The University of Michigan Men’s Glee Club, 150th Anniversary Concert
April 10, 2010, Hill Auditorium, University of Michigan, Ann Arbor
“Ave Maria” by Franz Biebl
Recorded from the audience and mastered by Christopher Kou.
If you squint, you can see my dad standing center stage (click on the image to enlarge). Also, there are more singers from the current glee club membership on the balcony above, not pictured here.
I can understand why some may be a bit wary of using the word Eucharist to refer to what has been called the “Lord’s Table,” the “Communion,” or the “Lord’s Supper.” After all, isn’t Eucharist a Roman Catholic term? Don’t we want to distance ourselves from doctrines like transubstantiation, the veneration of the host, and a great many other abuses of the Roman Church in history?
Well, yes, we should distance ourselves from those things. But we should not throw out what is really a Biblical name for the memorial meal that Christ gave to the Church. “Eucharist” simply means “Thanksgiving” in Greek. It is used to refer to the Lord’s Supper because at the last supper before his passion, Jesus took bread and broke it, “εὐχαριστήσας” — “having given thanks.”
In this way, Eucharist became the Church’s word to refer to the Supper, and more specifically to the Prayer of Thanksgiving itself. It is a good word, and more importantly a Biblical word. As we should strive not only for Sola Scriptura, but also Tota Scriptura, and since it is a good and Biblical tradition of the Church under the guidance of the Spirit in history, I think Reformed Christians can be peaceful about referring to Jesus’ memorial meal as the Eucharist.
There are two good reasons for calling the meal Eucharist: By calling it thus, we claim and acknowledge our historic roots in the ancient Church, and we show ourselves to be in solidarity with the saints of the last 2,000 years. And, we get to reclaim the Biblical meaning of the word, giving us an inroad to address historical abuses and misconceptions while assuring other orthodox Christians that we are, indeed, talking about the same thing.
I’m laying out the structure of the Book of Revelation as part of my study of liturgy. This is just the structure from my initial observations. I need to compare notes with commentaries particularly in chapters 5-18 to see how these sections have been read historically. I also need to develop the implications such a structure has for Christian worship. Comments are welcome.
Chapter 1:1-3
Introduction and Authorship
1:4-8
Salutation and doxology
1:10-19
The liturgical setting. “I was in the Spirit on the Lord’s Day.” Meeting with God. Note John meets an angel (messenger) first.
Chapter 2-3
To the seven churches, a call to repentance.
Chapter 4
Ascension. Having dealt with sin, the door is opened, and John is caught up to the throne room of God. Creatures of heaven say sanctus. “Holy, Holy, Holy . . . .” The elders reply, “Worthy are you, our Lord and God . . . for you created all things, and by your will they existed and were created.” It’s a hymn celebrating God’s work as creator.
Chapter 5-18
The Word of the Lord. These chapters recount the entire history of redemption, from the sealing of the elect (Chapter 7), to the fall of the false Bride (Chapter 18).
Chapter 19:1-10
The fall of the Harlot is cause for rejoicing because it results in the exaltation of the true Bride, Christ’s Church. The multitude sings “Hallelujah” because salvation is complete. The Bride is revealed and she adorns herself for the Marriage Supper of the Lamb.
19:11-21; 20:1-5
The commission of the Church for the rest of history.
Chapter 20:6-14; Chapter 21-22
The eschatological hope of Christ’s return in glory.
When Andrea sings . . . my heart melts. How could it not?
I discovered Andrea Ross rather by accident. I believe Amazon recommended her album to me several months ago after I had viewed something by Hayley Westenra. Andrea’s album had just been released exclusively in the UK, and the Amazon price tag was $45. I took a pass on it in spite of the intriguing samples I heard on her website. I saved a link, however.
Last week I was cleaning out my computer and ran across the link. Who is Andrea Ross? I wondered, and why had I bookmarked her link? That took me to her website for the second time, where I rediscovered her. This time, with the price of the album half of what it used to be, I couldn’t pass it up.
I found her voice entirely captivating, and she has a great story to go along with her sparkling persona. Andrea played the title role in Annie at age 11; at age 14 she was “16 going on 17” in The Sound of Music. When she was 13 she sent a karaoke demo tape to Andrew Lloyd Webber. That led directly to her first record contract with Universal at age 15 and a starring role in Andrew Lloyd Webber’s latest musical, Whistle Down the Wind.
Listening to her sing, one can hear immediately what Andrew Lloyd Webber recognized in her. She has a very mature vocal style for her age (or any age). Her diction is perfect, her voice has depth and richness, while losing none of its innocence. She draws on her stage acting experience, giving her delivery a varied spectrum of emotion and expression.
That would be more than enough to seal the deal as a singer, but beyond all that, Andrea also happens to be a remarkably beautiful girl. Visually, her performance absolutely glows with a tender and effortless grace. It’s a stunning combination that one doesn’t often find. I could go on about it, but I won’t. See for yourself. Check out my sidebar media player (I have 9 of her songs on the playlist) and the linked YouTube videos.
Unfortunately, Andrea’s album Moon River suffers from inconsistent recording quality and lackluster mixing and mastering. It ranges from “quite good” to “what were they thinking?”
Andrea’s voice sometimes gets lost in the mix, with the orchestra or the background choir drowning her out—not because her voice is too quiet or weak, but because the levels on her track have been inexplicably dropped relative to the other tracks. This is especially apparent in “You Raise Me Up.”
Sometimes the processing on her vocal track is tastefully subtle, allowing the listener to hear her voice as it really is (as in “Learn To Be Lonely”), and at other times a rather ugly and artificial-sounding reverb plate DSP has been applied (as in “You Raise Me Up”), which is a shame, since her voice does not need to be covered by any processing. The most I would apply to it is perhaps a very light convolution reverb DSP just to add some “real” space.
Despite its many flaws, Moon River is a more-than-worthwhile album simply because of Andrea. It is still a UK exclusive album (even though Andrea is a Boston resident), but hopefully she’ll be brought to the attention US audiences soon, especially after her US tour with Whistle Down the Wind, which finished last September.
History, Music | Christopher Kou | 
April 12, 2010 6:35 PM | 
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