Hymn of the Day:“Jesus on the Mountain Peak”, ELW 317
Text: Brian Wren (1936)
Tune: BETHOLD, Mark Sedio, (1954)
A fine hymn for Transfiguration is “Jesus on the mountain peak” (ELW 317). Its author, Brian Wren, a minister of the United Reformed Church in Great Britain who now resides in the United States, has crafted many hymns that exemplify the need for worship materials that speak inclusively about the Christian community and expansively about God. In Wren’s Transfiguration hymn, all who worship have witnessed the transfigured Jesus. This is the last time until Easter that we sing “Alleluia.”
Choir Anthem: Cantique de Jean Racine
Gabriel Faure (1845-1924)
Composed in 1865, when Fauré was just twenty, it’s very much a precursor to the Requiem, with similarly lush, intense choral writing layered on top of sparse accompaniment. As with the Requiem, it takes a religious text as its inspiration – in this case, words by the French playwright Jean Racine.
Fauré studied composition at the École Niedermeyer in Paris, and submitted this piece for the school’s composition competition. He won first prize and his success spurred him on to write more religious music.
Despite coming in for some criticism during his lifetime for a failure to embrace larger-scale works, Fauré stuck to his guns and resolutely refused to move away from chamber music and elegant choral miniatures. While the Cantique de Jean Racine is only five minutes long, it’s none the worse for that, and it confirms Fauré’s status not just as an outstanding young musician but as one of France’s most influential and important composers.
The text is a loose translation of a Latin hymn for Tuesday matins. The work has also been arranged for strings and organ, and it was in that format that it was first performed in August 1886.
O Word, equal of the Most High,
Our sole hope, eternal day of earth and the heavens,
We break the silence of the peaceful night.
Divine Saviour, cast Thine eyes upon us!
Shed the light of Thy mighty grace upon us.
Let all Hell flee at the sound of Thy voice.
Dispel the slumber of a languishing soul
That leads it to the forgetting of Thy laws!
O Christ, be favorable unto this faithful people
Now gathered to bless Thee.
Receive the hymns it offers unto Thine immortal glory
And may it return laden with Thy gifts.
Opening Voluntary: “All Glory Be To God On High,”
A. Armsdorf (1670-1699)
The tune name ALLEIN GOTT derives from the opening words of Decius's rhymed text in High German. The tune was first published in Georg Schumann's Geistliche Lieder. Decius adapted the tune from a tenth-century Easter chant for the Gloria text, beginning at the part accompanying the words "et in terra pax. . . " ("and on earth, peace. . . "). Because the Gloria became part of the ordinary (the unvarying parts) of the Roman Catholic Mass, there are many choral settings of the Latin text. Anglican composers have set the English text in their "great services," while Lutheran composers have written various chorale preludes on ALLEIN GOIT for organ. Bach used the hymn in cantatas 85, 104, 112, and 128 and composed about ten preludes on the tune.
Andreas Armsdorff was a German composer and organist. He was born in Mühlberg, near Gotha, and studied music and law. At some point in his early life he moved to nearby Erfurt where he may have studied with Johann Pachelbel.
Closing Voluntary: “DEO GRACIAS"
Healey Willan (1880-1968)
Born in London in 1880, Willan was a prolific composer of some 800 works, including operas, symphonies, concerti and keyboard music. As a teenager, he gained both ARCO and FRCO diplomas and for 10 years, held the position of organist at St John the Baptist Church, Holland Road, London. In 1913, Willan emigrated to Canada, where he lectured in music at Toronto University. In 1921, he became precentor at the Church of St Mary Magdalene, where he remained until his death.
Willan left a substantial body of organ music, and this Prelude on the tune 'Deo Gracias' is the fourth piece of the second set of hymn preludes, first published in 1957. Willan prefaces the score with the hymn tune written out (dated 1415) and in his harmonization, there is a robustness and dignified sense of drive as the music unfolds, working up to a powerful climax on full organ. In 3/4 time, the music is not dissimilar in spirit to Whitlock's 'Allegro risoluto' from the Plymouth Suite, and it would be interesting to know if Willan was influenced by the rhythmic energy and restrained grandeur of Whitlock's style.