Scarsdale Congregational Church

John Schuder, with his great talent, greater patience, warm sense of humor and love for music is a blessing to this church. Being a part of the choir and singing this very beautiful and challenging piece of music is both exciting and rewarding. I hope that the members of the congregation will open their souls as well as their ears and let John's inspiring music flow through them and uplift them. Thoughts from Judy Bromley, choir member

John's piece was incredible and his closing organ piece spectacular. He is an inspiration to us all. From Linda Daily, choir member

The anthem was a gift not only for the music, but for the lyrics. The words from the psalm were perfect in many ways--they aptly formed the basis for the sermon and the entire anniversary celebration.

John Schuder is not only a gifted musician, but is clearly a deeply spiritual and learned man in the religious word. We thank him for this gracious gift he has given to us which has so enriched our own spiritual lives. From Ruth Fontana, choir member

If anyone other than Lucy Werner had asked me to write about "how it is to sing" John Schuder's anniversary piece, I would have politely declined. First, it's incredibly presumptuous to pretend that I have even a smidgen of John's musical knowledge and talent and it's terribly daunting to even make the attempt. Secondly, for me, sacred music is as close as I get to a glimpse of the Holy, and to be part of a group producing that music brings me to a place of comfort and joy where the interconnectedness of us all with the Divine becomes a deeply-felt experience.

However, the experience is complete non-verbal: we simply don't have the vocabulary for it. But ... because it was the Lucy Werner who asked, and because John's ministry through music has meant so much to me, I shall make the attempt with the proviso that these are the feelings of just one individual. With apologies to John, then, here goes.

Just as John's process of composition was no doubt just that -- a process -- so too, was my experience as singer a process, first of discovery and then of heartfelt delight and deep spiritual insight, a momentary blissful "aha!" When John first presented his piece to the choir and after we initially sang through the piece, my first reaction was keen intellectual admiration. There is a lot going on in this piece in a very short period of time, both musically and emotionally! It's like the difference between reading a short poem and a full-length novel: just as every line of poetry condenses the equivalent of a book chapter into a pure crystalline gem, every measure of John's piece provides a pristine jewel integrating form and content. And, just as a line of poetry may contain a puzzling metaphor, John has included a few surprises along the way which, at first, seem to jar the senses but then, like a poem's metaphor which eventually becomes clear, are perfectly resolved into a satisfying whole. Thus, the first task as a singer (in addition to the obvious: learning the notes!) is to understand how all the pieces fit into the whole and then to translate that understanding into music and emotional feeling.

The second stage, then, is the "translation process" and, in a short piece like this, it's quite difficult. One doesn't have the time to luxuriate in a lengthy unfolding process like one would, for example, in an extended concerto or, to return to the earlier metaphor, a full-length novel. Virtually each phrase conveys a different musical element, meaning and emotion. Thus, I must constantly be prepared to sing not only what's intended at the moment but be alert to what's coming next so that the tension of the musical story is held tight and the whole becomes clear. In John's piece, the three main themes are intricately interwoven, and if I let one strand fall, the entire braid falls apart.

Finally, the process takes this singer out of the head -- past the intellectual admiration and the translation of parts into the whole -- ad into the entire body where it is gripped by both heart and soul. This is the "magic time," the time of true understanding when the music comes alive, becomes part of me, and the feeling of interconnectedness takes over. While John's piece can be interpreted on one level as a tribute to the "goodly heritage" of SCC, for me it had a much deeper impact. And, here, I'm sure I depart from John's intent for, while I'm sure he intended to demonstrate our larger heritage as well, he probably didn't intend to go in the direction his piece seemed to take me.

With a second apology to John, then, here is how his piece "spoke" to me. The piece opens with the recognition and praise of God who has always been with us -- "you have been our dwelling place in all generations" -- and with the notion that it is WE WHO HAVE CHOSEN (my emphasis) to believe in God's nurturance and life-giving care -- "the Lord is my chosen portion and my cup." The music is strong, declarative, and melodic. For me, however, both the music and the words convey an almost blind, "creedal-like" adherence to Christian tenets. (Of course we praise the Lord -- that's what "good Christians" choose to do!) But, then, an amazing thing happens! In what is my most favorite phrase in the whole piece, a discordant interjection is introduced to remind us from whence our goodly heritage has come. It's as if God is whispering to that still small voice inside each of us, "Wait a minute, it is I who have chosen you, it is I who have given you your nurturing portion and cup, it is I who have given you a goodly heritage." The phrase is repeated, individual voices are joined by others as the recognition of the interjection's truth grows, and the music increases in intensity as the realization of the immensity of God's love sets in, so that, by the end of this section, the full chorus proclaims a genuine knowledge of our TRUE goodly heritage, at first by loud, ringing acclamation and then, in the last phrase, by quiet, gentle conviction and acceptance grounded not in creed but in almost overwhelming love.

Having been raised beyond creed to a "personal knowing," then, the third and last section of the piece can only become an appropriate heartfelt prayer that God continues to love us and we, in turn, return God's love through our deeds -- "Let God's favor be upon us. O prosper the work of our hands." Thus, for me, the final Amen becomes an exuberant ode to joy -- a resounding "yes" to God's love and our desire to return that love. It IS a goodly heritage! And, it is in that final Amen that, as I feel my voice resonating in my own chest, I also feel it reverberating not only outward to all around me but also above and below me as if I were suspended in space. It is an incredibly spiritual moment, both expansive and transcendant.

I wish that everyone in the congregation had the privilege of working with John Schuder so they would understand how truly life-affirming and deeply spiritual the experience is. His ministry to the soul through music is genuine and, ultimately, selfless. He has given us a rare gift, his own goodly heritage. From Sue Herner, choir member