Sunday 1st December 2024 First Sunday of Advent

Matin Responsory

This is traditionally sung on the first Sunday if Advent. The words are translated from the First Responsory of Advent Sunday in the Office of Matins (early medieval Roman rite).  The music is adapted from a Magnificat by Palestrina (as sung at e Advent Carol Services in King's College Chapel, Cambridge)

I look from afar

and lo, I see the power of God coming, and a cloud covering the whole earth.

Go ye out to meet him and say:

Tell us, art thou he that should come to reign over thy people Israel?

High and low, rich and poor one with another,

Go ye out to meet him and say:

Hear, O thou Shepherd of Israel, thou that leadest Joseph like a sheep,

Tell us, art thou he that should come?

Stir up thy strength , O Lord, and come to reign over thy people Israel.

Glory be to the father, and to the Son, and to the Holy Ghost.

I look from afar

and lo, I see the power of God coming, and a cloud covering the whole earth.

Go ye out to meet him and say:

Tell us, art thou he that should come to reign over thy people Israel?

Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 – 2 February 1594) was an Italian composer of late Renaissance music. The central representative of the Roman School, with Orlande de Lassus and Tomás Luis de Victoria, Palestrina is considered the leading composer of late 16th-century Europe.

Primarily known for his masses and motets, which number over 105 and 250 respectively, Palestrina had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint. According to Grove Music Online, Palestrina's "success in reconciling the functional and aesthetic aims of Catholic church music in the post-Tridentine period earned him an enduring reputation as the ideal Catholic composer, as well as giving his style (or, more precisely, later generations' selective view of it) an iconic stature as a model of perfect achievement."

Palestrina left hundreds of compositions, including 105 masses, 68 offertories, at least 140 madrigals and more than 300 motets. In addition, there are at least 72 hymns, 35 magnificats, 11 litanies, and four or five sets of lamentations. The Gloria melody from Palestrina's Magnificat Tertii Toni (1591) is widely used today in the resurrection hymn tune, Victory (The Strife Is O'er).

His attitude toward madrigals was somewhat enigmatic: whereas in the preface to his collection of Canticum canticorum (Song of Songs) motets (1584) he renounced the setting of profane texts, only two years later he was back in print with Book II of his secular madrigals (some of these being among the finest compositions in the medium). He published just two collections of madrigals with profane texts, one in 1555 and another in 1586. The other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation.

Palestrina's masses show how his compositional style developed over time. His Missa sine nomine seems to have been particularly attractive to Johann Sebastian Bach, who studied and performed it while writing the Mass in B minor. Most of Palestrina's masses appeared in thirteen volumes printed between 1554 and 1601, the last seven published after his death.

Missa Papae Marcelli – Kyrie

One of his most important works, the Missa Papae Marcelli (Pope Marcellus Mass) has been historically associated with erroneous information involving the Council of Trent. According to this tale (which forms the basis of Hans Pfitzner's opera Palestrina), it was composed in order to persuade the Council of Trent that a draconian ban on the polyphonic treatment of text in sacred music (as opposed, that is, to a more directly intelligible homophonic treatment) was unnecessary. However, more recent scholarship shows that this mass was in fact composed before the cardinals convened to discuss the ban (possibly as much as 10 years before). Historical data indicates that the Council of Trent, as an official body, never actually banned any church music and failed to make any ruling or official statement on the subject. These stories originated from the unofficial points-of-view of some Council attendees who discussed their ideas with those not privy to the Council's deliberations. Those opinions and rumors have, over centuries, been transmuted into fictional accounts, put into print, and often incorrectly taught as historical fact. While Palestrina's compositional motivations are not known, he may have been quite conscious of the need for intelligible text; however, this was not to conform with any doctrine of the Counter-Reformation, because no such doctrine exists. His characteristic style remained consistent from the 1560s until the end of his life. Roche's hypothesis that Palestrina's seemingly dispassionate approach to expressive or emotive texts could have resulted from his having to produce many to order, or from a deliberate decision that any intensity of expression was unbecoming in church music, reflects modern expectations about expressive freedom and underestimates the extent to which the mood of Palestrina's settings is adapted to the liturgical occasions for which the texts were set, rather than the line-by-line meaning of the text, and depends on the distinctive characters of the church modes and variations in vocal grouping for expressive effect. Performing editions and recordings of Palestrina have tended to favour his works in the more familiar modes and standard (SATB) voicings, under-representing the expressive variety of his settings.

There are two comprehensive editions of Palestrina's works: a 33-volume edition published by Breitkopf and Härtel, in Leipzig Germany between 1862 and 1894 edited by Franz Xaver Haberl, and a 34-volume edition published in the mid twentieth century, by Fratelli Scalera, in Rome, Italy edited by R. Casimiri and others.

Taken from Wikipaedia.

 

Sunday 24th November 2024 Christ the King

Alleluias of Saint James  (Let all mortal flesh keep silence) Words Liturgy of St James  Music Trad. French melody arr. A. J. Greening

This is a translation from the Greek Liturgy of St James. It is usually set to the traditional French tune of Picardy. Today's arrangement of this hymn tune was verses 1 and 3 in unison and verses 2 and 4 sopranos and tenors being the leader and altos and basses the follower singing in canon, but to a slightly different tune.

Most people will recognise this as the hymn "Let all mortal flesh keep silence".

Next week is the first Sunday of the month (also the first Sunday of Advent) and so we shall be singing Choral Evensong at 3.30pm with tea and cake after the service.

Sunday 17th November 2024 2 before Advent

The Call (One of Five Mystical Songs)  R Vaughan Williams

These are a collection of songs composed between 1906 and 1911 based on poems by the Welsh born English poet, George Herbert (1593-1633) who was also an Anglican priest.  There are four poems, Easter being divided into two from his 1633 collection "The Temple: Sacred Poems".  Vaughan Williams was an aethiest, but it did not stop him from setting these overtly religious poems to music.  Vaughan Williams conducted its first performance at the Three Choirs Festival in
Worcester 14th September 1911.  Originally it was composed for Baritone solo with various  accompaniments.

Come, my Way, my Truth, my Life:
Such a Way, as gives us breath:
Such a Truth, as ends all strife:
Such a Life, as killeth death. 

Come, my Light, my Feast, my Strength:
Such a Light, as shows a feast:
Such a Feast, as mends in length:
Such a Strength, as makes his guest. 

Come, my Joy, my Love, my Heart:
Such a Joy, as none can move:
Such a Love, as none can part:
Such a Heart, as joyes in love. 

Ralph Vaughan Williams (1872-1958)  was born to a wealthy family but with a good moral code and progressive social outlook.  He always sought to help his fellow citizens. He also thought his music should be available and accessible by everyone. He developed late musically not really finding himself until in his thirties. He studied with Maurice Ravel 1907-1908 and this helped him clarify the texture of his music and rid him of Teutonic influences.  He is one of our best known symphonists  encompassing a wide range of moods from the utterly tranquil to ranging fury, mysterious to exuberant. He was strongly influenced by Tudor and folk music.  He was deeply affected by the First World War in which he served. His body of work is vast and his music remains popular and widely performed.

From Wikipedia,

 

Sunday 10th November 2024 3rd before Advent Remembrance Sunday

They Shall Grow Not Old  Leslie Russell  Words Laurence Binyon

They shall grow not old, as we that are left grow old:

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them.

This is a short but very moving anthem set to one verse of a poem by Laurence Binyon, "For The Fallen".

Dr Leslie Russell, Senior Music Inspector for the London County Council founded the London Schools Symphony Orchestra in 1951.

Robert Laurence Binyon, CH (10 August 1869 – 10 March 1943) was an English poet, dramatist and art scholar. Born in Lancaster, England, his parents were Frederick Binyon, a clergyman, and Mary Dockray. He studied at St Paul's School, London and at Trinity College, Oxford, where he won the Newdigate Prize for poetry in 1891. He worked for the British Museum from 1893 until his retirement in 1933. In 1904 he married the historian Cicely Margaret Powell, with whom he had three daughters, including the artist Nicolete Gray.

Moved by the casualties of the British Expeditionary Force in 1914, Binyon wrote his most famous work "For the Fallen", which is often recited at Remembrance Sunday services in the UK, Australia, New Zealand and Canada. In 1915, he volunteered as a hospital orderly in France and afterwards worked in England, helping to take care of the wounded of the Battle of Verdun. He wrote about these experiences in For Dauntless France, re-released as a centenary edition in 2018 as The Call and the Answer. After the war, he continued his career at the British Museum, writing numerous books on art.

He was appointed Norton Professor of Poetry at Harvard University in 1933. Between 1933 and his death in 1943, he published his translation of Dante's Divine Comedy. His war poetry includes a poem about the London Blitz, "The Burning of the Leaves", regarded by many as his masterpiece.

Today Binyon's most famous poem, "For the Fallen", is often recited at British Remembrance Sunday services; is an integral part of Anzac Day services in Australia and New Zealand and of 11 November Remembrance Day services in Canada. The "Ode of Remembrance" has thus been claimed as a tribute to all casualties of war, regardless of nation.

Laurence Binyon by William Strang 1901

Taken from Wikipedia

Sunday 3rd November 2024 All Saints

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

This anthem was written for All Saints' 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]

 

Saturday 2nd November 2024 All Souls Day

Requiem Gabriel Fauré (1845-1924)

Gabriel Fauré, born in 1845, was appointed titular organist a La Madeleine, Paris, in 1896 and director of the Paris Conservatoire in 1905.

Fauré started to think about the composition of a requiem in 1885 after the death of his father.  Unlike Berlioz and Verdi he removed the Dies Irae sequence, which he considered over theatrical.  Hence the Offertorium comes up much sooner than is usual in a requiem mass setting.  He permits himself only a brief reference to the “day of wrath” in the Libera me baritone solo.

Gabriel Fauré

Fauré’s Requiem happily lends itself to a liturgical performance by amateur choirs, being particularly popular with English choirs, with the organ taking the place of the orchestra. This seems to have been recognised early on its life, coinciding as it did with liturgical experimentation in the Church of England in the late 19th and early 20th centuries – experiments now adopted and sanctioned for universal use with the introduction in 1980 of the Alternative Service Book and more recently the Common Worship services. These owe their formation to the proposed 1928 Prayer Book and the English Missal (1933) and their structure, including additions to the Book of Common Prayer, fit best with Fauré’s arrangement of sections. The 1928 Prayer Book and English Missal largely formalised a variety of liturgical practices which had been used in sung Communion services previously. 

The service is an act of worship, to include remembrance of the departed, and may sound something like a similar service in an English church at about the time of Faurés death in November 1924, when sections of his requiem were sung at his funeral at La Madeleine.

Faure in 1907 from Wikipedia

Sunday 27th October 2024 Trinity 22

Tantum Ergo  Déodat de Séverac  (1873-1921)

Tantum ergo is the incipit of the last two verses of Pange lingua.  This is a Medieval Latin hymn written by St Thomas Aquinas c. 1264. The Genitori genitoque and Procedenti ab utroque portions are adapted from Adam of Saint Victor's sequence for Pentecost.  An incipit, is the opening phrase, or in music the opening sequence of notes.

The singing of Tantum ergo occurs during veneration and benediction of the Blessed Sacrament in the Catholic Church and other denominations that have this devotion. We sang it as out anthem at the end of Holy Communion.

Déodat de Séverac was born into a fairly wealthy family in Saint Felix de Lauraguais, his father was a painter, musician and landowner. De Séverac spent three years in the Law Faculty of Toulouse where he also took piano and harmony lessons before he entered the Schola Cantorum in Paris (1893) where he studied composition under Vincent d'Indy. His compositions include symphonic poems, chamber music, songs, piano and organ music, theatre music and choral music. Interestingly his earliest and latest works were religious in nature, but he always retained a strong identity with his roots: the history, culture and language of Languedoc countryside. Although Debussy, with whom he was a friend, criticised his restricted style, his music enjoys a reputation for the directness of its expression and its life. Gabriel Fauré said about Heliogabale, de Séverac's lyrical tragedy, "Séverac has something to say and says it quite simply. Many people have nothing to say, and do their utmost to disguise the vacuum..."

Last paragraph taken from the RSCM Classics copy of this anthem.

Déodat de Séverac
taken from Wikipedia