Sunday 10th April 2022 Palm Sunday

 O Saviour Of The World  John Goss 1800 - 1880

Sir John Goss was a boy chorister in The Chapel Royal and later a pupil of Sir Thomas Attwood, organist at St Paul's cathedral.  He spend a short time in the chorus of an opera company before being organist at a number of churches, finally at St Paul's where he worked hard to improve the musical standards. His works are mostly vocal, both sacred and secular.  From 1827 until 1874, he was a professor at The Royal Academy of Music teaching harmony.  He taught Arthur Sullivan and John Stainer who succeeded him as organist at St Paul's.

Sir John Goss from Wikipedia

Sunday 3rd April 2022 Passion 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.

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 27th March 2022 Mothering Sunday

Fairest Lord Jesus  German 17th Century, translated by Lilian Sinclair Stevenson (1870-1960)

Silesian folk song (1842) arranged by Martin How.

The music is a folk song from Silesia, a culturally rich area of Europe from the 1st century, now forming part of modern day Germany, Poland and the Czech Republic.  The words are a 17th century German hymn adapted by British organist, composer and choir master Martin How.

Some think this was originally The Crusader's Hymn, sung by German crusaders as they made their way to the Holy Land.

Franz Liszt used the tune in his oratorio The Legend of St Elizabeth as a crusader's march and so the tune became known as St Elizabeth.

Martin How (1931- ) was born in Liverpool, moving to Brighton and then Glasgow just before the start of WWII.  He spent most of his childhood in Glasgow. He was awarded an organ scholarship at Clare College, Cambridge, reading Music and Theology.

He spent most of his career with the Royal School of Church Music, principally as a choir trainer, motivating and training young singers. He initiated and developed the RSCM Chorister Training Scheme used in various forms around the world.

He was appointed MBE for Services to Church Music in the 1993 New Year Honours List .

taken from Wikipedia

Sunday 20th March 2022 Lent 3

  Jubilate Deo in B flat  Charles Villiers Stanford

Taken from the Novello  Copy
Sir Charles Villiers Stanford has a perverse relationship with posterity.  Remembered today largely for his choral miniatures, this restless symphonist was the unwilling Janus of British music.  A significant presence on the European scene in his own lifetime, he was an outspoken critic of Wagner, Strauss and modernism in general. Nevertheless, as a formalist with flair and skill, his influence catalysed much of the great English music of the 20th century.  As fellow composer George Dyson said: "In a certain sense the very rebellion he fought was the most obvious fruit of his methods."

The Jubilate in B flat displays the composers trademark mastery of thematic structures.

Stanford from Wikipedia

Sunday 13th March 2022

 Hide not thou thy face    Farrant

Taken from Wikipedia

Richard Farrant (c. 1525 – 30 November 1580) was an English composer. Like many composers of his day, the early years of Farrant's life are not well documented. The first acknowledgement of him is in a list of the Gentleman of the Chapel Royal in 1552. It is assumed from that list that his birth was around 1525, although that cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, founded 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.

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 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 theatre 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.

"Hide not thou thy face" is taken from Psalm 27, verse 9.

Sunday 27th February 2022 Sunday before Lent

 Ave Verum Corpus  W A Mozart

See 9th January 2022

Sunday 20th February 2022 Second before Lent

 Benedictus in C   C V Stanford

The Benedictus was composed in 1909 as part of Stanford's Morning and Evening Service together with the Office of Holy Communion Op 115.  Stanford was given the choice to hear one of his services sung at Matins at York Minster in 1923 when he was a guest of the organist, Edward . "He chose the one in C", Bairstow recalled, "for he said he had never heard it!"

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 from Wikipedia

The anthem was Ye Servants of th'all bouteous Lord (Laudate Peuri) by Samuel Webbe Junior.  

This is a setting of Psalm 113, which is in regular use in Jewish, Catholic, Anglican and Protestant liturgies. It has been set to music often. 

Samuel Webbe (1768-1843) was the son of self taught musician Samuel Webbe.  He studied organ, piano and vocal composition, with his father and Muzio Clementi.  Like his father he had an active iterest in Glee clubs and composed many canons and glees.