Corelli Christmas Cantata
On Sunday, December 23, 2007, the Chancel Choir, Soloists and Fiume de Musica presented Arcangelo Corelli's Christmas Cantata - a choral adaptation of the famous Christmas concerto by Richard Shephard during our 10:25am worship service.
Click here to download a flyer for this event.
At a time when the violin was replacing the viola, the Italian violinist-composer Arcangelo Corelli was in great demand. He had a great influence over the following generation of composers, especially Handel who worked with him for a short time in Rome in 1707. Corelli spent most of his life in Rome, where he served the exiled Catholic Queen Christina of Sweden, Cardinal Pamphili and the young Cardinal Ottoboni, in whose palace he lived for a number of years. He died a wealthy man and was buried in the Pantheon, a sign of the respect in which he was held.
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Arcangelo Corelli Works and the Christmas Concerto
Corelli composed only instrumental music, notably 48 Trio Sonatas for two violins and basso continuo (generally harpsichord and cello), twelve sonatas for violin and continuo and twelve concerti grossi, works for string orchestra with a solo group of two violins, cello and harpsichord.
Concerto grosso n. 8 is the famous Christmas Concerto, which includes a pastoral movement setting the scene for Christmas, to be played on the night before the festival. The work has recently been adapted to include a choral overlay by Richard Shephard. The biblical text brings the listener from the Annunciation through to the joyous birth of our Lord.
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Duruflé Requiem
On Sunday, November 4, 2007 we presented the Duruflé Requiem as part of our All Saints Day Service.
This presentation featured the First United Methodist Church Chancel Choir and soloists with a professional orchestra.
The Requiem was conducted by Mark Andrew Shaull and was part of our 10:25 am worship service.
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Concert for World Peace
We hosted a Concert for World Peace on Saturday, November 17, 2007.
Music for your quiet times and inner peace.
The concert was performed by the Inner Peace Orchestra and was created and directed by Eddie Gale, San Jose's Ambassador of Jazz who uses his musical talents to help charities raise funds and to spread the word about jazz, especially to young people.
This was an event for the entire community and an FUMC fundraiser.
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Footsteps of the Passion
On Palm Sunday 2007 our Chancel Choir and organist Raymond Ruckle, under the direction of Mark Andrew Shaull, presented Footsteps of the Passion.
This unique worship journey from Palm to Passion featured A Service of Darkness by Dale Wood.
Footsteps of the Passion was presented at our 10:25am worship service on Sunday, April 1, 2007.
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Mozart Requiem in D Minor

On Sunday, March 25, 2007 we presented the Mozart Requiem in D Minor, K626.
This presentation featured the First United Methodist Church Chancel Choir and soloists with a professional orchestra and the Los Altos High School Concert Choir.
The Requiem was conducted by Mark Andrew Shaull.
This performance was part of our 10:25 am worship service.
Click here to download a flyer for this event.
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2006 Advent Procession With Carols Service (Audio)
Sunday, December 3, 2006 marked the ten year anniversary of our Advent Procession with Carols Service.
As in past years, the Chancel Choir led a special evening service of lessons, anthems and carols designed to usher us into the Advent season of meditation and preparation.

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In the old English Liturgies the Advent services made a vivid preparation for the coming of our Lord Jesus Christ. Much of Procession with Carols for an Advent Sunday is drawn from these old sources and frequently the words of the carols have a similar antiquity.
Again and again, from the beginning of Israel and through the period of the New Testament and then the Middle Ages, people took up the same language and used it a fresh to speak of their own experience of life in sin and alienation from God, their experience of his merciful forgiveness, and their expectations of God's continuing dealing with mankind in mercy and in judgement, as the Scriptures teach.
So this Advent service draws on varied sources to express the expectations of God's people in many ages, as they look forward to his working with them. We therefore can join together in this traditional ceremonial service of processions and carols, expectantly awaiting God's working among us.
From the darkness which precedes the word of Creation in Genesis, our readings progress to the vision of the City of God, which has "no need of sun and moon to shine upon it, for the glory of God is its light and its lamp is the Lamb" (Revelation 21:23) Life apart from God is described as that of an arid desert place. But into this world enters God's mercy as rain the "constant falling" of his mercies which transforms our lives and the world about us.The dew discovered in the morning becomes an image for the secret working of God's mercy.
With the birth of a child, born in obscurity whilst the rest of the world was asleep, God intervened in history and gave a real hope of continuously transformed lives restored from fragmentation to wholeness. Into the black despair which the world faces in a nuclear age, Christ brings light and hope.
In this service, as in all the Advent season, we recall the world's neediness of Christ, his coming to save it, and his coming again in judgment to make it wholly his at last. By celebrating the Lord's Supper at the culmination of the service, we reaffirm in a tangible way the truths of our faith and our common confidence in the Lord's coming again.
The service concludes triumphantly with the singing of the great Advent hymn, "Lo, He comes, with clouds descending."
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The Winter Rose
On the thrid Sunday in Advent, December 17, 2006, the Chancel Choir under the direction of Mark Shaull presented The Winter Rose during the 10:25am worship service.
“The Winter Rose” with music by Joseph M. Martin and narration by Pamela Martin incorporates both traditional carols and newly composed anthems that visit the timeless Christmas story with fresh insight. Through use of music, narration and simple symbolism, the cantata presents the life of Christ from prophecy to passion. The orchestrations effectively capture the color and beauty of this musical tableau.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
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A New Creation by René Clausen
As part of our 10:25am, November 5, 2006 All Saints Day Worship Service of Remembrance and Reflection, the FUMC Chancel Choir, Soloists and orchestra presented A New Creation by composer René Clausen. This moving work served as the center piece as we remember our loved ones and members of our church family who have died.
In A New Creation, Clausen continues in the tradition of a long line of composers, including J.S. Bach, in his writing of a cantata, literally “to sing,” a work intended for worship presentation and concert performance and modeled on operatic forms. It employs sections of recitative and aria, chorus, and orchestra.
Clausen’s cantata uses both English and Latin texts taken from the Bible, the Roman Catholic Mass, and a hymn by George Herbert. In this work, sometimes reminiscent harmonically of Aaron Copland and stylistically of Gian-Carlo Menotti, the accompaniment always reflects the spirit of the text. These tender and passionate texts tenderly and passionately reflect spiritual love and the promise of life everlasting.
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Clausen has this to say about his work: “A New Creation is a piece of church music, not of any particular sect, synod, or denomination; however, the piece does express a Christian point of view. That the piece is written in praise of God, however, whoever he and/or she might be, and in whatever form that God takes for each individual, seems to me to be essential to the understanding of the work.”
The various movements are attempts to characterize, through music, various aspects of the human/God, God/human relationship. Awe and wonder, unworthiness and doubt, mercy and forgiveness, love, joy, and peace, are all wrapped together in this piece, as indeed these elements are wrapped together in our daily lives. The thematic and artistic credo of this work, which serves both as the title overall and of the central movement - A New Creation - is representative of the composer’s belief that the unwrapping of all these elements in the progression of our life through to our death - sometimes with joy, sometimes with pain - is worth the effort.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
These program notes include passages from a review of the work by Michaelene Gorney
Soloists
Jerry Johnson, Soprano
Patty Fisher, Soprano
Fran Moyer, Alto
Chuck Carman, Tenor
Jay Adams, Bass
Chamber Orchestra Personnel
Flute I
Greere Ellison
Flute II
Tambre Thompson
Oboe
Julianne Stafford
Bassoon
Jorge Cruz
Violin I
Tina Minn
Alan Cooper
Wangehen Long
Violin II
Margaret Hall
Amie Jan
Florence Wong
Frank Rahn
Viola
Janet Gillespie
Cello
Alicia Wilmunder
Dahna Rudin
Bass
Drew Plant
Harp (Synthesizer)
Jean Cole
Organ
Debra Yowell
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Missa Brevis in F Major

The Chancel Choir, with Fiume di Musica, presented Wolfgang Amadeus Mozart's Missa Brevis in F Major on Sunday, June 11, 2006.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
Soloists:
Patty Fisher, soprano
Jerry Johnson, soprano
Fran Moyer, alto
Chuck Carman, tenor
David Goodman, bass
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Hallelujah Chorus - Easter 2006
Listen to the 2006 Easter Sunday performance of the Hallelujah Chorus.
Our Easter Sunday tradition is for anyone who is interested to join with the Chancel Choir on the Chancel steps to sing Handel's Hallelujah Chorus.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.

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Dubois' The Seven Last Words of Christ
On March 26, 2006, the Chancel Choir, Soloists and Orchestra presented The Seven Last Words of Christ by Théodore Dubois during Sunday worship. In addition to this musical setting of the passion text, this unique worship experience featured famous depictions of the passion of Christ by the master of visual art forms through the ages.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
Singing of the Passion Text
The tradition of singing the Passion story began in the early centuries of the Christian church. To add solemnity to Holy Week services, priests would chant the appointed Gospel account rather than simply read it. By the 13th century, these intonations had developed into dramatic narrations with soloists playing the key roles. The earliest polyphonic settings date from the 15th century with extant examples surviving from England, Italy, and Spain.
By the mid-17th century, the Reformation had led to a distinctly German oratorio Passion set in the vernacular, employing recitatives, arias, choruses, and instrumental movements. These oratorio Passions ultimately reached their pinnacle in the great St. Matthew Passion and St. John Passion of Johann Sebastian Bach. Heinrich Schütz, considered the greatest Lutheran composer prior to Bach, composed his Seven Last Words in the early 17th century. In order to include all seven sayings Christ spoke during the crucifixion, Schütz created a composite text from all four Gospels. Hadyn composed an instrumental work on the Seven Last Words in 1787 and later added choral parts, but no composer is known to have created a major choral setting of this unique version of the Passion story until Théodore Dubois, over two centuries after Schütz.
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Théodore Dubois, Composer
Théodore Dubois (1837 - 1924) was an important organist, composer and teacher of music on the Paris music scene during the late 1800’s. In 1861 he was awarded the prestigious Prix de Rome for composition. He studied at Reims and the Paris Conservatory where he later was the director from 1896 - 1905. The composer of four operas, a large-scale ballet, several oratorios, and a Requiem Mass as well as many orchestral works, Dubois remained a composer of the “academic style.” He succeeded Camile Saint-Saens as organist at the Madeleine in 1877 and was highly regarded as an excellent music teacher. Much overshadowed by his French contemporaries Charles Gounod, Gabriel Faure, and Camille Saint-Saens in composition, he is best remembered today for his book Notes et Etudes d’Harmonie (Notes and Lessons in Harmony), still used as a source for harmonic practice in the Romantic style. Dubois composed The Seven Last Words of Christ in 1867 for Saint Clotilde in Paris, where he was the choir director (Maitre de chapelle). He scored the work for full orchestra, chorus, and soloists, but later revised his orchestration to include only organ, timpani, and harp, the version most often heard today. This performance uses the original orchestration of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones, strings, organ and percussion.
The Seven Last Words of Christ is presented in eight movements: an introduction for soprano and orchestra followed by a movement for each word of Christ from the cross. Composing for the Catholic church, Dubois used traditional texts from the Roman Catholic Holy Week liturgies to add meditations on the scriptural account. The opening soprano solo is the O Vos Omnes traditionally sung at Tenebrae services. In the Third Word, Christ's words to Mary, his mother, are combined with the 13th-century sequence Stabat Mater Dolorosa; in the FourthWord, Christ¹s anguish at being forsaken by his Father is combined with the liturgical text Omnes Amici Mei. At the end of the Seventh Word, Dubois concludes his sacred cantata with a hymn-like setting of the medievalantiphon Adoramus Te, Christe. This serene hymn, much like a chorale at the end of an 18th century cantata,provides the listener with a foretaste of the resurrection after the compelling drama of the Passion story.
Program notes by Yvonne Grover
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Bach’s Birthday Musical Celebration
On Sunday, March 19, 2006 we held a musical celebration of Johann Sebastian Bach’s 321st birthday. Bach was born on March 21, 1685, as the eighth child of Johann Ambrosius and Maria Elisabetha Bach. As one of the best known and loved composers of church and other music for organ, orchestra and choir, J.S. Bach was honored by our presentation of several of his works at the 10:25 a.m. service and afterward at a Bach Postludium.
Fiume di Musica presented the complete Bach Brandenburg Concerto #4 for two flutes and violin solos, with harpsichord. The choir and Fiume presented a portion of Bach’s Cantata #79. Even the congregation joined in the festivities by singing hymns harmonized by the master himself.
There was also a special Bach focus Postludium directly after the worship service. Jeff Workman played two Bach organ selections, and was joined by members of Fiume di Musica for a Bach flute and harpsichord sonata and a Bach harpsichord trio. We used a single-rank north European style harpsichord for the presentations.
The following were presented during the Postludium:
• Sonata in E minor with oboe, cello and harpsichord
• "Little" Fugue in G minor for organ
• Sonata in E major for flute and harpsichord
• Prelude and Fugue in A minor for organ
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
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Christmas Oratorio
There were shepherds at night in that same country, abiding in the fields, and silently keeping their watch by night over the
sleeping flocks around them. And lo! and angel of the Lord appeared, standing there beside them: And the glory of the Lord shone round about them, and they were sore afraid at his coming.
On Sunday, December 21, 2003 the FUMC Chancel Choir, Soloists and Orchestra presented the Christmas Oratorio by French composer Camille Saint-Saëns. This beautiful work will be the focal point of our worship celebration as we look toward the promise of Christmas Joy. Camille Saint-Saëns (1835-1921), French composer, pianist, and organist, born in Paris, made his debut as a pianist at the age of ten and later studied organ and harmony at the Paris Conservatoire. Saint-Saëns’ first position was a church organist at the Parisian Church of Saint-Merry.
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In 1858 he rose to the position of organist at the prestigious Church of the Madeleine where he remained for twenty years. In later life, he brought French music an international reputation touring as pianist and organist at the start of the twentieth century. He played in the United States twice, with an honored presence at the Pan-Pacific Exposition in San Francisco in 1916. Throughout his compositional life, Saint-Saëns provided elegant examples of music in all its forms: opera (Samson and Delilah); symphonies (Symphony No. 3, The “Organ” Symphony); concertos (both piano and violin); oratorio (Oratorio de Noël), and chamber works. He himself wrote, “The artist who does not feel completely satisfied by elegant lines, by harmonious colors, and by a beautiful succession of chords does not understand the art of music.”
The Christmas Oratorio was composed in 1863 and was Saint-Saëns’ first major choral work. This work is scored for five vocal soloists, chorus, harp, strings and organ, the text of the work is taken from various biblical sources ranging from the gospel of St. Luke to the Psalms to Old Testament prophecies. The Christmas Oratorio opens with a Prelude subtitled In the style of Sebastian Bach harkening back to Bach’s Christmas Oratorio. This opening prelude sets the scene for the Christmas story: its lilting pastoral quality creates images of the shepherds tending their flocks in the fields. In the remaining movements, the vocal soloists take turns representing different characters such as the narrator of the story or as the angel who announces the birth of the baby Jesus while the chorus represents a multitude of angels singing to the glory of the Lord. The final movement of the piece, which follows the model of old French Christmas songs, is a virtual hymn of praise of all creation in the presence of God.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
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Arcangelo Corelli's Christmas Cantata
On Sunday, December 18th, 2005 the Chancel Choir, Soloists and Fiume de Musica presented Arcangelo Corelli's Christmas Cantata - a choral adaptation of the famous Christmas concerto by Richard Shephard during our 10:25 am worship service.
At a time when the violin was replacing the viola, the Italian violinist-composer Arcangelo Corelli was in great demand. He had a great influence over the following generation of composers, especially Handel who worked with him for a short time in Rome in 1707. Corelli spent most of his life in Rome, where he served the exiled Catholic Queen Christina of Sweden, Cardinal Pamphili and the young Cardinal Ottoboni, in whose palace he lived for a number of years. He died a wealthy man and was buried in the Pantheon, a sign of the respect in which he was held.
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Arcangelo Corelli Works and the Christmas Concerto
Corelli composed only instrumental music, notably 48 Trio Sonatas for two violins and basso continuo (generally harpsichord and cello), twelve sonatas for violin and continuo and twelve concerti grossi, works for string orchestra with a solo group of two violins, cello and harpsichord.
Concerto grosso n. 8 is the famous Christmas Concerto, which includes a pastoral movement setting the scene for Christmas, to be played on the night before the festival. The work has recently been adapted to include a choral overlay by Richard Shephard. The biblical text brings the listener from the Annunciation through to the joyous birth of our Lord.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
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Bach Advent Cantata
On Sunday, December 4, 2005 the Chancel Choir, Soloists and Orchestra presented Johann Sebastian Bach's Advent Cantata - BWV 61 during our 10:25 am worship service
Nun komm, der Heiden Heiland (“Now come, saviour of the gentiles”), one of the best known of all J.S. Bach’s cantatas, was composed at the end of 1714 and first performed in the Weimar court chapel on Advent Sunday, 2 December 1714. The libretto is by Erdmann Neumeister, pastor in Hamburg and the main architect of the reform cantata incorporating simple recitative and da capo arias characteristic of Italian opera. The text was published three years later in Neumeister’s Fünffache Kirchen-Andachten (Leipzig, 1717). The cantata is therefore one of Bach’s earliest expositions in the new cantata form, and the first one he is known to have composed to a libretto by Neumeister.
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The introductory movement uses the first verse of the ancient church hymn Veni, redemptor gentium in the German version by Martin Luther (1524). For many years this hymn was used in the Lutheran church at the beginning of Advent. The recitative of the fourth movement is a quotation from Revelation 3 : 20. The concluding chorale uses the Abgesang of the last verse of Wie schön leuchtet der Morgenstern by Philipp Nicolai (1599).
In the freely composed movements Neumeister develops a train of thought in the manner of a sermon: the Saviour’s coming brings us new blessings each day( movement 2); this is connected to the prayer that Jesus may come to the church as to his own community (movement 3) . After the biblical quotation of the fourth movement Jesus is requested to enter also into the hearts of individual Christians and not to treat them with the scorn deserved by their sinfulness. In both arias therefore communal and individual prayers for the Saviour’s coming are the theme of the poetry.
Click here for photos from this performance.
If you enjoy listening to, or performing great music, we invite you to come to one of our worship services.
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