As I was composing this Psalm Offering, I had in mind the words from Psalm 100.
Make a joyful noise to the Lord, all the earth.
Worship the Lord with gladness;
come into his presence with singing.
Know that the Lord is God.
It is he that made us, and we are his;
we are his people, and the sheep of his pasture.
Enter his gates with thanksgiving,
and his courts with praise.
Give thanks to him, bless his name.
For the Lord is good;
his steadfast love endures forever,
and his faithfulness to all generations.
(Psalm 100, NRSV Bible, New Oxford Annotated Edition)
In this psalm, the psalmist calls out to the earth to worship and give praise to God who created all things.
I dedicate this Psalm Offering to a wonderful person with whom I have ministered for the past 8 years, Mary Carol Wolf. As a 2nd grade faith formation catechist in the parish for over 20 years, she has taught many children to worship and praise God with great joy. In addition to her ministry as a catechist, she is a sacristan for the church, helps with the liturgical environment in the church, a member of the parish council, assists her husband farming, and works a full time job. Her love and dedication to her family, the kids she catechizes, to her work, and to her church is remarkable.
About the music: The structure of this music is very similar to the refrain, verse, refrain structure we often hear in popular music. Introduction, melody A, melody B, melody A, melody C, melody A, melody B, melody A, Coda.
Psalm Offering 4 Opus 9 (c) 2018, Deacon Bob Wagner OFS. All rights reserved.
Psalm Offering 2 Opus 9 (For my sister, Mary Ruth)
As we get closer to Holy Week in this Paschal Season, I think often of my sister, Mary Ruth, who died 20 years ago. I still grieve her dying. I will often go back to her last days, her own paschal suffering, and passion, as she was preparing to leave this life for the resurrection of eternal life. As I composed this Psalm Offering, it seems apropos I had Psalm 31 in mind.
In you, LORD, I take refuge;
let me never be put to shame.
In your righteousness deliver me;
incline your ear to me;
make haste to rescue me!
Be my rock of refuge,
a stronghold to save me.
For you are my rock and my fortress;
for your name’s sake lead me and guide me.
Free me from the net they have set for me,
for you are my refuge.
Into your hands I commend my spirit;
you will redeem me, LORD, God of truth.
You hate those who serve worthless idols,
but I trust in the LORD.
My life is worn out by sorrow,
and my years by sighing.
My strength fails in my affliction;
my bones are wearing down.
But I trust in you, LORD;
I say, “You are my God.”
My destiny is in your hands;
rescue me from my enemies,
from the hands of my pursuers.
Let your face shine on your servant;
save me in your mercy. (Psalm 31: 2-7, 11, 15-17 New American Bible)
About the music: It is written in the key of C major. It is in a simple two part AB form, that is repeated two times, with variations on the music each time it is repeated.
Psalm Offering 2 Opus 9, (c) 2018, Deacon Bob Wagner OFS. All rights reserved.
From top to bottom: Meg, Ruth, Rosemary, Sydney Jane (Meg’s daughter)
Ruthie’s mom, Rosemary Burg Ahmann, passed away on January 4th of this year. To say that her death was a great loss would be an understatement. The place in our hearts that Rosemary had, will always ache with longing and emptiness.
St. Patrick’s Day was the one day that Rosemary celebrated with an abandonment that truly revealed her DNA roots. Her father may have been a Burg, but her mother was a McNeilly, and, as it always seems, the Irish genes dominate over all genes of other nationalities. The amount of corn beef and cabbage consumed at her home on that day left a wee bit of a cloud of methane over the house.
Ruthie’s family were debating as to whether it was proper to continue Rosemary’s favorite celebration in her absence. Ruthie’s dad made it very clear that no matter what, the celebration would go on as it always had.
I have stated this before in other places, but we all grieve the death of our loved ones in our own particular way. I can wax poetic if need be, but the mode of expression that I use the most has always been music. I knew that it would only be a matter of time before my grieving Rosemary’s death would be expressed in a song. The attached music is something that I have composed in honor of this wonderful Irish/Swede lady, whose humor and down to earth wisdom has been a great joy and inspiration in my life from the time I met Ruthie. It is clear to me that those qualities that have endeared Rosemary to so many people are very apparent in the beautiful woman I married. Ruthie just puts her own spin on those qualities.
The overarching form of this music is ABA form. The A section is composed as an Irish jig. Within the A section there is the dominant melody, with alternate minor motifs sandwich in between. Think of it as this A1,A2,A1,A3,A1.
The music then seques to the B melody. Here the meter changes from 4/4 (four beats to a measure, the quarter note getting one beat) to 3/4 (three beats to a measure, the quarter note getting one beat). The music essentially changes from an Irish jig in quadruple meter to a waltz in triple meter. The tonality changes from the Key of F major to the key of Bb major … if you want to get technical.
The B section consists of 3 melodies like the A section. There is the dominant B melody with two alternate minor B melodies. B1,B2,B1,B3,B1.
There is a musical bridge that then reintroduces 4/4 meter and transitions to the key of F major. There is a recapitulation of all 3 A melodies, though slightly changed from the initial A section. The A melody then ends with a grand, majestic Coda.
Here is the music.
(c) 2018, by Deacon Bob Wagner OFS. All rights reserved.
A threnody is a song of lament. I began composing this music on February 15, 2018, the day after the horrific slaughter of students at the Marjory Stoneman Douglas High School in Parkland, Florida. It is meant to be a prayer of lamentation for the many men, women, and children who have been massacred by assault weapons in the United States. The little to no response from the manufacturers of those weapons or the NRA other than to arm more people with the same weapons make these groups complicit in the murders of these innocent people.
Three images were prominent in my mind as I composed this music. The first image is that of the many feet walking in cemeteries, over these many years of gun violence, to bring their dead loved ones to be buried. The countless children from the wee ones to college students, girlfriends and boyfriends, fiancés, brothers, sisters, husbands, wives, mothers, fathers indiscriminately slaughtered at school, universities, movie theaters, shopping malls, places of businesses, even Fort Hood.
The second image is that of the relentless chaos of the shooting. People scattering everywhere to escape the hail of bullets, bodies slaughtered left and right by the gunfire. The look of disbelief and horror on the faces of the dead, the dying, and the wounded as they lie where they have been slaughtered.
The third image is that of the victims’ loved ones visiting the graves of those they lost. The utter senselessness of their deaths. The cutting off of their lives before they could even begin to live.
The fourth image is that of the heavenly peace of the victims, held in the loving arms of the God who created them.
These images created the form of this music, namely: ABAC.
The A melody is comprised of an ostinato (a repeated harmonic or rhythmic pattern) made up of minor and diminished chords. The pattern is introduced as a melody in the higher range of the piano and continues in the lower range underneath variations of that initial melody. It is meant to sound like a funeral dirge, the steady beat the tromp of feet on the grassy surface of a cemetery. The tempo marking Lento con piangente translated means “slowly with falling tears.
The B melody is comprised of an extremely fast melodic and rhythmic pattern, strongly punctuated by accents and staccato. It is as relentless as the chaos experienced by those killed by the spray of bullets from assault weapons. There are only a few moments in the piece, where the ostinato pattern eases up only to return with great fury. As this section of the music comes to a close the funeral dirge in strong chords is reintroduced over the ostinato pattern gradually lessening in intensity and volume. The tempo of the B melody is Agitato, literally, “agitated”.
The A ostinatto pattern then is recapitulated at a faster tempo, as the family members return to the gravesite of their slaughtered loved ones to mourn.
This seques into the final part of the piece, the C melody. The expressive marking at this point being Con Grande Riverenza, “With Great Reverence”. The diminished and minor chords disappear, replaced with a hymn-like melody in the key of F major. The hymn tune begins simply as single notes, then in two part harmony, repeated in a Chorale arrangement of the hymn tune, followed by the melody in the lower range, supported by broken chords in the upper range, the melody returning in full chords in the upper range while arpeggiated chords are played in the lower range, climaxing with the melody in block chords in both hands, to end quietly as the piece began, only this time in peace.
I suggest you read this commentary prior to your first listening. It will help you to understand the music better. This music is rather long at 10 minutes in length.
Bob Wagner OFS
Psalm Offering 3, Opus 9 (c) 2018, Deacon Bob Wagner OFS. All rights reserved.
Since I do not have a picture of our grandchild who miscarried, I present this ultrasound of my daughter, Beth, in its stead.
Psalm Offering 6: Unlike the previous 5 Psalm Offerings of this Opus, this is specifically dedicated to “Baby Wagner”. Between the births of Aidan and Ollie, my daughter-in-law, Oliva, was pregnant with another child. Sadly, that pregnancy ended in a miscarriage. This Psalm Offering is dedicated to that beautiful baby I never got the opportunity to know. I found myself overwhelmed emotionally as I composed this Psalm Offering. I believe I finally allowed myself to grieve this lovely unborn child I never got to know. I like to think of this song as a lullaby to my unborn grandchild. When Ruthie first heard it, she found it emotionally moving. She said it was so beautiful, yet, it was also sad. I must confess that when I finished the composition of this piece, I wept. The music is composed in 3/4 meter. Similar to the 4th Psalm Offering there is a recurring harmonic and rhythmic ostinato pattern in the left hand throughout the entire piece. It is composed in Rondo form: melody 1, melody2, melody 1, melody3, melody1, Coda.
(c) 2017, Deacon Bob Wagner OFS. All rights reserved.
Sydney serving her great grandmother, Rosemary and her Aunt Teresa, tea.Sydney
Psalm Offering 5: This is a Mazurka (a Polish dance). Frederick Chopin was the master composer of Mazurkas. Unlike most Mazurkas written in 3/4 meter, this is written in 5/4 meter. The uneven meter of 5/4 time is a hard meter in which to dance. It would be akin to dancing with an extra leg. All that being said, this piano piece retains the vigorous exuberance of more classical Mazurkas.
(c) 2017, Deacon Bob Wagner OFS. All rights reserved.
Sydney, dancing at her cousin, Joan’s wedding.Owen and Alyssa
Psalm Offering 4: This song is in 5/4 time. Of all the 6 songs, this is the most challenging in terms of piano technique and rhythm. It is composed as a Nocturne, meant to evoke peace and tranquility.
There is a harmonic ostinato pattern (a repeated pattern of rhythm and harmony) in the left hand. The right hand plays variations of the melody above that ostinato pattern. It is written in Rondo form, melody 1, melody 2, melody 1, melody 3, melody 1, Coda (ending).
(c) 2017, Deacon Bob Wagner OFS. All rights reserved.
My grandchildren (from left to right): Cody (a cousin), Alyssa, Sydney, Owen, Aidan (missing, Oliver)
My grandchildren are my delight and my joy! For Christmas, I composed six songs for piano for my grandchildren: Alyssa, Owen, Aidan, Sydney, and Oliver. I have been giving piano lessons to Owen and Aidan and my initial intent was to compose piano music they could play at their level of competence. The first two songs fit into that category, and then, I got carried away composing music that was beyond their present playing level. The excuse I give is that eventually if they practiced, they will be able to play at this level of competence.
With the exception of the last song, all of the songs are dedicated to all my grandchildren. I figure that way they are not stuck with a song dedicated to them that they might not like.
Psalm Offering 1: This is the most rudimentary of the 6 piano compositions. For those of us who remember beginning band, this would be the “Hot Cross Buns” piece of the 6. This both Owen and Aidan can play with ease. It is in simple 3 part A-B-A form.
(c) 2017, by Deacon Bob Wagner OFS. All rights reserved.
I have just completed 6 Psalm Offerings written for my grandchildren. The first 5 songs were dedicated to all of the grandchildren. However, the 6th and final Psalm Offering I dedicated to “Baby Wagner.” Between the pregnancies of my grandsons, Aidan and Ollie, my daughter-in-law, Olivia, lost a baby due to a miscarriage. This song is for that beautiful baby that I never knew. The composing of this Psalm Offering evoked very powerful and overwhelming emotions within me. Perhaps, I finally was allowing myself the freedom to grieve the death of this little child. The music for me is laden with a profound beauty and sadness. As I completed the music I found myself weeping. Perhaps, you, too, will find yourself moved by the music.
Psalm Offering 6, Opus 8. (c) 2017 by Deacon Bob Wagner OFS. All rights reserved.
(Please reflect on the scripture passages and read the commentary before listening to the music.)
PSALM OFFERING 9, OPUS 7
A prayer for the conversion of human hearts and society to God’s justice.
But you, O Lord, reign forever; your throne endures to all generations. Why have you forgotten us completely? Why have you forsaken us these many days? Restore us to yourself, O Lord, that we may be restored; renew our days as of old. (Lamentations: 5: 19-21)
I will sprinkle clean water upon you, and you shall be clean from all your uncleannesses, and from all your idols I will cleanse you. A new heart I will give you, and a new spirit I will put within you; and I will remove from your body the heart of stone and give you a heart of flesh. I will put my spirit within you, and make you follow my statutes and be careful to observe my ordinances. (Ezechial 36: 25-27)
“Sleeper, awake! Rise from the dead, and Christ will shine on you.” Be careful then how you live, not as unwise people but as wise. (Ephesians 5: 14b-15)
And this is his commandment, that we should believe in the name of his Son Jesus Christ and love one another, just as he has commanded us. All who obey his commandments abide in him, and he abides in them. (1 John 3: 23-24)
“This is my commandment, that you love one another as I have loved you.” (John 15: 12)
And, so we come to the end of this Opus. A prayer, a prayer for the conversion of human hearts and human society to the justice of God. The duality of light and darkness in John’s Gospel is revealed all around us. So many people dwell and operate out of the darkness of our world, in which the highest principle is best summed in the question, “What’s in it for me?” We see it in our government, in our political parties, in business, and in all strata of human life. One could be overwhelmed by the hopelessness of such a suppression of light. Yet, like fireflies on a darkened night, there are many whose light illuminates the deep darkness of the world. Their light is fueled by the Great Commandment of Jesus to love as he loved. The light of God shines in these people, and as we encounter them in their daily lives, the light of God becomes contagious as all begin to desire the peace, the serenity, and joy that fills the lives of these people. And, so this musical prayer is exuberant, joy-filled, and filled with light. May we all join in on this dance of life, this dance of light, this dance of God’s justice!
ABOUT THE MUSIC: This is in the form of a Grand Waltz. As primarily a musician, I have played dances, but never have been much of a dancer. In my mind’s eye, I see the Reign of God as one in which all of humanity joins in a great, joyful, resplendent waltz with God. The primary melody of the waltz is in the key of F Lydian mode. The form of the song is Rondo form in which the A melody is heard time and time again amidst a number of other and more secondary melodies, some of these melodies being long and some of them lasting only a few measure. The form of this song is AABAACADAAEA Coda.
