History of the Music Program 2009-2010

First Parish Unitarian Universalist of Arlington

 

Director of Music: Laura Stanfield Prichard
Organist/Pianist: Sarah Haera Tocco

September 6
"Why Do We Work?" by Lori Kenshaft

  • Prelude: Prelude in C-sharp Minor by Dmitri Shostakovich
    Beth Harris, piano
  • Candle Music: Prelude in C Major by Dmitri Shostakovich
  • Offertory: Fugue in C Major (abridged) by Dmitri Shostakovich
  • Postlude: Oh, What a Beautiful Morning by Richard Rodgers and Oscar Hammerstein II
    Michael Prichard, baritone
  • Hymns & Readings: 128, 289, 303, 419, Kalil Gibran "On Work"

Sept. 11 Memorial Service for Cecile Strugnell

  • UUlations perform Turn, Turn, Turn
  • Sarah Tocco plays J. S. Bach

Sept. 13 Ingathering Service & 2pm RECITAL

  • Prelude: Down in the River to Pray from the Coen Brothers' film, based on Homer's Odyssey, Oh Brother, Where Art Thou?
  • Water Music: Sailing Down my Golden River by Pete Seeger, arr. Diane Shriver
  • Offertory: Reflets dans l'eau by Achille-Claude Debussy (1862-1918)
    Sarah Haera Tocco, piano
  • Anthem: Deep River by Harry T. Burleigh
    Men of the First Parish Choir
  • Postlude: Ol’ Man River from Showboat Jerome Kern (1885-1945)
    Michael Prichard, baritone; Kenneth Seitz, piano
  • Quotation: There is nothing softer and weaker than water, And yet there is nothing better for attacking hard and strong things. For this reason there is no substitute for it. All the world knows the weak overcomes the strong and the soft overcomes the hard. -- Lao-Tzu (fl. B.C. 600)
  • Hymns: 100, 128, 350

Sept. 13 Benefit Recital, 2pm

  • Duets: Dio che nell' alma from Giuseppe Verdi's Don Carlo
    Au font du temple saint from Georges Bizet's Pearl Fishers
    Ketih Erskine and Michael Prichard, duet
  • Duet: Sous le dôme epais from Lakmé by Léo Delibes
    Laura Prichard and Dorothy May, vocal duet
  • Solos: Ol’ Man River from Showboat Jerome Kern (1885-1945)
    Oh, What a Beautiful Morning from Oklahoma! by Richard Rodgers and Oscar Hammerstein II
    Michael Prichard, baritone
    Arias performed by Beth Grzegorzewski (of New England Light Opera, Opera by the Bay, Amici Opera, Longwood Opera, and Mass Theatrica)
  • Scherzo by Frederic Chopin
    Sarah Haera Tocco, piano solo
  • Quatuor à vents by Jean Françaix
    Mies Boet-Whitaker, flute; Carl schlaikjer, oboe; Andy Kobayashi, clarinet; Jean Renard Ward, bassoon

Sept. 17 No Thursday Rehearsals this week
(Kahal Braira services at our church are Sept. 18-19 & 27-28)

Sept. 20 Chamber Music for the High Holidays
"What is It to Beginning/Rosh Hashanah"

  • Prelude: Andante from Quatuor à vents (1933) by Jean Françaix (1912-1997)
    First Parish Woodwind Quartet: Mies Boet-Whitaker, flute; Carl Schlaikjer, oboe; Andrew Kobayashi, clarinet; Jean Renard Ward, bassoon
    Notes: Although the parents of French composer, orchestrator and concert pianist Jean Françaix were professional musicians -- his father directed the Le Mans music conservatory and his mother was a singer and vocal coach -- the musical talents of such a precocious youngster likely would have been obvious to just about anyone. Young Jean began composing at age six, and by 10 he had become a published composer.  Françaix belongs to the generation of composers who attained maturity between the two world wars and adopted a Gallic form of Neo-classicism emphasizing the hedonistic traits of French music. 
    Like Aaron Copland before him, Françaix studied with Nadia Boulanger and absorbed something of Maurice Ravel's elegant style and careful craftsmanship. Boulanger was an extraordinarily gifted teacher who mentored some of the greatest musical talents of the 20th Century, ranging from Copland and Ástor Piazzolla to Burt Bacharach and Quincy Jones; even among such luminaries Boulanger considered Françaix to be one of the most naturally gifted composers she had worked with.
  • Candle Music: Techino by Riccardo Moretti
    Carl Schlaikjer, oboe; Sarah Haera Tocco, piano
    Notes: Riccardo Joshua Moretti (1951-) is one of Italy’s leading composers and conductors. He teaches flute and film composition at the Conservatory “Boito” in Parma, Italy, and has recently created a course entitled “Musica nella tradizione Ebraica”. Moretti has conducted all the major orchestras in Italy and has been the Principal Guest Conductor of the Bolshoi Theatre Orchestra and the Moscow Symphony since 1992. He collaborated for many years with the maestro Carlo Maria Giulini and on soundtracks with Nino Rota. He appeared as the leading actor in a new biographical film about opera composer Giacomo Puccini (premiered in January 2008 to mark the centenary of the composer’s birth). Moretti’s compositions often incorporate Jewish traditional melodies. These include four large cantatas entitled KaddishThe DarshanShalom, and the recent Il Canto della Shoah (Song of the Holocaust)Golà, Lemek, and Techino are lyrical movements from his most recent publication, 18 Canzoni Ebraiche (18 Hebrew Songs).
  • Offertory: Golà by Riccardo Moretti
  • Anthem: Lamek by Riccardo Moretti
  • Postlude: Allegro from Françaix's Quatuor à vents
  • Hymns and Readings: 34, 42, 350, 413, 634

Sept. 27 Choral Music for the High Holidays

  • Prelude: Silent Devotion and Response from Ernest Bloch's (1880-1959) Avodath Hakodesh (Sacred Service, 1933)
    Ernest Bloch was a Swiss-born, American-Jewish composer. This third movement of Bloch's Sacred Service starts with a meditation. The orchestra/organ alone is heard, allowing the listeners a moment to formulate their own thoughts in silent prayer. Then the choir, a cappella, quietly intones Yihyu Lerotson, the prayer for acceptance. The composer called this section "a silent meditation which comes in before you take your soul out and look at what it contains." The most important part of any Jewish prayer is the introspection it provides, the moment that we spend looking inside ourselves, seeing our role in the universe.
    Translation: O Lord, may the words of my mouth and the meditations of my heart
    be acceptable before Thee, Adonoi, my Rock and Redeemer. Amen (So be it).
    [Side thought on the word Adonai] - Adonai comes from the root word "Adon," which means lord. A king would be referred to as Lord, or actually any person of high status. In modern Israel, Adon is used as "mister", as in Adon Bloch = Mr. Bloch. A related word, Adoni (pronounced adonee), means "my lord," and is used as a form of respect. Adonai means Lord in the divine sense (as in this prayer): this is what confused the gospel writers, who didn't know Hebrew, and thus didn't know that Jesus was being referred to as Adoni, because he was a teacher.
  • Sounding of the Shofar
    Andee Rubin and Dorothy May
  • Intergenerational Song by the Chalice Singers: Adonai roi (Psalm 23) by Leonard Bernstein
  • Candle Music: S'u She'orim (1847) by Samuel Naumbourg (1815-1880) for choir and piano
    Nancy MacDowell, soprano soloist
    Notes: This French anthem in Ashkenazic Hebrew is based on Psalm 24: 7, which reads, “Lift up your heads, O ye gates, and be ye lifted up, ye everlasting doors; and the King of Glory shall come in.”
    Samuel Naumbourg was a cantor, composer, and scholar who rejuvenated synagogue song in Paris according to modern musical practices. He was born in Dennelohe, Bavaria into a family of cantors and received his musical and cantorial training in Munich. After holding the office of hazzan-shochet (cantor and ritual Kosher slaughterer) in Besançon and choirmaster in the synagogue of Strasbourg, he was invited to officiate at the Great Synagogue in Paris. It was during his time in Paris that he became associated with Jacques Halévy, and their preference for contemporary opera changed synagogal musical practices.
    The French government commissioned him to arrange a service to be introduced into all French synagogues, and his work resulted in his earning the title of Chief Cantor of Paris in 1845. Naumbourg was held in great esteem by the Paris community and was appointed professor of liturgical music at the Séminaire Israélite. S'u She'orim, a setting of Psalm 24 taken from that grand musical service, is reminiscent of the Parisian grand opera.
  • Offertory: Avinu malkeinu by Max Janowski
    Michael Prichard, baritone
    Translation: Hear our voice, O father, pity and be compassionate to us, and accept, with compassion and favor, our prayers. (Yom Kippur prayer)
    Notes: Max Janowski was born in Berlin, Germany and emigrated to the United States in 1937. He was a prodigious twentieth-century composer, conductor, and organist whose liturgical compositions have been performed in concert halls, synagogues, churches and colleges throughout the world. Janowski was the beloved music director, organist, and choir director at six Chicago-area synagogues and Unitarian congregations.
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  • Postlude: Mi Shebeirach by Debbie Friedman
    Jewish tradition ordains that whenever the Torah is read we are granted a special and uniquely opportune moment to invoke blessing for those in need of divine intervention. From time immemorial it has therefore been the custom to recite a Mi Shebeirach (prayer for the sick) on behalf of people who are ill.
    Mi shebeirach avoteinu (The one who has blessed our fathers)
    M 'kor habracha l'imoteinu. (Source of blessing for our mothers.)
    May the source of strength who blessed the ones before us,
    Help us find the courage to make our lives a blessing, and let us say, Amen.
    Mi shebeirach imoteinu (The one who has blessed our mothers)
    M 'kor habracha l'avoteinu. (Source of the blessing for our fathers)
    Bless those in need of healing with r'fuah sh'leimah. (complete healing)
    The renewal of body, the renewal of spirit, and let us say, Amen.
  • Hymns and Readings: 17, 215, 335, 413

Oct. 4
"Great Religious Traditions (I): Christianity, Humanism, Theism"
Arlington UU and Winchester UU Choirs combine for Association Sunday
Sarah Haera Tocco plays a solo recital at the Newton Free Library

  • Arlington Prelude: We Are One by Brian Tate
    Barbara Tilson, piano
  • Arlington Intergen: Methodist Hymn in English and Tongan
    Chalice Singers Youth Choir with the Adult Choir
  • Arlington Candle Music: Bogoroditsye Devo (Rejoice, O Virgin) by Sergei Rachmaninov
    Laura Prichard, conductor
  • Winchester Anthem for Association Sunday: We Are One by Brian Tate
    John Kramer, piano
  • Winchester Offertory: Bogoroditsye Devo (Rejoice, O Virgin) by Sergei Rachmaninov
    John Kramer, conductor
  • Arlington Offertory: Cello Solo played by Drew Pereli
  • Arlington Postlude: Piano Solo by Edvard Grieg (1843-1907)
    Kenneth Seitz, piano
  • Hymns and Readings: 103, 213, 276, 413

Oct. 11 "Here I Am: Being Fully Present"

  • Prelude: I Will Lift up Mine Eyes by Alexander Schreiner (1901-1987)
    Our music this week continues the sermon theme from Oct. 4, and features music by Christian church musicians. Last week we heard a gospel selection by Brian Tate, a Russian Orthodox adaptation of the "Hail Mary, full of grace" prayer, and piano music by Lutheran-turned-Unitarian Edvard Grieg. The music for today's Prelude was composed by Alexander Schreiner, one of the most noted organists of the Salt Lake Tabernacle and Mormon Tabernacle Choir. After studying in Paris with Charles Widor and Louis Vierne, he focused his career in Salt Lake City, UT and in Los Angeles, where he was the organist for UCLA and the Director of Music for the Jewish Wilshire Blvd. Temple in the 1930s.
  • Candle Music: Air in F Major, HWV 464 by George F. Handel (1685-1759)
    Our Candle Music is a 1724 transcription for keyboard from Handel's Water Music. The original suite was written to be played on a floating barge on the River Thames for King George I and his guests on July 17, 1717. Although Handel was never a member of the Chapel Royal, he composed many Anglican anthems and processionals for the Church of England. His larger oratorios were usually performed during Lent, as staged theatre was banned for these forty days.
  • Offertory: Nocturne in F-sharp Major, op. 15, no. 2 by Frédéric Chopin (1810-1849)
    Frédéric François Chopin was a Polish Catholic patriot who spend most of his adult life as a virtuoso pianist in France. The Offertory is a technically challenging piece from 1832 in which Chopin presents a graceful, ornamented melody contrasting with a lively scherzo section.
  • Postlude: Toccata in F Major by Dietrich Buxtehude (1637-1707)
    The Postlude is by Dietrich Buxtehude, a German-Danish composer who worked for several Luthern cathedrals in northern Germany. His organ music influenced J. S. Bach (who visited him in Lübeck at the Marienkirche) and he was one of the first composers to establish regular public concerts in addition to service music in a major German church.
  • Hymns and Readings: 38, 108, 128, 413

Oct. 18 "Universalism"

  • Prelude: Pastorale
  • Anthem: You are the New Day by John David (of the British band Airwaves, 1978), arranged by Peter Knight
    I will love you more than me and more than yesterday,
    if you can but prove to me you are the new day.
    Send the sun in time for dawn,
    let the birds all hail the morning;
    love of life will urge me say,
    "You are the new day."
    When I lay me down at night knowing we must pay,
    thoughts occur that this night might stay yesterday.
    Thoughts that we, as humans small,
    could slow worlds and end it all
    lie around me where they fall, before the new day.
    One more day when time is running out for everyone;
    like a breath I knew would come
    I reach for the new day.
    Hope is my philosophy,
    just needs days in which to be,
    love of life means hope for me
    borne on a new day.
    Notes - Songwriter and record producer John David was born in 1946 in Cardiff, Wales. Having played bass on popular hits with Dave Edmunds in the group Love Sculpture (Sabre Dance, 1969; I Hear You Knocking, 1970; and It's Too Late in 1970 covered by The Searchers), John has had several parallel careers; as a session bass player, solo performer, producer, songwriter and a member of the Rockfield studio band Airwaves which chalked up two Top-100 albums. John has gone on to produce some of the biggest names in rock at his Berry Hill studio, including Robert Plant, the BBC, Cliff Richard, and Little Richard. As a bassist, John has performed with Springsteen, Clapton, Sting, Bryan Adams, George Harrison, and Ringo Starr.
  • Candle Music: God is Seen (Tune: Captain Kidd) arr. by Alice Parker and Robert Shaw
  • Offertory: Sacred Space by Rafael Scarfullery, faculty member in guitar at Lynchburg & Sweet Briar Colleges (VA)
    See his website for a full biography and list of other awards: http://www.rafaelscarfullery.com/biography.html
    Text by Diane Taraz Shriver, winner of the 2007 First Parish Arlington Hymn Competition
  • Postlude: Prelude and Fugue by Johann Sebastian Bach (1685-1750)
  • Hymns & Readings: 18, 100, 213, "Universalism"

Oct. 25
Guest Speaker: Bill Gardiner

  • Prelude: Sonata for Wind Quartet by Gioacchino Rossini (1792-1868)
    First Parish Woodwind Quartet
  • Candle Music: The Road Not Taken by Randall Thompson (1899-1984)
    Notes: In 1958, Randall Thompson was commissioned to compose a piece celebrating the 200th anniversary of the incorporation of the town of Amherst, Massachusetts. The townspeople suggested that Thompson set a poem by Robert Frost, the quintessential New England poet who had lived for a time in Amherst. Thompson, a friend of Frost's, agreed but rejected the town's choice of poem, The Gift Outright. Instead, he chose to compose a suite of seven poems, and titled it Frostiana. Thompson subtitled the suite Seven Country Songs, and the poems he selected certainly provide a nostalgic glimpse of rural New England life. A common thread unites the poems, emphasizing the importance of the many small choices we are called to make throughout life. Through his sensitive settings of Frost's texts, Thompson gently counsels us to take the road less traveled, and the composer himself conducted the premiere at the Bicentennial Commemoration on October 18, 1959. Robert Frost attended, and was so delighted that at the conclusion of the performance, he rose to his feet and shouted, "Sing that again!"
  • Offertory: Tomorrow from Annie by Charles Strouse
  • Closing Hymn #1014: Standing on the Side of Love by Jason Shelton
    Article about this hymn by Jason Shelton: http://www.uuworld.org/life/articles/1831.shtml
    Sound file of the piano part for the song: http://img.uua.org/stj/1014_StandingOnTheSideOfLove.mp3
  • Postlude: Organ Solo
  • Hymns & Readings:

Nov. 1 Daylight Savings Begins (fall back = gain an hour)
"Great Religious Traditions (II): Christianity, Humanism, Theism"

  • Prelude: Largo by Antonio Vivaldi
  • Candle Music: When Music Sounds by Jennifer Kobayashi
    UUlations, directed by Jennifer Kobayashi
    Poem by Walter de la Mare (1873-1956)
    When music sounds, gone is the earth I know,
    And all her lovely things even lovelier grow;
    Her flowers in vision flame, her forest trees
    Lift burdened branches, stilled with ecstasies.

    When music sounds, out of the water rise
    Naiads whose beauty dims my waking eyes,
    Rapt in strange dreams burns each enchanted face,
    With solemn echoing stirs their dwelling-place.

    When music sounds, all that I was I am
    Ere to this haunt of brooding dust I came;
    And from Time's woods break into distant song
    The swift-winged hours, as I hasten along.
  • Offertory Anthem: In Quiet Dark by Kenneth Seitz
    Poem by the Rev. John Marsh
    In quiet dark, a settled mind
    Pursues a golden thread;
    Razor thin and broad as wheat field,
    It leads the mind ahead.

    In quiet dark, all living pain
    Is held in sad embrace:
    Your self, your kin, strangers you meet,
    The entire human race.

    In quiet dark, the mind reflects
    On sacrifices made;
    How love did more than could be asked
    Or ever be repaid.

    In quiet dark, the soul accepts
    Things just the way they are:
    The bitter, sour, salty, sweet,
    The shining of a star.
  • Postlude: That Lonesome Road (1981) by James Taylor (1948-) and Don Grolnick (1948-1996)
    This is a contemplative a cappella setting from James Taylor's 1981 album "Dad Loves His Work" about proceeding calmly through times of great change and stress.
  • Hymns: 103, 139, 295, 413

Nov. 8 Brahms Requiem
& afternoon Arlington Phil. Concert

Nov. 15 "Wheels/Hoops/Returning/Ritual"
(UUlations travel to the Needham UU church to provide music for a service led by the Rev. John Buehrens)

  • Vestry Procession of the Circle of Life: The Wheel of the Seasons (Veris leta facies) from Carmina burana by Carl Orff
    Translation: When the merry face of Spring turns to the world, winter flees.
    In summer, Flora reigns, bedecked in various colors. Ah!
    The harmony of the woods praises her in song.
    In autumn, Zephyr breathes nectar-scented breezes. Ah!
    In bell-like tones, the nightingale sings.
    A flock of birds rises up through the forests. Ah!
  • Welcome: "Wheels" by Lori Kenschaft
  • Green Poem: Circle of Life (Web) by Raymond A. Foss (1960-)
    We are connected
    one another, every moment,
    every place, every cell,
    every movement, every utterance
    each action, reverberates
    echoes, across time,
    through space
    splits, echoes back
    in millions of waves
    from different points
    on the expanding sphere encircling
    each speck, each tiny spot
    each one of us, infinitesimal
    members clinging to the web
    for dear life
  • Chalice Lighting: "Our Flaming Chalice"
    Presented by the Chalice Singers Youth Choir
  • Chalice Singers Anthem: Circle of Life from The Lion King by Elton John
    Circle of Life by Elton John (1947-) and Tim Rice (1944-)
    From the day we arrive on the planet
    And blinking, step into the sun,
    There's more to see than can ever be seen,
    More to do than can ever be done.

    There's far too much to take in here,
    More to find than can ever be found.
    But the sun rolling high, through the sapphire sky,
    Keeps great and small on the endless round.

    It's the Circle of Life and it moves us all
    Through despair and hope through faith and love,
    Till we find our place on the path unwinding
    In the Circle, the Circle of Life.

    Notes: This song was composed for the 1991 soundtrack to Disney’s
    animated film The Lion King, which was based characters from
    Shakespeares Hamlet. In this song, King Mufasa’s cub Simba is
    presented to the animals of the Pride Lands. It prasies the sun and
    the “circle of life,” the delicate balance affecting all living things.
  • Time for All Ages: "Sacred Hoops" by Laura Prichard
  • Intergen Music: Cocopah Bird Song & Round Dance from southern Arizona
    Chalice Singers Youth Choir
    1. Ha-ah, shaliwali wah, ha-ah;
    ha-komoko mah, ha-ah, shaliwali wah.
    2. Ha-ah, shaliwali wah, ha-ah;
    ha-komoko mah, ha-ah, shaliwali wah.
    3. Ha-ah, shaliwali wah, ha-ah;
    ha-komoko mah, ha-ah, shaliwali wah, ha-ah; ha-komoko mah.
    Translation: The little bird sings, he dances;
    he desires the corn, he dances, the little bird sings.

    Notes: The Cocopah (Kwapa) are a Yuman (Native American) people who
    call themselves “the river people.” Their lands were divided by the
    1848 treaty establishing the Mexican-American border, so they now
    live in Baja California, Mexico and the lower Colorado River valley.
    One thousand persons live on the Cocopah Indian Reservation near
    Yuma, Arizona. They maintain tribal culture through rituals and
    songs, especially those celebrating agriculture along the river.
  • Hymn #212: We are dancing Sarah's Circle, sisters, brothers, all.
    You will seek and find your story, sisters, brothers, all.
    Every round a generation, sisters, brothers, all.
    On and on the circle's moving, sisters, brothers, all.

    This well-known hymn tune was first published in 1905 in a
    collection entitled Joy Bells of Canaan: Burning Bush Songs.
    It comes from the southern African-American folk tradition.
  • Gold Poem: Closing the Circle by Wendell Berry (1934-)
    Within the circle of our lives
    we dance the circle of the years,
    the circles of the seasons
    within the circles of the years,
    the cycles of the moon
    within the circles of the season,
    the circles of our reasons
    within the cycles of the moon.

    Again, again we come and go,
    changed, changing. Hands
    join, unjoin in love and fear,
    grief and joy. The circles turn,
    each giving into each, into all.
    Only music keeps us here,
    each by all the others held.
    In the hold of hands and eyes
    we turn in pairs, that joining
    joining each to all again.
    And then we turn aside, alone,
    out of the sunlight gone, into the darker circles of return.
  • Dedication/Description: "The Gladys Morrissey Memorial Quilt" by Nancy Crasco
  • Red Poem: Little Gidding (excerpted) by T. S. Eliot
    What we call the beginning is often the end
    And to make and end is to make a beginning.
    The end is where we start from.

    The moment of the rose and the moment of the yew-tree
    Are of equal duration. A people without history
    Is not redeemed from time, for history is a pattern
    Of timeless moments. So, while the light fails
    On a winter's afternoon, in a secluded chapel
    History is now and England.

    With the drawing of this Love and the voice of this Calling:

    We shall not cease from exploration
    And the end of all our exploring
    Will be to arrive where we started
    And know the place for the first time.

    Through the unknown, unremembered gate
    When the last of earth left to discover
    Is that which was the beginning;
    At the source of the longest river
    The voice of the hidden waterfall
    And the children in the apple-tree
    Not known, because not looked for
    But heard, half-heard, in the stillness
    Between two waves of the sea.
    Quick now, here, now, always—
    A condition of complete simplicity
    (Costing not less than everything)
    And all shall be well and
    All manner of thing shall be well
    When the tongues of flame are in-folded
    Into the crowned knot of fire
    And the fire and the rose are one.
  • Credo: "Fear and Longing" by Jim Ptacek
  • Purple Poem: Going Home by Wislawa Szymborska
    [She won the Nobel Prize in Literature in 1996.]

    He came home. Said nothing.
    It was clear, though, that something had gone wrong.
    He lay down fully dressed.
    Pulled the blanket over his head.
    Tucked up his knees.

    He's nearly forty, but not at the moment.
    He exists just as he did inside his mother's womb,
    clad in seven walls of skin, in sheltered darkness.
    Tomorrow he'll give a lecture
    on homeostasis in metagalactic cosmonautics.
    For now, though, he has curled up and gone to sleep.
  • Candle Music: You Were Always on my Mind by Johnny Christopher,
    Wayne Carson Thompson (1941-), and Mark James (1940-)
  • Maybe I didn't love you quite as good as I should have,
    Maybe I didn't hold you quite as often as I could have,
    Little things I should have said and done, I just never took the time.
    You were always on my mind, you were always on my mind.

    Maybe I didn't hold you all those lonely, lonely times,
    And I guess I never told you, I'm so happy that you're mine,
    If I made you feel second best, I'm sorry, I was blind.
    You were always on my mind, you were always on my mind.

    Tell me, tell me that your sweet love hasn't died,
    Give me, give me one more chance to keep you satisfied,
    If I made you feel second best, I'm sorry, I was blind.
    You were always on my mind, you were always on my mind.

    Notes: This country ballad was first recorded in 1972 by both Brenda Lee
    and Elvis Presley. Willie Nelson’s recording won Grammy Awards
    for Song of the Year, Best Country Song, and Best Male Vocal
    Country Performance in 1983.
  • Offertory Music: The Wheel of the Sun (Omnia sol temperat) from Carmina burana by Carl Orff & Drum Circle
    The sun warms everything,
    pure and gentle,
    once again it reveals to the world
    April's face,
    the soul of man
    is urged towards love
    and joys are governed
    by the boy-god.

    Love me faithfully!
    See how I am faithful:
    with all my heart
    and with all my soul,
    I am with you
    even when I am far away.
    Whosoever loves this much
    turns on the wheel.
  • Credo: "Fragments that Form a Circle: by Kendall Dudley
  • Fire Ritual Music: Deportation/Iguazu by Gustavo Santaololla (1951-)
    Santaolla is an Argentine guitarist, pianist and traditional charango
    player. This piece features the composer playing a traditional 10-
    stringed charango made from the shell of an armadillo. His recent
    career has been based in California, where he composed music for
    the soundtracks of 21 Grams, The Motorcycle Diaries and Fast
    Food Nation. He won the Academy Award for Original Musical
    Score for Brokeback Mountain and Babel.
  • Fire Lighting: Hymn by Moby
    This is a 1995 piece by the British techo artist Moby from his first
    album of ambient music. Active in the US and England as a punk
    guitarist, a DJ, and a composer of electronica and ambient dance
    music, Moby (Richard Melville Hall, 1965-) is the great-great-great
    grandnephew of author Hermann Melville. He is an outspoken
    activist and fundraiser supporting The Humane Society, the current
    Dalai Lama, and victims of domestic abuse.
  • Recession of the Circle of Life: Fortuna's Wheel (Fortuna plango vulnera) from Carmina burana by Carl Orff
    I weep, for Fortune gives gifts and takes them away.
    Some sit at Fortune’s peak and some are deprived of glory.
    The wheel of Fortune turns: one goes down, another is raised up.

Nov. 21 Harvest Moon Fair (all day)
3pm Stowe UU Church hosts the Ordination of Rebecca Benefiel Bijur

Nov. 22 Intergenerational Thanksgiving Service

  • Prelude: Sicut cervus by Giovanni P. da Palestrina
  • Intergeneraional Song for Cornbread Sharing: Halla Lalla Layya (Friendship song in Arabic and English from Lebanon)
  • Candle Music: Beati quorum via by Chares V. Stanford
  • Offertory: The Gifts of Life by Kenneth Seitz
    Poem by the Rev. Dr. Barbara Whittaker-Johns
    The gifts of life are in need of someone:
    Did we think that autumn turns its colors,
    that winter bares its branches all alone?
    A season unappreciated is a season missed.

    The gifts of life are in need of someone:
    Did we think that love is earned?
    Love not graciously received does not survive.

    The gifts of life are in need of someone:
    Did we think our daily blessings befall by chance?
    Abundance waits only for an open heart in order to be born.

    The gifts of life are in need of you and me:
    to appreciate creation,
    to accept that we are loved,
    to know that we are blessed.

    The gifts of life are in need of someone
    to give thanks.
  • Postlude: Over the River and through the Wood
  • Hymns & Readings: 413

Nov. 29 1st Sunday of Advent - chamber music
Sarah Haera Tocco accompanies SANS Choir in Cuba

  • Prelude - Postlude: First Parish Woodwind Quartet plays Rossini Quartet for Winds

Dec. 6 2nd Sunday of Advent
"Great Religious Traditions (III): Christianity, Humanism, Theism"
Sarah Haera Tocco accompanies SANS Choir in Cuba

  • Prelude: Sicut cervus by Giovanni P. da Palestrina
  • Candle Music: Beati quorum via by Charles V. Stanford
  • Offertory: Wisp of Cloud I by Kaveh Nabatian (new commission from a Montreal UU composer)
  • Anthem: Wisp of Cloud II by Nabatian
    Text by Jalal ad-Din Muhammad Rumi (1207-1273)
    Yek chand be kudaki be ostaad shodeem
    Yek chand beruye dustaan shaad shodeem
    Payaane hadise maa to beshno ke che shod
    Chon abr dar aamadeemo chon baad shodeem

    Life made a master of me from a mere weakling infant
    I accomplished much in life,
    gave to and received limitless love from friends
    But listen to what finally happened to this great enviable life
    I came into this world like a wisp of cloud, and left it like wind

    Note: The basses chanting “Hu” is based on typical Sufi devotional zikrs from Iran and Turkey. “Hu” means “is” as in Allah hu akbar (God isgreat). Chanting this word leads people into a trance and connection with God.
  • Postlude: Intermezzo by Johannes Brahms
    Drew Pereli, piano
  • Hymns: 23, 126, 226, 413

Dec. 7 Monday Night Alliance Holiday Party

  • Chalice Singers: Highlights from Nightmare before Christmas, bell ringing on Christmas carols
  • Family Chamber Orchestra: Wachet auf by J. S. Bach, Pat-a-pan, March for a Marionette by Mouret (recessional)
  • UUlations: Two selections
  • Dramatic scene: Lemony Snicket's Lump of Coal
    Lemony Snicket's Lump of Coal (Snicket wrote this unusual (OK, weird) holiday tale just for USA WEEKEND.)
    The holiday season is a time for storytelling, and whether you hear the story of a candelabra staying lit for more than a week, or one about a baby born in a barn without proper medical supervision, these stories often feature miracles. Miracles are like pimples, because once you start looking for them you find more than you ever dreamed you'd see, and this holiday story features any number of miracles, depending on your point of view.
    The story begins with a lump of coal that, for the sake of argument, could think, talk and move itself around. Like many people who dress in black, the lump of coal was interested in becoming an artist. The lump of coal dreamed of a miracle -- that one day it would get to draw rough, black lines -- or, better, a breast of chicken or salmon fillet -- on a canvas. To do this, it first needed to participate in a barbecue to become familiar with its subjects.
    But barbecues, sadly, are for summer, and this is a holiday story and so takes place in the dead of winter, when the air is gray and wet shoes line up in hallways, shivering and crying tears of sleet. It is difficult to find a barbecue in the winter, although it is easy to find small animals scurrying through back yards and tipping things over, such as abandoned, snow-covered lawn chairs, frozen birdbaths and forgotten bags of charcoal, and this is how the small, flammable hero of our story found itself tumbling out into the world.
    "This isn't the miracle I was hoping for," said the lump of coal, "but perhaps if I roll around a bit, I can find something interesting."
    The lump of coal rolled out of the back yard, taking care to avoid the inevitable puddles of winter, and soon found itself in the center of town. You would think that the center of town would be bustling during the holiday season, but most shoppers were bustling around at the mall several miles away, so there was plenty of room on the sidewalk for the lump of coal.
    It window-shopped for a while, and then to its delight the lump of coal found itself outside an art gallery. In the window were several paintings that looked like someone had taken a dark, crumbly substance and smeared it all over a piece of paper. "I can't believe it!" cried the lump of coal. "Here is an art gallery that displays art by lumps of coal! It's a miracle!"
    When the lump of coal rolled inside, however, it discovered that the art gallery was not a miracle after all. "We do not represent artists such as yourself," said the gallery owner, after the lump of coal had introduced itself. The gallery owner had a long, oily mustache and a strange accent that the lump of coal suspected was fake. "We have a wide selection of works by human beings that suits us just fine. Please go away, and don't leave smudges on my artistic floor."
    Disappointed, the lump of coal rolled outside. "That wasn't the artistic opportunity I was hoping for," it said to itself. "But if I roll around a bit more, perhaps I can find something interesting."
    The lump of coal rolled farther down the block and stopped in front of a building where powerful smells were wafting, a phrase that here means "coming from nearby, even though the door was closed." A sign on the building informed passers-by that the building was named "Mr. Wong's Korean Barbeque Palace And Secretarial School," which made the lump of coal gasp in delight, because I forgot to tell you that for the sake of argument the lump of coal could read.
    "It's a miracle!" cried the lump of coal, and certainly there was every reason to believe this was so. A Korean restaurant is an excellent opportunity to enjoy an indoor barbecue. In fact, many such establishments have small barbecue pits installed in the tables, so you can do the barbecuing yourself. I have spent many pleasant evenings in Korean restaurants, taking shelter from the winter cold, warming myself by the barbecue pit at my table, enjoying the smell of the toasted rice tea, eggplant salad and pickled cabbage served alongside the roasted meats and vegetables.
    When the lump of coal rolled inside, however, it discovered that Mr. Wong's Korean Barbeque Palace And Secretarial School was not a miracle after all. The air was filled with the smell of oregano, which is not a Korean spice, and the owner was wearing a pair of very ugly earrings and a rude scowl on her face. "I don't need any coal," she said. "I get all my coal from a Korean restaurant supply factory. Everything in this restaurant has to be 100% Korean."
    "But Wong isn't even a Korean name," the lump of coal said. "And judging by the smell, I don't think you're using proper Korean spices."
    "Please go away," said the restaurant owner, "and don't leave smudges on my Korean floor."
    The lump of coal did what it was told and began to grow very despondent, a word that here means "certain that a miracle would not occur after all." "Perhaps miracles only happen to human beings," it said, "or maybe miracles are only as genuine as Mr. Wong's Korean Barbeque Palace And Secretarial School. Perhaps I should just bury myself and become a diamond after thousands of years of intense pressure."
    Just when the lump of coal was ready to throw in the towel, however, it ran into someone I'm sure I don't have to introduce. He was an overweight man with a long white beard, dressed in a very bright red suit.
    "Santa Claus!" cried the lump of coal. "It's a miracle!"
    "I'm not a miracle," said Santa Claus, "and I'm not really Santa Claus. I'm an employee of the drugstore, dressed up and giving out coupons. The real Santa Claus is at the mall."
    "Do you have any use for me?" asked the lump of coal. "I'm an artist at heart, but I'm very helpful when cooking meat."
    Santa Claus sighed. "Well," he said. "My stepson is a very disobedient boy named Jasper. His mother used to say he had an artistic temperament, but I just think he's a brat. You're just the thing to put in his stocking as punishment."
    "I guess that's better than nothing," the lump of coal said, and when Santa Claus put him in Jasper's stocking, the lump of coal found that being in a cozy sock was, in fact, better than nothing. And when Jasper found the lump of coal, things became even better than better than nothing.
    "A lump of coal!" Jasper cried. "I've been wanting to create some abstract art featuring rough, black lines!"
    "I'd be happy to be of assistance," said the lump of coal.
    "Egad!" cried Jasper. "You can talk! It's a miracle!"
    It was a miracle, although the miracles didn't stop there. Jasper and the lump of coal collaborated on a number of beautiful paintings, which the art gallery sold for an enormous fortune. That was a miracle. Jasper and the lump of coal used this fortune to visit Korea, where they had always wanted to go, and when they came back they bought the restaurant and turned it into a proper place, known as Yi Sang's Korean Barbeque Palace And Secretarial School, after the famous Korean poet who was unfairly imprisoned in 1937 for crimes he did not commit. That was a miracle, too.
    In the daytime, the two friends cooked genuine Korean food, and in the evenings they produced works of abstract art. They never saw Santa Claus again, although they heard he had been fired from the drugstore for making fun of someone who was buying a certain ointment. All these things are miracles.
    It is a miracle if you can find true friends, and it is a miracle if you have enough food to eat, and it is a miracle if you get to spend your days and evenings doing whatever it is you like to do. The holiday season, like all the other seasons, is a good time not only to tell stories of miracles, but to think about the miracles in your own life, and to be grateful for them, and that's the end of this particular story.

Dec. 13 Music Service

  • Prelude, Candle Music: Esurientes and Et misericordia from the Magnificat by John Rutter
    Holly Loring, Jennifer Kobayashi, Dorothy May, soloists; Ben Matlack, student conductor, Virginia Crumb, harp
  • Intergenerational Anthem: Choral Fantasy, op. 80 by Ludwig van Beethoven (1770-1827)
    Sarah Haera Tocco, piano; Dr. Adam K. Boyles, Director of the MIT Orchestra, conductor
  • Offertory/Anthem: Wisp of Cloud Ghazal (complete) by Kaveh Nabatian
    Commissioned by Laura and Michael Prichard in celebration of their 10th anniversary
    with substantial support form the First Parish Music Committee
  • Postlude: Solo for Concert Harp by Virginia Crumb
  • Hymns & Readings: 225, 228, 237

Dec. 13 Arlington Philharmonic Concert, 3pm
Vox Lucens Concert at 2pm: "The Story of Mary"
Church of Our Saviour, Arlington

Dec. 20 Intergenerational Service

  • Prelude: Veni Emmanuel by Alec Wyton
  • Candle Music: The Shepherd's Song by Gilbert M. Martin
  • Children's Story: The Longest Night: A Solstice Poem by Diane Taraz Shriver
  • Offertory: In the Bleak Midwinter, arr. Diane Shriver
  • Postlude: Carol Fantasia by Gordon Young
  • Hymns and Readings: 231, 235, Christmas Returns by Howard Thurman, Now is the Time of Dark, Snow is A-falling

Dec. 24 Christmas Eve Service(s) at 5pm and 7pm
Choir call time in Children's Chapel at 430pm and 6:30pm

  • Anthem: Joseph lieber, Joseph mein
    Jean Renard Ward and Daniel Reuters-Ward, guitar
  • Offertory: Et misericordia from the Magnificat by John Rutter
    Carolyn Hodges, Laurie Francis-Wright, Mikhaela Houston, soloists
  • Hymns: 22, 244, 245, 246, 253

Dec. 24 Christmas Eve Service 11pm
First Religious Society in Carlise Unitarian Univeralist

  • Prelude: Joseph lieber, Joseph mein
    Jean Renard Ward and Daniel Reuters-Ward, guitar
  • O Holy Night by Adolphe Adam
    Michael Prichard, baritone; Laura Prichard, piano
  • Es ist ein Ros' entsprungen by Michael Praetorius
    Jean Renard Ward and Daniel Reuters-Ward, guitar
  • Offering: Rise Up Shepherd and Follow (Appalachian folk carol)
    Laura Prichard, soprano
  • Postlude: Chorale by J. S Bach
  • Hymns: 621, O Come All Ye Faithful, O Little Town of Bethlehem, The First Noel, Stille Nacht

Dec. 27 Poetry Service
UUlations provide musical selections
Meg Candilore plays hymns

  • Prelude: Bright Morning Stars are Rising, arr. Paul Siskind
  • Anthem: When Music Sounds by Jennifer Kobayashi
    Poetry by Walter de la Mare (1873-1956)
  • Candle Music: Bring a Torch, Jeanette, Isabella, arr. Clifton J. Noble, Jr.
  • Offertory: Through The House Give Glimmering Light by Amy Marcy Cheney Beach
    Text from William Shakespeare's Midsummer Night's Dream, I, 5.1
  • Postlude: I Love to Rhyme (1938) by George and Ira Gershwin, arr. by Diane Taraz (2008)
  • Hymns: 93, 122, 240, 413

Jan. 3, 2010

  • Prelude: Stopping by Woods on a Snowy Evening (1958-59) by Randall Thompson (1899-1984)
    This is a short Robert Frost poem encouraging quiet contemplation along life's journey. Thomson was commissioned in 1958 to set seven Frost poems to music to celebrate the bicentennial of Amherst, MA.
    Click here to hear Robert Frost read his poem
    Click here to read about the composition and to hear an expressive a cappella recording by the Two-by-Fours (last link on the page).
  • Baby Dedication Music with the Chalice Singers: Velvet Shoes by Randall Thompson
    The three-stanza text Velvet Shoes by New Jersey poet Elinor Wylie (1885-1928) evokes the beautiful tranquility of a walk in the snow. "Under veils of white lace, we shall walk in velvet shoes: Wherever we go, silence will fall like dews on the white silence below..." Wylie was famous during her life almost as much for her ethereal beauty and personality as for her melodious, sensuous poetry. This poem comes from her first mature poetry collection, Nets to Catch the Wind (1921). As we listen to this poem, our senses are arrested by whiteness, silence, suspended motion, and softness. These sensual ideas fuse together to create a response called synesthesia. Wylie's snow symbolizes tranquility, just as the speaker in Frost's "Stopping by Woods" listens to "the sweep / Of easy wind and downy flake" and observes that "The woods are lovely, dark, and deep." In fact, Frost's scene, with its "frozen lake" nearby, is actually colder, and may suggest a very subtly pervading presence of death. But there is no such sense of winter's coldness in Velvet Shoes. The lace and silk, the milk, dews, silence, peace, and velvet are all tranquil and comforting.
  • Offertory: Nocturne in D flat major, op.27, no. 2 by Frédéric Chopin
  • Postlude: Song for a New Year by Gilbert M. Martin
  • Hymns: 256, 259, 350, 413

Jan. 10 Social Justice Committee & SJC Fair following service

  • Prelude: Prelude in g minor, BWV 558 by J.S. Bach
  • Candle Music: Kyrie from the Argentine Misa Criolla by Ariel Ramirez (1921-, Argentina)
    Andrew Leonard and Jean Renard Ward, duet
  • Offertory: El Cóndor Pasa (1913) by Daniel Alamía Robles (1871-1942, Peru)
    Adult Choir with guitars and recorders
    Click here for a webpage with the text, translation, and history of the song.
    Follow this link for information about the Quechua language: http://www.omniglot.com/writing/quechua.htm
    El Cóndor Pasa is a song from the zarzuela El Cóndor Pasa based on traditional Andean folk tunes. It is possibly the best-known Peruvian song worldwide, partly due to a cover version by Simon and Garfunkel in 1970 (together with Urubamba group) on their Bridge over Troubled Water album, which is called "El Condor Pasa (If I Could)" in full. Paul Simon used only the melody and wrote entirely new, unrelated lyrics. Later that year, Perry Como released a cover of Simon's version on his album It's Impossible, while Julie Felix took advantage of Simon and Garfunkel's decision not to release their version as a UK single, and had a UK Top 20 hit with it.
    Text: CHOIR: Yau kuntur llaqtay urqupi tiyaq
    Maymantam qawamu-huakchianqui, kuntur.
    Apayllahuay llaqtanchiqman urqipi
    Kutiytam munany kuntur, kuntur.
    (Traditional Peruvian text in Quechua)

    Oh Condor, high above my mountain home,
    From where, you look down, oh mighty Condor.
    Just carry me back to our mountain home,
    That's where I will return, oh mighty Condor.
    (Translation by Laura Prichard)

    CONGREGATION: I'd rather be a sparrow than a snail.
    Yes, I would. If I could, I surely would.
    I'd rather be a hammer than a nail.
    Yes, I would. If I only could, I surely would.

    I'd rather be a forest than a street.
    Yes, I would. If I could, I surely would.
    I'd rather feel the earth beneath my feet.
    Yes, I would. If I only could, I surely would.
    (Modern texts by Paul Simon)
  • Postlude: Prelude in C major, BWV 553 by J.S. Bach
  • Hymns & Readings: 6, 114, 116, 413

Jan. 16 Memorial Service for Theodore Anderson May (1943-2010), longtime organist for First Parish UU Church of Arlington

  • Prelude & Postlude: Sarah Tocco, organ
  • Interlude: Carl Schlaikjer, oboe
  • Anthem: Kenneth Seitz, piano
  • Anthem: You are the New Day, conducted by Kenneth Seitz
  • Hymns & Eulogies: 103, Dorothy, Gretchen, and Heidi May, Richard Fahlander, Kenneth Seitz

Jan. 17 Martin Luther King, Jr. Weekend
The Welcome Table (Ethical Eating: sponsored by the Green Sanctuary Committee)
Guest speaker: the Rev. John Gibb Millspaugh (Winchester UU)

  • Prelude: Original Elegy by Kenneth Seitz, piano
  • Candle Music: Jim Austin, piano
  • Offertory: Corn Dogs, arr. by The Bobs
    UUphonics Men's Quartet
  • Postlude: Java Jive by Ben Oakland
  • Hymns & Readings: 21, 134, 407, 413, 588

Jan. 24 "The Power of Blessing"
The Rev. Leaf Seligman, Fitchburg UU Church

  • Prelude: Andante by Giacomo Cervetto
  • Anthem: Ave Maria by Javier Busto Sagrado (Basque, 1949-)
  • Candle Music: Benedictus from the Missa Brevis (1976)by Ruth Watson Henderson (Canadian, 1932-)
    Follow this link for a biography of the composer in the Canadian Encyclopedia: http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0003647
  • Offertory: Moments Musicaux, op. 94, no. 2 in A-flat Major by Franz Schubert
  • Postlude: Praeludium by Johann Pachelbel
  • Hymns & Readings: 126, 331, 360, 413

Jan. 24 Installation of the Rev. Marta Flanagan, 3pm
Invited Speakers: Rev. Bill Gardiner (Retired, First Parish Arlington), Rev. Jory Agate (UUA), Rev. Marc Fredette (First Parish UU of Waltham), Rev. Dr. David Parke (Retired, Jamaic Plain), Rev. Ken Sawyer (First Parish UU of Wayland), Rev. Leaf Seligman (First Parish Fitchburg), Rev. Dr. Tom Wintle (First Parish Weston)

  • Prelude: Organ Fanfares
    Suite for Flute Choir by Christopher Steele
  • Sermon: Rev. Buton Carley (Frist UU Church of Memphis)
  • Charge to Minster: Tina Schultz, DRE
  • Charge to Congregation: Denise Taft Davidoff
  • 3pm Installation Anthems:
    We Are One by Brian Tate
    You are the New Day by John David
    Benediction: When the Recall Sounds by Kenneth Seitz
  • Hymns & Readings: 121, 298, 358, 413

Jan. 31 Why church? (Canvas Kickoff)

  • Prelude: Adagio from Concerto by Giuglio Taglietti, arr. for organ by Johann Gottfried Walther
  • Candle Music: Snow, op. 26, no. 1 (1895) by Sir Edward Elgar (1857-1934)
    Women of the First Parish Choir
    Click here to hear a live recording (Cal Tech Women's Glee Club)
    Text by Caroline Alice Elgar (1848-1920):
    O snow, which sinks so light,
    Brown earth is hid from sight
    O soul, be thou as white as snow,
    O snow, which falls so slow,
    Dear earth quite warm below;
    O heart, so keep thy glow
    Beneath the snow.
    O snow, in thy soft grave
    Sad flow'rs the winter brave;
    O heart, so sooth and save, as does the snow.
    The snow must melt, must go,
    Fast, fast as water flow.
    Not thus, my soul,
    O snow Thy gifts to fade like snow.
    O snow, thou'rt white no more,
    Thy sparkling too, is o'er;
    O soul, be as before,
    Was bright the snow.
    Then as the snow all pure,
    O heart be, but endure;
    Through all the years full sure,
    Not as the snow.
    Text by Alice Elgar
  • Offertory: We Come Up Shining by Chip Taylor
    Band led by Bob Voges
    Chip Taylor, born John Wesley Voight, is the younger brother of actor Jon Voight. In the sixties and seventies, Taylor was a successful singer-songrwriter who wrote and recorded several albums of original songs. He had more success as a songwriter for others, and wrote a number of songs that made the pop and country charts, most notably "Wild Thing" which was a number one hit for the Troggs in 1966 and "Angel of the Morning," a top ten hit for Merrilee Rush in 1968. Taylor's songs have been recorded by Linda Ronstadt, Waylon Jennings, Janis Joplin, Jimi Hendrix and others. In the late 1970s, Taylor left the music business and became a professional gambler. He returned to music in 1993 and has recorded and toured since then, both solo and with fiddler and singer Carrie Rodruigez. "We Come Up Shining" is from the 2003 Chip Taylor & Carrie Rodriguez CD "The Trouble With Humans".
  • Postlude: Tu es Petrus by Maurice Duruflé
    Laura Prichard, Mike Prichard, Andrew Leonard, Jean Renard Ward, vocal quartet
    Click here to practice this selection with the soprano emphasized
    Click here to practice this selection with the alto emphasized
    Click here to practice this selection with the tenor emphasized
    Click here to practice this selection with the bass emphasized
    Click here to practice this selection with all parts played equally
  • Hymns & Readings: 140, 347, 368, 413

Feb. 7
Transylvania (Rumania/Hungary)

  • Prelude: Snow and Evergreen by Vijay Singh
  • Chalice Singers Anthem: Székely Blessing by Elizabeth Norton
    A traditional Hungarian blessing, known in Transylvania as the Házi Áldás, or House Blessing. It was composed for the choir of First Parish UU in Concord, MA on the occasion of their Musical Pilgrimage to Transylvania in the summer of 2002. The song is dedicated to Concord's partner congregation in Székelykeresztúr and to the musical pilgrims of First Parish in Concord.
  • Candle Music: Prayer by Ludwig van Beethoven (1770-1827)
  • Offertory: Lento Placido (from Consolations, No. 3 in D-flat Major, 1850) by Franz Liszt (1811-1886)
  • Anthem: Esti Dal (Soldier's Evening Prayer, 1938) by Zoltán Kodály (1882-1967)
    This is a traditional lullaby from the Palóc region of northern Hungary that dates from the era of Hungarian liberation from the Hapsburgs in 1848; it was collected by Kodály in 1922 and published in his choral arrangement in 1938. The text of Esti dal still resonates today wherever people are made homeless by circumstance and find themselves longing for shelter and safety.
    Translation of the Anthem: Erdö mellett estvélëdtem,
    Evening darkness overtook me near the woods;
    Subám fejem alá tëttem,
    I have put my coat under my head (i.e. as a pillow),
    Összetëttem két kezemet,
    I have put my hands together
    Úgy kértem jó Istenëmet:
    To pray to the Lord, like this:

    Én Istenëm, adjál szállást,
    Oh, my Lord, give me a place to sleep,
    Már mëguntam a járkálást,
    I am weary with wandering,
    A járkálást, a bujdosást,
    With walking around and hiding,
    Az idegën földön lakást.
    With living on foreign land.

    Adjon Isten jó éjszakát,
    May Lord give me a good night,
    Küldje hozzám szent angyalát,
    May he send me a holy angel,
    Bátoritsa szívünk álmát,
    May he encourage our hearts' dreams,
    Adjon Isten jó éjszakát,
    May he give us a good night.
  • Postlude: Postludium (from Winterreigen, op. 13, 1950) by Ernö Dohnányi (1877-1960)
    This week features composers of the Austro-Hungarian Empire. Beethoven and Liszt were based in Vienna, and were active in the German-speaking parts of the empire. Kodály and Dohnányi were native Hungarian composers and conductors. One of the last century's leading music educators, composer Zoltán Kodály studied at the Budapest Academy of Music and worked with his classmate Béla Bartók (1881-1945) to collect folk and peasant songs from 1906 until the Hungarian Revolution of 1919. Kodály revolutionized music education in Hungary and placed choral music right at the center of that revolution. He and Bartók resumed collecting in the 1920s, and both wrote choral music permeated with their initimate knowledge of folk melody. \
  • Hymns & Readings: 23, 318, 352, 413

Feb. 14 "Snorkeling with Monkeys"

  • Prelude: Jazz ensemble
  • Candle Music:
  • Offertory: Solo song
  • Postlude: Jazz ensemble
  • Hymns & Readings: 413

Feb. 14-16 Student Musicians Trip to New York City

  • Sunday: Yale Out of the Blue a cappella group sings in Branford College
    Yale Opera presents Mozart's Le Nozzo di Figaro
  • Monday: Staten Island Ferry and Smithsonian Museum of the American Indian
    Trinity Church Wall Street and Ground Zero Trade Center Site
    Grand Central Station Terminal Shops and Walk to the UN and through Central Park
    Juilliard School Evening Recitals
  • Tuesday: Metropolitan Museum of Art
    Rosckefeller Center & Sony Technology WonderLab
    Café Jazz night at Manhattan School of Music & Short Walk through Columbia U.

Feb. 21 "The Laughing Buddha"
Sarah Haera Tocco plays a 2pm solo recital at the Newton Free Library

  • Prelude: I. Allegro from Suite for Flute Choir by Christopher Steel (1939-91)
    First Parish Flute Loops
    Contemporary British composer Christopher Steel was educated at the Royal Academy of Music and at the Hochschule für Musik, Munich. His mature compositions display elegance and grace, coupled with the technical assurance which characterizes all his works. From 1963-81, he was music master at Cheltenham College and Bradfield College (coed secondary schools). His contribution to twentieth century music was significant, with a catalogue containing seven symphonies, several major choral works, concerti, and works for flute choir.
  • Candle Music: IV. Molto moderato by Steel
  • Offertory: Give almes of Thy Goods by Christopher Tye (c1500-1572)
    Online (free) score: http://www2.cpdl.org/wiki/images/sheet/tye-give.pdf
    Christopher Tye was a chorister of King's College Cambridge from 1508 until 1512. After receiving the degree of Mus.B. from Cambridge, he became Master of the Choristers and Organist of Ely Cathedral, where he conducted the choir of 16-18 men and eight boys. Give Almes of Thy Goods was composed for Ely Cathedral around 1550. For some time before and during the brief reign (1547-53) of Edward VI, he also enjoyed some association with the court and with the Chapel Royal, with its thirty-two men and 10-12 boys (usually singing in five parts).
  • Anthem: Be Ye Lamps Unto Yourselves
    Text attributed to Gautama Buddha, 5th cent. B.C.E.
    Based on a melody from Salisbury Cathedral, England
  • Postlude: I. Vivace Coda by Steel
  • Hymns & Readings: 29, 100, 361, 413, Le Jongleur de Notre Dame, excerpt from The Prophet by Kahlil Gibran

Feb. 28 Youth Group Service - high school musicians only

  • Prelude: Time by Gilmour, Mason, Waters, Wright
  • Musical Reflection: So Much to Say by Tinsley, Matthews, Griesan
  • Candle Music: Yesterday by Lennon and McCartney
  • Offertory: Time in a Bottle by Jim Croce
  • Closing Music: Does Anybody Really Know What Time It Is? by Lamm
  • Hymns & Readings: 413, No Time by Billy Collins, excerpts from Einstein's Dreams by Alan Lightman

Mar. 7

  • Prelude: Melodia Espressivo, from Finlandia by Jean Sibelius
  • Candle Music: Pastoral by J. S. Bach
  • Offertory: Intermezzo No. 2 in B-flat Minor, op. 117 by Johannes Brahms
  • Postlude: Prelude in C Major, BWV 553 by J. S. Bach
  • Hymns & Readings: 1, 124, 413, Draft mission statement

Mar. 7 Adult Choir travels to Newburyport UU Church for a shared service
Director of Music, Jay Lane (also Director of Vox Lucens Renaissance group)

Mar. 14 Alliance Service (Daylight Savings Time)
3pm Possible afternoon Arlington Phil. Concert

  • Prelude: Music by and for Women Musicians
  • Candle Music:
  • Offertory-Postlude: Music by and for Women Musicians

Mar. 21 Spring Music Service
First Parish Choir hosts the visiting UU choir from the First Religious Society UU of Newburyport, MA
"Feeding the Lake" by Dr. Jay Lane, Director of Music for Newburyport

  • Prelude: I Was Glad (1902) by Sir Charles Hubert Parry (1848-1918)
    These words from Psalm 122 (Laetatus sum) are traditionally sung for the Prelude-Processional at the coronation of British monarchs. Parry's setting was used for the coronations of Edward VII, George V, and Elizabeth II.
    Free online score: http://www2.cpdl.org/wiki/images/sheet/par-iwas.pdf
  • Intergen: I Saw the Lord by John Stainer (1840-1901)
    Free online score: http://www2.cpdl.org/wiki/images/d/db/I_saw_the_Lord_%28Stainer%29.pdf
  • Candle Music: Remember not, Lord, Our Offences (1680-82) by Henry Purcell (1659-1695)
    Conducted by Kenneth Seitz
  • Offertory: When Music Sounds by Jennifer Kobayashi
    UUlations
  • Anthem: First movement of Sonata No. 14 in C-sharp minor "Quasi una fantasia," op. 27, no. 2 by Ludwig van Beethoven (1770-1827)
    Sarah Haera Tocco, piano
  • Postlude: Beati quorum via, op. 38, no. 3 by Sir Charles V. Stanford (1852-1924)
    Conducted by Jay Lane
    Free online score: http://www.cpdl.org/wiki/images/d/d8/Beati_Quorum_Via.pdf
  • Hymns & Readings: 35, 122, 413, 567, Sacred Space

Mar. 26 Family Arts Field Trip to AHS Fiddler on the Roof

Mar. 28 Passover/Palm Sunday

  • Prelude: The Lamb by Fenno Follensbea Heath, Jr. (1926-2008)
    Text: Little Lamb, who made thee?
    Dost thou know who made thee?
    Gave thee life, and bid thee feed,
    By the stream and o'er the mead;
    Gave thee clothing of delight,
    Softest clothing, woolly, bright;
    Gave thee such a tender voice,
    Making all the vales rejoice?
    Little Lamb, who made thee?
    Dost thou know who made thee?
    Little Lamb, I'll tell thee,
    Little Lamb, I'll tell thee.
    He is called by thy name,
    For He calls Himself a Lamb.
    He is meek, and He is mild;
    He became a little child.
    I a child, and thou a lamb,
    We are called by His name. Little Lamb,
    God bless thee! Little Lamb, God bless thee!
    by William Blake (1757-1827), from Songs of Innocence and Experience (1789)
  • Intergenerational Chalice Singers: The Passover Story, with Hymns
  • Candle Music: "There Came a Great Darkness" and "But as For His People" (The Eclipse) from Handel's Israel in Egypt
  • Offertory: Frühlingslied (Spring Song), op. 62, no. 6 by Felix Mendelssohn (1809-1847)
  • Postlude: Priere (Prayer), op. 17, no. 1 by Felix Alexandre Guilmant (1837-1911)
  • Hymns & Readings: 17, 30, 140, 413

Apr. 2 Good Friday Daytime Student Field Trip
Concord, MA & How to Train Your Dragon

Apr. 4 Intergenerational Easter Service, 10am
Peeps Diorama Show in Parlour & Easter Egg Hunt Outside

  • Prelude: Allegro movement from Symphony No. 6 subtitled “The Awakening of Cheerful Feelings upon Arrival in the Country” by Ludwig van Beethoven (1770-1827)
    Intergenerational Family Orchestra
  • Anthem: Rise Up, My Love (1929) by Healey Willan (1880-1968)
    Text from the Song of Songs, 2:10-12
    Chalice Singers and Adult Choir
  • Offertory: Intermezzo in A Major, no. 6, op.76 by Johannes Brahms (1833-1897)
  • Communion Anthem: Alleluia (2010) by Kenneth Seitz
    Sarah Tocco, piano; Kenneth Seitz, conductor
  • Postlude: Ego sum abbas/In taberna/Bibit from Carmina burana (1935) by Carl Orff (1895-1982)
    Michael Prichard and Andrew Leonard, baritones
  • Hymns & Readings: 61, 220, 269, 270, God in Between by Sandy Eisenberg Sasso

Apr. 10 Rock for the Walk Benefit, 7pm
Youth Group Coffeehouse for the Walk for Hunger raised $1700

Apr. 11 Yom Hashoah: Music Commemorating Jewish History & Culture

  • Prelude: Sunrise, Sunset from Fiddler on the Roof (1965) by Jerry Bock (1928-)
  • Candle Music: We Remember Them (1999) by Ben Steinberg (1930-)
    Notes: The text for this anthem is #720 in the Hymnal, and the music is from Steinberg's Yizkor memorial service for Yom Kippur. Composer Ben Steinberg, son of the late Cantor Alexander Steinberg, was born in Winnipeg, Canada and educated at Toronto's Royal Conservatory of Music and the University of Toronto. Involved in traditional synagogue music since childhood (he was a child soloist at age eight and conducted his first synagogue choir at age twelve) his career is a long and distinguished one. Having served Toronto's Temple Sinai as Director of Music since 1970, Mr. Steinberg was appointed its Composer-in-Residence in 1996. He is a widely-recognized conductor and lecturer, noted for his lecture-recitals on Jewish music history and style at major centers and universities in Canada and the U.S., including Cornell University, where he has twice been invited as Dean Sage Speaker. His works have been commissioned by numerous synagogues and other groups such as The Royal Canadian College of Organists; The American Guild of Organists; Yale University in conjunction with Union Theological Seminary and Hebrew Union College (NYC); and The American Conference of Cantors. He was invited by Israel's 1988 Zimriah (Choral Festival) to lecture on his choral compositions. Earlier, he was honored twice by the city of Jerusalem, which invited him to be an artist-in-residence at its creative retreat, "Mishkenot Sha'ananim" - an honor then reserved for composers, artists and writers of international stature.
  • Offertory: Sim sholom (1968) by Max Janowski (1912-1991)
    Jean Renard Ward, tenor
    Notes - Max Janowski was born in Berlin, Germany. He was a prodigious 20th-century composer, conductor, and organist whose liturgical compositions have been performed in concert halls, synagogues, churches and colleges throughout the world. He emigrated to Japan and then to New York in 1937. He was the beloved music director, organist, and choir director at six Chicago-area synagogues and Unitarian congregations.
  • Postlude: Silent Devotion and Response from Ernest Bloch's (1880-1959) Avodath Hakodesh (Sacred Service, 1930-33)
    Notes - Ernest Bloch was a Swiss-born, American-Jewish composer. This third movement of Bloch's Sacred Service starts with a meditation. The orchestra/organ alone is heard, allowing the listeners a moment to formulate their own thoughts in silent prayer. Then the choir, a cappella, quietly intones Yihyu Lerotson, the prayer for acceptance. The composer called this section "a silent meditation which comes in before you take your soul out and look at what it contains." The most important part of any Jewish prayer is the introspection it provides, the moment that we spend looking inside ourselves, seeing our role in the universe.
    The Sacred Service was written for a Reform synagogue in San Francisco, Temple Emanuel Congregation, whose cantor, Reuben R. Rinder, arranged for the commission by Gerald Warburg (1907-1971), son of financier and Jewish leader Felix Warburg and cellist in the New York Philharmonic and Stradivarius Quartet. Bloch was also enabled to write the piece thanks to the generosity of the Rose and Jacob Stern family, whose endowment to the University of California in 1930 freed the composer from teaching and other commitments. Among the best-known complete settings of a Jewish service, it has been called "a high-water mark of 20th-century synagogue song," and is likely the most often performed full setting of any Jewish service. The Sacred Service was premiered in Turin, Italy, in January 1933. It was performed elsewhere in Italy, and in London and New York, before it was first presented in Temple Emanuel, in March 1938. The Sacred Service is based on the Sabbath Morning Service of the Union Prayer Book, the prayer book of the Reform movement within American Judaism.
    Translation: O Lord, may the words of my mouth and the meditations of my heart
    be acceptable before Thee, Adonoi, my Rock and Redeemer. Amen (So be it).
    [Side thought on the word Adonai] - Adonai comes from the root word "Adon," which means lord. A king would be referred to as Lord, or actually any person of high status. In modern Israel, Adon is used as "mister", as in Adon Bloch = Mr. Bloch. A related word, Adoni (pronounced adonee), means "my lord," and is used as a form of respect. Adonai means Lord in the divine sense (as in this prayer): this is what confused the gospel writers, who didn't know Hebrew, and thus didn't know that Jesus was being referred to as Adoni, because he was a teacher.
  • Hymns & Readings: 119, 149, 279, 413

Apr. 18 "Changes" by the Rev. Rebecca Benefiel Bijur
Sarah Haera Tocco accompanies BC High Choir in Austria
Laura Prichard @ All Soul's Unitarian in Washington DC

  • Prelude: I. Allegro moderato from op. 88, no. 2 by Anton Reicha, arr, by Gunther Weigelt
    First Parish Woodwind Quintet: Mies Boet-Whitaker, flute; Carl Schlaikjer, oboe; Andrew Kobayashi, clarinet; John Chapin, French horn; Jean Renard Ward, bassoon
  • Candles: III. Andante grazioso from op. 88, no. 2 by Reicha
  • Offertory: Die Moldau (The Vltava River) by Bedrich Smetana (1824-1884), arr. Guy du Cheyron
    First Parish Flute Loops: Mies Boet-Whitaker, Willemien Insinger, Tina Kambil, Ted Live, Anne Quaadgras
  • Anthem: II. Andantino from Divertimento No. 14, KV 270 by W. A. Mozart, arr. by G. Weigelt
  • Postlude: Minuet by Luigi Boccherini (1743-1805), arr. by Frank J. Halferty
    First Parish Flute Loops
  • Hymns & Readings: 347, 1064, "Come and Go With Me" taught by rote

Apr. 25 Earth Day Service
Committee Cabaret follows the service

  • Prelude: Veris leta facies (The merry face of spring) from Carl Orff's Carmina burana
    Adult Choir & Chalice Singers
  • Candle Music: Omnia sol temperat (The sun warms everything) by Orff
    John Hodges, Andrew Kobayashi, Chris Jones, soloists
  • Offertory: For the Future from Hymnody of Earth by Malcolm Dalglish
    Sound file: http://prichard.net/fpuua/FPApracticefiles2004.html
  • Anthem: Amaryllis by Diane Taraz Shriver
  • Committee Cabaret: Life is a Cabaret by Kander & Ebb
    Caryn Sandrew and Jim Austin
  • Hymns & Readings: 38, 61, 313, 413

May 1 7:30pm Vestry Event
Home Cookin' Coffeehouse & Jazz Organ Benefit

May 2 May Music - Longy Saxophone Quartet plays
Afternoon Ordination of FPA member Christina Sillari in Newburyport

  • Prelude: Now Is the Month of Maying by Thomas Morley
    Chalice Singers & Adult Septet in the balcony, with the Adult Choir
    Click here to hear an under-tempo but fun recording by the amateur German choir Canterino
    Midi practice files: http://www.oldmusicproject.com/madrigalia/Morley/mmaying.mid
    Free online score: http://www2.cpdl.org/wiki/images/sheet/morl-now.pdf
  • Candle Music: String Quartet, op. 10 by Claude Debussy
    Helium Quartet (Longy Student Saxophone Quartet) featuring Tina Kambil
  • Offertory: Grave (1938) by Jean Rivier (1896-1987)
    Helium Quartet
    Notes: Jean Rivier (1896-1987), a twentieth-century French composer of the neo-classical school, was extremely active in French musical circles from the period after World War I until his death. He composed over two hundred works, including symphonies, chamber music, concertos, choral music, piano works, music for solo instruments, and accompanied songs. For fourteen years, he shared with Darius Milhaud a position as Professor of Composition at the Paris Conservatory, and continued as sole professor from 1962 until his retirement in 1966. Rivier was a founding member of Triton, a musical society that promoted new music, and he was associated extensively with the French Radio (ORTF).
  • Postlude: Presto (1938) by Jean Rivier (1896-1987)
    Helium Quartet
  • Hymns & Readings: 131, 315, 360, 413

May 2 5pm Ordination of the Rev. Christina Sillari
First Religious Society of Newburyport

  • Procession Hymn: Wake, Now, My Senses (#298)
  • Call to Celebration: Alleluia Canon in D (1694) by Johann Pachelbel (1653-1706)
    First Parish Arlington Chalice Singers
  • Musical Offering: Simple Gifts (1848 Shaker Melody from Alfred, Maine) by Elder Joseph Brackett (1797-1882)
    First Parish Arlington Chalice Singers
  • Opening Hymn: Spirit of Life (#123)
  • Offertory: How Lovely are the Messengers (1835) by Felix Mendelssohn (1809-1847)
    First Religious Society Choir & Arlington Guests
  • Closing Hymn: Siyahamba (#1030)

May 9 Mother's Day Service/Forgiveness

  • Prelude: Ce moys de May by Clement Janequin (c1485-1558)
    Jennifer Kobayashi, soprano recorder; Andy Kobayashi, shawm
    Lynne Davis, clarinet; Morgan Jackson, French horn
    This month of May, I put on my green coat. I get up early in the morning.
    One hop, two hops, three hops; I skip along the road to meet my friend.
    Click here to see the score for this selection
    Click here to hear the parts played for this selection
    Click here to hear a live recording of this selection
  • Candle Music: Let it Be by Paul McCartney
    celebrating the 40th anniversary of the Beatles' Let It Be album (May 8, 1970)
    Eric, Meg, & Paul Candilore, guitar, piano, bass, and vocals
  • Offertory: Presentiment - Con moto from 1. X. 1905 (Sonata for Piano, "From the Street") by Leos Janacek (1854-1928)
  • Anthem: Ihr habt nun Traurigkeit from Ein Deutsches Requiem (1868) by Johannes Brahms (183-1897)
    Holly Loring, soprano solo
    Wikipedia article & sound file: http://en.wikipedia.org/wiki/A_German_Requiem_(Brahms)
    Free online score: http://www2.cpdl.org/wiki/images/e/e0/JB45-4_Wie_lieblich_sind.pdf
    Now you are sorrowful: but I will see you again and your heart shall rejoice,
    and no one shall take your joy from you. John 16:22
    Behold me, I have had only a little weariness and labour,
    and have found great comfort. Sirach 51:35
    I will comfort you, just as your own mother comforts you. Isaiah 66:13
  • Postlude: Irish Lullaby (1913) by James Royce Shannon (1881-1946)
    Over in Killarney, many years ago,
    Me mither sang a song to me in tones so sweet and low.
    Just a simple little ditty, in her good ould Irish way,
    And I'd give the world if she could sing that song to me this day. Too ra loo..

    Oft, in dreams I wander to that cot again,
    I feel her arms a huggin' me as when she held me then.
    And I hear her voice a hummin' to me as in days or yore,
    When she used to rock me fast asleep outside the cabin door. Too ra loo...
  • Hymns & Readings: Love You Forever, 34, 357, 409, Goodnight, Willie Lee, I'll See You in the Morning by Alice Walker

May 9 Afternoon Cantilena Concert & AHS Pops

May 16 Senior Recognition Ceremony
Noon Annual Meeting & Budget Discussion

  • Prelude: For the Future from Hymnody of Earth (1991) by Malcolm Dalglish (1952-)
    Planting trees early in spring,
    we make a place for birds to sing
    in time to come. How do we know?
    They are singing here now.
    There is no other guarantee
    that singing will ever be.
    by Wendell Berry, from Collected Poems, 1957-1982. North Point Press, New York (1985). Reknowned essayist, poet, novelist and farmer, Wendell Berry is the author of more than thirty books and has emerged as an eloquent spokesman for conservation, common sense and sustainable agriculture. He lives and works with his wife, Tanya, on their farm in in Henry County, Kentucky.
  • Candle Music: A Winter Prayer by Fenno Follensbea Heath, Jr. (1926-2008)
    The Lord Came down on a snowy day.
    White, O, white He lay.
    In spring, the Lord walked all around.
    Stirred seed, spread sod o'er leaf and ground.
    Fell with the rain and rose again.
    Green root, green shoot, oh green he strode.
    So kneel I by thy branches in the snow.
    Let all my branches down and pray to know
    That from each bough so barren now
    A shoot of grace, a sprig of faith will grow.
    by Alexander Winston
  • Offertory: Prelude in F Major for Piano by George Gershwin (1899-1939)
  • Postlude: As Time Goes By from the Broadway musical Everybody's Welcome (1931) by Herman Hupfeld (1894-1951)
    UUphonics Men's Ensemble
  • Hymns & Readings: 128, 190, 295, 413

May 22 First Parish Fundraising Auction & Gala Benefit

May 23 Theology of Baseball
Installation of Lay Ministers

  • Prelude: Pick Yourself Up from Swing Time (1936) by Jerome Kern and Dorothy Fields
  • Candle Music: Turn Back, O Man (1916) by Gustav Holst (1874-1934)
  • 1. Turn back, O man, forswear thy foolish ways.    
    Old now is earth, and none may count her days,    
    Yet thou, her child, whose head is crowned with flame,    
    Still wilt not hear thine inner God proclaim,    
    'Turn back, O man, forswear thy foolish ways.'    

    2. Earth might be fair, and all men glad and wise.    
    Age after age their tragic empires rise,    
    Built while they dream, and in that dreaming weep:    
    Would man but wake from out his haunted sleep,    
    Earth might be fair, and all men glad and wise.    

    3. Earth shall be fair, and all her people one:    
    Nor till that day shall God's whole will be done.    
    Now, even now, once more from earth to sky    
    Peals forth in joy man's old, undaunted cry:    
    'Earth shall be fair, and all her folk be one.'  by Clifford Bax (1886-1962)

  • Offertory: Fantasia on a Tune by Albert Von Tilzer (1878-1956) by Sarah Haera Tocco
  • Postlude: Spring Carol from Cermony of Carols (1942) by Benjamin Britten (1913-1976)
    Pleasure it is to hear iwis, the Birdès sing.
    The deer in the dale, the sheep in the vale, the corn springing.
    God's purveyance for sustenance, it is for man, it is for man.
    Then we always to Him give praise, and thank Him than. by William Cornish (1480?-1523)
  • Hymns & Readings: 18, 42, 207, 413

May 30 Memorial Day Weekend: RE Appreciation Sunday
Betty Jeanne Retuers-Ward "Are We Content with Ten Percent?"
UUlations visit another Parish

  • Prelude: Praeludium by Johann Pachelbel(1653-1706)
  • Candle Music: Der Leiermann, op. 89 (1827) by Franz Schubert (1797-1828)
    Jean Renard Ward, baritone
  • Offertory: Pavane by Maurice Ravel (1875-1937)
    Drew Pereli, piano
  • Postlude: Concerto in G Major for Oboe, Bassoon and Piano by Antonio Vivaldi (1678-1741)
    Carl Schlaikjer, oboe; Jean Renard Ward, bassoon; Sarah Haera Tocco, piano
  • Hymns: 123, 347, 368, 413

June 6 Coming of Age Service
Student Musicians contribute special music

  • Processional & Recessional March for the Annual RE Parade: Trumpet Tune in D Major (1699) attributed to Henry Purcell (1659-1695) but composed for The Island Princess by composers Jeremiah Clarke (1674-1707) and Daniel Purcell (1664-1717, Henry's younger brother)
  • Candle Music: Original Composition for Piano by Leah Eva Cirker-Stark (Mass Art)
  • Offertory: Don't Stop Believin'
    Adult Choir with Eric Candilore, piano (AHS); Rita Kambil, vocal solo (Ottoson); and George Pereli, vocal percussion (Ottoson); and Andrew Leonard (vocal percussion)
  • Musical Reflection between Eighth-grade Credo readings: I Arise Facing East
    UUlations with Heather Kobayashi, Vassar student
  • Anthem: One Voice by the Wailin' Jennys
    Somebody's Mother: Meg Candilore, Anne Goodwin, and Annette Sawyer
    with the Women of the Adult Choir
  • Postlude: Fantasy in F Major by Dieterich Buxtehude (1637-1707)
  • Hymns & Readings: 12, 301, 413

June 13 Flower Communion
Baby
Dedication

  • Prelude: Étude in A-flat Major (Aeolian Harp), op. 25, no. 1 by Frédéric Chopin
  • Candles - Anthem #1: Crux fidelis by King John VI of Portugal (1603-1656)
    Chamber Choir
    Free online score: http://www2.cpdl.org/wiki/images/sheet/joh-crux.pdf
    Notes: John IV (João in Portuguese) was the king of Portugal and the Algarves from 1640 to his death. The King was a patron of music and the arts, and a considerably sophisticated writer on music; in addition to this, he was a composer. During his reign he collected one of the largest libraries in the world, but it was destroyed in the Lisbon earthquake of 1755. Among his writings is a defense of Palestrina, and a Defense of Modern Music (Lisbon, 1649). His most famous composition is this setting of the Crux fidelis, a typical Latin text for Holy Week.
    Candles - Anthem #2: Londonderry Air arr. by Joseph Flummerfelt (hummed)
  • Offertory: Pan by Benjamin Britten (1913-1976)
    Tina Kambil, alto saxophone
  • Flower Communion Processional: Alleluia (2010) by Kenneth Seitz
    Conducted by the composer
    Fanfare-Improvisation on Alleluia by Sarah Haera Tocco
  • Postlude: The Cloud-Capped Towers by Ralph Vaughan Williams (1872-1958)
    Our revels now are ended. These our actors,
    As I foretold you, were all spirits, and
    Are melted into air, into thin air;
    And, like the baseless fabric of this vision,
    The cloud-capped towers, the gorgeous palaces,
    The solemn temples, the great globe itself,
    Yea, all which it inherit, shall dissolve;
    And, like this insubstantial pageant faded,
    Leave not a rack behind. We are such stuff
    As dreams are made on, and our little life
    Is rounded with a sleep. (Tempest, IV.i.148–158)
  • Hymns & Readings: Welsh Lullaby

June 20 "Global Unitarianism: Beyond North America and Europe" Jo Anne Preston, speaker
Sarah Haera Tocco, piano and organ

June 27 "Reflections on Living with Priviledge"
Ricky Carter and Randy Smith
Flute Loops Quartet with Drew Pereli, piano
[General Assembly Weekend]

July 4 "Mister Rodgers' Neighborhood"
Betty-Jeanne Rueters-Ward
Drew Pereli, piano

July 11 "Beauty and Evil: Listening to the Book of Job"
John Burt
Drew Pereli, piano

July 18 "Singing Together: Spirituality in Folk Music"
Anne Goodwin & friends (also providing music)

July 25 "Reconciliation and Rwanda"
Eric Segal
Flute Chamber Trio with Mies Boet-Whitaker, Robert Olson, and Barbara Tilson, piano

August 1 "Stumbling Towards Spirituality"
Ginny LaCrow and Annette Sawyer
Kenneth Seitz, piano

August 8 "'The Work' and Parenting"
Anna Watson
Drew Pereli, piano

August 15 "Our History in Hymns"
Dorothy May and Kenneth Seitz, piano

August 22 "Meditation"
Tom Hogan, Elizabeth Zabel, and the First Parish Meditation Group
First Parish Woodwind Quintet

August 29 "Don't Be Nice, Be Vulnerable: Communication that Connects"
Linda Malik with the Compassionate Communication Group
Kenneth Seitz, piano

Sept. 5 "Spiritual Evolution" by John Hodges
Kenneth Seitz, piano

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