This week the parish is anticipating Candlemass, the feast of the presentation of Christ in the temple. Readings can be found here, and (just for kicks!) the psalm will be sung to an Anglican chant based on Ein' Feste Burg.
The service will be prefaced with the blessing of candles and a procession. The setting will be Philip Matthias' Christ Church Mass (Together in Song, 757). Hymns as follows:
Procession: Faithful vigil ended [New English Hymnal, 44]
Sequence: Lord God, you now have set your servant free [733]
Offertory: Let all mortal flesh keep silence [497]
Communion: He became poor that we may be rich [721]
25 January 2012
21 January 2012
Quote of the week
From Stephen Sondheim:
Music is a foreign language that everyone knows but only musicians can speak.
19 January 2012
Getting on with Taruskin
I'm a bit over halfway through the second volume of Richard Taruskin's Oxford History of Western Music.
It's a really great read. I always come away feeling greatly enriched by Taruskin. His insights into the music of the Western tradition are refreshing and dazzling.
There is one small niggle, and it's one that comes up whenever musicologists discuss liturgical music. There is a little double solecism in Taruskin's description of what Catholics got up to at Mass in the early-seventeenth century. Taruskin assumes that it was the common practice for all present to receive communion, an act he describes as dispensing the wafer and wine.
In the year 1600 a frequent communicant would have been one who received at Easter and/or Christmas, and they would have received under one kind only (and it wasn't the wine). It was only in the twentieth century that moves to have the whole congregation receive communion on a weekly basis came to full fruition. It is a token of the success of this movement among [Roman] Catholics that we now find it difficult to understand how an extended motet could have accompanied the communion of the priest alone.
Taruskin is no liturgical scholar, and it would be perverse to suggest otherwise. But he does talk a lot about counter-reformation devotional practices to the extent that they involved music, and it's hard to avoid the feeling that he views Masonic ceremonies and Catholic liturgy in much the same light. Counter-reformation Catholic devotion was at least as much an aesthetic programme as an attempt to provide a systematic account of Catholic dogma embodied in popular piety. Without launching into a full-scale literature review on a microscopically minor point, the relationship of most non-clerical Catholics to the Eucharist in this period was not tasting so much as watching and adoring, not to mention carrying around and lifting up. The highest expressions of post-Tridentine devotion to the Eucharist were those actions associated with the sacrament being brought into full public view -- the elevation at the Mass, or through exposition and benediction using a monstrance. If you look at some of the multitudinous devotional societies attached to many churches in Europe, much of their activity centres on processions of relics which inevitably end up involving the exposed sacrament. In the English-speaking Catholic world, such practices dried up at the parish level from the 1970s.
I have a deeper question that Taruskin's history raises through its method. It would be fascinating to know why it is that most histories of Western music, church music drops off a cliff by the middle of the eighteenth century, hurtles past a couple of unavoidable pieces by Haydn and Beethoven on the way down, practically never to be seen as a substantive topic again. Maybe that's a question for another day.
It's a really great read. I always come away feeling greatly enriched by Taruskin. His insights into the music of the Western tradition are refreshing and dazzling.
There is one small niggle, and it's one that comes up whenever musicologists discuss liturgical music. There is a little double solecism in Taruskin's description of what Catholics got up to at Mass in the early-seventeenth century. Taruskin assumes that it was the common practice for all present to receive communion, an act he describes as dispensing the wafer and wine.
In the year 1600 a frequent communicant would have been one who received at Easter and/or Christmas, and they would have received under one kind only (and it wasn't the wine). It was only in the twentieth century that moves to have the whole congregation receive communion on a weekly basis came to full fruition. It is a token of the success of this movement among [Roman] Catholics that we now find it difficult to understand how an extended motet could have accompanied the communion of the priest alone.
Taruskin is no liturgical scholar, and it would be perverse to suggest otherwise. But he does talk a lot about counter-reformation devotional practices to the extent that they involved music, and it's hard to avoid the feeling that he views Masonic ceremonies and Catholic liturgy in much the same light. Counter-reformation Catholic devotion was at least as much an aesthetic programme as an attempt to provide a systematic account of Catholic dogma embodied in popular piety. Without launching into a full-scale literature review on a microscopically minor point, the relationship of most non-clerical Catholics to the Eucharist in this period was not tasting so much as watching and adoring, not to mention carrying around and lifting up. The highest expressions of post-Tridentine devotion to the Eucharist were those actions associated with the sacrament being brought into full public view -- the elevation at the Mass, or through exposition and benediction using a monstrance. If you look at some of the multitudinous devotional societies attached to many churches in Europe, much of their activity centres on processions of relics which inevitably end up involving the exposed sacrament. In the English-speaking Catholic world, such practices dried up at the parish level from the 1970s.
I have a deeper question that Taruskin's history raises through its method. It would be fascinating to know why it is that most histories of Western music, church music drops off a cliff by the middle of the eighteenth century, hurtles past a couple of unavoidable pieces by Haydn and Beethoven on the way down, practically never to be seen as a substantive topic again. Maybe that's a question for another day.
18 January 2012
Music for Sunday 22 January 2012
Readings for the week can be found here; the psalm will be sung from the setting in Respond & Acclaim.
There are a few minor changes to the familiar program this week. There is a baptism at All Saints, which alters the shape of the service somewhat, while things remain unchanged at St George's and St Mary's.
One issue that's often concerned me when programming music for baptisms is the need to offer something that people can pick up quickly and easily. Many parishes just carry on with the normal musical diet, assuming that it's only the spoken parts of the service that really matter to the visitors. Of course, the one thing that most of the visitors will remember is not being able to join in all the songs and music -- they tend to relate to things that sung or done much more readily than the rather wordy remainder of the whole worship experience. There are plenty of ways of doing the music that can involve refrains and call-and-response, which invite participation more readily.
The service setting will be Philip Matthias's Christ Church Mass (Together in Song, 757), which will be sung complete at St George's, along with a versified setting of the creed. At All Saints, there will be Matthias leavened with the Kyrie de Angelis and a Taize Gloria.
Hymns are as follows:
Introit: God has spoken by his prophets [158]
[No sequence hymn this week]
Baptism: Lord Jesus, once a child [490 -- All Saints only]
Offertory: Dear Father, Lord of humankind [598 -- St George's only]
Communion: Bread is blessed and broken [707 -- St George's only]
Communion: In God alone my soul [Taize -- All Saints only]
There are a few minor changes to the familiar program this week. There is a baptism at All Saints, which alters the shape of the service somewhat, while things remain unchanged at St George's and St Mary's.
One issue that's often concerned me when programming music for baptisms is the need to offer something that people can pick up quickly and easily. Many parishes just carry on with the normal musical diet, assuming that it's only the spoken parts of the service that really matter to the visitors. Of course, the one thing that most of the visitors will remember is not being able to join in all the songs and music -- they tend to relate to things that sung or done much more readily than the rather wordy remainder of the whole worship experience. There are plenty of ways of doing the music that can involve refrains and call-and-response, which invite participation more readily.
The service setting will be Philip Matthias's Christ Church Mass (Together in Song, 757), which will be sung complete at St George's, along with a versified setting of the creed. At All Saints, there will be Matthias leavened with the Kyrie de Angelis and a Taize Gloria.
Hymns are as follows:
Introit: God has spoken by his prophets [158]
[No sequence hymn this week]
Baptism: Lord Jesus, once a child [490 -- All Saints only]
Offertory: Dear Father, Lord of humankind [598 -- St George's only]
Communion: Bread is blessed and broken [707 -- St George's only]
Communion: In God alone my soul [Taize -- All Saints only]
11 January 2012
Music for Sunday 15 January 2012
Readings for the week can be found here, and the psalm will be sung using a setting from Respond & Acclaim.
The setting will be Philip Matthias's Christ Church Mass (Together in Song, 757). Hymns are as follows:
Introit: I, the Lord of sea and sky [658]
Sequence: Jesus calls us! o'er the tumult [589, tune: Stuttgart, 272]
Offertory: Be thou my vision, O Lord of my heart [547]
Communion: Behold the lamb of God [705]
The setting will be Philip Matthias's Christ Church Mass (Together in Song, 757). Hymns are as follows:
Introit: I, the Lord of sea and sky [658]
Sequence: Jesus calls us! o'er the tumult [589, tune: Stuttgart, 272]
Offertory: Be thou my vision, O Lord of my heart [547]
Communion: Behold the lamb of God [705]
07 January 2012
04 January 2012
Music for Sunday 8 January 2012
Readings for the week can be found here, and the psalm setting will be sung from Respond & Acclaim.
The service setting will be Philip Mathias's Christ Church Mass (Together in Song, 757).
Hymns are as follows:
Introit: Earth has many a noble city [291]
Sequence: To us a child of royal birth [308, tune: Gonfalon Royal, 332]
Offertory: Brightest and best of the stars of the morning [310 i]
Communion: The Word became flesh [chant in the style of Jacques Berthier]
The service setting will be Philip Mathias's Christ Church Mass (Together in Song, 757).
Hymns are as follows:
Introit: Earth has many a noble city [291]
Sequence: To us a child of royal birth [308, tune: Gonfalon Royal, 332]
Offertory: Brightest and best of the stars of the morning [310 i]
Communion: The Word became flesh [chant in the style of Jacques Berthier]
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