Order of Service

CLASSIC HYMN: ALL CREATURES OF OUR GOD AND KING
Congregation led by Ron Steen

INVOCATION and WELCOME
Nathan Scott

PROCLAMATION OF PRAISE
Cathedral Choir and Orchestra

MOZART: DUO FOR VIOLIN AND CELLO, K. 423: Allegro
Reilly Nash, violin; Janet Nash, cello

VAUGHAN WILLIAMS: THE VAGABOND and LET BEAUTY AWAKE
Michael Murphy, tenor trombone

PERRY: O GOD BEYOND ALL PRAISING
Cathedral Choir & Orchestra conducted by Jeffrey Mummert

BLOCH: NIGUN (Three Pictures of Chassidic Life)
Laura Steel, violin

TELEMANN: SUITE in A MINOR: Air a L’Italien
Nola Dawson, flute; Michelle Brown, cello

HAYDN: IN SPLENDOR BRIGHT and THE HEAVENS ARE TELLING from Creation
Kristina Anson, soprano, Dr. Joshua Baum, tenor, Phillip Buckland, bass
The Cathedral Choir and Orchestra conducted by Dr. Chris Waage

RICHTER: MERCY
Matthew Bennett, violin

DESHAZO: ANCIENT WORDS
Iain McKee, uillian pipes
Christie Ross, soprano, Emily Finney, mezzo, David Ross, tenor
Cathedral Orchestra

CONFREY/ELKJER: KITTEN ON THE KEYS
Dr. Chris Waage, bass trombone

WIGGINS: FOR GOD SO LOVED THE WORLD
Opening meditation read by Sherri Lewis
Cathedral Choir and Orchestra

MOZART: AVE VERUM
Cathedral Choir and Orchestra

VIEUXTEMPS: SOUVENIR D”AMERIQUE,”Yankee Doodle”
Dennis Bogart, violin

MASSENET: POURQUOI ME REVEILLER ( Werther) PUCCINI: NESSUN DORMA (Turandot)
Dr. Joshua Baum, tenor

WORSHIP IN GIVING
SOUSA: THE STARS AND STRIPES FOREVER, arr. Wilberg
Jeffrey Mummert, Carl Zornes, Marcus Duncan, Ron Steen, piano

DUNCAN: MUSICIAN’S PRAYER
Cathedral Choir conducted by Marcus Duncan

POSTLUDE
Jeffrey Mummert, organ

PROGRAM NOTES

LLOYD LARSON: PROCLAMATION OF PRAISE: Larson has been an active composer and arranger for several years and is a regular contributing writer to Alfred Publishing Company music catalogs as well as many others. He also is owner of his own publishing company, LarSong Publications. Frequently called upon as a clinician and conference resource, Larson is sought after as a singer, keyboardist and arranger, including extensive composing for international radio. In 1989 he served as editor for a new hymnal, Worship the Lord, commissioned by the Church of God; he also co-edited the hymnal companion for that work. He was also a recent contributor to The Complete Library of Christian Worship edited by Dr. Robert Webber. He served as Associate Pastor of Music and Worship at Meadow Park Church in Columbus, Ohio until 1994. “Proclamation of Praise” takes its text from I Chronicles 29:10-13. Written in traditional anthem style, it incorporates the classic hymn, “O God, Our Help in Ages Past” in the middle section of the work.

Praise to You, our God and King, forevermore the same, Your greatness knows no end. Praise to You our worship we bring, You reign in majesty, Redeemer, faithful Friend! Creator of the earth and heavens, You are exalted over all.
We honor You for your gifts of love, for all things great and small.

From You, O God, comes strength and power. With hearts of thanks we do adore.
We praise Your holy Name, Your love and grace proclaim! You’re eternally the same, O God! O God, our help in ages past, our hope for years to come, our shelter from the stormy blast, And our eternal home!

MOZART: DUO FOR VIOLIN AND CELLO: Wolfgang Amadeus Mozart is well known as one of the most talented and prolific composers in history. His Duo for Violin and Cello after K. 423 is based on an original duet for violin and viola. The story behind this duet (and a second, K. 424) is that Michael Haydn, a contemporary of Mozart, was commissioned to produce a set of six duets for violin and viola for the Archbishop of Salzburg, but fell ill after completing the first four and was unable to finish the set. When the Archbishop threatened to withhold Haydn’s salary, Mozart (visiting his father in Salzburg) wrote the final two duets for his friend so they could be submitted under Haydn’s name. The first movement of the Duo, Allegro, begins with a playful tradeoff of sixteenth notes between the two instruments, and this playful back and forth recurs throughout the movement. In contrast to this playfulness are moments of quiet restraint, specifically marked “dolce,” or “sweetly.” Unlike some of Mozart’s more fully orchestrated works, the lower voice in this piece is a full partner in the music rather than relegated to the background. This conversation between the violin and cello showcases the richness of texture possible with just two instruments. Note by Janet Nash.

VAUGHAN WILLIAMS: THE VAGABOND & LET BEAUTY AWAKE:

Ralph Vaughan Williams was born in 1872 in the Cotswold village of Down Ampney. He was educated at Charterhouse School, then Trinity College, Cambridge. Later he was a pupil of Stanford and Parry at the Royal College of Music after which he studied with Max Bruch in Berlin and Maurice Ravel in Paris. Among the first to travel in to the countryside, he collected folksongs and carols from singers and notated them.

Songs of Travel is a cycle of nine songs originally written for baritone voice. The text is from the poetry of Robert Louis Stevenson, and is masterfully set to music.

1. The Vagabond

Give to me the life I love,
Let the lave go by me,
Give the jolly heaven above, And the byway nigh me.
Bed in the bush with stars to see, Bread I dip in the river –

There's the life for a man like me, There's the life forever.

Let the blow fall soon or late, Let what will be o'er me;
Give the face of earth around, And the road before me.
Wealth I seek not, hope nor love, Nor a friend to know me;

All I seek, the heaven above, And the road below me.

Or let autumn fall on me Where afield I linger, Silencing the bird on tree, Biting the blue finger.
White as meal the frosty field – Warm the fireside haven –

Not to autumn will I yield, Not to winter even!

Let the blow fall soon or late, Let what will be o'er me;
Give the face of earth around, And the road before me. Wealth I ask not, hope nor love, Nor a friend to know me;

All I ask, the heaven above, And the road below me.

2. Let Beauty Awake
Let Beauty awake in the morn from beautiful dreams, Beauty awake from rest!
Let Beauty awake
For Beauty’s sake
In the hour when the birds awake in the brake
And the stars are bright in the west!

Let Beauty awake in the eve from the slumber of day, Awake in the crimson eve!
In the day’s dusk end
When the shades ascend,

Let her wake to the kiss of a tender friend, To render again and receive!

-Note by Michael Murphy

In Memory of Matthew Siegel, UMKC Conservatory, Piano, 2014

O GOD BEYOND ALL PRAISING: This majestic and inspiring anthem uses a text set by Michael Perry (1942-1996), one of the leading British hymn writers of the twentieth century. He is generally as the leading evangelical hymnist of the period from 1970-1990. The tune of the hymn is taken from The Planets by Gustav Holst. The movement, “Jupiter, Bringer of Joy,” has this tune as its second theme, lyrical and folk-like, that contrasts to the almost raucous main theme that seeks to evoke unbridled joy. The arraignment is by Dan Forrest, composer and educator born in Elmira, NY, in 1978. His works have won numerous contests and awards, including the ASCAP Morton Gould Young Composer’s Award.

O God beyond all praising, we worship You today and sing the love amazing that songs cannot repay;
For we can only wonder at every gift you send, at blessings without number and mercies without end:
We lift our hearts before You and wait upon Your word, we honor and adore You, our great and mighty Lord. For Christ, your gift from heaven, from death has set us free, and we through Him are given the final victory. Then hear, O gracious Savior, accept the love we bring, that we who know your favor may serve you as our King; and whether our tomorrows be filled with good or ill, we'll triumph through our sorrows and rise to bless You still: To marvel at Your beauty and glory in Your ways, and make a joyful duty our sacrifice of praise.

NIGUN (Improvisation): ERNEST BLOCH (1880-1959): Bloch was born in Geneva and began playing the violin at age 9. He began composing soon afterwards. He studied music at the conservatory in Brussels, where his teachers included the celebrated Belgian violinist Eug ne Ysa e. He then travelled around Europe, moving to Germany (where he studied composition from 1900–1901 with Iwan Knorr at the Hoch Conservatory in Frankfurt), on to Paris in 1903 and back to Geneva before settling in the United States in 1916, taking American citizenship in 1924. He held several teaching appointments in the U.S., with George Antheil, Frederick Jacobi, Quincy Porter, Bernard Rogers, and Roger Sessions among his pupils. In 1917 Bloch became the first teacher of composition at Mannes College The New School for Music, a post he held for three years. In December 1920 he was appointed the first Musical Director of the newly formed Cleveland Institute of Music, a post he held until 1925. Following this he was director of the San Francisco Conservatory of Music until 1930. In 1941, Bloch moved to the small coastal community of Agate Beach, Oregon and lived there the rest of his life. He taught summer courses at the University of California, Berkeley until 1952. He died in 1959 in Portland, Oregon, of cancer at the age of 78.A nigun is a form of Jewish religious song or tune sung by groups. It is vocal music, often with repetitive sounds such as "bim-bim-bam" or "ai-ai-ai!" instead of formal lyrics. Sometimes, Bible verses or quotes from other classical Jewish texts are sung repetitively to form a nigun. Some nigunim are sung as prayers of lament, while others may be joyous or victorious. Nigunim are largely improvisations, though they could be based on thematic passage and are stylized in form, reflecting the teachings and charisma of the spiritual leadership of the congregation or its religious movement. Nigunim are especially central to worship in Hasidic Judaism, which evolved its own structured, soulful forms to reflect the mystical joy of intense prayer. This work is characterized by an improvisational nature and strong Jewish influences. It is the second of three movements from Baal Shem(Three Pictures of Chassidic Life) and is originally for solo violin with orchestra.

TELEMANN: AIR a l’Italien from Suite in A minor; Even in a quite cosmopolitan body of work, Telemann's Suite for flute and strings in A minor (which can also be played on the recorder) stands out for its prolific sampling of the various musics known to the composer. Written sometime before 1735, it contains a pair of French minuets, two passepieds from Brittany, a Polish polonaise, and an "Air à l'italienne." For good measure, Telemann throws in two quasi-illustrative movements, describing "Les plaisirs" and a "Réjouissance," respectively. All that was left was to write an overture to bookend the suite, and Telemann had another work to enhance his pan-European reputation for inventive use of the orchestra, consummate technical skill, and felicitous imagination. That overture, which begins and closes the suite, is in the French style; its opening slow section features the long-short snap rhythm prominently and has a processional feel about it due partly to the unison playing of flute and strings for most of its length. The tempo soon rushes forward with a new theme, introduced in a fugato in the strings; the flute then elaborates upon this theme, supported by a bare violin line or by the continuo. The overture closes with the customary altered and abbreviated repeat of the slow section.

The movements that follow explore different rhythms, affects, and relationships between flute and orchestra, all with great success. Some take the traditional model of introducing a theme in the strings and letting the flute make virtuoso fireworks with it -- for example "Les plaisirs," the two minuets, and the polonaise. The polonaise, in particular, is notable for the way the flute picks up the stately melody given by the strings and whirls like a dervish around the it, plays tense, quick repeated notes, and finally settles into dramatic cascades. The melody may be the same, but the feeling is as different as can be. Other movements let the flute introduce new material, as in the Passepied I & II and the Air à l'italienne; the latter has the flute both elaborating on a melancholy, sighing melody and inserting a section of exuberant piping before the altered repeat of the first section. And the "Réjouissance" features the flute in dialogue, as both soloist and orchestra race around in visceral rushes of sixteenth notes trying to capture their mutual joy. This diversity of styles and means fits well the template of a suite, but the unifying intelligence behind all of them is definitely that of Telemann. Note by Andrew Lindemann Malone.

HAYDN: IN SPLENDOR BRIGHT, THE HEAVENS ARE TELLING from The Creation

Franz Joseph Haydn (1732-1809) was hailed as a great composer throughout Europe and admired by both his public and peers. Impressed by the power of the oratorios of Handel on his first trip to London, Haydn began work on The Creation in 1776 and completed it in 1778. It was premiered the following year.

The chorus is joined by a trio of bass, tenor and soprano who represent the archangels Raphael, Uriel and Gabriel. Uriel(tenor) joins the orchestra in the recitative “In Splendor Bright” just prior to the chorus. We hear an orchestral tone painting of the first sunrise and the proclamation of the fourth day of creation; the “sons of God” then are admonished to join in praise to God for His power. The text, based on Psalm 19 was put together by Baron Gottfried van Swieten:

In splendor bright is rising now the sun and darts his rays; A joyful happy spouse, a giant proud and glad to run his measured course. With softer beams and milder light steps on the silver moon through silent night; The space immense of the azure sky, in numerous hosts of radiant orbs adorns. And the sons of God announced the fourth day, In song divine, proclaiming thus His power:

The heavens are telling the glory of God, the wonder of His work displays the firmament. Today that is coming speaks it the day, the night that is gone to following night.
In all the lands resounds the Word, never unperceived, ever understood.
-John Bawden and HC Robbins Landon

RICHTER: MERCY: Max Richter (born 22 March 1966) is a West German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.

Richter is known for his prolific output: composing and recording his own music; writing for stage, opera, ballet and screen; producing and collaborating on the records of others; and collaborating with performance, installation and media artists. He has recorded seven solo albums and his music is widely used in cinema. This work, “Mercy” was commissioned by the renown American violinist, Hillary Hahn in 2010 when she commissioned 27 composers from 16 countries to write new works for the violin in the “encore” genre.

DESHAZO: ANCIENT WORDS: Lynn DeShazo is the author of some of the more widely used worship songs of today, many of which have been featured on the live praise and worship recordings produced by Integrity Media. Lynn is best known for such songs as "More Precious Than Silver", "Lead Me to the Rock", "Turn My Heart", "Be Magnified", "Be Unto Your Name", "Stand Up and Give Him the Praise", "In Your Presence, O God", and "Ancient Words". Her songs have been performed by a diverse and distinguished group of worship leaders and vocalists that have graced the popular Integrity's Hosanna! music series from its inception. They include Leanne Albrecht, Rita Baloche, Lamar Boschman, Scott Wesley Brown, Travis Cottrell, the Women of Faith worship team, Bob Fitts, Kent Henry, Graham Kendrick, Robin Mark, Don Moen, Marty Nystrom, Ross Parsley, Randy Rothwell, Paul Wilbur, and Kelly Willard.

Lynn has also produced nine of her own music recordings to date, and an audio teaching series for worship songwriters called "Expressing the Song Within". More recordings and equipping resources are planned for the future, including a school for worship songwriters. A native of Alabama, she is a graduate of Auburn University.

CONFREY: “KITTEN ON THE KEYS”: Bass trombonists are known for “borrowing” music from other instruments (the performers of other instruments use the much stronger word “stealing,” but we always give the music back). The song was written in 1921 by Edward Elzear “Zez” Confrey, who was inspired to write the tune after watching his grandmother’s cat walking on the piano keyboard. From the 1920s to the 1950s, Confrey recorded piano rolls for player pianos, played piano professionally, and composed over a hundred pieces of music ranging from piano solos to light opera. This arrangement of Kitten on the Keys is doubly “borrowed” – the original arrangement was done for Joseph Alessi, principal trombonist with the New York Philharmonic by Robert Elkjer. Elkjer borrowed it from the original piano version written in 1921 Confrey, who was inspired to write the tune after watching his grandmother’s cat walking on the piano keyboard, and it was then adapted for bass trombone. Just imagine a slightly bigger kitten.

-Note by Dr. Chris Waage.

WIGGINS: FOR GOD SO LOVED THE WORLD: Greg Wiggins is a composer, arranger, pianist, teacher and church music director in Mobile, Alabama. He studied at the University of Texas at Arlington and currently is on the faculty of The University of Mobile where he is Arranger in Residence. He is also in demand as a teacher of professional singers and keyboardists with an emphasis on those who work in the professional recording industry. Wiggins also has served the past seven years as Music Director for the World Healing Center Church of Mobile. His setting of one of the most well-known scriptures--John 3:16--begins with a compelling statement by the strings that sets the mood for the a cappella chorus proclaiming the text of Jesus’ well known words to Nicodemus.

AVE VERUM CORPUS: This beautiful little motet is Wolfgang Amadeus Mozart’s (1756-1791) setting of this text and is perhaps the best known of all. It has been published in over seventy different versions. Mozart composed this work on June 17, 1791 for his friend, Anton Stoll, a school music teacher and choir director in Baden, a small town near Vienna. Its simplicity, beauty and amazing interpretation of the text have moved some to proclaim it “the most perfect piece of music ever written.” Sung in Latin, the text translates:

Jesus, Word of God incarnate, of the Virgin Mary born;
On the cross Thy sacred body for us all with nails was torn.
Cleanse us by the blood and water streaming from Thy pierced side, Feed us with Thy body broken now and in death’s agony.

SOUVENIR D’AMERIQUE, “Yankee Doodle”: In 1843 at the age of 24, Henri Vieuxtemps, the great French violin virtuoso and composer, began a six month tour of America. Playing concerts from Boston to New Orleans, he was quick to admit that it was not a very successful series of engagements. He found that the American audiences were not accustomed to his repertoire of “musique classique” and he was not received with the same enthusiasm he was accustomed to in Europe. The exception was a set of brilliant variations he had written on the familiar tune, “Yankee Doodle.” At every concert this work was a rousing success. As Vieuxtemps later wrote “I became popular and got my foot in the door, for better or worse, opening the way for others.” Fourteen years later on his second tour, he found that artists such as Jenny Lind and Ole Bull had helped change the climate for concerts in the United States and we much more receptive to standard classical literature. But without fail, the Yankee Doodle variations remained a staple of Vieuxtemp’s repertoire.

MASSENET: PORQUOI ME REVEILLER: The opera Werther, by Massenet, is based on Goethe’s novel The Sorrows of Young Werther. This story depicts one of opera’s greatest depictions of impossible love. The aria Pourquoi me Reveiller takes place in the third act, as Werther has returned and is attempting to re-ignite the love and passion shared with Charlotte, who is now married. Charlotte has shown Werther some of the books that they used to read together. Seeing one of their cherished books from when they were younger, Werther begins to read from Ossain’s poetry, asking spring to cease its gentle caresses upon him, for sadness and grief is now his life. PUCCINI: NESSUN DORMA: One of the most famous operatic tenor arias of all time, Nessun Dorma is from Puccini’s opera Turandot. The unknown Prince has just heard the pronouncement from Princess Turandot that no one in the kingdom will sleep until she learns the mysterious suitors name; the answer to his riddle that will get her out of marrying him. If no one learns his name, many of the citizenry will be

beheaded. The unknown Prince, Calaf, sings this aria as he muses over her threats, and imagining how he’ll tell her his secret name while kissing her. In the final climatic moments of the aria, he cries out, “At dawn, I will win! I will win! I will win!”
- Note by Dr. Joshua Baum

SOUSA: THE STARS AND STRIPES FOREVER: "The Stars and Stripes Forever" is a patriotic American march widely considered to be the magnum opus of composer John Philip Sousa. By a 1987 act of the U.S. Congress, it is the official National March of the United States of America. In his autobiography, Marching Along, Sousa wrote that he composed the march on [Christmas Day], 1896. He was on an ocean liner on his way home from a vacation with his wife in Europe and had just learned of the recent death of David Blakely, the manager of the Sousa Band. He composed the march in his head and committed the notes to paper on arrival in the United States. It was first performed at Willow Grove Park, just outside Philadelphia, on May 14, 1897, and was immediately greeted with enthusiasm. Mack Wilberg is a well-known choral director, arranger, composer and educator; He is a former faculty member of Brigham Young University and currently conducts the world famous Mormon Tabernacle Choir. Because of his interest in two piano-eight hand music, he did this setting in 1988. It has become a popular part of the repertoire.

THE MUSICIANS PRAYER: Composer and Cathedral Choir member Marcus Duncan offers these words of insight into his a cappella setting for choir:

Of the handful of choral pieces I composed while in college at Northwest Missouri State University, “Musician’s Prayer” took the least time to create. I was helping a fellow student with their own composition, when I wrote the music in an hour or two. A couple weeks later, I remembered a plaque that I was given by my parents. Once I had combined the words on the plaque with the music I had written, I presented it to a few friends that became the quartet that performed it on a choir tour. Later the same quartet performed at the conclusion of my Senior Recital. (I later married the alto.)

I have since gone on to share “Musician’s Prayer” with choirs at two different high schools at which I have taught. It remains the most meaningful of all my college compositions. I have since expanded the “Amen” section, and I am very pleased to share the piece with the choir of Northland Cathedral.

God, please bless my music to glorify Your name. May serving You always be my aim. Let it be a witness to your majesty and love,
And remind us You watch from Your throne above.
May others see Your beauty in every note they hear,

And when they hear my music may they feel Your presence near. Oh Lord, I ask for guidance in everything I do, And pray You make my music an instrument for You. Amen.

Additional note by Ron Steen: “The Musician’s Prayer” has become the theme song of the Cathedral Choir and is included on our CD, “Celebrating God’s Faithfulness.” We are honored that Marcus has shared it with us.