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OCTOBER 30 2011 (Pentecost 20)

• Organ Preludes: Salve Regina and Alma Redemptoris Mater – Marcel Dupre (1886-1971) (from 8 Short Preludes on Gregorian Themes) Chant donné - Jehan Alain (1911-1940) (played by Peter Dunphy)
• Hymns: 373, 433, 400, 344
• Solo: TBA (Ross Hewitt, baritone)
• Communion Motet: O Taste and See – Ralph Vaughan Williams
• Organ Postlude: Tu es petrus (Thou art the rock) – Jeanne Demessieux

Music Notes:

Today's organ music is all French. Both Jehan Alain (1911-1940) and Jeanne Demessieux (1921-1968) were pupils of Marcel Dupre, and both died prematurely – Alain was killed in action during World War II and Demessieux, whose health was never good, died at age 47 of an embolism. Demessieux was organist at the Paris church known as La Madeleine and was active as a teacher and recitalist. She composed several organ pieces as well as music for piano and voice. Jehan Alain's short career as a composer began in 1929, when he was 18, and lasted until the outbreak of the Second World War 10 years later and his output consists of music for piano, organ, chamber music and music for voice. Marcel Dupre, "le maitre" (the master), who lived from 1886 to 1971, was one of the most significant and influential organists of the 20th century. He composed a staggering amount of music, was an important teacher and was known internationally as a concert organist (he performed as early as 1925 at the Eaton Auditorium in Toronto, and later at Yorkminster Park Baptist Church).

Ralph Vaughan Williams (1872-1958) composed "O Taste and See" for the coronation of Elizabeth II in 1952 to a text from Psalm 34. Vaughan Williams was an agnostic, having evolved from atheism early in his life. Nevertheless, he composed a vast amount of religious music, even in his atheistic years, turning out works for church services, hymns, hymn settings and harmonizations, and various other compositions.

OCTOBER 23 2011 (Pentecost 19)

• Organ Prelude: Communion – Louis Vierne
• Hymns: 575, 101, 51, 592
• Anthem: Judge eternal, throned in splendour – Malcolm Archer Organ
• Postlude: Cortege Academique – Sir Ernest MacMillan

Music Notes:

Louis Vierne (1870-1937) was born nearly blind because of congenital cataracts, but his musical talents were realized at a very early age. After finishing his basic education in Poitiers he entered the Paris Conservatoire and became assistant to that other great French organist/composer, Charles Marie Widor, at the Church of St. Sulpice. Subsequently Vierne was appointed organist at Notre Dame Cathedral in Paris, a post he held from 1900 until his death in 1937. During this long tenure, Louis Vierne performed 1750 organ recitals at Notre Dame – actually 1749 and ¾'s concerts, since he died at the organ console before completing the recital.

One of England's most prolific composers of music for the church is Malcolm Archer (born 1952). He is Director of Chapel Music at Winchester College and has had a distinguished career as a cathedral organist in Norwich, Bristol, Wells and St. Paul's Cathedral in London. The anthem "Judge Eternal" is a setting of Henry Scott Holland's hymn text which you will find at #594 in our hymn book.

From the early 1920s until his death in 1973, Sir Ernest MacMillan was the dean of Canadian musicians. Born in Mimico in 1893, he performed his first organ recital at the age of ten and after graduating from UofT (modern history) in 1914 he went to Europe to continue his musical studies. With the outbreak of World War I in August of that year, Macmillan was imprisoned as an enemy alien at Ruhleben, near Berlin, where he actively promoted and performed concerts along with other interned musicians. MacMillan's subsequent career as a conductor (of the Toronto Symphony from 1931 to 1956 and of the Mendelssohn Choir from 1942-1957), organist, pianist, composer, educator, writer and administrator (he was principal of the Royal Conservatory from 1926 to 1942 and dean of the University of Toronto's Faculty of Music from 1927 to 1952) gained him a significant international reputation. He was knighted in 1935 by George V. "Cortege Academique" was written in 1953 and dedicated to University College at UofT on the occasion of its 100th anniversary.

TUESDAY 18 OCTOBER AT 7 P.M. Service of Ordination on the Feast of St. Luke the Evangelist

• Organ Preludes: Prelude on "Slane" – William France; Prelude on "Old 100th" – Henry Purcell; Prelude on "St. Botolph" – Eugene Hill
• Hymn: 349, 505, 438, 501
• Communion Motet: "If ye love me" – Thomas Tallis
• Organ Postlude: The Prince of Denmark's March – Jeremiah Clarke

OCTOBER 16 2011 (Pentecost 18)

• Organ Prelude: Short Preludes – Vaclav Nelhybel
• Hymns: 328, 378, 67, 350
• Anthem: God be in my head – Andrew Carter
• Organ Postlude: Paean – Oliphant Chuckerbutty

Music Notes:

Today we hear organ music by composers with strange names – Nelhybel and Chuckerbutty!

Vaclav Nelhybel (1919–1996) was a Czech-American composer, mainly of works for student performers. He is considered one of the most prolific composers of the 20th century, with more than 600 works to his credit. Most of these are for wind instruments or band, but beginning in 1966 he wrote several for the organ including a set of 26 short preludes. Born in Czechoslovakia where he received his early training, Nelhybel also studied and worked in Switzerland and Germany before emigrating to the US in 1957 where he worked as a composer, teacher, conductor and lecturer until his death.

Chuckerbutty, whose full birth name was Soorjo Alexander William Langobard Oliphant Chuckerbutty, lived from 1884 to 1960. Little known as a composer (except for his pieces "Pæan" and "March"), Chuckerbutty wrote mainly for organ. He began playing the piano at six, and was composing by 14. His careers in church and cinema occurred simultaneously. Quentin MacLean, the great Canadian theatre and church organist, called him "the only organist I know who combines whole-time cinema work with whole-time church work and makes a job of both." In 1909 Chuckerbutty earned a Bachelor or Music degree from the University of London and was assistant organist at Southwark Cathedral for a six-year period beginning in 1908. Subsequently he was organist at Holy Trinity Church in Paddington (London) until 1948, and from 1920 to 1927 was organist at the Angel Theatre in Islington. His "Paean" is not great music, but it's fun!

Born in Leicester in the English Midlands, Andrew Carter studied music at Leeds University before settling in York where he became a member of the York Minster choir, as a bass. As composer, guest conductor and workshop leader he has travelled extensively in the United States, Antipodes and Europe. After conducting his Magnificat in North Carolina in April 2008, Andrew gave workshops in Toronto and attended the celebrated St Olaf's College in Minnesota as composer-in-residence. A particular honour in the field of church music was the invitation to write Missa Sancti Pauli for the 1997 tercentenary celebrations of Wren's St Paul's Cathedral. Over the years several of Andrew's carols have been included in the renowned Christmas Eve broadcast from King's College Chapel, Cambridge, with Mary's Magnificat featuring again in 2009. Carter's style is often compared to his contemporary, John Rutter, and this is evident in his setting of "God be in my head", words from the Sarum Book of Hours (1514).

OCTOBER 9 2011 (Pentecost 17 – Thanksgiving)

• Organ Prelude: Andantino – Cesar Franck
• Hymns: 262, 427, 56, 399
• Solo: Make a joyful noise unto the Lord – Michael Head (Fiona Strachan, soprano)
• Organ Postlude: Now thank we all our God – Sigfrid Karg-Elert

Music Notes:

Cesar Franck (1822-1890) was a titan of the musical world in mid and late 19th century Paris. Belgian born, he studied in Paris and spent the rest of his life there, gaining an enviable reputation as an organist, pianist and teacher. Outside of his organ music, Franck is probably best known for his Symphony in D minor and the Sonata in A for violin and piano, both of which are heard regularly in concert halls around the world; and, of course, his setting of "Panis angelicus". In 1858 he became organist of Sainte Clothilde church, where he remained until his death, and in 1872 professor at the Paris Conservatoire. The "Andantino in G minor", today's organ prelude, was composed in 1857. It is not one of Franck's "deeper" works, but it has a charm of its own.

The Chorale Improvisation on "Nun danket alle Gott" (Now thank we all our God) is Sigfrid Karg-Elert's best-known composition. Born in Germany in 1877, the young Siegfried Karg (his birth name – he later added his mother's maiden name, Elert, and changed the spelling of his given name to the Danish form) showed an early talent for composition, but it wasn't until 1909 that he wrote his first original organ piece. After that, until his death in 1933, Karg-Elert composed more than 80 works for the organ, as well as piano, harmonium and chamber music.

• Organ Prelude: "Invocation" and "Rest" – Basil Harwood
• Hymns: 527, 335, 617, 375
• Anthem: O Sing unto the Lord – Henry Purcell (solo: Ross Hewitt, baritone)
• Organ Postlude: Fugue in B minor – Healey Willan

Music Notes:

The name Basil Harwood is one that will be known now only to church musicians (and Anglicans), mostly. He was born into a Quaker family in 1859 in Gloucestershire, but following the death of his mother his family converted to Anglicanism, at which point young Basil was introduced to choral music and the organ. He studied at Oxford and later in Leipzig, Germany, returning to become organist of St. Barnabas Church in Pimlico (London). His successes there led to subsequent appointments to Ely Cathedral and later to Christ Church Cathedral in Oxford. Harwood retired early, at age 50, having inherited his family's estate back in Gloucester and eventually moved to London where he died in 1949. During his career Harwood wrote a great deal of music, almost all of which is for choir or organ. He also composed several hymn tunes – one that is familiar to us is to the text "O Jesus, I have promised to serve thee to the end".

"O Sing unto the Lord" is an excerpt from a longer anthem of the same name by Henry Purcell (1659-1695), one of the greatest composers in English musical history. It is one of more than 70 sacred choral works by Purcell, who, in 1679, at the tender age of 20 was appointed organist of Westminster Abbey. Three years later he became organist of the Chapel Royal, a position he held concurrently with the Abbey. Henry Purcell died prematurely in his mid-thirties and is buried near the organ in Westminster Abbey. It's interesting that the Episcopalian Church in the US commemorates Purcell, along with Bach and Handel, with a feast day on its liturgical calendar (July 28).

Healey Willan (born 1880) composed his Prelude and Fugue in B minor (only the fugue is being played as the postlude this morning) before coming to Canada from England in 1913. At this early stage of his career, Willan was organist at St. John the Baptist Church in Kensington (London). Besides his church work, Healey Willan made his living 1895-1900 as organist to the St Cecilia Society, 1904-6 as conductor of the Wanstead Choral Society, and in 1906 as conductor of the Thalian Operatic Society. He also taught and composed a variety of music. In 1905 he married Gladys Ellen Hall, a music student, who bore him four children and remained his companion until her death in 1964. In 1913 Willan emigrated to Canada to join the faculty of the Toronto Conservatory of Music (now the Royal Conservatory of Music) and he became organist first at St. Paul's on Bloor St., then in 1921 at the Church of St. Mary Magdalene where he remained until his death in 1968.

September 25

• Organ Prelude: Sonata con Ripieni e Flauti – Baldassare Galuppi
• Hymns: 377, 620, 511, 379
• Anthem: Agnus Dei (from "Messe basse") – Gabriel Fauré (women's voices)
• During Communion: Music for flute Organ
• Postlude: Allegro in C – Baldassare Galuppi
• Hardly a household name, Baldassare Galuppi (1706-1785) was born on the island of Burano in the Venetian lagoon. Galuppi became known primarily as an opera composer, although his first effort was booed and hissed off the stage. He had better luck with his second and subsequent operas, becoming a highly respected musician in his home town, as well as abroad. Except for two short periods – one in London and the other in St. Petersburg – he spent his entire life in Venice, and from 1748 was maestro di cappella (music director) at St. Mark's Cathedral. Among his non-operatic works are oratorios, instrumental music and several volumes of harpsichord music, from which today's organ postlude is taken. The organ prelude is an arrangement of a sonata for flute and string orchestra.
• Gabriel Fauré (1845-1924) composed Messe basse in 1881 for an amateur choir of women's voices and orchestra in rural France. It's odd that it should be called "Low Mass" since in the Roman Catholic church there is no music at a low mass. You might recall that we sang the entire mass at a service during Lent last year – there were lots of very favourable comments so "revisiting" a movement from it this morning.

• Organ Prelude: Carol – Gerald Finzi
• Hymns: 93, 444, 87, 467
• Solo: Ich will den Herren loben allezeit - Heinrich Schutz (Ed Wiens, tenor)
• Communion Motet: If ye love me, keep my commandments – Thomas Tallis
• Organ Postlude: "Spitfire" Prelude – Sir William Walton
• "The artist is like the coral insect, building his reef out of the transitory world around him and making a solid structure to last long after his fragile and uncertain life..." – Gerald Finzi (1901-1956) Like so much of of his music, Gerald Finzi's "Carol" (today's organ prelude) evolved over a long period of time. It started out in December 1925 as a little Christmas carol for Ursula Howells, the daughter of composer Herbert Howells, a setting of words written by another composer, Ivor Gurney ("Winter now has bared the trees"). In 1941/42 Finzi adapted part of its melody for one of Five Bagatelles for clarinet and piano which have become one of his best-known compositions, to the composer's chagrin (he disparagingly called them "trifles"; ironic, since by definition a bagatelle is a musical trifle). Two of these bagatelles were subsequently arranged for the organ. Finzi, London-born but with a strong preference for country living, composed a great deal of music for voice – both solo and choral – as well as for solo instruments and orchestra (although none, sadly, for the organ). Having lost his father at an early age, as well as three older brothers and a beloved teacher, Finzi's exploration of the fragility and transience of human life is manifested in much of his music.
• Heinrich Schutz (1585-1672) was a German composer, considered to be the greatest before J.S. Bach, and one of the most important of the 17th century. Almost no secular music exists, apart from a few songs, and no instrumental music – Schutz is known now as a composer of religious choral music, including three settings of the Passion of Christ and numerous psalm texts. For his inaugural solo, tenor Ed Wiens has chosen Schutz‟s setting of verses from Psalm 34, composed originally for soloist, choir and orchestra.
• Thomas Tallis (c. 1505 – 23 November 1585) was an English composer who flourished as a church musician in 16th century Tudor England. He occupies a primary place in anthologies of English church music, and is considered among the best of England's early composers. He worked under four monarchs from Henry VIII to Elizabeth I, becoming organist of Canterbury Cathedral and later, in 1543, Gentleman of the Chapel Royal. He was one of the first composers to set English religious texts to music, and “If ye love me” is one of his best known.
• The "Spitfire" Prelude by Sir William Walton (1902-1983) was written in 1942 as part of the film score for "The First of the Few" (David Niven appeared in this movie), and later arranged for organ. Although Walton wrote several film scores he is best known today for works such as Façade (words by Edith Sitwell), Belshazzar's Feast, one of the masterpieces of 20th century choral music, and Crown Imperial, a march composed for the coronation of George VI in 1937. From the late 1940s Walton lived with his second wife on the Italian island of Ischia. He was knighted by Elizabeth II and later was awarded the Order of Merit, one of only four composers to receive this honour at that time (Edward Elgar, Ralph Vaughan Williams and Benjamin Britten were the others).

• Organ Prelude: Variations on "Amazing Grace" – Denis Bedard
• Hymns: 381, 466, 487, 352
• Anthem: King of all ages – Paul Isom
• Organ Postlude: Prelude on "Praise my Soul" – Eugene Hill
• Denis Bedard is a prolific Canadian composer of organ music. A Quebecois by birth (in 1950), Bedard studied organ and composition at the Conservatoire de Musique du Quebec and later honed his craft in Paris and Amsterdam. Between 1981 and 1989 he was a professor at his alma mater, organist of Quebec City churches and active as a recitalist. Since 2001 Denis Bedard has been organist of Holy Rosary Cathedral in Vancouver. His compositions for orchestra, chamber groups, chorus, solo voice and organ number well over one-hundred. The "Variations on Amazing Grace" links to today's concluding hymn.
• Paul Isom (born 1959), composer of this morning's anthem, is a Surrey-born English musician who is currently organist for the Roman Catholic congregation at St. George's RAF Memorial Chapel, Biggin Hill. He also teaches music, IT and geography at a school near Sevenoaks, in Kent, and has played organ recitals in Norway, Australia, France and the UK.
• Eugene Hill was born in Toronto in 1909 and spent his childhood years in Winnipeg. Returning to Toronto he was an organ student of Charles Peaker, the long time organist of St. Paul's, Bloor St., and he later studied at the Royal Academy of Music in London, England. Around 1940 Hill was back in Toronto where he had composition lessons with Healey Willan while acting as music director at the Church of St. Alban the Martyr (the church on Howland Ave. in the Annex that was originally destined to be Toronto‟s cathedral) and teaching organ and theory at the Royal Conservatory of Music. In 1946 he was awarded the Doctor of Music degree from the University of Toronto. Between 1950 and his retirement in 1975 Dr. Hill was chairman of the department of theory and composition at Miami University in Ohio, USA where he died in 1976. His many compositions for orchestra, piano, choir, solo voice and organ have been described as "romantic and mildly, not markedly, dissonant". This morning‟s opening hymn, "Praise, my soul, the King of Heaven" provides the theme for Hill‟s music that is being played as the postlude.

• Prelude: Te Lucis - Marcel Dupré (1886-1971)
• Prélude Liturgique XIV – Gaston Litaize (1909-1991)
• Postlude: Suite du Deuxième Ton - Louis Clérambault (1676-1749) - Plein Jeu

• Prelude: Pastorale on ‘Capetown’ – Gerald Bales (1919-2002)
• Postlude: Finale (from Petite Suite) – Gerald Bales (1919-2002)

• Prelude: Prelude in G – Felix Mendelssohn (1809-1847)
• Postlude: Andante (from Organ Concerto Op. 4 No. 1) – G. F. Handel (1685-1758)

• Prelude: Three Liturgical Preludes – George Oldroyd (1887-1956)
• Postlude: Toccata in 7 – John Rutter (b. 1945)

• Prelude: Prelude on ‘Rhosymedre’ – Ralph Vaughan Williams (1872-1958)
• Postlude: Prelude and Fugue in E minor – J.S. Bach (1685-1750)

• Prelude: Messe pour les Couvents – Francois Couperin (1668-1733) - Plein Jeu - Fugue sur la Trompette - Tierce en Taille
• Postlude: Messe pour les Couvents - Francois Couperin (1668-1733) - Offertoire sur les Grands Jeux

• Prelude: Offertory on ‘Slane’ – William France
• Postlude: Festival Voluntary – Flor Peeters

• Prelude: Romanza and Elegy – Sir William Walton (1902-1983)
• Postlude: Spitfire Prelude – Sir William Walton (1902-1983)

• Prelude: Nun bitten wir (To God the Holy Spirit we pray) – Dietrich Buxtehude (c 1637-1707) Lobt Gott, Ihr Christen (Praise God, ye Christians) – Dietrich Buxtehude
• Postlude: Te Deum Laudamus – Dietrich Buxtehude (c1637-1707)

• Prelude: Prelude on ‘Melcombe’ – C.H.H. Parry (1848-1918)
• Postlude: Scherzo – Healey Willan (1880-1968)

• Prelude: Choral – Arthur Honegger (1892-1955)
• Postlude: Fanfare – Arthur Wills (b.1926)

• Prelude: Priere a Notre-Dame (from Suite Gothique)– Leon Boellman (1862-1897)
• Postlude: Menuet gothique (from Suite Gothique) – Leon Boellman (1862-1897)

• Organ Prelude: Veni Creator – Jean Titelouze (1563-1633)
• Anthem With a Voice of Singing – Martin Shaw
• Communion Motet “Oculi omnium” – Charles Wood
  The eyes of all wait upon you, O Lord; and you give them their food in due season. (Psalm 145: 16)
• Organ Postlude: Prelude on “The Old 104th” – Sir Hubert Parry - “Like Clouds are they borne to do Thy great will”
• Music Notes: In 1913 Healey Willan emigrated from England to join the faculty of the Toronto (now Royal) Conservatory of Music. He also became organist of St. Paul’s Anglican on Bloor St. and subsequently at the Church of St. Mary Magdalene on Manning Ave., a position he held from 1921 until his death in 1968. Prior to his arrival in Canada, Willan held posts at various London churches and during this time produced a handful of significant organ pieces. “Epilogue” was composed in 1908, and bears the strong influence of Hubert Parry (composer of “Jerusalem”) and Charles Stanford (an important writer of choral, organ and orchestral music) – both of whom were still alive at this time. Although not a particularly well-known work, “Epilogue” is a really superb example of Willan’s style. There’s a sense of direction and purpose to the music, and in it he is always mindful of the smallest details and careful to never waste a note.
  
  Hildegard von Bingen (1098-1179) was a remarkable woman, a "first" in many fields. At a time when few women wrote, Hildegard, known as "Sybil of the Rhine", produced major works of theology and visionary writings. When few women were accorded respect, she was consulted by and advised bishops, popes, and kings. She used the curative powers of natural objects for healing, and wrote treatises about natural history and medicinal uses of plants, animals, trees and stones. She is the first composer whose biography is known. She founded a vibrant convent, where her musical plays were performed. Although not yet canonized, Hildegard has been beatified, and is frequently referred to as St. Hildegard. Revival of interest in this extraordinary woman of the middle ages was initiated by musicologists and historians of science and religion. Less fortunately, Hildegard's visions and music has been hijacked by the New Age movement, whose music bears some resemblance to Hildegard's ethereal airs. Her story is important to all students of medieval history and culture and an inspirational account of an irresistible spirit and vibrant intellect overcoming social, physical, cultural, gender barriers to achieve timeless transcendence.
  
  Walter Louis MacNutt (2 June 1910 - 10 August 1996) was a Canadian organist, choir director and composer. His compositional output includes numerous choral works, songs, pieces for solo organ, and works for orchestra. Born in Charlottetown, MacNutt began his music studies on PEI, and In 1929 he entered the Toronto Conservatory of Music where he studied through 1932 with Reg Godden (piano) and Healey Willan (organ and composition). In 1931 MacNutt became organist-choirmaster at Trinity Church in Barrie, Ontario, a post he held through 1935. He then worked in the same capacity at the Church of the Holy Trinity in Toronto from 1935-1942. From 1942-1946 he served in the Canadian army where he was stationed on Prince Edward Island. During that time he played saxophone in a regimental band and was the organist at St. Peter's Pro-Cathedral in his native city. After World War II, MacNutt was the organist-choirmaster at All Saints’ Church in Winnipeg from 1946-1949. He worked in the same capacity at All Saints’ in Windsor, Ontario from 1949 to 1953. He then became organist-choirmaster at St. Thomas’ Anglican on Huron St. in Toronto in 1954, holding that post until his retirement in 1977. He lived the rest of his life in Toronto where he died in 1996 at the age of 86. “The Lamb” is one of several William Blake poems MacNutt set to music.

• Organ Prelude: Andante espressivo (from Organ Sonata in G Op.28) – Sir Edward Elgar
• Solo: The Lamb - Walter MacNutt( Virginia Wright)
• Communion Motet “O felix anima” – Hildegard von Bingen
  O soul, so fulfilled, that your flesh, which arose from the Earth, stepped from this world as a culmination of your journeys. Hence divine knowing was reflected in you, as a crown. And Sacred Spirit gazed upon you as its home. For divine knowing was reflected in you, as a crown. Glory be to the Father and to the Holy Spirit.
• Organ Postlude: Epilogue - Healey Willan
• Music Notes: In 1913 Healey Willan emigrated from England to join the faculty of the Toronto (now Royal) Conservatory of Music. He also became organist of St. Paul’s Anglican on Bloor St. and subsequently at the Church of St. Mary Magdalene on Manning Ave., a position he held from 1921 until his death in 1968. Prior to his arrival in Canada, Willan held posts at various London churches and during this time produced a handful of significant organ pieces. “Epilogue” was composed in 1908, and bears the strong influence of Hubert Parry (composer of “Jerusalem”) and Charles Stanford (an important writer of choral, organ and orchestral music) – both of whom were still alive at this time. Although not a particularly well-known work, “Epilogue” is a really superb example of Willan’s style. There’s a sense of direction and purpose to the music, and in it he is always mindful of the smallest details and careful to never waste a note.
  
  Hildegard von Bingen (1098-1179) was a remarkable woman, a "first" in many fields. At a time when few women wrote, Hildegard, known as "Sybil of the Rhine", produced major works of theology and visionary writings. When few women were accorded respect, she was consulted by and advised bishops, popes, and kings. She used the curative powers of natural objects for healing, and wrote treatises about natural history and medicinal uses of plants, animals, trees and stones. She is the first composer whose biography is known. She founded a vibrant convent, where her musical plays were performed. Although not yet canonized, Hildegard has been beatified, and is frequently referred to as St. Hildegard. Revival of interest in this extraordinary woman of the middle ages was initiated by musicologists and historians of science and religion. Less fortunately, Hildegard's visions and music has been hijacked by the New Age movement, whose music bears some resemblance to Hildegard's ethereal airs. Her story is important to all students of medieval history and culture and an inspirational account of an irresistible spirit and vibrant intellect overcoming social, physical, cultural, gender barriers to achieve timeless transcendence.
  
  Walter Louis MacNutt (2 June 1910 - 10 August 1996) was a Canadian organist, choir director and composer. His compositional output includes numerous choral works, songs, pieces for solo organ, and works for orchestra. Born in Charlottetown, MacNutt began his music studies on PEI, and In 1929 he entered the Toronto Conservatory of Music where he studied through 1932 with Reg Godden (piano) and Healey Willan (organ and composition). In 1931 MacNutt became organist-choirmaster at Trinity Church in Barrie, Ontario, a post he held through 1935. He then worked in the same capacity at the Church of the Holy Trinity in Toronto from 1935-1942. From 1942-1946 he served in the Canadian army where he was stationed on Prince Edward Island. During that time he played saxophone in a regimental band and was the organist at St. Peter's Pro-Cathedral in his native city. After World War II, MacNutt was the organist-choirmaster at All Saints’ Church in Winnipeg from 1946-1949. He worked in the same capacity at All Saints’ in Windsor, Ontario from 1949 to 1953. He then became organist-choirmaster at St. Thomas’ Anglican on Huron St. in Toronto in 1954, holding that post until his retirement in 1977. He lived the rest of his life in Toronto where he died in 1996 at the age of 86. “The Lamb” is one of several William Blake poems MacNutt set to music.

• Organ Prelude: Prelude Air (from Orchestral Suite No. 3 in D) - J. S. Bach
• Anthem: “Beatus vir” Antonio Vivaldi
• Organ Postlude: Jesu, Joy of Man’s Desiring- J. S. Bach
• Music Notes: The Italian composer and violinist Antonio Vivaldi was born in Venice in 1678 and after his ordination to the priesthood in 1703 embarked on an intermittent career in the service of the Ospedale della Pietà (Hospital of the Pieta – a pieta is a representation of the dead Christ, attended by the Virgin Mary or by holy women and angels), an institution for the education of orphaned, illegitimate or indigent girls. It was an establishment with a formidable musical reputation. His later career brought involvement in opera. As a composer Vivaldi was prolific, with some 500 concertos to his credit in addition to a quantity of works for the church and for the theatre. He left Venice in 1741 in the apparent hope of finding new patrons in Vienna, where he died shortly after his arrival in the city. The surviving church music of Vivaldi includes the well-known Gloria, in addition to a number of settings of psalms and motets. “Beatus vir” is a lively setting of Psalm 112, written for alto and soprano soloists, chorus and string orchestra (in the absence of a string orchestra, the organ will have to suffice this morning), and is a somewhat longer-than-usual anthem.

• Organ Prelude: Liturgical Meditations for Flute & Organ – Jacques Berthier (Fiona Strachan – flute)
• During Communion: Liturgical Meditations – Jacques Berthier
• Communion Motet : “Ave verum corpus” – Sir Edward Elgar
• Organ Postlude: Liturgical Meditation for Flute and Organ – Jacques Berthier
• Music Notes: While the name Jacques Berthier (1923-1994) might not be familiar his music certainly is, being sung regularly at the monthly Taizé service here at St. Barnabas and during the annual Good Friday progressive ecumenical walk. Berthier was born in 1923 in Burgundy, France to musical parents who were his first teachers. He later enrolled at the Cesar Franck School in Paris where he studied organ and composition and in 1961 became organist at the church of St. Ignace, a Jesuit parish in Paris. In 1955 he wrote his first music for Taizé and over the next several decades contributed a huge amount of music to that community. He also composed music for traditional Catholic parishes, as well as collections of liturgical instrumental pieces for flute, oboe and organ. In 1987 fourteen meditations for flute, both with organ and unaccompanied, were published, and it’s from this set that this morning’s music has been selected. Berthier died in 1994 in Paris, and for his funeral at St. Sulpice his only request was that none of his own music be performed.
  
  Sir Edward Elgar (1857-1934), known to all as the composer of “Land of Hope and Glory,” was one of the great English musicians of the late 19th and early 20th century. In 1885 he became organist of St. George’s Roman Catholic Church in Worcester (he was Catholic), giving him a platform from which to perform some of his earliest compositions. In 1887 he wrote three choral pieces for the church, one of which (Pie Jesu) he rewrote 15 years later as “Ave verum corpus” with orchestral accompaniment. Elgar himself described it as “too sugary, I think, but it is nice and harmless and quite easy.”

• Organ Prelude: Idyll - Robin John King
• Solo: “God is my Shepherd” Antonin Dvorak (solo by Ross Hewitt)
• Communion Motet “If ye love me, keep my commandments” - Thomas Tallis / St. Barnabas Choir
• Organ Postlude: Renaissance Rondel - Andrew Fletcher
• Music Notes: Robin John King is a Torontonian whose musical career began at Royal St. George’s College and St. James’ Cathedral. In 1985 he graduated from U of T where he was a student of John Tuttle, William Wright, Godfrey Ridout among other notables. From 1988-1993 he was organist at Robertson-Wesley United Church in Edmonton, and later at St. Andrew’s United, also in Edmonton. Mr. King has several compositions to his credit for choir, handbells and organ. “Idyll” was composed in memory of the Canadian composer, conductor, teacher and organist Gerald Bales. (An idyll is defined as a peaceful, serene depiction of a picturesque rustic scene, most usually in poetry but often in music.)
  
  Grief has spurred many composers to write some of their best music. In late 1877 the Czech (Bohemian) composer Antonin Dvorak produced his finest choral work, the Stabat Mater, having buried all three of his children within a two-year period. Some seventeen years later, he was working in New York as director of the National Conservatory when he learned of the death of his close friend, Hans von Bulow, the great German conductor and pianist, and also of his father back in Bohemia. It was at this time that Dvorak wrote his Ten Biblical Songs (1894), consoling himself with the psalms. The fourth song in the cycle is a paraphrase of Psalm 23, “God is my Shepherd”; its elegant simplicity foreshadows the peace of God that is given to those who offer an uncomplicated, child-like devotion to God which Christ commanded of us in Matthew 18:3 – “Truly, I say to you, unless you turn and become like children, you will never enter the kingdom of heaven”.
  
  Thomas Tallis (1505-1585) flourished as a church musician in 16th century Tudor England. He composed and performed for four monarchs – Henry VIII, Edward VI, Queen Mary and Elizabeth I – working at first in Canterbury Cathedral and then from 1543 as Gentleman of the Chapel Royal in London. Avoiding the religious controversies that prevailed during this period, Tallis remained an “unreformed Roman Catholic” during the Reformation, but composed much choral music in English for his Anglican masters, being one of the first to do so. “If ye love me” is one of his best known motets, with the text taken from John 14: 15-17.
  
  The English organist, composer and conductor Andrew Fletcher was educated in Birmingham and later at Oxford University where he was organ scholar at Keble College. He has held several positions in the UK and has given numerous concerts there as well as in the U.S., in addition to being active as a composer of both choral and organ music. “Renaissance Rondel” is a short piece written in the style of the 14th and early 15th century.

• Organ Preludes: Choral Phrygien - Jehan Alain; Meditation on “O filii et filiae” - Denis Bedard (played by Peter Dunphy)
• Solo: “I know that my Redeemer liveth” (from Messiah) - G. F. Handel (solo by Fiona Strachan )
• Organ Postlude: Française Jean Langlais (Played by Peter Dunphy)
• Music Notes: The story of Alfred Hollings (1865-1942) is a fascinating one, too long to be told here! He was born in Yorkshire, blind from birth, and his genius as both pianist and organist was recognized early in his life; he studied both with some of the great musicians of the time. For some 45 years he was organist at St. George’s Presbyterian church in Edinburgh, Scotland, but became known as one of the world’s finest organists and toured widely. He was also a prolific composer, mainly for the organ. His music generally is light, airy and tuneful, and “In Springtime” is ‘a joyful excursion into the dappled English landscape’.
  
  Andrew Carter was born in Leicester, England in 1939, and both he and his music are well travelled. He has several dozen compositions to his credit, mostly choral, with one, “Mary’s Magnificat”, being sung in the 2009 Christmas carol service from King’s College, Cambridge, thus ensuring its world-wide popularity. Mr. Carter is also well-known as a choral director and adjudicator and has regularly visited many different parts of the world in these capacities (he was in Toronto in 2008 to lead a workshop). His setting of “For the beauty of the earth” (hymn 429 in our book) is a delightful one.
  
  Carolyn Winfrey Gillette (author of this morning’s final hymn) is co-pastor with her husband of Limestone Presbyterian Church in Wilmington, Delaware USA and is a prolific writer of hymns that have been sung throughout the USA and in many other parts of the world. She and her family support efforts to care for God’s creation (having solar panels on both their house and church), and she has written A Journey Towards a Green Church in collaboration with her husband.
  
  Louis-James-Alfred Lefebure-Wely (1817-1869) was an important figure in 19th century French organ circles, although he is known now for only a couple of organ compositions. He was born and died in Paris, and for seven years until his death was organist at St. Sulpice, arguably the most prestigious post in Europe at the time. His “Sortie in E flat” could be described as ‘jauntily vulgar’, thus ensuring its continuing popularity!

• Organ Prelude: In Springtime - Alfred Hollings
• Anthem: For the beauty of the earth - Andrew Carter
• Organ Postlude: Sortie in E flat - Louis-James-Alfred Lefebure-Wely
• Music Notes: The story of Alfred Hollings (1865-1942) is a fascinating one, too long to be told here! He was born in Yorkshire, blind from birth, and his genius as both pianist and organist was recognized early in his life; he studied both with some of the great musicians of the time. For some 45 years he was organist at St. George’s Presbyterian church in Edinburgh, Scotland, but became known as one of the world’s finest organists and toured widely. He was also a prolific composer, mainly for the organ. His music generally is light, airy and tuneful, and “In Springtime” is ‘a joyful excursion into the dappled English landscape’.
  
  Andrew Carter was born in Leicester, England in 1939, and both he and his music are well travelled. He has several dozen compositions to his credit, mostly choral, with one, “Mary’s Magnificat”, being sung in the 2009 Christmas carol service from King’s College, Cambridge, thus ensuring its world-wide popularity. Mr. Carter is also well-known as a choral director and adjudicator and has regularly visited many different parts of the world in these capacities (he was in Toronto in 2008 to lead a workshop). His setting of “For the beauty of the earth” (hymn 429 in our book) is a delightful one.
  
  Carolyn Winfrey Gillette (author of this morning’s final hymn) is co-pastor with her husband of Limestone Presbyterian Church in Wilmington, Delaware USA and is a prolific writer of hymns that have been sung throughout the USA and in many other parts of the world. She and her family support efforts to care for God’s creation (having solar panels on both their house and church), and she has written A Journey Towards a Green Church in collaboration with her husband.
  
  Louis-James-Alfred Lefebure-Wely (1817-1869) was an important figure in 19th century French organ circles, although he is known now for only a couple of organ compositions. He was born and died in Paris, and for seven years until his death was organist at St. Sulpice, arguably the most prestigious post in Europe at the time. His “Sortie in E flat” could be described as ‘jauntily vulgar’, thus ensuring its continuing popularity!

• Organ Preludes: Trumpet Air - Bert Van Der Hoek; Today the Son of God triumphs (Heut’ triumphieret Gottes Sohn) - J. S. Bach; Prelude on the Easter Hymn - Sir Charles Villiers Stanford
• Introit: “Terra tremuit” - William Byrd
• Communion Carol: “This joyful Eastertide” - Traditional arr. by Charles Wood
• Organ Postlude: Toccata in D minor - J. S. Bach

• Organ Prelude: Intrada - John Ireland
• Anthem: Hosanna Filio David (Hosanna to the Son of David) - Tomas Luis Victoria

• Organ Prelude:
  • O man, bewail thy grievous sin (O mensch, bewein) - J. S. Bach
• Anthem Where, Lord, shall I my refuge see? (A paraphrase of Psalm 39: 9-14) - Samuel Webbe Sr.
• Organ Postlude: We thank thee, Lord Jesus Christ (Wir danken dir) -J. S. Bach
• Music Notes
  
  Both the prelude and postlude are taken from a collection of preludes based on Lutheran chorales called “The Little Organ Book” (Orgelbuchlein). Bach originally planned to write 164 chorale preludes that would encompass the liturgical year, but he completed only 46 of them between 1708 and 1714. These preludes were also intended as teaching pieces; on the title page Bach wrote:
  
  Little Organ Book
  
  In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obbligato. In honour of our Lord alone. That my fellow man his skill may hone.
  
  Samuel Webbe Sr. (1740-1816), born on the Spanish island of Minorca but taken to London as a child by his widowed mother, began his working life as a cabinet-maker. It was while repairing a harpsichord case that he discovered his aptitude for music, teaching himself to play the instrument. He became equally well known as a composer of church music and secular ‘glees’ (these were originally pieces for small groups of unaccompanied singers, and the very popular ‘glee clubs’ of the early and mid-20th century in North America took the name from this form). The author of the text, James Merrick (1720-1769), was a poet, scholar and priest in the Church of England, who “entered into holy orders, but never could engage in parochial duty, from being subject to excessive pains in his head". Merrick versified the psalms, many of which have been set to music. “Where, Lord, shall I my refuge see” is a paraphrase of Psalm 39: 9-14.

• Organ Prelude:
  • O World, I now must leave thee - Johannes Brahms
  • Deck thyself, my soul, with gladness - Johannes Brahms
• Solo: Solo Have mercy, Lord (Erbarme dich from St. Matthew Passion) - J. S. Bach (Fiona Strachan)
• Communion Motet: Drop, drop, slow tears - Orlando Gibbons
• Organ Postlude: Finale (from Sonata VI) - Felix Mendelssohn
• Music Notes
  
  Neither Brahms nor Mendelssohn is known primarily for his organ music, and neither one wrote a lot of it – Brahms, a set of chorale preludes and some preludes and fugues; Mendelssohn, six sonatas and three preludes and fugues – but their music is an important contribution to the repertoire of the romantic era. Brahms’ “Deck thyself, my soul, with gladness” is based on this morning’s communion hymn of the same name and is a beautifully decorated variation of that tune. Uniquely, the ending to Mendelssohn’s Sonata Six is a quiet one, providing an appropriately contemplative conclusion to a Lenten service. Once again this morning the solo is taken from Bach’s masterpiece, the St. Matthew Passion, a retelling of the Last Supper and the story of Jesus’ crucifixion. Two weeks ago we heard a reflection on the betrayal of Jesus. Today, from Part Two of the Passion, we hear “Erbarme dich.” At this point in the story, Peter has just been told three times that he belongs to Jesus, and he denies it three times – then the cock crows. Following the “Erbarme dich” aria (“Have mercy, Lord”) Jesus is sent to Pontius Pilate.

  Orlando Gibbons (1583-1625) was one of the most versatile musicians in Tudor England, composing music for keyboard and viols as well as both sacred and secular choral music. This morning you’ll hear an example of both the sacred and secular combined. Gibbons’ most famous and very beautiful madrigal is “The Silver Swan,” which is based on the legend that mute swans ‘sing’ only before they die (from whence comes our expression ‘swansong’). Someone (not Gibbons) had the very good idea to adapt the poem “Drop, drop slow tears” to the music of “The Silver Swan.” These same words by Phineas Fletcher (1582-1650) have long been sung as a communion hymn to different music by Gibbons; alas, it was not included in our current hymnbook.

• Organ Prelude: played by Peter Dunphy
  • Choral Dorien - Jehan
  • Alain Prière - Jean Langlais
• Anthem: Like as the hart - Herbert Howells
• During Communion: Meditations for solo flute - Richard Proulx; played by Fiona Stracha
• Organ Postlude: Basse et Dessus de Trompette - Louis-Nicolas Clérambault played by Peter Dunphy
• Music Notes
  
  Jehan Alain, tragically killed at the age of 29 during the Nazi invasion of France in 1940, was one of the century's finest organ composers. Firmly in the French tradition, his short pieces are secular in nature and touch depths and explore mysteries more familiar in overtly religious works. Alain's creations display fresh sonorities and registrations that make his music very interesting even to those immune to the instrument's charms. The Choral Dorien is built on the dorian mode of ancient Greece and serves as its foundation. The work has a slow processional tempo dominated by long ominous pedal notes, increases gradually in volume and finally falls gently away into silence.
  
  Jean Langlais, born 1907 in France, became blind from the age of two. His formal training began at the Paris National Institute for the Young Blind in 1918 and lead to studies at the Paris National Conservatory of Music in Marcel Dupré’s organ class, obtaining a First Prize in 1930. Later he studied improvisation with Charles Tournemire and composition with Paul Dukas at the Paris Conservatory. In 1945, he became the successor to Cesar Franck and Charles Tournemire at Sainte Clotilde in Paris, a position he held until 1987. A great recitalist, he played more than 300 concerts in North America. A prolific composer, his catalogue of works comprises 254 opus numbers (organ, vocal and instrumental music). Jean Langlais died in Paris on May 8, 1991, at the age of 84. The Prière is from his collection of organ works titled Vingt-quatre Pièces. Composed between 1933 and 1939, he utilized advanced contrapuntal devices and a variety of musical forms: the Prière is an organum-like use of parallel fifths. “Like as the Hart” is one of the great pieces of Anglican church music written in the 20th century; Herbert Howells (1892-1983) set the first three verses of Psalm 42 to music in January 1941 in the space of one day! It is the best known of Howells’ anthems, and its haunting melodies and slow, blues-like rhythms can be heard echoing almost weekly somewhere in the Anglican realm. Richard Proulx (1937-2010) was born in St. Paul, Minnesota, and died in Chicago where he had spent the last part of his working life as an organist and choirmaster (Holy Name Cathedral), composer, editor and consultant to various hymnbook committees in the United States. Previously he had worked in St. Paul, Minnesota and Seattle, Washington. Proulx was a prolific composer of church and other music (including the theme song for Union Pacific Railroad, proving his versatility!), penning more than 300 works during his career. St. Sulpice, in the 6th Arrondissement, is the second largest church in Paris after Notre Dame Cathedral. Since the current building’s completion early in the 18th century St. Sulpice has had a long line of distinguished organists, including Marcel Dupré and Charles-Marie Widor during the 20th century. One of the earliest was Louis-Nicolas Clérambault, who presided at the keyboard from 1714 to 1749. He composed a large amount of choral music, both sacred and secular, as well as a book of organ music in two suites, printed in 1710.

• Organ Prelude:
  • If thou but suffer God to guide thee - F. W. Marpurg
  • Lord, to Thee I make confession - F. W. Marpurg
• Solo: Break in Grief (“Blute nur” from St. Matthew Passion) - J. S. Bach (Virginia Wright) / Break in grief, thou loving heart For a child whom thou didst nourish, Yea, a friend whom thou didst cherish, Gathers wicked foes around thee, And doth like a serpent wound thee.
• Communion Motet: O Most Merciful - Charles Wood / O most merciful, O most merciful! God the Father Almighty! By the Redeemer’s sweet intercessions hear us, help us, when we cry.
• Organ Postlude: Sonata in G - Anonymous
• Music Note Friedrich Wilhelm Marpurg (1718-1795) – a German music critic, theorist and composer – has been described variously as quarrelsome, generous, an enthusiastic public polemicist, and courteous. He is best known for his writings about music, but also composed a great deal of organ music. He was an ardent admirer of his close contemporary, J. S. Bach, and Marpurg’s music is certainly reminiscent of Bach.
  
  The sonata by Anonymous which ends today’s service was probably composed in the 18th century. Our belated ‘nod’ to St. Patrick’s Day is represented by Charles Wood, an Irish born (Armagh) composer who is remembered for his major contributions to Anglican church music, including the very short and beautiful “O Most Merciful”. Wood lived from 1866 to 1926 and taught at both Cambridge University and the Royal College of Music in London where his pupils included Herbert Howells and Ralph Vaughan Williams.
  
  One of music’s towering masterpieces is the St. Matthew Passion by J. S. Bach. Incorporating portions of chapters 26 and 27 of St. Matthew’s Gospel, it is the dramatic story of the Last Supper and Jesus’ arrest and execution, with the narrative interrupted by reflections addressed to Jesus. These reflections take the form of freely composed poetry or hymns, when Bach ‘freezes the scene’ and inserts a contemplative moment for soloists or choir, or both together. During this Lent we’re privileged to hear two of these reflections. This morning, Virginia sings from Part One of the Passion – a reflection on Jesus’ betrayal. In two weeks (April 3) Fiona will sing “Have mercy, Lord” from the second part of the Passion.

• Organ Prelude:
  • So now as we journey, aid our weak endeavour - Mark Dupré
• Motet: Ave verum corpus - Gabriel Fauré / Fiona Strachan & Virginia Wright
• Organ Postlude: How fair and how pleasant - Marcel Dupré
• Music Note One of the many joys of being Anglican is the framework of worship we are given in which we can express our prayers and praises in many different ways. Praying and praising through music is something we do collectively every week – by singing hymns, psalms and parts of the communion liturgy, for example. This morning we’re revisiting an older St. Barnabas tradition, and one that is still common throughout the Anglican communion, by having the women of the choir sing parts of the service that are usually sung by everyone – the Kyrie, Sanctus, Benedictus and Agnus Dei. The music, Messe Basse (Low Mass) was written in 1881 by Gabriel Fauré (1845-1924) for a small parish in rural Normandy, and was originally accompanied by a small local orchestra. It is a very lyrical and beautiful piece of music that we hope will add a new dimension to your worship and give new perspectives to those words we know so well. Ave verum corpus, for soprano and alto, was composed by Fauré in 1894.
  
  The organ music today is by another French master, Marcel Dupré (1886-1971) who was a famed organist, pianist, teacher and composer. For more than 35 years he was organist at St. Sulpice in Paris, and during his career played more than 2000 organ concerts throughout the world (including Toronto, at Yorkminster Park Baptist Church). Fifteen Antiphons, from which today’s prelude and postlude are taken, began life as improvisations (composed ‘on the spot’ during services), then later written down and published in 1919.
  
  As always, we welcome and encourage your comments, both positive and negative, about the music at St. Barnabas. Please let Neil or the clergy know how today’s music had an impact on your worship.

• Organ Preludes:
  • Adagio (Trio Sonata No. 1) - J. S. Bach (1685-1750)
• Anthem: Anthem I was glad when they said unto me - Keith Bissell (1912-1992)
• Organ Postlude: Prelude in F minor - J. S. Bach
• Music Note Have you seen “Stagecoach” (the old John Ford movie), or Sam Peckinpah’s “Major Dundee”, or “Trip to Bountiful”, the wonderful 1985 movie with Geraldine Page? If yes, then you’ve heard this morning’s solo, one of the most-used hymns in filmdom. Shall we gather at the river was written in 1864 by Robert Lowry, a prolific American poet and gospel hymn writer.
  • Shall we gather by the river,
    Where bright angels' feet have trod,
    With its crystal tide forever
    Flowing by the throne of God.
    Yes, we'll gather by the river,
    The beautiful, the beautiful river,
    Gather with the saints by the river
    That flows by the throne of God.
    Soon we'll reach the shining river,
    Soon our pilgrimage will cease,
    Soon our happy hearts will quiver
    With the melody of peace.
    Yes, we’ll gather ......
• The music is an older Shaker tune that was arranged for solo voice and piano in 1959 by the great American composer, Aaron Copland, as part of a set of five “Old American Songs”.
• The Notre Dame organist Louis Vierne was born blind in 1870. A cataract operation at six gave him a small amount of sight back, and despite this considerable handicap he wrote organ music of staggering scope, universally hailed as the most accomplished of the genre. Vierne's life, however, was peppered with misfortune: the death of his brother on the WWI battlefields, the discovery of his wife's affair and the loss of his youngest son at ten. Such tragedies among numerous others may explain why much of his music is densely chromatic and introspective. Vierne died in 1937 during an improvisation recital at Notre Dame, Paris. The Andantino from the first Suite of Vingt-quatre Pièces de Fantaisie has elegant rhythmic flow, cleanly delineated part-writing and lacks the affectations of the early romantic period.
• Jehan Alain was born at Saint-Germain-en-Laye on February 3, 1911. Fate granted very little time to an artist who was killed by enemy fire on May 20, 1940 as a soldier defending France. His musical creativity was guided by his desire for conciseness and concentration, and to introduce mobility and expression of the outpouring of life. As a composer in love with life, his music displays great freedom of musical argument and colourful writing. In the Berceuse sur deux notes qui cornent a C# and D# are held throughout the whole piece creating an atmosphere of transparency. "Little children" he wrote "have a pure look, so movingly sincere that their blue eyes, in little faces without expression, take on a terrifying intensity". The Choral cistercien pour une Élévation was written in April 1934 at the Abbey of Valloires - a place of recollection for Alain. Discovered after his death and it is a short piece, only 12 bars, serene and introspective.
• The Cornish born Kenneth Meek (1908-1976) came to Canada as a child and became organist of several large Montreal churches, including Christ Church Anglican Cathedral. He was an influential teacher, a fine organist and a composer of music for choir and organ.

• Organ Preludes:
  • Andantino (from Pièces de Fantaisie, 1ère Suite, Op 51) - Louis Vierne
  • Berceuse sur deux notes qui cornent - Jehain Alain (played by Peter Dunphy, organist)
• Solo: Solo At the River arr. by Aaron Copeland - Ross Hewitt
• Organ Postlude: Voluntary for St. Crispin’s Day - Kenneth Meek
• Music Note Have you seen “Stagecoach” (the old John Ford movie), or Sam Peckinpah’s “Major Dundee”, or “Trip to Bountiful”, the wonderful 1985 movie with Geraldine Page? If yes, then you’ve heard this morning’s solo, one of the most-used hymns in filmdom. Shall we gather at the river was written in 1864 by Robert Lowry, a prolific American poet and gospel hymn writer.
  • Shall we gather by the river,
    Where bright angels' feet have trod,
    With its crystal tide forever
    Flowing by the throne of God.
    Yes, we'll gather by the river,
    The beautiful, the beautiful river,
    Gather with the saints by the river
    That flows by the throne of God.
    Soon we'll reach the shining river,
    Soon our pilgrimage will cease,
    Soon our happy hearts will quiver
    With the melody of peace.
    Yes, we’ll gather ......
• The music is an older Shaker tune that was arranged for solo voice and piano in 1959 by the great American composer, Aaron Copland, as part of a set of five “Old American Songs”.
• The Notre Dame organist Louis Vierne was born blind in 1870. A cataract operation at six gave him a small amount of sight back, and despite this considerable handicap he wrote organ music of staggering scope, universally hailed as the most accomplished of the genre. Vierne's life, however, was peppered with misfortune: the death of his brother on the WWI battlefields, the discovery of his wife's affair and the loss of his youngest son at ten. Such tragedies among numerous others may explain why much of his music is densely chromatic and introspective. Vierne died in 1937 during an improvisation recital at Notre Dame, Paris. The Andantino from the first Suite of Vingt-quatre Pièces de Fantaisie has elegant rhythmic flow, cleanly delineated part-writing and lacks the affectations of the early romantic period.
• Jehan Alain was born at Saint-Germain-en-Laye on February 3, 1911. Fate granted very little time to an artist who was killed by enemy fire on May 20, 1940 as a soldier defending France. His musical creativity was guided by his desire for conciseness and concentration, and to introduce mobility and expression of the outpouring of life. As a composer in love with life, his music displays great freedom of musical argument and colourful writing. In the Berceuse sur deux notes qui cornent a C# and D# are held throughout the whole piece creating an atmosphere of transparency. "Little children" he wrote "have a pure look, so movingly sincere that their blue eyes, in little faces without expression, take on a terrifying intensity". The Choral cistercien pour une Élévation was written in April 1934 at the Abbey of Valloires - a place of recollection for Alain. Discovered after his death and it is a short piece, only 12 bars, serene and introspective.
• The Cornish born Kenneth Meek (1908-1976) came to Canada as a child and became organist of several large Montreal churches, including Christ Church Anglican Cathedral. He was an influential teacher, a fine organist and a composer of music for choir and organ.

• Organ Prelude: Adoration - Florence Price
• Anthem: “Dank sei dir Herr” (Thanks be to you, Lord)- George Frederic Handel
• Organ Postlude: Aria - Adam Valentin Volkmer (1770-1851)
• Music Note In its original form, this morning’s anthem was the aria 'Ombra mai fù' from Handel’s opera “Xerxes”. In the aria, Xerxes (King of Persia) stands under a tree in his garden and sings to it: “Never was nature's own shade more beloved or sweetly treasured than thine”. The music has been heard since in countless forms, and is commonly known as ‘Handel’s Largo’. “Dank sei dir Herr” is an arrangement for soprano solo, choir and organ.
  
  Florence Price (1887-1953) is considered the first black woman in the USA to be recognized as a symphonic composer. She studied with some of the leading composers/teachers of her time, mainly in Boston and Chicago, and during her career wrote dozens of works for orchestra, choir, piano, organ and solo voice. Deeply religious, Price frequently used the music of the black church as material for her arrangements. In 1949, Price published two of her spiritual arrangements, “I Am Bound for the Kingdom,” and “I’m Workin’ on My Buildin’,” and dedicated them to the black contralto Marian Anderson, who performed them regularly. Today’s organ prelude, “Adoration”, was written in 1951. Price died in Chicago on June 3, 1953.

• Organ Prelude: Two Preludes - Keith Bissell
• Anthem “Yabban, Yamman” (from Mass for Many Nations) - Rupert Lang
  Yabban, Yamman, Timeless and loving, loving creator, creator of all, your name is holy. We seek to do your will that your purpose may prevail – We ask you for the bread of life and for the power to forgive. And be forgiven. For all your gifts and constant love your holy name be blest and praised now and forever.
• Organ Postlude: Prelude on “Urbs Hierusalem beata” (Blessed city of Jerusalem - Healey Willan
• Music Note No, the choir did not make a wrong turn this morning! Occasionally, we will provide solos, anthems or hymns for which the accompaniments are more appropriately played on the piano, and this morning there are two such pieces: the children’s hymn and the anthem. Because of the distance between the piano and choir stalls, it’s easier for the choir and conductor/accompanist to ‘communicate’ if the choir sits within sight of the piano. We’ll return to the choir stalls for the second part of the service. Rupert Lang, composer of this morning’s anthem, is the Music Director at Christ Church Cathedral in Vancouver BC. In 1994 he wrote “Mass for Many Nations” with each section reflecting a separate aspect of the global community, in turn a reflection of the open and welcoming community that is Christ Church Cathedral. “Yabban, Yamman” represents Hebrew influences. The text is by Frances Sommerville and is a paraphrase of The Lord’s Prayer – Yabban, Yamman is Aramaic for Father, Mother.

• Organ Prelude:Jesu, joy of man’s desiring - J. S. Bach
• Choir Motet during Communion: O Taste and See- Ralph Vaughan Williams
• Organ Postlude: Be Thou with Me (“Bist du bei mir” - J. S. Bach
• Music Note Today is the 59th anniversary of King George VI’s death on February 6, 1952, and, therefore, the date on which Queen Elizabeth II acceded to the throne. The motet during communion, “O Taste and See”, was composed by Ralph Vaughan Williams (1872-1958) for Elizabeth’s coronation the following year. The text from Psalm 34 is an address to others, based on the experience of the psalmist. He had found protection from the Lord; he had had evidence of His goodness; and now he asks others to make the same trial which he had made.

• Organ Prelude: Adagio in E - Frank Bridge
• Solo: The Beatitudes - Albert Hay Malotte (Fiona Strachan)
• Anthem: Judge eternal, throned in splendour - Malcolm Archer
• Organ Postlude: Toccatinetto - Christopher Tambling
• Music Note Frank Bridge, who wrote this morning’s organ prelude, was born in Brighton in 1879, was a composer, violist, conductor and teacher. He’s perhaps best known today as Benjamin Britten’s teacher. Bridge died in Eastbourne, Sussex in 1941. Albert Hay Malotte (1895-1964) is most famous for his musical setting of the Lord’s Prayer, but his career was spent in Hollywood where he wrote music for Disney films for which he usually received no screen credit. One little known fact about Malotte is that in 1926 he boxed Jack Dempsey – and lost! Malcolm Archer is a prolific composer of both choral and organ music. Born in England in 1952, he became organist of Wells Cathedral and later, from 2004 to 2007 at St. Paul’s Cathedral in London. He is now Director of Music at Winchester College. “Judge Eternal, Throned in Splendour” is a ‘catchy’ setting of the well-known hymn, the words of which can be found at #594 in our hymnbook. Like Malcolm Archer, Christopher Tambling, who composed today’s very bouncy organ postlude, is also a British school music director at Downside School near Bath, Somerset.

• Organ Preludes: I call to you, Lord Jesus Christ (Ich ruf’ zu dir) - J. S. Bach; Praised be you, Jesus Christ (Gelobet seist du) - J. S. Bach
• Choir Motet: Ave verum corpus - Edward Elgar
• Solo “If with all your heart” (from Elijah) - Mendelssohn Carlos Congote
• Organ Postlude: Voluntary in G - John Stanley
• Music Note The hymn during communion today will be unfamiliar to most people. This is one of our ways of introducing you to new hymns – by having the choir sing it for you. Next Sunday this same hymn will be included as part of the children’s focus.

• Organ Prelude: Prelude in E minor - Gerald Bales
• Anthem: My eyes for beauty pine- Howells
• Organ Postlude: Masque - Denis Bedard
• Music Notes The composers of this morning’s organ music are both Canadian. Early in his career Gerald Bales (1919-2002) was organist at St. Anne’s Anglican on Gladstone Ave. and St. Andrew’s Presbyterian on King St. in Toronto, then at churches in Calgary, Minneapolis and Ottawa, where he also taught at the University of Ottawa. Denis Bedard was born in Quebec City in 1950 where he worked for several years as an organist and teacher. He is currently Music Director of Holy Rosary Cathedral in Vancouver and is an active performer and composer, with more than 90 works listed in his catalogue. Today’s postlude, “Masque”, was composed in memory of Gerald Bales.

• Organ Prelude: Cantilene (from Organ Sonata No. 11) - Josef Rheinberger*
• Choir: Fall softly snowflakes (Words: Doris M. Taylor Music: Walter MacNutt)
• Choir: In the bleak midwinter (Words: Christina Rosetti, Music: Harold Darke
• Choir: The Seven Joys of Mary (Traditional carol arr. by Clifford Boyd)
• Solo: The Three Kings sung by Ross Hewitt (Words: Peter Cornelius; Music: Peter Cornelius, arr. Ivor Atkins)
• Postlude Exultemus- June Nixon

• Organ Prelude: Two Noels - Marc Antoine Charpentier
• Solo: Whence is that goodly fragrance? - Old French Carol arr. by A. E. Baker (Virginia Wright)
• During Communion: Organ: Dearest Jesus, we are here (Liebster Jesu) - J. S. Bach
• Organ Postlude: Gavotte - Samuel Wesley

• Organ Prelude: Cantilene - Gabriel Pierne
• Organ Postlude: In dulci jubilo - J. S. Bach

• Organ Preludes: The Holy Boy - John Ireland; Allegretto grazioso -Frank Bridge; Berceuse (Cradle Song) - Louis Vierne
• Choir: Fanfare (Gloria in excelsis Deo) - Martin Shaw (soloists: Fiona Strachan & Virginia Wright)
• Anthem: Hallelujah (Messiah) -George Frederic Handel
• Organ Postlude: Dear Christians, one and all rejoice (Nun freut euch) - J. S. Bach

• Organ Prelude: Allegretto - Sir Charles V. Stanford
• Duet: He shall feed his flock (Messiah) - George Frederic Handel (soloists: Fiona Strachan & Virginia Wright)
• Organ Postlude: Sketch in D flat - Robert Schumann

Music Notes:
Preludes and Postludes “to prepare our hearts and minds”

Each Sunday service at St. Barnabas’ is preceded by and ends with organ music (occasionally with other instruments) known as the prelude and postlude. This has been a tradition throughout the Christian church for centuries, and most of the organ repertoire has been composed for this specific purpose. But we often need to be reminded of the function of this music in the context of a worship service, which is emphatically not an opportunity for the organist to show off his/her performance abilities!

Music before the service should always be a reflection of the ambience of that day’s liturgy and chosen carefully to help worshippers prepare for the service. It might take the form of what is known as a ‘chorale prelude’ – a kind of decorated, sometimes elaborate variation on one of the hymn-tunes being used in that service; or, it could be a piece of music a composer was inspired to write for a particular occasion such as Pentecost (wind and fire can get the creative juices flowing!).

Likewise, a postlude should bring the service to an end with an appropriate mood. Usually that music is more boisterous and cheerful, but some occasions demand a quieter, contemplative conclusion (during Lent and Advent, for example).

Choosing this music, then, is not a case of taking the first piece from the top of the pile; it requires some thought, knowledge, and frequently a bit of research to select the right repertoire Sunday by Sunday. The organist also must consider a balance of different styles and periods for the sake of variety – from early 16th century music to the most contemporary. (Not to mention, of course, the necessity of practising it!)

• Organ Prelude: Psalm Prelude Set 1 No. 1 - Herbert Howells
• Anthem: Like as the Hart Herbert - Howells
• Organ Postlude: A Slow Air - Herbert Howells
• Music Notes
  
  Much of this morning’s music is by one of the towering figures in 20th century English church music, Herbert Howells (1892- 1983). In the early part of his life Dr. Howells was an organist, but most of his career was spent as a composer and teacher at the Royal College of Music in London. He was close friends with many of the leading lights of English music in the early part of the 20th century, among them Sir Charles Stanford and Ralph Vaughan Williams. Interestingly, like Vaughan Williams, Howells was not a religious man, although both made substantial contributions to church music; Howells simply enjoyed writing music for choirs.
  
  An interesting fact about Howells is that in 1915 he was diagnosed with Graves’ disease (a serious thyroid condition) and given six months to live. His doctors believed that it was worth taking a chance on a previously untested treatment and as a result Howells was the first person in the U.K. ever to receive radium treatment. Very happily, it was worth the risk. (His daughter, Ursula Howells, was a very well-known British actress who appeared as Frances Forsyte in the 1960s TV programme ‘The Forsyte Saga,’ although she appeared in dozens of other stage, film and television productions.)
  
  Today’s anthem “Like as the Hart” is a setting of Psalm 42: 1-3 and is Howells’ best known and most often performed anthem. You’ll find a modern translation of this text on page 758 of the BAS. It was composed in one day almost 60 years ago, on January 8, 1941, in Cheltenham, Gloucester, during a snowstorm and is one of four pieces originally called “Anthems in Time of War.”
  
  Both the organ prelude and postlude were composed by Howells. The ‘Psalm Prelude’ (which is one of a set of six) is a musical commentary or meditation on Psalm 34: 6, and was written in 1915. It is a wonderfully atmospheric and emotional piece, starting softly and building to a very loud climax before subsiding and ending peacefully. The postlude, “Slow Air,” was composed in 1927, originally for violin and piano, and it provides a quietly contemplative finale to this morning’s service.

• Organ Prelude: Sonata for Flute and Organ (movements 1 & 2) - G. F. Handel
• Anthem: O Sapienta (O Wisdom) - T. Tertius Noble
• Organ Postlude: Sonata for Flute and Organ (movements 3 & 4) - G. F. Handel

• Organ Prelude: Come Now, Saviour of the World (Nun komm’ der heiden Heiland) - J. S. Bach
• Music during Communion: Renaissance Dances for Flute (Michael Praetorius, Pierre Attaingnant, Tylman Susato); Choir: Ave verum corpus (Jesu Word of God Incarnate) - Wolfgang Amadeus Mozart
• Organ Postlude: Sleepers, Wake! (Wachet auf, ruft uns die Stimme)- J. S. Bach

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