MusicNotes May 19-20

MusicNotes

May 19-20  

Organ Voluntaries- Excerpts from L'ascension, Olivier Messiaen (1908-1992)

Prelude- Majesté du Christ demandant sa gloire à son Père 

(Majesty of Christ praying that His Father should glorify Him)

Communion- Prière du Christ montant vers son Père 

(Prayer from Christ ascending towards His Father)

Postlude- Transports de joie d'une âme devant la gloire du Christ qui est la sienne 

(Outburst of joy from a soul before the Glory of Christ which is its own glory)

The solo organ music this Sunday will come from Messiaen's suite of four symphonic meditations, written for the Feast of the Ascension. Originally composed for orchestra in 1932, it was transcribed for solo organ the following year, and has become a staple of twentieth-century organ repertoire. Each movement is based on a short verse from the story of the Ascension. The Prelude and Communion are based on verses from John's Gospel, "Father, the hour is come: glorify Thy Son, that Thy Son also may glorify Thee," (John 17:1) and "And now, O Father, I have manifested Thy name unto men… and now, I am no more in the world, but these are in the world and I come to Thee," (John 17:5-6, 11). The movement at the Postlude is based on verses from Colossians and Ephesians, "Giving thanks unto the Father which hath made us meet to be partakers of the inheritance of the Saints in light… has raised us up together and made us sit together in heavenly places in Christ Jesus," (Col 1:12; Eph 2:6). Messiaen's unique tonal language and distinctive rhythmic concepts reflect the true power of the Ascension in a very dramatically poetic way. The piece is rich, complex and challenging for both the performer and the listener. For those unfamiliar with Messiaen's style, it may take a very open mind at first to hear his innovative approach to sacred music, and to understand what makes him one of the most influential composers of the twentieth century.          

Motet during Prelude- Ascendit Deus, Oreste Ravanello (1871-1938)

Immediately following the first movement of the Ascension Suite, the choir will sing a very short motet to help set the tone for Mass. The text is based on Psalm 47, in which the psalmist declares that "God has gone up with a shout, the Lord with the sound of a trumpet." The Latin Psalm text is set in a way that paints a picture of this image, emphasizing ascending melodies and mimicking the sound of a trumpet. Venetian composer, Ravanello, was well-known as a composer, conductor, organist and improviser in Venetian music circles. He wrote a large amount of sacred music and later became influential in the reform of church music post-Pius X.             

Voluntary during Preparation of Gifts- Prelude on HYFRYDOL, Donna Hanna

The MaryBells will present this chorale prelude during the Preparation. Based on a familiar hymn tune (which we sang last week, with the text of Love Divine, All Loves Excelling), this piece will feature rich harmonies, contrasting moods, vibrant rhythms and several different hand bell techniques, including the use of mallets and martellato, or striking the bell against the padding of the table. I chose this piece to echo the joyous excitement and brilliance of the Lord's Ascension, as Hanna uses especially bright harmonies and rhythmic momentum in her treatment of the hymn tune. Hanna, who grew up mostly in Charlotte, NC, composes mainly for the church and has a special interest in the hymns of the church. This Sunday will be the last time the MaryBells ring for Mass until September, since they break for the summer, so I invite you to take a moment on Sunday and thank them for all the hard work they have done this year to help make the music ministry at Saint Mary so special.

Communion Meditation- Christ Hath a Garden, Gerald Near (b. 1942)

This beautiful piece will be sung by the choir after the Communion procession, as a reflection on the incredible events of the Ascension. The text, adapted from Isaac Watts by Robert Bridges, describes Christ in his heavenly garden and his servants around him, with the charge to continue his ministry on Earth. The words call us to feel the presence of Christ with us and in us, as he continues to live through us. Gerald Near, one of the most important living composers of church music today, has set this poem to an English folk tune, called O Waly Waly, also known by the American title, The Water is Wide. His setting is both rich and sparse. The harmonies reflect the simple loveliness of the text, included below-

Christ hath a garden walled around,

A paradise of fruitful ground.

Chosen by love and fenced by grace

From out the world's wide wilderness.

Like trees of spice his servants stand,

There planted by his mighty hand;

By Eden's gracious streams, that flow

To feed their beauty where they grow.

Awake, O wind of heav'n and bear

Their sweetest perfume through the air:

Stir up, O south, the boughs that bloom,

Till the beloved Master come:

That he may come and linger yet

Among the trees that he hath set;

That he may evermore be seen

To walk amid the springing green.

  

 Dialogues/Acclamations/Litanies- Mass of St. Frances Cabrini and Celtic Alleluia

To help signal the transition to the Easter season, we return to a familiar set of Mass parts (Kyrie, Gloria, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God), the Mass of Saint Frances Cabrini, by Kevin Keil. For the Gospel Acclamation, we are using the Celtic Alleluia, by Fintan O'Carroll and Christopher Walker.  A change in the Mass parts we sing together helps to remind us of our new post-Easter perspective, a new context of hope, victory and redemption.  

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com