Sunday, July 20th, 2014
6th Sunday after Pentecost
Prelude: Prince of Denmark’s March (Trumpet Voluntary in D), by Jeremiah Clarke (1674-1707)
Trumpet Voluntary, by: Henry Heron (published 1760)
Processional Hymn: 400 All Creatures of our God and King
Gloria: S280 by: Robert Powell
Before the Gospel: 493 O For a Thousand Tongues to Sing, stanzas 1-3
After the Gospel: 493 O For a Thousand Tongues to Sing, stanzas 4-6
Offertory: The Call, by: Ralph Vaughan Williams (1872-1958) Guest Tenor: Joshua Overby
Come, my Way, my Truth, my Life:
Such a Way, as gives us breath:
Such a Truth, as ends all strife:
Such a Life as killeth death.
Come, my Light, my Feast, my Strength:
Such a Light, as shows a feast:
Such a Feast, as mends in length:
Such a Strength, as makes his guest.
Come, my Joy, my Love, my Heart:
Such a Joy, as none can move:
Such a Love, as none can part:
Such a Heart, as joys in love.
-George Herbert (1593-1633)
Doxology: 3rd stanza of hymn 380 plus an added “Amen” cadence.
Sanctus: S125 by: Richard Proulx
Communion Meditation: A Voluntary for ye Cornett Stop, John Blow (1649-1708)
Communion Hymn: 488 Be Thou My Vision
Recessional Hymn: 438 Tell out, my soul
Postlude: Voluntary VII, by: James Hook (1746-1827)
Music Notes
By: Ashley Sosis
How do you describe an organ voluntary? They are usually written by English Composers, most often for use in the Anglican church. They are usually written to be played before or after the service (therefore, “voluntary” or “non-required” music). For this reason, you may see “Voluntary” written instead of the heading “Prelude” and “Postlude” in an Anglican church service program. Voluntaries may showcase a particular solo reed stop on the organ. They sound improvisatory, like a spontaneous outpouring of musical joy. Depending on when they were written, they may not contain a pedal line because of the historic limitations of English organs (compared to German instruments of the same time period). Voluntaries first appeared as early as the 15th century and became very popular by the 18th Century.
18th century organ voluntaries could be classified in four categories. I will play one of each this morning. 1. Full Voluntary- Slow introduction, followed by a quicker fugue, played on full organ. (“Voluntary VII”, John Hook) 2. Echo Voluntary- slow movement for diapasons, followed by a quick movement for cornet or trumpet stop, alternating with quieter passages on the echo organ. (“Trumpet Voluntary”, Henry Heron) 3. Cornet Voluntary- a slow movement for diapasons, followed by a quick movement for cornet stop. (“A Voluntary for ye Cornett Stop”, John Blow; which is really a single long slow movement featuring the coronet stop) 2. Trumpet Voluntary- slow movement for diapasons, followed by a quick movement for Trumpet stop. (“Trumpet Voluntary in D” by Jeremiah Clarke which does not have a slow movement so its “March” title is more accurate.)
What gave voluntaries their esteemed place in church music? I think it is because they are a “voluntary” outpouring of musical joy. That is exactly what a church musician does every Sunday. Soli Deo gloria!