor the Virgin's womb. When thou hadst overcome the sharpness of death thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God in the glory of the Father. We believe that thou shalt come to be our Judge. We therefore pray thee, help thy servants whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people and bless thine heritage. Govern them and lift them up for ever. Day by day we magnify thee; and we worship thy Name ever world without end. Vouchsafe, O Lord to keep us this day without sin. O Lord, have mercy upon us have mercy upon us. O Lord, let thy mercy lighten upon us as our trust is in thee. O Lord, in thee have I trusted let me never be confounded.

The Chancel Choir hopes that you will enjoy hearing this glorious text, in a fine musical setting by John Rutter in worship on the 23rd.

Music for Worship this Sunday

Congregational songs at FirstLight will include Reuben Morgan's "I Give You My All," "God of Wonders," and Chris Tomlin's and Louis Giglio's "Holy is the Lord." Our opening songs will conclude with the Iona Community song "Come, All You People." We'll continue the ethnic feel in the music with the Caribbean-sounding "Halle, Halle." The Prophets of Praise will sing a setting of "Refiner's Fire" at the offering. Our closing song (and the last hymn at 11 AM) will be "Lord Whose Love Through Humble Service," to the Sacred Harp tune Beach Spring.

The multi-cultural music carries over to the 11 AM service this week. The choir will be singing "God is here today," a song from Mexican worship traditions arranged by C. Michael Hawn. Any time I have a question about global worship and music, Mike Hawn is my go-to man; thanks bro'! The choir will also sing the jaunty "Halle, Halle." To conclude the service, the choir will sing John Stainer's beloved "Seven-Fold Amen." In lieu of a choral anthem Ken Scott, Jr. will be singing a setting of text from Amos by Michael Barker. "The Lord Was Standing" (Amos 7.7-9) is from a set of four songs for bass soloist with piano accompaniment written in 2001 employing various passages from Amos. The music has a distinct modern quality while remaining definitely tonal. Organ music at this service is also by Michael Barker, his Psalm Suite for Organ: four shorter pieces which reflect on passages from the Psalms. These pieces are all heavily influenced by the music of Carl Orff. This will be the first public performance of all these pieces. The hymns for worship this Sunday will be "Praise ye the Lord the Almighty" (Lobe den herren), "Dear Lord and Father of Mankind" (Rest), and "Lord Whose Love..." mentioned above.

Music for worship this Sunday

The chancel choir will be singing an anthem by Lloyd Pfautsch, "Seek to Serve." Based on ancient chant melodies, this is a strikingly simple and haunting anthem. The text is a powerful prayer of commitment to mission and service. The choir will also be singing "Jesus Calls Us" to the tune Pleading Savior at the Introit. Mike Barker will be performing a hymn arrangement by Richard Elliot, "Lord Teach Me to Walk in the Light," at the prelude, an offertory by Dom Paul Benoit, and a weighty postlude by American composer James Hotchkiss Rogers. Global worship music will be a feature at both services this week, with a prayer song from Tanzania and a sung Prayer for Illumination which has a strong Middle Eastern tone. Congregational songs at Firstlight will include the classics "You Are My Hiding Place" and "We Will Glorify the King of Kings" plus "Made Me Glad" and "That's Why We Praise Him." The Prophets of Praise will be singing the hymn "Come ye Sinners" by Joseph Hart (1712-1768) in a new setting by Matthew S. Smith at Indelible Grace Music. Here is a video of the band at Blacknall Memorial Presbyterian in Durham, NC performing the song for their worship. Congregational hymns at 11 AM will include "Guide Me, O Thou Great Jehovah" (Cwm Rhondda), "If Thou But Trust in God to Guide Thee" (Wer nur den lieben Gott), and "How Firm a Foundation" (Foundation).