Music at St Michael’s (14/04/2024)
The motet at the Eucharist this morning is “O taste and see”, composed in 1953 for the coronation of Elizabeth II, by Ralph Vaughan Williams (1872 –1958). It is a setting of Psalm 34. At Choral Evensong (6.30pm) the introit is “Cantate Domino” by Giuseppe Pitoni (1657 – 1743), a setting of words from Psalm 149: “O sing unto the Lord a new song”. The anthem is “Non vos relinquam orphanos” by William Byrd (c.1539 – 1623). The words, spoken by Jesus to his disciples at the Last Supper, mean “I will not leave you as orphans (or comfortless), I will come to you.”
Other music at evensong includes: preces and responses by Humphrey Clucas (b. 1941); Psalm 142; and the Evening Service in D, by Ernest Moeran (1894 –1950).
Music at St Michael’s (31/03/2024)
The music for Holy Week has included the works of some wonderful composers, such as Duruflé (Ubi caritas on Maundy Thursday), John of Portugal (Crux fidelis on Good Friday), as well as Palestrina, and Charles Wood. Today as the sorrow of Good Friday turns to the joy of Easter, it is appropriate to make our feeling known with a wonderful chorus – Handel’s Hallelujah Chorus in fact! The junior and senior choristers join together to sing this famous piece from his oratorio, The Messiah. The word “Hallelujah” appears many times in the piece of course, but Handel finds many different ways to sing it. When practising with the junior choristers, we discovered that there are 24 different variations of notes or rhythms for this word, in the soprano part alone!
The choir is not at St Michael’s next week as they will be singing at Portsmouth Cathedral’s Eucharist and Choral Evensong services. We look forward to being back home on April 14th.
Music at St Michael’s (24/03/2024)
The introit for Palm Sunday is “Pueri Hebraeorium”, a text from the antiphon for Palm Sunday for the distribution of palm branches, attributed to Palestrina (1525 – 1594). The motet is also from a similar period, by the English composer John Amner (1579 – 1641). The text of “Lift up your heads O ye gates”, is taken from verses of psalm 24, and foreshadows the entry of the Messiah into Jerusalem.
At evensong the canticles are from the Gloucester Service, by Herbert Howells (1892 – 1983), which was written in 1946 for a cathedral that Howells knew well, being a pupil there of its organist, Herbert Brewer. It is one of his most admired settings, described by his biographer as “burning through the words’ patina of familiarity into a dramatic and purposeful entity”, while reflecting their “constantly varying nuances and inflections”. The responses are by Humphrey Clucas, and the motet is “Hear my prayer”, by Henry Purcell (1659 – 1695), an unfinished work by a true master of harmony. setting of the words from the beginning of Psalm 102.
Music at St Michael’s (17/03/2024)
At Choral Eucharist this Sunday the choir sings the “Mass in the Phrygian Mode” by Charles Wood (1866 –1926), an unaccompanied setting in a polyphonic style. The style is an echo of a much earlier era of music, of whom the most renowned exponent was Thomas Tallis (1505–1585), organist of the Royal Chapels to Henry VIII, Edward VI, Queen Mary I, and Queen Elizabeth I. His motet, “Verily, verily I say unto you”, written for the Communion Service, is a setting of the words of Jesus from John 6:53-56.
Music at St Michael’s (10/03/2024)
The text “Christus factus est”, is used for the anthems in both this morning’s Eucharist and at Evensong (6.30pm). It is the ‘gradual’ (a song sung after the first reading) set for Maundy Thursday, with words taken from Paul’s letter to the Philippians: Christ became obedient for us unto death, even to the death, death on the cross. Therefore God exalted him and gave him a name which is above all names.
In the morning, the setting is attributed to Felice Anerio (1560 – 1614), though some scholars believe it was written later, in 1705, by Baldassare Sartori, possibly caricaturing Anerio’s style. In the evening, the setting, composed by the romantic composer Anton Bruckner, in 1884, presents a very stark contrast in style. However both settings mark the change in mood between the sombre opening, and triumphant second sentence of the text. In the Anerio this is just a slight increase in the tempo. However, in the Bruckner there is a slow and dramatic crescendo, interspersed with short quiet sections, until reaching its high climax (marked fff) on “quod est super omne”, higher than all other, continuing to repeat this phrase in a long diminuendo to the end of the piece, fading away almost to nothing.
Music at Evensong:
Preces and Responses: Thomas Tomkins
Canticles: First Evening Service (Faux Bourdons), William Byrd
Psalm 13,14
Hymn: Jesus, Lord, we look to thee
Anthem: Christus factus est, Anton Bruckner
Music at St Michael’s (03/03/2024)
This morning’s motet is “O Lord, increase our faith” by Henry Loosemore (1607 – 1670) who was organist of King’s College, Cambridge, for over 40 years. The original text is a prayer for faith, wisdom, and holiness… in all adversity. Like many of his contemporaries in the late Renaissance period, Loosemore used polyphony – where two or more independent melodies intertwine – extensively. In this piece it has the effect of emphasising particular phrases of the text as each part sings it sequentially, or comes together to sing it as one. It is an essential skill for a choir to learn how to sing this type of music well, and we are delighted the junior choristers are giving us the fruit of their hard learning and practice this morning, as they join with the senior choir to sing this beautiful anthem.
Music at St Michael’s (25/02/2024)
The motet at Eucharist this morning is “O vos omnes” by Tomas Luis de Victoria (1549-1611). It reminds us that all suffering is shared by Christ: “O all ye that pass by the way, attend and see, if there be any sorrow like to my sorrow”. Victoria was the most significant composer of the late Renaissance in Spain, and one of the best-regarded composers of sacred music at that time. His music reflects his personality, expressing the passion of Spanish mysticism and devotion.
At evensong (6.30pm) the responses are by William Smith (1603 – 1645), and the canticles in Em, are by Daniel Purcell, Henry’s lesser known brother. The anthem is “Lord, for thy tender mercy’s sake,” usually attributed to English composer, dramatist, and Master of the Children of the Chapel Royal, Richard Farrant (1530-1580), though it may be by either the elder or younger John Hilton, who were also composing at this time. The text, from “Lidley’s Prayers” (1566), is a plea for forgiveness, mercy, and that “we may walk in a perfect heart before thee.”
Music at St Michael’s (18/02/2024)
The setting at this morning’s Choral Eucharist is William Byrd’s “Mass for Four Voices”. It was written in 1592 during the reign of Elizabeth I – when singing a mass in Latin was not actually legal! Today it is widely sung and loved, representing the very best of early English choral music. The motet, “Almighty and Everlasting God”, by Orlando Gibbons(1583 – 1625) is from the later reign of King James I, whom Gibbons served as organist of the Chapels Royal. The words, from a collect of the period, ask for God’s forbearance for our infirmities, and his strength for our protection and provision.
Music at St Michael’s (11/02/2024)
The motet at this Sunday’s Eucharist is “Jesu, the very thought of thee”, a beautifully written anthem by Edward Bairstow (1874 – 1946). The text, attributed to the 11th – 12th century mystic, St. Bernard of Clairvaux, speaks of the saint’s joy to know Jesus and his yet greater desire to see his face.
At Choral Evensong (6.30pm) the introit by William Byrd (c.1539 – 1623) is “Non vos relinquam orphanos” – a text from the gospel of St John: I will not leave you comfortless…. It is paired with an anthem by Byrd’s mentor and teacher, Thomas Tallis (c.1505 –1585), “O nata lux” – O Light born of Light, Jesus, redeemer of the world. They were the great English composers of this – perhaps any – era. The Preces & Responses and canticles (in E minor) come from two twentieth century well-known church composers, respectively Heathcote Statham (1889 – 1973) and Bernard Rose (1916 – 1996).
Music for Ash Wednesday: Lent prose; Remember not, Lord, our offences, by Henry Purcell.
Music at St Michael’s (04/02/2024)
The motet at the Family Service this morning is John Rutter’s “A Gaelic Blessing. The words are based on an old Gaelic rune, calling a blessing of deep peace from the elements of nature such as the running wave, the flowing air, the quiet earth and the shining stars, and from the deep peace of Christ.
The Junior Choir, who are singing this morning with the seniors, are looking forward to some great events over the next half of the term, including the Singing Day on Wednesday, 14th February (open to all children in Years 3 – 9), and their “Evensong and Pizza” trip to Winchester Cathedral on Monday, 19th February, where they will be able to observe the cathedral choir’s practice before the service in the Song School.
Music at St Michael’s (28/01/2024)
The motel at the eucharist for the Presentation of Christ is “O thou, the central orb” by Charles Wood (1886-1926) who wrote a considerable amount of church music – most of it is still in use. The text is a poem by Henry Ramsden Bramley (1833 – 1917) referring to the transforming power of God’s radiance. At the end of the service, as we face the font to renew our baptismal vows, the choir sings the Nunc Dimittis, or Song of Simeon. This setting is by Thomas Morley (1557 – 1602) written in the fauxbourdons style, typical of the period, which combines both plainsong and harmony.
Music at St Michael’s (21/01/2024)
The setting for the mass at this morning’s Choral Eucharist is Franz Schubert’s Missa Brevis No. 2 in G Major. Originally scored for orchestra and organ, it will be accompanied today on the piano. The setting is devotional in atmosphere, perhaps reflecting the worship in his own parish in a suburb of Vienna. Schubert was largely unknown when he died in 1828, at the age of just 31. Today he is ranked among the greatest composers of Western classical music.
The motet is “O sacrum convivium” by Richard Farrant (c. 1525 –1580), who was an English composer, musical dramatist, theatre founder, and Master of the Children of the Chapel Royal. The words honour the eucharist celebration: “O sacred banquet, in which Christ is received”.
Music at St Michael’s (14/01/2024)
The motet this morning, “Lead me Lord” by S. S. Wesley (1810 –1876), is based on text from Psalms 4 and 5. Wesley was a prolific composer of music for the Church of England, and this simple anthem remains one of his most popular. It reminds us of God’s leading, and protection.
Music for Epiphany Carols tonight: “From the rising of the sun”, Ouseley; The Coventry Carol; Tribus miraculis”, Marenzio; “Benedicamus Dmino”, Warlock.
The next Half-term Singing Day for children in Years 3 and above is on Wednesday, 14th February 9.30am to 3pm. Do you know any children aged 7 to 14, or families with children, that might be interested in coming to sing? We’d love to welcome them to this fun day of music-making. More details and booking form here: nsab.org.uk/singing-days
Music at St Michael’s (07/01/2024)
The motet at St Michael’s this morning is “Little Road to Bethlehem” composed by Michael Head in around 1946, with words written by Margaret Rose, who was inspired by the sight of lambs in an Essex field. The gentle lullaby imagines Mary rocking Jesus to sleep to the sound of a sheep-bell, as the sheep return from the fields near Bethlehem. The Junior Choir, in their first service of the New Year, lead the singing.
Junior Choir practises every Wednesday in term-time from 6.30-7.45pm. Children in years 3 and above may join the choir. No previous experience of singing is needed, so do pass this on to families you know. For more details see: nsab.org.uk/junior-choir
Music at St Michael’s (17/12/2023)
The 4th Sunday of Advent today is as close to Christmas as it’s possible to be this year. So in the morning the motet, “How beautiful on the mountains”, by John Stainer (1840 – 1901), reminds us of John the Baptist’s mission… and all those others who have brought the good news to us in perhaps simpler ways. In the evening our thoughts turn to Bethlehem, as the traditional Service of Lessons and Carols shares the message of Christmas through songs and readings, old and new. Among the many familiar carols and anthems, like John Rutter’s Shepherd’s Pipe carol, are a few which are unknown to many of us. For example, the beautiful “Peace on earth” by Belize-born composer Errollyn Wallen, Andrew Carter’s, “A Maiden Most Gentle”, and Sally Beamish’s “In the stillness”. The words of this last carol, by Katrina Shepherd, capture the hushed rapture of a small parish church in a snowbound landscape, just before Christmas. Hope to see you there… come rain or snow!
The carol service is at 6.30pm.
Music at St Michael’s (10/12/2023)
The motet at Eucharist this morning, the second Sunday of Advent, is “Canite tuba” by the Spanish Catholic priest, Francisco Guerrero (1528-1599) who was music director at Seville Cathedral. The anthem was first published in 1977 in a collection of motets from Chester Cathedral. The words of the anthem are taken from an Advent antiphon. They mean:
Blow the trumpet in Zion,
for the day of the Lord is nigh.
Lo, He comes to our salvation.
The crooked shall be made straight,
and the rough ways plain.
Come, Lord, and do not delay.
Music at St Michael’s (03/12/2023)
Advent begins, and today’s anthem — sung by the junior choristers — tells us what it is all about: “Prepare!”. This song was written by English composer and organist, Ian Wicks, a former conductor of both the Romsey Singers, and the Salisbury Cathedral Junior Choir, which he founded in 2016.
This evening at 6.30pm, the choir is singing several anthems in the first of 3 carol services at St Michael’s, for Advent, Christmas, and Epiphany. The anthems include Anton Bruckner’s “Virga Jesse”, Benjamin Britten’s “There is no Rose” (accompanied by the harp), and John Stainer’s “How beautiful upon the mountains“.
Music at St Michael’s (26/11/2023)
The motet at this morning’s Eucharist for the festival of Christ the King is “Lift up your heads” by the Welsh composer, William Mathias (1932 – 1992). It’s a spiky, almost militaristic setting of Psalm 24, posing the question “Who is this King of Glory?” — a question we’ll hopefully all be able to answer by the end of today’s celebrations! At evensong (6.30pm), The canticles are a joyous setting in B minor by T. Tertius Noble, published in 1898. The remainder of the music was all written in the 20th century: the introit by Charles Wood is “Oculi omnium” (The eyes of all wait upon thee, from Psalm 144:15), which was published in 1933; the preces and responses are by Heathcote Statham; and the anthem,“O clap your hands”, is by Ralph Vaughan Williams.
St Michael’s Autumn Concert Series has delivered two outstanding concerts recently, with perhaps Beethoven’s Fifth Symphony played by the University Sinfonietta – to a packed and appreciative audience – being the highlight.
Next Tuesday, 5th December, at 7pm, The SU Chamber Choir are presenting their Christmas Concert. Details of tickets and how to book are found here: nsab.org.uk/concerts
We’re delighted to announce an extra concert in our series: a Christmas Charity Concert from The Chamber Choir and Sinfonietta together! It’s on Saturday, 16th December, at 6pm. See website for details.
Music at St Michael’s (19/11/2023)
At Choral Eucharist this morning the choir sings the Missa Brevis by Jonathan Dove (b. 1959). It was commissioned by the Cathedral Organists’ Association and first performed at Wells Cathedral in 2009. The organ features prominently in the setting, and its unsettling compound time signatures and vibrant chorus sections bring a new outlook to the familiar words of the mass movements. The vibrancy of the Gloria, the cascading rhythms of the Sanctus and Benedictus, and the meditative chords of the Agnus Dei provide a new way to approach these texts in our thoughts and worship. In contrast, the simple and beautiful opening melody of Vaughan Williams’ “O taste and see”, an anthem written for Queen Elizabeth the Second’s coronation, is like a single shaft of light. The words are based on Psalm 34.
Psalms and Daffodils is a new blog post by Peter Balkwill, written to introduce some of the junior choir to singing Anglican Chant. Definitely recommended to anyone wishing to fathom the mysteries of psalm singing! Follow this link: /2023/11/14/psalms-and-daffodils/
Music at St Michael’s (12/11/2023)
The motet at the Remembrance Eucharist this morning is “They are at rest” by Edward Elgar, with words by Cardinal Newman. It was first performed in 1910 on the anniversary of Queen Victoria’s death. Choral Evensong (6.30pm) continues this theme with “For the Fallen”, composed by Douglas Guest in 1971, setting the words of British poet Laurence Binyon (1869 –1943). The poem was written to honour the many who died at the Battle of Mons, and is now considered a tribute to all casualties of war. The canticles are from the Evening Service in B flat by Charles Villiers Stanford (1852 – 1924), with responses by Humphrey Clucas (b. 1941). The anthem is ”Eripe me” by Latvian composer Rihards Dubra (b. 1964), a setting in Latin of words from Psalm 142:9-10: “Deliver me from my enemies, O Lord, to thee have I fled.”
Music at St Michael’s (05/11/2023)
Today’s anthem is “Blest are the pure in heart” by Malcolm Archer (b. 1952), sung by the junior and senior choristers. Archer was formerly Organist and Director of Music at Bristol Cathedral, at Wells Cathedral and at St Paul’s Cathedral, and Director of Chapel Music at Winchester College. The words have an interesting history. They were written by two different poets, at different times, and brought together by a different composer. Verses 1 and 3 were written by John Keble (1792 – 1866), an Oxford academic, poet, and priest, and a key influencer in the founding of the Oxford Movement, which had a profound impact, on the Church of England particularly, in the nineteenth century. The other verses were written by John Hall (1798 – 1863). The words fit perfectly together, speaking as they do of how God came to dwell in lowly and pure hearts.
Music at St Michael’s (29/10/2023)
The motet at Eucharist today is “Teach me, O Lord, the way of thy statutes” by Thomas Attwood (1765 – 1838), based on words from Psalm 119. Later in the week, on Thursday at 7.30pm, the choir will be singing two anthems at the All Souls Service, where we remember those who have died. “God be in my head”, by the English composer Henry Walford Davies (1869 –1941), is a beautiful setting of a prayer from the Sarum Primer, published in Salisbury in 1558. “The Funeral Ikos” by Sir John Tavener is a setting, both beautiful and austere, of words from the Orthodox service for the burial of priests. The words speak of the stark reality of death and loss; the music intones the consolation of Christ; its final response, though weeping, is “Alleluia”.
Music at St Michael’s (22/10/2023)
“O Lord, increase our faith”, the motet at eucharist this morning, is by Henry Loosemore, a composer from Devon, who was organist at Kings College Cambridge, in the seventeenth century. We will hear later composers at evensong (6.30pm) with an introit, “Comfort O Lord, the soul of thy servant” by William Crotch (1775 – 1847), and the canticles (in E flat) by Charles Wood (1866 – 1926). The responses are by Richard Ayleward (1626 – 1669), and the anthem, “Turn thee again O Lord”, is by Thomas Attwood (1765 – 1838), an organist at St Paul’s Cathedral, and a professor at the Royal Academy of Music. Attwood was influenced by his teacher Mozart, but also the Georgian tradition of English church music of his early training – a combination of styles which influenced many 19th century composers.
Music at St Michael’s (15/10/2023)
At Choral Eucharist this morning the Communion setting (in C) is by John Ireland (1879 – 1962), an English composer known mainly for his piano and choral works, including his piano concerto. This Sunday the set psalm is the much-loved 23rd, which also provides the text for the motet, “The Lord’s my Shepherd”, sung to Brother James Air, arranged in four parts by Gordon Jacob. Brother James is the familiar name of James Leith Macbeth Bain (1860–1925), a Scottish hymn writer, religious minister and author.
Concerts at St Michael’s this Autumn
TUESDAY, 14th NOVEMBER, 7PM: New Faces
Introducing the University’s new postgraduate performers.
SATURDAY,17th NOVEMBER, 7PM: Sinfonietta Soiree
The University Chamber Orchestra presents Beethoven’s Fifth Symphony and other pieces.
TUESDAY, 5TH DECEMBER, 7PM: The Chamber Choir
The award-winning University Chamber Choir presents a varied programme, directed by Simon Petite.
Music at St Michael’s (08/10/2023)
The motet on Sunday morning is “To thee, O Lord” by the well-known Russian composer, pianist, and conductor Sergei Rachmaninoff (1873 – 1943), who emigrated to America following the Russian Revolution. As well as his piano concertos, symphonies, and operas, Rachmaninoff composed many sacred works, such as this gentle and peaceful anthem, a movement from the Liturgy of St. John Chrysostom.
At evensong the introit is “Let my prayer come up” by English composer, John Blow (1649 – 1708). The responses are by Bernard Rose, and canticles, in D minor, by Thomas Attwood Walmisley. The anthem by William Byrd (1539 – 1623) is “Sacerdotes Domini” is based on an excerpt from the Offertory for Corpus Christi, translated as: “Then did priests make offering of incense and loaves of finest wheat to God.”
Music at St Michael’s (01/10/2023)
The Austrian composer, Josef Haydn was one of the eighteenth century’s most prolific and popular musicians. Often referred to as the father of both the symphony and the string quartet, he composed hundreds of works, including no fewer than 106 symphonies and 68 string quartets! The motet, which the junior and senior choristers sing at Family Eucharist this morning, is “The Heavens are telling the glory of God”, taken from the most popular of Haydn’s four oratorios. “The Creation” was written in 1798 and performed throughout Europe and the United States to great critical acclaim. The English translation received its premiere in the Old Covent Garden theatre in 1800. It is a joyous piece, in very typical Haydn style, and it reminds us still to look around us at creation if we wish to be reminded of God’s glory and goodness.
Music at St Michael’s (24/09/2023)
The motet at this morning’s eucharist is “Holy is the true light” by William Harris (1883 – 1973), a setting of a text from the Salisbury Diurnal, translated by G. H. Palmer (1846 – 1926). Harris was organist at the Chapel Royal in Windsor and the piano teacher to the young princesses Elizabeth and Margaret. His anthem has a mystical beauty that evokes the transcendent beauty of heaven – perhaps the reason it has been chosen for many funeral services, including that of Queen Elizabeth II and of her mother.
Evensong (at 6.30pm) opens with “Let thy merciful ears” by Thomas Mudd (1619-1667). The responses are by Kenneth Leighton (1929 –1988), and the canticles, commissioned by Kings College, Cambridge, are by Herbert Howells (1892 – 1983). With a similar heavenly theme to this morning’s motet, the anthem is Hubert Parry’s “My soul, there is a country”, published in 1918.
Music at St Michael’s (17/09/2023)
The motet at this morning’s eucharist is “Holy is the true light” by William Harris (1883 – 1973), a setting of a text from the Salisbury Diurnal, translated by G. H. Palmer (1846 – 1926). Harris was organist at the Chapel Royal in Windsor and the piano teacher to the young princesses Elizabeth and Margaret. His anthem has a mystical beauty that evokes the transcendent beauty of heaven – perhaps the reason it has been chosen for many funeral services, including that of Queen Elizabeth II and of her mother.
Evensong (at 6.30pm) opens with “Let thy merciful ears” by Thomas Mudd (1619-1667). The responses are by Kenneth Leighton (1929 –1988), and the canticles, commissioned by Kings College, Cambridge, are by Herbert Howells (1892 – 1983). With a similar heavenly theme to this morning’s motet, the anthem is Hubert Parry’s “My soul, there is a country”, published in 1918.
The motet at eucharist is “O Jesu mi dulcissime” (O Jesus, most sweet to me), an anthem in three parts by Felice Anerio (1560 – 1614). Anerio, an Italian composer of the late Renaissance and early Baroque eras, was born in Rome and lived his entire life there. He sang as a boy soprano at the Cappella Giulia, before moving to other churches, where he began composing. Later he became choirmaster at the Venerabile Collegio Inglese, (the “English College”), a Catholic seminary in Rome, founded in 1579 for the training of priests for England and Wales.
Music at St Michael’s (10/09/2023)
The motet at Eucharist this morning is “Cantique de Jean Racine” by Gabriel Fauré, which was composed in1805 when he was just nineteen. The text, “Verbe égal au Très-Haut” (“Word, one with the Highest”), is a French paraphrase by Jean Racine of a Latin hymn from the breviary for matins, praying his blessing on our morning praise. Fauré went on to become one of the foremost French composers of his generation, and a profound influence on many 20th century composers.
Music at St Michael’s (03/09/2023)
At our Family Eucharist this morning we’re thinking about everyone making “new starts with God” as children, students and teachers go back to schools and colleges and others start in new situations. So today’s anthem, “Lead me Lord” by S. S. Wesley, is in line with all our prayers, as is the Taizé chant sung during the intercessions “Jesus, remember me”. The junior choristers too are making a new start this academic year as regulars look forward to making music in St Michael’s once again, and new singers (including children moving up to Year 3) have the opportunity to join with them.
Lead me, Lord, lead me in thy righteousness; make thy way plain before my face.
For it is thou, Lord, thou, Lord, only, that makest me dwell in safety.
(Psalms 5:8 and 4:8)
Music at St Michael’s (23/07/2023)
This Sunday marks the end of the choir year before our August break. However, the choir will be involved in singing and music over the rest of the summer, helping with the Jazz Concert at St Michael’s on Thursday, 17th August, and singing at Salisbury Cathedral’s services on the weekend of 26th and 27th of August.
Three of the pieces planned for that weekend also feature in our services today. “O sing unto the Lord” is the anthem at our morning Eucharist. It is an exuberant setting of Psalm 98 by Cecilia McDowall, first performed by the choir of King’s College, Cambridge, in July 2019. At evensong this evening (6.30pm), the preces and responses are by Bernard Rose (1916-1996), and the canticles, in D, are by Ernest Moeran (1894 –1950) – pieces which also feature during the Salisbury weekend. The anthem at evensong is “Abendlied” (Evening Song) composed in 1855 by Josef Rheinberger.
Music at St Michael’s (16/07/2023)
The motet at Eucharist this morning is a prayer of confession, “Hide not thou thy face”, set to music by Richard Farrant (1530 – 1580). The setting of the mass is by Charles Wood (1866 –1926), “in the phrygian mode”. It is sung unaccompanied.
The Summer Pudding Concert on Wednesday this week marks the end of the year for our Junior Choir. It’s been quite a year for them. Read more about it on our blog… nsab.org.uk/2023/07/04/a-great-year/
Music at St Michael’s (09/07/2023)
The motet at Eucharist this morning is “If ye love me” by Thomas Tallis, a setting of Jesus’s words in John 14:15-17.
At evensong at 6.30pm the anthem — by Tallis’s pupil, William Byrd — is “Ave verum Corpus”. The other music in the service, also from the Renaissance period, is: the introit, “Ave Maria” by Jacques Arcadelt (1507–1568); the preces and responses by Thomas Tomkins (1572 –1656), a director of music at Worcester Cathedral; and the canticles, which are from the Short Evening Service by Thomas Weelkes (1576-1623), an organist at Chichester Cathedral
Music at St Michael’s (02/07/2023)
The motet at Eucharist today is “Ave Maria” by Colin Mawby. It is sung by the junior choristers with the upper voices of the senior choir. Colin Mawby was born in Portsmouth and, having sung at Westminster Cathedral – and played the organ there from age 12 – he became Master of Music at the Cathedral from 1961. Then from 1981 he was the choral director at Radio Telefís Éireann in Dublin. In 2006, Mawby was awarded the Knighthood of the Order of St. Gregory by Pope Benedict XVI, “in gratitude for past and continuing services to church music”. He died in 2019 aged 83.
Music at St Michael’s (25/06/2023)
The motet at Eucharist today is “Jesu, dulcis memoria” by Tomás Luis de Victoria (1548–1611), with words attributed to the 11th century saint, Bernard of Clairvaux:
Jesus, sweet remembrance,
Granting the heart its true joys,
But above honey and all things
Is His sweet presence.
At evensong the introit is “God be in my head” by Sir Henry Walford Davies (1869 – 1941). The words come from the frontispiece of a Book of Hours (1514), originally in medieval French. The responses are by Richard Ayleward, who was an organist, composer and harpsichordist in the mid-17th century. The canticles, in D minor, are by Thomas Walmisley (1814 – 1856), and the anthem, based on Psalm 42, is “Like as the hart desireth the waterbrooks” is by Herbert Howells (1892 – 1983).
Music at St Michael’s (18/06/2023)
The motet at Choral Eucharist this morning is “Cantique de Jean Racine” written in 1864 by the 18-year-old Gabriel Fauré. The beautiful melody sets words (by Jean Racine) paraphrasing a Latin hymn, praying for blessing on the people gathered to praise the “Word of the Highest”. It is a perfect complement to the setting for the mass, which is Joseph Haydn’s ‘Kleine Orgelmesse’ (Little Organ Mass) composed in the mid-1770s for a chapel at Eisenstadt. The music, while typical of the period, has its own spirit of gaiety, joy, and devotion.
Music at St Michael’s(11/06/2023)
Christopher Tye (1505 – 1572) wrote the music for this morning’s motet, originally for his metrical version of the Acts of the Apostles. Tye was an ardent Protestant reformer, a musician in the court of Henry VIII, and a friend of the Prince of Wales, later Edward VI. These words however, come from a poem by John Austen (1613 – 1669), a lawyer and equally ardent Catholic writer. “Hail, glorious spirits, heirs of light”, paints a vision of heavenly worship, where angels and “happy souls above” sing forever around the throne of love – a picture perhaps of true Christian unity. It was arranged by Gerald H. Knight (1908–1979), an organist at Canterbury Cathedral.
Evensong (6.30pm) starts with Anton Bruckner’s “Locus iste” (“this place was made by God”), written in 1886 for the dedication of a chapel in Linz Cathedral, Austria. It is sung a capella, in contrast to Charles Stanford’s canticles (in C), written a few years later, which features a rich (and loud) organ accompaniment! Stanford was music chair of Cambridge at the time, and organist at Trinity College. Bernard Rose, who wrote the responses for this evening, was also at Cambridge, as an organ scholar, before settling at Oxford, firstly at Queen’s College then Magdalen College, where he was organist and master of the choristers for over 20 years (1957 – 1981). Tonight’s anthem is “Ave verum corpus” written by Edward Elgar in 1887 while Elgar was organist at a church in Worcester, but as a setting of the Pie Jesu. Elgar arranged and orchestrated it as a setting of Ave verum corpus in 1902.
Music at St Michael’s (04/06/2023)
The motet at the Eucharist for Trinity Sunday is Franz Schubert’s “Holy, Holy, Holy”. Schubert was an Austrian composer, born in 1797 in a suburb of Vienna. Although he died in 1828, when he was just 31, he left behind a vast collection of both secular and sacred works, including this charming hymn to the Trinity that the choir sings today. Other works include seven complete symphonies (not to mention the “Unfinished”), many piano and chamber pieces (of which “The Trout” is among his most famous), many songs, operas and incidental music.
Music at St Michael’s (28/05/2023)
The motet at the Eucharist for Pentecost today is “Come, Holy Ghost”, by Thomas Attwood. (1765 – 1838). Attwood was a talented musician who studied with Mozart in Vienna, before becoming organist of St Paul’s Cathedral, and later composer of the Chapel Royal. The familiar English words used in the anthem were written by John Cosin (1594-1672), based on the Latin hymn for Pentecost, “Veni Creator Spiritus” which is attributed to Rabanus Maurus (c. 780-856), a Frankish Benedictine monk.
The music at evensong (6.30pm) is all from the 16th century. The introit, “O Holy Spirit Lord of Grace” is by Christopher Tye (1505 – 1572. The responses are by William Byrd (1539 – 1623), as are the canticles (from his Second Evening Service). Finally the anthem is by Thomas Tallis (1505 – 1585), “O Lord, give thy Holy Spirit”. What an inspiring trio of composers for this inspiring season!
Music at St Michael’s (21/05/2023)
On Ascension Day (18/05/2023) the anthem is “Lift up your heads” by the Welsh composer, William Mathias (1932 – 1992). On Sunday the motet is “O God, King of glory”, by Henry Purcell, a setting of the collect for the Sunday after Ascension from the Book of Common Prayer. Purcell was one of England’s greatest composers. He died in 1695, aged just 37. His tombstone reads that he… “left this Place, and is gone to that Blessed Place where only his Harmony can be exceeded.”
Music at St Michael’s (14/05/2023)
At Eucharist the motet is Ubi caritas by Duruflé, an ancient Latin hymn meaning, “Where charity and love are, God is there.”. At evensong the introit, Jesu, the very thought of thee, is by Edward Bairstow, as is the anthem, I sat down under his shadow. The responses are by Clucas, and the canticles are by Howells, designated “Collegium regale”, as they were dedicated to King’s College, Cambridge.
Music at St Michael’s (07/05/2023)
To celebrate the Coronation of King Charles III, the Royal School of Church Music (RSCM) invited choirs across the country and overseas to “Sing for the King” this week, having commissioned acclaimed singer and composer, Joanna Forbes L’Estrange, to create a new coronation anthem. It is called The Mountains Shall Bring Peace, and it is our motet at Family Eucharist this Sunday, sung by the junior and senior choristers of the choir.
The anthem sets words from the psalms in a way that is suitable for both services and concerts, and for a wide variety of choirs. The anthem has moments of grandeur for larger choirs and formal occasions, while its accessible melodic sweep lends an intimacy that will be enjoyed by smaller groups and gatherings. We’re delighted the choir of St Michael and Angels is able to participate in this celebration of the coronation.
Music at St Michael’s (30/04/2023)
The motet at Eucharist is These are they that follow the Lamb, by John Goss (1800 – 1880). The words, taken from Revelation 14:4-5, describe the followers of Jesus, the first-fruits of his redemption:
These are they which follow the Lamb whithersoever He goeth.
These were redeemed from among men,
being the first-fruits unto God and to the Lamb.
And in their mouth was found no guile,
for they are without fault before the throne of God.
Music at St Michael’s (23/04/2023)
The motet this morning is Let all mortal flesh keep silence by Sir Edward Bairstow, first published in 1906. The words from the Litany of St James evoke the mystery of Christ’s presence at the Eucharist and the wonder of his risen glory.
Evensong, at 6.30pm, opens with Oculi omnium (“The eyes of all wait upon thee”) by Charles Wood, published in 1933. The preces and responses are by Heathcote Statham (written for Norwich Cathedral, where he was organist between 1928 and 1966), and the canticles by Herbert Sumsion’s (1943). The anthem is Beati quorum via by Charles Villiers Stanford (1852 – 1924). The words translate as “Blessed are the undefiled in the way, who walk in the law of the Lord”, from Psalm 119:1.
Music at St Michael’s (16/04/2023)
Today is “Low Sunday”, a time when many cathedral choirs are away. As a consequence, our choir will not be at St Michael’s today but singing for this weekend at Portsmouth Cathedral. At this evening’s evensong for example, they will be singing “Abendlied” (Evening Song) composed in 1855 by Josef Reinberger, a beautiful anthem based on the narration of the Road to Emmaus in Luke’s gospel.
Music at St Michael’s (09/04/2023)
At our Easter Sunday Eucharist, the motet is “Haec Dies” by William Byrd (1539 – 1623). The words from Psalm 118:24, and traditionally used as an antiphon at Easter, are:
This is the day that the Lord has made;
let us rejoice and be glad in it!
The anthem, set for six voices, was first published in 1591. It is full of joy and energy, with its triple metre and dance-like rhythms fully reflecting the joy we feel on Easter Day.
Music at St Michael’s (02/04/2023)
As befits Palm Sunday, today’s music has a distinctly processional feel to it! The introit at the start of the service is “Pueri Hebraeorum”:
The Hebrew children, bearing olive branches, went forth to meet the Lord, crying out and saying: Hosanna in the highest.
The music was written by Italian composer, Giovanni Pierluigi da Palestrina (1525 – 1594). The motet during Communion also uses the words shouted by the children as its theme. “Hosanna Processional” was written in 2012 by Joseph M. Martin, who was born in North Carolina. It is sung initially by our junior choristers and then the whole choir together. Even our final hymn has a marching theme!
Today marks the start of Holy Week, with beautiful music planned throughout the week. For example, the hauntingly melodic Ubi Caritas by Norwegian composer, Ola Gjeilo (b. 1978), will be one of the anthems heard at the Maundy Thursday Eucharist. On Good Friday, O vos omnes by Tomás Luis de Victoria (1548-1611) will be sung, along with Palestrina’s Reproaches.
Music at St Michael’s (26/03/2023)
The motet at Eucharist this morning is, “Verily, verily I say unto you”, a setting of the words of Jesus from John 6: 53-56, by Thomas Tallis (1505–1585), a composer who, as Master of the King’s Musick, served four monarchs from Henry VIII to Elizabeth I.
At Evensong (at 6.30pm) the preces, responses and the canticles are also from the 16th century, by Thomas Morley (c.1557 – 1602). The anthem by contrast is by Anton Bruckner (1824 – 1896) an Austrian composer known for his symphonies, masses, and motets, and a leading exponent of Austro-German Romanticism. The text of the piece is from Philippians 2: 8,9. The first section (Christ became obedient unto death, even death on a cross), marked moderato misterioso, is quiet and mysterious. Through a gradual crescendo the piece changes to a triumphant and exultant climax (Wherefore God has chosen him to be exalted…), using both fff and ppp markings in the final section!
Music at St Michael’s (19/03/2023)
At Choral Eucharist for Mothering Sunday the setting is the “ Mass in the Phrygian Mode” by Charles Wood (1866 –1926). The motet is John Rutter’s “A Gaelic Blessing”, a piece published in 1978 after a commission from the Chancel Choir of the First United Methodist Church, in Omaha. The words, based on an old Gaelic rune, call a blessing of “deep peace” from the elements of nature such as the running wave, the flowing air, the quiet earth and the shining stars , and – in the crescendo of its final bars – from the deep peace of Christ.
Music at St Michael’s (12/03/2023)
The motet this morning is “Sicut cervus” by Palestrina (1525 – 1594). The text is based on familiar words from psalm 42: Like as the hart desireth the waterbrooks, so longs my soul after thee.
These words are also a theme in tonight’s evensong at 6.30pm, as they feature in both in the office hymn and the final anthem, which is by Herbert Howells (1892 – 1983). The canticles (in G) are by an English composer of a similar era, Francis Jackson. Jackson died last year having spent the whole of his career making music at York Minster. He was Director of Music and organist there for 36 years, from 1946 to 1982, and it was the same cathedral where he began his love of sacred music as a boy chorister.
Music at St Michael’s (05/03/2023)
The motet at the Family Eucharist today is “God so loved the world” by Sir John Stainer, the text of which is from today’s gospel, John 3:16. It is a movement from Stainer’s The Crucifixion, an oratorio written in 1887. The piece is sung by both senior and junior choristers of the choir.
Music at St Michael’s (26/02/2023)
The mass setting this morning, and at most eucharists during Lent is “The Mass of St Nicholas for Lent”, by our director of music, Andrew Hanley. The motet is Hear my prayer, by Henry Purcell (1659-1695), a setting of words from the beginning of Psalm 102 in an exquisite, and perhaps unfinished example of Purcell’s mastery of harmony.
At evensong (6.30pm) the preces and responses are by William Smith (1603 – 1645), and the canticles are from the Short Service of Orlando Gibbons (1583 – 1625), both pieces displaying the beauty of English renaissance music. The anthem, Bogoroditse Dyevo, is a movement from the “All Night Vigil” (or simply The Vespers) of Vasilievich Rachmaninoff (1873 – 1943). Although Rachmaninoff is known more for his symphonic and piano works, especially the concertos, this choral piece, and the rest of the Vespers, is considered to be among his finest work.
Music at St Michael’s (19/02/2023)
The mass setting at choral eucharist this morning is Charles Villiers Stanford’s Communion Service in B flat and F major. The original setting in B flat was written in 1879, to the text from the Book of Common Prayer, when Stanford was organist at Trinity College Cambridge. This did not include the Benedictus or Agnus Dei as they were not generally used at that time. He subsequently wrote these movements in F major (published in 1909) to be used with his setting in B flat, as well as those in F, C and A.
The motet this morning is “Jesu, the very thought of thee” by Edward Bairstow (1874 – 1946). The text is attributed to the 11th – 12th century saint, Bernard of Clairvaux, an abbot, mystic, and co-founder of the Knights Templar. Today we are more likely to appreciate his spirituality and poetry than his politics, which was controversial even in his own time! His poems and hymns, such as this one expressing the sweetness of Jesus’ presence, reflect his theological emphasis on the contemplation of the divine, the sacred space, and music.
On Ash Wednesday (22/02/2023) the choir sings the Lent Prose during the ashing, and William Byrd’s Miserere Dei as the communion motet.
Music at St Michael’s (12/02/2023)
As we ponder the miracle of creation today, the choir sings Maurice Greene’s charming anthem, “Thou Visitest the Earth”, reminding us of God’s continuing blessing and concern for our planet of such fruitfulness and beauty. Greene, the son of a clergyman, was a choir boy at St Paul’s cathedral, Professor of Music at Cambridge University, and in 1735, he became Master of the King’s Musick.
Choral evensong tonight (6.30pm) opens with “Let thy merciful ears” by Thomas Mudd (1619-1667). The rest of the music is from the 20th century, including Heathcote Statham’s Preces and Responses (written for Norwich Cathedral, where he was organist between 1928 and 1966), Herbert Sumsion’s Magnificat and Nunc Dimittis in G (1943), and “How beauteous are thy feet”, a melodic anthem by Charles Villiers Stanford, published in 1923, with words by local boy made good, Isaac Watts.
Music at St Michael’s (05/02/2023)
The motet at Family Eucharist this morning, sung by the choir’s junior and senior choristers, is “The Lord is my Shepherd” by Howard Goodall. The piece may be better known to many as the theme tune of the ‘Vicar of Dibley’. Howard Goodall read music at Christ Church, Oxford, where he met Richard Curtis and Rowan Atkinson, leading to a number of collaborations for TV and film. He frequently appears on radio and television, including recently as a judge for the Songs of Praise Junior Chorister of the Year.
The Taizé chant sung during the intercessions is “Wait for the Lord”, by Jacques Berthier (1923 – 1994).
Music at St Michael’s (29/01/2023)
Today’s motet is “Lift up your heads O ye gates”, by William Mathias (1934-1992), a setting of words from Psalm 24:7-9. A child prodigy, Mathias started playing the piano at the age of three and began composing at the age of five. He went on to study at Aberystwyth University and the Royal Academy of Music, where he was taught by Lennox Berkeley. His composition, “Let the people praise Thee, O God”, written for the royal wedding of the Prince and Princess of Wales in 1981, had a television audience of an estimated 1 billion people worldwide.
Music at St Michael’s (22/01/2023)
Thomas Tallis (1505–1585) was Organist of the Royal Chapels to King Henry VIII, King Edward VI, Queen Mary, and Queen Elizabeth. He was “esteem’d a most excellent Composer of Church Music” in his own time and in ours, his music continues to resonate, inspire and encourage us. The motet at Eucharist this morning is a setting of Jesus’s words in John 14:15-17, “If ye love me, keep my commandments, and I will pray the Father, and he shall give you another comforter, that he may ‘bide with you forever; e’en the spirit of truth.”
Music at St Michael’s (15/01/2023)
While the shops started celebrating Christmas long before Advent, and thought it was all over on Boxing Day, the church continues to meditate on its amazing story and worship to its beautiful music, as two Epiphany services today show. The motet this morning is John Tavener’s, The Lamb, perhaps his most famous choral work written in 1982. It is a setting of William Blake’s poem written in 1789, which imagines a conversation between a child and a lamb who realise who they share their name with. The choral mass setting for this morning is by John Ireland.
At Epiphany Carols this evening (6.30pm) there are works by: J. S. Bach, How brightly beams the morning star; Charles Wood, Hail, gladdening light; Benjamin Britten, The Birds, which is written for solo voice and piano; and Herbert Howells, Here is the little door, a setting of a poem by Frances Chesterton.
Music at St Michael’s (08/01/2023)
The anthem at the Family Service this week, is “We three kings of orient are”, that much-loved carol by John Henry Hopkins, Jr., a clergyman from Pittsburgh and the first bishop of the Episcopal Diocese of Vermont. He wrote the carol to be sung at a Christmas pageant for his nephews and nieces in 1857. Today it is sung by the junior choir, accompanied by the rest of the choir singing harmonies arranged by David Willcocks. The music during the intercessions is the Taizé chant by Jacques Berthier (1955 – 1994), “O Lord hear my prayer“.
Music at St Michael’s (18-25/12/2022)
Sunday the 18th marks the start a wonderful season of Christmas music with both senior and junior choristers contributing to the events. At the service of nine lessons and carols (6.30pm), much-loved familiar carols are interspersed with perhaps less familiar, but overwhelming beautiful, Christmas anthems. Two carols from Benjamin Britten’s A Ceremony of Carols are accompanied by the harp, and Edward Higginbottom’s lovely arrangement of ‘Rocking‘, based on a traditional Czech melody, is led by our junior choristers. Es ist ein Ros entsprungen is a song to Mary, the spotless rose, based on the prophecy of Isaiah (ch11.1). It is sung to a tune which many will recognise, written in 1609 by German composer Michael Praetorius. We will also hear Ivor Atkins arrangement of Three kings from Persian lands afar by Peter Cornelius (1824-1874), Torches (John Joubert), Adam lay ybounden (Peter Warlock), Gaudete, and the Zither Carol (arranged by Malcolm Sargent).
The music at the Christmas Eve Crib Service (5pm) will be led by the junior choir, who will again be singing the Rocking carol. Straight after the service, they and other members of the choir will be heading to the Leonardo Grand Harbour Hotel for a short concert of carols (6.30pm), to which all are welcome. The final services before the figgy pudding (for we all like figgy pudding), are Midnight Mass (11.30pm) and Christmas Day Eucharist (10am). But don’t forget one further carol service – for Epiphany, on January 15th. Hope to see you there too!
Music at St Michael’s (11/12/2022)
Appropriately for “Gaudete Sunday”, the choir sings the ancient carol, Gaudete Christus est natus. Indeed, many of us are ancient enough ourselves to remember the folk-rock group Steeleye Span’s 1973 hit recording of this song. It is thought to have been written in the 16th century as the words appear in Piae Cantiones, a collection of songs published in 1582. The tune comes from even older liturgical books.
Music at St Michael’s (04/12/2022) The Junior Choir returns this morning to sing Ralph Vaughan Williams, The Call. The short poem by George Herbert on which it is based, was published nearly three centuries earlier in 1633, the year Herbert died. Its simple language invokes both love and longing, and alludes to several passages from the bible, including Revelation 22:26: “Come, Lord Jesus”, and John 14:6: “I am the way, the truth and the life”. “Come”, the first word of each stanza, is the call of the poet to God, but it is also the response of the poet to the call from God.
Music at St Michael’s (27/11/2022) The mass setting at Eucharist this morning is by Charles Wood (1866 – 1926), affectionately known as the “mass in the fridge”, a term referring to its Phrygian mode, rather than the temperature! The anthem is “Wachet auf” by J. S. Bach, or Sleepers Awake, a song based on the parable of the wise and foolish virgins.
This song also features in tonight’s Advent Carol Service at 6.30pm, along with music from Palestrina, Vaughan Williams (The Call and This is the truth sent from above), Goldschmidt (A tender shoot), Stanford, and Charles Wood (O thou the central orb). The abiding theme of the service, as of Advent, is captured in the words of the first carol… O come, O come, Emmanuel.
Music at St Michael’s (20/11/2022)
The motet for eucharist is “Let all the world in every corner sing”. It is one of the Five Mystical Songs by the Welsh poet and hymn writer, George Herbert (1593–1633), that Ralph Vaughan Williams set to music in 1911, conducting the first performance at the Three Choirs Festival in Worcester that year. Another of these songs, “The Call”, will be sung at the Advent Carol Service next week.
Music at St Michael’s (13/11/2022)
The motet at Eucharist this morning is “For the fallen” set to music by Douglas Guest in 1971. The words are by British poet Laurence Binyon (1869 –1943), who was described as having a “sober” response to the outbreak of World War I, in contrast to the euphoria of many others. “For the Fallen” was written to honour the many who died at the Battle of Mons and the subsequent retreat. It is often referred to as the “Ode to Remembrance” and is considered a tribute to all casualties of war.
The introit at evensong (6.30pm) is “Call to remembrance” by Richard Farrant (c.1530-1580) with words from Psalm 25: 6-7. It asks God to remember, not our sins, but rather his loving kindness. Both the responses and the anthem, “Ave verum corpus”, are by William Byrd (c.1540 – 1623). The canticles in Em, from a somewhat later period, are by Daniel Purcell (c.1664 – 1717).
Music at St Michael’s (06/11/2022)
The motet for the Family Eucharist is “When you believe”, sung by our Junior Choir, with Natham Yam on the piano. The song, composed by Stephen Schwartz (b. 1948) for DreamWorks’ first animated feature film, “The Prince of Egypt”, winning him an Academy Award in 1999. The Hebrew section in the middle of the song is based on Moses and Miriam’s song in the book of Exodus, chapter 15, which may be translated as:
I will sing to the Lord for he has triumphed gloriously.
Who is like you, O Lord, in the heavenly hosts?
Who is like you, majestic in holiness?
In your love, you lead the people you redeemed.
Music at St Michael’s (30/10/2022)
The motet for Sunday’s eucharist is “Exsultate Deo” by Giovanni Pierluigi da Palestrina (1525 – 1594). The text is in Latin from Psalm 80 vv. 2-4. The words mean:
Take the psalm, bring hither the tabret: the merry harp with the lute.
Blow up the trumpet in the new-moon: even in the time appointed, and upon our solemn feast-day.
For this was made a statute for Israel: and a law of the God of Jacob.
Music at St Michael’s (23/10/2022)
We are delighted that the new grand piano for St Michael’s has arrived this week, and that it will feature prominently in today’s services and at the Half-term Singing Day on Wednesday. At this morning’s eucharist the mass setting, Schubert’s Mass in G (composed in 1815), will be sung accompanied by piano, as will one of the songs the children will be singing on Wednesday: “When you believe” from the animated feature film “The Prince of Egypt” by Stephen Schwartz (composed in 1998). The motet this morning “Teach me, O Lord” by Thomas Attwood, with words from Psalm 119 v. 33, is accompanied by the organ.
This evening’s evensong features music from three English composers: Charles Wood’s introit, “Oculi omnium” (1933); John Sanders’ Preces and Responses (1983); and two pieces from Charles Villiers Stanford, the canticles in C (1909) and the anthem, “Beati quorum via” (1892).
Music at St Michael’s (16/10/2022)
The motet for Sunday’s eucharist is “Let thy merciful ears” by Thomas Mudd (1619 – 1667). The words, from the Collect for the 10th Sunday after Trinity, are:
Let thy merciful ears, O Lord,
be open to the prayers of thy humble servants;
and that they may obtain their petitions,
make them to ask such things as shall please thee;
through Jesus Christ our Lord, Amen.
Music at St Michael’s (09/10/2022)
The motet at eucharist this morning is by Thomas Attwood (1765 – 1838). The words are from Psalm 90, verse 13, “Turn thee again, O Lord, at the last: and be gracious unto thy servants.”
The music at evensong (6.30pm) opens with “Tantum ergo”, by the French composer, Déodat de Séverac (1872 – 1921), balancing the anthem at the end of the service, which is also by a French composer of a similar period, (1845 – 1924), Gabriel Fauré. Fauré wrote “Cantique de Jean Racine” in 1864 when he was just 18, dedicating it to César Franck, who conducted the first performance. The words were written over a century earlier by the dramatist, Jean Racine, paraphrasing a Latin hymn from the matins breviary. By contrast, the responses (by Bernard Rose) and canticles (by Herbert Murrill) are quintessentially 20th century English pieces. Murrill’s career, for example, spanned periods with the BBC, including appearances at the Proms, in the Intelligence Corps at Bletchley Park, and teaching at Haberdashers’ Boys School. The canticles reflect his affinity for, and talent composing for the organ, not to mention the demands he made on his choirs!
Music at St Michael’s (25/09/2022)
At our Harvest celebrations this morning the choir sings “For the beauty of the earth” by John Rutter. The first verse is sung by the junior choristers, and as harmonies and other singers are added in subsequent verses, the piece crescendos to a dramatic conclusion in its celebration of the natural world and God’s love of all creation. The piece is accompanied by an electronic keyboard – perhaps next year we will sing it again, with a new grand piano adding its praise!
Music at St Michael’s (25/09/2022)
The setting at this morning’s Choral Eucharist is William Byrd’s “Mass for Four Voices”. Indeed, when first written in around 1592 during the reign of Elizabeth I, it may literally have been sung by just four singers at clandestine celebrations of the Latin mass in some of the large houses in England, who wished to continue this tradition which was illegal at the time. Today it is a much-loved setting in both Anglican and Catholic services, representing the very best of early English choral music. The motet, from the same period, is “Exultate Justi” (Rejoice in the Lord, O ye righteous). It is a translation of Psalm 33, with music by Franciscan composer, Ludovico da Viadana (1560 – 1627).
Evensong (at 6.30pm) opens with William Harris’s “Holy is the true light”, the meditation on paradise which was sung at Her Late Majesty’s funeral last week. The responses are by Thomas Morley and the canticles are from the Evening Service in F by George Dyson (1883 – 1964). The anthem, “O quam gloriosum” by Tomás Luis de Victoria (1548-1611), is on a similar theme to the introit, celebrating the saints who have gone before us: “O how glorious is the kingdom in which all the saints rejoice with Christ.”
Music at St Michael’s (18/09/2022)
The motet at Eucharist this Sunday is “This is the day”, by Thomas Morley (c. 1557 – 1602). The choir will also be singing at the commemorative service of prayer and thanksgiving for the life of Her late Majesty Queen Elizabeth II on the eve of her funeral. The music will reflect both the sadness and hope that this time of mourning evokes.
- God be in my head, by Sir Henry Walford Davies (1869 – 1941)
- Nunc Dimittis in G, by Sir Charles Villiers Stanford (1852 – 1924)
- Kontakion for the dead (Kyiv melody)
- Thou knowest Lord, by Henry Purcell (1659 – 1695)
Music at St Michael’s (11/09/2022)
The motet this morning is “Tantum ergo” in G flat by Gabriel Fauré. The soprano solo will be sung by our choral scholar, Jenny King, on her last Sunday with us. We wish her well in her new job (and her new choir!) in London. Fauré wrote several versions of Tantum Ergo in different keys, and although this is not his most well-know, it is a beautiful setting. The music during the intersessions will the Kontakion of the departed, to its ancient Kiev chant, which was sung last year at the funeral of Prince Phillip earlier this year.
At evensong, as well as singing the National Anthem, the choir will sing “O Lord, give thy holy spirit” by Thomas Tallis, responses by Tomkins, and the Short Evening Service (canticles) by Orlando Gibbons (1583 – 1625). The anthem, “Almighty and everlasting God”, is also by Gibbons.
Music at St Michael’s (04/09/2022)
Having sung the services at Wimborne Minster last Sunday, the choir is now back from its summer break, along with our junior choristers, who will be leading the motet at today’s Family Service together with the upper voices of the senior choir. The song is “Love one another” by S. S. Wesley, an excerpt from a longer anthem (“Blessed be the God and Father”) that the whole choir sang at the end-of-term “Pudding Party” in July. The simple words, from Peter’s first letter, are a perfect meditation for us all:
Love one another with a pure heart, fervently,
See that you love one another.
Music at St Michael’s (24/07/2022)
This is the last Sunday of the year for the choir, and the last two services before their summer break. They will be back next term for the Family Service on September 4th. If you are missing them too much by the August bank holiday weekend, the choir will be singing three services at Wimborne Minster. You’d be most welcome if you’d like to come!
The mass setting for this morning’s Choral Eucharist is John Ireland’s Communion Service in C. The motet is O Holy Spirit, Lord of grace, by Christopher Tye (1505 – 1572), a composer at the radical edge of the English reformation at the time of Edward VI.
In the evening the introit is “O gladsome light, O grace” by Louis Bourgeois, a choirmaster in Geneva in the mid-sixteenth century at the time of the reformer John Calvin. The preces and responses are by Bernard Rose (1916-1996), and the canticles (in D minor) are by Thomas Walmisley (1814 – 1856). The anthem, “My eyes for beauty pine”, is by Herbert Howells (1892 – 1983).
Music at St Michael’s (17/07/2022)
The motet at eucharist this today is “Jesu, the very thought of thee” by Edward Bairstow (1874 – 1946). The words are a metrical translation by Edward Caswell (1814 – 1878) of the hymn “Jesu dulcis memoria”, by the 11th century saint Bernard of Clairvaux.
Jesus, the very thought of thee With sweetness fills my breast; But sweeter far thy face to see, And in thy presence rest.
Music at St Michael’s (10/07/2022)
Thomas Tallis, the most eminent English musician of the Reformation, was among the first to write sacred music in English during the reign of King Edward V1. “If Ye Love Me”, which the choir sings at the morning Eucharist, is a setting of words from John’s gospel, and it is a noted example music from this period. By contrast the music at evensong this evening is a celebration of 20th and 21st century composers: Benjamin Britten (the Jubilate Deo, commissioned by Prince Philip in 1961), Gabriel Jackson (the responses, published in 2006), Herbert Howells (the canticles commissioned by King’s College, Cambridge in 1947), and Celia McDowall (O sing unto the Lord, commissioned for Michael Boswell, a choral scholar at King’s College, where the anthem was performed for the first time in 2019)
Music at St Michael’s (03/07/2022)
The motet this morning is “Ave verum corpus” by Edward Elgar (1857 – 1934), one of England’s best-loved composers, particularly for his orchestral works, such as the Enigma Variations and the Pomp and Circumstance Marches. The words of the motet reflect his own faith, being a short Eucharistic hymn dating from the 14th century, “Hail the true body of Christ”. The junior choristers introduce the main melody in the first section, which is then echoed by the harmonies of the full choir.
Music at St Michael’s (26/06/2022)
The music of the mass sung at the Eucharist this morning is Joseph Haydn’s ‘Kleine Orgelmesse’ (‘Little Organ Mass’. It is unusual for its very short Gloria, achieved by the four voice parts singing the different sets of words all at the same time (the “Amen” is actually the longest section!) Later composers abandoned this technique, but the music is joyous and ‘imbued with a quiet spirit of devotion’ that makes it entirely fitting to its context. The motet, “Exultate justi” (Rejoice in the Lord, O ye just) is a translation of Psalm 33, with music by Franciscan composer, Ludovico da Viadana (1560 – 1627).
At evensong William Byrd’s “Non vos relinquam” (I will not leave you comfortless) written in 1607 is the introit, setting some of Jesus’s words from the gospel of John, chapters 14 and 16. Byrd’s music combines the feeling of the sadness of Christ’s parting from the Apostles, with the joy he promises for them in the future. The motet is from the same period “Tibi laus, tibi gloria” by Peter Philips, first published in 1612. The words, from the Matins Responsory for Trinity Sunday, are a song of praise to the Triune God set to glorious music of the period, with playful rhythm changes and the intertwining melodies of the five choral parts. The responses are by Thomas Tomkins (1572 –1656), director of music at Worcester Cathedral until the Civil War. The canticles are from the Short Evening Service of Orlando Gibbons (1583 – 1625), organist of the Royal Chapel of James the first.
Music at St Michael’s (19/06/2022)
Of Thomas Tallis (1505–1585), William Boyce, himself a Master of the King’s Musick) wrote, “He was Organist of the Royal Chapels to King Henry VIII, King Edward VI, Queen Mary, and Queen Elizabeth. He was esteem’d a most excellent Composer of Church Music, at least equal to any Contemporary, either of his own Country or of Foreign Nations; and was the first who compos’d the Musical Part of our Divine Service in the English Language.” The motet, “Verily, verily I say unto you”, that the choir sings today, was written for the Communion Service. It is a setting of the words of Jesus from John 6:53-56.
Music at St Michael’s (12/06/2022)
For Trinity Sunday the choir sings “Holy, Holy, Holy” by Franz Schubert (1797–1828). The Austrian composer left behind an incredible amount of music in his short lifetime. As well as the symphonies, operas, incidental music, piano and chamber music, and secular vocal works, he wrote many sacred pieces, including this charming hymn to the Trinity.
The anthem at evensong is also a Trinity hymn, “O Trinity, most blessed light” by C. Kenneth Turner. The words, translated from the Latin by J. M. Neale, are attributed to the fourth century saint, Ambrose of Milan (337–397). The introit of the service is “Jesu, dulcis memoria” by Tomás Luis de Victoria (1548–1611) and the responses are by William Smith (1603-1645). The canticles (in G), by Charles Villiers Stanford (1852–1924) provide a particularly moving section of the service, with the lyrical solos reflecting the deep emotion of both Mary’s and Simeon’s songs.
Music at St Michael’s (05/06/2022)
The motet at this morning’s Family Eucharist, “Lead me, Lord” by Samuel Sebastian Wesley (1810 – 1876) is a much-loved anthem with a beautiful melody and simple setting. The words are taken from two psalms, with each verse sung first by a unison semi-chorus or solo voice, then echoed in the four parts of the full choir. The words are:
Lead me, Lord, lead me in thy righteousness; make thy way plain before my face. For it is thou, Lord, thou, Lord only, that makest me dwell in safety. Psalms 5:8 and 4:9
Music at St Michael’s (29/05/2022)
The motet this Sunday is “Come, Holy Ghost”, by Thomas Attwood (1765 – 1838). Attwood was the son of a musician in the royal band, and he clearly showed talent at a young age, as he was sent abroad to study music, becoming a favourite pupil of Mozart in Vienna! In the same year that he became organist of St Paul’s Cathedral (1796), he was chosen as composer of the Chapel Royal. He composed many choral pieces, including this gentle, accompanied anthem anticipating Pentecost that the choir sings today.
Music at St Michael’s (22/05/2022)
Harold Darke (1888 – 1976) was an English composer and organist, particularly known for his choral compositions. The choir sings his Setting of the Communion Service in E (affectionately known as the “Coll. Reg.” as it was commissioned for King’s College, Cambridge). It is one of three that he wrote in his lifetime. The motet is Thomas Tallis’s “O Lord, give thy Holy Spirit”, which in this season of Easter, looks forward to Pentecost. The interweaving melodies sung by the four parts of the choir create a peaceful beauty that explain why this ‘genius of the English renaissance’ is still so loved today.
At the Evensong within the APCM (at 6.30pm), the introit is Anton Bruckner’s “Locus iste”, written in 1869, with words that remind us that where we meet to worship is “the Lord’s place, which he has made”. As at every evensong, the responses and canticles from the Book of Common Prayer are sung. This evening the settings are by Humphrey Clucas (b. 1941) and Herbert Brewer (1865 – 1928). The anthem is “O Saviour of the world” by Arthur Somervell (1863 – 1937) which calls on God to “save us and help us”.
On Ascension Day (Thursday, 26th, at 7.30pm) the motet is “O clap your hands” by Ralph Vaughan Williams (1872 – 1958), a setting of Psalm 47.
Music at St Michael’s (15/05/2022)
‘In the heart, where love is abiding’, our motet at this morning’s eucharist, was arranged by John Barnard (b. 1948), and is a setting, to a beautiful plainsong melody, of words based on the medieval hymn ‘Ubi caritas et amor’:
In the heart where love is abiding, God is in that heart, And the love of Christ has made us all of one heart. Then with joyful and glad hearts let us thank him. Let us fear God and remember all his goodness. Let us love each other with a pure and clean heart. May no quarrelling or dispute come between us. Let us see your face, O Lord Christ, now among us. Let us sing with all the angels praise to Jesus, In a song of joy that wells up from a clean heart.
Music at St Michael’s (08/05/2022)
The anthem at Eucharist is “The Lord is my Shepherd” by Howard Goodall (b. 1958), better known to many as the theme tune of the ‘Vicar of Dibley’. Goodall was a boy chorister at Stowe School and went on to read music at Christ Church, Oxford. He has received many accolades for his music, including for other TV and film theme tunes such as ‘Blackadder’ and ‘Mr Bean’.
The Psalm 23 motif continues at evensong (6.30pm), with the choir singing Brother James’ Air, arranged by Gordon Jacob (1895-1984). The tune itself was written by James Bain (1860–1925) who was a Scottish hymn writer, religious minister and author who became known to his peers as Brother James. The introit at evensong also has a pastoral feel. “I sat down under his shadow”, with words from the Song of Solomon, is by the Yorkshireman, Edward Bairstow (1874 – 1946). The preces and responses are by Gabriel Jackson (b. 1962), and the canticles by Ernest Moeran (1894 –1950)
Music at St Michael’s (01/05/2022)
Our junior choristers lead the upper voices of the choir in this morning’s anthem, “The Call”, by the much-loved English composer Ralph Vaughan Williams (1872 – 1958). This is the 4th of Five Mystical Songs which Vaughan Williams wrote in 1911, with words from a collection of sacred poems by George Herbert called “The Temple”. Herbert (1593 – 1633) was a Welsh poet, orator, and priest of the Church of England. He is recognised as one of the foremost British devotional lyricists for his many hymns and poems on sacred themes.
Music at St Michael’s (24/04/2022)
“Blessed be the God and Father” by S. S. Wesley (1810 – 1876), our motet at the Eucharist service, was written in 1834 for a service on Easter Day at Hereford Cathedral. It was a situation familiar to Directors of Music everywhere, when only a few singers were available, in this case the trebles and a single bass (who happened to be the Dean’s butler!) Nevertheless, he wrote a brilliant anthem featuring as it does many unison passages and interplay between the upper and lower voices.
In the evening (6.30pm remember!) the introit is “Cantate Domino” by Italian composer, Giuseppe Pitoni (1657 – 1743): “Let us sing unto the Lord” is based on the first two verses of Psalm 149. The preces and responses are by Bernard Rose (1916-1996), and the canticles (in C) are by Charles Villiers Stanford (1852 –1924). The anthem is by the English composer, William Mundy (1529 – 1591), the words of which begin:
O Lord, the maker of all thing,
We pray thee now in this evening
Us to defend through thy mercy
From all deceit of our enemy.
Music at St Michael’s (17/04/2022)
Easter Sunday’s motet at the Eucharist is “Surrexit Christus hodie” by Samuel Scheidt (1587 – 1654) a German composer, organist and teacher of the early Baroque era. He was from the town of Halle, in Eastern Germany, went to Amsterdam to study under Jan Pieterszoon Sweelinck, and later became court organist in Halle, and then Kapellmeister, to the Margrave of Brandenburg. His Easter anthem, rejoicing in the resurrection, is set for double choir, with first the sopranos then the tenors singing the theme to which the choirs respond in a joyous dance-like rhythm. It’s set many a foot tapping in the pews in the past four centuries!
Music at St Michael’s (10/04/2022)
Palm Sunday’s motet at the Eucharist is Thomas Weelkes’ glorious anthem, “Hosanna to the Son of David”, based on verses from the Gospels of Matthew and Luke. Weelkes (1576-1623) was the organist at Chichester Cathedral from 1602 (though he was eventually dismissed from this position due to his alcoholism).
Choral Evensong is moving back to its old time of 6.30pm this Sunday. The music for it is drawn mainly from the 17th century, including the anthem, “Miserere mei” by Henry Purcell (1659 – 1695). This remarkable two-part canon in four voices is included as an example by Purcell in the twelfth edition of “An Introduction to the Skill of Musick” (London, 1694). It not only demonstrates the technical genre to music students, it manages to do so in a wonderful piece of music, with the harmonies from the interweaving melodies evoking the heart-felt emotion of the psalmist. He was after all a genius! The responses and canticles in the service are by Thomas Tomkins (1572 –1656), a Welsh composer who served Worcester Cathedral for fifty years, until the Civil War brought an end to the services there in 1646.
Another even more famous “Miserere” features in the music on Maundy Thursday. Composed around 1638, it was only allowed to be performed at the Sistine Chapel, which of course added to the mystery surrounding the piece. According to the popular story, it was Mozart, aged fourteen, who heard the piece and wrote it down entirely from memory. Since its publication in 1771 and the lifting of the ban, Allegri’s Miserere has become one of the most popular choral works now performed. You’ll almost certainly hear it on Classic FM this week if you can’t make the service on Thursday!
Other beautiful music to look out for during Holy Week includes the Reproaches (probably the setting by Palestrina) on Good Friday, and Haec Dies by Caspar Ett (1788 – 1847) on Easter Eve.
Music at St Michael’s (03/04/2022)
At Family Eucharist this morning we welcome three new junior choristers who joined us following the last Half-term Singing Day. Since then, they’ve been working hard to learn all the music we sing at the family service (4 hymns, 3 movements of the mass, the meditation during the intercessions, and the anthem!) Do give them a warm welcome.
The meditation is the Spanish anthem, Nada te turbe (Nothing can trouble you), written in 1986 by the French composer Jacques Berthier (1923 – 1994) who wrote much of the music used at Taizé. The anthem is an arrangement of “Steal Away”, an American spiritual composed by Wallace Willis, a slave of a Choctaw freedman in the old Indian Territory, sometime before 1862. The song was popularised by the Jubilee Singers who toured the United States and Europe from 1871 to raise funds for a college, later Fisk University.
Music at St Michael’s (27/03/2022)
The anthem for the Choral Eucharist on Mothering Sunday is “Stabat Mater” (first movement), composed by Giovanni Battista Pergolesi in 1736. The words describe Mary, standing weeping at the foot of the cross. This beautiful duet for soprano and alto is one of Pergolesi’s most well-known sacred works, expressing the heart-rending emotion of that moment. The mass setting during the service (in the Phrygian Mode) is by Charles Wood (1866 –1926).
At evensong at 4pm, there is music by three outstanding composers of the 16th and 17th centuries. Henry Purcell (1659 – 1695) provides the introit, “Miserere Mei”, based on the text of Psalm 51; William Byrd (1539 – 1623), provides the canticles and responses; and Italian composer Felice Anerio (1560 – 1614), the anthem, “Christus factus est”, a meditation on the words from Philippians (2:8-9):
“Christ became obedient for us unto death, even to the death on the cross.”
Music at St Michael’s (20/03/2022)
The anthem at Eucharist this Sunday is “Call to remembrance, O Lord” by the Tudor composer Richard Farrant (1525-1580). Farrant was one of the Gentlemen of the Chapel Royal in the 1550s and sang there during the reign of Mary Tudor, taking up the post of Master of the Choristers at St George’s Chapel in 1564, during the reign of Elizabeth I, around the time he composed this anthem. The text is from Psalm 25 (vv. 5-6) which asks God not to remember our sins… but his own tender mercies.
Music at St Michael’s (13/03/2022)
Evensong, at 4pm this Sunday, is dedicated as “A Prayer for Ukraine” which is also the title of the introit. The text was written by poet and writer Oleksandr Konysky (1836 – 1900), and the music composed by Mykola Lysenko (1842 – 1912), a composer who dedicated his career to conserving and encouraging Ukrainian music. Prayer for Ukraine was performed in Kyiv in 2001 at the celebrations of the 10th anniversary of Ukraine’s independence, and recently it has been part of many church services internationally, in response to the Russian invasion of Ukraine. The words begin:
O Lord, almighty and gracious
Always keep our Ukraine safe;
Give her the light of freedom,
Show her the way of goodness…
The English Renaissance composer, Thomas Morley provides the music of the canticles and responses at evensong. The Magnificat, as at every evensong, reminds us of the need for humility, for… “He has put down the mighty from their seat”. The anthem, “O vos omnes” by Tomas Luis de Victoria (1549-1611), calls us to remember that all suffering is shared by Christ: “O all ye that pass by the way, attend and see, if there be any sorrow like to my sorrow”. And the second collect is a prayer for peace:
Give unto thy servants that peace which the world cannot give; that both our hearts may be set to obey thy commandments, and also that by thee we being defended from the fear of our enemies may pass our time in rest and quietness.
Music at St Michael’s (06/03/2022)
The motet at the Family Service this week, “O for a closer walk with thee”, is by Charles Villiers Stanford (1852 – 1924). The text was written by William Cowper in 1772, a hymn that reflects a longing for intimacy with God. Cowper himself battled depression and melancholy throughout his life, and yet wrote hymns of great serenity that continue to inspire Christians many generations later.
Music at St Michael’s (27/02/2022)
The setting at Choral Eucharist this week is John Ireland’s Communion Service in C, written in 1914. The motet is a setting of “Ave Maria” by Jacques Arcadelt (1507–1568), a Franco-Flemish composer of the Renaissance, active in both Italy and France, who was particularly known as a composer of madrigals. His lesser-known claim to fame is that the music in Caravaggio’s famous painting, “The Lute Player”, is by Arcadelt!
At Evensong at 4pm the choir sings Charles Wood’s Oculi omnium as an introit and the anthem is William Harris, “Holy is the true light”. The Canticles (in D) are by Charles Wood, with responses by Humphrey Clucas.
On Ash Wednesday the choir is singing “Thou knowest, Lord, the secrets of our hearts”, composed by Henry Purcell for the Funeral of Queen Mary in 1695.
Music at St Michael’s (20/02/2022)
There’s a much smaller choir at Eucharist this morning as our Director of Music, Andrew Hanley, and several other members of the choir are singing the services at Bath Abbey this weekend, along with the choir “Laudamus”. They’ll be singing some of the very beautiful music we’ve heard in St Michael’s over the last few Sundays.
The motet at St Michael’s this morning is “Thee we adore” a text by St Thomas Aquinas (1227 – 1274), set to a plainsong chant:
Thee we adore, O hidden Saviour, thee, who at this blessed feast art pleased to be; both flesh and spirit in thy presence fail, yet here thy presence we devoutly hail.
Thomas Aquinas was one of the early church’s greatest theologians and philosophers, whose impact on western thought has been profound. This hymn is one of several he wrote on the subject of the Lord’s supper.
Music at St Michael’s (13/02/2022)
As we remember and give thanks for 70 years of the Queen’s reign this month, the choir’s motet at Eucharist, “O taste and see”, is appropriate. It was written by Ralph Vaughan Williams, for the coronation.
At evensong — at the earlier time of 4.00pm this week — the introit is “Eripe me”, by Latvian composer Rihards Dubra (b. 1964). The words, based on Psalm 142:9-10, mean:
“Deliver me from my enemies, O Lord, to thee have I fled; teach me to do thy will, for thou art my God.”
The anthem, “Sicut cervus” by Palestrina (1525 – 1594), is also based on a psalm (42) – “Like as the hart desireth the waterbrooks…” Other music includes canticles in D minor by Thomas Attwood Walmisley (1814 – 1856), preces and responses by William Smith (1603 – 1645), and the setting of the Lord’s Prayer by Robert Stone (1516 – 1613).
Music at St Michael’s (06/02/2022)
At Family Eucharist this Sunday the motet is “Morning glory, starlit sky”, by Barry Rose (b. 1934), a composer and choir master who is perhaps most well-known for founding the choir and the pattern of daily worship at the new Guildford Cathedral in 1961. This anthem is based on a poem by William (Bill) Vanstone (1923 – 1999), who subtitled it “love’s endeavour, love’s expense”. The words speak of the open gifts of love from God to all, contrasted with their great yet hidden cost.
Vanstone was greatly respected within the ministry of the church. His obituary commented, “Both lay and ordained men and women who were lonely, questioning or deeply wounded found their way to his door and his lights often burned late into the night.”
Music at St Michael’s (30/01/2022)
This Sunday we celebrate the Presentation of Christ (Candlemas) and the text of the motet, “Exultate justi”, by Italian composer, teacher, and Franciscan friar, Ludovico da Viadana (1560 – 1627), is a translation of Psalm 33, that would often have been sung in the temple. The words mean:
Rejoice in the Lord, O ye just; praise befits the upright.
Give praise to the Lord on the harp; sing to him with the psaltery, the instrument of ten strings.
Sing to him a new canticle, sing well unto him with a loud noise.
Rejoice in the Lord, O ye just; praise befits the upright
Music at St Michael’s (23/01/2022)
Joseph Haydn’s ‘Kleine Orgelmesse’ (‘Little Organ Mass’), which the choir sings at choral Eucharist today, was composed in the mid-1770s for a chapel at Eisenstadt. It is unusual for its very short Gloria – the four voice parts sing the different sets of words all at the same! – and the very long Benedictus, featuring organ and soprano solos. Some in the choir may recall singing this in Chichester Cathedral, when the soprano solo was sung beautifully by Katherine Harper. In deciding not to sing the Benedictus today, we are following the advice now given by the cathedral to visiting choirs… it’s just too long for the standing congregation. The music throughout though is, as one reviewer wrote, ‘imbued with a quiet spirit of devotion, even of mysticism, that is most appealing.’
The motet is a treat of a different kind. “Ubi caritas”, is an ancient Latin hymn meaning, “Where charity and love are, God is there.” Ola Gjeilo, a modern composer from Norway, wrote the music for this piece in 1999, and he manages to blend plainsong melodies with complex harmonic progressions that perfectly complement this beautiful text.
Music at St Michael’s (16/01/2022)
Epiphany gives us another opportunity to sing joyous carols and anthems! At Eucharist the choir sings “O taste and see” by Ralph Vaughan Williams, one of the last of his sacred pieces, written for the 1953 coronation of Queen Elizabeth II. In the evening, the Epiphany Carol Service (at 6.30pm) includes more twentieth century British music, with Benjamin Britten’s “A Boy was born”, composed in 1933, “Bethlehem Down”, written by Peter Warlock in 1922, and “Tomorrow shall be my dancing day”, by John Gardner (1965).
Music at St Michael’s (24-25/12/2021)
There are three sung services over Christmas Eve and Christmas Day. Firstly, a big shout-out for the junior choristers who will be leading the carols and singing the anthem at the Crib Service at 5pm. Congratulations to all of them, as for several it will be their first opportunity to sing with the choir. At 11.30pm, Midnight Mass, the motet is The Infant King (Sing lullaby), a Basque carol arranged by David Willcocks (1919 – 2015), a composer and choirmaster who was particularly well known for his association with the Choir of King’s College, Cambridge. On Christmas morning the choir sings “A maiden most gentle”, a carol with words by Andrew Carter (b. 1939) set to a traditional French tune which he arranged. The words paraphrase a text by The Venerable Bede (672 – 735).
Music at St Michael’s (19/12/2021)
The fourth Sunday of Advent brings an abundance of Christmas music, especially at the Lessons and Carols at 6.30pm tonight. Among the highlights is this morning’s motet, “A tender shoot” by Otto Goldschmidt (1829-1907), which speaks of Christ, brought by the Virgin in the depths of winter, to “turn our darkness into light”. A favourite for many people at Christmas is John Tavener’s, “The Lamb”, which he wrote in 1979 using the text of William Blake’s well-known poem (published in 1789). The poem is a conversation between a child and a lamb, as they realise the one who made them was also called a Lamb. Tavener weaves a simple plainsong melody with its refection in a gentle piece of extreme tenderness. Another undoubted highlight is “Hodie” by the genius Dutch composer Jan Pieterszoon Sweelinck (1562 – 1621) whose works straddle the end of the Renaissance and beginning of the Baroque periods. The words capture the joy of Christmas (they mean “Today Christ was born, glory to God in the highest”) and this is echoed in the interconnecting lines and responses of the different parts of the choir.
Music at St Michael’s (12/12/2021)
The motet at Eucharist today is “There is no rose of such virtue” by the British composer, John Joubert. Born in South Africa, he lived most of his life in Birmingham and composed over 160 works in many different genres. Today’s motet is one of his most well-known and much-loved pieces. In 2019, the year that Joubert died, aged 91, and the last time there was a live carol service in St Michael’s, we chose to sing this piece twice, and we do so again this year for its beauty and simplicity. The words, in Middle English and Latin – sung to many different tunes over the centuries – refer to the Virgin Mary, and how she contained “heaven and earth in little space” and helped us to see “God in persons three”. Res miranda… it’s a wonderful thing. Pares forma… equal in form. Transeamus… let us follow!
Music at St Michael’s (05/12/2021)
Today’s motet “Canite tuba” is by the Spanish Catholic priest, Francisco Guerrero (1528-1599) who was appointed music director at Jaén Cathedral at the age of eighteen, before moving to Seville Cathedral just three years later. The words of the anthem are taken from an Advent antiphon. They mean:
Blow the trumpet in Zion,
for the day of the Lord is nigh.
Lo, He comes to our salvation.
The crooked shall be made straight,
and the rough ways plain.
Come, Lord, and do not delay.
Music at St Michael’s (28/11/2021)
It’s not yet the season to be jolly, but certainly is the season to sing carols! In all, the choir will be singing three carol services over the next 8 Sundays, with songs that evoke the longing of Advent (today), the joy and wonder of a unique birth, on the 19th December, and the revelation of that baby’s true nature, at Epiphany on the 16th January. Composers of today’s music include Adrian Batten (1591-1637), Otto Goldschmidt (1829-1907), Francisco Guerrero (1528-1599), John Joubert (1927-2019), Elizabeth Poston (1905-1987), Vaughan Williams (1872-1958) – whose anthem “This is the truth” also features in this morning’s Eucharist – and Peter Warlock (1894-1930). Perhaps you’ll find your favourite carol among them.
Music at St Michael’s (21/11/2021)
The Feast of Christ the King is a relatively new festival in the Western church, becoming part of the calendar in 1925, when instituted by Pope Pius XI. The anthem sung today in celebration was written by Welsh composer, William Mathias (1934-1992) in 1969. “Lift up your heads O ye gates” is scored for organ and choir and is (as one reviewer put it) “perky, confident, wickedly militaristic, and full of Welsh dragons!” The words are from Psalm 24:7-9.
Music at St Michael’s (14/11/2021)
The communion motet at our Remembrance Eucharist this Sunday is “They are at rest” by Edward Elgar, an elegy for unaccompanied chorus with words by Cardinal Newman. It was written to be sung on the anniversary of Queen Victoria’s death, and was first performed at the Royal Mausoleum in 1910.
At Evensong (6.30pm), the choir sings two pieces by the great English composer Henry Purcell (1659-1695), and also the Canticles in E minor, by his brother, (the lesser, but still great!) Daniel Purcell (1664-1717). The introit, “Hear my prayer, O Lord”, in 8 parts, sets words from the beginning of Psalm 102 in an exquisite complex of harmonies that evoke the heart-felt cry of the psalmist. “Remember not, Lord, our offences”, sung towards the end of the service, uses words from Thomas Cranmer’s Litany, found in the Book of Common Prayer. The Preces and Responses are sung to a setting by Thomas Tomkins (1572-1656).
Music at St Michael’s (07/11/2021)
Peter Nardone is a contemporary conductor, singer and composer, born in Elderslie, Scotland. As well as the choir and congregation singing his Kilcreggan Mass today – Nardone wrote this during lockdown this year – the choir will also sing his motet, “I give to you a new commandment”. This song combines the words of Jesus, from the gospel of St John, with “Ubi Caritas”, a hymn written in 10th century France, the words of which mean, “Where charity and love are, there is God.”
Music at St Michael’s (23/10/2021)
The motet for All Saints Day is by Tomás Luis de Victoria, the most famous composer in 16th-century Spain. “O quam gloriosum”, first published in 1572, is an antiphon for four voices. The words mean, “O how glorious is the kingdom in which all the saints rejoice with Christ.”
At the All Souls Service at 4pm, the anthem sung as the candles are lit is “Thou knowest Lord” by Henry Purcell, which was written for the funeral of Queen Mary in 1695. The choir also sing the Kontakion of the departed, to its ancient Kiev chant. This was sung by singers from the Chapel Royal at the funeral of Prince Phillip earlier this year.
