The Musical Diary of Greg ScheerI was reading Bruce Benedict’s very excellent Cardophonia blog today, and he had a post with four different musical renditions of Isaac Watt’s text “Alas! And Did My Savior Bleed.” That reminded me that I have never uploaded my choral version of that text, which uses the tune MARTYRDOM. Just in time for Holy Week, here’s the PDF and MP3.
Sunday evening was Church of the Servant’s Lessons & Carols service. As always, it was the highlight of Advent and Christmas for me. The highlight for me from a compositional standpoint, was that after 12 years I finally got a good recording of “My Soul Will Magnify the Lord.” Take a listen and you’ll figure out why it hasn’t been performed or published much. It’s hard.
Also included were my arrangements of “On Jordan’s Banks (PUER NOBIS),” “All Earth Is Waiting,” and “Go Tell It on the Mountain.” Check them out at http://www.churchoftheservantcrc.org/2009-lessons-carols.
As we enter that blessed season known to music ministers as “when will this ever end?” I find myself considering a Magnificat that is near and dear to my heart. I wrote “My Soul Will Magnify the Lord” while I was at Bellefield Presbyterian Church in Pittsburgh. It’s part of a series of pieces based on the wonderful canticles found in Luke. The ingredients are choir, rhythm section, brass and soloist, all boiled up in a pop/rock/classical/jazz stew. And they’re all blazingly difficult to pull off well. (I’d get published a lot more if I could tame my muse.)
One of the most unusual features of this particular Magnificat is that it ends with the genealogy found in Luke 3. Crazy, you say? Like a fox, I say. No, really, it is strangely powerful to hear Mary sing about God’s mercy extending from generation to generation, and then hear their names sung one after another. One choir member at the time thought the idea was so unique that I should patent it.
Unfortunately, I didn’t get a good recording from the Bellefield performance, so all I can share with you as the “choir of Greg” version. You can see the music here. I might include it in this year’s Lessons & Carols service on December 13 at 6pm at Church of the Servant, so if you’re in the Grand Rapids area you should plan to join us.
Yesterday was Easter, and we had a blow out celebration of Christ’s resurrection at Church of the Servant. The service included my new setting of Psalm 118, the day’s lectionary Psalm. Okay, I went a little overboard with this one. It’s more than 7 minutes, includes parts for soprano solo, strings, brass and timpani, and the full score is 40 pages long. And it’s hard. But it was Easter, so a little extravagance seemed entirely appropriate. Listen to the COS choir and strings performing it with Melissa Simon on soprano and Brandan Grinwis on timpani: MP3.
Just cant get enough? Check out the “bouncing ball” version of the score:
On Christmas Eve we’ll sing my brand spanking new arrangement of “O Holy Night.” To help the musicians prepare, here’s an MP3, score and parts (choir/piano, strings, brass, percussion). Strings–get cracking on that high part in the refrain!
Last night at Church of the Servant we had our Lessons & Carols service. (You can read more about the service at the COS worship blog.) One of the songs the choir sang was my composition “Every Valley.” This is one that I’ve done before, but it was great to do it again, especially because Jordan Clegg was singing the solo part. He rocked, as did Carol and “The Little Choir that Could.”
Every Valley is part of a set of pieces tentatively titled The Christmas Canticles that are written for solo, choir, piano, rhythm section and horns. I’ve already completed Every Valley, Blessed Be, and My Soul Will Magniy the Lord. Someday I hope to complete the canticles with a Gloria and Nunc Dimittis, but it will have to wait until some imaginative and well-endowed choir commissions me. (Hint, hint)
Until then, take a listen to Jordan Clegg, the COS Choir and Carol Rienstra (piano) performing Every Valley.
In an earlier post I introduced a song called “Jesus, Precious Jesus” and promised a choral arrangement. Here it is. I don’t know if it’s a good or bad trait, but this song can range in performance style from a simple praise chorus accompanied by acoustic guitar to slow and funky Black Gospel. In this choir arrangement I took somewhat of a middle road, using the lush harmonies of Gospel but keeping the rhythms fairly straight. It’s a little sweeter and flashy than more typical style, but it’s growing on me.
This Sunday at Church of the Servant we sang a brand new song of mine, Psalm 114. I was really pleased with the way it turned out, especially in light of the fact that I had studied the Psalm for quite a while before I really connected with it.
The Psalm tells the story of the exodus in poetic form. Once I latched onto the idea that Israel’s history is not just the events of a long ago people but part of the living story of all of God’s people, I quickly arrived at a way to represent this musically: the first half of each verse tells Israel’s story as it appears in Psalm 114, the second half of each verse reflects on ways in which God continues to work in similar ways today, and the refrain answers with overarching them of the Psalm: “The hills and mountains tremble, the rivers stand in awe, for in this pilgrim people is the presence of the Lord.”
Listen to the recording of the service or email me for the score.
Here’s a recording of “Creator of the Stars of Night” from last year’s Lessons and Carols service at Church of the Servant. The choir processed from the back of the sanctuary singing this beautiful 9th century chant, while the strings interjected tropes that I had composed a few weeks before. Now that’s ancient/future!
Here’s my choir singing a recently penned little song called “Jesus, Precious Jesus.” I was joking with them that I was attempting to skim off some of the royalty stream that usually flows to “Father, I Adore You” and “Alleluia.” But that just a joke. Mostly. What I was really trying to do was compose something very simple for congregation that is supports a sturdy Trinitarian theology. (Only the first of three verses is heard here.) The version here is a four-part, hymn-style version. When I find the time I’ll write out an accompaniment for the Black gospel version I hear in my head.