Musical Weekly

Musings from Choirmaster Timothy J. Krueger

Musical Weekly

8 May, 2017

In this issue:

· Forgot to attach my sermon last week

· SMCC’s Season Finale Concerts coming up quickly!

· This week at St. Andrew’s

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Several people had asked me to attach the sermon I preached a week ago here at St. Andrew’s, and I intended to do that last week, but forgot. So it’s attached this time.

A disclaimer: Many of you know of my religious skepticism, and might be surprised to see such a sermon preached from a church pulpit (i.e. to question the historical veracity of miracles in the Bible! Forsooth!). For those not aware, I was raised the son of a Baptist minister in a fundamentalist household; I went to Wheaton College, a prominent Evangelical institution. While there, however, the development of my intellectual life and the crystallization of my personality led me to question the religious assumptions of my upbringing, and I became something between an agnostic and an atheist. Yet I continued attending church, I became a staff singer here at St. John’s Episcopal Cathedral, and continued to pursue the study of sacred music as a postgraduate. I became an Episcopalian in the 1990’s, and have always felt an inexplicable, one might even say mystical, draw to Anglicanism. And St. Andrew’s cultivates an atmosphere particularly attractive to skeptics, such that I think our rector sees it as important every once in a while for the congregation to hear the voice of a skeptic from the pulpit, as so many of them will identify with it. I am profoundly grateful to her for her friendship and trust, her deep spiritual counsel, and her recognition of my vocation as an intensely committed but theologically unorthodox Anglican musician (I think it was RVW’s widow who described him as a “disappointed theist,” and this resonates with me).

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Yesterday St. Martin’s Chamber Choir had our first rehearsal with Richard Robertson, the organist for our season finale concerts “Sound the Trumpet!”, which will feature the Joseph Jongen (1873-1953) Mass for brass, organ, and chorus; and several motets by Anton Bruckner (1824-1896) for similar forces. And it is thrilling hearing the parts coming together. The choir sounds marvelous, and I am gaining a deep appreciation for the Jongen Mass as a thrilling and exquisite piece of music. It’s interesting to observe the roots of fame, neglect, obscurity, and the tendency for a composer to get “pigeon-holed” for one thing. Jongen is one of those who had a brilliant career as a teacher and performer, writing much orchestral and chamber music that got performed in his lifetime to wide acclaim; yet his music fell into obscurity after his death, and he is now chiefly remembered for only a small part of his oeuvre – his works for organ. His Symphonie Concertante is heard now and then, and considered by many to be the finest work for orchestra and organ in the repertoire. Likewise, his Mass Op. 130 has been championed sporadically over the last half-century as a tour de force. These partly explain his fate of being remembered as an organ composer, but one can’t help feeling it’s a bit unjust.

It’s also interesting to juxtapose the rather Teutonic solidity of Bruckner’s motets to the Gallic finesse and lyricism of the Jongen. Both reach rather thrilling climaxes; and both have moments of lush romantic harmonies couched in largely subdued dynamics; but the similarities end there. Bruckner’s motivic development is much tighter and more satisfying (to me); but his music will come off to some as inflexibly forced when compared to the supple beauty of what will come after the intermission in the Belgian composer’s work.

The works by Bruckner are Afferentur regi (SATB, 3 trombones), Libera me (SSATB, organ, 3 trombones), Inveni David (TTBB, 3 trombones), Locus iste (SATB), Christus factus est (I) (SATB, div.), Christus factus est (II) (SSAATTBB, organ, 3 trombones), and Ecce sacerdos magnus (SSAATTBB, organ, 4 trombones); as well as two Aequale for 3 trombones.

We collaborate with members of the justly famous Denver Brass. Anyway, get your tickets now to what will be an exciting concert: www.StMartinsChamberChoir.org/concerts, or call (303) 298-1970 for assistance.

· Fri., May 19, 7:30pm – St. John’s Episcopal Cathedral, 1400 Washington St., Denver

· Sun., May 21, 3:00pm – St. Paul Community of Faith, 1600 Grant St., Denver

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This last week was a real highlight for me in terms of the music at St. Andrew’s. The Choral Evensong on Thursday with a dectet of singers and organ turned out very well – I was extremely pleased (the bishop wasn’t there, it turned out – he was ill – but the 20-some congregants who did show up were treated to a wonderful service). And then yesterday’s renderings of the Stanford “The Lord is my Shepherd” were nothing short of thrilling. On the last three pages of this anthem, the choir and organ spiral upwards in a meticulously crafted and sustained climax (on the words “and I will dwell in the house of the Lord forever”), before subsiding at the end into the bucolic gentleness that characterizes the rest of the anthem. The choir and Ralph Valentine on the organ achieved this with marvelous intensity, and I was so emotional through the hymn that followed that I dared not look at anyone for fear of bursting into tears. Bravi to my colleagues, all!

This week’s Evensong will be the opposite – an intimate, quiet a cappella quartet rendering the following:

May 11, 2017, Choral Evensong: Nicolaus Ludwig von Zinzendorf

Preces & Responses: Thomas Ebdon (1738-1810)

Canticle of Light: “Round me falls the night” by Adam Drese (1620-1701)

Psalm: 101

Service: Thomas Kelway (c.1695-1749) in B minor

Anthem: (TBD)

Office Hymn: [copy into leaflet] (O Du Liebe meiner Liebe)

We mark the life of Nicolaus Ludwig von Zinzendorf (1700-1760), a man instrumental in allowing the Moravian Church to survive and flourish in 18th century Germany and then the United States. So all the music is from the 18th century (the hymn has a text by von Zinzendorf). I’m looking for a suitable Moravian anthem, but haven’t happed upon it yet, so it remains TBD above. Suggestions are welcome. 😉

May 14, 2017, Fifth Sunday of Easter

*Introit: “O come, ye servants of the Lord” by Christopher Tye (c.1500-c.1572)

Anthem: “The Lord hath been mindful” by Samuel S. Wesley (1810-1876)

Communion motet: “O how amiable” by Ralph Vaughan Williams (1874-1958)

Hymns: 430 (Sonne der Gerechtigkeit), *455 (Dunedin), 457 (St. James), 518 (Westminster Abbey)

The Wesley that we sang at Evensong last week will make a reappearance this coming Sunday, joined by Vaughan Williams’ “O how amiable.” My wife always gets choked up, she says, as the anthem segues into the hymn “O God, our help” at the end. It would be interesting to analyze when and why emotional responses like this occur.

Happy May!

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

10

The Third Sunday of Easter (April 30, 2017)

Ps. 116
Acts 2:14a, 36-41
1 Peter 1:17-23
Luke 24:13-35

The painting on your leaflet covers is the well-known depiction of today’s Gospel story, by the 19th-century Swiss painter Robert Zünd. A reprint of this painting hung in my parents’ bedroom as I was growing up. I loved this picture as a boy, especially the highly detailed portrayal of towering oak trees; the realistic touch of a culvert under the dirt road; the faint outline of a city in the hazy distance.

This painting has colored my personal imagery of this Gospel story ever since; but this year, a new phrase in this story has captured my imagination. It is a phrase of passion, of excitement, of vivid imagery: “Were not our hearts burning within us while he was talking to us?” Were not our hearts burning within us?

The phrase suggests being fascinated with something, or being irresistably drawn to something, without quite being able to put your finger on the reason. Indeed, this is, in a phrase, perhaps the most apt description of my spirituality that I can think of. When I had rejected the fundamentalism of my upbringing while at university and become an intellectual skeptic of all religion, I nevertheless retained a fascination for things ecclesiastical and things spiritual. I continued to pursue a degree in sacred music, and never missed a Sunday service, despite my theological wrestlings. Why was this? I think, because, though my intellect could not fully accept the tenets of orthodoxy, my heart still occasionally burned within me – like when I heard music within the context of worship, or when I walked into a Medieval church. My head doubted, but my heart still burned – for what I wasn’t quite sure; but it did – and it wasn’t just acid reflux.

Last week’s Gospel saw the Apostle Thomas not being willing to believe that the resurrection had taken place unless or until he had physical proof of it. In this week’s Gospel, by contrast, we are presented with persons who, even though they saw the risen Christ with their own eyes, and heard him speak with their ears, did not comprehend, did not apprehend. Hours passed in company with this stranger – and not just a stranger who happened to be quietly present, but a stranger who occupied their whole attention, whose discourse caused their hearts to burn within them. They listened, and responded, and queried, and looked into the eyes of Jesus – even as they spoke of him in light of recent events – yet they did not see him. They did not apprehend that this was he.

Yet – their hearts burned within them all the while; and the burning was not recognized for what it was until after Jesus had departed from them. Then they recognized that the sensation of burning hearts had been significant – had, indeed, indicated the true nature of this stranger, when their physical senses were unable to make the identification. It turned out, they reflected afterwards, that their senses had failed them, yet their hearts had been crying out the truth all along.

At the conclusion of last week’s Thomas story, the author of John’s Gospel writes this: “Now Jesus did many other signs . . . which are not written in this book. But these are written so that you may come to believe that Jesus is the Messiah, the Son of God.” Note that phrase, “these are written so that you may come to believe.”

I think it may be a characteristic of the ancient, pre-scientific, world that miracles were proof of the truth of something. Signs and wonders were the evidence that something was “for real.” They were seemingly what was required to prove that something was not only true, but important. I believe that many of the miracles of the Gospels – from the Star of Bethlehem and the virgin birth, right through to the resurrection itself – were put in the Gospels in order to make people pay attention, in order to “prove” the specialness of Jesus, and the truth of their claims. No ancient god was devoid of wondrous stories about him; so Jesus, the first Christians thought, should also have such stories.

Well, I must admit that I am skeptical of miracles. I tend to identify with another doubting Thomas – Thomas Jefferson – in finding the miracles of the Bible difficult to stomach. Jefferson famously created his own version of the Gospels, removing everything supernatural and miraculous, and retaining only the wisdom and sayings of Jesus, and the account of his death. I suppose I am with Jefferson in that my Enlightenment, scientific approach to truth disallows the supernatural. In direct contrast to the ancient mind, the presence of miracles in a story makes me less inclined to believe it than more.

Indeed, what is compelling to me about Christianity is not that Jesus performed miracles, or that he was born of a virgin, or even that he rose from the dead. In fact, most of these are impediments to my faith rather than otherwise. What is attractive, and even persuasive, about Christianity is more its story of sanctification of the physical world through the notion of God becoming man. That the Divine, which is usually seen as all-powerful, actually humbled itself to become one with humankind; that it gave up its power, and even suffered and died, and allowed itself to be utterly defeated at the hands of the creation that it sought to redeem with its love. That the Divine nature is about turning the other cheek, not getting even. This seeming contradiction – this utter weakness; this surrendering of power; this meekness in the face of arrogance – THIS is what persuades me that Jesus is a man worth following, and Christianity a way of life worth living, rather than some show of muscular power in smiting the heathen, or turning water into wine, or healing the blind, all in a bravura attempt to win my heart through a display of power. And is it not noteworthy in today’s Gospel that the disciples finally recognize Jesus, not through a miracle or any commanding display that would astound them, but through the mundane act of breaking bread, and serving them.

And I think it is this contradiction of a God who chooses love over power; who chooses to suffer rather than causing suffering; a God, as the Collect goes, “whose property is always to have mercy;” that causes my heart to continue to burn within me when I contemplate spirituality, even when my intellect prevents me from acceding to the more militant claims of Christianity. In fact, just like the disciples on the road to Emmaus, it is the burning of their hearts that is a truer indication of the presence of the Divine in their midst, than what their physical senses could apprehend. It is the burning of my heart as I make or listen to music; the burning of my heart as I contemplate what it is to be holy; the burning of my heart when I apprehend beauty, that is – perhaps – the truest indication of a Divine presence in my life. And perhaps it is the burning of our collective hearts as we worship and pray and sing, as we reach out to the homeless, as we break bread together – both here at the altar and below in the undercroft – that is the truest indication of a Divine presence in our life together as the community of St. Andrew’s.

Musical Weekly

3 May, 2017

In this issue:

  • “Sound the Trumpet” with SMCC
  • This week at St. Andrew’s

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It’s the last week of classes before finals at MSU-Denver, so I’m up to my ears in paper and exam grading.  Hence, just to keep it in front of your eyes – “Sound the Trumpet,” St. Martin’s Chamber Choir’s season finale concerts, with the Denver Brass and Richard Robertson, organist, are coming right up, and promise to be rip-roaring affairs:

 

Fri. May 19, 7:30pm – St. John’s Episcopal Cathedral, 1400 Washington St, Denver

Sun. May 21, 7:30pm – St. Paul Community of Faith (Lutheran), 1600 Grant St., Denver

 

Get your tickets now!  www.StMartinsChamberChoir.org/concerts/ ; or call (303)-298-1970 for assistance.

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Evensong this Thursday, being the first of the month, would normally be the full choir; but since the final Evensong of the month, May 25, is Ascension, we’ve moved the full choir to that day.  So this week we will have a festive octet with organ.  The bishop may even be in attendance (as he has a meeting at the church before Evensong, and is visiting our Catechumenate class after Evensong, so why wouldn’t he stay for Evensong, eh?  He’s been invited anyway, so we’ll see).  Here’s the music:

 

May 4, 2017, 5:45pm; Choral Evensong: Monnica of Hippo

Preces & Responses: Richard Ayleward (1626-1669)

Canticle of Light: “O Lord, the maker of all things” by William Mundy (d. 1591)

Psalm: 115:12-18 (plainchant)

Service: Charles Stanford (1852-1924) in C

Anthem: “The Lord hath been mindful” by Samuel S. Wesley (1810-1876)

Office Hymn: 278 (Rustington)

 

Some old chestnuts here, but good’uns.  Stanford in C is perhaps the most iconic of all service settings.  It is the first piece on St. Paul Cathedrals recording “My soul doth magnify” from the 1980’s, and in this form captured my fancy as an undergrad even before I’d ever heard the name Stanford.  Such was its power, one might say, that within 5 or 6 years I was doing a dissertation on Stanford as a post-graduate in England.  And though some of Wesley is a bit sentimental, his finest work is solid and strong.  The melody of this particular anthem is what the Germans would call an “ear worm.”  It’ll be in my brain for days following the service!

 

May 7, 2017, Fourth Sunday of Easter (Good Shepherd Sunday)

*Introit: “The Lord my pasture shall prepare” by William H. Harris (1883-1973), arr. for a cappella voices: TJK (2013)

Anthem: “The Lord is my shepherd” by Charles Villiers Stanford (1852-1924)

Communion motet: Ego sum pastor bonus by Giovanni Bonaventura Matucci (1712-1777)

Hymns: 399 (Camano), *645 (St. Columba), 343 (St. Agnes), 708 (Sicilian Mariners)

*11:00 service only

 

Some more Stanford here, this one from early in his career, written while he was still in his 20’s.  The service in C, referenced above, was the product of his final years, written in his 60’s.

 

The Matucci is a good piece from a too-little know group of composers — 17th-18th century Italian ecclesiastical composers. I sometimes think that, if I were to be approaching my post-graduate career now (although I do not regret in the least what I did at Royal Holloway College, University of London, under Lionel Pike – even though I never finished the degree program), I might focus my attentions on this fallow field of Italians.  I have found much of their a cappella motets and masses to be very solid pieces, written in imitation of Renaissance models, but incorporating harmonies unknown (or at least unused) at that time, like diminished 7ths, etc.  I suspect there is much musicological work to be done on the likes of Pitoni, Pisari, Perti, Casciolini, Matucci, Gasparini, Benevoli, Colonna, etc.

 

That’s all for this week.

 

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

25 April, 2017

In this issue:

  • My annual round in the pulpit…
  • SMCC “Sound the Trumpet” shaping up
  • Call for more Festival Singers for Beethoven’s 9 and/or Holst “Planets”
  • This week at St. Andrew’s

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Our rector Elizabeth asks me to preach once each year here at St. Andrew’s, and this year she offered me a Sunday in Eastertide.  After being turned down for Easter Day itself*, I selected Easter 3, this coming Sunday, which is the story of the Road to Emmaus, if you know that one.  Perhaps I’ll attach the sermon to next week’s Weekly, but it would do me great honor if my Denver friends were to come and hear me deliver the sermon live this Sunday, at either 9 or 11 a.m.

 

*kidding, obviously

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The vocal portion of St. Martin’s Chamber Choir’s next concert, “Sound the Trumpet,” is beginning to shape up.  The complete Bruckner motets with brass (5) (plus a couple a cappella ones to round out the first half) are testing the upper dynamic levels of the singers’ voices; and once the brass, and occasionally organ, get added, we’ll be raising the rafters!!  And the Joseph Jongen Mass for 10 brass instruments, organ, and choir has been a real eye-opener in rehearsals so far.  It, too, will have its moments of exultation and bravura; but sections of delicate beauty, and some very interestingly chromatic harmonies, are captivating me as well.

 

We will be joined by members of the Denver Brass, and organist Richard Robertson for these concerts.  Quite a fitting climax to the 2016-17 Season, our 23rd.  Get tickets now at www.StMartinsChamberChoir.org/concerts/, or call the office at (303) 298-1970 for assistance.

 

  • Friday, May 19, 7:30pm, St. John’s Episcopal Cathedral, 1400 Washington St., Denver
  • Sunday, May 21, 3:00pm, St. Paul Community of Faith (Lutheran), 1600 Grant St., Denver

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Most of you will know what I’m talking about when I say “St. Martin’s Festival Singers” – the expansion of the chamber choir with local excellent volunteer voices – due to the much heralded debut of this group last September on RVW’s Dona nobis pacem.  Well, I’m pleased to say that the waves of enthusiasm have reached the attention of important people (as opposed to all of us!), namely the Colorado Music Festival in Chautauqua Park, Boulder.  And they have hired the Festival Singers to be the choir this summer for performances of Beethoven’s 9th, and a couple weeks later, the Holst “Planets.”  In sending word to the ranks of last fall’s Festival Singers, I’ve filled most spots for these performances, but I still have the following openings:

 

Beethoven 9:                        Holst “Planets”:

3 sopranos                        2 sopranos

4 altos                              4 altos

7 tenors

1 bass

 

So I am putting the call out to persons wishing to audition for potential inclusion here to let me know.  If you think you or someone you know, would be a potential addition; or if you could publicize this call for singers to choirs you are associated with, and let people know to get in touch with me, I’d appreciate it.  Upon application, I’ll give you the full rehearsal and performance schedule (4 rehearsals/2 concerts for each).

 

The Festival Singers will be participating in the 2017-18 St. Martin’s Season, as well (soon to be released), probably in two concerts on Sept. 22 and 24, so keep your eyes peeled for these, too.

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Evensong this Thursday (5:45pm) is of the intimate variety (an a cappella quartet), marking the life of Christina Rossetti, English poet. Most of you would be familiar with her through her Christmas poetry – “In the bleak midwinter,” and “Love came down at Christmas” being the two that spring immediately to my mind.  We will sing the following music:

 

April 27, 2017, 5:45pm; Choral Evensong: Christina Rossetti (1830-1894)

Preces & Responses: Herbert Sumsion (1899-1995)

Canticle of Light: Phos hilaron by Susan Brown (2001)

Psalm: 84 (plainchant)

Service: Thomas Barrow (C. 1720-1789) in F

Anthem: “Love came down at Christmas” by Rodney Williams (b. 1941)

Office Hymn: 112 (Cranham)

 

I wanted to program a service setting that would have been contemporaneous with Rossetti, but there are so few a cappella settings from the late 19th century that are adequately rendered by a quartet, that I couldn’t find one.  Goss in E is a possibility, but I don’t have the voices engaged tomorrow that I felt would make Goss in E “work,” so I moved back a century to a lovely 18th century setting by Thomas Barrow (a singer [alto] in the Chapel Royal – premiered some of Handel’s oratorios).  I liked having a female composer for something (the Canticle of Light); and the setting of “Love came down” is by old friend Rodney Williams, a retired bass from the Westminster Abbey choir (Richard Barnes – would you let him know, since he doesn’t do e-mail, that we’re singing this?).  He and I met at the Abbey in the 90’s when I was doing my dissertation on Stanford, and I was in the Abbey archives (“Muniment Room” – I love that!) doing some research on the dates of the earliest performances of Stanford’s services.  We became fast friends.

 

This coming Sunday will include the following music:

 

April 30, 2017, Third Sunday of Easter

*Introit: “O sing joyfully” by Adrian Batten  (1591‑1637)

Anthem: “Easter Light” by Cecilia McDowall (2016)

Communion motet: Bleib bei uns by Josef Rheinberger (1839-1901)

Hymns: 208 (Victory), *305 (Rosedale), 202 (Ad cenam Agni providi), 432 (Laudate Dominum)

*11:00 service only

 

I wrote in these pages recently about my having made the acquaintance of English composer Cecilia McDowall at the national ACDA convention in March.  We’ll be performing one of her anthems this Sunday (my first, but certainly not the last – I’ve already planned two more in Advent and Christmas, and a major work for St. Martin’s in a concert next December).  I find her music at once accessible and challenging – accessible in that the lines are singable (well-suited to the voice, and not too difficult) and pleasant to the ear – challenging in that the harmonies have just enough dissonance to give a piquancy to the overall flavor of the piece, and that there is an overarching architectural conception to a piece’s structure, making the planning and placement of climaxes quite important to plumb the full potential of the music.  This particular anthem was written for Easter of 2016 for the choir of Bruton Parish Church, Williamsburg, Virginia.  And what most captivated me when playing through it recently, I must admit, is the clear reference to bird-song in the organ (solo stop) when lyrics about a meadowlark appear.  I asked Cecilia whether it was an attempt to actually mimic the pitches of a certain bird’s song, and she replied that the text was written by a naturalist resident in Williamsburg whose mission was to save the Eastern Meadowlark from extinction in Virginia; and having listened to recordings of the bird, that, “though not literal, I hope [it] gives a little flavour of these sweet birds’ delicate tones.”

 

That’s all for this week!

 

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

19 April, 2017

In this issue:

· SMCC “Fun Raiser” at home of (and featuring) Terry Schlenker

· What’s next for SMCC?

· This week at St. Andrew’s

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This Friday (day after tomorrow) will feature a fun(d) raiser (called “Posh Piano Bar,” but it’s more like an intimate home party) at the Wheat Ridge home of Terry Schlenker, and featuring him (among other SMCC singers) on the piano. Heavy hors d’oeuvres, wine, cocktails, etc. Terry will play his own piano compositions (you’ve heard his choral works written for and sung by SMCC; now hear his piano pieces!); and other singers to be playing include tenor Daniel Hutchings accompanied by his wife Rachael in some songs that she composed for the two of them; pianists Karissa Swanson and MB Krueger (as well as myself) – and possibly even a Noël Coward tune or two sung by me.

This Friday evening, 6:00p.m., at 6740 W. 28th Ave., $40. Reserve tickets with Steve Grupe at our office: (303) 298-1970. Come join the fun! And it’s for a good cause.

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St. Martin’s Chamber Choir’s next, and final, concert of the 2016-17 Season is called “Sound the Trumpet,” and features works for brass, chorus, and organ, as follows:

· First half: The complete works (6) of Anton Bruckner (1824-1896) for brass and chorus (and organ in some cases)

· Second half: Mass, Op. 130, for 9 brass instruments, organ, and chorus, by Joseph Jongen (1873-1953)

I’ll expand on descriptions of these works in future Weeklys. St. Martin’s Chamber Choir will be joined by members of the Denver Brass, and Richard Robertson, organist, for these concerts. A not-to-be-missed extravaganza!! Get tickets now!

· Fri., May 19, 7:30pm, St. John’s Episcopal Cathedral, Denver

· Sun., May 21, 3:00pm, St. Paul Community of Faith (Lutheran), Denver

www.StMartinsChamberChoir.org/concerts/; or call (303) 298-1970 for assistance.

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With Holy Week, 2017, now “in the books” (and my congratulations to the choir and organist of St. Andrew’s – many, many stunning moments of great musical and spiritual profundity), here’s what’s up next at St. Andrew’s.

With hardly a breathing pause, Evensong this Thursday, within the “octave” of Easter and hence still very celebratory, will feature a dectet of singers with organ rendering the following Eastertide music tomorrow at 5:45pm:

April 20, 2017, 5:45pm; Choral Evensong: Thursday in Easter Week

Preces & Responses: Herbert Sumsion

Canticle of Light: “Hail, Gladdening Light” by Charles Wood (1866-1926)

Psalm: (plainchant)

Service: A. Herbert Brewer (1865-1928) in D

Anthem: Angelus Domini by Josef Rheinberger (1839-1901)

Office Hymn: 187 (Straf mich nicht)

This coming Sunday, the full choir has the Sunday off in honor of all their fantastic work last week in 11 services over the course of 8 days! But there is still music, including, at the 9:00 service, a visiting choir, from St. Elizabeth’s School (Episcopal). Two of their choirs, the elementary-age choir (50-some 2nd-5th graders), and the Middle School Choir (a dozen 6th and 7th graders) will sing at 9:00. Ralph Valentine will be on hand to accompany hymns and service music as usual; but the Gradual, Anthem, and Communion motet will be rendered by the choirs of St. Elizabeth’s School – a school started a dozen years or so ago by, mainly, parishioners from St. Andrew’s!

Then at the 11:00 service, the following music will be sung by the staff singers (and a couple volunteers – again, a dectet, probably):

April 23, 2017, Second Sunday of Easter; 11:00am

Introit: “Alleluia, Come, good people” by Katherine Kennicott Davis (1892-1980)

Anthem: O filii et filiae, Medieval French Tune, arr. Philip Moore (2011)

Communion motet: “Now the green blade riseth,” Traditional French Carol, arr. Philip Moore (1996)

Hymns: 193 (Puer nobis), 186 (Christ lag in Todesbanden) 188 (Savannah), 209 (St. Botolph)

The two pieces arranged by Philip Moore (organist of Canterbury, Guildford, and York cathedrals, now retired) are quite captivating, especially the O filii et filiae (“O sons and daughters, let us sing…”), which is for organ and chorus. Very haunting, and rising to an incredible climax near the end before subsiding back into mystery. I met Moore at the most recent AAM convention (in Connecticut last summer), sitting near him at lunch, and we had just embarked on what promised to be a fascinating and animated conversation when he suddenly got called away, as a piece of his was being rehearsed by the choir that was singing Evensong that evening, and his presence was required. He said “We must resume this fascinating converstation later,” and it seemed he said it with genuine conviction, honoring me with the impression that he liked me. Alas, we never crossed paths again during that conference, and I didn’t make enough of a connection with him to feel that, if I sent him an e-mail now, he would adequately recall me, distinct from all the other people he must have met. But I was left with an altogether favorable impression of him as a friendly human being, between whom a spark of personal chemistry seemed to have been struck.

The life of a church musician never seems to be “on hold.” There will be a lessening of duties once classes are over at MSU-Denver in four weeks; and SMCC will cease regular rehearsals for the summer once we’ve performed the above “Sound the Trumpet” concerts; so there is relief in view; but the liturgical year marches ever on!

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

10 April, 2017

In this issue:

· Interesting responses to my reflections last week

· St. Martin’s “Fun Raiser” featuring (and at the home of) Terry Schlenker

· It’s Holy Week at St. Andrew’s!

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In response to my musings on the often tiny difference between a good concert and a great concert, I got a number of interesting reflections. First, from a former SMCC singer (Scott) who was at the Friday night concert, and provides some perspective:

I hope you don’t despair over the Friday performance. It’s true that it took most of the first set for the choir to really warm up and settle in, but after that, there were also passages of great beauty – in blend, intonation, articulation, and the dynamic phrasing of the lines. I felt very satisfied with the performance as a listener, despite being aware of some of the challenges that you, as performer, would have been much more cognizant of. I am very glad that you chose to program this work, as well. As a longtime fan of TL deVictoria, I knew that this would not be a concert to miss. In fact, it is programs such as this that remind me that I wish someday to end my retirement from singing and perform masterpieces such as this again. Thank you for including this program this season – it was no “dud” in my book!

Thanks, Scott! I agree that it was not a “dud,” and I’m really glad you enjoyed it so much. Your ear is probably even more attuned than the average listener to the infinitesimal gradations of tuning and blend that disappointed me on the first two nights; so your words are encouraging. J

Another SMCC singer, Jesse, commented on the importance of a performer not to let the errors themselves affect either the performance itself nor the demeanor of the performers:

The difference between the standing ovation and the dampened evening is not in the errors themselves, but in the performers’ mien which can be changed by the errors. If I am prepared and perform with heart, I can make a few errors, but it is possible to continue to have a great time and exude the confidence and joy which, times 20 singers, brings an audience to their feet. But if singers are making little errors and letting it affect the character of their performance, the audience will catch onto that. The situations I can recall where groups I was in could have bombed in this way but instead pulled off victorious performances were situations where we as a group were really enjoying being together and making great art. There was an adrenaline factor, like a sports event (only with better goals than just winning). I can also recall other performances where a group I was in worked just as hard or harder, but because of small disappointments, the performance took a more serious turn, and no matter how heartfelt the music was, or how great the money notes were, our inner struggle was communicated just as surely to the audience as our joy should have been. One of the great violinists, it might have been Yehudi Menuhin, said that he was frustrated because a musician was expected to spend all their time practicing, and yet play with the emotions of someone who actually spent time living.

I also had a couple fascinating face-to-face conversations with people who had read my Weekly reflections, including good friend Stu, a jazz pianist (over a delightful lunch of Chinese dim sum!). We reflected on the issues I raised last week, but then also talked about differences and similarities in this sphere between improvisatory-based live music-making (jazz, liturgical organist, etc.), and non-improvisatory (choir or classical orchestra concerts). It was a wide-ranging conversation that I just wanted to make grateful note of here, not attempt to reproduce any of our points.

That’s all I have for now.

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On Friday, April 21 (the Friday after Easter), St. Martin’s Chamber Choir hosts a “Fun Raiser” at the beautiful home of Terry Schlenker, a St. Martin’s singer and a composer much beloved to many in the SMCC audience. It will feature Terry playing some of his piano compositions, and a few other St. Martin’s singers playing and/or singing as the entertainment. Meanwhile, sumptuous so-called “heavy appetizers” (i.e. you can make dinner out of it) and drinks (cocktails, wine, beer, soda, etc.) will keep spirits up. And it’s all to benefit a rather worthy cause (remember my reflection in last week’s Weekly about “earned” and “unearned” income? This fits into the latter category, ironically). To reserve a place ($40 per), follow this link: http://www.stmartinschamberchoir.org/feasts/, and click on the “Click” icon after this particular event (second one down). Rumor has it that I will be singing a Noël Coward number or two accompanied by MB … I hope to see you there!

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Since it’s Holy Week, and we have a million (well, eight) services in the next six days, I’ll dispense with any mention of St. Martin’s’ next concert, and get right to the music listings. If you’re curious, and not even particularly religious (or a member of some other church but would like to visit on a night when your church doesn’t have a service), I encourage you to come to any that intrigue you. The singing and organ playing at St. Andrew’s, in case you haven’t caught this hint before, I consider to be of a pretty high calibre, well worth your effort. 😉

Tues., April 11, 2016, 7:00pm: The Way of the Cross

A procession moves around the church in this service, stopping at each of the bronze Stations that we have (Marian Buchan is the artist, 1930’s), and we sing a setting of the text Adoramus te at each one (congregation sings along with plainchant on every third Station). The ten settings of the Adoramus te not sung to plainchant are by:

· G. P. da Palestrina (1525-1594)

· Anonymous 10th C. (Codex Montecassio)

· Mariano Garau (1997)

· G. B. Martini (1706-1784)

· G. A. Perti (1661-1756)

· G. M. Nanino (1543-1607)

· G. O. Pitoni (1657-1743)

· Q. Gasparini (1749-1770)

· B. Britten (1910-1976), adapt. TJK (2017)

· Geert Verhallen (1997)

We conclude the service with F. A. G. Ouseley’s “O Savior of the World.”

c. 40-45 mins. Highly recommended for the curious (mostly music)

Weds., April 12, 2017, 7:00pm; Tenebrae

This service goes from illuminated to completely dark by the end. Candles are extinguished (and the church becomes darker with each one) as penitential psalms are chanted. Other music as follows:

Lamentations of Jeremiah, TJK (2001)

Tenebrae Responsories, Healey Willan (1880-1968)

Christus factus est by Felice Anerio (1560-1614)

Miserere by Gregorio Allegri (1582-1652) (complete with famous high Cs).

c. 45-50 mins. Highly recommended for the curious (entirely music)

April 13, 2017, 7:00pm; Maundy Thursday

Entrance Hymn: 315 Song 1

Sequence Hymn: 581 Cheshire

Anthems during the Footwashing:

· “Peace is my last gift,” Plainsong, Mode I, harm. James McGregor (b. 1930) and MB Krueger (2005)

· “Drop, drop slow tears” by Orlando Gibbons (1583-1625)

· “This is my commandment,” variously attrib. to Thomas Tallis (c.1505-1585) or William Mundy (d. 1591)

· “A new commandment” by Richard Shephard (b.1949)

· “God is love” by A. Gregory Murray (1905-1992)

Anthem: “Draw us in the Spirit’s tether” by Harold W. Friedell (1905-1958)

Fraction Anthem: Tantum ergo by Maurice Duruflé (1903-1986)

Communion motet: Ubi caritas by Maurice Duruflé (1903‑1986)

Hymns: 315 (Song 1), 581 (Cheshire), 314 (Adore devote), 313 (Jesus, meine Zuversicht), 320 (Lauda Sion salvatorem) 329 (Pange lingua)

c. 90 mins. Not recommended for the curious, unless you need your feet washed (ha ha), or want to commemorate the institution of the Lord’s Supper.

April 14, 2017, 12:00 Noon; Good Friday

The St. John Passion by Tomas Luis de Victoria (1548-1611)

Hymn 471 (Breslau)

Procession: Crux fidelis by King John IV of Portugal (d. 1656)

The Anthems at the Veneration, by TJK (2007)

Procession to the Altar of Repose: Hymn 166 Pange lingua

Communion motet: “My God, my God, look upon me” by John Blow (1648-1708)

Hymns: 471 (Breslau), 166 (Pange lingua) 168 (Herzlich tut mich verlangen [Passion Chorale])

c. 75 mins. Moderately recommended for the curious – the most solemn of all the services (high quotient of music to spoken word)

April 14, 2017, 7:00pm; Downward to Darkness

Viola Preludes (Dane and Bach)

“Give me that Stranger” by Michael McCarthy (2010), based on Byzantine Troparion of the Burial of Christ

Hymn 173 (Traurigkeit)

“O Lord, look down” by Jonathan Battishill (1738-1801)

Viola solo (Benjamin Britten – based on the Russian Kontakion of the Departed)

“Ah, holy Jesu” arr. by John Ferguson (1995)

Hymn 172 (Were you there?)

c. 45 mins. Highly recommended (mostly music, and what’s not is poetry and other sacred readings. Also features one of the finest violists I have ever had the honor of being associated with, Matt Dane)

Sat., April 15, 2017, 7:00pm; The Great Vigil of Easter

Responses to readings:

· “I will sing unto the Lord” by John Amner (1579-1641)

· Sicut cervus by G. P. da Palestrina (1525‑1594)

· “When the Lord turned again” by Adrian Batten (1591-1637)

Anthem: Te Deum by Charles Villiers Stanford (1852-1924), from the B flat Morning Service

Communion motet: Angelus Domini by Josef Rheinberger (1839-1901)

Hymns: 398 (Kingsfold), 296 (Engelberg), 199 (St. Kevin), 191 (Hyfrydol)

c. 120 mins. Not recommended for the curious visitor (long and esoteric. It’s the best Easter service to go to for the regular parishioner, however, in my opinion)

April 16, 2017, 9 and 11am; Easter Day (Full Choir both services)

Introit: Jauchzet dem Herrn by Gottfried August Homilius (1714-1785)

Anthem at the Asperging: “Most Glorious Lord of Life” by William H. Harris (1883‑1973)

Sequence: “Rise up, my Love” by Healey Willan (1880-1968)

Anthem: “Sing ye to the Lord” by Edward Bairstow (1874-1946)

Communion motet: Easter (“I got me flowers”) by Daniel Burton (1984)

Hymns: 207 (Easter Hymn), 174 (Salzburg), 210 (Ellacombe), 204 (Noël nouvelet), 180 (Unser Herrscher) with Parry Choral Amen

c. 90-95 mins. (highly recommended for the curious visitor. Lots of noise and joy).

So that’s that. I’ve scheduled a massage for myself on Easter Monday, as I will probably not be good for much of anything else after all this!!

Blessed Holy Week to all.

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

3 April, 2017

In this issue:

· Reflections on good vs. great

· What’s next for SMCC? Duruflé Requiem this weekend!

· And then?

· This week at St. Andrew’s

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This past weekend saw three concerts of the Victoria Tenebrae Responsories with a cameo group of 12 singers. The third, on Sunday afternoon, was one of the finest, most perfect, most captivating concerts St. Martin’s has ever performed, in my opinion. The choir was utterly engaged every second of the long 1’20” intermission-less period; the tuning was impeccable, the voices beautiful, the blend perfect (helped by the acoustics of St. Paul’s), and we had the audience utterly in the palm of our hand. The passion in the voices as we flawlessly weaved the intricate lines of counterpoint brought tears to my eyes three times during the concert. It probably came off to the audience as effortless, but it was darned hard work getting there, and the singers were amazingly focused. I left the concert on a pillow of rapture about as puffy as any I have every experienced.

Now, compare that to the two concerts that preceded it on Fri. and Sat. nights. Not bad concerts by any combination of descriptors, so the difference between good and great is a fine line indeed – but a fine line that is rarely crossed, and therefore a seemingly very impervious one. I regret that the audiences at the first two concerts could not have heard the utter perfection of the last concert; but I hope they feel they got their money’s worth. However, I have to admit (now that it’s over – I never would have told the singers this immediately for fear of causing morale or confidence collapse), I left both of the first two concerts with a slight burden on my heart that I couldn’t quite put my finger on. I felt vaguely disappointed, as I knew things could have gone better in terms of tuning, blend, and what I call “stupid mistakes,” i.e. brain-farts, or new mistakes in easy passages that happen when focus is lost for the briefest second (a misread interval, giving an extra half-beat to this or that note, etc.). That martinis a drank after those concerts were in a sullen rather than a celebratory mood, and I felt like I had programmed a right “dud,” that those audience members would never return to another of our concerts, and that everything was my fault.

Then came Sunday’s performance, and my own feeling and the reaction of the audience (the only standing ovation of the three concerts, and it was richly deserved) made me feel I was not such a dud after all, and not only restored by self-confidence, but vaulted it to a dangerously high level!

Anyway, it has led me to ponder how minimal, almost ineffable, the flaws can be to make a concert seem like a failure to one of the performers, even if an objective observer might find little difference between two performances. Comments and observations welcome.

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This weekend, 12 singers from St. Martin’s Chamber Choir are joining the Alpine Chorale (whose conductor is one of our occasional singers [he sang in the very first SMCC concert ever in 1993!], David Farwig) in a concert featuring the Duruflé Requiem. The SMCC singers will sing the Duruflé Quatre Motets on their own (Ubi caritas, Tantum ergo — that lot); the Alpine Chorale is singing a handful of numbers on their own; and then the two choirs join forces for the Requiem in the second half.

When I’ve been asked what Requiem I would want performed at my funeral (after I suppress the response that I am not a Roman Catholic and therefore wouldn’t want a Requiem [I find the Requiem text rather horrific, in terms of my personal inferno-less theology]), the Duruflé is usually tops on my list. If one is to include non-standard Requiems, then I might prefer either the Brahms or the Howells; but among those Requiems containing the official R. C. text, it would have to be Duruflé or Mozart.

Here are the concert details:

· Fri., April 7, 7:30pm, Wheat Ridge United Methodist Church (38th Ave. and Wadsworth)

· Sat., April 8, 7:30pm, ditto venue

And here’s how to get tickets: http://alpinechorale.org/concerts/

I’d love to see many of my SMCC fans there!

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There’s one more concert in the St. Martin’s Chamber Choir season – “Sound the Trumpet!” This concert will feature the Denver Brass and Richard Robertson, organ, on the Joseph Jongen (1873-1953) Mass Op. 130, and six motets by Anton Bruckner (1824-1896) for brass and chorus. We will be joined by 9 brass players from the Denver Brass, as well as Richard Robertson, and raise the rafters of the two venues in question.

Jongen was a Belgian composer of a generally late-Romantic style (think Franck or Fauré), so nothing too dissonant here, and a really interesting work (and LOUD). It is so jealously guarded by the holders of the copyright that there are no recordings of any part of it on YouTube (all quickly deleted, if anyone puts one up, I suspect), so it’s sort of like the Allegri Miserere of its day! Only to be heard live.

Not that th following paragraph should persuade you to come, nor to make you sorry for us, but just an observation – this is perhaps the most expensive concert we have ever mounted. The fees of the instrumentalists combined with the rental of the parts ($$$!!!), the incredibly expensive choral scores for the Jongen, performance fees, singer salaries, etc. etc., we are going to lose a lot of money on this concert. But that’s what we do. We have a mission to perform fantastic and often obscure classical music for our audience. Some concerts turn a profit (Christmas), but most of the others don’t. It’s why the budgets of every non-profit are made up of “earned” income (ticket sales, ad sales, recording sales, etc.) and “unearned” income (donations, grants, etc. — hardly “unearned,” but that’s another topic for discussion!). So don’t worry – we’ve got the money already in the bank for this concert (unlike a recent, well-publicized example of a local performing organization that went suddenly belly-up after a concert, failing to pay almost all of its musicians). But still, it would be a help for us to have healthy tickets sales for this concert; and you’ll enjoy it anyway. Who doesn’t like organ and brass and choir?!! You know you’re going to want to come!!

· Fri. May 19, 7:30pm, St. John’s Episcopal Cathedral, 1400 Washington, Denver

· Sun. May 21, 3:00pm, St. Paul Community of Faith (Lutheran), 1600 Grant St., Denver

Get tickets here: www.StMartinsChamberChoir.org/concerts/

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This week is Palm Sunday, the beginning of Holy Week. At St. Andrew’s we have services (sometimes multiple) every day except Monday, and each one is a musical feast. I’ll post the schedule below.

But before we get there, we have the final Evensong of Lent this Thursday, and it will be a cornucopia of Henry Purcell (1659-1695), sung by an octet and featuring Ralph Valentine on organ. Here’s the music:

April 6, 2017, 5:45pm; Choral Evensong: The Thursday in the Fifth Week in Lent

Responses: Thomas Tomkins

Canticle of Light: Ego cubui et dormivi by Henry Purcell (1659-1695)

Psalm: 142 (plainchant)

Service: Henry Purcell in G minor

Anthem: “Hear my prayer, O Lord” by Henry Purcell

Office Hymn: 171 (Petra)

Here’s the music for Palm Sunday:

April 9, 2017, 9 & 11am Palm Sunday

Anthem at the Distribution of Palms: “Hosanna to the Son of David” by Thomas Weelkes (1576-1623)

Outdoor processional: “Ride on, ride on” to Hymn to Joy (with Bagpiper Michael Lancaster)

Anthem: Solus ad victimam by Kenneth Leighton (1929‑1988)

*Fraction Anthem: “Verily, verily I say unto you” by Thomas Tallis (c.1505‑1585)

Communion motet: Christus factus est by Anton Bruckner (1824-1896)

Hymns: 174 (Valet will ich dir geben), *458 (Love unknown), 168 (Herzlich tut mich verlangen [Passion Chorale]), 164 (bANGOR)

This service begins with an outdoor processional, and we will have a bagpiper leading us again this year as we march around the block. But the real delicacies of the service are the Weelkes, the Leighton, and the Bruckner, especially the latter two. Very powerful, anguished pieces. And the choir sounds magnificent on them.

Here are the rest of the services (with music – there are three others that are spoken) in Holy Week:

Tues., April 11, 7:00pm – Stations of the Cross (the choir sings 14 different settings of Adoramus te as a procession moves around the church, focusing on our exquisite set of stations bronzes. c. 45 mins. – my personal favorite service of the week)

Weds., April 12, 7:00pm – Tenebrae (another largely choral service, featuring the Allegri Miserere [complete with 7 high C’s from Ashley H.], my Lamentations of Jeremiah [2001], and many psalm chants, all sung as the church becomes successively darker, ending in pitch darkness. c. 60 mins. This is the favorite Holy Week service of most of my acquaintance)

Thur., April 13, 7:00pm – Maundy Thursday (commemorating the Last Supper [hence, the institution of the Eucharist], there is footwashing and later, after Communion, the stripping of the altar, where everything in the sanctuary (everything, including chairs) is removed, and – my favorite moment – the host is carried in a monstrance to the altar of repose while we sing “Sing my tongue the glorious battle.” c. 90 mins. )

Fri., April 14, 12:00 Noon – Good Friday Liturgy (marking the crucifixion, the choir sings the Passion [T. L. de Victoria], my own “Anthems at the Veneration” [composed in 2008], King John’s Crux fidelis and John Blow’s “My God, my God.” c. 1 hour)

Fri., April 14, 7:00pm – Downard to Darkness (a service of poems, readings, and music, all of a very solemn nature, as we observe Christ in the stillness of the tomb, and our own utter wretchedness. c. 45 mins.)

Sat., April 15, 7:00pm – Great Vigil of Easter (begins outside with the lighting of the new fire; a variety of lessons are read in the dark church with musical responses; then the resurrection is declared, the lights are turned on, the organ is heard for the first time since Maundy Thursday, and the joyous first service of Easter is celebrated. Featured works: Stanford Te Deum in B flat, and Rheinberger Angelus Domini. c. 2 hours)

Sun., April 16, 9 and 11am – Easter Day (as you’d expect; featured works this year are Bairstow “O sing unto the Lord,” Harris “Most glorious Lord of life,” Burton “I got me flowers,” Willan “Rise up my love,” and Homilius Jauchzet dem Herrn. c. 90 mins.)

Whew! That’s enough for now, eh?!!

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

27 March, 2017

In this issue:

· SMCC — Forsaken: The Victoria Tenebrae Responsories — THIS WEEKEND

· Meeting composers galore!

· This week at St. Andrew’s

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Here’s the link again to the promo video for this weekend’s St. Martin’s Chamber Choir concerts (including its potentially humorous typo!): https://youtu.be/b4bqrVvjEPE As you listen to the sound-track in the background (there are two extended clips later in, including an entire movement at the end [the O vos omnes], so listen all the way through), you will hear how fantastic the choir (12 voices) is sounding. I’m very pleased and proud of them.

Delicious Spanish Renaissance polyphony, darkened churches (well, except for the matinee concert – but luckily that concert features the best acoustic of the three, in my opinion), and the dolorous sounds of Holy Week exquisitely rendered by an authentically-sized ensemble are the delectations to be anticipated at these concerts. We don’t anticipate any concert selling out (although Saturday night’s is closest, with the house already over half sold), so tickets may be obtained at the door; however, if you want to be safe, here’s where to get the tickets in advance: www.StMartinsChamberChoir.org/concerts/, or call the office at (303) 298-1970.

· Fri. March 31, 7:30pm, Holy Cross Lutheran Church, 4500 Wadsworth Blvd., Wheat Ridge

· Sat. April 1, 7:30pm, St. Andrew’s Episcopal Church, 2015 Glenarm Place, Denver

· Sun. April 2, 3:00pm, St. Paul Community of Faith, 1600 Grant St., Denver

If you’re worried about parking at the Sunday matinee (sometimes an issue – the lots around the St. Paul are pay lots, and you take the risk of a ticket, as they are not owned by the church itself), you could park at St. Andrew’s, which is four blocks away, and walk on a – hopefully – pleasant early Spring Sunday afternoon! Though these lots are also pay lots, they are owned by St. Andrew’s and therefore you will not be penalized!

I hope to see many of you Denver friends there!

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I had lunch today with Scottish composer Chris Hutchings, in town visiting relatives for a few days. I had not previously been acquainted with his music, but he gave me some sample copies, and I listened on his website (http://www.hutchingsmusic.co.uk/) to very fine performances by groups such as the Christ Church (Cathedral) Choir of Oxford, and St. Giles Cathedral, Edinburgh, among many others. I look forward to getting to know his music (and he gave me a new setting of the Preces & Responses that has not yet been performed. Maybe St. Andrew’s will have the honor to premiere it!). Combined with the other composers I had the pleasure of meeting at the ACDA convention earlier this month, like Cecilia McDowall, I am being brought into the 21st century at last! 😉

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Evensong this Thursday, 5:45pm, features yet another Fauxbourdons service (next week I’ll break the pattern with a “normal” setting by Herbert Brewer), this one by Thomas Morley. Here’s all the music:

March 30, 2017, 5:45pm, Choral Evensong: The Thursday in the Fourth Week in Lent

Responses: Wm. Smith

Canticle of Light: “O Gracious Light” by John Stainer (1840-1901)

Psalm: 73 (II.a)

Service: Thomas Morley (c.1557-1602) Fauxbourdons service

Anthem: Ego sum pastor bonus by Giovanni Bonaventura Matucci (1712-1777)

Office Hymn: 27 (Lucis Creator optime)

And the music for this Sunday features a couple of interesting pieces:

April 2, 2017, 9 and 11am; Lent 5

*Introit: “Lord, for thy tender mercy’s sake” by Richard Farrant (d. 1581) or possibly John Hilton (d. 1608)

Anthem: “Steal Away,” African-American Spiritual, arr. Dale Adelmann (1995)

*Fraction Anthem: “Verily, verily” by Thomas Tallis (c. 1510-1585)

Communion motet: “By the waters of Babylon” by C. F. Boyd (1930-2002)

Hymns: 151 (Aus tiefer Not), *339 (Schmücke Dich), 666 (St. Bride), 547 (Marsh Chapel)

*11:00 service only

“Steal Away” is a delicious arrangement of this well-known Spiritual, penned by a recipient of this Weekly, Dale Adelmann, Canon for Music at St. Philip’s Cathedral, Atlanta (let’s see if he reads far enough to see his name! J). One of my sopranos, Ashley H., was in his choir at All Saints’, Beverly Hills, where she recorded it with him. It’s not the first time we’ve done an African-American spiritual arrangement at St. Andrew’s during my tenure, but the first time in a Sunday morning service (I’ve done a few at Evensongs when we’ve been marking the lives of African Americans like Frederick Douglass, Harry T. Burleigh, and others).

The motet, by a C. F. Boyd (possibly Clifford), is a lovely little 8-part composition that I found on CPDL (Choral Public Domain Library). I have no idea who he is, but I suspect he might have been an Australian organist, from a single item uncovered through Google that listed his name in connection with a “St. Nicholas, Adelaide”. The resolution on the score was so bad that I entered it into Finale (a music notation software program), made one or two minor editor’s adjustments (forgive me, C. F. [Alan Lewis is very familiar with my tendency to “improve” a single chord here or there by adjusting an accidental! If you can apply ficta in ancient music, why not 20th century, too?!]), and had the choir sing through it. It went well enough that I decided to program it. If anyone can dig up anything more about him, I’d appreciate hearing about him.

Many thanks!

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Gene M., our in-house filmographer (he’s on the St. Martin’s Chamber Choir board, and he and I film these little promotional videos), came to a recent rehearsal of our next concert, “Forsaken, the Victoria Tenebrae Responsories,” and recorded us doing a few movements. I was skeptical about whether the audio would be complimentary enough to use, but it turned out quite nice, really; and my jaw-flapping about the concerts themselves is the usual not-unpleasant and not-uninformative stuff. We chose a Goya painting for the posters and program covers because he was Spanish, like Victoria, and I think the graphics look splendid (we use the same graphic designer as the Colorado Symphony Orchestra, in case you’ve noticed their graphics around town).

Here’s a link to the video on YouTube: https://youtu.be/b4bqrVvjEPE

I’m not sure it was a smart thing to wear a cassock (I thought I’d give it a sort of churchy feel, but it looks a bit funny). The choir sounds a bit distant, but it’s quite atmospheric. And yes, we just realized there’s a typo (misspelling) in the graphics, but I’ll let you see if you can find it. 😉

Anyway, the soundtrack of that video will give you an excellent idea of what the concert will sound like. I hope you can come to one of the concerts a week-and-a-half from now:

· Fri. March 31, 7:30pm, Holy Cross Lutheran Church, 4500 Wadsworth Blvd., Wheat Ridge

· Sat. April 1, 7:30pm, St. Andrew’s Episcopal Church, 2015 Glenarm Place, Denver

· Sun. April 2, 3:00pm, St. Paul Community of Faith, 1600 Grant St., Denver

www.StMartinsChamberChoir/concerts or (303) 298-1970 for tickets.

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Evensong tomorrow is not only intimate (quartet), but austere (Lent). We’re doing another one of the Fauxbourdons settings of the Mag and Nunc that I described in last week’s Weekly, this one by Charles Villiers Stanford. Here’s all the music:

March 23, 2017, 5:45pm; Choral Evensong: Thursday in the Third Week in Lent

P&R: Richard Ayleward (1626-1669)

Canticle of Light: “Lord, we beseech thee” by Adrian Batten (1591-1637)

Psalm: 86, plainchant

Service: Charles V. Stanford (1852-1924) Fauxbourdons Service

Anthem: “Bow down thine ear” by Charles Wood (1866-1926)

Office Hymn: 144 (Cornhill)

And here’s the music for this coming Sunday:

March 26, 2017, Lent 4

*Introit: “Hide not thou thy face” by Richard Farrant (d. 1581)

Anthem: “Lord, when the sense of thy sweet grace” by Mack Wilberg (1994)

*Fraction Anthem: “Verily, verily” by Thomas Tallis (c.1510-1585)

Communion motet: Homo natus de muliere by Leopold Hoffman (1738-1793)

Hymns: 440 (Liebster Jesu), *567 (St. Matthew), 646 (Dominus regit me), 429 (Old 113th)

To say ‘Mack Wilberg,’ who is a musician (I’m not sure of his title) at the Mormon Tabernacle in Salt Lake City, usually brings to mind sappy but brilliant arrangements of Christmas Carols. This is his other side, extremely somber, somewhat dissonant, full of yearning and melancholy. It says that the tune is based on a plainchant, but I think it must be loosely so. The text is by Richard Crashaw, one of the 17th century mystic Anglican poets that I like very much (George Herbert is the best known of this crew). A wonderful piece that will transport you, I guarantee.

Leopold Hoffmann was the Kapellmeister at St. Stephen’s Cathedral in Vienna 1772-1793. In 1790 he was in failing health, so at his request Mozart was made his assistant (an unpaid position), with the expectation that Mozart would therefore succeed him when he died. As we all know, Mozart died in 1791, hence Hoffmann survived him, and was, indeed, the musician in charge at Mozart’s funeral in the cathedral. This is a little homophonic piece, the text from Job (familiar to Anglicans as part of the Burial Service – “Man that is born of a woman…”), and reminds me a bit of Mozart’s Lacrymosa, or other somber 18th century, quasi-stile antico sacred works.

That’s it for this week. The onslaught of Holy Week approacheth, however! (I’m a bit late with this because this is our Spring Break at the University, so I’m trying to take some days off at church as well).

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

6 March, 2017

In this issue:

· MB and I at ACDA this week in Minneapolis

· SMCC’s “Forsaken: the Victoria Tenebrae Responsories”

· This week at St. Andrew’s

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MB and I attend the National Conference (biennial) of the American Choral Directors Association this week in Minneapolis, MN. I look forward to these events mainly for these four reasons (in general order of importance):

· Visiting exhibitors’ booths and combing through literature for programming ideas/new music

· Attending performances – many university and high school choirs, uniformly excellent; and outside professional groups. This year I’m particularly looking forward to the Stuttgarter Kammerchor from Germany.

· Rubbing shoulders with old friends, new friends, and nerdy choral people (and composers)

· Socializing with MB and the above-mentioned friends (good meals, and cold martinis!)

The only conference I prefer to this one is the annual conference of the Association of Anglican Musicians. There, the good friends and nerdy types are even MORE “my people.” I remember sitting on a bus at my first conference, on the way back from a choral evensong, and hearing the conversations around me, about Herbert Howells, about clergy-musician relationships, about shared frustrations, and thinking “these are the people who daily think the same thoughts as me, do the same tasks, and with whom there is an automatic, unspoken kinship.” At ACDA this week, there are mostly academic choir directors (colleges, high schools, etc.), so the sense of identification and bonding, though still strong, is less immediate. Still, I know I will enjoy it.

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Just to keep the next St. Martin’s Chamber Choir concert in front of your eyes – Forsaken: The Victoria Tenebrae Responsories is coming up at the end of this month. A very solemn concert, the music is uniformly somber – sometimes grieving, sometimes angry, but always focused on the tragedy inherent in the Passion.

These pieces, written for the Dowager Empress of Spain’s private chapel, are Renaissance polyphony at its finest. In the two evening concerts, we will attempt to recreate the darkened, candle-lit atmosphere of the Empress’s chapel on the last three nights of Holy Week (the matinee performance will be difficult to make dark, but we’ll do what we can to make it solemn!). 12 singers.

· Fri Mar 31, 7:30pm, Holy Cross Lutheran Church, 4500 Wadsworth Blvd., Wheat Ridge

· Sat Apr 1, 7:30pm, St. Andrew’s Episcopal Church, 2015 Glenarm Place, Denver

· Sun Apr 2, 3:00pm, St. Paul Community of Faith (Lutheran), 1600 Grant St., Denver

Obtain tickets at www.StMartinsChamberChoir.org/concerts/ or call the SMCC office on (303) 298-1970 for assistance.

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Evensong this Thursday is of the intimate variety – a quartet, a cappella. As I will be out of town, Matt Bentley is the guest director, and here’s the music:

March 9, 2017, 5:45pm; Choral Evensong: The Thursday in the First Week in Lent

P&R: Thomas Ebdon (1738-1811)

Canticle of Light: Phos hilaron by M. Susan Brown (2000)

Psalm: 46 plainchant

Service: John Holmes (c. 1600) Fauxbourdons

Anthem: “God so loved the world” by John Stainer (1840-1901)

Office Hymn: 489 (Tallis’ Ordinal)

Here’s Sunday’s music:

March 12, 2017, 9 & 11am; Lent 2

*Introit: “Haste thee, O God” by Adrian Batten (1591-1637)

Anthem: “Thee we adore” by T. Frederick H. Candlyn (1892-1964)

*Fraction Anthem: “Verily, verily” by Thomas Tallis (c.1510-1585)

Communion motet: “God so loved the world” by Sir John Stainer (1840-1901)

Hymns: 473 (Crucifer), *313 (Jesus, meine Zuversicht), 489 (Tallis’ Ordinal), 401 (Leoni)

*11am only

One thing in common between the Evensong and Sunday: the Gospel is the same (John 3:16-21). So, for the ease of it (as the choir is experiencing a deluge of music right now, Holy Week rehearsals having just begun), I’ve programmed the same anthem for both – the loved and hated Stainer “God so loved the world.” I’m in the former category – I’m rather fond of this anthem. It’s an unusual example of a Victorian piece almost devoid of cloying chromatic sentimentality, and it “works.” The voice-leading is good, the melodic content satisfying, and it’s a solid little piece. And given the hackneyed nature of the text (I’m looking at you, sports fans and football players with “John 3:16” written on your posters and eye-black), it’s about as well as one can do with the overly-familiar. You may feel free to disagree about the Stainer. (I look forward to the lovely adjectives some of you will use to denigrate it! J).

Note that (at least here in the US) we go to Daylight Savings Time Sunday morning by turning our clocks ahead an hour. Don’t be late to your Sunday morning call times!

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

27 February, 2017

In this issue:

  • What’s next for SMCC?
  • Last week at St. Andrew’s
  • This week at St. Andrew’s

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After a wonderful set of February concerts (“Winter Winds” – superbly performed, enthusiastic audience response, pretty good ticket sales [above what be budgeted – yay!], and, if I say so myself, rather intriguingly programmed J); and a reprise of last November’s Shakespeare Cameo concerts in Grand County last Friday (in Tabernash, as part of the Grand County Concert Series – snowy evening in the mountains, singers were both intrepid and artistic!); St. Martin’s now turns its sites to the next Cameo concert, “Forsaken: Victoria’s Tenebrae Responsories.”  This concert is the opposite of the last, at least in terms of mood.  The last was playful, full of variety and emotional shifts, and wide-ranging in style and mood.  This one is somber – rather unremittingly – and, because it’s all by the same composer, cannot be described as at all varied in style.  It’s Renaissance polyphony at its best, but it’s Renaissance polyphony . . . relieved only occasionally by a line of plainchant, or a homophonic section.  I am going to creatively make some variety where I can (some sections for one-on-a-part trios and quartets for a change in texture; and about 5 movements are for SSAT – I will transpose a couple of them down to make some ATTB movements, for a change in tessitura/sonority; et. al.). In spite of these efforts, however, the audience will be in a very solemn mood by the end.  But SMCC audiences are generally well educated, and know what they’re getting into.  And many of them actually like this sort of thing!!  (wink, wink).

 

The Spaniard Tomas Luis de Victoria, after studying in Rome as a young man (presumably with Palestrina), returned to Madrid where he was a tenor in (and I believe leader of) the choir that sang in the dowager Empress of Spain’s private chapel.*  I’ll brush up on the history before the concert (where did I put my Groves’ Dictionary?), but these would all have been written for about 8-12 singers, and performed on the last three nights of Holy Week (the “Triduum”) at dark, candlelit evening services.  There are 18 of these Responsories (six per night), and I’m dividing the three sets with a couple other works by Victoria, to give the feel of having moved from one night to the next.  We’ll try to replicate the dark candlelit atmosphere where we can (not all of our venues are that versatile, or willing to accede to the whims of visiting ensembles!).

 

Anyway, here are the dates and venues:

 

  • March 31, 7:30pm – Holy Cross Lutheran Church, Wheat Ridge
  • April 1, 7:30pm – St. Andrew’s Episcopal Church, Denver
  • April 2, 3:00pm – St. Paul Community of Faith, Denver

 

Go to www.StMartinsChamberChoir.org/concerts to purchase tickets, or telephone (303) 298-1970 for assistance.

 

*too many prepositions in this sentence.  Tried unsuccessfully to rewrite it.

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Again, things got away from me and I skipped a week.  For the interested, here’s what we sang last week at St. Andrew’s:

 

February 23, 2017, Choral Evensong: Polcarp, Bishop and Martyr

Responses: William Smith

Canticle of Light: “The rising of the sun” by M. Susan Brown (1998)

Psalm: 121, plainchant

Service: Thomas Barrow (c. 1720-1789) in F

Anthem: “Lift thine eyes” by Felix Mendelssohn (1809-1847)

Office Hymn: 238 (Holy Manna)

 

February 26, 2017, Last Sunday after the Epiphany

*Introit: “Fair is the sunshine,” Silesian Folktune (1842), harm. TJK (2017)

Anthem: “Arise, Shine” by William Mathias (1934-1992)

*Fraction Anthem: O nata lux by Thomas Tallis (c.1510-1585)

Communion motet: “Alleluia, song of gladness,” Timothy J. Krueger (2002), based on a Plainsong melody, Mode 2

Hymns: 618 (Lasst uns erfreuen), *129 (Mowsley), 134 (Jesu dulcis memoria), 460 (Hyfrydol)

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Now things take a turn for the somber.  Tomorrow is Ash Wednesday, the beginning of Lent.  We have two services here at St. Andrew’s, one at Noon and one at 7:00pm.  They are virtually identical, except where indicated:

 

March 1, 2017, Ash Wednesday (Noon and 7pm)

At the Imposition of Ashes: Per signum crucis by Thomas Tallis (c.1505-1585)

Psalm 51, plainchant

Noon Anthem: “Thou knowest, Lord” by Henry Purcell (1659‑1695)

7:00pm Anthem: “Hear my prayer, O Lord” by Henry Purcell (1659-1695)

*Fraction Anthem: “Verily, verily I say unto you” by Thomas Tallis (c.1505‑1585)

Communion motet: “The Sacrifice of God” by Maurice Greene (1696-1755)

Hymns: 149 (Old 124th), *411 (St. Thomas [Williams]), 152 (A la venue de Noël), 142 (St. Flavian)

*7:00pm only

 

This is an entirely a cappella service, including hymns; so, very somber.  At noon there will be about 10 people singing (those staff singers who can make it in the middle of the day, and a few volunteers), and at 7pm the entire choir.

 

The next day (Thursday, 5:45pm), the full choir with organ sings Evensong, with the following music:

 

March 2, 2017, 5:45pm, Choral Evensong: The Thursday after Ash Wednesday

Responses: M. J. Gibson (2007)

Canticle of Light: “O Lord, the world’s Saviour” by William Mundy (d. 1591)

Psalm: 37:II, plainchant

Service: William Byrd (1543-1623) Fauxbourdon Service

Anthem: “Behold, the Lamb of God” by George F. Handel (1685-1759)

Office Hymn: 76 (Winchester New)

 

Again, solemn is the watchword.  Anthem and hymn fit the Gospel (Christ’s baptism…not sure why that’s the Gospel for the Thursday after Ash Weds., but it is!).

 

And here is the first Sunday of Lent, services at 9 and 11am, as usual:

 

March 5,  2017, 9 & 11am, Lent 1

Great Litany                     

Anthem: “O Lord, look down from heaven” by Jonathan Battishill (1738-1801)

*Fraction Anthem: “Verily, verily I say unto you” by Thomas Tallis (c.1505‑1585)

Communion motet: Angelis suis by Johann Joseph Fux (1660-1741)

Hymns: *448 (Deus tuorum militum), 147 (Bourbon), 688 (Ein feste Burg)

*11:00 only

 

Rather than a processional hymn at the opening of the service, we sing the Great Litany in procession around the church.  A lot of pleading and brow-beating and mea culpas, with the plainchant responses harmonized by Steve Kick, a former member of the choir.  Two 18th century anthems, one from England (Battishill was a choirboy at St. Paul’s Cathedral, and later worked as organist at the Chapel Royal and several London parishes, but never achieved his goal of becoming organist of St. Paul’s, passed over due to an addiction to the bottle, it is said) and one from Austria (Fux, court composer at the Habsburg court in Vienna).

 

Because our regular choir rehearsal is Weds. evening, and Ash Weds. services preclude this from happening this week, last Weds. was our last rehearsal before Last Epiphany, Ash Weds., Evensong, and Lent 1.  I’m afraid I was a little under pressure, and at the beginning of the rehearsal a little tetchy.  But we made good progress, and the preparedness and spirit of the choir soon had me back in good spirits.  What a goodly crew!!

 

Happy Shrove Tuesday!

 

Tim

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Timothy J. Krueger

Choirmaster, St. Andrew’s Episcopal Church, Denver

Artistic Director, St. Martin’s Chamber Choir (professional)

Affiliate Music Faculty, Metropolitan State University of Denver

Musical Weekly

7 September, 2016

In this issue:

  • Welcome back!
  • Martin’s Chamber Choir’s new initiative (and opening concerts)
  • This week at St. Andrew’s

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Labor Day behind us, we launch into the full Fall Schedule for school, work, and ensembles.  MB and I had a wonderful summer, including the AAM (Association of Anglican Musicians) conference in Stamford, Connecticut (with forays to New Haven [Yale], Greenwich, Bronxville, and one day playing hooky from the conference and going into NYC; also a surprise, last-minute, brief visit to England that was not originally planned, and which came about on the spur of the moment as I received something of a windfall when asked to prepare the chorus for a concert of Debussy’s Sirene (Nocturnes) for the Colorado Music Festival!  So our apologies to any of our British friends whom we couldn’t fit into our itinerary this short visit; but we made some new friends in Ripon at the beautiful cathedral there (including a female alto lay clerk – unheard of in my experience for a British Cathedral Choir!), and spent some good time (but always all-too-little) with the Gudgins in Aslackby (Lincs.), Ruth, Lisa and Belinda in Compton (Berks.), and Fr. Richard Harrison in Lancing (W. Sussex).  Missed on this trip were the Taylors in Hereford, the Pikes in Englefield Green, and others dear to us.  After our return State-side, we spent a week with MB’s parents in the U. P. of Michigan, and then had about 4-5 weeks of leisure at the end of July and beginning of August.  Classes started up at MSU-Denver on August 21, so we’re in our third week already; St. Martin’s Chamber Choir’s first rehearsal was August 14; and this coming Thursday and Sunday we launch back into the thick of it here at St. Andrew’s!  Welcome back!

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Here’s an article that appeared in the most recent “St. Martin’s Voice” newsletter (if you wish to receive this electronic publication directly, let me know.  It goes out 6 times a year):

 

From Concept to Reality: The Festival Singers

by Timothy J. Krueger, Artistic Director

 

In 2010 Michael Christie, Music Director of the Colorado Music Festival, invited St. Martin’s Chamber Choir to perform the Bruckner Requiem with them at Chautauqua.  The collaboration was a success, and the following year we did the Fauré Requiem.  In each case, however, it was found that a bit of subtle sound reinforcement of the choir enhanced the balance.  Simply put, the 24 voices of SMCC were just not up to producing the amount of sound necessary to balance an orchestra.

 

I recall thinking to myself, “If only I had a slightly larger group, still of the professional quality of the Chamber Choir, but filled out with select high-quality volunteers, so that the basic sound of St. Martin’s was retained, the salary costs of a concert would be the same, yet there would be enough sheer volume to balance a symphony orchestra.”

 

Similarly, I have looked at certain large-scale a cappella works with longing – pieces such as the choral symphonies of Sir Granville Bantock, Das Liebesmahl der Apostel by Richard Wagner, Masses for Double Choir by Spohr, Rheinberger, and Cherubini, Adstant Angelorum Chori by Horatio Parker, the larger motets of Mendelssohn, etc. – and, though a cappella, I say ‘with longing’ because they are just beyond the scope of a chamber choir.

 

So the idea of a group of “Festival Singers” (as an expansion of the Chamber Choir singers) took shape and has been germinating for the better part of seven years.  Knocking ideas around with friends and SMCC staff and board members last year, a commitment was made by the St. Martin’s organization to make a go of it.

 

This last spring I began advertising the concept, word spread, and by the first of August I had auditioned 50+ singers.  These 50 singers are joining the “core” 24 Chamber Choir singers in performances on September 16 and 17 of Ralph Vaughan Williams powerful work Dona nobis pacem, in collaboration with the Stratus Chamber Orchestra (David Rutherford, director).   From the very first rehearsal on August 14, I realized we had done the right thing, and had created something that I know will continue into future seasons.  The sound was every bit as pure, lithe, vibrant, and colorful as the chamber choir, without the heaviness of most of the large choruses I’ve heard; yet the volume was truly breathtaking.  The particular sound of the Chamber Choir, that I have assiduously built and nurtured over the last 23 years, was clearly in evidence; yet it had a robust fullness that could compete with an orchestra.

 

So come and witness – and judge for yourself – this exciting new initiative and constituent ensemble of the St. Martin’s organization on September 16 and 17.  And then look for the Festival Singers to repeat in future years on a concert or two per season – both in collaborations with orchestras, and in a cappella concerts.  See you there!

 

So, a new initiative for St. Martin’s Chamber Choir – an expanded 60+ voice “Festival Singers” that will appear once a year or so, making their debut with the Stratus Chamber Orchestra in RVW’s powerful Dona nobis pacem.  Also on the program is the Fantasia on a Theme of Thomas Tallis, and the Three Shakespeare Songs, all by RVW.  Details below:

 

Fri. Sept. 16, 7:30pm – St. Andrew’s United Methodist Church, Highlands Ranch

Sat. Sept. 17, 7:30pm – Augustana Lutheran Church, Denver

 

Tickets available by calling the SMCC office at (303) 298-1970, or by going to our website: www.StMartinsChamberChoir.org/tickets.

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The first Full Choir Choral Evensong of the season is tomorrow, Thursday, Sept. 7, 5:45pm.  We offer Evensong every Thursday at St. Andrew’s, Sept.-May – sometimes an a cappella quartet, sometimes full choir with organ, etc.  The congregation has grown over the five years of its existence, from a time when the choir outnumbered the congregation, to a regular crowd now of 25-30, and sometimes up to 50 or 60 for a special feast.  We get going this week with the following music (all old chestnuts, because there’s only a small portion of one rehearsal to commit to it!):

 

September 8, 2016, 5:45; Choral Evensong: Grundtvig & Kierkegaard

Preces & Responses: TJK (that’s me) in A

Canticle of Light: “Hail, Gladdening Light” by Charles Wood (1866-1926)

Psalm: plainchant

Service: CV Stanford (1852-1924) in C

Anthem: Evening Hymn (Te lucis) by H. Balfour Gardiner (1877-1950)

Office Hymn: 665 (Michael [desc/harm. Rutter])

 

Our first Sunday of the Fall Schedule is also full of some good old Anglican chestnuts (not quite so chestnutty as the Evensong above, but still with the definite aroma of chestnuts wafting about…):

 

September 11, 2016, Proper 19C (9:00am & 11:00)

*Introit: “Prevent us, O Lord” by Herbert Brewer (1865-1928)

Psalm: Anglican chant in B flat by Samuel Wesley (1766-1837)

Anthem: “Behold, the tabernacle of God” by William H. Harris (1883-1973)

*Fraction Anthem: Oculi omnium by Charles Wood (1866-1926)

Communion motet: “O for a closer walk” by Charles V. Stanford (1852‑1924)

Hymns: 448 (Deus tuorum militum), *334 (Alles ist an Gottes Segen), 333 (Now), 489 (Tallis’ Ordinal)

*11:00 service only

 

Finally, put the following date on your calendar:  Sat. Sept. 24, 7:00pm.  Supporting the St. Andrew’s Friends of Music as our major fund-raiser of the year, we are presenting a concert of works by Charles Wood, as this year is the 150th Anniversary of his birth.  Entrance to the concert is by donation (any amount; the more zeros following whole numbers, the better J – we have to raise $15,000 this year), and it’s a great way to make a donation to this wonderful music program.  If you can’t come to the concert, you can still make a donation, obviously.  Let me know and I’ll advise you as to the particulars.

 

Good to be back!  May your autumn be filled with wonderful blessings of music and friendship!

 

Tim