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We are a community that expresses its love for our Lord Jesus Christ in ancient worship forms.
We are a community that seeks to understand what it prays. We are a community that asks the Holy Spirit to teach us to love one another and the world beyond our church walls.
By God’s grace, we are growing. We would love for you to join us!
We are a community that seeks to understand what it prays. We are a community that asks the Holy Spirit to teach us to love one another and the world beyond our church walls.
By God’s grace, we are growing. We would love for you to join us!
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Sunday Worship: Fifth Sunday after Pentecost
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Sermon: "I Got You Babe"
July 5, 2020 |
If the bulletin does not appear above, you can also click this link to download the PDF of this week's home liturgy.
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Music and Reflection
Collin Power, Director of Music Ministry
Collin Power, Director of Music Ministry
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This week’s music for reflection comes from Heinrich Schutz’s (1585-1672) Symphonie Sacrae, a collection of sacred pieces written for solo voice, and small string ensemble with basso continuo (organ, lute, etc.) This selection, No. 5 of his first collection, sets verses from this week’s familiar gospel passage Matthew 10:28-30:
Venite ad me omnes qui laboratis et onerati estis et ego reficiam vos. Tollite jugum super vos et discite a me, quia mitis sum et humilis corde, et invenietis requiem animabus vestris. Jugum enim meum suave est et onus meum leve. |
Take my yoke upon you, and learn from me; for I am gentle and humble in heart, and you will find rest for your souls. For my yoke is easy, and my burden is light.
The pieces in the Symphonie Sacrae, which was published in 1629, make use of all of the contemporary techniques of composition of the “seconda prattica”, or the “stile moderno”. A style of composition that came about after composers such as Palestrina (who wrote in the Prima Prattica style) that characterized the shift from the polyphonic and counterpoint heavy writing of the late Renaissance to the early Baroque. The Seconda Prattica was heavily concerned with dramatic declamation in the tradition of the Ancient Greeks. It was in this time that the genres of oratorio, and opera began to develop. Schutz’ Symphonie Sacrae, borrow a lot from early opera in its usage of declamatory recitative passages, alternating with dance-like accompanied passages, and instrumental ritornellos, all beautifully flowing into one another.
Schutz begins the piece with an orchestral sinfonia, and then a declamatory, recitative section of repeated venites. Schutz then follows it with a joyful lilting dance for the “Tolite” characterizing the joy in taking up Christ’s burden. Schutz returns to another recitative section at “quia mitis sum et humilis corde”, he then takes a sudden delightful turn to B flat major, the relative major of the piece at “requiem”, the most peaceful moment of the piece. He then continues in another accompagnato section with a special ornamented passage on “leve” highlighting the lightness of Christ’s yoke. He then finishes the piece, repeating the initial venites.
This style of writing gives us a unique insight into the words of this gospel passage. Often, when I hear this passage, I hear it in the context of Compline, where it is one of the chapter verses. In that office focused on rest, and the close of the day, it is easy to read a relaxed quality into Jesus’ invitation to come to Him, take up his yoke, and rest. Schutz’ work offers us another perspective. He sets the venites as impassioned and repeated, carrying a yearning and intense quality. It reminds me of the gradual passage for this Sunday from the Song of Solomon, as though it is the “venite” of someone beckoning their beloved. And indeed, this is the way Christ continually calls us. Father Dominique always says, “Love is characterized by haste”, and we can certainly feel that in the way Schutz sets these words. Below is a link to the score if you would like to follow along with the music. I hope through this piece you can hear Christ calling to you in a new way, and find rest in Him. Link to the music score
The pieces in the Symphonie Sacrae, which was published in 1629, make use of all of the contemporary techniques of composition of the “seconda prattica”, or the “stile moderno”. A style of composition that came about after composers such as Palestrina (who wrote in the Prima Prattica style) that characterized the shift from the polyphonic and counterpoint heavy writing of the late Renaissance to the early Baroque. The Seconda Prattica was heavily concerned with dramatic declamation in the tradition of the Ancient Greeks. It was in this time that the genres of oratorio, and opera began to develop. Schutz’ Symphonie Sacrae, borrow a lot from early opera in its usage of declamatory recitative passages, alternating with dance-like accompanied passages, and instrumental ritornellos, all beautifully flowing into one another.
Schutz begins the piece with an orchestral sinfonia, and then a declamatory, recitative section of repeated venites. Schutz then follows it with a joyful lilting dance for the “Tolite” characterizing the joy in taking up Christ’s burden. Schutz returns to another recitative section at “quia mitis sum et humilis corde”, he then takes a sudden delightful turn to B flat major, the relative major of the piece at “requiem”, the most peaceful moment of the piece. He then continues in another accompagnato section with a special ornamented passage on “leve” highlighting the lightness of Christ’s yoke. He then finishes the piece, repeating the initial venites.
This style of writing gives us a unique insight into the words of this gospel passage. Often, when I hear this passage, I hear it in the context of Compline, where it is one of the chapter verses. In that office focused on rest, and the close of the day, it is easy to read a relaxed quality into Jesus’ invitation to come to Him, take up his yoke, and rest. Schutz’ work offers us another perspective. He sets the venites as impassioned and repeated, carrying a yearning and intense quality. It reminds me of the gradual passage for this Sunday from the Song of Solomon, as though it is the “venite” of someone beckoning their beloved. And indeed, this is the way Christ continually calls us. Father Dominique always says, “Love is characterized by haste”, and we can certainly feel that in the way Schutz sets these words. Below is a link to the score if you would like to follow along with the music. I hope through this piece you can hear Christ calling to you in a new way, and find rest in Him. Link to the music score
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