Sunday 5th April 2026 Easter Sunday Evensong

The Magnificat and Nunc Dimitis in C 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.

The Day Draws On  Edward C Bairstowe

The day draws on with golden light

Glad songs go echoing through the height

The broad earth lifts an answering cheer

The deep makes moan with wailing fear

For lo, he comes, the mighty King

To take from death his power and sting

To trample down his gloomy reign

And break the weary prisoner's chain

Enclosed he lay in rocky cell

With guard of armèd sentinel;

But thence returning, strong and free

He comes with pomp of jubilee

The sad apostles mourn him slain

Nor hope to see their Lord again;

Their Lord, whom rebel thralls defy

Arraign, accuse and doom to die

But now they put their grief away

The pains of hell are loosed today;

For by the grave, with flashing eyes

"Your Lord is risen," the Angel cries

Maker of all, to thee we pray

Fulfil in us thy joy today;

When death assaults, grant, Lord, that we

May share thy paschal mystery

To thee, who, dead, again dost live

All glory, Lord, thy people give;

All glory, as is ever meet

To Father and to Paraclete

Sir Edward Cuthbert Bairstow (22 August 1874 – 1 May 1946) was an English organist and composer in the Anglican church music tradition.

Bairstow was born in Trinity Street, Huddersfield in 1874. His grandfather Oates Bairstow was founder of the eponymous clothing firm.

He studied the organ with John Farmer at Balliol College, Oxford, and while articled under Frederick Bridge of Westminster Abbey received tuition from Walter Alcock. He studied organ and theory at the University of Durham, receiving the Bachelor of Music in 1894, and the Doctor of Music in 1901.

After holding posts in London, Wigan and Leeds, he served as organist of York Minster from 1913 to his death, when he was succeeded by his former pupil Francis Jackson. Jackson went on to write a biography of Bairstow. He was knighted in 1932. His other pupils included Elsie Suddaby and Gerald Finzi. During his time in Wigan, he was publicly acclaimed by Hans Richter for his handling of chorus and orchestra. He was president of the ISM, the IAO (Incorporated Association of Organist) and the RCO at various times, he also served on the advisory board of the BBC in its early days. While in Leeds, he had the parish church organ rebuilt, to his wishes, by his friend Arthur Harrison. 

He was held in high esteem by his pupils, according to Jackson, who considered his acceptation as chorister under Bairstow in 1929 'the most fortunate day of my musical life.' His praise of the maestro speaks of 'his ability to do supremely well at whatever he put his hand to... I never heard him play a wrong note.'

Notorious for his terseness and bluntness, Bairstow did not always endear himself to others. Asked whether he would be willing to follow the example of his predecessor at York, Thomas Tertius Noble, and emigrate to the United States, he replied that he would "rather go to the devil". Comfortably ensconced in Yorkshire, where he was a close friend of the equally blunt Charles Harry Moody, organist at Ripon Cathedral, he refused an offer to succeed Sydney Nicholson at Westminster Abbey. He instead recommended his erstwhile pupil Ernest Bullock, who was duly appointed to the post.

Bairstow's compositions are mainly for the church. He wrote 29 anthems, ranging from large-scale works for choir and organ such as Blessed city, heavenly Salem to miniatures like I sat down under his shadow and Jesu, the very thought of thee. Among his anthems, Let all mortal flesh keep silence is perhaps the best known. His service music includes published settings in D (Evening 1906, Communion 1913, Morning 1925), E♭ (Full Setting, 1923), and G (Evening, 1940), and several unpublished works. He also composed psalm chants, hymn tunes, and a cantata, The Prodigal Son, for choir and chamber orchestra.

Bairstow was also active as an instrumental composer, mainly for the organ, and some 12 pieces were published in his lifetime, among them the 1937 Sonata in E♭. His small output of chamber music includes a set of variations for two pianos and another set of variations for violin and piano, both long out of print.

Taken from Wikipedia