"What makes a song contemporary?" I posed that question to the Gateways Give Voice kids a couple of weeks ago. They had a hard time nailing it down. We talked, used demonstrations and still had a difficult time putting into words what we believe to be a definition of contemporary song. We thought, “maybe it had to do with the shape or rhythm of a given melody.” Perhaps: plenty of contemporary songs have tricky rhythms though plenty use nothing more than quarter notes and eighth notes. We thought maybe it had to do with the pulse of the song. That was a possibility until the kids listened to me put a backbeat on “Joyful, joyful, we adore thee.” “Maybe a contemporary song is one that is not yet in print in a hymnal somewhere.” Maybe, but some songs have been around long enough to make it into more than a few denominational hymnals, and we still think of them as contemporary. Finally, we had to get to work and left the question hanging. Most of the musicians, though, gave the distinct impression that even if they couldn’t define what constitutes a contemporary song, they knew one when they heard it!
Graham Kendrick’s “Knowing You” has been around for nearly 20 years. Is it contemporary? The shape of the melody is not all that unusual; there are a couple of tricky rhythms, especially in the refrain. But it has a standard verse/refrain structure. Being a ballad, it doesn’t have a strong rhythmic character; the harmonies are no more adventuresome than the tune “St. Anne.” And yet, most folks who hear it know immediately that it’s a new song with a captivating message. The Prophets of Praise will be singing this favorite this Sunday. Congregational song will include “Awesome God,” “Mighty is our God,” “What a mighty God we serve,” and “He has made me glad.” It being Reformation Sunday, we’ll close the service with the emblematic “A mighty fortress is our God.”
Hymns at 11 AM will include “A mighty fortress” (Ein’ Feste Burg), “How clear is our vocation, Lord” (Repton), and “Behold how good and pleasant, Lord” (Ein’ Feste Burg). Our own Cecil Jividen wrote the text “Behold how good and pleasant…” “in great appreciation for the words and work of Dr. J. Randolph Taylor. The hymn was sung at the meeting of the General Assembly of the Presbyterian Church (U.S.A.) in 1983 at which time Dr. Taylor was elected moderator.” The choir will sing a simple setting of Richard Smallwood’s “Total Praise.” Other service music will include “We are God’s people” (music arranged by Fred Bock from a Johannes Brahms symphony), the Irish “Celtic Alleluia,” and “The Spirit sends us forth to serve.” Organ music will include Aaron David Miller’s perky setting of “Ein’ Feste Burg” (with meteres of 4/4, 3/4, 3/8, 6/8 and 7/8, what would you call it!!??), Robert Hobby’s setting of “Repton,” and Leon Boellemann’s “spooky toccata” from the “Suite Gothique.” Boo! Where’s my candy?
Thursday, October 25, 2007
Thursday, October 18, 2007
Music for Worship October 21
This week in worship we will bid farewell to our associate pastor, Kevin Frederick. After 7 years of ministry in Black Mountain, Kevin has accepted the call to ministry at the Waldensian Presbyterian Church just a few miles east of here in Valdese. We wish him well. Truth be told, I had already been planning on the Tune Weavers and Adult Handbells leading worship music this week. When Kevin’s announcement was made I decided that rather than give the other music groups a Sunday off, we would join forces and have a tremendous musical offering to help us celebrate Kevin’s ministry.
The Adult Handbell choir will perform Hart Morris’ “Deep River” as the prelude. Known for his incredibly rhythmic arrangements, this is a decidedly tranquil setting of the familiar spiritual. Hart included parts for cello and oboe in this setting; our performance will omit the oboe (Sylvia B., our resident oboist but also a bell ringer, swears she can’t do both at the same time!). But we welcome our own Carolyn K. on cello. The bells will also ring Arnold Sherman’s precious “Grazioso” at the offering.
The Tune Weavers, our resident men’s quartet/quintet/sextet will start things off vocally with a dramatic setting of Isaiah 6, written by the prolific Jack Schrader. The Prophets of Praise will lead us at the confession with Wes Sutton’s “Your Mercy Flows,” and at the benediction with Graham Kendrick’s grand “Go Forth in His Name.” The Prophets will also welcome back soloist Donna Marie Todd for a soulful rendition of Brenton Brown’s “Lord, Reign In Me.”
The choir will sing Handel’s “Hallelujah, Amen” from Judas Maccabaeus as the anthem at the readings. The lyric includes lines such as “O Judah, rejoice,” and “join in harmonious songs.” One might wonder what relevance there is between such a text and the reading for the day (Jeremiah 31) and the occasion of a pastor’s departure. We as a community of faith are brimming with emotions: sadness, joy, hopefulness and trust. At such times there is nothing else to do but offer songs of thanksgiving and lift hearts and hands in praise and prayer for all that God has done, is doing and is yet to do. Handel’s stirring music surely will help us proclaim our joy in God’s presence in our midst in times past, present and future!
Hymns for worship will include “”All creatures of our God and King” (Lasst uns erfreuen), “Arise, your light has come” (Festal Song), and “We gather here to bid farewell” (Winchester New). The organ postlude will be Andre Campra’s “Rigaudon” which apparently was played at Kevin’s marriage to his wife Jane. Many happy returns, dear friends, and blessings in Valdese! ¡Via con dios!
The Adult Handbell choir will perform Hart Morris’ “Deep River” as the prelude. Known for his incredibly rhythmic arrangements, this is a decidedly tranquil setting of the familiar spiritual. Hart included parts for cello and oboe in this setting; our performance will omit the oboe (Sylvia B., our resident oboist but also a bell ringer, swears she can’t do both at the same time!). But we welcome our own Carolyn K. on cello. The bells will also ring Arnold Sherman’s precious “Grazioso” at the offering.
The Tune Weavers, our resident men’s quartet/quintet/sextet will start things off vocally with a dramatic setting of Isaiah 6, written by the prolific Jack Schrader. The Prophets of Praise will lead us at the confession with Wes Sutton’s “Your Mercy Flows,” and at the benediction with Graham Kendrick’s grand “Go Forth in His Name.” The Prophets will also welcome back soloist Donna Marie Todd for a soulful rendition of Brenton Brown’s “Lord, Reign In Me.”
The choir will sing Handel’s “Hallelujah, Amen” from Judas Maccabaeus as the anthem at the readings. The lyric includes lines such as “O Judah, rejoice,” and “join in harmonious songs.” One might wonder what relevance there is between such a text and the reading for the day (Jeremiah 31) and the occasion of a pastor’s departure. We as a community of faith are brimming with emotions: sadness, joy, hopefulness and trust. At such times there is nothing else to do but offer songs of thanksgiving and lift hearts and hands in praise and prayer for all that God has done, is doing and is yet to do. Handel’s stirring music surely will help us proclaim our joy in God’s presence in our midst in times past, present and future!
Hymns for worship will include “”All creatures of our God and King” (Lasst uns erfreuen), “Arise, your light has come” (Festal Song), and “We gather here to bid farewell” (Winchester New). The organ postlude will be Andre Campra’s “Rigaudon” which apparently was played at Kevin’s marriage to his wife Jane. Many happy returns, dear friends, and blessings in Valdese! ¡Via con dios!
Wednesday, October 17, 2007
Review: Ikon, The Sixteen
If you haven't encountered The Sixteen before, suffice it to say anything they have released is well worth listening to. They are a choral ensemble par excellence and I would not presume to review them as an ensemble. They are a stellar ensemble, and anything they produce is going to be top notch.
I picked up Ikon because it seemed to contain musical material similar to the previously reviewed Lux Aurumque from the Dale Warland Singers. Indeed there are interesting programming similarities. Listening to the two CD's side-by-side allows one to hear the difference, much touted and much misunderstood, between an "American" choral sound and a "British" choral sound and determine for oneself the validity of the distinction.
The music on Ikon is intensely atmospheric, devotional or introspective. Choose your own adjective. Mystical-style composers of the last century and the 19th are represented. Among them are the familiar Rachmaninoff and Chesnokov. But also present are intriguing works by Igor Stravinsky and Gustav Holst. These are characters not usually associated with this style of (choral) music. Also included are works by Arvo Part and John Tavener. Tavener especially finds his compositional voice among the mystics. He is intensely drawn to Orthodox pathos and liturgy.
The new voice on the recording is that of James MacMillan (b. 1959). A Brit, he is represented by his achingly prayerful "A Child's Prayer," written in response to the 1996 Dunblane, Scotland children's massacre, and "A New Song," with text from Psalm 96, in this setting a plaintive cry for praise, even in the midst of suffering.
Recorded 25-27 October 2005 at the Church of St. Giles, Cripplegate, London, Decca has produced another fine offering from The Sixteen. The booklet includes lyrics and translations; publication information for the music is also included. ++++
I picked up Ikon because it seemed to contain musical material similar to the previously reviewed Lux Aurumque from the Dale Warland Singers. Indeed there are interesting programming similarities. Listening to the two CD's side-by-side allows one to hear the difference, much touted and much misunderstood, between an "American" choral sound and a "British" choral sound and determine for oneself the validity of the distinction.
The music on Ikon is intensely atmospheric, devotional or introspective. Choose your own adjective. Mystical-style composers of the last century and the 19th are represented. Among them are the familiar Rachmaninoff and Chesnokov. But also present are intriguing works by Igor Stravinsky and Gustav Holst. These are characters not usually associated with this style of (choral) music. Also included are works by Arvo Part and John Tavener. Tavener especially finds his compositional voice among the mystics. He is intensely drawn to Orthodox pathos and liturgy.
The new voice on the recording is that of James MacMillan (b. 1959). A Brit, he is represented by his achingly prayerful "A Child's Prayer," written in response to the 1996 Dunblane, Scotland children's massacre, and "A New Song," with text from Psalm 96, in this setting a plaintive cry for praise, even in the midst of suffering.
Recorded 25-27 October 2005 at the Church of St. Giles, Cripplegate, London, Decca has produced another fine offering from The Sixteen. The booklet includes lyrics and translations; publication information for the music is also included. ++++
Thursday, October 11, 2007
Worship Music October 14
Congregational songs at FirstLight this week will include “The Heart of Worship” (Matt Redman), “Cry of My Heart “ (Terry Butler), "Shout to the Lord" (Darlene Zschech) and “Forever” (Chris Tomlin). Tomlin wrote the lyrics to “Forever” as a response to reading Psalm 136. The phrase “his love endures forever” is part of every verse in this Psalm. Listen to Chris talk about the song, and here it performed by his band here. We will also sing the hymn “Be still my soul” to close the service. The music for this hymn is very familiar as a piece of classical music, and as the national anthem of Finland. The Prophets’ arrangement allows the singer to truly meditate on the words while singing.
Matt Begley will sing “Trust in the Lord” by James Brighton. Written for children’s choir with piano and oboe, the songs works equally well as a solo with Melissa Corbett on flute. Matt will sing this song at both services this week. It’s not often anyone has to “pull doubles” at Black Mountain Prez by singing at both services, let alone a 5th grader; way to go, and thanks Matt!
Congregational songs at 11 AM will include “All people that on earth do dwell” (Old Hundredth), “If thou but trust in God to guide thee” (Wer nur den lieben Gott), and “Be still my soul” (Finlandia) mentioned above. The preacher, Cecil Jividen, will be focusing on the notion of trust this week, and the choir will end the service with William Farley Smith’s arrangement of the spiritual, “I will trust in the Lord.” Libby Barker, who will help on Matt’s solo at 11 AM, will also perform a blues-y setting of “He leadeth me” arranged by Brent Olstad; the jazz influences are apparent from the first chord and are composer Olstad'’ signature style. Other voluntary music will include Marcel Dupre’s setting of “Wer nur den lieben Gott” from the Seventy-Nine Chorales, and Cesar Franck’s F major Sortie from “La’Organiste.”
Matt Begley will sing “Trust in the Lord” by James Brighton. Written for children’s choir with piano and oboe, the songs works equally well as a solo with Melissa Corbett on flute. Matt will sing this song at both services this week. It’s not often anyone has to “pull doubles” at Black Mountain Prez by singing at both services, let alone a 5th grader; way to go, and thanks Matt!
Congregational songs at 11 AM will include “All people that on earth do dwell” (Old Hundredth), “If thou but trust in God to guide thee” (Wer nur den lieben Gott), and “Be still my soul” (Finlandia) mentioned above. The preacher, Cecil Jividen, will be focusing on the notion of trust this week, and the choir will end the service with William Farley Smith’s arrangement of the spiritual, “I will trust in the Lord.” Libby Barker, who will help on Matt’s solo at 11 AM, will also perform a blues-y setting of “He leadeth me” arranged by Brent Olstad; the jazz influences are apparent from the first chord and are composer Olstad'’ signature style. Other voluntary music will include Marcel Dupre’s setting of “Wer nur den lieben Gott” from the Seventy-Nine Chorales, and Cesar Franck’s F major Sortie from “La’Organiste.”
Saturday, October 6, 2007
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. + + + +
Thursday, October 4, 2007
Worship Music October 7
FirstLight worship will begin this week with two familiar praise choruses, Martin J. Nystrom’s “As the deer,” and Dave Doherty’s “Come let us worship and bow down.” We will also sing “Better is one day,” and Brian Doerksen’s “Come, now is the time to worship,” both of which have become FirstLight favorites. A time crunch caught us last week and the Prophets had to forego singing the Jack Noble White song “The First Song of Isaiah;” we’ll get to it this week. We are celebrating communion this week at both services, along with Christians around the world as part of World Communion participation. To affirm our global nature and our global mission we will close FirstLight worship with the powerful “Shout to the north.”
I remind the adult choir that there are very, very few “perfect pieces of choral music” in the world. This week the choir will be singing one of those few as their anthem. Ralph Vaughan Williams’ “O taste and see” is 40 seconds of musical perfection. Using text found in Psalm 34, it uses that distinctive Vaughan Williams quasi-pentatonic tone palette that characterizes so much of his music. The anthem is in two very short sections, each of which begins with a short solo for a soprano singer; this week that soloist will be Susan Banzhoff. Service music will be representative of our global faith, with the Introit from Brazilian sources, a British celebration of forgiveness after the confession, and an Israeli folk song for the benediction response. The hymns this week are “God is here” (Abbot’s Leigh), “We walk by faith and not by sight” (Dunlap’s Creek), and “Jesus, thou joy of loving hearts” (Quebec).
Henry Alford (1810-1871) wrote the text for “We walk by faith” prior to 1884 when the hymn appeared in his collection Psalms and Hymns. The tune is named after a creek in Brownsville, PA, (south of Pittsburgh) renowned for a certain bridge which crosses it. The tune first appeared in a US hymnal in 1814. Organ music by John Behnke (a setting of “Gather us in”) and John Stanley (one of the 30 short voluntaries) will be heard at the prelude and offertory. Dan Locklair’s “Phoenix Processional” will be the organ postlude. Locklair is a composer living in Winston-Sale
m, NC. His “Phoenix Fanfare and Processional” were composed for organ with brass and percussion in two stages. The Fanfare came first in 1980 to celebrate the rededication of James Chapel at Union Theological Seminary in New York. The Processional followed in 1985. The composer created the solo organ version in 1996. The piece is a stately one, featuring the trumpet stop on the organ. Somewhat long (6 minutes) it is yet thrilling for the performer (double pedals!) and listener.
I remind the adult choir that there are very, very few “perfect pieces of choral music” in the world. This week the choir will be singing one of those few as their anthem. Ralph Vaughan Williams’ “O taste and see” is 40 seconds of musical perfection. Using text found in Psalm 34, it uses that distinctive Vaughan Williams quasi-pentatonic tone palette that characterizes so much of his music. The anthem is in two very short sections, each of which begins with a short solo for a soprano singer; this week that soloist will be Susan Banzhoff. Service music will be representative of our global faith, with the Introit from Brazilian sources, a British celebration of forgiveness after the confession, and an Israeli folk song for the benediction response. The hymns this week are “God is here” (Abbot’s Leigh), “We walk by faith and not by sight” (Dunlap’s Creek), and “Jesus, thou joy of loving hearts” (Quebec).
Henry Alford (1810-1871) wrote the text for “We walk by faith” prior to 1884 when the hymn appeared in his collection Psalms and Hymns. The tune is named after a creek in Brownsville, PA, (south of Pittsburgh) renowned for a certain bridge which crosses it. The tune first appeared in a US hymnal in 1814. Organ music by John Behnke (a setting of “Gather us in”) and John Stanley (one of the 30 short voluntaries) will be heard at the prelude and offertory. Dan Locklair’s “Phoenix Processional” will be the organ postlude. Locklair is a composer living in Winston-Sale
m, NC. His “Phoenix Fanfare and Processional” were composed for organ with brass and percussion in two stages. The Fanfare came first in 1980 to celebrate the rededication of James Chapel at Union Theological Seminary in New York. The Processional followed in 1985. The composer created the solo organ version in 1996. The piece is a stately one, featuring the trumpet stop on the organ. Somewhat long (6 minutes) it is yet thrilling for the performer (double pedals!) and listener.
Wednesday, October 3, 2007
Some Organ History
As Black Mountain PC(USA) gets ready to celebrate 100 years of ministry, I have had occasion to do some research on the pipe organ in the sanctuary. The organ was given by members of the Cooley family. The contract with the Reuter firm in Kansas was signed in October of 1978. The contract price was $65, 677. (The organ would easily cost 4 times that amount to replace in 2007.) The nameplate on the console indicates this was opus #1979, and installation and dedication took place in early 1980. Delivery took place in February of that year, and the organ was dedicated at a special service and recital in April. Ted Crist was organist and choir director when the organ project was begun. He also played the dedicatory recital. Here is a list of the stops included in the organ:
Great
Principal 8' 61 pipes
Gedackt 8' 61 pipes
Octave 4' 61 pipes
Koppelflote 4' 61 pipes
Flachflote 2' 61 pipes
Mixture III 183 pipes
Trompette 8' 61 pipes
Swell
Rohrflote 8' 61 pipes
Gemshorn 8' 61 pipes
Spitzflote 4' 61 pipes
Naset 2 2/3 61 pipes
Principal 2' 61 pipes
Terz 1 3/5 61 pipes
Cymbel II 122 pipes
Hautbois 8' 61 pipes
Pedal
Resultant 32'
Subbass 16' (56 pipes)
Octave 8' (from Gt)
Subbass 8' (ext Subbass 16')
Choralbass 4' (32 pipes)
Koppelflote 4' (from Gt)
Trompette 16' (12 pipes and from Gt)
Trompette 8' (from Gt)
Trompette 4' (from Gt)
Tremulant
Zimbelstern
Sw to Gt 16', 8', 4',
Sw to Sw 16', 4', u/o
Gt to Gt 16', 4', u/o
Sw to P 8', 4'
Gt to P 8', 4'
1243 total pipes
The organ is installed in a single, freestanding case at the east end of the sanctuary. The Swell division is lowest in the case, just above the choir singers' heads. The Great is above the Swell at the top of the case. The pedal pipes are in the two side towers that flank the central divisions. Here is a link to some photos of the delivery and installation. The east wall had glass on the two sides with a central plaster section. In the photos a few frames of stained glass and a portion of the plaster wall have been covered by aluminum-clad insulation panels. The cross that had hung on the east wall now hangs on the front of the organ case as part of the facade display.
Great
Principal 8' 61 pipes
Gedackt 8' 61 pipes
Octave 4' 61 pipes
Koppelflote 4' 61 pipes
Flachflote 2' 61 pipes
Mixture III 183 pipes
Trompette 8' 61 pipes
Swell
Rohrflote 8' 61 pipes
Gemshorn 8' 61 pipes
Spitzflote 4' 61 pipes
Naset 2 2/3 61 pipes
Principal 2' 61 pipes
Terz 1 3/5 61 pipes
Cymbel II 122 pipes
Hautbois 8' 61 pipes
Pedal
Resultant 32'
Subbass 16' (56 pipes)
Octave 8' (from Gt)
Subbass 8' (ext Subbass 16')
Choralbass 4' (32 pipes)
Koppelflote 4' (from Gt)
Trompette 16' (12 pipes and from Gt)
Trompette 8' (from Gt)
Trompette 4' (from Gt)
Tremulant
Zimbelstern
Sw to Gt 16', 8', 4',
Sw to Sw 16', 4', u/o
Gt to Gt 16', 4', u/o
Sw to P 8', 4'
Gt to P 8', 4'
1243 total pipes
The organ is installed in a single, freestanding case at the east end of the sanctuary. The Swell division is lowest in the case, just above the choir singers' heads. The Great is above the Swell at the top of the case. The pedal pipes are in the two side towers that flank the central divisions. Here is a link to some photos of the delivery and installation. The east wall had glass on the two sides with a central plaster section. In the photos a few frames of stained glass and a portion of the plaster wall have been covered by aluminum-clad insulation panels. The cross that had hung on the east wall now hangs on the front of the organ case as part of the facade display.
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