Music at Saint Philip's
The Maundy Thursday and Good Friday services were powerful worship
services again this year. On Good Friday, the adult choir led a
fitting moment of worship with Mozart's beautiful classic "Jesu, Word
of God Incarnate." Easter Sunday came to life with Buxtehude's large
Prelude and Fugue in E Minor (BuxWV 142), growing in intensity and pace
until bursting forth in elation in the final Fugue. The children's
choir, looking cherubic in their robes, offered us "Jesus Loves Me,
This I Know." The adult's choir, also singing angelically, presented
the ethereal and harmonically rich "The Strife is O'er" by C.A. Gibbs.
The service finished with J.S. Bach's joyous chorale prelude "Today
God's Son has triumphed."
The Easter Music was even more refreshing because during Lent we gave
up Preludes and Fugues, the Gloria, the Agnus Dei, and Alleluias
(rediscovered by the children on Easter Sunday). During this period,
we adopted a single chanted version of the Kyrie, and we kept to a
small set of Sancti. We heard a great many new chorale preludes, by
Buxtehude, Bach, and Walther. On two Sundays, we also included Taizé
chants at communion, "Eat This Bread, Drink This Cup," and "Jesus,
Remember Me."
This report from my harpsichord: It was wonderful this Spring to
prepare for the May recital. I was glad too to be cleaned and
regulated, and to have my voicing made more even throughout. It was
great to have the jack heights, staggering, and felts all adjusted to
make sure every string plucked and damped cleanly and quickly. My
anticipation grew each day as I helped during workout to make the
richest, fullest, and clearest of sounds. The repertoire was varied in
form, nationality, and era (within the Baroque). Rameau's operatic
side is always a treat, using all of my resources. When the moment
finally came to embark on my three week trip to Saint Philip's, I was
overjoyed to be out of the house, to anticipate being in a larger space
that I could still fill, and to know that I would have a chance to meet
new instruments and people. So many keep their acquaintances with
pianos, which are of course beautiful in their own right, but almost as
many people don't know that the harpsichord was the piano of yore. We
were everywhere, ubiquitous, included in most of the musical action of
our day. How thrilling to know that I had a chance to bring back to
life pieces of music that were once favorites. The trip to Saint
Philip's (and back) was very comfortable. So many people lifted me so
gently. I didn't bump or scrape or dent anything, nor did I pinch
anyone's fingers or toes. When May 13th finally came, I had the
pleasure or rendering François Couperin's "Les Baricades Mistérieuses"
at both the 8:00 AM service and the 10:00 AM service. At the latter
service, I was glad to be able to accompany Jennifer Allen's cello, as
we recreated Corelli's D Minor Sonata (Opus 8, Number 5) in our
player's hands. It was very satisfying to join the voices of the choir
in a delicate arrangement of Dona Nobis Pacem. And what happened
after the service? Back to working on the recital. What a day of
riches. There were recital play-throughs for listeners on Monday, and
Wednesday, and then came the recital on the 18th. I looked just great
where the altar usually rests. The spotlights on my beautiful yellow
Indian corn exterior, with gold leaf bands, made me look brilliant.
The red background provided a contrasting backdrop. I have never been
situated so well before. I was freshly tuned, and just in time. An
audience of 55-60 was on hand for Frescobaldi, Louis Couperin (uncle of
François), C.P.E. Bach (son of Johann), and Jean-Philippe Rameau. This
was not my typical Friday night, and I expect that it was rather
unusual for most everyone. On May 20th, I had the pleasure of
accompanying Ariel Utgoff's violin, as we responded to our players on
Handel's A Major Sonata (Opus 1, Number 14, HWV 372). The choir had
the unusual opportunity to present two anthems, the second of which was
a sung version of the blessing, by J. Hunnicut, following Father Ray's
giving of this blessing. My fine steel strings resonated well with the
warm loving voices of the choir. I'm back home today, May 27th, having
rendered two more pieces by Rameau for the prelude and postlude for
today's 10:00 AM service. What a wonderful trip. Saint Philip's,
please accept my gratitude for your wonderful hospitality.
Let me add a few words to those of my harpsichord. These musical
moments were enriching for me. Thank you to Father Ray for starting
off the recital event with a warm welcome to all. Janet Couch was
thoughtful enough to see the need for a reception following the
recital, and to make it so. This was a proud moment for Saint
Philip's, welcoming our event guests warmly and tastefully. Thank you
Janet. Paul Rattelle contributed in a variety of ways, under the
umbrella of his unsolicited "whatever you need" offer of support. This
included harpsichord moving, arranging lighting for the high altar
stained glass window, and serving as `house manager,' which included
setting lights, directing guests as necessary, and collecting
donations. This was another fine moment in which our warm hospitality
was on display. Thank you Paul. Speaking of donations, there was a
modest suggested donation of $5 for those attending. Including three
larger donations, the total amount collected was $712. Against $116 of
expenses, a net $596 will benefit our music program. I gave this
recital primarily because I wanted to share musical art. I am very
grateful for the support, both for taking on such an adventure and for
the extra musical treats that this financial gift will make possible.
The adult choir will sing on June 10th, and then take the Summer off.
The members will have sung 34 anthems since September, enriching our
worship greatly. They have spent even more weeks at rehearsal on
Thursday night and rehearsal on Sunday morning. Their leadership has
been indispensable for new hymns, new ordinaries, and singing the
communion hymns usually in four-part harmony. Those recessional hymn
descants can be exciting too. I derive great joy in working with all
our members, and I look forward to new musical moments and technical
challenges in the Fall. Molly Ward and I are hopeful that the
children's choir will sing once more during June, before taking the
Summer off.
I am looking forward to getting back to learning new pieces for our
pipe organ. Any requests? My summer project will be Bach's grand
Saint Anne's Prelude and Fugue in E-flat Major. I have also had my eye
on Franck's B Minor Chorale. I will likely rejuvenate Hindemith's
third Organ Sonata, learned long ago. I shall also be bringing up to
speed a special piece for the occasion of receiving our new organ
stop. The 58 new pipes were ordered in mid-April, after a careful and
thorough process of determining their precise specification. Bill
Czelusniak reports that he expects these pipes to be shipped on July
29th. When he actually receives these pipes, he will be able to pin
down a date for completing this project. Upon receipt, he plans to
move quickly to refine the voicing and to complete the installation and
other contracted work.
Do you have any thoughts about our music that you would like to share?
People do talk to me, write letters, and give me lists of requests.
This is very useful. Communication is an essential ingredient in every
good relationship. Sometimes the requests conflict to some extent.
For example, some would like to draw on hymns from other hymnals, while
still others dread new hymns when they come along. Perhaps you have
some thoughts on higher level issues of this kind? I welcome all
opinions and suggestions.
Paul Utgoff
Music Director