Music for First Sunday in Lent

As we enter the season of Lent, marked by solemnity and inward reflection, we will continue to observe an Anglican tradition: a reduction in our use of the organ, or a “fasting” from some of its resources typically heard at Solemn Mass. While some organ voluntaries will still be played, they will be of a more contemplative nature. Indeed, you might notice a new marking just after the postlude in your service booklet requesting that we honour the silent reflection of those leaving the sanctuary.

The postlude (or closing voluntary in some traditions) originates from a chant of the Mass ordinary called “Ite missa est,” where the priest would chant “Mass is ended.” Over the centuries, a tradition evolved where organists would improvise the chant after it was sung, providing a musical reflection on the preceding prayer. The music that followed the Ite missa est evolved into our current notion of a postlude, providing a moment of reflection while members of the altar party continue their recession towards the exit.

The postlude is as much an offering to God as the introit we sing at the very beginning of this Mass, meant to focus our minds and hearts on our sung, spoken, or inward prayers. No matter how grateful the organist may be for an outpouring of applause in the moments following a challenging voluntary, a comment of appreciation at coffee hour is equally meaningful. Thus, we request a moment of silent meditation as the congregation exists after each postlude at Solemn Mass.

Abraham Ross

 

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

Music for Last Sunday after Epiphany

As our choir prepares to sing Solemn Evensong and Benediction this afternoon at 4 pm, this Solemn Mass features a seldom-heard setting of the propers for tenor and organ by Josef Rheinberger. Rheinberger lived and worked in Munich as conductor of the court chapel and professor of composition and organ. He is remembered among organists for his collection of no fewer than 20 sonatas for organ, which, while written in a conservative style with regard to form and technique, embody the nuanced harmonic ideals of the time.

Today’s prelude comes not from one of Rheinberger’s sonatas, but from a collection of twelve short “monologues” for organ, likely designed as pedagogical studies for students to learn various techniques relating to registration, phrasing, and employment of the hands and feet.

One of these monologues may have been assigned as homework for the young American composer, Horatio Parker (composer of today’s postlude), who studied with Rheinberger in the 1880s before sailing home to lead the department of composition at Yale University. A subject of my academic research, Parker’s music is wonderfully varied yet grounded in the compositional technique he would have encountered at German conservatory. The writing achieves an equilibrium between harmonic and motivic exploration and fluent development of form and melodies; in addition, it is beautifully suited to an organ such as our Casavant op. 1605.

Abraham Ross

 

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