Leeds Cathedral
Monday 17 February 1.15pm
Free admission
Note: This is an annotated form of the programme notes for this recital, exploiting web technologies to allow readers to delve deeper into the biographies of the composers and the meaning of musical and religious terms as they wish.
Programme
| Vast Ocean of Light | Jonathan Dove (b 1959) |
| A Taylor Trilogy | Simon Lindley (b 1948) |
| Miserere | James MacMillan (b 1959) |
| Messe Solennelle | Jean Langlais (1907-1991) |
Dr Lindley’s work A Taylor Trilogy was commissioned by St Peter’s Singers of Leeds in grateful recognition of the composer’s generous and inspirational leadership, 1977-2021, and here receives its first performance.
*****
St Peter’s Singers
Darius Battiwalla organ
Alexander Woodrow director
Vast Ocean of Light
Jonathan Dove (b 1959)
Vast Ocean of light, whose rayes surround
The Universe, who know’st nor ebb, nor shore,
Who lend’st the Sun his sparkling drop, to store
With overflowing beams Heav’n, ayer, ground,
Whose depths beneath the Centre none can sound,
Whose heights ‘bove heav’n, and thoughts so lofty soar,
Whose breadth no feet, no lines, no chains, no eyes survey,
Whose length no thoughts can reach, no worlds can bound,
What cloud can mask thy face? where can thy ray
Find an Eclipse? what night can hide Eternal Day?
Phineas Fletcher (1582-1650)
Jonathan Dove (b. 1959) is a versatile composer in a host of genres, and studied composition with Robin Holloway at Cambridge University. Vast Ocean of Light (2010) sets poetry by Phineas Fletcher, metaphysical English poet of the Renaissance. Dove has said, ‘Light […] has always been a source of inspiration to me, and the heavenly bodies often provoke a desire to create some kind of numinous music’. Listen out for the ostinato sparkling quavers of the organ accompaniment, the dazzling harmonies, the striking use of Canon between the voices, and the overall sense of spaciousness and awe which the music evokes.
A Taylor Trilogy
Simon Lindley (b 1948)
I from ‘Easter Day’ in The Golden Grove
What glorious light!
How bright a Sun after so sad a night
Does now begin to dawn!
O dearest God preserve our souls
In holy innocence;
Or if we do amiss,
Make us to rise again to th’life of Grace,
That we may live with thee, and see thy glorious face,
The crown of holy Penitence.
Allelujah.
II from ‘Pentecost’ in The Golden Grove
Lord, let the flames of holy charity,
And all her gifts and graces slide
Into our hearts, and there abide;
That thus refined, we may soar above
With it unto the element of love,
Even unto Thee, dear Spirit,
And there eternal peace and rest inherit.
Amen.
III from ‘A Hymn upon St John’s Day’ in The Golden Grove
Let’s sing Him up agen !
Each man winde up’s heart
To bear a part
In that angelick quire, and show
His glory high as He was low !
Let’s sing t’wards men good will and charity,
Peace upon Earth, glory to God on high
Hallelujah, Hallelujah !
Mysterious God, regard me when I pray:
And when this load of clay
Shall fall away,
O let Thy gracious hand conduct me up,
Where on the Lamb’s rich viands I may sup:
And in this last Supper I
May with Thy friend in Thy sweet bosome lie
For ever in Eternity.
Allelujah.
Commissioned by St Peter’s Singers, Simon Lindley’s A Taylor Trilogy is a caring yet confident setting of extracts from the writings of Jeremy Taylor, Bishop of Down and Connor. Taylor is arguably under-represented in the choral repertoire, and so this composer’s very personal selection is most welcome. The sensitive choral writing ebbs and flows unhindered by gratuity and in so doing allows the text to thrive by its own great merit.
Miserere
James MacMillan (b 1959)
for the King James translation click here
Miserere mei, Deus, secundum magnam misericordiam tuam: et secundum multitudinem miserationum tuarum, dele iniquitatem mean Amplius lava me ab iniquitate mea: et a peccato meo munda me Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper Tibi soli peccavi et malum, coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea Ecce enim veritatem dilexisti: incerta et occula sapientiae tuae manifestasti mihi Asperges me hyssopo, et mundabor: lavabis me, et super nivem de albabor Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis Ne projicias me a facie tua: et spiritum sanctum tuum ne auferas a me Redde mihi laetitiam salutaris tui: et spiritu principali confirma me Docebo iniquos vias tuas: et impii ad te convertentur Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam Domine, labia mea aperies: et os meum annuntiabit laudem tuam Quoniam si voluisses sacrificium, dedissem utique : holocaustis non dedectaberis Sacrificium Deo spiritus contribulatus: cor contritum et humiliatum, Deus, non despicies Benigne fac, Domine, in bona voluntate tua Sion: ut ædificentur muri Jerusalem Tunc acceptabis sacrificium justitiae, oblationes et holocausta: tunc imponent super altare tuum vitulos | Have mercy on me, O God, in your goodness: in your great tenderness wipe away my faults; Wash me clean of my guilt: and purify me from my sin For I am well aware of my faults: my sin is constantly in mind Against you, you alone, I have sinned, I have done what you see to be wrong: that you may be justified in your words, and victorious when you give judgement You know I was born sinful: a sinner from the moment of conception But you delight in sincerity of heart: and in secret you teach me wisdom Purify me with hyssop until I am clean: wash me until I am whiter than snow Let me hear the sound of joy and gladness: and the bones you have crushed will dance Turn your face away from my sins: and wipe away all my guilt Create a clean heart in me, O God: and renew a resolute spirit within me Do not banish me from your presence: do not take away your holy spirit from me Give me back the joy of your salvation: keep my spirit steady and willing: I shall teach transgressors your way: and the sinners will return to you Deliver me from bloodshed, O God, God my saviour: and my tongue will acclaim your righteousness; Lord, open my lips: and my mouth will speak out your praise Sacrifice gives you no pleasure, or I would offer it: but you do not desire burnt offerings Sacrifice to God is this broken spirit: you will not scorn this crushed and broken heart, O God In your graciousness do good to Zion: rebuild the walls of Jerusalem Then there will be proper sacrifice to please you – holocaust and whole oblation: then shall young bulls to be offered on your altar |
Psalm 51
Sir James MacMillan (b. 1959) studied composition with Wakefield-born Kenneth Leighton and John Casken, his music being inspired by many things, including his Catholic faith and the folk music of his native Scotland. Miserere Mei is a substantial ‘a cappella’ work, setting verses from Psalm 51 (as Allegri famously did centuries earlier), and placing significant technical and expressive demands upon the choir. The music has a small number of principal musical themes that occur in various guises throughout the work. There is some amazingly virtuosic soprano writing early on, and a number of very powerful and dramatic moments, a superbly affecting section of simple homophonic free chant at the centre, and at the end a great sense of peace and tranquillity when the writing gives way to a beautiful E major hushed cadence.
Messe Solennelle
Jean Langlais (1907-1991)
| Kyrie Kyrie eleison Christe eleison Kyrie eleison Gloria in excelsis Gloria in excelsis Deo, et in terra pax hominibus bonæ voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex cælestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Hosanna in excelsis. Benedictus Benedíctus qui venit in nomine Domini. Hosanna in excelsis Agnus Dei Agnus Dei, qui tollis peccata mundi miserere nobis Agnus Dei, qui tollis peccata mundi miserere nobis Agnus Dei, qui tollis peccata mundi dona nobis pacem | Lord, have mercy upon us Christ, have mercy upon us Lord, have mercy upon us Glory be to God on high, and in earth peace, good will towards men. We praise you. We bless you. We worship you. We glorify you. We give thanks to thee For your great glory. O Lord God, Heavenly King, God the Father Almighty. O Lord, the only-begotten Son, Jesu Christ; O Lord God, Lamb of God, Son of the Father. Who takes away the sins of the world, have mercy upon us. You who takes away the sins of the world, receive our prayer. You who sits at the right hand of the Father, have mercy upon us. For you only are holy. You only are the Lord. You only are most high, Jesus Christ, With the Holy Spirit, In the glory of God the Father. Amen. Holy, holy, holy Lord Lord God of power and might, Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Lamb of God, who takes away the sins of the world, have mercy upon us Lamb of God, who takes away the sins of the world, have mercy upon us Lamb of God who takes away the sins of the world, grant us your peace |
Roman Missal
Jean Langlais (1907-1991) was a famous, blind Parisian-based organist, composer and teacher. A pupil of Marcel Dupré and Paul Dukas, he held the position of organist at the Basilica of Sainte-Clotilde in Paris for some 43 years. The Messe Solennelle (1949) is written for choir and two organs, one exceedingly powerful and set at the West End of the church (the Grand Orgue) and one much more accompanimental in nature (the Petit Orgue). As titular organist, Langlais would have played the Grand Orgue and his assistant organist the Petit Orgue; this afternoon, however, Darius manages to blend both organ parts seamlessly into one, making the most of the distinction between the thrilling ‘tutti’ sound of the Leeds cathedral organ for the tutti moments, juxtaposing with the softer stops for supporting the choir.
The five movements comprise some thrilling music. The influence of plainchant, and indeed organum (parallel harmony, Medieval in feel) is never far away, but with a thrilling 20th century use of harmony (in common with the wonderful Requiem by Duruflé, contemporary of Langlais, that was written just a few years earlier). Always attentive to the text that is set, Langlais’ setting of the Mass alternates skilfully between ethereal and tender; and ecstatic and thrilling, using a very distinctive and utterly ‘French’ tonal palette.