Sunday 5th May 2024 Easter 6

Ave Verum  Charles Gounod (1818-1893)

"Ave verum corpus" is a short Eucharistic chant that has been set to music by many composers. It dates to the 13th century, first recorded in a central Italian Franciscan manuscript (Chicago, Newberry Library, 24). A Reichenau manuscript of the 14th century attributes it to Pope Innocent (variously identified as Innocent III, Innocent IV, Innocent V, or Innocent VI)

During the Middle Ages it was sung at the elevation of the Eucharist during the consecration at Mass. It was also used frequently during Benediction of the Blessed Sacrament.

Latin

Ave verum corpus, natum

de Maria Virgine,

vere passum, immolatum

in cruce pro homine

cuius latus perforatum

fluxit aqua et sanguine:

esto nobis prægustatum

in mortis examine.

O Iesu dulcis, O Iesu pie,

O Iesu, fili Mariae.

Miserere mei. Amen.

 

Hail, true Body, born

of the Virgin Mary,

having truly suffered, sacrificed

on the cross for mankind,

from whose pierced side

water and blood flowed:

Be for us a foretaste [of the Heavenly banquet]

in the trial of death!

O sweet Jesus, O holy Jesus,

O Jesus, son of Mary,

have mercy on me. Amen.

Taken from Wikipedia

The prayer is a meditation on Jesus's Real Presence in the Blessed Sacrament, and ties it to the redemptive meaning of suffering in the life of all believers.

Gounod was born in Paris,  his father an artist and his mother a pianist and also his first piano teacher.  He showed an early aptitude for music.  He studied at the Paris Conservatoire and won the Prix de Rome in 1839 for his Cantata Fernand.  He contemplated taking holy orders but went back to composition before taking his vows.  In 1854 he competed a Messe Solennelle also know as St Cecilia Mass.
The sister of Felix Mendelssohn, Fanny, introduced Gounod to the works of JS Bach, in particcular he admired The Well-Tempered Clavier  and it inspired him to write a melody to the Prelude in C major, later adding the words "Ave Maria" and it became a success. in 1859 he wrote Faust for which he is best remembered.
Between 1870 and 1874, Gounod lived in London, becoming conductor the Royal Choral Society. Much of his music at this time was choral.
As he grew older his music became more sacred. He was made a Grand Officer of the Légion d'honneur in 1888 and died of a stroke in 1893.

Taken from Wikipedia

Evensong

Jesu, Joy of Man's Desiring   J S Bach

This is the common title of the 10th and last movement of the cantata “Herz und Mund und Tat und Leben” (BVW 147) composed in 1716 and 1723.  It is commonly played at weddings and Christian festive seasons of Easter and Christmas.  Much of the music of this cantata comes from Bach’s Weimar period (the 1716 parts) finished in 1723 in Leipzig.

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 19th 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.

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

Sunday 28th April Easter 5

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

Thursday 28th March 2024 Maundy Thursday

 O Saviour Of The World  Arthur Summerville

Sir Arthur Somervell was born in the Lake district, son of Robert Miller Somervell, the founder of K Shoes. He studied composition under Sir Charles Villiers Stanford at King's College Cambridge. For 2 years he studied music at the High School for Music in Berlin, and following that from 1885-1887 at the Royal School of Music in London under Parry. In 1894 he became a Professor at The Royal School of Music, in 1901, he was appointed Inspector of Music at the Board of Education and Scottish Education Department and in 1902 received the Doctor of Music degree from the University of Cambridge. He achieved success during his lifetime for his choral works, but is now mostly remembered for his song cycles. He had a conservative style showing influences from Mendelssohn and Brahms.  He was also very active in music education. He was knighted in 1929.

Sir Arthur Sumervill
Picture from Hyperion.

"O Saviour of the World" is a suitable anthem for Lent, Holy Week or Communion, The words are from the Anglican Order for the Visitation of the Sick.

 Psalm 22

This was sung by the choir as polychoral antiphony (where two or more groups of singers sing in alteration). It was sung in the dark as the altar was cleared of all adornment prior to the vigil in the garden.

22 My God, my God, why hast thou forsaken me? why art thou so far from helping me, and from the words of my roaring?

2 O my God, I cry in the day time, but thou hearest not; and in the night season, and am not silent.

3 But thou art holy, O thou that inhabitest the praises of Israel.

4 Our fathers trusted in thee: they trusted, and thou didst deliver them.

5 They cried unto thee, and were delivered: they trusted in thee, and were not confounded.

6 But I am a worm, and no man; a reproach of men, and despised of the people.

7 All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying,

8 He trusted on the Lord that he would deliver him: let him deliver him, seeing he delighted in him.

9 But thou art he that took me out of the womb: thou didst make me hope when I was upon my mother's breasts.

10 I was cast upon thee from the womb: thou art my God from my mother's belly.

11 Be not far from me; for trouble is near; for there is none to help.

12 Many bulls have compassed me: strong bulls of Bashan have beset me round.

13 They gaped upon me with their mouths, as a ravening and a roaring lion.

14 I am poured out like water, and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels.

15 My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death.

16 For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet.

17 I may tell all my bones: they look and stare upon me.

18 They part my garments among them, and cast lots upon my vesture.

19 But be not thou far from me, O Lord: O my strength, haste thee to help me.

20 Deliver my soul from the sword; my darling from the power of the dog.

21 Save me from the lion's mouth: for thou hast heard me from the horns of the unicorns.

22 I will declare thy name unto my brethren: in the midst of the congregation will I praise thee.

23 Ye that fear the Lord, praise him; all ye the seed of Jacob, glorify him; and fear him, all ye the seed of Israel.

24 For he hath not despised nor abhorred the affliction of the afflicted; neither hath he hid his face from him; but when he cried unto him, he heard.

25 My praise shall be of thee in the great congregation: I will pay my vows before them that fear him.

26 The meek shall eat and be satisfied: they shall praise the Lord that seek him: your heart shall live for ever.

27 All the ends of the world shall remember and turn unto the Lord: and all the kindreds of the nations shall worship before thee.

28 For the kingdom is the Lord's: and he is the governor among the nations.

29 All they that be fat upon earth shall eat and worship: all they that go down to the dust shall bow before him: and none can keep alive his own soul.

30 A seed shall serve him; it shall be accounted to the Lord for a generation.

31 They shall come, and shall declare his righteousness unto a people that shall be born, that he hath done this.

Sunday 10th March 2024 Lent 4 Mothering 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

Andrew Carter  Grannies and Grandads, a movement taken from Bless The Lord, a subset of movements from his work, Benedicite.

The junior choir sang excerpt from this long piece, picking out the verses applicable to family and "Mothering" as we heard from Fr Chris that anyone is capable of mothering, no matter what gender or age.

Benedicite is a composition for choir, children's choir and orchestra by Andrew Carter. He set the hymn Benedicite from the Book of Common Prayer, and additional free texts based on the model in three movements for unison children's choir. The work was published in 1991 and dedicated to Andrew Fairbairns. A subset of the music for children's choir was published as Bless the Lord.

History

Benedicite was commissioned for the 1989 Singing Day in Edinburgh by the British Federation of Young Choirs. Carter, an English composer and church musician in York, was inspired by the restoration of roof bosses at the southern transept of York Minster, which had been destroyed in a fire in 1984. They depict around 60 images of creatures. The music is written to convey a child-like perspective of the wonders of Creation.

Benedicite was published in 1991 and dedicated to Andrew Fairbairns. A subset of the music for children's choir was published as Bless the Lord.

Structure and music

Carter set the hymn Benedicite from the Book of Common Prayer in six movements, and interspersed three additional movements, whose texts are free variations on the model, to be sung by a unison children's choir.

The movements are titled:

O all ye works of the Lord

Green Things

Sun and Moon

Badgers and Hedgehogs

Ice and Snow

Whales and Waters

Butterflies and Moths

Thunder and Lightning

Spirits and Souls

Grannies and Grandads

O let the earth bless the Lord

The duration is given as 35 minutes. The first movement, beginning "O all ye works of the Lord, bless ye the Lord", is marked Molto ritmico (Most rhythmic) and is in 2+2+2+3/8 time.

The three movements based on added text to be sung by a children's choir were also published separately as Bless the Lord, which is concluded with the final movement. The movements are:

Badgers and Hedgehogs (Benedicite No. 4)

Butterflies and Moths (Benedicite No. 7)

Grannies and Grandads (Benedicite No. 10)

O Let The Earth Bless The Lord

Taken from Wikipedia

Andrew Carter’s music is performed worldwide. As composer, guest conductor and workshop leader he has travelled extensively in the United States, Antipodes and Europe. A twenty-five year association with Oxford University Press has established his reputation as a writer of both choral miniatures and larger scale concert works for chorus and orchestra. Of these latter the widely performed Benedicite was followed by Te Deum, Musick’s Jubilee, Horizons, Song of Stillness, and Laudate Dominum. Of similar scale, the Magnificat (MorningStar 2004), is already proving popular. In a lighter vein, the Three Nonsensical Songs for upper voices and orchestra were premiered by Quad Cities Symphony in 2005. After conducting his Magnificat in North Carolina in April 2008, Andrew gave workshops in Toronto and attended the celebrated St Olaf’s College in Minnesota as composer-in-residence.

A particular honour in the field of church music was the invitation to write Missa Sancti Pauli for the 1997 tercentenary celebrations of Wren’s St Paul’s Cathedral. Over the years several of Andrew’s carols have been included in the renowned Christmas Eve broadcast from King’s College Chapel, Cambridge, with Mary’s Magnificat featuring again in 2009. Andrew Carter’s Christmas Carols, conducted by the composer with John Scott at the organ, was named amongst the ‘ten best ever’ Christmas CDs in the BBC Music Magazine (Nov, 2007).

Andrew’s lifelong love of the organ is reflected in the festive Organ Concerto (MorningStar 2008) and an album of organ pieces (Oxford) which includes the much acclaimed Toccata on Veni Emmanuel. More recently, the substantial 22-variation Passacaglia (Banks 2007), written to honour Francis Jackson’s 90th birthday, was premiered by John Scott Whiteley in York Minster.

Born in Leicester in the English Midlands, Andrew Carter studied music at Leeds University before settling in York. During his time as a bass songman at York Minster, he founded the Chapter House Choir, the award winning mixed-voice concert group which he conducted for seventeen years, and for whom he penned many of his early published arrangements.

Taken from Andrew Carter's website

3rd March 2024 Lent3

 O Lord, Increase Our Faith  H. Loosemore

Henry Loosemore was born in Devon.  He was a chorister and afterwards a lay clerk in one of the Cambridge colleges. At some time he was organist at King's College. In 1660 he became organist at Exeter Cathedral.  He died suddenly in 1670 whilst in Exeter. 

O Lord Increase Our Faith has incorrectly been attributed to Orlando Gibbons in the past, and in Gibbon's version, has the word "our" replaced by "my".  However a manuscript was found of Loosemore's which allowed the correct attribution and also the correction of the text.

 

Sunday 25th February 2024 Lent 2

 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

Sunday 18th February 2024 Lent 1

Jubilate Deo in B flat 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.

O Lord My God  Samuel Sebastian Wesley 

This is known as King Solomon's prayer based on 1 Kings 8.

O Lord my God,

Hear thou the prayer thy servant prayeth,

Have thou respect unto his prayer?

Hear thou in heaven thy dwelling place,

And when thou hearest Lord, forgive.

Samuel Sebastian Wesley (14 August 1810 – 19 April 1876) was an English organist and composer. Wesley married Mary Anne Merewether and had 6 children. He is often referred to as S.S. Wesley to avoid confusion with his father Samuel Wesley.

Biography

Born in London, he was the eldest child in the composer Samuel Wesley's second family, which he formed with Sarah Suter having separated from his wife Charlotte. Samuel Sebastian was the grandson of Charles Wesley. His middle name derived from his father's lifelong admiration for the music of Bach.

After singing in the choir of the Chapel Royal as a boy, Samuel Sebastian embarked on a career as a musician, and was appointed organist at Hereford Cathedral in 1832. While there he married the sister of the Dean, John Merryweather. S.S. Wesley was, like his father Samuel Wesley, a Freemason. He was initiated in Palladian Lodge No.120 in Hereford on 17 September 1833. He moved to Exeter Cathedral three years later, and joined St George's Lodge No.129 Exeter on 10 December 1835. He subsequently held appointments at Leeds Parish Church (now Leeds Minster) (from 1842), Winchester Cathedral (from 1849), Winchester College and Gloucester Cathedral (1865-1876). In 1839 he received both his Bachelor of Music degree and a Doctor of Music degree from Oxford. He became a Professor of Organ at the Royal Academy of Music in 1850. He died at his home in Gloucester on 19 April 1876 aged 65. He is buried next to his daughter in St. Bartholomew's Cemetery in Exeter by the old City Wall. There are memorial tablets to him in Exeter Cathedral and Winchester Cathedral, and his memorial at Gloucester Cathedral is in stained glass.

Famous in his lifetime as one of his country's leading organists and choirmasters, he composed almost exclusively for the Church of England, which continues to cherish his memory. His better-known anthems include Thou wilt keep him in perfect peace and Wash me throughly. He also wrote several rather late examples of verse anthems, which contrast unison and contrapuntal sections with smaller, more intimate passages for solo voice or voices. Blessed be the God and Father, The Wilderness and Ascribe unto the Lord are of considerable length, as is his Service in E.

The popular short anthem Lead me, Lord is an extract from Praise the Lord, O my soul. Several of his pieces for solo organ have enduring value and continue to be played in recitals now and then.

Of his hymn tunes the best-known are "Aurelia" and "Hereford." "Aurelia" has been widely adopted in the United States, and is regularly heard there. Usually now sung to the words "The Church's One Foundation", Wesley composed the tune for the hymn "Jerusalem the Golden", hence the name "Aurelia".

One notable feature of his career is his aversion to equal temperament, an aversion which he kept for decades after this tuning method had been accepted on the Continent and even in most of England. Such distaste did not stop him from substantial use of chromaticism in several of his published compositions.

While at Winchester Cathedral Wesley was largely responsible for the Cathedral's acquisition in 1854 of the Father Willis organ which had been exhibited at The Great Exhibition, 1851. The success of the Exhibition organ led directly to the award of the contract to Willis for a 100-stop organ for St George's Hall, Liverpool built in 1855. Wesley was the consultant for this major and important project, but the organ was, arguably, impaired for some years by Wesley's insistence that it be tuned to unequal temperament.

Wesley, with Father Willis, can be credited with the invention of the concave and radiating organ pedalboard, but demurred when Willis proposed that it should be known as the "Wesley-Willis" pedalboard. However, their joint conception has been largely adopted as an international standard for organs throughout the English-speaking world and those exported elsewhere.

Taken from Wikipedia