Sunday 30th March 2025 Fourth Sunday of Lent Mothering Sunday Refreshment Sunday

  John Stainer “God so loved the world” from “The Crucifixion”

“The Crucifixion: A Mediation on the Sacred Passion of the Holy Redeemer” was composed in 1887 and first performed on 24^th February of that year. It was dedicated to his friend and pupil W Hodge and the choir of Marylebone Church.  It is a sacred oratorio for tenor and bass soli, SATB choir and organ. W J Sparrow Simpson wrote the libretto.  The work has been dismissed in the past, even Stainer himself calling it “rubbish” but it is continued to be a staple of church music since its first performance, especially around Easter. “God so loved the world” is one of the choral pieces, but the text can be used at any time in the church calendar, as it is reflecting part of the Eucharist.

Words:  Based on John 3:16-17

God so loved the world, that He gave His only-begotten Son, that whoso believeth in Him should not perish, but have everlasting life. For God sent not His Son into the world to condemn the world; but that the world through Him might be saved. 

Sir John Stainer (1840 – 1901) was an English composer and organist.  He was very popular during his life, but now little of his music is performed other than “The Crucifixion”. He was the Heather Professor of Music at Oxford, and his training of choristers and organists set standard that remain influential today.

He was born in Southwark, London, son of a cabinetmaker.  He was a chorister at St Paul’s Cathedral at the age of ten. At sixteen he was appointed organist at St Michael’s College, Tenbury.  He was later organist at Magdalen College, Oxford and the St Paul’s Cathedral. Whilst at Magdalen he was allowed to study as long as it did not interfere with his duties as organist.  He chose to do so and in 1864 gained his BA with his MA coming 2 years later. Due to poor eyesight he had to retire from St Paul’s whist in his forties and returned to Oxford to take up his chair. Queen Victoria honoured him with his knighthood in 1888 for his services to British music, the same year he retired from St Paul’s. He died unexpectedly whilst holidaying in Italy.

picture from Wikipedia

Sunday 9th March 2025 Lent 1

  "Turn thy face from my sins" by Thomas Attwood (1765 - 1838)  based on Psalm 51 vv 9-11.

Attwood was born in London, the son of a musician in the royal band. He became a chorister in the Chapel Royal by the age of nine.  He was sent abroad to study at the expense of the Prince of Wales (later George IV) who was impressed by his skill at the harpsichord.  He was a favourite pupil of Mozart. He returned to London in 1787.

In 1796 he was made organist of St Paul's and the same year composer of the Chapel Royal.  For George IV's coronation he wrote the anthem "I was glad".

Much of his work is forgotten, only a few anthems regularly performed including "Turn thy face from my sins".

                                                                  Taken from Wikipedia

ed including "Turn thy face from my sin

Wednesday 5th March 2025 Ash Wednesday

 Lord For Thy Tender Mercy's Sake  Music could be by either Farrant or John Hilton. This arrangement is by Anthony Green. Words from Bull, Christian Prayers and Holy Mediaition (1568)

Richard Farrant (c. 1525 – 30 November 1580) was an English composer, musical dramatist, theatre founder, and Master of the Children of the Chapel Royal. The first acknowledgment of him is in a list of the Gentlemen of the Chapel Royal in 1552. The year of his birth cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, found the first Blackfriars Theatre, and be the first to write verse-anthems. He married Anne Bower, daughter of Richard Bower who was Master of the Chapel Royal choristers at the time. With Anne he conceived ten children, one of whom was also named Richard.

Queen Elizabeth I

As a member of the Gentleman of the Chapel Royal, Farrant was active in ceremonies surrounding the royal family. He began his work with the Chapel Royal around 1550 under the reign of Edward VI. Fortunately, for Farrant, this is a time that saw huge developments in Latin Church Music. Composers like William Byrd and Christopher Tye were busy expanding and elaborating on the Church Music of the day. In Farrant's twelve years with the Chapel Royal, he was able to participate in funerals for Edward VI and Mary I, and coronations for Mary I and Elizabeth I. After his work there, he took up a post as lay vicar and organist at St. George's Chapel at Windsor.

For Farrant, the post at Windsor became a permanent one that he retained for the rest of his life. Along with this, he also acquired the position of Master of the Chapel Royal choristers in November 1569. Having the choirs of both of these institutions at his disposal gave him an outlet to showcase all of his compositions and plays. In fact, every winter he was able to produce a play for the Queen herself. These positions also allowed him to move back to London in 1576 and begin a public theater of sorts where he rehearsed some of his choir music openly. It was soon after, in 1580, that he died, having left his house to his wife.

Unlike many composers of his day that stuck to only music composition, Farrant also wrote many plays. One of his most important contributions to drama in England is of course the creation of the first Blackfriars Theatre. This eventually became one of the most important places in London for drama to develop during the Renaissance. Farrant is also one of the earliest and most well known composers that began to mix the two mediums of music and drama. It was this uncommon mixture that allowed him to begin to develop the composition style of 'verse.' This becomes prominent in a lot of his pieces including the anthems When as we sat in Babylon, Call to remembrance and Hide not thou thy face.

John Hilton (the elder) (1565 – 1609(?)) was an English countertenor, organist and composer of mainly sacred works.

Hilton is best known for his anthems "Lord, for Thy Tender Mercy's Sake" (which may actually be by one of the Farrants) and "Call to Remembrance".

Hilton was born in 1565. By 1584 he was a countertenor at Lincoln Cathedral. At the start of 1594 he became organist at Trinity College, Cambridge.

He was the father of John Hilton the younger, also a composer, which makes definitive assignation of their combined sacred works problematic; whereas his only secular work appears to have been the madrigal Fair Oriana, beauty's Queen, which he wrote for The Triumphs of Oriana.

He died, probably in Cambridge, prior to 20 March 1609.

Henry Bull (died 1577) was an English Protestant theological writer. He is now remembered as an ally of John Foxe in documenting the Marian exiles and recent religious history.

A native of Warwickshire, Bull was a demy of Magdalen College, Oxford, in 1535, and full fellow and B.A. in 1540. He was a prominent reformer in the college, in a group that included Thomas Cooper, Robert Crowley and John Foxe. He became rector of Courtenhall in early 1553.

When Mary I of England came to the throne later in 1553, Bull, with the help of Thomas Bentham, snatched a censer from the hand of the officiating priest and was expelled from Magdalen. A visitation of the college was held and, on 23 October 1553, the visitors deprived Bull of his fellowship. Anthony Wood says that he went into exile, which cannot be documented, but Strype states that he lived quietly at home as a Protestant.

After the accession of Elizabeth I of England, Bull held benefices, according to Wood. He collected correspondence and manuscripts, that were kept by Emmanuel College, Cambridge, and worked in parallel with Foxe's Actes and Monuments.

Bull edited the Apology of Bishop John Hooper (1562) and, in the same year, Hooper's Exposition of Psalm xxiii. Other commentaries of Hooper's on three psalms appeared in Certeine comfortable Expositions of … Master John Hooper on Psalms 23, 62, 72, 77, gathered by Mr. H. B. (1580). He was also the editor of Christian Praiers and Holy Meditacions which appeared first by 1570; an earlier work from Bull's collection was Lidley's Prayers (1566). Christian Praiers was reprinted later in the century, and by the Parker Society.

The major martyrological collection, Certain Most Godly, Fruitful and Comfortable Letters of such True Saintes and Holy Martyrs as in the Late Bloodye Persecution Gave their Lyves, was published in 1564, as by Miles Coverdale. In effect, it was by Bull.

Bull translated from Martin Luther A Commentarie on the Fiftene Psalmes called Psalmi Graduum, printed by Thomas Vautroullier (1577), with a preface by Foxe.

Biographies from Wikipedia

The words are from "Lydney's Praiers", which form a section of Henry Bull's Christian Praiers and Holy Meditacions, 1568. This anthem has been attributed to Richard Farrant, but his name was never associated until late in the 18th century. The earlier MSS agree to ascribing it to the elder John Hilton, of Trinity College, Cambridge, and there is no good reason to doubt that he was the composer.  The contrapunctal Amen which has sometimes been printed at the concluson, is not found in any text older than the beginning of the 18th century;it was probably first composed and added at about that date.

Taken from RSCM The Cross of Christ - a devotion fro congregation and choir.

Sunday 2nd March 2025 Sunday befoe Lent

 Ave Verum Corpus Mozart

Ave Verum Corpus (Hail, true body) is a setting of the Latin Hymn, in D major.  It was written for Anton Stoll, a friend and church musician of St Stephen, Baden.

It was composed in 1791 whilst visiting his wife Constanze who was pregnant with their 6th child and staying at the spa Baden bei Wien.  It was composed for the feast of Corpus Christi.  Mozart's manuscript has only "Sotto voce" marked at the beginning with no other markings.

Wolfgang Amadeus Mozart (1756 - 1791)

Mozart was a child prodigy competent on keyboard and violin.  He began composing at the age of five. He performed around Europe for royalty.  At the age of 17 he was engaged as a musician at the Salzburg court but was restless and travelled looking for a better position.  Whilst visiting Vienna he was dismissed from his position in Salzburg.  He remained in Vienna, where he gained fame but no financial security.

He composed more than 600 works, many acknowledged as the finest in symphonies, concertante, operatic, chamber and choral music.  He remains one of the best loved classical composers, whose work influenced many composers.  Joseph Haydn said of Mozart "Posterity will not see such a talent again in 100 years."

W A Mozart from Wikipedia

Sunday 23rd Fenruary 2025 Second Sunday before Lent

 The Irish Blessing.  Bob Chilcott  Words traditional

This is a traditional Irish blessing put to music by Bob Chilcott

May the road rise to meet you.
May the wind be ever at your back.
May the sun shine warm upon your face;
the rains fall soft upon your fields
and until we meet again,
may God hold you in the palm of His hand.

As a composer, conductor, and singer, Bob Chilcott has enjoyed a lifelong association with choral music, first as a chorister and choral scholar in the choir of King's College, Cambridge, and for 12 years as a member of the King's Singers. He became a full-time composer in 1997, embracing his career with energy and commitment, and producing a large catalogue of music for all types of choirs which is published by Oxford University Press.
Music for Christmas forms a considerable part of his most popular repertoire, and works for the season include Wenceslas, My Perfect Stranger, and On Christmas Night. In his carols he sets both new and traditional texts, and writes for mixed-voice and upper-voice choirs.
He has written substantial sacred works including the St John Passion for Wells Cathedral Choir and the Salisbury Vespers. A Little Jazz Mass and the Requiem are amongst a number of works which continue to be performed worldwide. Other works include The Angry Planet, composed for the 2012 BBC Proms, and The Voyage for Age UK Oxfordshire, which in 2017 was nominated for a Royal Philharmonic Society Award. He has written many pieces for children, including his much-loved song, Can you hear me?, and a significant amount of music for the church. In 2013 he wrote The King shall rejoice for the service in Westminster Abbey to celebrate the 60th anniversary of the coronation of Her Majesty, Queen Elizabeth II.
Bob has conducted choirs in more than 30 countries worldwide and has worked with many thousands of amateur singers across the UK in a continuing series of Singing Days. For seven years he was conductor of the Chorus of The Royal College of Music in London and since 2002 he has been Principal Guest Conductor of the BBC Singers.
His music has been widely recorded by leading British choirs and groups including King's College, Cambridge, Wells Cathedral, Westminster Abbey, The King's Singers, The Sixteen, Tenebrae, The BBC Singers, The Bach Choir, Commotio, and Ora. In 2016 Bob enjoyed a collaboration with the celebrated singer Katie Melua and the Gori Women's Choir on the album In Winter, which reached the top 10 in the album charts in the UK and Germany. His first Christmas disc, The Rose in the Middle of Winter, was recorded by Commotio. In 2017 two new discs were released by Commotio and Choralis – All Good Things on Naxos, and In Winter's Arms on Signum, his first recording collaboration with an American choir. Newer recording projects are with Gloucester Cathedral Choir, Houston Chamber Choir, and Wroclaw Philharmonic Choir.
In 2017 Bob was awarded an Honorary Fellowship of The Royal School of Church Music.

Taken from  bobchilcott.com

Bob Chilcott from Wikipedia

 

Sunday 9th February 2025 4th before Lent

The Call   Ralph Vaugh Williams  from Five Mystical Songs  text George Herbert

George Herbert (3 April 1593 – 1 March 1633) was an English poet, orator, and priest of the Church of England. His poetry is associated with the writings of the metaphysical poets, and he is recognised as "one of the foremost British devotional lyricists." He was born in Wales into an artistic and wealthy family and largely raised in England. He received a good education that led to his admission to Trinity College, Cambridge, in 1609. He went there with the intention of becoming a priest, but he became the University's Public Orator and attracted the attention of King James I. He sat in the Parliament of England in 1624 and briefly in 1625.

After the death of King James, Herbert renewed his interest in ordination. He gave up his secular ambitions in his mid-thirties and took holy orders in the Church of England, spending the rest of his life as the rector of the rural parish of Fugglestone St Peter, just outside Salisbury. He was noted for unfailing care for his parishioners, bringing the sacraments to them when they were ill and providing food and clothing for those in need. Henry Vaughan called him "a most glorious saint and seer".

He was never a healthy man and died of consumption at age 39.

Taken from Wikipedia.

Ralph Vaughan Williams  (12 October 1872 – 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.

Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer Maurice Ravel helped him clarify the textures of his music and free it from Teutonic influences.

Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are Fantasia on a Theme by Thomas Tallis (1910) and The Lark Ascending (1914). His vocal works include hymns, folk-song arrangements and large-scale choral pieces. He wrote eight works for stage performance between 1919 and 1951. Although none of his operas became popular repertoire pieces, his ballet Job: A Masque for Dancing (1930) was successful and has been frequently staged.

Two episodes made notably deep impressions in Vaughan Williams's personal life. The First World War, in which he served in the army, had a lasting emotional effect. Twenty years later, though in his sixties and devotedly married, he was reinvigorated by a love affair with a much younger woman, who later became his second wife. He went on composing through his seventies and eighties, producing his last symphony months before his death at the age of eighty-five. His works have continued to be a staple of the British concert repertoire, and all his major compositions and many of the minor ones have been recorded.

Taken from Wikipedia.

Come, my Way, my Truth, my Life:

Such a Way, as gives us breath:

Such a Truth, as ends all strife:

Such a Life, as killeth death.

Come, My Light, my Feast, my Strength:

Such a Light, as shows a feast:

Such a Feast, as mends in length:

Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart:

Such a Joy, as none can move:

Such a Love, as none can part:

Such a Heart, as joys in love.

Sunday 2nd February 2025 Evensong

Magnificat and Nunc Dimittis   Stanford in C

Taken from Wikipedia.

The Magnificat (Latin for "[My soul] magnifies [the Lord]") is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the Byzantine tradition, the Ode of the Theotokos . It is traditionally incorporated into the liturgical services of the Catholic Church (at vespers) and of the Eastern Orthodox churches (at the morning services). It is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn. Its name comes from the incipit of the Latin version of the canticle's text.

The text of the canticle is taken directly from the Gospel of Luke (1:46–55) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat.

Within the whole of Christianity, the Magnificat is most frequently recited within the Liturgy of the Hours. In Western Christianity, the Magnificat is most often sung or recited during the main evening prayer service: Vespers in the Catholic and Lutheran churches, and Evening Prayer (or Evensong) in Anglicanism. In Eastern Christianity, the Magnificat is usually sung at Sunday Matins. Among Protestant groups, the Magnificat may also be sung during worship services, especially in the Advent season during which these verses are traditionally read.

The Nunc dimittis, also known as the Song of Simeon or the Canticle of Simeon, is a canticle taken from the second chapter of the Gospel of Luke, verses 29 through 32. Its Latin name comes from its incipit, the opening words, of the Vulgate translation of the passage, meaning "Now let depart". Since the 4th century it has been used in services of evening worship such as Compline, Vespers, and Evensong.

The title is formed from the opening words in the Latin Vulgate, “Nunc dimittis servum tuum, Domine" ("Now thou dost dismiss thy servant, O Lord"). Although brief, the canticle abounds in Old Testament allusions. For example, "Because my eyes have seen thy salvation" alludes to Isaiah 52:10.

According to the narrative in Luke 2:25-32, Simeon was a devout Jew who had been promised by the Holy Spirit that he would not die until he had seen the Messiah. When Mary and Joseph brought the baby Jesus to the Temple in Jerusalem for the ceremony of redemption of the firstborn son (after the time of Mary's purification: at least 40 days after the birth, and thus distinct from the circumcision), Simeon was there, and he took Jesus into his arms and uttered words rendered variously as follows:

Lord, now lettest thou thy servant depart in peace :

according to thy word.

For mine eyes have seen :

thy salvation;

Which thou hast prepared :

before the face of all people;

To be a light to lighten the Gentiles :

and to be the glory of thy people Israel.

 Sir Charles Villiers Stanford (1852-1924) thought to be one of our great British composers was actually Irish, born in Dublin, although educated at The University of Cambridge and then studied music in Leipzig and Berlin.

Whilst an undergraduate, he was appointed organist of Trinity College, Cambridge and was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life.  He was also Professor of Music at Cambridge.  His pupils included Gustav Holst and Ralph Vaughan Williams whose fame went on to surpass his own.

He is best remembered for his sacred choral compositions for church performance in the Anglican tradition. Along with Hubert Parry and Alexander Mackenzie, he was thought responsible for the renaissance of music in the British Isles. 

C V Stanford in 1921 from Wikipedia

Through the Day Words by T Kelly (1769-1854) Music from Thomas Morley's First Book of Ayres (1600) adapted by Rev H W Sparking

The words are taken from an anthem for Compline, a service at the end of the day, set to music by Thomas Morley. It is set for two voices.

Through the day thy love has spared us;

Now we lay us down to rest;

Through the silent watches guard us,

Let no foe our peace molest:

Jesu thou our guardian be;

Sweet it is to trust in thee.

Pilgrims here on earth and strangers,

Dwelling in the midst of foe,

Us and ours preserve from danger, 

In thine arms we may repose,

And when life's sad day is past,

Rest with thee in heav'n at last.

Thomas Morley (1557 – early October 1602) was an English composer, theorist, singer and organist of the Renaissance. He was one of the foremost members of the English Madrigal School. Referring to the strong Italian influence on the English madrigal, The New Grove Dictionary of Music and Musicians states that Morley was "chiefly responsible for grafting the Italian shoot on to the native stock and initiating the curiously brief but brilliant flowering of the madrigal that constitutes one of the most colourful episodes in the history of English music."

Living in London at the same time as Shakespeare, Morley was the most famous composer of secular music in Elizabethan England. He and Robert Johnson are the composers of the only surviving contemporary settings of verse by Shakespeare.

Morley was active in church music as a singer, composer and organist at St Paul's Cathedral. He was also involved in music publishing. From 1598 up to his death he held a printing patent (a type of monopoly). He used the monopoly in partnership with professional music printers such as Thomas East.

Morley was born in Norwich, the son of a brewer. Most likely he was a singer in the local cathedral from his boyhood, and he became master of choristers there in 1583. He may have been a Roman Catholic, but he was able to avoid prosecution as a recusant, and there is evidence that he may have been an informer on the activities of Roman Catholics.

It is believed that Morley moved from Norwich to London sometime before 1574 to be a chorister at St. Paul's Cathedral. Around this time, he studied with William Byrd, whom he named as his mentor in his 1597 publication A Plain and Easie Introduction to Practicall Musicke. Byrd also taught Morley's contemporary, Peter Philips. In 1588 he received his bachelor's degree from the University of Oxford, and shortly thereafter was employed as organist at St. Paul's in London. His young son died the following year in 1589. He and his wife Susan had three more children between 1596 and 1600.

In 1588 Nicholas Yonge published his Musica transalpina, the collection of Italian madrigals fitted with English texts, which touched off the explosive and colourful vogue for madrigal composition in England. Morley found his compositional direction at this time, and shortly afterwards began publishing his own collections of madrigals (11 in all).

Morley lived for a time in the same parish as Shakespeare, and a connection between the two has been long speculated, but never proven. His famous setting of "It was a lover and his lass" from As You Like It has never been established as having been used in a performance of Shakespeare's play during the playwright's lifetime. However, given that the song was published in 1600, there is evidently a possibility that it was used in stage performances.

While Morley attempted to imitate the spirit of Byrd in some of his early sacred works, it was in the form of the madrigal that he made his principal contribution to music history. His work in the genre has remained in the repertory to the present day, and shows a wider variety of emotional colour, form and technique than anything by other composers of the period. Usually his madrigals are light, quick-moving and easily singable, like his well-known "Now Is the Month of Maying" (which is actually a ballett); he took the aspects of Italian style that suited his personality and anglicised them. Other composers of the English Madrigal School, for instance Thomas Weelkes and John Wilbye, were to write madrigals in a more serious or sombre vein.

In addition to his madrigals, Morley wrote instrumental music, including keyboard music (some of which has been preserved in the Fitzwilliam Virginal Book), and music for the broken consort, a uniquely English ensemble of two viols, flute, lute, cittern and bandora, notably as published by William Barley in 1599 in The First Booke of Consort Lessons, made by diuers exquisite Authors, for six Instruments to play together, the Treble Lute, the Bandora, the Cittern, the Base-Violl, the Flute & Treble-Violl.

Morley's Plaine and Easie Introduction to Practicall Musicke (published 1597) remained popular for almost two hundred years after its author's death, and is still an important reference for information about sixteenth century composition and performance.

Thomas Morley was buried in the graveyard of the church of St Botolph Billingsgate, which was destroyed in the Great Fire of London of 1666, and not rebuilt. Thus his grave is lost.