Sunday, September 14th, 2014
Rite II, Fourteenth Sunday after Pentecost
Organ Prelude: Father of Eternal Grace, by: Károly Köpe
Processional Hymn: 200 Come, ye faithful, raise the strain
Gloria: S280, Powell
Psalm: S208 The Song of Moses After the opening antiphon, the congregation joins the choir on each even verse.
Before the Gospel: 435 At the Name of Jesus, Stanzas 1-3
After the Gospel: 435 At the Name of Jesus, Stanzas 4-6
Offertory Anthem: One Thing we Ask, O Lord
Doxology
Holy: S125, Proulx
Communion Anthem: My Faith is in Thee, by: Christian David Jaeschke
Organ Meditation: Built on a Rock (Tune: Kirken), arranged by: Gerald P. Dyck
Communion Hymn: 671 Amazing grace! How sweet the sound
Recessional Hymn: 535 Ye servants of God
Postlude: Fughetta No. 10 in C, by: Josef Rheinberger
Music Notes
By: Ashley Sosis
When St. Augustine Choir offered Jaeschke’s “My Faith is in Thee” at the 11am service on Sunday, September 19th 2010, Mark Chaney wrote the following:
“This is a sweet little Moravian anthem that Sebron Hood bought for the choir during his tenure (1967-1991), but none of our current choir members could remember ever having done it before. I was certainly glad to find it waiting patiently in the file cabinet, and I can assure you that we won’t let it sit for 25 years before we do it again.”
I am pleased that we have the opportunity to do an “all-Jaeschke” Sunday this morning. Christian David Jaeschke (1755-1827), was a Moravian composer who, unlike many other Moravian composers we enjoy, did not at any time live in the American colonies. Rather, he spent much of his life in a Moravian settlement in Hernhut (present day Germany). Something I found curious about both of the anthems programmed for this morning is that only the composer’s last name appeared on our choral music. After a little bit of research, I am convinced that this was not an error by the publisher but rather a nod to how the composer signed his compositions. Jaeschke wrote out other composers’ names in full but signed his own pieces with a simple initial J. Though a commendable gesture of personal modesty, Jaeschke’s “J” has created many issues for modern cataloguers. I do hope they press on, because I look forward to learning and teaching many newly declared “Jaeschke” compositions in the future.
For further reading on Moravian composers and their music, I suggest The Music of the Moravian Church in America, edited by: Nola Reed Knouse, perhaps paired with a daytrip to Old Salem, NC.