Sunday 28th May 2023 Pentecost

I Will Sing With The Spirit     John Rutter

"I will sing with the spirit" is a sacred choral composition by John Rutter. The biblical text is taken from 1 Corinthians 14:15, adding to the second half of the verse an often repeated "alleluia". Rutter scored the piece for four vocal parts (SATB) and organ, adding other versions. He composed it in 1994 for the Royal School of Church Music in England.

The work was published by Oxford University Press in 1994. Marked "Brightly and serenely", the music is in A major and common time, and takes about three minutes to perform. Rutter also wrote a version for two upper voices and piano, and orchestral accompaniment for both versions. It is included in the collection John Rutter Anthems.

It was recorded several times, for example ending a collection of Rutter's choral works performed under his direction by the Cambridge Singers and the City of London Sinfonia, featuring his Mass of the Children. It is part of the 2008 Anniversary Collection of the Mormon Tabernacle Choir.

Text and music

The text, with its juxtaposition of "spirit" and "understanding", interpreted also as "heart" and "mind", has been used by church musicians to reflect the synthesis of the two elements needed in good church music. Rutter chose the text, "mingling the heart and mind of worship music", well for a school of church music. In the four-part version, the soprano alone presents the first part of the text. "I will sing" leaps up a sixth to a long note on "sing", in a first repeat even up an octave, followed by a sequence of "alleluia". In a third repeat, all voices sing the first version in unison, then they perform in homophony the second version and the alleluia. In a middle section, the second part of the biblical text is sung three times, marked three times dolce e legato. The soprano, the alto, finally the men sing "with understanding also", culminating in a four-part lively alleluia. In a reprise section, the first line is repeated by all voices, with imitation of motifs. A coda repeats alleluia two more times, rallentando to Lento, and gradually softened to pp, ending on a soft six-part long note.

Taken from Wikipedia.

John Rutter was born in London in 1945 and had his first musical training at Highgate School as a chorister. He studied music at Clare College, Cambridge where he wrote his first published music and had his first recording whilst still an undergraduate.

John Rutter [Wikimedia Commons]

His compositions cover a wide variety of musical genres but he is well know by all choirs who must have some Rutter in their repertoire. He formed the Cambridge Singers and spends his time composing and conducting.

He was awarded a CBE for services to music in the 2007 Queen's New Year Honours List.

Sunday 21st May 2023 Sunday after Ascension Matins

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.

Charles Villiers Stanford from Wikipedia

God Is Gone Up  William Croft

Croft was born at the Manor House, Nether Ettington, Warwickshire. He was educated at the Chapel Royal under the instruction of John Blow, and remained there until 1698. Two years after this departure, he became organist of St. Anne's Church, Soho and he became an organist and 'Gentleman extraordinary' at the Chapel Royal. He shared that post with his friend Jeremiah Clarke.

In 1707, he took over the Master of the Children of the Chapel Royal post, which had been left vacant by the suicide of Jeremiah Clarke. The following year, Croft succeeded Blow (who had lately died) as organist of Westminster Abbey. He composed works for the funeral of Queen Anne (1714) and for the coronation of King George I (1715).

In 1724, Croft published Musica Sacra, a collection of church music, the first such collection to be printed in the form of a score. It contains a Burial Service, which may have been written for Queen Anne or for the Duke of Marlborough. Shortly afterwards his health deteriorated, and he died while visiting Bath aged 48.

One of Croft's most enduring pieces is the hymn tune "St Anne" written to the poem Our God, Our Help in Ages Past by Isaac Watts. Other composers subsequently incorporated the tune in their own works. Handel used it, for instance, in an anthem entitled O Praise the Lord and also Hubert Parry in his 1911 Coronation Te Deum. Bach's Fugue in E-flat major BWV 552 is often called the "St. Anne", due to the similarity (coincidental in this case) of its subject to the hymn melody's first phrase. Croft also wrote various violin sonatas, which are not nearly as often performed as is his religious music, but have been occasionally recorded.

Perhaps Croft's most notable legacy is the suite of Funeral Sentences which have been described as a "glorious work of near genius". First published as part of the Burial Service in Musica Sacra, the date and purpose of their composition is uncertain. The seven Sentences themselves are from the Book of Common Prayer and are verses from various books of the Bible, intended to be said or sung during an Anglican funeral. One of the sentences, Thou knowest, Lord, the secrets of our hearts, was not composed by Croft, but by Henry Purcell, part of his 1695 Music for the Funeral of Queen Mary. Croft wrote:

"...there is one verse composed by my predecessor, the famous Mr Henry Purcell, to which, in justice to his memory, his name is applied. The reason why I did not compose that verse anew (so as to render the whole service entirely of my own composition) is obvious to every Artist; in the rest of that service composed by me, I have endeavoured as near as I could, to imitate that great master and celebrated composer, whose name will for ever stand high in the rank of those who have laboured to improve the English style..."

Croft's Funeral Sentences were sung at George Frederic Handel's funeral in 1759, and have been included in every British state funeral since their publication. They were used at the funerals of Diana, Princess of Wales in 1997, Queen Elizabeth The Queen Mother in 2002, Baroness Thatcher in 2013 and Prince Philip in 2021.

The above is taken from Wikipedia.

God is gone up, is an appropriate anthem to sing at Ascensiontide.  

God is gone up with a merry noise

and the Lord with the sound of the trumpet.

O sing praises, sing praises unto our God,

O sing praises, sing praises unto our King.

For God is the King of all the earth,

O Sing ye praises with understanding.

Amen. 

Thursday 18th May 2023 Ascension Day

  Lift Your Heads   Anthem for Ascension  J S Bach

This comes from The Royal School of Church Music, words adapted by C S Phillips and the mean parts added by P C Buck. It is an anthem in 2 sections, it starts as a sedate 4/4 largamente passage 

"Lift your heads, ye gates eternal, 

Welcome your returning King:

 Angel choirs, with loud Hosannas 

make the courts of Heav'n to ring." 

Then we move to a swifter and dance -like 3/4 section, 

"For swift as an eagle that soareth on pinion, 

The son cometh home to the Father's dominion. 

His sorrows are ended, His lifework is done: 

Victorious He mounteth to take back His throne."

Johann Sebastian Bach (1685 – 1750) was a German composer and musician of the Baroque period. He was a highly respected organist in his lifetime, although not recognised as a composer of magnitude (possibly one of the greatest) until a revival of his works in the first half of the 19^th century. He showed considerable skill in counterpoint and harmony. He was able to adapt rhythm, form and texture from abroad. He was a prolific composer of church music due to the demand for huge numbers of cantatas over the Christian year.  It is thought her wrote over 300 with only around 200 surviving. He also wrote many other works sacred and secular.  It is now agreed that his music has technical command, intellectual depth and artistic beauty.

Sunday 7th May 2023 5th Sunday of Easter

Ave Verum Corpus    Edward Elgar

Ave verum corpus  is traditionally a communion hymn written by Pope Innocent VI, set to music by many composers over the years.

Edward Elgar (1857-1937) was born in a village close to Worcester.  His father had a music shop in Worcester and tuned pianos. Elgar was mostly self taught.  His influence grew in the 1880's and 1890's  despite his being a Roman Catholic in a largely Anglican community. In 1889 he married one of his pupils, Caroline Alice Roberts, against opposition from her family. She played a major part in his career development.

Elgar is one of the great English composers, who has left a legacy of great orchestral and choral works.

from Wikipedia

 

Sunday 30th April 2023 Fouth after Easter

Communion Service in Fmajor   Harold E Darke

Today the choir sang the Sanctus, Benedictus and Agneus Dei from the Darke Communion service.

This setting was dedicated to the Rev. John H Ellison M.V.O. Rector of St Michael's, Cornhill, E.C.

Harold Edwin Darke (1888-1976) was born in Highbury, London.  His first post as organist was at Emmanuel Church, West Hampstead from 1906 - 1911.  He became organist at St Michael's, Cornhill in 1916 and stayed there until 1966, leaving for a short time to deputise for Boris Ord as Director of Music at King's College, Cambridge during the second World War.  Darke started lunchtime concerts at St Michel's in 1916 and these are the thought to be the longest running lunchtime organ concert series in the world.

He is best known for his setting of Christina Rossetti's poem "In the bleak midwinter".  His othr music still performed are his Communion Services in E minor, F major and A minor, and his Magnificat and Nunc Dimitis in F major.

Brother James's Air (Marosa)  arr. Gordon Jacob

James Leith Macbeth Bain (1860-1925) was a minister, hymn writer and poet known to his peers as Brother James.  He was born in Pitlochry where he was a pupil teacher before going to Edinburgh Free Church College and the Edinburgh Established Church College.  His ministry took him to Liverpool and then to London as a spiritualist minister. He is best known for Brother James's Air which is usually set to The Lord's My Shepherd.

Gordon Jacob (1895-1984) is best known as a composer for wind band and instructional texts. He was a prisoner of war in 1917 and was one of only 60 survivors of the 800 in his battalion. On his release he initially studied journalism, but changed to composition, theory and conducting at the Royal College of Music. Because of a cleft palate and a childhood hand injury he was very limited as a performing musician, but found his forte as a composer especially for wind instruments.  He was considered to be conservative in style, but famously said "the day that melody is discarded altogether, you may as well pack up music...".

gordonjacob.net

Sunday 23rd April 2023 Third Sunday after Easter

 This Joyful Eastertide  Melody from "David's Psalmen" Amsterdam 1685, Harmony Charles Wood (1866 -1926) , Words G R Woodward (1848 - 1934)

This is an Easter carol first published in 1894 in "Carols for Easter and Ascensiontide".  George Radcliffe Woodward was an Anglican priest who wrote many religious verses often set to music by his friend Charles Wood. He was born in Birkenhead and graduated in 1872 from Gonville and Caius College, Cambridge. Two years later he was ordained by the Bishop of London. In 1924 he received an Honorary Lambeth Doctorate in Music.

Charles Wood (1866-1926) was born in Ireland. He was a treble chorister in the nearby St Patrick’s Cathedral, Armagh. He received his early education in the cathedral choir school and also studied the organ under Robert Turle and Dr Thomas Marks. In 1883, he was one of the inaugural students of the Royal College of Music, studying composition under Charles Villiers Stanford and CHH Parry. After four years he continued his studies at Selwyn College, Cambridge. In 1889 he was appointed as organ scholar in Gonville and Caius college, Cambridge, becoming a fellow in 1994 and Director of Music and organist. Following the death of Stanford in 1924 Wood took over the role of Professor of Music in Cambridge.

He is remembered for his Anglican Church music.

Sunday 9th April 2023 Easter Day

This is the day  (Haec dies)   Thomas Morley 1557-1603?

voice parts adapted from "A Plaine and Easie Introduction to Practicall Musicke " 

edited and arranged by Anthony Greening.

This is a short antem suitable for Easter day and any Sunday.

"This is the day which the Lord has made.

We will rejoice and be glad in it.

You are my God and I will thank you.

Alleluia."

Thomas Morley, (born 1557/58, Norwich, England—died October 1602, London), composer, organist, and theorist, and the first of the great English madrigalists.

Morley held a number of church musical appointments, first as master of the children at Norwich Cathedral (1583–87), then by 1589 as organist at St. Giles, Cripplegate, in London, and by 1591 at St. Paul’s Cathedral. In 1592 Morley was sworn in as a gentleman of the Chapel Royal.

It is highly probable that Morley converted to Roman Catholicism early in life, perhaps under the influence of his master, William Byrd. By 1591, however, Morley had defected from the church, for in that year he engaged in espionage work among the English Roman Catholics in the Netherlands.

About that time, Morley evidently began to recognize the possibilities that were offered by the new popularity of Italian madrigals fitted with English texts, for he began publishing sets of madrigals of his own composition. Morley published 25 canzonets (“little short songs,” as he referred to them) for three voices in 1593; in 1597 he published 17 for five voices, and 4 canzonets for six voices in the same year. His first madrigals—a set of 22—appeared in 1594, and 20 ballets were published in 1595. The latter were modeled on the balletti of Giovanni Giacomo Gastoldi but expressed more elaborate musical development and a stronger sense of harmonic direction than Gastoldi’s. Morley excelled in the lighter and more cheerful types of madrigal or canzonet.

Among his works are a considerable proportion of Italian madrigals reworked and published by Morley with no acknowledgment of the original composers—a practice not uncommon at the time. In 1598 Morley brought out a volume of English versions of selected Italian madrigals; and in that same year he was granted a monopoly to print music in England for 21 years. His textbook, A Plaine and Easie Introduction to Practicall Musicke (1597), provides knowledge of the theoretical basis of composition of Morley’s own time and that of earlier generations.

Morley’s compositions are written in two distinct styles that may be chronologically separated. As a pupil of Byrd he was trained in the premadrigalian English style of broad and strong polyphony; his volumes of the 1590s, however, exhibit his mastery of Italian madrigal style and are characterized by a direct effectiveness, gentle harmonic warmth, springy rhythms, and clarity of texture.

Morley edited The Triumphes of Oriana (published 1603), a collection of 25 madrigals by various composers. His last volume of original compositions was The First Booke of Ayres (1600). Morley’s body of work also includes services (primary music of the Anglican liturgy), anthems, motets, and psalms. The six-voice motets “Laboravi in gemitu meo” and “De profundis clamavi” are considered among his best works.

Taken from Britannica.com