Monthly Archives: February 2014

Seventh Sunday after Epiphany – 23 Feb 14

Equality in Arizona

Opening Voluntary: Prelude on O Welt, ich muss dich lassen – J. G. Walther (1684-1748)

Final Voluntary: We Shall Overcome – LEVAS #227 (Those who wish may sing along)

“We shall overcome. We shall overcome. Deep in my heart I do believe we shall overcome. And I believe it because somehow the arc of the moral universe is long, but it bends towards justice. We shall overcome because Carlyle is right; “no lie can live forever”. We shall overcome because William Cullen Bryant is right; “truth crushed to earth will rise again”. We shall overcome because James Russell Lowell is right:.

Truth forever on the scaffold,
Wrong forever on the throne.
Yet that scaffold sways the future,
And behind the then unknown
Standeth God within the shadow,
Keeping watch above his own.

With this faith, we will be able to hew out of the mountain of despair a stone of hope. With this faith, we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith, we will be able to speed up the day. And in the words of prophecy, every valley shall be exalted. And every mountain and hill shall be made low. The rough places will be made plain and the crooked places straight. And the glory of the Lord shall be revealed and all flesh shall see it together. This will be a great day. This will be a marvelous hour. And at that moment—figuratively speaking in biblical words—the morning stars will sing together and the sons of God will shout for joy.”

Dr. Martin Luther King Jr.

Sermon at Temple Israel, Hollywood , CA




Fifth Sunday after Epiphany – 09 Feb 14

Louis-Nicolas Clérambault

Louis-Nicolas Clérambault

Opening Voluntary: Duo – Louis-Nicholas Clérambault (1676-1749)

Final Voluntary: Grand plein jeu – Louis-Nicholas Clérambault (1676-1749)

Our opening and closing voluntaries are both compositions of the French composer, Louis-Nicolas Clérambault.  Clerambault was born in Paris in 1676 and came from a family of musicians.  As a youth, he first studied violin and harpsichord and later became the pupil of French organist André Raison (d. 1719).  He also studied voice and composition with Jean-Baptiste Moreau (1656-1733), court composer to Louis XIV.  Clérambault was first organist of the Grands-Augustins and later succeeded Guillame-Gabriel Nivers (1632-1714) as the organist of the prestigious church of Saint-Sulpice. He was employed at the same time by  the royal house of Saint-Cyr, an institution for young girls of impoverished nobility. He later succeeded his teacher, André Raison as organist of Saint-Jacques after Raison’s death in 1719.   In addition to his work with the organ, Clérambault was a prolific composer of vocal music and wrote widely, both religiously and secularly, in the increasingly-popular, 18th century genre of the cantata, of which he is acknowledged the master of the French form. He also wrote many motets and other choral works for church use.

His surviving organ work is known in his Premier Livre D’Orgue, “First (and unfortunately only) Organ Book,” published in 1710.  This work consists of two “suites” based on the first and second Gregorian church “modes” or tones, the foundation of religious chant.  He had originally intended to complete a suite on each of the 8 church modes, but only created works on the first and second.  Both the opening and closing voluntaries are from the Suite du Premier Ton (Suite on the First Tone) in the Dorian mode.  This “mode” corresponds to the  scale on the piano on the white notes beginning with D, sometimes with a flatted ‘b’ (an “option exercised by Clérambault in this suite) and thus, most similar to our modern key of “D-minor.”  These pieces, along with the rest of the collection are typical of French organ composition of the 17th and 18th centuries.  The “Duo” is a fugue-style composition in two voices in which the supporting line frequently echoes and varies the themes introduced in the upper voice.  The “Grand plein jeu” is a piece for full organ and, in the Livre D’Orgue, serves as the introduction for the suite and collection as a whole.  It is in a grand, richly-ornamented style.

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