Author: wmglennosborne

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Looking forward and back through the Passion Chorale

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The text of our closing hymn today, “O Sacred Head Surrounded,” is ascribed to Bernard of Clairvaux (1091-1153), but some scholars now attribute it to the Medieval poet Arnulf of Louvain (c. 1200-1250) as the collection of poems that contains the text only began to appear in Bernard’s collected works some two hundred years after his death. Any documents that could have shed light on the origin were probably destroyed in the French Revolution when all the monasteries were suppressed.

The melody we sing for this text was originally written by Hans Leo Hassler around 1600 for a secular love song, “Mein G’müt ist mir verwirret.” Johann Crüger adapted the melody in 1656 to fit a German translation of Bernard’s text prepared by Paul Gerhardt. Johann Sebastian Bach arranged the melody and used five stanzas of the hymn in his St Matthew Passion. Bach also used the melody with different words in his Christmas Oratorio. The hymn was first translated into English in 1752 by John Gambold, and the translation in our hymnal was prepared by Henry Baker (1821-1877).

I find it fascinating to consider the evolution of sacred music as found in this hymn. Several hundred years after the text was written, someone combined it with a popular tune to create a piece of music that now is considered an old traditional standard in our sacred repertoire. While it might seem scandalous now to fit sacred words to a tune by Taylor Swift or One Direction (my niece’s two favorite artists), which texts might people still be singing in two hundred years? Will they be using the same melodies we know, or might Adele might be the next Hassler? Hmmm……

Bulletin Notes for the Cathedral of Mary, Our Queen, March 29, 2015

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Bulletin Notes – Out of the Depths

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Out of the Depths600Everyone has heard the expression that to sing is to pray twice. Music provides an additional dimension to our prayers that can add meanings beyond what the words alone can say. Instrumental music therefore can express thoughts and feelings that we may not have found the words to express.

The pipe organ with its variety of musical colors (especially the large instrument here at the Cathedral) has the capacity to convey a wide range of emotions. The US bishops make this clear in Sing to the Lord:

Among all other instruments which are suitable for divine worship, the organ is “accorded pride of place” because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give “resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation.” Likewise, “the manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God.” (STL, #87)

While we rejoice the triumph of Jesus Christ over death, there are many stories of pain and suffering also in the Bible: the slavery of the Israelites, the trials of Job, and even the crucifixion of our Lord. The concert this afternoon will explore how different composers have chosen to paint in music these songs of lament. Beginning with settings of Psalm 130 (Out of the depths I cry to you, O Lord), continuing through the triumphal entry of Jesus into Jerusalem, and concluding with the death of Jesus on the cross, the program offers a wide palette of musical styles and emotions that I hope will bring you not into the depths of despair but into a deeper relationship with God. If you are able to be here, please come.

More information about the event including a complete program listing may be found here.

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Holy Week 2015 at CMOQ

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The complete list of music for Holy Week at the Cathedral of Mary Our Queen is available here. The program booklet is available here (cover) and here (pages).

Links to rehearsal or other performance videos are listed below for reference.

Palm Sunday

Anthem: Solus Ad Victimam – Leighton (NCA 79)

Chrism Mass

Mon, Mar 30, 7:30 pm – 6:00 call
Dilexisti justitiam

1. Listen now     

Holy Thursday

Apr 2, 7:30 pm – 6:30 call
Washing of feet: Mandatum Novum – Berthier (W812)

Ubi caritas – Duruflé (58)

Ave Verum – Byrd (36 or NCA8)

Good Friday

Apr 3, 3:00 pm -1:30 call
Timor et Tremor – Poulenc (189.1)

The Reproaches – Victoria
Ecce Quomodo Moritur – Handl

Easter Vigil

Apr 4, 8:00 pm -6:30 call
Ye Choirs of New Jerusalem – Stanford

Hallelujah Chorus (Messiah) – Handel

Easter Sunday

Psalm 118 from the Audubon Park Psalter

2. Listen now     

(Live recording from 10am Easter Mass in 2014 at Holy Redeemer Catholic Church)

Haec est dies – Gallus

Hallelujah Chorus (Messiah) – Handel

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Vernacular Music

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As someone who joined the Catholic Church later in life, I had the opportunity to attend mass many times before becoming Catholic. At least among the other music students who took me to mass, my general impression became “A mass is a mass is a mass.” Very little changed from one celebration to the next or from one parish to the next. Prior to the Second Vatican Council, there was a desire for consistency and uniformity in celebration that kept mass the same from place to place. That changed fifty years ago this weekend. On March 7, 1965, Blessed Paul VI celebrated the first mass in Italian in the parish of Ognissanti (All Saints), Rome. It was the first mass in the vernacular celebrated by the pope in modern times.

With the celebration of mass now in the local language, there was a shift from uniformity to unity. I experienced this when I lived in France. The music and language were different, but the mass was still the same. Even though still a Protestant at that point, I felt more at home worshiping with the Catholics because I knew what was going on. I might not understand the language, but I knew the form. (In fact, the mass helped me learn the language!)

Some people look at new music in the church just as I suspect some people viewed the arrival of the vernacular: a corruption from the secular world that should not be admitted to the realm of the sacred. Instead, I choose to believe music is a vehicle that not only brings us closer to God, but God closer to us. Music is a language that needs to be part of our vernacular as well. As I traveled around Europe, worshiping in many different languages, I hope you will be able to worship with the music here at the Cathedral whether it is old and familiar or new and different.

Glenn

Bulletin Notes for the Cathedral of Mary, Our Queen, March 8, 2015

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Planning music and choosing jelly

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While a certain level of skill and practice is required to be a music director, I find the most difficult part of my job to be choosing the music we sing each week. Once I’ve decided what the music will be, practicing it becomes the easy part.

Before Vatican II, most of the music was dictated by the church (at least the lyrics). With the celebration of Mass now in the vernacular, the music choices multiplied and continue to become more numerous as composers continue to create new works. Choice can be overwhelming and stressful. Just imagine going to the store to buy some jelly. If there are only two or three choices, it’s easy to make a decision, but if you have to pick between forty or fifty varieties, you might just take a little more time. If you think of every song in the two hymnals that we have in the Cathedral as a flavor of jelly, you begin to get an idea of how many choices I have to make every week!

Because “the role of music is to serve the needs of the Liturgy” (Sing to the Lord, #125), I can’t simply choose my favorite songs for us to sing every week. That would only serve my needs. Likewise, while I am happy to hear requests for specific songs, I have to find a place and time during the year when a requested song will fulfill the needs of the liturgy. At the same time however, Sing to the Lord urges a pastoral evaluation of the music:

“Does a musical composition promote the sanctification of the members of the liturgical assembly by drawing them closer to the holy mysteries being celebrated? Does it strengthen their formation in faith by opening their hearts to the mystery being celebrated on this occasion or in this season? Is it capable of expressing the faith that God has planted in their hearts and summoned them to celebrate?” (#130)

So in the end, the music must serve both the people and the liturgy. I know the music and the liturgy, but I am still getting acquainted with everyone here. So that I can make better choices and do the best job possible, help me get to know you better by saying hello and sharing any thoughts you might have about the music here. Stop me after Mass, email or call if you have any feedback to share.

Glenn

Written for the Music Notes column for the parish bulletin of the Cathedral of Mary, Our Queen in Baltimore, MD.

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Vexilla Regis Duo

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This is my first video recorded at the Cathedral of Mary, Our Queen in Baltimore. There are two identical consoles for the organ at the cathedral and pipes at each end of the building. This excerpt from my Suite in French Classical Style on Vexilla Regis was recorded from the console in the sanctuary using only pipes from the gallery. Watch carefully to notice the delay between my fingers and the audio!

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Music Notes for 2/22

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One of the items I’ve started doing for the Cathedral is including information about music in the bulletin every week. As these notes also reflect my thoughts and vision of church music, I thought I’d start posting them on my website for a larger audience than those that show up in the pews here in Baltimore. These are the notes for the bulletin for the first Sunday of Lent when we will begin using the Mass of Charity and Love by Steve Warner.

Music should be considered a normal and ordinary part of the Church’s liturgical life. However, the use of music in the Liturgy is always governed by the principle of progressive solemnity.

Progressive solemnity includes not only the nature and style of the music, but how many and which parts of the rite are to be sung. … Musical selections and the use of additional instruments reflect the season of the liturgical year or feast that is being celebrated. (Sing to the Lord, #110 & 112)

It has been my experience that in many parishes, music for Mass looks the same week after week. Sure, the hymns may change every week, but in most places, you would have to listen to the prayers of Mass rather than the music to know what time of the church year is being celebrated. I’ve lost track of how many celebrations I’ve attended where the music just seemed to be a selection of the organist or choir director’s favorite hymns with the same Eucharistic acclamations that have been used for years.

In celebrating the liturgy singing is not to be regarded as an embellishment superimposed on prayer; rather, it wells up from the depths of a soul intent on prayer and the praise of God and reveals in a full and complete way the community nature of Christian worship. (General Instruction of the Liturgy of the Hours, #270)

Music is a means of prayer that should help us celebrate the liturgy and mark the season. Everyone clearly recognizes that singing Christmas carols is best done at the Christmastime. Likewise, there are hymns that are most appropriate in Lent or Easter. As we begin this season of Lent, we will also change the music for the Eucharistic Acclamations. The new setting I have chosen is a simpler setting, based upon a familiar tune, but chant like and requiring only simple accompaniment (if any). This will enable the music we sing to take on a more humble penitential spirit that reflects the nature of the Lenten season. We will change again at Easter to mark the joy of the resurrection. In this way, our music is integrated into the celebration and the season.

Wishing you a happy Lent,
Glenn

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Music Notes for 2/15

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One of the items I’ve started doing for the Cathedral is including information about music in the bulletin every week. As these notes also reflect my thoughts and vision of church music, I thought I’d start posting them on my website for a larger audience than those that show up in the pews here in Baltimore. I may go back and add the two I’ve previously done, but here is the post for this weekend.

During the season of Lent it is common practice to give something up. In the past, I’ve given up chocolate or alcohol. I know people that give up smoking, drinking soda, or dessert. While I applaud everyone’s efforts, I’d like to recommend that rather than give something up for Lent, you consider doing something more: adopt a practice that will deepen your faith.

Now of course, because I’m the cathedral musician, I’m going to make some musical suggestions for your Lenten practice. Come join one of the choirs. Many products come with a guarantee or trial period. Come sing with the Contemporary or Cathedral Choirs for Lent. It can be your forty-day trial period. If at the end of the season, you decide the group is not for you, that’s okay. If you enjoy it, then we certainly won’t kick you out after Easter!

If you don’t have time to join the choir, how about choosing to open the hymnal and sing. Today is my father’s birthday, so I’ll remind you that he has a problem carrying a tune in a bucket, but he still sings when at church. Even if you feel like you have a voice like my father’s, how about making it a Lenten practice to open the hymnal. If the Holy Spirit moves you to sing, then join in, but at least read the words as others are singing them.

Music is meant to be an integral part of our liturgical celebration. During this approaching season of Lent, rather than giving up something, won’t you consider adding a little more music to your prayer life? God gave you your voice. Be sure to use it to sing God’s praise.

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Chorale and Festive Flourish

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These two movements for organ and brass quintet were written for the wedding of my wife’s brother. The Chorale was written for the entrance procession, beginning quietly with a dramatic build for the entrance of the bride. The Festive Flourish was written for the recessional and is a joyous march with toccata figuration for the organ at the end.

The trailer from the wedding includes an excerpt from the Chorale.

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Watch! Take care! Your hearts prepare!

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Written for SATB Choir, unaccompanied, this piece is a setting of and Advent text by John Dalles based upon Mark 13:33-37. It will be premiered during the season of Advent by the Basilica Choir under the direction of William Picher. Scores will be available for purchase after the premier.