Sunday 3rd August 2025 Seventh Sunday after Trinity

The Magnificat and Nunc Dimitis in B flat  C V Stanford

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

 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 20th July 2025 Fifth Sunday after Trinity Matins

Benedictus in B flat    C V Stanford

This is the Canticle of Zechariah, father of John the Baptist,  and is taken from Luke's Gospel (Luke 1:68-79) It is sung daily at Morning Prayer.

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

 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 13th July 2025 Sea Sunday

Crossing The Bar  Sir H Parry   Alfred Lord Tennyson

The Anthem was the famous poem by Alfred Lord Tennyson, put to music by C H H Parry.

Sunset and evening star,
And one clear call for me!
And may there be no moaning of the bar,
When I put out to sea,

But such a tide as moving seems asleep,
Too full for sound and foam,
When that which drew from out the boundless deep
Turns again home.

Twilight and evening bell,
And after that the dark!
And may there be no sadness of farewell,
When I embark;

For tho' from out our bourne of Time and Place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crost the bar.

Alfred Lord Tennyson (1809-1892) was a British poet, and for much of Queen Victoria's reign was Poet Laureate.

Crossing the Bar was written in 1889. There are two competing stories as to its birth. One is that it is written whilst crossing the Solent from his home Aldworth in Blackdown to another home, Farringford in Freshwater Bay on the Isle of Wight , the bar in question being a sand bar in the Solent. The other is that Tennyson was berthed on a yacht, anchored in Salcombe where there is a moaning sandbank. Tennyson said that the words came in a moment. Shortly before his death , he asked this poem be put at the end of all the editions of his poetry. It is an extended metaphor comparing death to crossing the bar and the Pilot is God.  Sir Hubert Parry set this poem to music for a four part chorus in 1893.

Alfred Lord Tennyson, from Wikipedia

C H H Parry was born in Bournemouth in 1848 into a rich family and was educated at Eton where he also gained his music degree.  He went to study further at Oxford.  His music influenced other great English composers such as Elgar and Vaughan Williams.  He wrote his best music in his later years and this include his Songs of Farewell.  He died in Rustington in 1918, just before the end of the Great War.

Sir Parry from Wikipedia

Sunday 6th July 2025 Evensong

 Magnificat and Nunc DImitis  Thomas Morley

This rendition of the Magnificat and Nunc Dimittis is sung more like a psalm. 

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.

Life

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.

Taken 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 Kelly (13 July 1769 – 14 May 1855) was an Irish evangelical, known as a Church of Ireland cleric to 1803, hymn writer and founder of the Kellyites.

Life

He was the son of Thomas Kelly (1723–1809), judge of the Court of Common Pleas (Ireland) and Frances Hickie, daughter of James Jephson Hickie of Carrick on Suir, and was born at the family seat, Kellyville (formerly Derrinroe), Queen's County, on 13 July 1769. He entered Trinity College, Dublin, in 1785, graduating B.A. in 1789. He was admitted to London's Middle Temple in 1786.

In Dublin, Kelly was influenced by John Walker (1769–1833), also a Trinity College undergraduate. He had been impressed with the views of William Romaine and the Hutchinsonians. Giving up on a legal career, he was ordained in the Church of Ireland in 1792; Walker was ordained too, by 1793. Two other friends were ordained at this period, Henry Maturin and Walter Shirley. Rowland Hill visited Dublin in 1793, and Kelly began to preach on grace in line with Hill's views. With others, he gave the Sunday afternoon sermons at St. Luke's Church, Dublin in early 1794. These provoked Robert Fowler, the Church of Ireland Archbishop of Dublin, who inhibited them on doctrinal grounds.

Kelly reacted first by preaching in unconsecrated Dublin locations: one on Plunket Street, another the Bethesda Chapel (which for a time he was a trustee). He went on to Athy. In 1795 he married, and moved out to Blackrock, where he built himself a chapel of ease.

With his allies, Kelly spread his evangelical views widely in Ireland. In 1802 he founded the religious sect that became known as the Kellyites, with half a dozen congregations, recruiting some ministers from Scotland, where the same year the seminary run by the Haldane brothers, Robert and James Alexander, moved from Glasgow to Edinburgh and expanded. In 1803 he broke with the Church of Ireland. The same year, Walker had gathered a group naming itself the Church of God, and he was expelled as a fellow of Trinity College, Dublin in 1804.

Kelly died in Dublin on 14 May 1855, having acted as minister in Athy and Dublin for half a century. After his death, his congregation dropped away.

Hymn-writer

Kelly is believed to have written 765 hymns, published over 51 years; one of the most well-known is Look, ye saints, the sight is glorious.. A Collection of Psalms and Hymns (1802) contained 247, of which 33 were by Kelly. Hymns on Various Passages of Scripture (1804) ran to four editions, after which there was Hymns of Thomas Kelly, never before published (1815), followed by four further editions. He used unusual metres.

Family

In 1795, Kelly married Elizabeth Tighe, eldest daughter of William Tighe (1738–1782), of Rosanna, County Wicklow, MP for Athboy and a supporter of John Wesley, and his wife Sarah Fownes, daughter of Sir William Fownes, 2nd Baronet. She brought a fortune to the marriage. They had two daughters, Elizabeth, who married Reverend Edward Wingfield, a younger son of the 4th Viscount Powerscourt, and Frances, who married Reverend Thomas Webber, and was the mother of General Charles Edmund Webber.

Taken from Wikipedia

Sunday 6th July 2025 Third Sunday after Trinity

 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 29th June 2025 Sts Peter and Paul

 Give Us The Wings Of Faith   Words Issac Watts  Music Ernest Bullock

This anthem was written for All Saints' Day, but can be used on any Saint's day, the words from a hymn by Isaac Watts.

Sir Ernest Bullock (1890-1979) was not primarily a composer, but an educationalist and organist.  He was born in Wigan, where he became organist at his parish church. He was then assistant organist at Leeds Parish Church in 1907.  In 1908, he received his Bachelor of Music from the University of Durham, gaining his Doctor of Music in 1914. In 1912, he was assistant organist at Manchester Cathedral.  After WW1 he was organist at St Michael's College, Tenbury, almost immediately moving to Exeter as cathedral organist in 1919.  In 1928 he succeeded Sir Sidney Nicholson as Master of Choristers in Westminster Abbey.  He provided music for the coronation of King George VI, writing most of the fanfares for that and also the coronation of Elizabeth II in 1953.
 In 1941, Bullock went to Glasgow as the Gardiner Professor in Music at the university. In 1952 he became director of the Royal College of Music.  He was knighted in 1951 and he retired in 1960.
Isaac Watts (1674-1748) was born in Southampton, the son of a committed religious nonconformist. His father, also Isaac was twice incarcerated for his beliefs.  He received a classical education at the King Edward VI school, but was barred from attending Oxford or Cambridge universities as they were restricted to Anglicans. He went to the Dissenting Academy at Stoke Newington in 1690. He was pastor of a large independent chapel in London where he helped train preachers.  However, his religious opinions were more ecumenical than was usual for a nonconformist. He promoted education and scholarship rather than preaching for a particular sect. He is famous for the writing of the words of hymns. He promoted hymn singing and his prolific hymn-writing helped to usher in a new era of English worship.

Isaac Watts, by unknown artist {Wikimedia commons]

 

Sunday 8th June 2025 Pentecost

Veni, Sancte Spiritus   trans. Edward Caswall, Lyra Catholica, 1849   Music Richard J Clark

This is a sequence for Pentecost Sunday.

Coome, thou Holy Spirit Come!

And from thy celestial home

Shed a ray of light divine!

Come thou Father of the poor!

Come thou source of all our store!

Come, within our bosoms shine!

Thou of comforters the best;

Thou the soul's most welcome guest;

Sweet refreshment here below;

In our labour rest most sweet;

Grateful coolness in the heat;

Solace in the midst of woe.

O most blessed light diviine,

Shine within these hearts of thine,

And our inmost being fill!

Where thou art not, man hath nought,

Nothing god in deed or thought,

Nothing free from taint of ill.

Heal our wounds, our strength renew;

On our dryness pour thy dew;

Wash the stains of guilt away;

Bend the stubborn heart and will;

Mel the frozen,warm the chill;

Guide the steps that go astray.

On the faithful, who adore

And confess thee evermore

In thy sev'nfold gift descend;

Give them virtue's sure reward;

Give them thy salvation, Lord.

Give them joys that never end.

Edward Caswall, CO, (15 July 1814 – 2 January 1878) was a clergyman and hymn writer who converted to Catholicism and became an Oratorian priest. His more notable hymns include: "Alleluia! Alleluia! Let the Holy Anthem Rise"; "Come, Holy Ghost"; and "Ye Sons and Daughters of the Lord".

He was born at Yateley, Hampshire on 15 July 1814, the son of Rev. R. C. Caswall, sometime Vicar of Yateley, Hampshire.

Caswall was educated at Chigwell School, Marlborough Grammar School and Brasenose College, Oxford, where he graduated Bachelor of Arts in 1836 with honours and later proceeded to Master of Arts. In 1838 he was ordained deacon, and in 1839 priest, in the Church of England. Before leaving Oxford, he published, under the pseudonym of Scriblerus Redivivus, The Art of Pluck, a satire on the ways of the careless college student.

He was curate of the Church of St Lawrence at Stratford-sub-Castle, near Salisbury from 1840 to 1847. As curate, he would invite the children who had attended morning services to the parsonage and give them breakfast. On the anniversary on one's baptism, he would give some money to buy clothes. In the summer of 1846 he, his wife, and his brother Tom visited Ireland.

He resigned his curacy and, in January 1847, was received into the Catholic Church by Cardinal Januarius Acton in Rome. His brother Tom had converted to Catholicism previously. Caswall's conversion caused an estrangement from some members of his family, including his mother and brother Alfred. His wife, Louisa Stuart Caswall, who had also become a Catholic, died of cholera on 14 September 1849 while they were staying at Torquay. The following year Caswall joined the Oratory of St. Philip Neri under future-cardinal John Henry Newman, to whose influence his conversion to Catholicism was due. He was ordained a Catholic priest in 1852. Caswall was delegated the responsibility of establishing the Oratory school, which opened in 1859. He often served as acting superior in Newman's absence.

He died at the Birmingham Oratory, Edgbaston on 2 January 1878 and was buried at Rednal, near Bromsgrove, Worcestershire.

Caswall c1860

Taken from Wikipedia

RICHARD J. CLARK is an eclectic musician — composer, conductor, organist, pianist, and songwriter. He is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross where he plays the 101-rank 1875 E. & G. G. Hook & Hastings organ, Opus 801. He previously served for twenty-eight years at St. Cecilia Parish, Boston. At the age of twenty-three, he was appointed Director of Music in 1992 after serving as Organist since 1989. He has also has served the Jesuit Community as Chapel Organist (Saint Mary’s Chapel) at Boston College since 2004.

Over the years, he has served the Archdiocese of Boston in numerous liturgies, conferences, and liturgical projects, including directing the Office of Divine Worship Saint Cecilia Schola in recordings of the ICEL Chants from the Roman Missal, Third Edition.

The Boston Musical Intelligencer hails his “compelling,” and “emotionally committed” organ playing. The Boston Globe calls the music of the Cathedral Choir “stirring” and “profound.” The American Organist magazine praises Gregorian Impressions for its “engaging developments,” and Ministry & Liturgy Magazine has called his music “transformative” as well as “expertly arranged and prayerfully sung.”

Clark’s compositions have been performed worldwide including performances in Russia of his organ work Ascent to Freedom by American virtuoso Mark Husey and various performances by the American Boychoir under the direction of GRAMMY-winning conductor Fernando Malvar-Ruiz. His Te Deum for Orchestra, soloists, and chorus was premiered in Paris in April of 2022. Ministry & Liturgy Magazine has called his music “transformative” as well as “expertly arranged and prayerfully sung.” His liturgical, choral, and organ works are published by World Library Publications, Lorenz/The Sacred Music Music Press, CanticaNOVA Publications, RJC Cecilia Music, and Corpus Christi Watershed.

As performer and composer his eclectic appearances include St. Patrick’s Cathedral (NY), Saint-Eustache (Paris), the Basilica of the National Shrine of the Immaculate Conception (D. C.), EWTN, the Celebrity Series of Boston, Fenway Park, and the New York Songwriters Circle at NYC’s historic “The Bitter End.”

His compositions have been broadcast on radio in New York, New England, and Europe. He appears with his wife, clarinetist Kara Gretschel Clark, on the Cathedral Encores CD featuring the 1875 E. & G.G. Hook, Opus 801, at the Cathedral of the Holy Cross (Boston). He also appears with trumpeter Richard Kelley on RJC Cecilia Records of his 2012 Requiem pour une américaine à Paris, and the 2022 release Fearfully and Wonderfully Made CD which includes a collaboration with GRAMMY-nominated poet E. Ethelbert Miller on the track “If My Blackness Turns to Fruit.” His 2021 release of the Boston Cathedral Singers From the Bell Tower has been featured on Rome Reports TV, and SIRIUS XM’s Sounds from the Spires with Dr. Jennifer Pascual. He has also been featured by the Organ Media Foundation (here and here.) He has also served as conductor for Pueri Cantores and on the faculty of the Sacred Music Symposium in Los Angeles, California. He has been a featured speaker and performer for National Pastoral Musicians (NPM) national meetings. He currently serves on the Executive Board of the National Federation of Diocesan Liturgical Commissions (FDLC).

Born in Greenwich Village, New York City, he grew up in Long Island, New York. He currently lives with his wife and four children in Milton, Massachusetts.

Richard J Clark

Taken from RJC Cecilia Music.