Music for Third Sunday in Lent

Today’s service opens with a short chorale prelude by the German organist and conductor Johanna Senfter. From a collection of 10 such preludes spanning as many different aesthetics, Wer nur den lieben Gott läßt walten is a chorale of assurance, emphasizing the importance of faith in a world that challenges us with difficulty, pain, and sorrow. Senfter moves to adjacent keys through chromatic motion (for fellow music theory enthusiasts, an almost inconceivable modulation from A-flat minor to G minor in the first five beats) to create a backdrop of uncertainty. The chorale set in the treble voice is often echoed or foreshadowed by the bass. The hymn swells out of the murky undercurrent before resting conclusively on the assurance of the final chord.

Listening to the music of George Dyson, one might be convinced that he was born one or two generations earlier than he was; his music embraces the idiom of his teachers, Parry and Stanford, more than that of his contemporaries, Britten and Howells. On the other hand, many of his choral anthems follow contemporaneous trends in setting devotional poetry of the British tradition in addition to scripture and hymn stanzas. Today’s communion motet sets the poetry of John Keble, a 19th century priest and visionary of the Oxford movement. The text beautifully depicts the holistic unity of God’s creation, despite hardship and differences, that all creation conveys one inevitable utterance: “God made us all for good.”

Abraham Ross

 

Solemn Mass takes place at St. James’ Anglican Church, Vancouver at 10:30 am every Sunday.

Music for Second Sunday in Lent

Dudley Buck was perhaps the first “classically-trained” concertizing organist on this continent, pioneering solo technique at a time when most churchgoers had heard but the occasional chamber organ employing its 1-3 stops to accompany singing. On the heels of the Second Industrial Revolution, organbuilding firms in New England produced in three years the quantity of instruments that the preceding generation had made in a lifetime, and before long, even village parishes had new instruments with several manuals and a full-compass pedalboards. Returned from studies at the Mendelssohn Conservatory in Leipzig, Buck demonstrated how these instruments could be used to play the serious solo repertory of Bach as well as his own compositions – yet, unlike some of his peers, he balanced the more highbrow programming with strains of the popular: virtuosic variations on popular Stephen Foster songs and transcriptions of popular orchestra numbers delighted his audiences in New England. At one standing-room-only recital, an eager public demanded three reprises of his rendering of Rossini’s Overture to William Tell, a request he obliged.

Buck was also an accomplished church musician and one of the first in North America to advocate for the hiring professional quartets to support his volunteer choir. He moved to Chicago in 1869 to direct the music at St. James Episcopal Church, where the anthem “Judge me, O God” was likely sung for the first time. Tragically, the Great Chicago Fire destroyed his home, house organ, and possessions in 1871, prompting a return to the east coast, where he worked in Brooklyn, NY and Boston, MA for the remainder of his life.

Abraham Ross

 

Solemn Mass takes place at St. James’ Anglican Church, Vancouver at 10:30 am every Sunday.