The service, reminiscent of its English heritage, is sung in a candlelight setting by the Cathedral Choir. Traditional Carols and anthems celebrating the joy of the Christmas season will be offered. Wm. Glenn Osborne will serve as director and organist for the celebration. In addition to traditional carols arranged by David Willcocks and John Rutter, the program includes Babe of Bethlehem and God, We Would Hear the Angels Sing.
One of the challenges in the Roman Catholic Church is trying to find ways to encourage and enable the congregation to sing. Unless you use a seasonal psalm refrain, this generally means the congregation has a new melody to learn every week with the responsorial psalm. Sure, you can build up a repertoire over time, but there’s not a lot of repetition in the three-year lectionary cycle. One of the easiest ways to learn a piece is through repetition, so I decided to use hymn tunes as melodies for the psalms. This reinforces the singing of the hymns and gives something familiar to the people for the psalm. I created numerous of these settings while at the Cathedral in Albany and now am in the process of revising them (and perhaps finishing the set) to go with the new Revised Grail Psalms. We used the first of these new revised hymn tune psalms at Mass this weekend for Advent 2.
Psalm 72 – Justice Shall Flourish
Refrain based on EIN FESTE BURG with Gelineau-style tone by Wm. Glenn Osborne
Returning this year to the Cathedral of Mary Our Queen is the 13th Annual Holiday Brass Concert. Proceeds from the concert will benefit the International Women’s Brass Conference. Included on the concert will be the premier performance of Here This Christmas Night. Scored for soprano, trumpet, and organ, the music was composed by Wm. Glenn Osborne for text by John Dalles.
Tickets can be purchased by calling 410 337-7539: Adults $26.00, Seniors/Students $23.00.
A brief recruitment message given over the weekend at Mass demonstrating that making music is dependent upon people. I would love to have more people participate in music at the Cathedral. Visit http://www.cathedralofmary.org/music-ministry/ for more information about music at the Cathedral of Mary Our Queen.
Come celebrate and pray as the Cathedral of Mary Our Queen concludes the Homecoming weekend of celebrations for the Anniversary of Dedication with Jazz Vespers. The Kevin Myers Quartet will accompany the Cathedral Music Ministry in a celebration of Evening Prayer beginning at 5pm on Sunday, November 13, 2016. Wm. Glenn Osborne will preside for the celebration which will feature several of his compositions newly composed for the occasion.
Jazz and Roman Catholic are two worlds that don’t meet up very often. Jazz has been used in other worship traditions, but the liturgical structure of Roman Catholic worship provides challenges for the free improvisatory nature of jazz. Yes, there are Jazz Masses that have been composed, but even most of those would be considered concert works and vary from the imposed structure of a liturgical celebration.
When we celebrate the anniversary of the dedication of the Cathedral of Mary Our Queen on Homecoming weekend, we are including Evening Prayer on Sunday afternoon. All of the music will be in the jazz idiom and accompanied by the Kevin Myers Quartet. In order to fit the liturgical requirements for the celebration, I composed two psalms, a canticle, and some other incidental responses. We had a first rehearsal with the singers and band leader Kevin Myers last Friday. Here are a few samples from the celebration. I hope to post videos from the celebration after it is over.
When I composed the Audubon Park Psalter, my intention was that most all of the settings would be flexible enough to work in a traditional setting with organ and choir as well as a more contemporary setting with piano and guitar. While I have attempted to make recordings of the Contemporary Group at the Cathedral of Mary Our Queen before, because I have been the one at the piano, it has been difficult to capture anything remotely balanced. This week, I was able to be out in the congregation, so captured the psalm while standing next to a pillar. Here’s the resulting video:
What I really appreciate is being able to hear the people sing, even though this is a new piece for them.
I also captured the psalm at the 11:00 Mass with the choir and organ:
My last lesson for www.organimprovisation.com featured instructions on transposition and suggested using a piece by Louis Vierne as the transposition exercise and a model for improvising. The piece is a relatively simple piece from the 24 Pièces en style libre: 1. Préambule.
After that, I followed the score as a model and improvised some imitation Vierne in F Major and in G minor. There are some hesitations as I searched for similar interesting tonal gestures without following exactly what Vierne did, but that’s why we practice. I decided to make this exercise my prelude this weekend, so there are two more that follow the score less slavishly in A minor and D minor as well.
The Old Testament reading for the Twentieth Sunday in Ordinary Time Year C is the story of Jeremiah being thrown into a cistern where he is expected to sink into the mud and die. The Responsorial Psalm that follows is a set of verses from Psalm 40 with the refrain, “Lord, come to my aid.” When I first encountered this set of readings back in 1995, the most obvious musical idea was to make it a 12-bar blues. It was a little bit of a stretch to get the verses and refrain to line up consistently, but perhaps more of a stretch to do the premier on a little two-manual German baroque style organ!
As the setting only appears once every three years, I don’t really know how often or where I’ve been able to do it since then. Many times, this pushes the envelope of what is accepted or expected for music in the churches I have served. There is a contemporary group at the Cathedral of Mary Our Queen, and I’ve heard some requests for some more modern music, so I put it on the schedule this year. Here’s the video from the 9:30 am Mass on 14 August 2016:
A child decided it was time to play with the kneelers during verse three. It would have been great to have some well-timed percussion, but sometimes you just take what you get.
Note: This is not included in the Audubon Park Psalter, though it could show up in a later volume of more contemporary/gospel/jazz psalm settings.
Organists always love to make lots of sound. Improvisers typically use both hands and feet to play almost all the time while improvising. This weekend, I thought I’d do something a little different and play only one note at a time during the offertory.
Saturday evening, I improvised a slow monody thinking perhaps of a solo cello piece:
Sunday, I decided to aim at something a little more sparkly and bright:
Do you have the courage to improvise only a single melodic line?