The organ works of Johann Sebastian Bach can be considered the apex of Baroque composition in their display of masterful counterpoint, virtuosic manual and pedal parts, and genius examples of word painting. But Bach's mentor and acknowledged influence Dietrich Buxtehude offers an illuminating glimpse into what so greatly inspired his wunderkind of a pupil to such great heights. Buxtehude's style was less evolved than Bach's in a sense but did possess a distinct style and passion. We hear three of his works this Sunday morning.
An Invocation to the Spirit begins worship with an ornamented chorale prelude setting of "Nun bitten wir den Heiligen Geist" (We Now Implore the Holy Ghost.) This venerable tune and text are based on several sources: stanza one from a 13th century church song based on the Latin hymn to the Spirit, Veni Creator, and additional stanzas written by Martin Luther in 1524. Buxtehude composed two settings of this hymn, both of which will be offered. At the 9:00 a.m. communion, the eucharistic hymn "Jesus Christus unser Heiland" (Jesus Christ Our Savior) will help create a sacred space of sound as we gather around the table. The composer employs a four-part chorale texture ending on an unresolved dominant chord to express the awe and mystery of this ancient sacrament. Lastly, the "Toccata in F Major" brings worship to a thrilling close in a grand display of dramatic Baroque flourishes.
At the 11:00 a.m. "choral" service, an intimate yet powerful arrangement of "O God Beyond All Praising" by celebrated composer Dan Forrest will be offered. The melody was originally a central motif from the "Jupiter" movement of Gustav Holst's The Planets. Holst adapted the melody as the hymn tune "Thaxted" (named after the English village he lived most of his life in) for "Songs of Praise", a 1925 compilation assembled in part by his friend Ralph Vaughan Williams. As the tune was often paired with a nationalist text, hymn writer Michael Perry wrote the present words as a "...response to a call for alternative words that would be more appropriate for Christian worship.”
Our present day calendars are ten days ahead of the Old Style calendars of Bach's era, making Bach's date of birth March 31 in comparison. And so this Sunday, I'll take the opportunity to pay tribute to this master composer and his influence on generations after him.
Composers such as Franz Liszt and Max Reger offered works in honor of Bach by 'signing' his name into their music using the pitches B, A, C, and H (German indication for B flat). We'll hear Robert Schumann's Fugue No. 3 in G Minor on the Name of BACH and Alice Jordan's Largo on BACH this Sunday morning as two fine entries utilizing this compositional device. Bach's own well-known "Little" Fugue in G Minor, BWV 578 will close the services.
Johann Sebastian Bach (1685-1750) will be the organ music focus this Sunday morning as part of the Advent Baroque composer series. The four Advent works of the Orgelbüchlein ("Little Organ Book") will be offered. Composed mostly in Bach's Weimar period from 1708-1717, the collection contains 46 works representing the major feast days of the liturgical year, a small number completed of the 146 planned works. Bach describes the purpose of this collection in his foreword: "In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obbligato. In honour [sic] of our Lord alone. That my fellow man his skill may hone." The Orgelbüchlein was a pedagogical guide, study in compositional techniques and a religious statement. The four Advent works, BWV 599-602, are Nun komm, der Heiden Heiland (Come now Saviour of heathens), Gottes Sohn ist kommen (The Son of God is come), Herr Christ, der einge Gottes-Sohn (Lord Christ, the only Son of God), and Lob sei dem allmächtigen Gott (Praise be to God Almighty).
At the 11:00 a.m. service, the Chancel Choir will sing composer Robert Hobby's setting of the Charles Wesley Advent hymn, Come, Thou Long-Expected Jesus. The text is set to the tune JEFFERSON from the 1835 early American shape note and song book, Southern Harmony. Amy Welsh will conduct.
At 6:00 p.m. the annual Longest Night service will include harpist Alaina Bongers, flutist Rebecca Quillen, the Plymouth Ringers, and our newest ensemble, the Chamber Choir. Advent selections include an arrangement of the 16th century plainsong chant Divinum Mysterium by Alaina Bongers and the Anglican choral classic A Spotless Rose by Herbert Howells.
Each week, Director of Music Mark Heiskanen writes a Music Minute previewing the upcoming Sunday's musical offerings and occasionally opines on other music-related topics.
We are blessed by an engaging music program at Plymouth!
Mark Heiskanen has been Plymouth's Director of Music since September 2017. Originally from Northeast Ohio, Mark has experience and great interest in a diverse range of musical styles including jazz, rock, musical theatre, and gospel. He is thrilled to serve a congregation and staff that values diversity and inclusion in all facets of life.