Sacred Music Notes for Sunday Masses
December 18, 2022
Advent Fourth Sunday of Advent
A good and blessed day to you! I wish you a most blessed last week of Advent as we prepare our hearts and homes for the yearly celebration of the Birth of Christ.
Onto the music...
Processional Hymn:
Onto the music...
Processional Hymn:
Lift Up Your Heads – Tune: TRURO
Composer: Charles Burney (1726 - 1814) * Text: Georg Weissel (1590 - 1635)
Composer: Charles Burney (1726 - 1814) * Text: Georg Weissel (1590 - 1635)
This hymn tune, named after the county town of Cornwall in southwestern England, was composed by Charles Burney. "A music historian and composer, Burney attended Shrewsbury School and the Free School, Chester. He was apprenticed to Thomas Arne from 1744 to 1746. In 1749, he became organist at St. Dionis’ Backchurch, London. In 1751 moved to King’s Lynn, Norfolk, where he taught and played the organ (Hymnary.org).
TRURO was first published in Thomas Williams's Psalmodia Evangelica, (second vol., 1789) as a setting for Isaac Watts' "Now to the Lord a noble song." Virtually nothing is known about this eighteenth-century British editor of the two-volume Psalmodia Evangelica, a collection of three-part psalm and hymn tunes for "Churches, Chapels, and Dissenting Meetings in England, Scotland, and Ireland."
TRURO's opening phrase ascends the octave. The entire tune is influenced by George F. Handel's style and bears relationship to similar tunes."
Its text was written by Georg Weissel, who, according to Hymnary.org, "was the son of Johann Weissel, judge and afterwards burgomaster at Doranau, near Königsberg. Georg was born at Domnau in 1590. He studied at the University of Königsberg, from 1608 to 1611, and thereafter, for short periods, at Wittenberg, Leipzig, Jena, Strassburg, Basel and Marburg In 1614 he was appointed rector of the school at Friedland near Domnau, but resigned this post after three years, and returned to Königsberg to resume his studies in theology. Finally, in 1623, he became pastor of the newly erected Altrossgart church at Königsberg, where he remained till his death, on August 1, 1635.
Its text was written by Georg Weissel, who, according to Hymnary.org, "was the son of Johann Weissel, judge and afterwards burgomaster at Doranau, near Königsberg. Georg was born at Domnau in 1590. He studied at the University of Königsberg, from 1608 to 1611, and thereafter, for short periods, at Wittenberg, Leipzig, Jena, Strassburg, Basel and Marburg In 1614 he was appointed rector of the school at Friedland near Domnau, but resigned this post after three years, and returned to Königsberg to resume his studies in theology. Finally, in 1623, he became pastor of the newly erected Altrossgart church at Königsberg, where he remained till his death, on August 1, 1635.
Weissel was one of the most important of the earlier hymn-writers of Prussia. His hymns, about 20 in all, are good in style, moderate in length, and varied in metre. The earliest seem to have been written for use at the consecration of the Altrossgart church on the 2nd Sunday in Advent, 1623. The majority are for the greater festivals of the Christian year."
The hymn was translated by Catherine Winkworth, whom I have mentioned before, being somewhat famous for her strong and prolific translation of German hymnody into English.
The hymn was translated by Catherine Winkworth, whom I have mentioned before, being somewhat famous for her strong and prolific translation of German hymnody into English.
MOTETS AND ANTHEMS
E'en So Lord Jesus - Paul Manz (1919 - 2009)
Paul Manz long served the church as recitalist, composer, teacher and organist. He was the director of the newly established Paul Manz Institute of Church Music, and was Professor Emeritus of Church Music at Christ Seminary Seminex at the Lutheran School of Theology in Chicago.
Paul Manz long served the church as recitalist, composer, teacher and organist. He was the director of the newly established Paul Manz Institute of Church Music, and was Professor Emeritus of Church Music at Christ Seminary Seminex at the Lutheran School of Theology in Chicago.
A Fulbright grant enabled him to study with Flor Peeters in Belgium and Helmut Walcha in Germany. The Belgian government invited him to be the official United States representative in ceremonies honoring Flor Peeters on his 80 th birthday and his 60th year as titular organist of the Cathedral of Saint Rombaut in Mechelen, Belgium. At that time, Flor Peeters referred to his former student as "my spiritual son."
Paul Manz concertized extensively in North America. He appeared at the Lincoln Center in New York City, with the National Symphony Orchestra at the Kennedy Center in Washington, D.C., with the Chicago Symphony Orchestra at Orchestra Hall and with the Minnesota Orchestra under the direction of Charles Dutoit, Leonard Slatkin, and Henry Charles Smith. In addition, he played recitals in churches and cathedrals here and abroad. He was in great demand for his hymn festivals, which are his legacy as a church musician. He conducted many organ clinics, participated in liturgical seminars and appeared as lecturer and recitalist at the regional and national conventions of the American Guild of Organists.
The esteem and respect with which Paul Manz is regarded can be seen in the many honors he has received. Among other honors, he served as National Councilor of the American Guild of Organists and is listed as one of the "101 Most Notable Organists of the 20th Century." He was the recipient of many honorary doctorates and awards. Northwestern University, his alma mater, presented him with the prestigious "Alumni Merit Award"; The Lutheran School of Theology, Chicago presented him with the distinguished "Confessor of Christ Award"; The Chicago Bible Society presented him with the "Gutenberg Award"; and the Lutheran Institute of Washington, DC honored him with the first "Wittenberg Arts Award". At a convention of the Association of Lutheran Church Musicians, his colleagues honored him for his work in the church. A large gathering in Minneapolis, Minnesota held a "Paul Manz Celebration: Honoring the Life of a Church Musician" where substantial gifts were given to the Ruth and Paul Manz Scholarship for Church Musicians.
Trinity Seminary of Columbus, Ohio bestowed the "Joseph Sittler Award for Theological Leadership" and among his many honorary doctorates is the Doctor of Sacred Music degree from Valparaiso University, Indiana, and most recently, the Doctor of Music degree from St. Olaf College, Northfield, Minnesota.
His musical compositions are internationally known. His organ works are extensively used in worship services, recitals and in teaching. His choral music is widely used by church and college choirs here and abroad. His motet, E'en So, Lord Jesus, Quickly Come (we're singing today) is regarded as a classic and has been frequently recorded here and abroad. His life and works is the subject of a doctoral dissertation which details his career spanning more than fifty years and analyzes his organ works." - Taken from Paul Manz (morningstarmusic.com)
A rather well-made Youtube video featuring five of Mr. Manz' organ improvisations he would play as both preludes and interludes during his hymn festivals can be found here: 🎵 Paul Manz - 'Five Hymn Improvisations' on Five Organs | Essen, Caen, Haarlem, Görlitz & Rotterdam - YouTube. Another interesting recording of an improvisation of his (later written-down)on the hymn tune O God Our Help in Ages Past (ST. ANNE) can be listened to here: Improvisation on St. Anne - YouTube.
Today's motet E'en So Lord Jesus, a beautiful piece with an Advent text generally taken from the Book of Revelation, was written in 1953 during a time when his three-year-old son was critically ill. Reflecting on the time, his wife Ruth reported, "I think we'd reached the point where we felt that time was certainly running out so we committed it to the Lord and said, 'Lord Jesus quickly come'". During this time his she had prepared some text for Paul for a composition based on the Book of Revelation. While at his son's bedside, Paul Manz began drafting the composition, which later became the current piece. Their son did recover, which the couple attributed to the power of prayer. (Taken from E'en So, Lord Jesus, Quickly Come - Wikipedia). From the Choir of St. John's College, Cambridge, comes this delightful recording of the work: St John's Cambridge, Manz - E'en so, Lord Jesus / Choir of St John's College, Cambridge - YouTube
A rather well-made Youtube video featuring five of Mr. Manz' organ improvisations he would play as both preludes and interludes during his hymn festivals can be found here: 🎵 Paul Manz - 'Five Hymn Improvisations' on Five Organs | Essen, Caen, Haarlem, Görlitz & Rotterdam - YouTube. Another interesting recording of an improvisation of his (later written-down)on the hymn tune O God Our Help in Ages Past (ST. ANNE) can be listened to here: Improvisation on St. Anne - YouTube.
Today's motet E'en So Lord Jesus, a beautiful piece with an Advent text generally taken from the Book of Revelation, was written in 1953 during a time when his three-year-old son was critically ill. Reflecting on the time, his wife Ruth reported, "I think we'd reached the point where we felt that time was certainly running out so we committed it to the Lord and said, 'Lord Jesus quickly come'". During this time his she had prepared some text for Paul for a composition based on the Book of Revelation. While at his son's bedside, Paul Manz began drafting the composition, which later became the current piece. Their son did recover, which the couple attributed to the power of prayer. (Taken from E'en So, Lord Jesus, Quickly Come - Wikipedia). From the Choir of St. John's College, Cambridge, comes this delightful recording of the work: St John's Cambridge, Manz - E'en so, Lord Jesus / Choir of St John's College, Cambridge - YouTube
Rorate Caeli Desuper - Gregorian Chant
One of the least well-known, yet most theologically important, Advent hymns is Rorate Caeli Desuper. Some know it under its English title: Drop Down Ye Heavens from Above. One of the reasons for its lack of popularity is that it is chant-like rather than metrical and thus harder for a congregation to sing. It is in the form of an antiphon and verses. The text of the antiphon is from Isaiah 45:8, and the verses are drawn largely from Isaiah 63-64. The hymn as a whole gives exquisite poetical expression to the longings of patriarchs and prophets, and symbolically of the Church, for the coming of the Messiah. The verses point to the Babylonian captivity of the Jewish people. The antiphon plaintively seeks a savior:
Drop down dew, you heavens from above, and let the clouds rain down the Just One.
There is an echo of Isaiah 55:
As the rain and the snow come down from heaven, and do not return to it without watering the earth and making it bud and flourish, so that it yields seed for the sower and bread for the eater, so is my word that goes out from my mouth: It will not return to me empty, but will accomplish what I desire and achieve the purpose for which I sent it (Isaiah 55:10-1).
I'm going to borrow extensively here from a wonderful post written on the theological and historical significance of this text, taken from Advent Hymn: Rorate Caeli Desuper - Community in Mission (adw.org)...
I'm going to borrow extensively here from a wonderful post written on the theological and historical significance of this text, taken from Advent Hymn: Rorate Caeli Desuper - Community in Mission (adw.org)...
The plaintive verses come from the Book of the Prophet Isaiah, which was written in a terrible period of Israel’s history.Isaiah lived between two tumultuous events: the destruction of the Northern Kingdom by Assyrians in 721 B.C. and the destruction of the Southern Kingdom of Judah by the Babylonians in 587 B.C. Though Isaiah died long before the fateful events of 587 B.C., the third part of his book prophesies it (though some scholars argue that the third section was appended by a later author). Let’s review this calamitous event.
The conquest of Judah and the siege of Jerusalemwas a military campaign carried out by Nebuchadnezzar II, king of Babylon in 587 B.C. He had defeated Egyptian forces in 595 B.C. and subsequently invaded Judah. King Jehoiakim of Judah resisted Babylonian rule, but to avoid the destruction of Jerusalem he shifted allegiance from Egypt to Babylon and paid tribute from the treasury in Jerusalem. In 591 B.C., during the fourth year of his reign, Nebuchadnezzar suffered military losses against the Egyptians and this perceived weakness led to numerous rebellions among the states of the Levant, which owed allegiance to Babylon, including Judah. King Jehoiakim stopped paying tribute to Nebuchadnezzar and adopted a pro-Egyptian position.
Nebuchadnezzar dealt severely with this rebellion,laying siege to Jerusalem. King Jehoiakim died during the siege, possibly on December 10 588 B.C., and the city eventually fell on 2 Adar (March 16) 587 B.C. Nebuchadnezzar pillaged the city and the Temple. Much of the surviving Jewish population of Judah, numbering about 10,000, was deported to Babylon. None remained except the very poorest (who eventually became the Samaritans). Also taken to Babylon were the treasures and furnishings of the Temple, including golden vessels dedicated by King Solomon. Jerusalem lay a burning ruin.
According to the Book of Second Kings,
Surely this happened to Judah at the LORD’s command, to remove them from His presence because of the sins of Manasseh and all that he had done, and also for the innocent blood he had shed. For he had filled Jerusalem with innocent blood, and the LORD was unwilling to forgive(2 Kings 24:3-4).
Jeremiah had warned,
From the thirteenth year of Josiah son of Amon king of Judah until this very day—twenty-three years—the word of the LORD has come to me, and I have spoken to you again and again, but you have not listened. And the LORD has sent all His servants the prophets to you again and again but you have not listened or inclined your ear to hear. The prophets told you, ‘Turn now, each of you, from your evil ways and evil deeds, and you can dwell in the land that the LORD has given to you and your fathers forever and ever. Do not follow other gods to serve and worship them, and do not provoke Me to anger with the works of your hands. Then I will do you no harm. But to your own harm, you have not listened to Me,’ declares the LORD, ‘so you have provoked Me to anger with the works of your hands.’ Therefore this is what the LORD of Hosts says: ‘Because you have not obeyed My words, behold, I will summon all the families of the north,’ declares the LORD, ‘and I will send for My servant Nebuchadnezzar king of Babylon, whom I will bring against this land, against its residents.’
These verses of this hymn are no less than a cry of desperation. The Jews had staggered hundreds of miles to Babylon and now had to live apart from the land, the Temple, and the culture God had given them. Weeping and lamenting, they said, By the rivers of Babylon we sat and wept when we remembered Zion. There on the poplars we hung our harps, for there our captors requested a song; our tormentors demanded songs of joy “Sing us a song of Zion.” How can we sing a song of the LORD in a foreign land? If I forget you, O Jerusalem, may my right hand cease to function(Ps 137:1-5).
It was dreadful. Most people had lost a substantial number of family members as well as everything they owned; as they were driven into exile, the last thing they saw was the destroyed city and the smoldering ruin of the Temple. Isaiah 63and 64, along with the Lamentations of Jeremiah the Prophet, capture well this devastating moment for the Jewish people.
Hence, perhaps as no other Advent Hymn, Rorate Caeli Desuper powerfully illustrates the desperate need that ancient Judah had for a savior to rend the heavens and come down. The plaintive verses, drawn mainly from Isaiah’s prophetic lament, draw us into the desperate situation of God’s people, who have lost everything due to their sin and now seek salvation through repentance.
Advent has rather lost its penitential character today, but as this song illustrates, there was once a more somber and sober sense of the ancient need for a savior and our ongoing need for His graces. As the first three verses indicate, we tend to stray and thus are afflicted by the weight and destruction of our sins. Our passions blow us about like leaves in the wind and we lose our way. Up goes the cry in the third verse:
Behold, O Lord, the affliction of your people,
and send forth him whom you will send;
send forth the Lamb, the ruler of the earth,
from Petra of the desert to the mount of the daughter of Sion:
that he may take away the yoke of our captivity.
and send forth him whom you will send;
send forth the Lamb, the ruler of the earth,
from Petra of the desert to the mount of the daughter of Sion:
that he may take away the yoke of our captivity.
In the final verse comes the Lord’s merciful answer:
Comfort ye, comfort ye my people;
For your salvation will suddenly come:
why are you consumed with sadness?
why hath sorrow seized you?
I will save you: do not be afraid.
For I am the Lord your God,
the Holy One of Israel, your Redeemer.
For your salvation will suddenly come:
why are you consumed with sadness?
why hath sorrow seized you?
I will save you: do not be afraid.
For I am the Lord your God,
the Holy One of Israel, your Redeemer.
Therefore, let the Advent cry go up:
Rorate caeli desuper et nubes pluant justum
Aperiatur terra et germinent Salvatorem
Aperiatur terra et germinent Salvatorem
Heavens drop dew from above and the clouds rain down the Just One
The earth shall be opened and bring forth the Savior.
A wonderful recording of the chant can be found here: Rorate Caeli - YouTube
Don't forget to prayerfully consider following the text of this piece, printed in the bulletin's liturgy guide, when you hear this chant at Communion-time at both the 9:00 and 11:00 AM Masses this Sunday.
God bless your weekend!
+AMDG
The earth shall be opened and bring forth the Savior.
A wonderful recording of the chant can be found here: Rorate Caeli - YouTube
Don't forget to prayerfully consider following the text of this piece, printed in the bulletin's liturgy guide, when you hear this chant at Communion-time at both the 9:00 and 11:00 AM Masses this Sunday.
God bless your weekend!
+AMDG
