Joanna Hawkins Nannestad, alto. Karen Tucker, organ.
six weeks after Easter Sunday, we celebrate the Ascension of Christ. Aria #38 (Thou Art Gone Up On High) is one of the more obscure solo movements of Messiah. It features some florid, Italienate lines, in the style of "Rejoice Greatly" but much simpler. Once again, Handel created several version for different singers. We selected version I for alto in d minor, and featured my lovely wife as the soloist. It was a logistical bonus, because Ascension Sunday fell on the Memorial Day Weekend, and my choir was largely on vacation.
Saturday, May 30, 2009
Tuesday, May 26, 2009
ten: pastoral installation #37-38
Joanna Hawkins Nannestad, alto. Karen Tucker, organist. FP Choir.
A rare occasion to include in the project: the installation of our new pastor. These two movements were immediately appropriate: the chorus #37 (The Lord Gave the Word; Great was the company of the preachers) and the aria #38 (How Beautiful are the Feet of those who Preach the Gospel of Peace.)
That aria has several versions- one version is actually a duet with chorus- but we elected to use the soprano g minor aria, which is Version I in the Watkins Shaw edition. There is an alternate c minor version for alto, but Joanna felt it sounded best at about f minor. Really, what's the use of having a Rodgers organ if you don't take advantage of the transposer button?
Well, unexpected drama- we don't use that button much, and the organist unknowingly cancelled the transposition when setting the registration for the aria. As soon as the introduction started, I could tell it was in g minor. Joanna rose to the occasion and handled the multiple high Gs... but, if given the choice, would elect a lower key!
A rare occasion to include in the project: the installation of our new pastor. These two movements were immediately appropriate: the chorus #37 (The Lord Gave the Word; Great was the company of the preachers) and the aria #38 (How Beautiful are the Feet of those who Preach the Gospel of Peace.)
That aria has several versions- one version is actually a duet with chorus- but we elected to use the soprano g minor aria, which is Version I in the Watkins Shaw edition. There is an alternate c minor version for alto, but Joanna felt it sounded best at about f minor. Really, what's the use of having a Rodgers organ if you don't take advantage of the transposer button?
Well, unexpected drama- we don't use that button much, and the organist unknowingly cancelled the transposition when setting the registration for the aria. As soon as the introduction started, I could tell it was in g minor. Joanna rose to the occasion and handled the multiple high Gs... but, if given the choice, would elect a lower key!
Monday, May 25, 2009
messiah disaster
beware the pushing of buttons!
http://www.btinternet.com/~tim.johnson77/rambler/Messiahorganistoncrack.mp3
http://www.btinternet.com/~tim.johnson77/rambler/Messiahorganistoncrack.mp3
Thursday, May 14, 2009
other liturgical occasions
It has been such a sad week around the church. Funerals and memorials are a regular part of any church musician's load, but when it is a friend and member of the choir, one must hope that the work helps deal with the grief. The unexpected death of one of our tenors (and trumpeter, and arranger, and all around musical impresario) has shaken me and the choir. Jim was also one of the driving forces behind this project- with his strong sense of pitch and adventurous musical sense, I could rest assured that the tenors would keep up, leaders would carry the alto and soprano sections, and I could keep those six basses pointed in the right direction. He was also the trumpeter for #48 "The Trumpet Shall Sound." It will be very difficult to do any of the remaining choruses without him.
I did briefly wonder what parts of Messiah might ever be fitting for a memorial service. I think I have heard #44 "I Know That My Redeemer Liveth" in such a context; what else? Any ideas? This is a purely rhetorical exercise.
For the funeral, the choir sang three anthems: "Laudate Dominum" from Mozart Solemn Vespers (with a string ensemble), "Balm in Gilead" by William Dawson, and "Sing Me To Heaven" by Daniel Gawthrop. The last was a stretch, but the choir practically demanded it, and they distinguished themselves. Th strings played several times (including "Ashokan Farewell" and "Lovers' Waltz" by Ungar) and a brass quintet accompanied the hymns and also played a transcription of "Pie Jesu" from the Faure Requiem.
This service will stay with me a long time, but the project continues. In another week we have a pastoral installation!
I did briefly wonder what parts of Messiah might ever be fitting for a memorial service. I think I have heard #44 "I Know That My Redeemer Liveth" in such a context; what else? Any ideas? This is a purely rhetorical exercise.
For the funeral, the choir sang three anthems: "Laudate Dominum" from Mozart Solemn Vespers (with a string ensemble), "Balm in Gilead" by William Dawson, and "Sing Me To Heaven" by Daniel Gawthrop. The last was a stretch, but the choir practically demanded it, and they distinguished themselves. Th strings played several times (including "Ashokan Farewell" and "Lovers' Waltz" by Ungar) and a brass quintet accompanied the hymns and also played a transcription of "Pie Jesu" from the Faure Requiem.
This service will stay with me a long time, but the project continues. In another week we have a pastoral installation!
nine: Easter two, #45
Kathy Davis, soprano. Karen Tucker, organ.
"I Know That My Redeemer Liveth". Sung on the second Sunday of Easter by our excellent soprano soloist, accompanied on the organ. How lucky we are to have a soloist capable of this formidable aria! And a good fit for this particular Sunday, as the choir takes a day off to recover from the Holy Week histrionics.
I remember now that I taught this aria to a young (college-age) soprano when I was a not-much-older novice voice teacher. She was excited about this piece, but it takes a lot of sensitivity to make it musical, and that was a particularly long slog of a teaching experience. Good thing I don't teach voice lessons any more!
"I Know That My Redeemer Liveth". Sung on the second Sunday of Easter by our excellent soprano soloist, accompanied on the organ. How lucky we are to have a soloist capable of this formidable aria! And a good fit for this particular Sunday, as the choir takes a day off to recover from the Holy Week histrionics.
I remember now that I taught this aria to a young (college-age) soprano when I was a not-much-older novice voice teacher. She was excited about this piece, but it takes a lot of sensitivity to make it musical, and that was a particularly long slog of a teaching experience. Good thing I don't teach voice lessons any more!
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