MusicNotes June 9-10 and Farewell for the Summer, Choir Members

MusicNotes

Corpus Christi, June 9-10

Anthem- Ave Verum Corpus (K 618), Wolfgang Amadeus Mozart (1756-1791)

The Saint Mary Choir will sing this well-known composition during the offertory at 10:30, accompanied by the string quartet and Karen Hiller at the organ. This piece, from 1791, near the end of Mozart's life, was composed for the feast of Corpus Christi at a church in Baden, near Vienna. The original instrumentation was for strings and organ, so we will get a more authentic taste of this piece on Sunday. In addition, the choir will also be using a Germanic-Latin pronunciation that is closer to what Mozart himself would have heard from choirs at the time. The text is a 14^th-century poem, attributed to Pope Innocent III, Pope Innocent IV, or Pope Innocent VI, that glorifies the holy, true body of Christ. This is one of the most beautiful pieces in choral literature, and it invites us into prayer as we honor Christ's body. The translation of the text is as follows:

Hail, true Body, born of the Virgin Mary,

who having truly suffered, was sacrificed on the cross for mankind,

whose pierced side flowed with water and blood:

May it be for us a foretaste [of the Heavenly banquet]

in the trial of death.

[Oh sweet Jesus, Oh pious Jesus, Oh Jesus, son of Mary,

have mercy on me. Amen.]

Communion- Da Pacem Domine, Arvo Pärt (b. 1935)

 At the beginning of communion, the string quartet will present a beautiful piece by Estonian composer, Arvo Pärt. This peaceful prayer was written for choir or four-part soloists in 2004 and revised for string quartet in 2006. I chose this piece to help set a calm tone for the beginning of the communion procession, the tone set by the exchange of peace that takes place before the fraction anthem. The slowly evolving harmonies create a sense of peace to reflect the nature of the text, a votive antiphon for peace, taken from the book of Sirach 36:18. It can also be used as an introit for Pentecost. Although Pärt's music has a modern and minimalist color to it, he employs several medieval musical techniques, including the cantus firmus, the faux-bourdon, organum and the hocket.

Communion Meditation-    Ave verum corpus, Chant, Mode VI,

Ave verum corpus, Josquin des Prez (1450/55-1521)

 Following the Communion procession, a trio, featuring choir members and cantors, Nancy Trujillo and Bobbie Whaling, will present two very different versions of the Ave Verum from the baptismal font in the back of the church. The first version is a lovely Gregorian chant, one of the most haunting chants I have ever known, which can be found on page 730 of the Worship hymnal. This chant will lead into the second version, which is based on this chant, composed by Josquin. This Renaissance work sounds much starker to the ear than the Mozart setting, but it explores a texture that we do not get to hear very often on Sunday mornings in America. It begins with a duet between the soprano and alto, highlighting the text, Hail, true Body, born of the Virgin Mary. The baritone enters as the remaining text is explored, with the chant melody, or cantus firmus, always present in the alto line. Josquin was regarded as the greatest composer of his time, and his music did a great deal to shape the development of Western-European Renaissance music, from his cantus firmus masses to motets and chansons.

Hymns used for Corpus Christi-

For this great feast of the church, I have chosen some traditional hymns that are often sung for this feast, communion processions, or for Eucharistic Adoration. Although we will sing them in English, the opening and closing songs are Latin hymns, the Tantum Ergo and the Pange Lingua. We sang the latter during Holy Week, while we made the procession to transfer the Eucharist after the Holy Thursday liturgy. These hymns are meant to help focus our minds and spirits on the body and blood of Christ, on our union with Christ, through experiencing Him among us in the Eucharist.

String Quartet-

We are blessed to have a quartet this morning, made up of local musicians and members of the Tulsa Symphony. Welcome them to Saint Mary!

       

Paulo Eskitch, Violin I

Liza Villarreal, Violin II

Phillip Wachowski, Viola

Ashley Allison, Cello  

 Note-

This is the last Sunday for the Saint Mary Choir to sing at Mass before they take a break for the summer. Please take a moment to thank a choir member for all his or her hard work, dedication and time spent to make the music ministry at St. Mary what it is. This choir family is integral in our worship and ministry life at this parish, and its stewardship is well-appreciated. 

-----

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes June 2-3

MusicNotes

The Most Holy Trinity, June 2-3

Anthem- Hymn to the Trinity, Michael Burkhardt (b. 1957)

The St. Mary's Choir will sing this short piece during the Offertory. This hymn gives exuberant praise to God, the Father, the Son, and Holy Spirit, focusing especially on our three-in-one understanding of God. The melody is infectious, and rings in the ears of the listener long after the two minutes of music come to a triumphant close.  Written with a simple accompaniment that varies from verse to verse, the final verse is a doxology with tenors and sopranos singing a descant, or upper melody. Because of the brevity of the piece, the end will lead into an organ improvisation on the melody, as the gifts are brought forward. Michael Burkhardt is the Director of Worship and the Arts at Holy Cross Lutheran Church in Livonia, Michigan.  A well-known leader of hymn festivals, his music celebrates the importance of hymns in liturgical music.   

Communion Antiphon- Abba, Father, William Buthod (b. 1981)

At the beginning of Communion, a trio will sing this Sunday's appointed communion antiphon. The text, found below, comes from the Book of Galatians 4:6.  A colleague is celebrating the end of her nine-year music ministry this Sunday at a parish outside of Washington, D.C., and I just composed this antiphon for the occasion. The texture is simple and reverent, and the use of three voices is meant to reflect the Triniarian imagery found in the antiphon. This will feature dedicated choir members and cantors, Cindy Spitza and Nancy Trujillo.    

Since you are children of God,

God has sent into your hearts the Spirit of his Son,

the Spirit who cries out: Abba, Father.

Postlude- Toccata (from Symphonie V), Charles-Marie Widor (1844-1937)

This piece may be one of the most recognizable compositions in classical organ literature. Echoing the Gospel's message to go out and make disciples in the world, the momentum of this toccata is unstoppable. Written as the final movement of Widor's fifth symphony for organ solo, (the organ symphony was, at the time, a popular kind of large-scale composition or improvisation for organ), this movement is often requested for weddings, played at Easter, or at other triumphant moments during the year.  Besides being a technically-demanding piece, it exudes the joy of the Spirit, the joy that comes with the assurance that God is with us "always, until the end of the age." (Mt.28:20).  Widor, one of France's most celebrated organists and composers, was a driving force in the school of French Romanticism, a highly influential teacher, and the organist at the Church of St. Sulpice, in Paris, where he served for nearly 64 years. It was here that Albert Schweitzer once traveled to study with him in 1899, resulting years later in a collaborative Widor-Schweitzer edition of all the works of Bach, still commonly used today. 

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

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

MusicNotes May 5-6

MusicNotes

May 5-6

  

This weekend is First Communion. The St. Mary's Choir will not be singing this weekend. Instead, the children of the church will be cantoring and leading the music for the 5:00p  and 10:30a masses, under the direction of Music Associate, Karen Hiller. The 8:00a mass will be lead by one of our regular cantors, and the 6:00p mass will be an EDGE mass.    

Prelude- Improvisation: Chorale Prelude on Jesus Loves Me

To help set the tone for mass, I will begin by improvising a chorale prelude on the well-known Sunday school hymn, Jesus Loves Me. A chorale prelude is simply a composition based on the melody of a hymn. I chose this chorale tune not only as a prelude to the First Communion taking place this weekend, but also to remind us that we are all children of God, and that each one of us is loved dearly by our Savior. As we all need encouragement throughout our own spiritual journeys, this weekend, it is especially important to encourage the youth of the church as they join us in the Eucharist. To keep message of the prelude clear, I will use simple musical textures and uncomplicated sounds from the organ.       

Hymn during the Preparation- We Have Been Told

The St. Mary's community knows this hymn well. The music and text were both written by David Haas in 1983, whose music is found throughout the Gather hymnal. The song reminds us that we serve a living God, a God that teaches us how to love through His own love of us. The verses are taken from this weekend's Gospel, and encourage us to live in God. God is the vine and we are the branches. Haas, who began in the St. Louis Jesuit movement of the 1970s and 1980s, has become one of the most prolific composers of Catholic music, post-Vatican II. Some of his other well-known hymns include You Are Mine, Blest Are They, We Are Called, and Now We Remain.          

Postlude- Improvisation: Toccata on Though the Mountains May Fall   

To send us forth after the mass has ended, I will improvise a festive piece on the organ, based on the closing hymn. This hymn, very familiar to students and teachers at the School of St. Mary, will help keep the focus on the youth as they leave to celebrate after their first Eucharist. This song promises the assurance that the love of God is always here with us, despite any challenges that we may face along the way. I will echo the solid message of trust and confidence by using strong organ registrations and unstable harmonic tension that is answered by solid harmonic resolution, all of this above an underlying youthful rhythmic energy, taken from the closing song.    

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

MusicNotes Apr 28-29

MusicNotes

April 28-29

  

Prelude- Sinfonia pastorale (from Messiah), George Frideric Handel (1685-1759)

To help set the tone for Mass, I will play the instrumental interlude from the first part of Handel's Messiah. In Messiah, this piece sets up a new scene, beginning with the recitative, "there were shepherds abiding in the fields," and is meant to call to mind the songs of shepherds, and the calm of sheep. The underlying rhythm is typical of pastorales, or shepherd songs, through musical history. The sounds used on the organ are meant to remind us of shepherds' pipes. As we prepare for Mass, we turn to Jesus, our Good Shepherd, as is revealed in this weekend's Gospel.   

Anthem- The Lord is my Shepherd (Psalm 23), Howard Goodall

To reflect the Gospel lesson of Jesus as the Good Shepherd, the St. Mary Choir will sing a different setting of the twenty-third Psalm, by British composer, Howard Goodall. There are countless musical versions of this beautiful Biblical poetry, as it naturally lends itself to music. At St. Mary this year, we have already heard several settings, including the Thomas Matthews, the John Rutter, and my own, and now we add this simple and elegant setting to our repertoire. Goodall composed this in 1994 as the theme song to the BBC's television comedy series, The Vicar of Dibley. The piece begins with a soprano solo, a lilting melody over a simple pastorale-like accompaniment, then explores rich harmonies with the choir, finally fading away at the end, finishing with the soprano solo. Because of the popularity of the television show, Goodall's Psalm has become a definitive version for a generation of British and Australian viewers.      

Postlude- Improvisation: Hornpipe on Shepherd of Souls   

As we go forth from Mass, with Jesus as our pastor and our guide, I will improvise a short tune based on the closing hymn. The Hornpipe was originally a British dance, dating from the seventeenth century. The underlying rhythm of this dance, originally found in Scotland, Ireland, and England, was adopted by English composers in the Baroque period, such as Purcell and Handel. I chose this form to combine the sound of shepherds' hornpipes with the message of the final hymn, sending us out to follow the Good Shepherd.     

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

MusicNotes Mar 31-Apr 1

MusicNotes

March 31- April 1

  

Opening Antiphon- Hosanna to the Son of David, Antiphon Mode VII

The opening antiphon this Sunday comes from Gregorian chant and draws from Matthew 21:9. This antiphon announces the triumphal entry of Jesus at the beginning of the procession with loud hosannas. At the different Masses this weekend, you will hear it sung by the priest, the cantors and the choir. This refrain is meant to set our minds on King Jesus as we join in with the crowd, welcoming Him in celebration.           

Processional Antiphon- Little Grey Donkey, Natalie Sleeth (1930-1992)

The Elementary Vocal Choir will present this piece to begin the processional. The traditional processional antiphon for Palm Sunday (Pueri Hebraeorum) tells of how the children of Jerusalem welcomed Christ the King with olive branches and loud praises, and so we begin our procession with the sound of children's voices welcoming Him. The song asks the donkey, on which Jesus rides into Jerusalem, if it knows who it carries. The song then reminds us of God's purpose in sending Jesus, and even foreshadows the Passion of Christ. Natalie Sleeth was one of the leading composers of children's music in America, and her music is employed every week in liturgies around the country.       

Anthem- My Lord, What a Morning, African-American Spiritual

This popular and chilling spiritual, sung by the choir at 10:30, is meant to reflect the events of the morning. By the time the altar is prepared during Mass, we have already made the journey from Christ's entry to Jerusalem to his death, and we are left with many thoughts and emotions. This spiritual invites us to take a moment and meditate on this journey. The refrain cries out, "My Lord, what a morning when the stars begin to fall," and reminds us of God's purpose for Jesus as he faces His hour of death. The verses invoke imagery of the end of life, but then invite us to look to "God's right hand" for strength and guidance. We invite you to take a moment to open your hearts to God's plan, as we enter into a blessed Holy Week.       

Closing Song- O Sacred Head, Surrounded, PASSION CHORALE   

Many of us know this hymn very well from past years, but it has a very interesting history. Originally a Latin hymn, with the text from St. Bernard of Clairvaux, it was adopted by the Lutheran church and became a staple in the Protestant tradition of four-part chorales. It gained popularity in many different Christian traditions, especially the harmonization by Lutheran composer, J.S. Bach. The chorale was then re-adopted by the Roman Catholic Church, in its Lutheran form, and is now in our hymnals and an integral part of Passion music. The beautiful melody was even an inspiration for Paul Simon's American Tune.     

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music, and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Mar 24-25

MusicNotes

March 24-25

  

Anthem- Give Me a Clean Heart, Margaret Pleasant Douroux (b. 1941)

 This anthem, written in 1970, has become a standard in Gospel music repertoire. The text is based on this weekend's appointed psalm, and is a simple prayer to God for renewal and purification. We are asking God to clean our hearts so that we may better serve Him; that we may surrender ourselves to Him to be used by Him. Douroux, a leading composer of Gospel music in Southern California, has seen this song adopted by many different faiths and traditions. She is the founder of the Heritage Music Foundation, and serves as Minister of Music at Greater New Bethel Baptist Church in Inglewood, CA. Our arrangement will feature longtime and faithful choir members, Louise Lewis, Bobbie Whaling, and Barry Wilson.      

Solo- O Divine Redeemer, Charles Gounod (1818-1893) 

Cantor and choir member Cindy Spitza will sing this prayer during Communion. Written in 1893, six months before Gounod's death, this song is seen as a final expression of his life. The text reflects this weekend's Gospel lesson, in which we hear that "the hour has come for the Son of Man to be glorified." Jesus is troubled, knowing that He is to die, and this song reflects our human emotions in our call to God in distress, our plea for salvation, redemption, and comfort. It calls us to be repentant and to open our hearts to God's saving grace and assurance. Gounod wrote a large amount of sacred music, including hundreds of sacred songs and several masses. His most performed piece today in parishes is his setting of the Ave Maria.

Closing Song- Lift High the Cross, CRUCIFER

 This well-known hymn sends us out joyously, but with the cross within our sight, as we make our journey to Palm Sunday and Holy Week. Originally intended to be used for a festival service at Winchester Cathedral in England, the text was written by George William Kitchin  in 1887, and revised with its current melody in 1916, called CRUCIFER and written by Sydney H. Nicholson. The text makes it clear that the cross is a symbol of the love of Christ. Composer Stanley L. Osborne describes the hymn in this way, "[the text's] images are biblical, its moods expectant, its promises courageous, and its demands costly" (If Such Holy Song, 321). Join us in singing this hymn heartily!

   

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music, and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Mar 17-18

MusicNotes

March 17-18

  

Prelude- What Wondrous Love is This, American Folk Hymn, arr. Arnold B. Sherman

This lovely setting of the familiar hymn will be presented this week by the MaryRingers, our advanced handbell choir. This piece is meant to set the tone for Mass, as its solemn, meditative mood invites us to bring our hearts closer to God. This piece also helps set the tone for the second half of Lent and the Triduum, during which we will be singing this hymn often. The traditional American hymn, which I will write about more in the next few weeks, tells of the greatest love of all time, God's love for His people, so strong that He gave us his Son that we may have eternal life. Sherman's arrangement invokes a variety of tonal colors, employing chimes and mallets. Arnold Sherman, out of Tyler, Texas, is an accomplished composer and clinician of handbell music.    

Anthem- God So Loved the World, John Stainer (1840-1901)

The text for this anthem comes directly from this weekend's Gospel lesson. This well-known Gospel verse is set very colorfully and dramatically by Stainer for a capella voices. The entire movement (which is an excerpt from Stainer's oratorio, The Crucifixion), is based on the single verse, John 3:16, but uses dynamics and unexpected harmonies to highlight the drama of the text. Stainer, hailed by colleague Sir Arthur Sullivan as a genius, was a well-known British composer and organist at the time and contributed a great deal to Anglican music. However, his music is not often performed today, with exception to The Crucifixion, which Stainer himself called "rubbish." It seems that the world disagreed with him, as this anthem became one of the most popular pieces in the history of sacred choral music. 

Postlude- Kyrie, fugue sur les jeux d'anches (from Messe pour les paroisses), François Couperin (1668-1733)

This French Baroque piece is based on a Kyrie chant tune, and serves to remind us as we leave Mass that we belong to God, and that it is our prayer for Him to come to our hearts, to grant us mercy, and to renew and restore our spirits. The piece comes from his Messe pour les paroisses (Parish Mass), a staple of French Baroque organ repertoire. It is a short fugue, played on the jeux d'anches, or reed stops of the organ, to give it a particular tonal color. Couperin was one of the most important composers of organ and harpsichord music of this period, and he served as organist at the church of St. Gervais in Paris, before becoming organist and court composer for Louis XIV. I studied this particular piece several years ago with organist Marie-Claire Alain, the world's current authority on the performance of French music from this period.   

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for on this Sunday, Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of Mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Feb 25-26

MusicNotes

February 25-26

Prelude- Morning Has Broken, traditional Gaelic melody, arr. Linda R. Lamb (b. 1944)

The MaryRingers, St. Mary's advanced handbell choir, will present this piece before the 10:30 Mass to help set the tone for Mass. As we enter into this new season, we feel a new morning breaking. The familiar hymn tune reminds us that we are beginning a new journey and entering, as Jesus proclaims in the Gospel, the "time of fulfillment." Linda Lamb's arrangement of the piece is an imitation of a sunrise, starting very softly and growing gradually to fullness, as the sun fills the sky with light. This also reminds us of our prayer in Lent, in which we ask God to open our hearts and take away that which is not of Him, in order to grow more fully in His love. The arrangement employs creative textures and techniques, including the use of chimes, a singing bowl, and mallets. Lamb is a handbell director in Lexington Park, Maryland, and has been composing for handbells for the past ten years.   

Psalm- Psalm 25:4-9, Anglican chant, John Blow (1649-1708)

The Psalm for this weekend will be sung by the choir at the 10:30 Mass. This short response to the first reading comes from Anglican chant, a 16^th century tradition that was based on Latin plainchant. Anglican psalms, usually sung antiphonally by two choirs, added harmony to un-metrical texts, and followed the natural rhythm of the spoken words. We invite you to follow along with the text of this psalm in your Worship hymnal as we all respond to the word of God.      

Anthem- Jesus Walked this Lonesome Valley, American Folk Hymn, arr. William Buthod (b. 1981)

The choir will sing an arrangement of this old American hymn to reflect the mood of this weekend's Gospel lesson. As Jesus is sent out into the desert, he is alone for forty days to face Satan and wild beasts. This arrangement is minimal, employing sparse accompaniment and unison singing to invoke a feeling of isolation and desolation. The ending, however, is hopeful, as we know that God was with Jesus in the desert, sending his angels to minister to Him, and as we know that "the kingdom of God is at hand." This early American song is also commonly sung during the end of Holy Week, and has become popular in many Christian traditions and beyond.    

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of Mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music, and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Feb 18-19

MusicNotes

February 18-19

Opening Song- Come, You Sinners, Poor and Needy

As Mass begins, we sing this song together to invite worshippers to prayer. The text invites all those who seek healing, restoration, and rest, to come to the Lord, who supplies our needs. We open with this song to set the tone for our Gospel lesson, in which Jesus heals a paralyzed man. There is healing in God for those who come to Him. The refrain confirms our unified desire to "arise and go to Jesus," a response to Jesus' command to "rise, pick up your mat, and go home." The text was written by Joseph Hart in 1759, and the melody comes from an American folk tune, collected and compiled into the classic collection, The Southern Harmony and Musical Companion, in 1835.    

Song during the Preparation- Amazing Grace

This great hymn, one of the most popular of all time, was written by the English poet John Newton in 1773 for a sermon on New Year's Day. The lyrics are a testimony to the unsurpassable grace of God, a God of forgiveness and restoration, the God seen in this weekend's Gospel. In composing this hymn, Newton was inspired by his own life experience. Once a slave trader, he turned his life to God, and, in 1764, was ordained in the Church of England. The original hymn, if even sung, was most likely sung to several different tunes, and was not closely associated with the tune we sing today, NEW BRITAIN. Hymnals at the time did not contain music, but only the texts of hymns. In fact, NEW BRITAIN, is actually an amalgam of two British hymn melodies, GALLAHER and ST. MARY. Since its composition, Amazing Grace has become largely associated with America. From folk singing in the Appalachians, to the Trail of Tears endured by the Cherokees, to the development of African-American music, this hymn has played a symbolic role in the shaping of American history and culture. Today, it is sung to nearly thirty different melodies, and has even been recorded numerous times by musicians in popular music.  

Communion Anthem- Lord, For Thy Tender Mercies' Sake, Richard Farrant (1530-1580)

The origins of this anthem are not completely clear. Today, it is most commonly attributed to Farrant, who served at St. George's Chapel in Windsor, England. The text came from Christian Prayers and Holy Meditations (1566), by Henry Bull. The words reflect the Gospel's message of trusting in God's grace and mercy. If we come to God, humble and repentant, God's grace has the power to renew us.  

Communion Song- Ubi caritas et amor, Deus ibi est. | Where charity and love are, God is there.

This 4th-century Latin hymn was originally used as a Holy Thursday antiphon. In 1978, Jacques Berthier composed this chant setting for the Taizé community in France, an ecumenical monastic order that is known world-wide for its inclusive musical tradition. Simple Taizé chants are easily learned without written music and are meant to be repeated numerous times, with slight variations. The idea is that, through repetition, the worshipper is able to let go of distractions and immerse him- or herself in true sung prayer, similar to praying the Rosary or the Jesus prayer. The use of Latin is meant to unify people of different languages in a single, uncommon language.

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com