9:00am Eucharist, II

      Treble Choir (+ Probationers) / Canterbury Choir

      John Linker, Organist/Choirmaster

            Michel Corrette / Magnificat du 1er Ton

            Rutter / God be in my head

            Folk melody / My Shepherd will supply my need (Trebles)

            Hymns

            680*                   O God, our help in ages past                                St. Anne

            436* (st. 1)         Lift up your heads                                                      Truro

            621                     Light's abode, celestial Salem                             Rhuddlan

11:15am Eucharist, II                      

      Parish Choir

      John Linker, Organist

            Michel Corrette / Magnificat du 1er Ton

            Davies / Psalm 123

            Rutter / God be in my head

            Hymns

            680*                   O God, our help in ages past                                St. Anne

            436* (st. 1)         Lift up your heads                                                      Truro

            312*                   Strengthen for service, Lord                                  Malabar

            326                     From glory to glory                                         St. Keverne

            621                     Light's abode, celestial Salem                             Rhuddlan

4:15pm Organ Recital

      Jeremiah Martin, Organ

            Philip Hammond / Toccata (from Sonata for Organ, 1983)

            Mozart / Adagio and Allegro in F minor, K. 594

            Guilmant / Sonata No. 1, Op. 42

5:00pm Eucharist, II

      John Linker, Organist

            Michel Corrette / Magnificat du 1er Ton

            Hymns

            680*                   O God, our help in ages past                                St. Anne

            436* (st. 1)         Lift up your heads                                                     Truro

            36*                     O gladsome Light                          Le Cantique de Sim�on

[* = Hymns chosen from the 2009 Hymn Survey]

Michel Corrette (1797-1795) was among the last of many French Baroque composers who left us Livres containing short organ versets intended to be alternated with plainchant. The Magnificat played today is from his Premier Livre d'Orgue, 1737. The registrations (i.e., which stops the organist draws) are usually not too difficult to decipher, as they are often the title of each movement. The organs of the French Baroque were perhaps the most "standardized" instruments throughout the history of the organ as there was little variation regarding which stops would be found in each division. Our "Miller and Wrigley Organ," by its eclectic nature, is able to fairly accurately replicate the sound of Cliquot and other French builders of the time. Michel Corrette spent the bulk of his career as organist at the Jesuit College in Paris. His father, Gaspard Corrette, was also a noted composer.

The Anthem is a short work by English composer John Rutter, whose zenith of compositional output occurred in the early 1980s. God be in my head is an excellent example of Rutter's stepwise, triadic approach at harmony, and lies very comfortably in each voice part. Rutter was previously Director of Music at Clare College, Cambridge. He now directs the Cambridge Singers, a group that primarily exists to make recordings, and divides his time between composing and conducting.

Hymn 621 is sung fairly infrequently though it has been in Episcopal hymnals since 1892. The tune Rhuddlan is a Welsh national melody from the harp tradition, where it is known as Dowch I'r Frwdyr ("Come to battle"). Rhuddlan is one of the Welsh tunes introduced to English hymn singing in the English Hymnal (1906), from which this arrangement, probably by Vaughan Williams, is taken. The name is that of a town on the North Wales coast, the scene of many battles, where the ruins of a Norman castle indicate its strategic importance. 

Philip Hammond's Sonata for Organ is a modern composition which explores dissonant sonorities. The first and second movements are dramatic however the lively third movement which we hear today takes inspiration from the great French toccatas. Clashing chords evoke fanfare, and are contrasted with melodic passages which use creative rhythmic patterns above a pedal counterpoint. Hammond is an Irish composer, and graduate of Queen's University, Belfast. He is well known in Irish musical circles as a pianist, critic and broadcaster.

Later in his prolific career as a composer, W.A. Mozart (1756-1791) wrote works for mechanical organs or Fl�tenuhr. K594 is one such work, originally written be played on a mechanical organ clock for Joseph count Deym von Stritez in a gallery of his. Although Mozart indicated he would have preferred it performed on a conventional organ, it was not done so during his life-time. The work is now commonly performed for piano four-hands, organ duet, and as heard today, organ solo. As it was not intended originally for human performance, it does present some technical challenges to the performer. However it is unmistakably and unforgettably Mozart.

F�lix-Alexandre Guilmant (1837-1911) was an accomplished and prolific composer and performer of works that showcased the capabilities of the symphonic organs which were developed by the legendary French builder Cavaill�-Coll. Guilmant later added orchestral color to this Sonata in the Symphony for Organ and Orchestra, however today we hear it in its original organ solo form. The first movement features a haunting melody which is introduced as a pedal solo. This is later developed and features throughout the work. A commanding final statement of this theme with characteristic Guilmant key-changes leads to the second movement, a pastorale. Orchestral reeds are called for in counterpoint. The final movement is intense and dazzling. Drawing from his contemporaries, the movement is styled after a toccata. A surprising reserved central section is reminiscent of a chorale. The toccata returns and soon leads to the grand and glorious chords, andante maestoso, before the fiery conclusion.   

2014 Peterson Vocal Competition and Musical Heritage Celebration

The 2014 Peterson Vocal Competition, a judged event, will be held at Central Christian Church-Evans Music Room (Second Floor), 205 East Short Street, on Saturday, November 15, 2014, 8:30 AM-2:30 PM. Talented undergraduate vocal artists from colleges and universities in Central Kentucky, recommended by their vocal teachers will compete for cash awards and stipends. Ten finalists will be announced at the end of the competition. All finalists will be required to attend the Musical Heritage Celebration in Memory of Dr. Roy P. Peterson later that evening. The top five finalists shall perform at Central Christian Church, 205 East Short Street, Lexington, KY at 7:00 PM in the Sanctuary. The competition is free. (See below for obtaining tickets for the concert.)

The Musical Heritage Celebration in Memory of Dr. Roy P. Peterson

The main attraction at the Musical Heritage Celebration will be the top five finalists from the Peterson Competition. Invited student guests will perform also. At the end of the Musical Celebration performances, scholarships and other awards will be presented to each of the finalists.

The Musical Heritage Celebration is a charitable event to raise funds for arts and educational outreach for youth, including the Dr. Roy P. Peterson Memorial Scholarship offered through the YMCA Black Achievers Program.

Tickets: Adults-$15                                     Seniors, Age 60 and up-$10

               Students - Age 11-17 -$3.00                   10 and under FREE

Purchase tickets: www.petersonartsfund.org

Phone: 859 489 1571