The Lord, the King of Archangels: O come, let us worship Him
— Invitatory for the Common of Holy Angels
The name of the archangel St. Michael means “Who is like God?” He is mentioned in the book of Daniel (12:1), Jude (v. 9), and Revelation (12:7). He serves as the angelic helper of Israel in the battle against all forces of evil. The narrative in the Epistle for The Feast of St. Michael and All Angels (hereafter “Michaelmas”) describes Michael’s final casting down of Satan, the enemy of God’s people, an end-times victory made possible by Christ’s victory on the cross. St. Michael is often associated with Gabriel and Raphael, the other chief angels who surround the throne of God, although only Michael is specifically described in the Scriptures as “the archangel.” Since Michael and all angels are “charter members” of the heavenly choir, there is no shortage of sacred music for Michaelmas, including choral works by Bach, Mendelssohn, and Willan.
It will come as no surprise to readers of “Lifted Voice” that the principle expression of sacred choral music from the pen of J. S. Bach (1685–1750) was the cantata, a sacred work usually consisting of about 20–25 minutes of music for choir and small orchestra, based on the propers of the day. The typical Sunday morning cantata in the 1720’s in Bach’s Leipzig included an elaborate opening chorus (with orchestra), a few soloistic sections (recitatives and arias), and a closing chorale (German hymn). This is certainly the case in Cantata 130, “Lord God, We All to Thee Give Praise” (see TLH 254 for the entire hymn text by Philipp Melanchthon) for Michaelmas.
The text of the cantata is a combination of direct quotes and paraphrases of Melanchthon’s only hymn. As with the hymn, the full text of the cantata is a perfect match for the historic Epistle (Revelation 12:7–12) and Gospel (St. Matthew 18:1–10) for Michaelmas. The melody or cantus firmus is the familiar tune, OLD HUNDRETH, originally associated with Psalm 100, but now perhaps best known as the tune for “Praise God from Whom All Blessings Flow.” In the following performance of the first movement (sung in German), praise and thanksgiving for the angel host is depicted with jubilant orchestral music (including trumpets and tympani), a sustained melody in the soprano line, and vocal flourishes in the other voices.
The text of the cantata is a combination of direct quotes and paraphrases of Melanchthon’s only hymn. As with the hymn, the full text of the cantata is a perfect match for the historic Epistle (Revelation 12:7–12) and Gospel (St. Matthew 18:1–10) for Michaelmas. The melody or cantus firmus is the familiar tune, OLD HUNDRETH, originally associated with Psalm 100, but now perhaps best known as the tune for “Praise God from Whom All Blessings Flow.” In the following performance of the first movement (sung in German), praise and thanksgiving for the angel host is depicted with jubilant orchestral music (including trumpets and tympani), a sustained melody in the soprano line, and vocal flourishes in the other voices.
| Lord God, we all to Thee give praise, Thanksgivings meet to Thee we raise, That angel hosts Thou didst create / Around Thy glorious throne to wait. — TLH 254.1 |
Felix Mendelssohn’s (1809–1847) oratorio Elijah begins with the narrative of Elijah’s ministry in I Kings 17. Elijah announces to Israel that the Lord will send a drought upon the land, “neither dew nor rain, but according to my word” (v. 1). The people resist the preached word and attempt to release Elijah from his prophetic role of calling them to repentance. An angel orders Elijah to take a “sabbatical” to Cherith’s Brook, to drink the waters of the brook and to be fed by ravens. At this point in the narrative, the drama pauses as the libretto turns to Psalm 91:11–12, “For he shall give his angels charge over thee,” etc. The promise of Psalm 91, the Soldier’s Psalm, is fitting as a promise for Elijah and as the Gradual for Michaelmas because the Lord fulfills the promises of Psalm 91 through St. Michael, patron and protector of the Church. The music is what I like to call “vintage Mendelssohn”—accessible and melodic, logical and beautiful—with the double choir configuration perhaps depicting companies of angels surrounding the faithful in the hour of need.
| For he shall give his angels charge over thee, that they shall protect thee in all the ways thou goest. That their hands shall hold and guide thee, lest thou dash thy foot against a stone. |
The Canadian composer, Healey Willan (1880–1968) is one of few recent church composers who has found a rightful place among the truly great composers for the church. Willan’s output of sacred music is impressive in its quantity and quality, especially when considered in the context of the troubled twentieth century. “An Apostrophe to the Heavenly Hosts” is an expansive and demanding work. Take a minute to survey the text below, which is adapted from Eastern liturgies, followed by John A. L. Riley’s familiar hymn stanza, “Ye Watchers and Ye Holy Ones.” The text is a trinitarian, substantive, and truly angelic summons for angels, archangels, and all the company of heaven to join in the Sanctus. The work begins with little more than a chant and then gradually expands into a full nine minutes of unaccompanied choral music that spans the full range of dynamics, emotions, and vocal forces. The effect is nothing short of stunning, so that what is said of the angels in the text – soaring aloft, born on pinions, hymning in answering ranks, etc.—is also true of the music of those who raise the glad strain, “Alleluia!”
| Invoking the thrice threefold company of the Heavenly Hosts, sing we: Fire unquenchable encircling the resplendent and life-giving Trinity, Ye six-winged Seraphim, and ye, the many-eyed Cherubim who soar aloft and are borne on pinions, Hymning in answering ranks the Thrice Holy, And ye, the Thrones, that unite with them in the first Hierarchy of Heaven, Praise, O praise the King of Glory, and transform our praises into the likeness of your heavenly song. Amen. Ye who perform the one Eternal Will, Ye orders of Dominions, Princedoms, Powers, Conform our wills to His, the Strong, the Holy, the Unchanging Lord. Amen. Ye ministers of mercy, messengers of grace, Virtues, who govern men. And myriad hosts of Archangels and Angels, succour and defend us. Hail, Michael, Prince of Heaven, and Vanquisher of Hell, Hail, Gabriel, Bringer of the Evangel, Sword of GOD, And Raphael, Spirit of Healing, Hail, Ariel, Strength of God, and Uriel, His Light, And Hail, ye countless hosts. Praise with us the One Holy, the One Holy Strong, the One Holy Immortal. Amen. Ye watchers and ye holy ones, Bright Seraphs, Cherubim and Thrones, Raise the glad strain— Alleluia! Cry out Dominions, Princedoms, Powers, Virtues, Archangels, Angels’ choirs, Alleluia. . . . |
The next musical excerpt is not categorized as traditional church music, but it is worth including for its dramatic depiction of the apocalyptic battle described in the Epistle for St. Michael and All Angels. Ottorino Respighi’s (1879–1936) symphonic work in four movements, “Church Windows” (1926) is an all-orchestral depiction of four biblical scenes, inspired by four stained glass windows. Though he never revealed the location of these windows, the four pictorial scenes—The Flight Into Egypt, Saint Michael the Archangel, The Matins of Saint Clare, and Saint Gregory the Great—might someday be classified as “Biblical Tone Poems” since they beautifully depict scenes from church history, but without the aid of words.
Listen to the scene of St. Michael the Archangel with the biblical account of the slaying of the dragon in Revelation 12:7–12 in your mind. The principal theme is intoned in the lowest registers of the orchestra. It is powerful, thrusting and stentorian—truly the music of battle. The stormy scene briefly gives way to an offstage trumpet, which “steals on the ear the distant triumph song” (TLH 463.5), a picture of eschatological hope in the midst of the storm. The final gong depicts the final casting down of the dragon (see the artwork at the head of this article), a note of victory that seems to echo in eternity.
Listen to the scene of St. Michael the Archangel with the biblical account of the slaying of the dragon in Revelation 12:7–12 in your mind. The principal theme is intoned in the lowest registers of the orchestra. It is powerful, thrusting and stentorian—truly the music of battle. The stormy scene briefly gives way to an offstage trumpet, which “steals on the ear the distant triumph song” (TLH 463.5), a picture of eschatological hope in the midst of the storm. The final gong depicts the final casting down of the dragon (see the artwork at the head of this article), a note of victory that seems to echo in eternity.
I mentioned at the outset that Michaelmas is celebrated on September 29th, but why has the church chosen this date for Michaelmas? Scholars generally cite two possibilities: the dedication of the first major cathedral named “St. Michael” and/or the position of September 29th after the fall equinox, bringing shorter days and longer nights. Both theories carry historical weight and academic merit, but the latter is no doubt more prominent in the mind of those who continue to celebrate St. Michael and All Angels Day. Indeed, the night of spiritual darkness is growing longer as “[Satan] subtly lies in wait / To ruin school and Church and State” (TLH 254.5). We live in a world where our GPS functions will take us any place we want to go with hardly a thought, but we struggle to select the correct bathroom in public places! In the midst of the darkness, the Children of Light summon St. Michael and all angels in the words of the Collect of the Day, which also serves well as a daily Collect for the End Times:
| Everlasting God, You have ordained and constituted the service of angels and men in a wonderful order. Mercifully grant that, as Your holy angels always serve and worship You in heaven, so by Your appointment they may also help and defend us here on earth. |
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