Saint Mary's Tulsa

Family Christmas Choir Now Forming!

2014-11-21T07:00:00.000-08:00

What are your plans for Christmas Eve?

Do you love to sing?

The Family Christmas Choir is now forming! No matter how many or few family members in your family, you can come be a part of the music and have your own spot in the choir loft. The choir will perform at the 5:00 p.m. Vigil Mass on Christmas Eve. Rehearsals are on Sunday mornings in December at 11:45 a.m.

To be part of the beautiful Family Christmas Choir, contact Karen Hiller at khiller@churchofsaintmary.com. We hope you will join us!

Special Music Planned for the Feast of Christ the King Mass

2014-11-20T11:39:00.000-08:00

This Sunday is the feast of Christ the King, and we will have some very special music at the 10:30 AM mass! Music of Handel, Vivaldi, and Bach; favorite hymns such as “Crown Him with Many Crowns” and “Jesus Shall Reign”; and a beautiful setting of Psalm 23, “The Lord is My Shepherd” by Howard Goodall. Joining the adult choir will be musicians from the Tulsa Opera and the Tulsa Symphony. Help us sing praise to Christ our King as we close this liturgical year!

Sign Up to Be Part of the Christmas Family Choir

2013-11-14T06:00:00.000-08:00

Before you know it, Christmas carols will all around us. It's time to start thinking about the Christmas Eve Vigil Mass. We invite any parishioners, young and old, to sing in the intergenerational “Family Choir." This is your chance to be the choir and sit in the choir loft (reserved seating, such a bonus). All ages welcome; however, younger children need to have at least one adult participate with them. A short 30 minute rehearsal will take place after the 10:30am Sunday Mass on Dec. 1, 8, 15 & 22. Please email Karen if you are interested so she will have music ready for you. khiller@churchofsaintmary.com or call 918-749-2561 ext. 121

Beginning Handbell's (Adults and Children) and Children's Choir Starting Up!

2012-08-23T14:14:00.000-07:00

MaryBells Beginning Handbell Choir is for ages 8 and up to adults. Rehearsals are Sunday nights from 6:15 to 7:15 in the church. A basic knowledge of music notes and rhythm is recommended. Rehearsals will begin Sunday, September 16.

Parish Children Choir rehearsals begin Tuesday, Sept. 4 in MacAulay from 3 to 4pm. Grades 1-5 welcome. Contact Karen Hiller for enrollment forms.

Contact Karen Hiller to sign up.

khiller@churchofsaintmary.com

Church annex #918-749-2561 x 121

MusicNotes June 9-10 and Farewell for the Summer, Choir Members

2012-06-08T07:14:00.002-07:00

MusicNotes

Corpus Christi, June 9-10

Anthem- Ave Verum Corpus (K 618), Wolfgang Amadeus Mozart (1756-1791)

The Saint Mary Choir will sing this well-known composition during the offertory at 10:30, accompanied by the string quartet and Karen Hiller at the organ. This piece, from 1791, near the end of Mozart's life, was composed for the feast of Corpus Christi at a church in Baden, near Vienna. The original instrumentation was for strings and organ, so we will get a more authentic taste of this piece on Sunday. In addition, the choir will also be using a Germanic-Latin pronunciation that is closer to what Mozart himself would have heard from choirs at the time. The text is a 14^th-century poem, attributed to Pope Innocent III, Pope Innocent IV, or Pope Innocent VI, that glorifies the holy, true body of Christ. This is one of the most beautiful pieces in choral literature, and it invites us into prayer as we honor Christ's body. The translation of the text is as follows:

Hail, true Body, born of the Virgin Mary,

who having truly suffered, was sacrificed on the cross for mankind,

whose pierced side flowed with water and blood:

May it be for us a foretaste [of the Heavenly banquet]

in the trial of death.

[Oh sweet Jesus, Oh pious Jesus, Oh Jesus, son of Mary,

have mercy on me. Amen.]

Communion- Da Pacem Domine, Arvo Pärt (b. 1935)

At the beginning of communion, the string quartet will present a beautiful piece by Estonian composer, Arvo Pärt. This peaceful prayer was written for choir or four-part soloists in 2004 and revised for string quartet in 2006. I chose this piece to help set a calm tone for the beginning of the communion procession, the tone set by the exchange of peace that takes place before the fraction anthem. The slowly evolving harmonies create a sense of peace to reflect the nature of the text, a votive antiphon for peace, taken from the book of Sirach 36:18. It can also be used as an introit for Pentecost. Although Pärt's music has a modern and minimalist color to it, he employs several medieval musical techniques, including the cantus firmus, the faux-bourdon, organum and the hocket.

Communion Meditation- Ave verum corpus, Chant, Mode VI,

Ave verum corpus, Josquin des Prez (1450/55-1521)

Following the Communion procession, a trio, featuring choir members and cantors, Nancy Trujillo and Bobbie Whaling, will present two very different versions of the Ave Verum from the baptismal font in the back of the church. The first version is a lovely Gregorian chant, one of the most haunting chants I have ever known, which can be found on page 730 of the Worship hymnal. This chant will lead into the second version, which is based on this chant, composed by Josquin. This Renaissance work sounds much starker to the ear than the Mozart setting, but it explores a texture that we do not get to hear very often on Sunday mornings in America. It begins with a duet between the soprano and alto, highlighting the text, Hail, true Body, born of the Virgin Mary. The baritone enters as the remaining text is explored, with the chant melody, or cantus firmus, always present in the alto line. Josquin was regarded as the greatest composer of his time, and his music did a great deal to shape the development of Western-European Renaissance music, from his cantus firmus masses to motets and chansons.

Hymns used for Corpus Christi-

For this great feast of the church, I have chosen some traditional hymns that are often sung for this feast, communion processions, or for Eucharistic Adoration. Although we will sing them in English, the opening and closing songs are Latin hymns, the Tantum Ergo and the Pange Lingua. We sang the latter during Holy Week, while we made the procession to transfer the Eucharist after the Holy Thursday liturgy. These hymns are meant to help focus our minds and spirits on the body and blood of Christ, on our union with Christ, through experiencing Him among us in the Eucharist.

String Quartet-

We are blessed to have a quartet this morning, made up of local musicians and members of the Tulsa Symphony. Welcome them to Saint Mary!

Paulo Eskitch, Violin I

Liza Villarreal, Violin II

Phillip Wachowski, Viola

Ashley Allison, Cello

Note-

This is the last Sunday for the Saint Mary Choir to sing at Mass before they take a break for the summer. Please take a moment to thank a choir member for all his or her hard work, dedication and time spent to make the music ministry at St. Mary what it is. This choir family is integral in our worship and ministry life at this parish, and its stewardship is well-appreciated.

-----

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes June 2-3

2012-06-01T18:36:00.000-07:00

MusicNotes

The Most Holy Trinity, June 2-3

Anthem- Hymn to the Trinity, Michael Burkhardt (b. 1957)

The St. Mary's Choir will sing this short piece during the Offertory. This hymn gives exuberant praise to God, the Father, the Son, and Holy Spirit, focusing especially on our three-in-one understanding of God. The melody is infectious, and rings in the ears of the listener long after the two minutes of music come to a triumphant close. Written with a simple accompaniment that varies from verse to verse, the final verse is a doxology with tenors and sopranos singing a descant, or upper melody. Because of the brevity of the piece, the end will lead into an organ improvisation on the melody, as the gifts are brought forward. Michael Burkhardt is the Director of Worship and the Arts at Holy Cross Lutheran Church in Livonia, Michigan. A well-known leader of hymn festivals, his music celebrates the importance of hymns in liturgical music.

Communion Antiphon- Abba, Father, William Buthod (b. 1981)

At the beginning of Communion, a trio will sing this Sunday's appointed communion antiphon. The text, found below, comes from the Book of Galatians 4:6. A colleague is celebrating the end of her nine-year music ministry this Sunday at a parish outside of Washington, D.C., and I just composed this antiphon for the occasion. The texture is simple and reverent, and the use of three voices is meant to reflect the Triniarian imagery found in the antiphon. This will feature dedicated choir members and cantors, Cindy Spitza and Nancy Trujillo.

Since you are children of God,

God has sent into your hearts the Spirit of his Son,

the Spirit who cries out: Abba, Father.

Postlude- Toccata (from Symphonie V), Charles-Marie Widor (1844-1937)

This piece may be one of the most recognizable compositions in classical organ literature. Echoing the Gospel's message to go out and make disciples in the world, the momentum of this toccata is unstoppable. Written as the final movement of Widor's fifth symphony for organ solo, (the organ symphony was, at the time, a popular kind of large-scale composition or improvisation for organ), this movement is often requested for weddings, played at Easter, or at other triumphant moments during the year. Besides being a technically-demanding piece, it exudes the joy of the Spirit, the joy that comes with the assurance that God is with us "always, until the end of the age." (Mt.28:20). Widor, one of France's most celebrated organists and composers, was a driving force in the school of French Romanticism, a highly influential teacher, and the organist at the Church of St. Sulpice, in Paris, where he served for nearly 64 years. It was here that Albert Schweitzer once traveled to study with him in 1899, resulting years later in a collaborative Widor-Schweitzer edition of all the works of Bach, still commonly used today.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes May 26-27

2012-05-26T07:05:00.000-07:00

MusicNotes

May 26-27

Prelude- Veni, Creator Spiritus, Libby Larsen (b. 1950)

This solo organ piece is based on a familiar Gregorian chant melody, found in our Worship hymnal, on page 479. The text of this Latin hymn dates from the 9^th century, written by Rabanus Maurus. This hymn is traditionally sung at Pentecost, as well as for other occasions, such as confirmation and ordination. We sang it two Sundays ago, and you will hear it again after Communion at the 10:30 mass. This setting will help set the tone for this Pentecost mass by surrounding the chant melody with simple, light flute accompaniments, calling to mind the wind imagery of the Holy Spirit. As we prepare to celebrate the birth of the Church this weekend, this instrumental prayer is asking the Holy Ghost to come and inspire our souls. Libby Larsen, originally from Wilmington, Delaware, has become one of the most prolific and performed composers of our time. She has been composer-in-residence for several large orchestras, and as a Grammy award-winner, her music appears on several recording labels. She has become a fixture in contemporary classical music.

Anthem- Send it on Down, arr. Geron Davis (b. 1964)

During the preparation of the altar, the St. Mary's Choir will sing this traditional Gospel song. This lively piece is a prayer to God to send down his Holy Spirit. It sets a mood of excitement and anticipation as we await the Spirit of God to fill our hearts in a new way. I will play this in a traditional Gospel piano style, and the choir will sing it from memory. They have learned it by ear, in the traditional way most Gospel choirs learn parts. Geron Davis is a very popular sacred musician and writer and has played a significant role in contemporary Christian music. He is a member of the well-known sacred group, Kindred Souls.

Communion Meditation- Hymn to the Holy Spirit, Randolph Currie (b. 1943)

After the Communion procession, the choir will sing this anthem, based on the chant tune Veni Creator Spiritus, which we heard before mass. The piece features the chant in both Latin and English, with simple and sparse organ accompaniment. It closes with a grand doxology, before quietly disappearing again at the end. Currie maintains the texture of the original chant melody by leaving it mostly untreated. The organ accompaniment only adds a few notes and interludes to the texture, as the text and melody of this gorgeous hymn come across clearly on their own. Currie is the organist at St. Joseph's in Sylvania, Ohio, and teaches at Lourdes College. His music is generally easy to learn, but beautiful and very practical for Eucharistic use. He writes, "When I write, I try to produce music which is serviceable and well-crafted, like good antique furniture. I also consider it a challenge to write music which is not difficult to perform, but is interesting enough to bear repeated performances."

Postlude- Improvisation: "Receive the Holy Spirit"

It would be a shame to spend the weekend praying for the Holy Spirit without allowing the Spirit to fill me in its most fitting musical way, improvisation. After the mass has ended, I will improvise a festive piece on the same chant that we heard throughout the mass. In this improvisation, I will try to capture my understanding of the power of the Holy Spirit- the power to transform, the power to inspire, and, most of all, the power of God living through us and in us.

Dialogues/Acclamations/Litanies- Mass of St. Frances Cabrini and Celtic Alleluia

To help signal the transition to the Easter season, we return to a familiar set of mass parts (Kyrie, Gloria, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God), the Mass of Saint Frances Cabrini, by Kevin Keil. For the Gospel Acclamation, we are using the Celtic Alleluia, by Fintan O'Carroll and Christopher Walker. A change in the mass parts we sing together helps to remind us of our new post-Easter perspective, a new context of hope, victory, and redemption.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes May 19-20

2012-05-17T13:35:00.000-07:00

MusicNotes

May 19-20

Organ Voluntaries- Excerpts from L'ascension, Olivier Messiaen (1908-1992)

Prelude- Majesté du Christ demandant sa gloire à son Père

(Majesty of Christ praying that His Father should glorify Him)

Communion- Prière du Christ montant vers son Père

(Prayer from Christ ascending towards His Father)

Postlude- Transports de joie d'une âme devant la gloire du Christ qui est la sienne

(Outburst of joy from a soul before the Glory of Christ which is its own glory)

The solo organ music this Sunday will come from Messiaen's suite of four symphonic meditations, written for the Feast of the Ascension. Originally composed for orchestra in 1932, it was transcribed for solo organ the following year, and has become a staple of twentieth-century organ repertoire. Each movement is based on a short verse from the story of the Ascension. The Prelude and Communion are based on verses from John's Gospel, "Father, the hour is come: glorify Thy Son, that Thy Son also may glorify Thee," (John 17:1) and "And now, O Father, I have manifested Thy name unto men… and now, I am no more in the world, but these are in the world and I come to Thee," (John 17:5-6, 11). The movement at the Postlude is based on verses from Colossians and Ephesians, "Giving thanks unto the Father which hath made us meet to be partakers of the inheritance of the Saints in light… has raised us up together and made us sit together in heavenly places in Christ Jesus," (Col 1:12; Eph 2:6). Messiaen's unique tonal language and distinctive rhythmic concepts reflect the true power of the Ascension in a very dramatically poetic way. The piece is rich, complex and challenging for both the performer and the listener. For those unfamiliar with Messiaen's style, it may take a very open mind at first to hear his innovative approach to sacred music, and to understand what makes him one of the most influential composers of the twentieth century.

Motet during Prelude- Ascendit Deus, Oreste Ravanello (1871-1938)

Immediately following the first movement of the Ascension Suite, the choir will sing a very short motet to help set the tone for Mass. The text is based on Psalm 47, in which the psalmist declares that "God has gone up with a shout, the Lord with the sound of a trumpet." The Latin Psalm text is set in a way that paints a picture of this image, emphasizing ascending melodies and mimicking the sound of a trumpet. Venetian composer, Ravanello, was well-known as a composer, conductor, organist and improviser in Venetian music circles. He wrote a large amount of sacred music and later became influential in the reform of church music post-Pius X.

Voluntary during Preparation of Gifts- Prelude on HYFRYDOL, Donna Hanna

The MaryBells will present this chorale prelude during the Preparation. Based on a familiar hymn tune (which we sang last week, with the text of Love Divine, All Loves Excelling), this piece will feature rich harmonies, contrasting moods, vibrant rhythms and several different hand bell techniques, including the use of mallets and martellato, or striking the bell against the padding of the table. I chose this piece to echo the joyous excitement and brilliance of the Lord's Ascension, as Hanna uses especially bright harmonies and rhythmic momentum in her treatment of the hymn tune. Hanna, who grew up mostly in Charlotte, NC, composes mainly for the church and has a special interest in the hymns of the church. This Sunday will be the last time the MaryBells ring for Mass until September, since they break for the summer, so I invite you to take a moment on Sunday and thank them for all the hard work they have done this year to help make the music ministry at Saint Mary so special.

Communion Meditation- Christ Hath a Garden, Gerald Near (b. 1942)

This beautiful piece will be sung by the choir after the Communion procession, as a reflection on the incredible events of the Ascension. The text, adapted from Isaac Watts by Robert Bridges, describes Christ in his heavenly garden and his servants around him, with the charge to continue his ministry on Earth. The words call us to feel the presence of Christ with us and in us, as he continues to live through us. Gerald Near, one of the most important living composers of church music today, has set this poem to an English folk tune, called O Waly Waly, also known by the American title, The Water is Wide. His setting is both rich and sparse. The harmonies reflect the simple loveliness of the text, included below-

Christ hath a garden walled around,

A paradise of fruitful ground.

Chosen by love and fenced by grace

From out the world's wide wilderness.

Like trees of spice his servants stand,

There planted by his mighty hand;

By Eden's gracious streams, that flow

To feed their beauty where they grow.

Awake, O wind of heav'n and bear

Their sweetest perfume through the air:

Stir up, O south, the boughs that bloom,

Till the beloved Master come:

That he may come and linger yet

Among the trees that he hath set;

That he may evermore be seen

To walk amid the springing green.

Dialogues/Acclamations/Litanies- Mass of St. Frances Cabrini and Celtic Alleluia

To help signal the transition to the Easter season, we return to a familiar set of Mass parts (Kyrie, Gloria, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God), the Mass of Saint Frances Cabrini, by Kevin Keil. For the Gospel Acclamation, we are using the Celtic Alleluia, by Fintan O'Carroll and Christopher Walker. A change in the Mass parts we sing together helps to remind us of our new post-Easter perspective, a new context of hope, victory and redemption.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes May 5-6

2012-05-02T15:20:00.000-07:00

MusicNotes

May 5-6

This weekend is First Communion. The St. Mary's Choir will not be singing this weekend. Instead, the children of the church will be cantoring and leading the music for the 5:00p and 10:30a masses, under the direction of Music Associate, Karen Hiller. The 8:00a mass will be lead by one of our regular cantors, and the 6:00p mass will be an EDGE mass.

Prelude- Improvisation: Chorale Prelude on Jesus Loves Me

To help set the tone for mass, I will begin by improvising a chorale prelude on the well-known Sunday school hymn, Jesus Loves Me. A chorale prelude is simply a composition based on the melody of a hymn. I chose this chorale tune not only as a prelude to the First Communion taking place this weekend, but also to remind us that we are all children of God, and that each one of us is loved dearly by our Savior. As we all need encouragement throughout our own spiritual journeys, this weekend, it is especially important to encourage the youth of the church as they join us in the Eucharist. To keep message of the prelude clear, I will use simple musical textures and uncomplicated sounds from the organ.

Hymn during the Preparation- We Have Been Told

The St. Mary's community knows this hymn well. The music and text were both written by David Haas in 1983, whose music is found throughout the Gather hymnal. The song reminds us that we serve a living God, a God that teaches us how to love through His own love of us. The verses are taken from this weekend's Gospel, and encourage us to live in God. God is the vine and we are the branches. Haas, who began in the St. Louis Jesuit movement of the 1970s and 1980s, has become one of the most prolific composers of Catholic music, post-Vatican II. Some of his other well-known hymns include You Are Mine, Blest Are They, We Are Called, and Now We Remain.

Postlude- Improvisation: Toccata on Though the Mountains May Fall

To send us forth after the mass has ended, I will improvise a festive piece on the organ, based on the closing hymn. This hymn, very familiar to students and teachers at the School of St. Mary, will help keep the focus on the youth as they leave to celebrate after their first Eucharist. This song promises the assurance that the love of God is always here with us, despite any challenges that we may face along the way. I will echo the solid message of trust and confidence by using strong organ registrations and unstable harmonic tension that is answered by solid harmonic resolution, all of this above an underlying youthful rhythmic energy, taken from the closing song.

Dialogues/Acclamations/Litanies- Mass of St. Frances Cabrini and Celtic Alleluia

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Apr 28-29

2012-04-27T13:14:00.003-07:00

MusicNotes

April 28-29

Prelude- Sinfonia pastorale (from Messiah), George Frideric Handel (1685-1759)

To help set the tone for Mass, I will play the instrumental interlude from the first part of Handel's Messiah. In Messiah, this piece sets up a new scene, beginning with the recitative, "there were shepherds abiding in the fields," and is meant to call to mind the songs of shepherds, and the calm of sheep. The underlying rhythm is typical of pastorales, or shepherd songs, through musical history. The sounds used on the organ are meant to remind us of shepherds' pipes. As we prepare for Mass, we turn to Jesus, our Good Shepherd, as is revealed in this weekend's Gospel.

Anthem- The Lord is my Shepherd (Psalm 23), Howard Goodall

To reflect the Gospel lesson of Jesus as the Good Shepherd, the St. Mary Choir will sing a different setting of the twenty-third Psalm, by British composer, Howard Goodall. There are countless musical versions of this beautiful Biblical poetry, as it naturally lends itself to music. At St. Mary this year, we have already heard several settings, including the Thomas Matthews, the John Rutter, and my own, and now we add this simple and elegant setting to our repertoire. Goodall composed this in 1994 as the theme song to the BBC's television comedy series, The Vicar of Dibley. The piece begins with a soprano solo, a lilting melody over a simple pastorale-like accompaniment, then explores rich harmonies with the choir, finally fading away at the end, finishing with the soprano solo. Because of the popularity of the television show, Goodall's Psalm has become a definitive version for a generation of British and Australian viewers.

Postlude- Improvisation: Hornpipe on Shepherd of Souls

As we go forth from Mass, with Jesus as our pastor and our guide, I will improvise a short tune based on the closing hymn. The Hornpipe was originally a British dance, dating from the seventeenth century. The underlying rhythm of this dance, originally found in Scotland, Ireland, and England, was adopted by English composers in the Baroque period, such as Purcell and Handel. I chose this form to combine the sound of shepherds' hornpipes with the message of the final hymn, sending us out to follow the Good Shepherd.

Dialogues/Acclamations/Litanies- Mass of St. Frances Cabrini and Celtic Alleluia

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Mar 31-Apr 1

2012-03-30T07:33:00.001-07:00

MusicNotes

March 31- April 1



Opening Antiphon- Hosanna to the Son of David, Antiphon Mode VII

The opening antiphon this Sunday comes from Gregorian chant and draws from Matthew 21:9. This antiphon announces the triumphal entry of Jesus at the beginning of the procession with loud hosannas. At the different Masses this weekend, you will hear it sung by the priest, the cantors and the choir. This refrain is meant to set our minds on King Jesus as we join in with the crowd, welcoming Him in celebration.

Processional Antiphon- Little Grey Donkey, Natalie Sleeth (1930-1992)

The Elementary Vocal Choir will present this piece to begin the processional. The traditional processional antiphon for Palm Sunday (Pueri Hebraeorum) tells of how the children of Jerusalem welcomed Christ the King with olive branches and loud praises, and so we begin our procession with the sound of children's voices welcoming Him. The song asks the donkey, on which Jesus rides into Jerusalem, if it knows who it carries. The song then reminds us of God's purpose in sending Jesus, and even foreshadows the Passion of Christ. Natalie Sleeth was one of the leading composers of children's music in America, and her music is employed every week in liturgies around the country.

Anthem- My Lord, What a Morning, African-American Spiritual

This popular and chilling spiritual, sung by the choir at 10:30, is meant to reflect the events of the morning. By the time the altar is prepared during Mass, we have already made the journey from Christ's entry to Jerusalem to his death, and we are left with many thoughts and emotions. This spiritual invites us to take a moment and meditate on this journey. The refrain cries out, "My Lord, what a morning when the stars begin to fall," and reminds us of God's purpose for Jesus as he faces His hour of death. The verses invoke imagery of the end of life, but then invite us to look to "God's right hand" for strength and guidance. We invite you to take a moment to open your hearts to God's plan, as we enter into a blessed Holy Week.

Closing Song- O Sacred Head, Surrounded, PASSION CHORALE

Many of us know this hymn very well from past years, but it has a very interesting history. Originally a Latin hymn, with the text from St. Bernard of Clairvaux, it was adopted by the Lutheran church and became a staple in the Protestant tradition of four-part chorales. It gained popularity in many different Christian traditions, especially the harmonization by Lutheran composer, J.S. Bach. The chorale was then re-adopted by the Roman Catholic Church, in its Lutheran form, and is now in our hymnals and an integral part of Passion music. The beautiful melody was even an inspiration for Paul Simon's American Tune.

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music, and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Mar 24-25

2012-03-23T12:12:00.000-07:00

MusicNotes

March 24-25

Anthem- Give Me a Clean Heart, Margaret Pleasant Douroux (b. 1941)

This anthem, written in 1970, has become a standard in Gospel music repertoire. The text is based on this weekend's appointed psalm, and is a simple prayer to God for renewal and purification. We are asking God to clean our hearts so that we may better serve Him; that we may surrender ourselves to Him to be used by Him. Douroux, a leading composer of Gospel music in Southern California, has seen this song adopted by many different faiths and traditions. She is the founder of the Heritage Music Foundation, and serves as Minister of Music at Greater New Bethel Baptist Church in Inglewood, CA. Our arrangement will feature longtime and faithful choir members, Louise Lewis, Bobbie Whaling, and Barry Wilson.

Solo- O Divine Redeemer, Charles Gounod (1818-1893)

Cantor and choir member Cindy Spitza will sing this prayer during Communion. Written in 1893, six months before Gounod's death, this song is seen as a final expression of his life. The text reflects this weekend's Gospel lesson, in which we hear that "the hour has come for the Son of Man to be glorified." Jesus is troubled, knowing that He is to die, and this song reflects our human emotions in our call to God in distress, our plea for salvation, redemption, and comfort. It calls us to be repentant and to open our hearts to God's saving grace and assurance. Gounod wrote a large amount of sacred music, including hundreds of sacred songs and several masses. His most performed piece today in parishes is his setting of the Ave Maria.

Closing Song- Lift High the Cross, CRUCIFER

This well-known hymn sends us out joyously, but with the cross within our sight, as we make our journey to Palm Sunday and Holy Week. Originally intended to be used for a festival service at Winchester Cathedral in England, the text was written by George William Kitchin in 1887, and revised with its current melody in 1916, called CRUCIFER and written by Sydney H. Nicholson. The text makes it clear that the cross is a symbol of the love of Christ. Composer Stanley L. Osborne describes the hymn in this way, "[the text's] images are biblical, its moods expectant, its promises courageous, and its demands costly" (If Such Holy Song, 321). Join us in singing this hymn heartily!

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music, and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Mar 17-18

2012-03-16T06:22:00.000-07:00

MusicNotes

March 17-18

Prelude- What Wondrous Love is This, American Folk Hymn, arr. Arnold B. Sherman

This lovely setting of the familiar hymn will be presented this week by the MaryRingers, our advanced handbell choir. This piece is meant to set the tone for Mass, as its solemn, meditative mood invites us to bring our hearts closer to God. This piece also helps set the tone for the second half of Lent and the Triduum, during which we will be singing this hymn often. The traditional American hymn, which I will write about more in the next few weeks, tells of the greatest love of all time, God's love for His people, so strong that He gave us his Son that we may have eternal life. Sherman's arrangement invokes a variety of tonal colors, employing chimes and mallets. Arnold Sherman, out of Tyler, Texas, is an accomplished composer and clinician of handbell music.

Anthem- God So Loved the World, John Stainer (1840-1901)

The text for this anthem comes directly from this weekend's Gospel lesson. This well-known Gospel verse is set very colorfully and dramatically by Stainer for a capella voices. The entire movement (which is an excerpt from Stainer's oratorio, The Crucifixion), is based on the single verse, John 3:16, but uses dynamics and unexpected harmonies to highlight the drama of the text. Stainer, hailed by colleague Sir Arthur Sullivan as a genius, was a well-known British composer and organist at the time and contributed a great deal to Anglican music. However, his music is not often performed today, with exception to The Crucifixion, which Stainer himself called "rubbish." It seems that the world disagreed with him, as this anthem became one of the most popular pieces in the history of sacred choral music.

Postlude- Kyrie, fugue sur les jeux d'anches (from Messe pour les paroisses), François Couperin (1668-1733)

This French Baroque piece is based on a Kyrie chant tune, and serves to remind us as we leave Mass that we belong to God, and that it is our prayer for Him to come to our hearts, to grant us mercy, and to renew and restore our spirits. The piece comes from his Messe pour les paroisses (Parish Mass), a staple of French Baroque organ repertoire. It is a short fugue, played on the jeux d'anches, or reed stops of the organ, to give it a particular tonal color. Couperin was one of the most important composers of organ and harpsichord music of this period, and he served as organist at the church of St. Gervais in Paris, before becoming organist and court composer for Louis XIV. I studied this particular piece several years ago with organist Marie-Claire Alain, the world's current authority on the performance of French music from this period.

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for on this Sunday, Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of Mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Mar 10-11

2012-03-09T15:47:00.000-08:00

MusicNotes

March 10-11

Psalm- Psalm 19:8-11, Anglican chant, William Buthod, John Blow (1649-1708)

The Psalm for this weekend will be responsively sung by the choir at the 10:30 mass. This response to the first reading comes from Anglican chant, a 16^th century tradition that was based on Latin plainchant. Anglican psalms, usually sung antiphonally by two choirs, added harmony to un-metrical texts, and followed the natural rhythm of the spoken words. I wrote and added a simple melody for the refrain to encourage your vocal participation, but we invite you to also follow along with the text of the verses in your Worship hymnal as we all respond to the word of God together.

Anthem- Who Will Keep God's Lambs?, Antonín Dvořák (b. 1841-1904), arr. Greg Gilpin

The elementary vocal choir will present the anthem during the preparation of the gifts at the 10:30 mass. This piece uses a familiar melody from Dvořák's 9^th Symphony, the "New World," and the text, referencing the twenty-third psalm, pleads with us to rededicate ourselves to God. This week, as we see Jesus' ministry continuing to Jerusalem, where He calls us to re-examine ourselves, we hear the song asking us if we will feed, lead, love, and protect the fold of God. Jesus is calling us not only to be blessed by the inheritance of God, but also to be His disciples, to show God's care through our treatment of each other. Dvořák was one of the most important composers of the late romantic period, and the melody used in this anthem comes from his most popular piece. Greg Gilpin is a well-known, ASCAP award-winning choral composer and arranger living in Indianapolis, with hundreds of publications to his credit.

Anthem- Seek to Serve, Lloyd Pfautsch (1921-2003)

The St. Mary's Choir will present this piece during communion. Just as this weekend's Gospel calls us to open our hearts to better serve Christ, this short musical prayer asks God to work through us. It is a prayer for the will to serve, to be vessels for God's love and for His word. The simple, unison melody comes from a 12^th-century Gregorian chant, the Kyrie from the Missa IX, Cum jubilo. The composer maintains the sparse, meditative texture of the early chant, while accompanying it with minimal but poignant harmonies. Selecting this piece also serves to maintain the musical tone already set for Lent this year, which includes chant and chant-based music every week (see musical changes below). One of the most respected university choral conductors and teachers in the country, Lloyd Pfautsch served as Professor of Sacred Music and Director of Choral Activities at Southern Methodist University from 1958-1992 and also directed the Dallas Civic Chorus for twenty-five years. His music was widely published and is still regularly performed all around the country.

DID YOU NOTICE?

Some musical changes in Lent-

Instrumental music will not be played during Lent, except for on Laetare Sunday. It is appropriate for instruments to remain silent during Lent, except to accompany singing. For Laetare Sunday (fourth Sunday of Lent), also known as Rose Sunday, instrumental music is acceptable. Laetare comes from the Latin for "rejoice," and is a mid-Lent time of relaxation from the Lenten stricture, as the hope of Easter now comes into sight.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Feb 25-26

2012-02-24T07:05:00.000-08:00

MusicNotes

February 25-26

Prelude- Morning Has Broken, traditional Gaelic melody, arr. Linda R. Lamb (b. 1944)

The MaryRingers, St. Mary's advanced handbell choir, will present this piece before the 10:30 Mass to help set the tone for Mass. As we enter into this new season, we feel a new morning breaking. The familiar hymn tune reminds us that we are beginning a new journey and entering, as Jesus proclaims in the Gospel, the "time of fulfillment." Linda Lamb's arrangement of the piece is an imitation of a sunrise, starting very softly and growing gradually to fullness, as the sun fills the sky with light. This also reminds us of our prayer in Lent, in which we ask God to open our hearts and take away that which is not of Him, in order to grow more fully in His love. The arrangement employs creative textures and techniques, including the use of chimes, a singing bowl, and mallets. Lamb is a handbell director in Lexington Park, Maryland, and has been composing for handbells for the past ten years.

Psalm- Psalm 25:4-9, Anglican chant, John Blow (1649-1708)

The Psalm for this weekend will be sung by the choir at the 10:30 Mass. This short response to the first reading comes from Anglican chant, a 16^th century tradition that was based on Latin plainchant. Anglican psalms, usually sung antiphonally by two choirs, added harmony to un-metrical texts, and followed the natural rhythm of the spoken words. We invite you to follow along with the text of this psalm in your Worship hymnal as we all respond to the word of God.

Anthem- Jesus Walked this Lonesome Valley, American Folk Hymn, arr. William Buthod (b. 1981)

The choir will sing an arrangement of this old American hymn to reflect the mood of this weekend's Gospel lesson. As Jesus is sent out into the desert, he is alone for forty days to face Satan and wild beasts. This arrangement is minimal, employing sparse accompaniment and unison singing to invoke a feeling of isolation and desolation. The ending, however, is hopeful, as we know that God was with Jesus in the desert, sending his angels to minister to Him, and as we know that "the kingdom of God is at hand." This early American song is also commonly sung during the end of Holy Week, and has become popular in many Christian traditions and beyond.

Dialogues/Acclamations/Litanies- English Plainchant and Kyrie orbis factor

To help signal the transition to the new season, we will be singing a different set of Mass parts during Lent (Kyrie, Gospel Acclamation, Holy, Memorial Acclamation, Lamb of God). The words will be the same, but most of the tunes will come from the plainchant found in the new Missal, and, for the Gospel Acclamation, the Gregorian chant tune to the Kyrie orbis factor. The melodies will be simpler and shorter than the ones we were using in the last season, but they will help us focus on the words and remind us to come closer to God; to simplify our lives in ways that allow God to work through us. Chant can sometimes seem foreign to our ears. It sounds very different from every other kind of music we hear on a regular basis, but it also forms the backbone of the history of Catholic music, and is an important part of our tradition. When sung with heartfelt joy and reverence, chant can be quite beautiful and powerful, and it can bring us deeper into prayer.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Feb 18-19

2012-02-17T09:17:00.000-08:00

MusicNotes

February 18-19

Opening Song- Come, You Sinners, Poor and Needy

As Mass begins, we sing this song together to invite worshippers to prayer. The text invites all those who seek healing, restoration, and rest, to come to the Lord, who supplies our needs. We open with this song to set the tone for our Gospel lesson, in which Jesus heals a paralyzed man. There is healing in God for those who come to Him. The refrain confirms our unified desire to "arise and go to Jesus," a response to Jesus' command to "rise, pick up your mat, and go home." The text was written by Joseph Hart in 1759, and the melody comes from an American folk tune, collected and compiled into the classic collection, The Southern Harmony and Musical Companion, in 1835.

Song during the Preparation- Amazing Grace

This great hymn, one of the most popular of all time, was written by the English poet John Newton in 1773 for a sermon on New Year's Day. The lyrics are a testimony to the unsurpassable grace of God, a God of forgiveness and restoration, the God seen in this weekend's Gospel. In composing this hymn, Newton was inspired by his own life experience. Once a slave trader, he turned his life to God, and, in 1764, was ordained in the Church of England. The original hymn, if even sung, was most likely sung to several different tunes, and was not closely associated with the tune we sing today, NEW BRITAIN. Hymnals at the time did not contain music, but only the texts of hymns. In fact, NEW BRITAIN, is actually an amalgam of two British hymn melodies, GALLAHER and ST. MARY. Since its composition, Amazing Grace has become largely associated with America. From folk singing in the Appalachians, to the Trail of Tears endured by the Cherokees, to the development of African-American music, this hymn has played a symbolic role in the shaping of American history and culture. Today, it is sung to nearly thirty different melodies, and has even been recorded numerous times by musicians in popular music.

Communion Anthem- Lord, For Thy Tender Mercies' Sake, Richard Farrant (1530-1580)

The origins of this anthem are not completely clear. Today, it is most commonly attributed to Farrant, who served at St. George's Chapel in Windsor, England. The text came from Christian Prayers and Holy Meditations (1566), by Henry Bull. The words reflect the Gospel's message of trusting in God's grace and mercy. If we come to God, humble and repentant, God's grace has the power to renew us.

Communion Song- Ubi caritas et amor, Deus ibi est. | Where charity and love are, God is there.

This 4th-century Latin hymn was originally used as a Holy Thursday antiphon. In 1978, Jacques Berthier composed this chant setting for the Taizé community in France, an ecumenical monastic order that is known world-wide for its inclusive musical tradition. Simple Taizé chants are easily learned without written music and are meant to be repeated numerous times, with slight variations. The idea is that, through repetition, the worshipper is able to let go of distractions and immerse him- or herself in true sung prayer, similar to praying the Rosary or the Jesus prayer. The use of Latin is meant to unify people of different languages in a single, uncommon language.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Feb 11-12

2012-02-09T12:33:00.000-08:00

MusicNotes

February 11-12

Prelude- Allegro (from Trio Sonata V), Johann Sebastian Bach (1685-1750)

Before Mass begins, I will play the first movement from Bach's fifth Trio Sonata. The Trio Sonatas for organ are multi-movement works which employ three voices, one in each hand, and one for the feet. Each voice is responsible for an independent melody, but the piece only works when all three voices interact with each other. As we prepare in our own ways for Mass, I will invite the congregation to turn its heart to the Holy Trinity, the most perfect example of three-in-one, before we hear the first words of the introductory rite, "in the name of the Father, and of the Son, and of the Holy Spirit."

Anthem- Sing Alleluia to the Lord, Terry D. Taylor (b. 1939)

The elementary vocal choir will present this bright and joyful anthem at the 5:00p Mass on Saturday. As we prepare the altar, this song invites us to sing praise to God, knowing that our trust and hope are in our God. This reflects the hope in God's love shown in this week's Gospel. Just as we hear of the leper being healed and spreading the word abroad, the song reminds us that "God's love is strong and true and fills all the earth." Terry Taylor is Associate Pastor at Shades Crest Baptist Church in Birmingham, Alabama. He is known for his work in music and worship, especially in children's and youth music.

Anthem- There is a Balm in Gilead, African-American Spiritual, arr. Gerald Near (b. 1942)

I chose this anthem to echo the Gospel's message of healing and hope. This traditional spiritual gives the listener comfort, knowing that there is healing in God to "make the wounded whole," and to "heal the sin-sick soul." The verses remind the hearer that, although he or she may be discouraged, the Holy Spirit has the power to restore. As we prepare the table to share the bread of life, this song invites us to prayerfully remember the healing power of God. A version of this spiritual can be found in Gather, on page 460. Gerald Near, known as one of the finest living composers of sacred music today, has created a beautiful setting of this piece. He has maintained the simple texture of the original spiritual, while employing gentle organ accompaniments and more modern harmonies.

Closing Song- Jesu, Jesu, Fill Us With Your Love, Ghanaese Folk Song

This folk song, originally from Ghana, was adapted for an English text by Thomas S. Colvin in 1969. It was later harmonized by Charles H. Webb in 1988. It reminds us of the message in the Gospel that we are not to simply experience God's love, but that we are called to action, that we must share this love and this message with those around us. MaryBells, our beginning handbell choir under the direction of Karen Hiller, will accompany us with bells and percussion.

Inspired by the uncontainable joy of the leper after being healed, the choir will continue singing after the closing song, praising God with a traditional South African song, Hallelujah, We Sing Your Praises (Halleluya pelo tsa rona). This will also feature MaryBells on percussion.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Feb 4-5

2012-02-02T09:10:00.000-08:00

MusicNotes

February 4-5

Prelude- Improvisation: Basso Ostinato on LAUDATE DOMINUM

To help set the tone for mass, I have chosen to improvise a basso ostinato, or variations over a repeating bass line, based on the tune of the opening hymn, Sing Praise to the Lord. This form has been used since the 17^th century, and ostinati are still in use today, especially in popular music. Famous classical examples include Pachelbel's Canon in D Major and Bach's Passacaglia and Fugue in C Minor. I chose this form to emphasize the constant, unchanging nature of God, our foundation as we enter into the Mass with praise and thanksgiving. As Jesus heals Simon's mother-in-law in the Gospel reading, we are shown again how powerful God is, that the wonders of our living God never cease.

Anthem- Come to the Water, John B. Foley, S.J. (b. 1939), arr. Jack Schrader

This beautiful anthem comes from Foley's hymn of the same name, found in Gather on page 349. The text invites all those who need healing, restoration, and renewal to come to the Lord. As we prepare the table for the Eucharist, this song is meant to invite the poor, the hungry, the weary, and the heavy laden to the table of God, where all souls can find rest. This also echoes the Gospel lesson, as we are reminded of Jesus, our healer. Foley, an American Jesuit composer of Catholic music and Director of the Center for Liturgy at St. Louis University, wrote this song in 1978, around the same time that he wrote another popular hymn, One Bread, One Body.

Postlude- Iste Confessor, Thomas Tallis (1505-1584)

After the final hymn, I will play Tallis' setting of the 8^th century Latin hymn, Iste Confessor. This hymn, originally written in honor of St. Martin of Tours, can be found, in an altered form, in Worship, on page 666. Although the feast day of St. Martin of Tours does not occur this weekend, the Easter message of the hymn certainly parallels our Gospel lesson, and inspires us to leave Mass with this message in our hearts. The translation of the original text follows.

This, the confessor of the Lord, whose triumph now all the faithful celebrate, with gladness erst on this feat-day merited to enter into his glory. Saintly and prudent, modest in behavior, peaceful and sober, chaste was he, and lowly, while that life's vigor, coursing through his members, quickened his being. Sick ones of old time, to his tomb resorting, sorely by ailments manifold afflicted, oft-times have welcomed health and strength returning, at his petition. Whence we in chorus gladly do him honor, chanting his praises with devout affection, that in his merits we may have a portion, now and forever. Glory and virtue, honour and salvation, be unto him that, sitting in the highest, governeth all things, Lord and God Almighty, trinity blessed.

Thomas Tallis was one of the most significant early composers of church music in England. Very little is known about his life, except that he composed for Henry VIII, Edward VI, Queen Mary, and Queen Elizabeth I, taught William Byrd, and wrote some of the most beautiful music the church has ever heard. Tallis is honored with a feast day in the Episcopal Church, and was even fictionalized as a character on the Showtime TV series, The Tudors.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Jan 21-22

2012-01-20T07:38:00.000-08:00

MusicNotes

January 21-22

Opening Hymn- I Heard the Voice of Jesus Say

We begin Mass with Horatius Bonar's 1846 hymn, I Heard the Voice of Jesus Say. The melody comes from a traditional English folk tune, once sung by wandering minstrels traveling through the countryside. It was one of several folk melodies that composer Ralph Vaughan Williams notated and put into use in The English Hymnal in 1906. The tune is now used frequently with different texts. This text reflects Jesus' call to each of us to come to Him and to serve Him, as heard in this weekend's Gospel lesson.

Anthem- The Call

This well-known piece was written by Mercy Sister Suzanne Toolan in 1986. It can be found in the Worship hymnal on page 633. The rhythmic verses tell the story of the Gospel lesson, while emphasizing the line "leave all things you have and come and follow me." The swaying rhythm is typical of sea shanties and boat songs, and imitates the swaying of ships, which sets the stage perfectly for the story of two fishermen. Sister Toolan is an internationally-renowned composer of sacred music, and much of her music can be found in our hymnals. Her most popular hymn is I Am the Bread of Life, now a part of hymnals all over the world. She is also an important spokesperson in this country for the music of the Taizé community.

Song of Praise- The Call, Ralph Vaughan Williams (1872-1958)

Once again we hear from Ralph Vaughan Williams in his 1911 composition, The Call. It came from Five Mystical Songs, originally for solo baritone and orchestra. The text is based on George Herbert's 1633 poem, and became a popular poem for weddings. The melody became widely used as a hymn in English hymnals, and is still popular today. Our soloist is longtime cantor and choir member, Jessalynn McCoin.

Postlude- In dir ist Freude, Johann Sebastian Bach (1685-1750)

This chorale prelude comes from Bach's Orgelbüchlein, also known as The Liturgical Year, as it contains chorale preludes of varied difficulty to be used throughout the church year. Although it is a staple of organ repertoire, few know that much of it was written during Bach's brief time in prison. The Orgelbüchlein redefined the chorale prelude as an art, and it has become an endless source of inspiration for liturgical music. This piece is based on the German chorale known in English as In Thee is Gladness, which tells of the intangible joy that Jesus has brought to Earth, a renewed spirit that gives us strength as we answer His call.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Jan 7-8

2012-01-05T09:52:00.001-08:00

MusicNotes

January 7-8

Epiphany

Prelude- Chorale Prelude on O Morning Star, How Fair and Bright! Paul Manz (1919-2009)

To help set the tone for this celebration of the Epiphany, I have chosen a piece to focus our attention on the star that the magi speak of in the Gospel reading. Manz' piece is based on the hymn tune, Wie schön leuchtet, found in the Worship hymnal on page 390. Paul Manz was one of the most prominent composers of sacred choral and organ music in the past century. His music is a staple in sacred repertoire around the world and has inspired several doctoral dissertations. Besides his numerous compositions, he was also known for his "hymn festivals," programs that would feature hymn improvisations, harmonizations, and congregational singing, instead of the more traditional instrumental recitals.

Closing Hymn- I Want to Walk as a Child of the Light

This popular hymn was written by Kathleen Thomerson in 1966. Besides capturing the imagery of the star for Epiphany, this song also calls for discipleship and commitment. It is not enough for us to simply admire the light of God, but we are called to walk in that light and to let that light shine through us every day. The following is taken from Thomerson's own notes about the hymn:

"I Want to Walk as a Child of the Light" was written in the sweltering hot summer of 1966 by Kathleen Thomerson, an Episcopalian organist. Kathleen had moved to St. Louis, Missouri in the fall of 1995. The following summer, her mother came from Houston, Texas, to visit. Because an airline strike cancelled her mother's travel plans and a heat wave was making St. Louis unbearable. Thomerson decided to drive her mother back to Houston. This hymn came to her as she anticipated visiting her "brothers and sisters in Christ at the Episcopal Church of the Redeemer in Houston. It was written as a scriptural meditation and prayer…On one hand, it may be sung as a prayer for illumination. The congregation sings "Shine in my heart, Lord Jesus." The second stanza conveys a longing to see Jesus and to be led through Christ to the presence of the Father. On the other hand, it may be sung as a song of dedication. The worshiper commits to live in the light of Christ, singing, "I want to walk . . . I want to see . . . I'm looking for . . ." And in hope and anticipation, the worshiper concludes in stanza 3, "When we have run with patience the race, we shall know the joy of Jesus." (From Reformed Worship, Sept. 2008, No. 89)

Postlude- Improvisation: Epiphany Toccata on I Want to Walk as a Child of the Light

Inspired by the message and tune of the closing song, I will improvise a short toccata based on the hymn. I will employ the brightest sounds that this organ has to offer, in order to reinforce the imagery of bright light and the star rising high in the East. Hopefully, this will help us keep in mind the lessons presented in the Gospel as we go forth from Mass, allowing the light to shine through us all week.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Dec 17-18

2011-12-15T10:12:00.001-08:00

MusicNotes

December 17-18

4th Sunday of Advent

This weekend, the changes in the mass translation, as well as the changes in the music, are in effect. We will be using the Mass of St. Frances Cabrini, which we have been practicing before mass for the last few weeks. The tunes are memorable and very sing-able, and should aid all of us in learning these new texts.

Prelude- O Come, O Come, Emmanuel, arr. Barbara B. Kinyon (b. 1929)/Prepare the Way of the Lord, Jacques Berthier, (1923-1994)

This week, the Mary Ringers will share a selection for the prelude. This simple and meditative arrangement of the familiar hymn will set the tone for mass, as we prepare to sing the hymn all together. The handbell piece will be followed by the Taizé chant, Prepare the Way of the Lord. The meditation will introduce the tune of the opening hymn, as we prepare for worship, and will lead into the choir singing a simple, repetitive Advent chant in a round. This is meant to remind us of the meaning behind the change of season in our church year, that we might approach the each Eucharist with expectant hearts.

Preparation of the Gifts- The Angel Gabriel, arr. David Schelat (b. 1955)

To echo this weekend's story of the Annunciation, the choir will present an arrangement of the well-known carol, The Angel Gabriel. Originally a Basque tune, this modern arrangement keeps the simplicity of the carol's texture, while juxtaposing another tune, sung to the Ave Maria text. This unique compositional idea reinforces the centrality of God's gift to Mary and His love for her. The carol tells the whole story of the Annunciation and can be found in the Worship hymnal on page 695. David Schelat serves as Minister of Music at First & Central Presbyterian Church in Wilmington, Delaware. He is very active as an organist, composer, and clinician, and his music and articles can be found in a variety of publishers and journals.

Communion- Lo, How a Rose, arr. Lani Smith

Karen Hiller and I will play this simple duet arrangement of the 16^th century German melody while the choir receives Communion. This will set a meditative mood to begin Communion, while reminding us of the hymn tune which we will sing together as we all receive. For centuries, this beloved melody has inspired composers to create arrangement after arrangement, without wearing out the beauty of the melody. This arrangement highlights the warmth of the organ and the brightness of the piano as it explores unexpected jazz-like harmonies.

Communion- Ave Maria, 13^th century chant, Irregular, Mode I

The sopranos and altos from the choir will sing this beautiful chant. Because of the beauty and depth of the Hail Mary text (drawn from Luke 1:29), the Ave Maria has been set to music countless times, and is most often heard at weddings and funerals. This 13^th century chant version, however, is not sung very often, despite its simple beauty. Although such chants were typically sung by male voices (monks), this weekend, the women of the choir will present this to reflect the significance of Mary, and to give it a different voice and perspective.

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On an unrelated note-

This coming Tuesday (the 20^th), I will be presenting a short recital of Christmas music at Trinity Episcopal Church, as part of their weekly noonday series, Tuesdays at Trinity. The recital begins at 12:05pm and lasts for thirty minutes. If you are looking for something to do, and want to hear a little Christmas music, come join me! Trinity Episcopal is located 501 S. Cincinnati (at 5^th Street).
--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Dec 10-11

2011-12-08T10:38:00.001-08:00

MusicNotes

December 10-11

3rd Sunday of Advent

Prelude (5:00p)- Advent Celebration, Mark Patterson, (b.1960)

The elementary vocal choir will be joining us for the Saturday mass. They will be setting a tone of anticipation and hope before the Mass begins by singing Patterson's Advent Celebration. This selection speaks of the joy in waiting for the coming Lord, that we not only look forward to the promised hope, but that we prepare for it, and celebrate the expectation that we share. Mark Patterson is an acclaimed composer, conductor, and teacher, currently living in Virginia. He has been a consistent winner of the ASCAP Award in Composition for over ten years.

Prelude (10:30a)- Improvisation: Meditation on Soon and Very Soon/Prepare the Way of the Lord, Jacques Berthier, (1923-1994)

Each week during Advent, the prelude will consist of a short improvised meditation that leads into the Taizé chant, Prepare the Way of the Lord. The meditation will introduce the tune of the opening hymn, as we prepare for worship, and will lead into the choir singing a simple, repetitive Advent chant in a round. This is meant to remind us of the meaning behind the change of season in our church year, that we might approach the Eucharist with expectant hearts.

Preparation of the Gifts (5:00p)- Christ is Coming Soon, Harriet Ilse Ziegenhals, (b.1925)

The elementary vocal choir will be presenting another selection during the preparation of the gifts. This anthem truly encapsulates the Advent spirit. It tells the Advent story, from the Annunciation to the manger, and urges us to prepare for His arrival and "sing hosanna," which we will all do in the following piece of music we sing, the Holy, Holy, Holy. Ziegenhals is a well-known composer, conductor, and organist, as well as the founder of the Jubilate Singers.

Preparation of the Gifts (10:30a)- Comfort, Comfort Ye My People, Michael Bedford, (b.1949)

The St. Mary choir will present this Advent anthem for the 10:30 am Mass. The text is drawn from the book of Isaiah and the tune from Claude Goudimel's 1551 hymn (found on page 370 in Worship). In this song God promises hope and comfort to His people, and we are urged to prepare the way of the Lord. Composer Michael Bedford takes advantage of the dancelike rhythm of the melody and creates a fun, rhythmic accompaniment over which the choir sings polyphonic and sometimes surprising harmonies. Bedford is an important composer of church music today, and his music is presented in service and in concert all over the country. For the past 38 years, he has been serving as Organist and Choirmaster at St. John's Episcopal Church, right around the corner from St. Mary.

Communion (10:30a)- People, Look East, French Traditional

After we sing the communion hymn at the 10:30 am mass, the MaryBells will present a meditation. This version of the popular Advent carol, People Look East, will not only remind us of this season, but will help to guide our prayers in this meditative moment. This traditional French carol, dating from the 17^th century in Besançon, is a song of preparation that expresses exactly where our focus should be during this season. We will all have a chance to sing the carol following Communion, as our closing song.

_____________________________

--

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Dec 3-4

2011-12-01T10:47:00.001-08:00

MusicNotes

December 3-4

2nd Sunday of Advent

Prelude- Improvisation: Meditation on On Jordan's Bank/Prepare the Way of the Lord, Jacques Berthier, (1923-1994)

Each week during Advent, the prelude will consist of a short improvised organ meditation that leads into the Taizé chant, Prepare the Way of the Lord. The organ meditation will introduce the tune of the opening hymn, as we prepare for worship, and will lead into the choir singing a simple, repetitive Advent chant in a round. This is meant to remind us of the meaning behind the change of season in our church year, that we might approach the each Eucharist with expectant hearts.

Preparation of the Gifts- Comfort Ye; Ev'ry Valley Shall Be Exalted (from Messiah), George Frideric Handel (1685-1759)

Handel's Messiah has become one of the most popular pieces of all time in classical music. Now regularly performed throughout the U.S. during the Advent season, Messiah is a staple of pre-Christmas programming. Although this oratorio was not intended for church use originally, the libretto is biblically-based. The text of the selected recitative and aria is drawn from this weekend's Isaiah reading, in which God promises hope and comfort for His people, and in which we are urged to prepare the way of the Lord. Handel brings out the meaning of the text perfectly by basing the tenor melodies on the meanings of individual words. We are blessed to have a guest soloist with us, tenor Brad Morgan, who sings professionally at Trinity Episcopal Church downtown, and who used to serve as cantor at the parish of Christ the King in Oklahoma City.

Postlude- Menuet (from Suite Gothique, Op. 25), Léon Boëllmann (1862-1897)

The closing hymn tells us of the voice of God going out through the world, and I wanted to continue this idea of momentum through the postlude. I drew from Boëllmann's Suite Gothique, which includes a movement with a lot of forward momentum, the Menuet. Boëllmann was a French composer, teacher, and organist, originally from Alsace, who was greatly influenced by the works of Franck and Saint-Saëns. He was organist for the church of St. Vincent de Paul in Paris from 1897 until his death, and his Suite Gothique is now studied and performed by organists all over the world.

Catholic Composer Corner

Jacques Berthier (1923-1994) was a French composer best known for his contributions to the music of Taizé. He first learned music from his parents, then studied at the César Franck School in Paris. In 1955, he was asked to write music for the then-small Taizé community. In 1961, he became organist for Saint Ignace, the Jesuit Church in Paris, and in 1975, he was asked again to compose for Taizé, a community which had grown significantly at that point. Today, almost all of the Taizé chants that we sing come from Berthier.

_____________________________

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Nov 26-27

2011-11-23T18:57:00.001-08:00

MusicNotes

November 26-27

1st Sunday of Advent

This weekend, the changes in the mass translation, as well as the changes in the music will take effect. We will be using the Mass of St. Frances Cabrini, which we have been practicing before mass for the last two weeks. The tunes are memorable and very sing-able, and should aid all of us in learning these new texts.

Prelude- Improvisation: Meditation on City of God/Prepare the Way of the Lord, Jacques Berthier, (1923-1994)

Choral Anthem- Wake, Awake (from St. Paul, Op. 36), Felix Mendelssohn (1809-1847)

Mendelssohn's oratorio, St. Paul was written in 1834. Though it is not frequently performed in its entirety, it contains a movement that is very appropriate for this weekend's Gospel, in which Jesus calls us to be alert and to "watch." The text of Wake, Awake reminds us of the parable of the bridesmaids, in which we are called to readiness, waiting for our Advent hope. The music is based entirely on the hymn tune, Wachet Auf, which we sang as a congregation two weeks ago. Mendelssohn engages the hymn tune in a dialogue with trumpets, instruments sure to bring anyone to awakened readiness. The use of a traditional German chorale in this oratorio is Mendelssohn's tribute to Bach, who turned this practice into an art form.

Postlude- Improvisation: Fugue on Come, O Long Expected Jesus

I will improvise a short 4-voice fugue using the closing hymn tune as a subject, or theme. I chose the fugue as the form because its essence represents the Advent spirit. Although the subject itself is a complete idea, the momentum of the fugue is built on the expectation of all voices coming together in the end. As a fugue develops, very little resolves until the end, and it is the waiting and the anticipation that allows for something truly harmonious to result. Hopefully a fugue on Rowland Prichard's hymn tune will help us all to leave with a song of expectation in our hearts.

Catholic Composer Corner

Joseph Gelineau (1920-2008) was a Jesuit priest in France who contributed a large amount of music to the Catholic church around the world. Strongly influenced by Gregorian chant, Fr. Gelineau developed a style of psalmody that has been widely adopted throughout the western world. We often use his psalm settings here at St. Mary's, and will be employing one this weekend. He taught at the Institut Catholique de Paris, and also wrote music for the Taizé community.

_____________________________

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com

MusicNotes Nov19-20

2011-11-17T10:07:00.001-08:00

MusicNotes

November 19-20

Christ the King

This weekend, the music ministry will continue introducing the new mass setting to the congregation. The changes in the mass responses require changes in the music as well. St. Mary's will be primarily employing the Mass of St. Frances Cabrini, written by Kevin Keil. Musicians and cantors from the Tulsa diocese voted almost unanimously on this setting back in August, and it will be employed throughout the diocese for this first year, along with the English plainsong setting and a Latin setting. The tunes are memorable and very sing-able, and should aid all of us in learning these new texts. We will have very brief teaching sessions directly preceding mass to help familiarize the congregation with this new set of responses.

Psalm- The Lord is my Shepherd John Rutter (b. 1945)

The appointed Psalm 23 this weekend will be sung by the choir, and will feature guest oboe soloist, Lise Glaser. This anthem, originally written by Rutter in 1976, was later used as the sixth movement of his Requiem. This gorgeous setting highlights the meaning of the text, with its peaceful, slow-moving harmonies, and plaintive melodies, reminding the listener of a shepherd in a field. Showing influences of the Rodrigo's melodies from the slow movement of his guitar concerto, Concierto de Aranjuez, and perhaps even a bit from Thomas Matthews, our Tulsa composer's setting of the same psalm, Rutter's anthem is a classic. It demonstrates perfectly why he is one of the most successful composers of church music in history.

Choral Anthem- We Sing Praises to Our King/He Reigns Forever Shekinah Choir

For Christ the King Sunday, the choir will be presenting a song from the African-American Gospel tradition. This is a lively song of praise to Christ, the king of kings, first released on an album in 1993 by the popular Shekinah Choir. The end of the song features a repetition of the phrase, "He reigns forever," that paints the idea that God reigns in the hearts of His people continuously, through praise and song. The St. Mary Choir learned this song in a short time, completely by ear, and without written music, the way gospel songs are usually learned in a church setting. The simple harmonies and syncopated rhythms build an intensity that makes it hard not to sing along, and we hope that you do!

Postlude- Giga, from Concerto for Oboe and Strings Arcangelo Corelli (1653-1713)

arr. by John Barbirolli (1899-1970)

Famous themes from Corelli were arranged into this concerto by Barbirolli for his wife, the renowned oboist, Evelyn Barbirolli. Corelli was one of the most important composers of the Baroque period. His compositions were a big influence on the development of Italian music, especially the concerto, and his Concerti Grossi grew to great popularity. Barbirolli was a well-known conductor, who succeeded Toscanini as music director of the New York Philharmonic, and later became the director of the Hallé Orchestra in Manchester. This concerto has become a staple of Baroque oboe literature, and the kingly Giga sends us forth in a stately mood, with God, the king of our hearts, beside us as we build up His kingdom.

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About our guest soloist-

Lise Glaser is principal oboe of Tulsa's symphony, opera and ballet. She also serves as first oboe for Des Moines Metro Opera in the summers after winning a national audition to secure that position in 2005. She has been the primary Adjunct of Oboe at the University of Tulsa since 1994. She studied with the legendary John Mack at the Cleveland Institute of Music, then with Peter Bowman, principal oboe for the St. Louis Symphony. She has performed with the Los Angeles Philharmonic, Utah Symphony, St. Louis Symphony, an orchestral tour to Europe as co-principal oboe with the Utah Symphony involving performances in East and West Germany, Yugoslavia, Austria and Lichtenstein, and as first oboe with 5 different southern California orchestras, including playing concertos live on the radio. Glaser has premiered many new works for the oboe, including those written by University of Tulsa music faculty. In addition to teaching oboe lessons, she is the faculty coach for the University of Tulsa student woodwind quintet. She is married to composer/organist Eliot Glaser, and her teenage son Nathan is a trumpet player and gymnast.

Will Buthod

Director of Music

Church of St. Mary

(918) 749 2561, ext 120

1347 E. 49th Pl.

Tulsa, OK 74105

wbuthod@churchofsaintmary.com