This was clearly one of the top experiences of my sabbatical so far.
St Peters with their innovation and clear high participation, St. Thomas with its liturgical fullness and astounding choral work - both different experiences, but both quite invigorating. I'm full of ideas. The worst part is that I'll have to wait an entire year to put them to use. Don't worry - I'm writing them down, and I've saved all the bulletins.
I can't get over the choir and their director at St. Thomas. Every word and line, it seems, is thoroughly thought through with regard to how to sing it. Their expressive singing, variety of historical styles, clear and solid sense of harmony and pitch yet never at the expense of line was downright moving. They sang a total of 21 anthems/movements of the liturgy, 10 different psalm settings - both Gregorian and four-part Anglican chant, numerous hymn stanzas and descants. An astounding amount of work. No service felt short-changed to allow preparation time for another. How do they do it?
My experiences during these weeks have taught me to work on what great opportunity we have as Lutherans at Mount Olive, and with the National Lutheran Choir.
In France I heard the best of the improvisation (in liturgical context) for the organ. In England and at St. Thomas I heard the best of the choral tradition. Lutherans have the opportunity to analyze and think (we're not alone in that, by the way). What we can bring to the table is a synthesis of all these things. French organ improvisations, English choral tradition, embodied historical/liturgical context.
We do that to some extent already. And ours is a place where folks come to hear the CONGREGATION sing. We really have something going on there. (We're not alone, though - the folks at St. Peter's sing with amazing vibrancy too!)
However, rather than hand all the settings of the ordinary of the mass and psalms to the choir - can we come up with exciting settings (like that of Langlais) that include the people too? Same with the psalmody? Can the organ improvisation serve the singing of the hymns by the people - AND other parts of the service? I envision an improvised prelude that introduces the entire liturgy with the same purpose and function of my introductions to each hymn. Custom fit to that particular day and its thrust. And, the choir can do more: thoroughly think through and prepare all our chanting, all of our motets /anthems/settings within the flow of the liturgy. We are that church that could do something like the St. Matthew Passion on Good Friday at noon. (maybe not that huge a thing to take on both in prep time and financially, but something LIKE that). Who else?
We're going to do it all. Time to "gird our loins"!
Tuesday, March 25, 2008
Easter Morning - St. Thomas
I couldn't wait to get back to St. Thomas for more. To be sure to get a spot, I arrived an hour and a half early. Good thing. Most of the center spots for the front third of this long and narrow nave were already taken. I was still able to find a good place, though - so I plopped down to stay in a middle spot about 8 pews back.
What a feast - in many and various ways. The half-hour prelude was for brass and organ - music by Walter Pelz (a good Lutheran - one of ours!), Gabrieli, Dupre, Bach, and Richard Strauss. Most of the major eras in music history - all beautifully done, of course. It was about a 10-12 piece brass ensemble with percussion, all clearly New York professionals. Never a clam. Never off from the ensemble. Thrilling.
The liturgy itself was extremely thrilling. (have I used that word yet?) Two procession hymns: Jesus Christ is Risen Today with John Rutter's arrangement for organ and brass, and then "The Day of Resurrection". It took that long for the full procession to occur in its fullness, and dignified pace. Smoke billowing everywhere, two crosses dressed with Lillies everyone bowing deeply for both, personnel galore. Terribly exciting.
Then the Gloria sung by the choir in Langlais' setting - with brass. The choral work at this place is truly the finest I've ever heard. This is countrapuntal - I could clearly hear each entrance, yet the counterpoint parts remained clear and musically expressive, but definitely background as another session would enter with the subject. During the gloria, he altar was censed.
The whole service was like this: thrilling moments, liturgical fullness, done with full body mind and spirit by the people in the pews without coaxing from a presider (no verbal stand/sit directions, for example - that is our job to figure out). Complete energy in singing and spoken/shouted responses. Reminded me of home.
The choir sang an anthem by Bairstow during the offering - a romantic style piece, and as I had come to expect, beautifully sung in complete romantic style. Full bodied tone, ebb and flow with rubato when appropriate, but all subtle enough to not be over the top and sappy.
The settings of the Sanctus and Agnus Dei were again that of Langlais, but with added brass. Completely thrilling.
The motets during distribution were the same set from the Vigil service, but I didn't mind hearing them again. Especially "This Joyful Eastertide".
The postlude was Gigout's "Grand Cheour Dialogue" for brass and organ. Not a clam or smudge. this piece is one of my favorites (and has been the postlude at MO for the past 4 or so years). What a thrill to hear it.
I'm exhausted, but totally invigorated. This was a completely fulfilling four days. Two contrasting parallel experiences - and important to experience the full triduum at both. The journey is a deep one, and I am grateful to have had the opportunity to do that - as a person in the pews. (Even if I did have to "look surprised" at the second proclamation of Easter...)
The good cap to the day was that my brother and my sister in law live in close by Philadelphia. I could hop a train, and still have Easter dinner with family! By 4:00 I was with them in their home. Lucky me again!
What a feast - in many and various ways. The half-hour prelude was for brass and organ - music by Walter Pelz (a good Lutheran - one of ours!), Gabrieli, Dupre, Bach, and Richard Strauss. Most of the major eras in music history - all beautifully done, of course. It was about a 10-12 piece brass ensemble with percussion, all clearly New York professionals. Never a clam. Never off from the ensemble. Thrilling.
The liturgy itself was extremely thrilling. (have I used that word yet?) Two procession hymns: Jesus Christ is Risen Today with John Rutter's arrangement for organ and brass, and then "The Day of Resurrection". It took that long for the full procession to occur in its fullness, and dignified pace. Smoke billowing everywhere, two crosses dressed with Lillies everyone bowing deeply for both, personnel galore. Terribly exciting.
Then the Gloria sung by the choir in Langlais' setting - with brass. The choral work at this place is truly the finest I've ever heard. This is countrapuntal - I could clearly hear each entrance, yet the counterpoint parts remained clear and musically expressive, but definitely background as another session would enter with the subject. During the gloria, he altar was censed.
The whole service was like this: thrilling moments, liturgical fullness, done with full body mind and spirit by the people in the pews without coaxing from a presider (no verbal stand/sit directions, for example - that is our job to figure out). Complete energy in singing and spoken/shouted responses. Reminded me of home.
The choir sang an anthem by Bairstow during the offering - a romantic style piece, and as I had come to expect, beautifully sung in complete romantic style. Full bodied tone, ebb and flow with rubato when appropriate, but all subtle enough to not be over the top and sappy.
The settings of the Sanctus and Agnus Dei were again that of Langlais, but with added brass. Completely thrilling.
The motets during distribution were the same set from the Vigil service, but I didn't mind hearing them again. Especially "This Joyful Eastertide".
The postlude was Gigout's "Grand Cheour Dialogue" for brass and organ. Not a clam or smudge. this piece is one of my favorites (and has been the postlude at MO for the past 4 or so years). What a thrill to hear it.
I'm exhausted, but totally invigorated. This was a completely fulfilling four days. Two contrasting parallel experiences - and important to experience the full triduum at both. The journey is a deep one, and I am grateful to have had the opportunity to do that - as a person in the pews. (Even if I did have to "look surprised" at the second proclamation of Easter...)
The good cap to the day was that my brother and my sister in law live in close by Philadelphia. I could hop a train, and still have Easter dinner with family! By 4:00 I was with them in their home. Lucky me again!
Two Easter Vigil services!
I was able to attend the Vigil service at St. Thomas at 5:30, and then another at St. Peter's Lutheran which started at 10 pm. Even time for a bite to eat between.
Fantastic experiences, both. I have to say that being on this side of the fence, the Triduum has a greater impact. When constantly rehearsing this music (for weeks prior) all mixed together, one doesn't get the same impact as it does for the worshippers - showing up and hearing the music in its liturgical context for the first time helps the three days unveil themselves in proper sequence. Musicians do a huge sacrifice in this way, but now I understand even more how important this is!
St. Thomas
This service was closest to our at Mount Olive in structure and liturgical/ritual action. We began in darkness with a new fire in the narthex. As the candle came down the aisle all of ours were lit - with the sung sentences. The first one started rather high, and I wondered where it would go from there. It went higher. The third time we were singing in the stratosphere - full voiced! From there to the readings: Creation, Floodd, Abraham's Sacrifice, Israel's Deliverance form the Red Sea, and the valley of the dry bones. After each, the men of the choir sang a Psalm response to a Gregorian tone. Simple but beautifully done. This choir is truly astonishing. Every line of text was clearly thought out, bringing important words, and giving a sense of direction. I was intrigued by the simplicity of doing the responses this way. It truly pointed to the Psalm and its text rather than striving to "be interesting" or clever. We, on the other hand, were silent. Not sure about that...
The choir then sang Palestrina's Sicut Cervus as transition into the baptismal service. This has to be the most beautiful rendering of this piece I've heard - every line fully blossoms, and each line (and ensemble of lines) grew to climaxes, then floated gently into cadences. Stunning.
There were four baptisms: one adult and three babies. We also renewed our Baptism. This was followed by the Great Litany of Saints (and we asked all of them by name to pray for us!) as the procession went from the font, (front side transept - similar to us!) down the side aisle, then up the center, sprinkling as they went.
This to the First Eucharist of Easter, (and people really shouted the responses) to singing "Jesus Christ is Risen Today" Couldn't sing past the lump in my throat it was so exciting and moving. The hymn just after the Homily (they don't have the tradition of the Hymn of the Day as we do) was a setting of "Christus vincit" by Gere Hancock, a former musician there. The congregation sang high "f" and "g" ! Who would have thought this possible? But they did it, and it took energy, which they (ah, "we"!) put forth!
Then this choir: Widor's "Surrexit a Mortuis" organ and choir, Sanctus and Agnus Dei by Langlais (full body chills again), then four motets during distribution: John Taverner (the 16th century one), Bassano, Dutch Carol (This Joyful Eastertide), and Scheidt's Surrexit Christus.
I can't get over this choir. Such diversity, such precision, such expression, such clean details (to the extent that one forgets about those) - such meaningful singing! "This Joyful Eastertide" was light bouyant and playful yet 100% unified in their playfulness. Astounding.
The service ended with a procession out, and the Widor Toccata as postlude. Everyone stayed to hear it.
St Peter's Lutheran
Quite the contrast! Being a very contemporary building - at the base of the Citibank Tower, the walls of glass overlook a plaza one level below street level, but the citi looks in, and we out onto the city while there. The space is kind of in the round, and they are completely flexible with their set up for every liturgy.
We casually gathered in what they call "The Livingroom" - a parish hall just off the nave. After a word or two of instruction, we went outside into the plaza for the new fire and the opening liturgy. We all then processed into the nave, standing around the altar and pascal candle during the singing of the Exultet. During this our candles were lit. Following this, we sat for the reading of the stories: Creation, Flood, Abraham being tested, Deliverance at the Red Sea, Dr Bones, Call of Johan, and the Fiery Furnace. Each was read by several people from different places in the room - not entirely taking on "roles" as a dramatic reading, but passing lines back and forth. Kind of interesting. Each reading was followed by a soloist singing an African American spiritual. (The soloist was African American himself - and very convincing, drawing us in). We, on the other hand, were silent.
This too, led to the baptism of an Adult who had been in training.
What followed was most interesting: during the singing of both the Great Litany and the Litany of Saints (yes, both) we literally took the "Light of Christ" (The Pascal Candle, and our lit candles - at least until the wind blew them out) outside, and we processed around the city block singing these responses. Very powerfull. Amongst the honking taxis, pedestrians trying to walk past and through us, we sang with vested liturgical leaders and choir singers mixed amongst us.
This led us back to the nave for the Easter Eucharist. Lights blasted on, and we sang the Gloria. (From whence cometh this tradition? I missed "Now All the Vault of Heaven Resounds"). Sequence Hymn (Christ is Arisen) reading of the Gospel, and then the chorale "Christ Jesus Lay in Death's Strong Bands" as a kind of hymn of the day. Wonderful progression.
For distribution, we gathered standing around the altar. Very moving.
The postlude, again, was Toccata from Symphony V for organ.
Very different experiences, both following the ancient pattern in different ways.
Wow.
Fantastic experiences, both. I have to say that being on this side of the fence, the Triduum has a greater impact. When constantly rehearsing this music (for weeks prior) all mixed together, one doesn't get the same impact as it does for the worshippers - showing up and hearing the music in its liturgical context for the first time helps the three days unveil themselves in proper sequence. Musicians do a huge sacrifice in this way, but now I understand even more how important this is!
St. Thomas
This service was closest to our at Mount Olive in structure and liturgical/ritual action. We began in darkness with a new fire in the narthex. As the candle came down the aisle all of ours were lit - with the sung sentences. The first one started rather high, and I wondered where it would go from there. It went higher. The third time we were singing in the stratosphere - full voiced! From there to the readings: Creation, Floodd, Abraham's Sacrifice, Israel's Deliverance form the Red Sea, and the valley of the dry bones. After each, the men of the choir sang a Psalm response to a Gregorian tone. Simple but beautifully done. This choir is truly astonishing. Every line of text was clearly thought out, bringing important words, and giving a sense of direction. I was intrigued by the simplicity of doing the responses this way. It truly pointed to the Psalm and its text rather than striving to "be interesting" or clever. We, on the other hand, were silent. Not sure about that...
The choir then sang Palestrina's Sicut Cervus as transition into the baptismal service. This has to be the most beautiful rendering of this piece I've heard - every line fully blossoms, and each line (and ensemble of lines) grew to climaxes, then floated gently into cadences. Stunning.
There were four baptisms: one adult and three babies. We also renewed our Baptism. This was followed by the Great Litany of Saints (and we asked all of them by name to pray for us!) as the procession went from the font, (front side transept - similar to us!) down the side aisle, then up the center, sprinkling as they went.
This to the First Eucharist of Easter, (and people really shouted the responses) to singing "Jesus Christ is Risen Today" Couldn't sing past the lump in my throat it was so exciting and moving. The hymn just after the Homily (they don't have the tradition of the Hymn of the Day as we do) was a setting of "Christus vincit" by Gere Hancock, a former musician there. The congregation sang high "f" and "g" ! Who would have thought this possible? But they did it, and it took energy, which they (ah, "we"!) put forth!
Then this choir: Widor's "Surrexit a Mortuis" organ and choir, Sanctus and Agnus Dei by Langlais (full body chills again), then four motets during distribution: John Taverner (the 16th century one), Bassano, Dutch Carol (This Joyful Eastertide), and Scheidt's Surrexit Christus.
I can't get over this choir. Such diversity, such precision, such expression, such clean details (to the extent that one forgets about those) - such meaningful singing! "This Joyful Eastertide" was light bouyant and playful yet 100% unified in their playfulness. Astounding.
The service ended with a procession out, and the Widor Toccata as postlude. Everyone stayed to hear it.
St Peter's Lutheran
Quite the contrast! Being a very contemporary building - at the base of the Citibank Tower, the walls of glass overlook a plaza one level below street level, but the citi looks in, and we out onto the city while there. The space is kind of in the round, and they are completely flexible with their set up for every liturgy.
We casually gathered in what they call "The Livingroom" - a parish hall just off the nave. After a word or two of instruction, we went outside into the plaza for the new fire and the opening liturgy. We all then processed into the nave, standing around the altar and pascal candle during the singing of the Exultet. During this our candles were lit. Following this, we sat for the reading of the stories: Creation, Flood, Abraham being tested, Deliverance at the Red Sea, Dr Bones, Call of Johan, and the Fiery Furnace. Each was read by several people from different places in the room - not entirely taking on "roles" as a dramatic reading, but passing lines back and forth. Kind of interesting. Each reading was followed by a soloist singing an African American spiritual. (The soloist was African American himself - and very convincing, drawing us in). We, on the other hand, were silent.
This too, led to the baptism of an Adult who had been in training.
What followed was most interesting: during the singing of both the Great Litany and the Litany of Saints (yes, both) we literally took the "Light of Christ" (The Pascal Candle, and our lit candles - at least until the wind blew them out) outside, and we processed around the city block singing these responses. Very powerfull. Amongst the honking taxis, pedestrians trying to walk past and through us, we sang with vested liturgical leaders and choir singers mixed amongst us.
This led us back to the nave for the Easter Eucharist. Lights blasted on, and we sang the Gloria. (From whence cometh this tradition? I missed "Now All the Vault of Heaven Resounds"). Sequence Hymn (Christ is Arisen) reading of the Gospel, and then the chorale "Christ Jesus Lay in Death's Strong Bands" as a kind of hymn of the day. Wonderful progression.
For distribution, we gathered standing around the altar. Very moving.
The postlude, again, was Toccata from Symphony V for organ.
Very different experiences, both following the ancient pattern in different ways.
Wow.
Saturday, March 22, 2008
Good Friday
I knew it would be good to be here, but I had no idea HOW good.
I started by attending the Noon "Devotion" service at St. Peter's. It included a complete performance of Bach's St. Matthew Passion. The whole thing. In the context of a liturgy - prelude, opening sentences, scripture, Part one, Homily, and Part two, closing prayers and then singing the chorale "Lord Thee I Love". Wow. It was the church choir with local soloists - mostly from the paid quartet of the choir. They did a fabulous job - especially the Baritone (Jesus), and the Evangelist. He was especially fantastic - both sang from the heart, but not in a sappy over-emotional way. They are amazingly demanding roles but were both done extremely well. I can't imagine taking something like that on - the piece is about 2 hours 45 minutes - that's a lot of music to rehearse and study. Definately makes me think we have the opportunity to do more at Mount Olive. We're "that church" that would do something like this: a three hour liturgy on Good Friday, from 1 - 3 pm (the hours Jesus was one the cross), do something like a Bach Passion, and including having the chorales sung by all in the congregation (St Peter did not do that).
At 5:30 I went back to St. Thomas for their Good Friday service, led by the St. Thomas choir of men and boys. It was the traditional Good Friday liturgy, beginning with the chanting of the passion (using the GIA chant setting, but the crowd parts sung by the choir), followed by homily, bidding prayers, then adoration of the cross, then Eucharist (using the consecrated elements from Thursday's liturgy). Very powerful liturgy, again. But the choir again blew me away. Anthems (and motets) by Byrd, Gisualdo, Lotti - early music and chant. Very fitting. But I can't get over this choir: it truly is some of the finest choral work I've ever heard. Every note sounds fully prepared, rehearsed and unified to the point where if not paying attention to them, aren't noticed because it produces a whole effect that completely draws the listener into the essence of the piece. Each phrase has complete life, every pitch has life. Always a sense of direction - increasing (inflating) or decrescendo (deflating) - never, never, never static. Sounds automatic and natural, but I have a feeling this is drilled. Even their Gregorian chant was this way - always a sense of direction in the sentence being chanted, always the goal, important words stretched exactly together. Cadences floated into, and barely any sound for the final note as the room gathers the phrase into the cadence.
Lotti's Crucifixus (an 8-part piece) completely removed me from time and space. Each entrance discernable, and full of life. Long lines would soar out above others, then deflating as another takes over - inner lines, corporate dynamics - it built to a huge climax, then deflated to the point of a final cadence during which one could hear a pin drop, yet it was consistent, clean, clear and even tone at the quietest level possible - always total control and support. Astounding.
Then at 7:00 I went two blocks east back to St Peter's for their evening Good Friday service. I arrived as they were starting a dramatic telling of the Passion. More of a Theater production, but effective. It ended with one large wood cross in the middle of the room, lit with candles. Very Taize-like atmosphere. The reproaches were then sung, using the Orthodox Trisagian in the ELW. However, he had someone chanting the text in a style that sounded like a Russian Orthodox cantor - very powerful way to express these prayers.
Whew. This time, however, I ran into people I knew (Larry Long, Martin Jean, Thomas Schmidt) and had a very nice dinner afterwards. Will probably need sell a car to pay for that though.
I started by attending the Noon "Devotion" service at St. Peter's. It included a complete performance of Bach's St. Matthew Passion. The whole thing. In the context of a liturgy - prelude, opening sentences, scripture, Part one, Homily, and Part two, closing prayers and then singing the chorale "Lord Thee I Love". Wow. It was the church choir with local soloists - mostly from the paid quartet of the choir. They did a fabulous job - especially the Baritone (Jesus), and the Evangelist. He was especially fantastic - both sang from the heart, but not in a sappy over-emotional way. They are amazingly demanding roles but were both done extremely well. I can't imagine taking something like that on - the piece is about 2 hours 45 minutes - that's a lot of music to rehearse and study. Definately makes me think we have the opportunity to do more at Mount Olive. We're "that church" that would do something like this: a three hour liturgy on Good Friday, from 1 - 3 pm (the hours Jesus was one the cross), do something like a Bach Passion, and including having the chorales sung by all in the congregation (St Peter did not do that).
At 5:30 I went back to St. Thomas for their Good Friday service, led by the St. Thomas choir of men and boys. It was the traditional Good Friday liturgy, beginning with the chanting of the passion (using the GIA chant setting, but the crowd parts sung by the choir), followed by homily, bidding prayers, then adoration of the cross, then Eucharist (using the consecrated elements from Thursday's liturgy). Very powerful liturgy, again. But the choir again blew me away. Anthems (and motets) by Byrd, Gisualdo, Lotti - early music and chant. Very fitting. But I can't get over this choir: it truly is some of the finest choral work I've ever heard. Every note sounds fully prepared, rehearsed and unified to the point where if not paying attention to them, aren't noticed because it produces a whole effect that completely draws the listener into the essence of the piece. Each phrase has complete life, every pitch has life. Always a sense of direction - increasing (inflating) or decrescendo (deflating) - never, never, never static. Sounds automatic and natural, but I have a feeling this is drilled. Even their Gregorian chant was this way - always a sense of direction in the sentence being chanted, always the goal, important words stretched exactly together. Cadences floated into, and barely any sound for the final note as the room gathers the phrase into the cadence.
Lotti's Crucifixus (an 8-part piece) completely removed me from time and space. Each entrance discernable, and full of life. Long lines would soar out above others, then deflating as another takes over - inner lines, corporate dynamics - it built to a huge climax, then deflated to the point of a final cadence during which one could hear a pin drop, yet it was consistent, clean, clear and even tone at the quietest level possible - always total control and support. Astounding.
Then at 7:00 I went two blocks east back to St Peter's for their evening Good Friday service. I arrived as they were starting a dramatic telling of the Passion. More of a Theater production, but effective. It ended with one large wood cross in the middle of the room, lit with candles. Very Taize-like atmosphere. The reproaches were then sung, using the Orthodox Trisagian in the ELW. However, he had someone chanting the text in a style that sounded like a Russian Orthodox cantor - very powerful way to express these prayers.
Whew. This time, however, I ran into people I knew (Larry Long, Martin Jean, Thomas Schmidt) and had a very nice dinner afterwards. Will probably need sell a car to pay for that though.
Friday, March 21, 2008
Maundy Thursday - Manhattan
Oh my gosh. I'm still picking my jaw up off the floor. That's where I have to start after my Maundy Thursday experience at St. Thomas Church in Manhattan. This liturgy was outstanding, the choir unbelievable.
The conductor is John Scott, who moved here from St. Paul's in London last summer. This is some of the finest choral singing I have heard since NLC! (Sorry, a bit of bias coming through there..) Extremely precise, expressive, details in place, etc. - one gets immediately drawn into the music (and not its production) in that case. For this service, the first of many the men and boy choir is leading in these four days, they sang a mass by Poulenc (I've never heard it - some absolutely stunning moments) - Gloria and all! An additional motet by Poulenc, and two motets by Durufle. It was one of the move beautiful interpretations of Durufle's Ubi Caritas I have heard. They also did an Anglican plainsong Psalm - as tight as it can be, and fully expressive of the text. They also did Gregorian Chants, very traditional English Hymnody (and people actually sang!!), and full liturgical rubrical observance. Incense and all. People there (and there were a lot of people in attendance) were fully involved in the ritual, eager to be there.
The service ended with a complete surprise - I'm eager to learn where this practice comes from. At the stripping of the altar, the men of the choir sang Psalm 22 to a Gregorian tone, the last thing the Presiding minister did was wipe off the top of the altar (it sounded almost like sandpaper, actually), then threw the rag or whatever it was onto the floor. At that point there was a loud noise, lights went off, men suddenly stopped singing, the boys RAN out, all the way down the center aisle, then back up the side aisle to the sacristy. As fast as they could. Of course I was trying not to giggle, but the impact of this drama sank in as the evening progressed with an outrageously expensive dinner.
I hadn't planned on going there that night, but was Good Friday, a 5:30 Easter Vigil on Holy Saturday, then Sunday morning. But I decided to find where it was early in the afternoon, and noticed they had a 5:30 service. I thought I'd go there, then somewhere else. I never made it anywhere else, and I can't wait to go back there to see what's next. When I had stepped into the place earlier in the afternoon I heard the organist practicing Langlais' Messe Solennelle - Ooo-baby - the suspense is killing me. When are they going to use that? It's one of the most stunning settings of the Sanctus ever (Remember Bruce Bengtson having introduced me to it?), the only potential rival being that of Durufle in his Requiem.
This means I will be feasting through the entire Triduum in two parishes - their schedules allow this. St. Thomas and St. Peters Lutheran Church.
St. Thomas is an Anglican parish which runs a boarding-choir school for boys up to 8th grade. I've never heard such amazing musicianship. St. Peters' is an ELCA Lutheran parish at the bottom of the Citi-bank tower. They do very traditional things with a creative/contemporary touch. (Contemporary in the GOOD sense of the word: not cheap, commercialist music).
Now I have to find ways to have dinner without taking out a loan.
The conductor is John Scott, who moved here from St. Paul's in London last summer. This is some of the finest choral singing I have heard since NLC! (Sorry, a bit of bias coming through there..) Extremely precise, expressive, details in place, etc. - one gets immediately drawn into the music (and not its production) in that case. For this service, the first of many the men and boy choir is leading in these four days, they sang a mass by Poulenc (I've never heard it - some absolutely stunning moments) - Gloria and all! An additional motet by Poulenc, and two motets by Durufle. It was one of the move beautiful interpretations of Durufle's Ubi Caritas I have heard. They also did an Anglican plainsong Psalm - as tight as it can be, and fully expressive of the text. They also did Gregorian Chants, very traditional English Hymnody (and people actually sang!!), and full liturgical rubrical observance. Incense and all. People there (and there were a lot of people in attendance) were fully involved in the ritual, eager to be there.
The service ended with a complete surprise - I'm eager to learn where this practice comes from. At the stripping of the altar, the men of the choir sang Psalm 22 to a Gregorian tone, the last thing the Presiding minister did was wipe off the top of the altar (it sounded almost like sandpaper, actually), then threw the rag or whatever it was onto the floor. At that point there was a loud noise, lights went off, men suddenly stopped singing, the boys RAN out, all the way down the center aisle, then back up the side aisle to the sacristy. As fast as they could. Of course I was trying not to giggle, but the impact of this drama sank in as the evening progressed with an outrageously expensive dinner.
I hadn't planned on going there that night, but was Good Friday, a 5:30 Easter Vigil on Holy Saturday, then Sunday morning. But I decided to find where it was early in the afternoon, and noticed they had a 5:30 service. I thought I'd go there, then somewhere else. I never made it anywhere else, and I can't wait to go back there to see what's next. When I had stepped into the place earlier in the afternoon I heard the organist practicing Langlais' Messe Solennelle - Ooo-baby - the suspense is killing me. When are they going to use that? It's one of the most stunning settings of the Sanctus ever (Remember Bruce Bengtson having introduced me to it?), the only potential rival being that of Durufle in his Requiem.
This means I will be feasting through the entire Triduum in two parishes - their schedules allow this. St. Thomas and St. Peters Lutheran Church.
St. Thomas is an Anglican parish which runs a boarding-choir school for boys up to 8th grade. I've never heard such amazing musicianship. St. Peters' is an ELCA Lutheran parish at the bottom of the Citi-bank tower. They do very traditional things with a creative/contemporary touch. (Contemporary in the GOOD sense of the word: not cheap, commercialist music).
Now I have to find ways to have dinner without taking out a loan.
Monday, March 17, 2008
Palm Sunday - Madison, WI
I knew that one of my sabbatical stops had to be Luther Memorial Church in Madison Wisconsin, and if possible, spend time with my colleague and friend , Bruce Bengtson - the musician there.
This is a parish quite similar to Mount Olive liturgically. They have "held on" and do liturgy well with high quality music. The choir does an enormous amount of good literature, all in the context of the liturgy. The people own what happens, and I felt a very healthy atmosphere there. It clearly wasn't about them - it was about God, and what the people were there to do: worship God. No insider/outsider atmosphere, no "visitor" hunt for new membership meat. Very refreshing.
The Palm/Passion liturgy was lovely - very similar to what we do at Mount Olive, beginning in the narthex, processing to the hymn "All Glory Laud and Honor" - changing of the vestments, reading of the passion to the Eucharist. Very tastefully done, a variety of ages involved, people singing in the pews, fabulous leadership from the organ (which encouraged singing), and a wonderful postlude by Langlais - for which many stayed to hear. The choir sang two anthems, one by Richard Proulx, the other "Ubi Caritas" by Durufle - one of my favorites. I was completely drawn into the liturgy, could sing, could bow and not be alone - it truly felt like home.
Time with Bruce always changes me. I'd like to tell you about this man, who I revere to be one of the finest Lutheran church musicians in the country.
Bruce has been here for 30 years. Here is a person who's life is: 1. GOD, 2. MUSIC, with an intrinsic and intense love for both and in that order. He lives simply, alone in the same small one bedroom apartment he's had since I met him well over 20 years ago. (We met through the Association of Lutheran Church Musicians in 1986,m both of us about 5 years out of school, the young bucks starting out. ) It's enough. Why would he need more?
Spending time with Bruce is always an eye opening experience, in a number of ways. He loves music in such a deep way, he can't help but share his latest discovery or passion: literature on a CD, or a score he's come upon. He hunts for interesting choral literature through CD's, friends recommendations, or through his travels (He particularly enjoys Scandanavia). Finding one piece usually leads to another on a CD, or through a publisher hunt in locating a piece. In any case, I know no one who finds things like Bruce does. And he actually uses the literature he finds in the context of the litturgy. His choir is one of the luckiest that way. One of the choir singers told me: "We'll get a score with eight to ten staves - wondering how in the world.. but then he'll tell us how, and it works. Now we don't even think about that when scores are handed out..." They clearly feel very good about what they do: it makes it worth their time.
The choral library at Lutheran Memorial is phenomenal because of Bruce's quests. While I was there, he went through the file drawers to show me some of his finds. He kept stopping going "OOh, have you seen this?! It's so lovely" and would loose himself for a minute as his mind played the music. If he had found a lovely piece but in a foreign language or non-so-appropriate text for liturgy, he'd translate it into English, or find a text with a meter that could fit the piece. Drawer after drawer the enthusiasm never waned, and we wound up with a stack of music for me to take home to study, locate or copy, then send back. I have music by Sweelinck, Kverno, Otto Olsson, Chesnokov, Healy Willan, Georg Schumann, Reinberger, Praetorius and man y others. It's choral music from around the world.
After taking me out to diner, we went to his apartment, where the CD listening began. "Have you heard this?! Ooo - you're going to love it" And we would. Being with him in this is a lesson in music appreciation, and learning what to listen for as he points out a wonderful phrase, cadence, or line of text. (I noticed there was no TV in his apartment, but hundreds of CD's - hmmm, I have a feeling I know what goes on instead of TV)
Most of the CD's he has are from traveling, or catalogues he's found on line, or from special order. Many are CD's of all the music of a particular composer that a European Choir took to doing. Few are mainstream CD's the rest of us find at Barnes and Noble.
For example, Georg Schumann, a 19th-20th c German composer of church music - mostly choral. Many of us know one or two of his pieces (Such as "Yea Though I Wander). Bruce would ask, what else has he written? Is it on CD with other pieces we can find? In this case, quite a bit. He found an English Choir who had recorded all the works of Schumann. On these CD's were several other pieces of great interest, so he hunts for the scores. "From Heaven Above", or a piece I'll be using: "With Peace and Joy I Depart". This composer wrote quite a bit - and much of it quite useful for either the church choir, or the National Lutheran Choir. To find more from this composer is exciting.
It was Bruce who years ago had me listen to Langlais' Messe Solonelle over which I totally flipped. Since then I've recorded it, and have discovered the entire line of similar literature from France. Widor, Vierne, Dupre - all composed similar things before Langlais. All of terribly exciting. It changed my life. And now I "retreat" to Paris. It was Bruce who first told me about "Musica Russica" a company who makes Russian Choral available and accessible with transliterations and pronunciation guides. It was also Bruce who introduced me to Alice Parker who changed my life. Alice taught me to appreciate melody, and to notice from whence a tune cometh and bring that out in musical treatments of the melody.
Another eye-opening dimension to spending time with Bruce: his aspirations are simple. Love God, and be God's faithful servant where you are plopped. He only has what he truly needs. He doesn't seek fame, or a bigger and more hip parish, or academic blessing - he simply loves God and music, and making the music with the people where he serves; Luther Memorial. The parish has been through ups and downs during the time I've known him, but he remains steadfast. He doesn't ask the question about life: "Can there be more" He simply is satisfied: "It is enough". Except, of course, when it comes to choral literature, which he savors, searches and shares. This is grace, compassion and living the love of Christ.
What a gift to us all, what a gift to God.
This is a parish quite similar to Mount Olive liturgically. They have "held on" and do liturgy well with high quality music. The choir does an enormous amount of good literature, all in the context of the liturgy. The people own what happens, and I felt a very healthy atmosphere there. It clearly wasn't about them - it was about God, and what the people were there to do: worship God. No insider/outsider atmosphere, no "visitor" hunt for new membership meat. Very refreshing.
The Palm/Passion liturgy was lovely - very similar to what we do at Mount Olive, beginning in the narthex, processing to the hymn "All Glory Laud and Honor" - changing of the vestments, reading of the passion to the Eucharist. Very tastefully done, a variety of ages involved, people singing in the pews, fabulous leadership from the organ (which encouraged singing), and a wonderful postlude by Langlais - for which many stayed to hear. The choir sang two anthems, one by Richard Proulx, the other "Ubi Caritas" by Durufle - one of my favorites. I was completely drawn into the liturgy, could sing, could bow and not be alone - it truly felt like home.
Time with Bruce always changes me. I'd like to tell you about this man, who I revere to be one of the finest Lutheran church musicians in the country.
Bruce has been here for 30 years. Here is a person who's life is: 1. GOD, 2. MUSIC, with an intrinsic and intense love for both and in that order. He lives simply, alone in the same small one bedroom apartment he's had since I met him well over 20 years ago. (We met through the Association of Lutheran Church Musicians in 1986,m both of us about 5 years out of school, the young bucks starting out. ) It's enough. Why would he need more?
Spending time with Bruce is always an eye opening experience, in a number of ways. He loves music in such a deep way, he can't help but share his latest discovery or passion: literature on a CD, or a score he's come upon. He hunts for interesting choral literature through CD's, friends recommendations, or through his travels (He particularly enjoys Scandanavia). Finding one piece usually leads to another on a CD, or through a publisher hunt in locating a piece. In any case, I know no one who finds things like Bruce does. And he actually uses the literature he finds in the context of the litturgy. His choir is one of the luckiest that way. One of the choir singers told me: "We'll get a score with eight to ten staves - wondering how in the world.. but then he'll tell us how, and it works. Now we don't even think about that when scores are handed out..." They clearly feel very good about what they do: it makes it worth their time.
The choral library at Lutheran Memorial is phenomenal because of Bruce's quests. While I was there, he went through the file drawers to show me some of his finds. He kept stopping going "OOh, have you seen this?! It's so lovely" and would loose himself for a minute as his mind played the music. If he had found a lovely piece but in a foreign language or non-so-appropriate text for liturgy, he'd translate it into English, or find a text with a meter that could fit the piece. Drawer after drawer the enthusiasm never waned, and we wound up with a stack of music for me to take home to study, locate or copy, then send back. I have music by Sweelinck, Kverno, Otto Olsson, Chesnokov, Healy Willan, Georg Schumann, Reinberger, Praetorius and man y others. It's choral music from around the world.
After taking me out to diner, we went to his apartment, where the CD listening began. "Have you heard this?! Ooo - you're going to love it" And we would. Being with him in this is a lesson in music appreciation, and learning what to listen for as he points out a wonderful phrase, cadence, or line of text. (I noticed there was no TV in his apartment, but hundreds of CD's - hmmm, I have a feeling I know what goes on instead of TV)
Most of the CD's he has are from traveling, or catalogues he's found on line, or from special order. Many are CD's of all the music of a particular composer that a European Choir took to doing. Few are mainstream CD's the rest of us find at Barnes and Noble.
For example, Georg Schumann, a 19th-20th c German composer of church music - mostly choral. Many of us know one or two of his pieces (Such as "Yea Though I Wander). Bruce would ask, what else has he written? Is it on CD with other pieces we can find? In this case, quite a bit. He found an English Choir who had recorded all the works of Schumann. On these CD's were several other pieces of great interest, so he hunts for the scores. "From Heaven Above", or a piece I'll be using: "With Peace and Joy I Depart". This composer wrote quite a bit - and much of it quite useful for either the church choir, or the National Lutheran Choir. To find more from this composer is exciting.
It was Bruce who years ago had me listen to Langlais' Messe Solonelle over which I totally flipped. Since then I've recorded it, and have discovered the entire line of similar literature from France. Widor, Vierne, Dupre - all composed similar things before Langlais. All of terribly exciting. It changed my life. And now I "retreat" to Paris. It was Bruce who first told me about "Musica Russica" a company who makes Russian Choral available and accessible with transliterations and pronunciation guides. It was also Bruce who introduced me to Alice Parker who changed my life. Alice taught me to appreciate melody, and to notice from whence a tune cometh and bring that out in musical treatments of the melody.
Another eye-opening dimension to spending time with Bruce: his aspirations are simple. Love God, and be God's faithful servant where you are plopped. He only has what he truly needs. He doesn't seek fame, or a bigger and more hip parish, or academic blessing - he simply loves God and music, and making the music with the people where he serves; Luther Memorial. The parish has been through ups and downs during the time I've known him, but he remains steadfast. He doesn't ask the question about life: "Can there be more" He simply is satisfied: "It is enough". Except, of course, when it comes to choral literature, which he savors, searches and shares. This is grace, compassion and living the love of Christ.
What a gift to us all, what a gift to God.
Lent 5 - Minneapolis
Before heading off to Florida to do nothing there, I attended the morning service for the Fifth Sunday of Lent at the Basilica of St Mary, in Minneapolis.
A full and beautiful liturgy - and the place was full. A variety of people in attendance: young and old (with lots of children), what appeared to be people of varying racial backgrounds, gay and straight, very prim and proper types alongside of not-so-prim and proper types - all together as one. Loved it.
Gregorian chant started the service which immediately put me into a mystical zone. The choir was quite fine, and sang a number of things. The ordinary of the liturgy was composed by a composer in residence, and was OK. We only sang one hymn, however, and sang loads of REFRAINS - and each time led by a heavily mic'd singer. I really detest this practice - it actually squashes our song instead of doing what it is supposed to do, which is encourage the song. We (and the people around me) are capable of singing more than refrains intellectually and musically. It's time to move beyond these training wheels the Roman Catholic church instituted after Vatican II. Folks are brighter than this.
A full and beautiful liturgy - and the place was full. A variety of people in attendance: young and old (with lots of children), what appeared to be people of varying racial backgrounds, gay and straight, very prim and proper types alongside of not-so-prim and proper types - all together as one. Loved it.
Gregorian chant started the service which immediately put me into a mystical zone. The choir was quite fine, and sang a number of things. The ordinary of the liturgy was composed by a composer in residence, and was OK. We only sang one hymn, however, and sang loads of REFRAINS - and each time led by a heavily mic'd singer. I really detest this practice - it actually squashes our song instead of doing what it is supposed to do, which is encourage the song. We (and the people around me) are capable of singing more than refrains intellectually and musically. It's time to move beyond these training wheels the Roman Catholic church instituted after Vatican II. Folks are brighter than this.
Sunday, March 9, 2008
One week home
For the first time since January 15th - I've been home for an entire week.
The program we had scheduled for Kansas City postponed, so that makes for TWO WEEKS at home, with nothing "scheduled".
This is hard! Now at the end of the first week, without rehearsals to prepare for, without liturgies to prepare for, what have I accomplished? I did compose a piece that I had promised for an April program. That took about a half day. I put a new faucet in the kitchen sink. That took one hour.
What did I do?
Can't say. But it sure feels good. No alarm. I watched American Idol - an interesting process, and study of human interaction!! Sabboth (sabbatical) means rest - I guess that's a pretty significant accomplishment.
Maybe that was it.
I miss the people and work, and look forward to the return.
I guess I'll just go off to Florida to "do nothing there" using free miles, and accept the generosity of a friend with an empty condo there. That's it. I'll do nothing there for a few days.
Why not?
The program we had scheduled for Kansas City postponed, so that makes for TWO WEEKS at home, with nothing "scheduled".
This is hard! Now at the end of the first week, without rehearsals to prepare for, without liturgies to prepare for, what have I accomplished? I did compose a piece that I had promised for an April program. That took about a half day. I put a new faucet in the kitchen sink. That took one hour.
What did I do?
Can't say. But it sure feels good. No alarm. I watched American Idol - an interesting process, and study of human interaction!! Sabboth (sabbatical) means rest - I guess that's a pretty significant accomplishment.
Maybe that was it.
I miss the people and work, and look forward to the return.
I guess I'll just go off to Florida to "do nothing there" using free miles, and accept the generosity of a friend with an empty condo there. That's it. I'll do nothing there for a few days.
Why not?
Fourth Sunday in Lent - in Minneapolis
The Fourth Sunday in Lent was wonderful, very interesting, and: AT HOME.
I spent the morning attending worship at Mount Olive. Beautiful liturgy, done by all. It is a wonderful thing to participate as a person-in-the-pews, witnessing the depth of meaning brought to the song, actions, and entire flow of the liturgy through the worshipers themselves. I am absolutely lucky to be able to "hang my hat" at this place, and associate with these people.
The afternoon I attended the NLC concert - again; as a person-in-the-pews. I had intentionally not studied the music they were to perform so that I would experience the concert truly as most audiences do. It was deeply moving, and again: I'm such a lucky person to be able to associate with these talented, spiritual beings.
What the day really taught me is this: We have some of the best and deepest of things are right here in this river-city. One doesn't need to travel the world to find it. It's here.
Savor.
I spent the morning attending worship at Mount Olive. Beautiful liturgy, done by all. It is a wonderful thing to participate as a person-in-the-pews, witnessing the depth of meaning brought to the song, actions, and entire flow of the liturgy through the worshipers themselves. I am absolutely lucky to be able to "hang my hat" at this place, and associate with these people.
The afternoon I attended the NLC concert - again; as a person-in-the-pews. I had intentionally not studied the music they were to perform so that I would experience the concert truly as most audiences do. It was deeply moving, and again: I'm such a lucky person to be able to associate with these talented, spiritual beings.
What the day really taught me is this: We have some of the best and deepest of things are right here in this river-city. One doesn't need to travel the world to find it. It's here.
Savor.
Two other stops in France
Before heading back, two additional stops warrant mentioning.
1. Fluta-a-pan - is a music store near the Opera in Paris. I spent a morning there going through browser boxes of choral music. Came home with many pieces I never knew about which we will sing both in NLC and at Mount Olive! Pieces by Widor, Alain, Faure, and others. Who knew? Love those browser boxes!
2. A Citroen car dealer! These are the coolest and most interesting cars! Gizmos and design that has always been years ahead of other car makers. Too bad we can't get them in the states!
Home....
1. Fluta-a-pan - is a music store near the Opera in Paris. I spent a morning there going through browser boxes of choral music. Came home with many pieces I never knew about which we will sing both in NLC and at Mount Olive! Pieces by Widor, Alain, Faure, and others. Who knew? Love those browser boxes!
2. A Citroen car dealer! These are the coolest and most interesting cars! Gizmos and design that has always been years ahead of other car makers. Too bad we can't get them in the states!
Home....
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