Join St Peter’s Singers in the beautiful and atmospheric setting of St Oswald’s Church in Guiseley for a concert of Christmas music old and new, with carols for all to sing.
This is the perfect opportunity to take a short break from the stresses of life and to find a moment of peace and a spark of hope in the music of the angels.
St Peter’s Singers are directed by Alexander Woodrow, with Shaun Turnbull accompanying on the organ.
Festive refreshments will be served.
Pay what you can, either on-line or at the door
The programme will include familiar carols and arrangements alongside the premiere of a new carol by St Peter’s Singers’ superb in-house creative duo Hannah Stone and Matthew Oglesby, and music by the outstanding contemporary composer, Cecilia McDowall.
Programme
Make we merry
Andrew Carter
A maiden most gentle
Andrew Carter
O Come all ye faithful
John Wade
Stille Nacht
arr. Donald Cashmore
Said Mary to the child unborn
Matthew Oglesby & Hannah Stone
E’en so, Lord Jesus, quickly come
Paul Manz
Organ solo: Wachet auf BWV645
JS Bach
Hodie
Jan Sweelinck
Christmas Lullaby
John Rutter
Lux Aurumque
Eric Whitacre
Interval
O Little Town
Walford Davies
Before the paling of the stars
Cecilia McDowall
Sir Christemas
William Mathias
Organ solo: Sleigh Ride
Leroy Anderson, arr. Thomas Trotter
Lully, lulla, lullay
Philip Stopford
Star Carol
John Rutter
Hark, the herald angels sing
Mendelssohn
Ding Dong merrily on high
arr. Mack Wilberg
St Peter’s Singers are passionate about the music we sing and want to share it with as many people as possible. We do all we can to make anyone who comes to our concerts feel welcome and at ease. So if you’ve not tried this music out before, why not come along and bring a friend? Everyone is welcome.
St Oswald’s is an accessible venue with an accessible door and facilities, and can accommodate wheelchairs in the audience.
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.
My spirit sang all day
Choral songs of the world and the spirit
Programme
Please click on the composers’ names to find about more about them
We begin our programme appropriately with two wonderful works written for performance at Petertide. Both reference the text in St Matthew Ch 16:18-21, where Christ calls Peter his Rock, the foundation for his Church, and gives him the keys to the Kingdom of Heaven.
Thou shalt make them Princes over all the earth, They shall remember thy name, O Lord, Instead of thy fathers, Sons are born to thee. Therefore shall the people praise thee, Alleluia. Tu es Petrus, et super hanc petram aedificabo ecclesiam meam Thou art Peter, and on this Rock I will build my church
This organ-accompanied anthem dates from 1955. The musical material of the imposing and stately opening ‘Thou shalt make them princes’ is based upon plainsong. A complete contrast ensues with the lively and skittish setting, in compound 6/8 time, of ‘instead of thy fathers, sons are born to thee’, before a return to the original stately theme, this time with the addition of a soprano soloist who sings the Latin ‘Tu es Petrus’ phrases, while the choir sings the English translation very quietly in response.
A masterful piece of Polyphony dating from the 16th century. It was written to be sung a cappella in six parts, with each of the six voices having beautiful interweaving lines, all working together to produce some splendid harmonies. Several times, Palestrina breaks this seamless interweaving to make way for a unified, almost fanfare-like setting of the words ‘claves regni’ (the keys to the kingdom). These words are always presented in a very powerful way to lend them great prominence and to draw our attention to them.
Tu es Petrus, et super hanc petram aedificabo ecclesiam meam,
You are Peter, the Rock, and on this rock I will build my church,
Et portae inferi non praevalebunt adversus eam.
And the powers of death shall not prevail against it.
Et tibi dabo claves regni caelorum.
And I shall give to you the keys of the Kingdom of Heaven.
Quodcumque ligaveris super terram erit ligatum et in Coelis,
Whatever you bind on earth shall be bound in heaven,
Et quodcumque solveris super terra erit solutum et in coelis,
And whatever you loose on earth shall be loosed in heaven
Et tibi dabo claves regni caelorum.
And I shall give to you the keys of the Kingdom of Heaven.
Two choral works by Brahms allow the choir to revel in warm, blended tone and luxurious Romantic lines. Geistliches Lied was written in 1856 and has its origins as a contrapuntal exercise based upon a double Canon, the tenor answering the soprano a bar later and a ninth lower; and the bass answering the alto also a ninth lower. That the piece is a hallmark not only of technical skill but of great overall elegance in the choral lines; the organ accompaniment is an exceptional achievement, and the final Amens are sumptuously beautiful.
Lass dich nur nichts nicht dauren mit Trauren sei stille! Wie Gott es fügt, so sei vergnügt mein Wille
Let nothing afflict you With grief; Be calm! As God ordains, So be content my Will
Was willst du heute sorgen Auf Morgen? Der Eine Steht allem für, Der gibt auch dir Das Deine
Why worry today About tomorrow? The One Is in charge Who gives also to you What is yours
Sei nur in allem Handel Ohn Wandel, Steh feste! Was Gott beschleusst Das ist und heisst Das Beste, Amen
In all your doings be steadfast Stand firm! What God decrees Is, and is acknowledged The best, Amen
Text: Paul Flemming (1608-40)
Wie lieblich sind deine Wohnungen | Johannes Brahms (1833-97)
This is the fourth movement of Brahms’ German Requiem, setting text from Psalm 84, and it is by some margin the best-known stand-alone movement from that wonderful work, with its soaring melodies and elegant phrases, its refined triple-time flow, and the exciting fugato passage ‘die Loben dich immerdar’ which eventually yields to a peaceful ending.
Wie lieblich sind deine Wohnungen, Herr Zebaoth
How lovely are thy dwellings fair, O Lord of Hosts
Meine Seele verlanget and sehnet sich nach den Vorhöfen des Herrn
My soul hath a desire and longing to enter into the courts of the Lord
Mein Leib und Seele freuen sich in dem lebendigen Gott
Organ solo: Sonata No 3 in A , 1st movement | Felix Mendelssohn (1809-47)
Mendelssohn’s debt to JS Bach is evident in his own organ music. He was himself a fine organist, noted for his mastery of Bach’s works, and as an improviser. This sonata includes a Chorale prelude based on Luther’s hymn “Aus tiefer Not schrei ich zu dir” (From deep affliction I cry out to you).
Appropriately, we are performing the new commission Brides of Christ between two pieces of music focussed upon Mary, Mother of Jesus. This Ave Maria by the founder-director of St Peter’s Singers, Simon Lindley, has found a home in just about every parish and cathedral choir library in the land, on account of its beautiful tunefulness.
Ave Maria, gratia plena.
Hail Mary, full of grace.
Dominus tecum.
The Lord is with thee.
Benedicta tu in mulieribus,
Blessed art thou among women,
et benedictus fructus ventris tuae, Jesu.
and blessed is the fruit of thy womb, Jesus.
Sancta Maria, Mater Dei
Holy Mary, Mother of God
Ora pro nobis peccatoribus
Pray for us sinners
Nunc et in hora mortis nostrae.
Now and at the hour of our death
Amen
Amen
Brides of Christ(world premiere)| Fiona Pacey & Hannah Stone
This is the first ever performance of this new work, created by two of our members.
Fiona Pacey writes:
Imagine two nuns in a 16th century convent. What brought them here? What sort of life do they have? In this collaboration between poet Hannah Stone and composer Fiona Pacey, we overhear a conversation in which two of them talk about their experience and how they came to be there.
The vocal lines are semi-aleatoric; they sound spontaneous, just as a conversation would. In the background the choir provides episodes of busyness which resolve into unity, as a convent community might come together at the end of a day to sing the divine office.
My father said “Child, you must go And live with these holy women; At home are too many daughters And not enough bread to go around”.
My Father called me, and I heard The still small voice above the clamour Of my home. Mother said “Wait!” But I was sure of my calling .
I said goodbye to my sweetheart, Wept for the babies I did not bear.
Jesus says “Here are your sisters; Those who do the will of God.”
And here, there is food for the belly, A clean shift, a place to lie down; Now I have so many mothers! (Some are stern and some are cheerful).
They tell me how Mary said “yes” When God had work for her to do, That she, another simple girl, Found beauty in obedience.
I submit to no earthly spouse, Rejoice to be a bride of Christ, Wear the breastplate of righteousness Instead of fine robes and jewels. My faith is buckled for a belt; The words of your gospels my pearls.
They teach me – how I like to learn – The many skills they share with me!
The seed of silent contemplation Swelled within me, mothered to life By prayer; birthing peace and mercy. I go to the inner room Of my soul, and there I am heard.
And most of all I love to sing, To blend my voice in Thanksgiving For this little heaven on earth And God’s great favour shown to me.
My spirit swims in the silence, And, when we gather, sings in chords, Sweet harmony in praise of God.
This ecstatic setting of Robert Bridges’ poem My Spirit sang all day is best explained perhaps by the key fact that the composer’s wife was called Joy!
My spirit sang all day O my joy Nothing my tongue could say, Only My joy!
My heart an echo caught O my joy And spake, tell me thy thought, Hide not thy joy.
My eyes gan peer around, O my joy What beauty hast thou found? Shew us thy joy.
My jealous ears grew whist; O my joy Music from heaven is’t, Sent for our joy?
She also came and heard; O my joy, What, said she, is this word? What is thy joy?
And I replied, O see, O my joy, ‘Tis thee, I cried, ’tis thee: Thou art my joy.
Charles Stanford’s motionless, almost hallucinatory setting of Mary Coleridge’s poem provides a complete contrast to the Finzi. It is one of the most popular secular choral pieces from the Edwardian period with its soaring soprano solo, and exquisite image of perfect beauty.
The lake lay blue below the hill. O’er it, as I looked, there flew Across the waters, cold and still, A bird whose wings were palest blue.
The sky above was blue at last, The sky beneath me blue in blue. A moment, ere the bird had passed, It caught his image as he flew.
Ralph Vaughan Williams is well known for collecting English folksongs in an attempt to preserve this important part of our culture. His gift for arranging them without losing their essential character is beautifully demonstrated by this charming love song.
Fare you well my dear I must be gone and leave you for a while If I roam away I’ll come back again Though I roam ten thousand miles, my dear Though I roam ten thousand miles
So fair though art my bonney lass So deep in love as I But I never will prove false to the bonney lass I love Till the stars fall from the sky my dear Till the stars fall from the sky
The sea will never run dry my dear Nor the rocks never melt with the sun But I never will prove false to the bonney lass I love Till all these things be done my dear Till all these things be done
O yonder doth sit that little turtle dove He doth sit on yonder high tree A making a moan for the loss of his love As I will do for thee my dear As I will do for thee
Text: Traditional
Soloist: David Hawkin
My love dwelt in a Northern land | Edward Elgar (1857-1934)
Edward Elgar’s emotive setting of Scottish poet Andrew Lang’s Romance does full justice to the eerie, dream-like text, complete with the final twist. Listen out for how the staccato rhythms in the middle parts, set against the long tune sung by sopranos and tenors, create that strange, dream-like quality.
My love dwelt in a northern land A dim tower in a forest green Was his, and far away the sand, And gray wash of the waves were seen, The woven forest boughs between.
And through the northern summer night The sunset slowly died away, And herds of strange deer, silver white, Came gleaming through the forest gray, And fled like ghosts before the day.
And oft, that month, we watch’d the moon Wax great and white o’er wood and lawn, And wane, with waning of the June, Till, like a brand for battle drawn, She fell, and flamed in a wild dawn.
I know not if the forest green Still girdles round that castle gray, I know not if, the boughs between, The white deer vanish ere the day. The grass above my love is green, His heart is colder than the clay.
Robert de Pearsall’s mournful but lush 8-part setting of words by Beaumont and Fletcher titled Lay a Garland is the earliest of these part-songs. Enjoy the sumptuous harmonies!
Lay a garland on her hearse Of the dismal yew Maidens, willow branches bear Say she died true Her love was false, but she was firm From her hour of birth; Upon her buried body lie Lightly, thou gentle earth.
Text: adapted by the composer from words by Beaumont and Fletcher
Organ solo: The Prayer | David Foster (arr Lee Ward)
Enjoy Lee’s arrangement of David Foster’s song, made famous by Celine Dion and Andrea Bocelli.
Come and enjoy an uplifting evening of mid- summer song! With a wide variety of music on offer, both spiritual and worldly, old, modern and even brand new, there’s something for everyone.
Marking the feast day of St Peter, the programme includes the moving and spiritually profound music of Palestrina, marking 500 years since his birth, Britten, Brahms and Grieg. Simon Lindley’s popular Ave Maria will follow and pave the way for the world premiere of a striking new piece about two nuns (by two of our members) …
In a lighter second half, following interval refreshments, romance will take centre-stage with the music of Elgar, Finzi, Vaughan Williams and Stanford, with songs from Bernstein’s West Side Story supplying some fizz to finish!
So there is something for everyone to enjoy, and something to maybe touch the soul where other songs don’t reach. Bring a friend and have a great evening out!
St Peter’s Singers are passionate about the music we sing and want to share it with as many people as possible. We do all we can to make anyone who comes to our concerts feel welcome and at ease. So if you’ve not tried this music out before, why not come along and bring a friend? Everyone is welcome.
St Peter’s is an accessible venue with good facilities. For details of arrangements for disabled access, please visit the church’s website.
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.
My spirit sang all day
Choral songs of the world and the spirit
Programme
Please click on the composers’ names to find about more about them
St Peter’s Singers return to the superb acoustics of St John’s, Sharow with another programme that offers a superb variety of choral music with something for everyone to enjoy.
Refreshments will be served and the concert will finish about 4.15pm
What better way to spend a Saturday afternoon?
Held within the exquisite venue of St John’s, Sharow, this concert offers a choral tapestry celebrating and illustrating the wonderful variety and richness of Western choral music.
Alongside a heady mix of Romantic-era poetry and love songs, the programme includes the spiritually profound music of Palestrina, marking 500 years since his birth, and a contemporary masterpiece of Sir James MacMillan, born in 1959.
So there is something here for everyone to enjoy, and something to maybe touch the soul where other songs don’t reach.
St Peter’s Singers are passionate about the music we sing and want to share it with as many people as possible. We do all we can to make anyone who comes to our concerts feel welcome and at ease. So if you’ve not tried this music out before, why not come along and bring a friend? St. John’s Church is an accessible venue with good facilities. Everyone is welcome.
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.
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?
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.
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.
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.
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 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.
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.
Choral music by Dove, MacMillan, Lindley and Langlais
17 February 2025
@
1:15 pm
–
2:00 pm
Join us at Leeds Cathedral for a lunchtime recital of varied and mostly contemporary choral and organ music, inspired by Visions of Darkness and Light.
The programme features the first performance of a new work by our former Conductor Dr Simon Lindley, and the first Leeds performance of James MacMillan’s Miserere mei.
With three of the works composed in the last 15 years, this programme shows the tradition of sacred choral music to be not just alive, but in rude health, with composers continuing to draw inspiration from ancient texts.
Dr Lindley’s work A Taylor Trilogy features the composer’s selection from the relatively unknown writings of the 17th century divine Jeremy Taylor (1613-1667), thought by some to be one of the greatest writers of prose in our language. It opens with a vision of glorious sunlight greeting the resurrection of Christ. The work was commissioned by St Peter’s Singers and receives its first performance here to mark the 50th anniversary of Dr Lindley’s arrival in Leeds.
Jonathan Dove also returns to the 17th century, setting a text by another fine poet, Phineas Fletcher (1582-1650). Like many of his contemporaries, Fletcher too draws on the imagery of Light, which is reflected in Dove’s luminous writing for the organ.
James MacMillan takes Psalm 51 (Miserere mei, Dei – Have mercy on me O God) – a seminal, and much darker text with a rich history of choral settings. Typically, he adds another profound chapter to this story, which we’re proud to bring to Leeds for the first time in the work’s history.
The recital ends with movements from Jean Langlais’ ebullient Messe Solennelle, notable for the dynamic and discordant splashes of organ sound that punctuate the singing.
This concert is promoted and provided free of charge by Leeds Leisure Services as part of the International Concert Season. St Peter’s Singers are grateful for the invitation to take part.
£10 Free FTE/U18 available on-line (see below) or at the door
Sung in the superb acoustics of St. John’s Sharow, this concert showcases some beautiful and varied a cappella choral music from three eras and spanning nearly five hundred years.
Singing in the glorious setting of Leeds Minster, St Peter’s Singers showcase some beautiful and varied a cappella choral music from three eras and spanning nearly five hundred years.
Accessibility: Leeds Minster is about 5 minutes walk from Leeds Bus Station, and about 15 minutes walk from Leeds Railway Station. There is on-street parking on the side streets nearby, as well as the NCP Markets carpark ( 5 minutes) and the John Lewis carpark (10 minutes).
There is ramp access to the main doors beneath the tower, with entrance to the grounds at the West End by the Lamb and Flag pub recommended to avoid the steps up from the street level. Once inside there there is step-free access to the nave and to the City of Leeds Room for refreshments and toilets.
£12 Free FTE/U18; available on-line (see below) or at the door
Choral Masterpieces from the Renaissance and the Modern Day
Leeds Minster June 24 7.30 pm
Please note this programme will be repeated on July 1 at St John’s Church, Sharow nr Ripon. For tickets and details of that event, please click here.
This beautiful programme of choral masterpieces mixes and matches exquisite music from the times of the two Queens Elizabeth, two golden eras of British choral music.
You will be able to hear works by the great William Byrd – who died 400 years ago this July – his friend Thomas Tallis, and their Spanish counterparts Victoria, Guerrero and Lobo.
And you can compare and contrast them with some of the most recent and stunning additions to our amazing British choral tradition – works by living composers Judith Weir, Cecilia McDowall and James MacMillan.
Or you can just sit, soak it up and revel in its sheer beauty!
The concert will last about 1.5 hours including an interval, during which refreshments will be served.
Set in the stunning surroundings of Leeds Minster, this concert is not to be missed!
Programme
To include:
Sing joyfully
William Byrd
Gloria from Mass for 5 voices
William Byrd
Laudate Dominum
Francisco Guerrero
O Lord, make thy servant Elizabeth
William Byrd
I love all beauteous things
Judith Weir
Who shall separate us
James MacMillan
Sanctus and Benedictus from Mass for 5 voices
William Byrd
O nata lux
Thomas Tallis
Interval
O Radiant Dawn
James MacMillan
Vidi speciosam
Tomas Luis de Victoria
There is no rose of such vertu
Cecilia McDowall
Versa est in luctum
Alonso Lobo
Agnus Dei from Mass for 5 voices
William Byrd
Emendemus in melius
William Byrd
Faire is the heaven
William Harris
There will be an interval during which refreshments will be served
