Hymn of the Day: “As the Deer Runs to the River” ELW 331
Text: Herman G. Stuempfle Jr. (1923- 2007)
Music: JULION, David Hurd, (1950)

This is one of the fine hymns that Lutheran pastor, seminary professor, and finally seminary president Herman Stuempfle wrote during his retirement. The hymn sets us next to the woman at the well, thirsting for living water, and the second stanza celebrates today’s first reading from Exodus 17. The reference in the fourth stanza to desert places is particularly appropriate for Lenten song.
 — Gail Ramshaw

David Hurd was a boy soprano at St. Gabriel's Church in Hollis, Long Island, New York. Educated at Oberlin College and the University of North Carolina, he has been professor of church music and organist at General Theological Seminary in New York since 1976. In 1985 he also became director of music for All Saints Episcopal Church, New York. Hurd is an outstanding recitalist and improvisor and a composer of organ, choral, and instrumental music.

Offertory Anthem: “Hide Not Thou Thy Face From Us” Richard Farrant (1530- 1580)

Richard Farrant, English composer, choirmaster, and theatrical producer, who established the original Blackfriars Theatre, home to the outstanding children’s companies of the Elizabethan era. Farrant was a gentleman of the Chapel Royal until 1564, when he was appointed organist and choirmaster to St. George’s Chapel, Windsor. This post entailed the annual presentation of a play before the queen, which led to the creation of the Children of Windsor, a boys' theatrical company formed from members of the choir. Farrant’s skill at directing the Children of Windsor led to his appointment in 1576 as deputy of William Hunnis, director of the Children of the Chapel. From that point until his death in 1580, Farrant directed productions for both companies, sometimes combining the two. Eager to offer performances outside the court, Farrant leased a portion of the defunct Blackfriars priory and converted it into the Blackfriars Theatre in 1576. In addition to his theatrical successes, Farrant was a respected musician and composer. He served as the queen’s organist and wrote music for the plays, as well as anthems and a service.

Hide not thou thy face from us, O Lord,
and cast not off thy servant in thy displeasure;
for we confess our sins unto thee
and hide not our unrighteousness.
For thy mercy's sake,
deliver us from all our sins.

Opening Voluntary: “Sarabande on ‘Rockingham’” Rosalie Bonighton (1946-2011)

Bonighton's music was influenced by plainchant, British and Celtic folk song, but she was equally interested in the extended harmonic tensions of late German Romanticism, multi-rhythms, jazz harmonies and syncopated effects. When composing music, the functional requirements of a piece of music heavily influenced Bonighton's choice of style, compositional techniques, structure, performing resources and level of performance difficulty. Bonighton also experimented frequently with the use of jazz elements for the performance medium of pipe organ. In addition to her activity as a composer, Bonighton worked as a school organist, a parish organist/music director, and a piano accompanist.

Closing Voluntary: “Allegro Pomposo,” Thomas Roseingrave (1688-1766)

Irish organist and composer who began his musical studies under the tutelage of his father, Daniel Roseingrave, organist of Gloucester, Winchester, Salisbury, St. Patrick's and Christ Church cathedrals. He studied in Italy, where he knew both Scarlattis. After settling in London in 1717, he popularized Domenico Scarlatti's music in England and later made a famous edition (1739) of 42 of his sonatas. Among Roseingrave’s compositions were extra numbers for Domenico Scarlatti's opera Narciso.