Music for Shrovetide - Harold Darke

The central theme around the week before Lent in the RSCM "Sunday by Sunday" guide is that of light; or more precisely Christ as our light, alongside the Transfiguration Gospel which I wrote about here. But the theme of light would ostensibly appear rather odd as we brace ourselves to enter the chasm of light that is Lent! 

Light has been a theme since Christmas Eve when we celebrate the birth of Jesus, the Light of the World. At Candlemas Jesus was presented to Simeon in the Temple, who proclaimed him 

"a light to lighten the Gentiles, and the glory of thy people Israel.” Luke 2:32 (KJV)

The reading of the Transfiguration Gospel (Luke 9:28-36) before Lent would seem the culmination of this theme of light. Three disciples went up the mountain with Jesus, and for a moment had a glimpse of Jesus as God could see him. He was in fact no different, it was their perception that was altered. They simply saw him in a different light- God’s light. Thus the Light of Jesus' divinity shines before Peter, James, John, and us. This glimpse of glory in Christ seen by the disciples on the mount of the Transfiguration was perhaps to sustain them through the darkness of Good Friday, when we wait for the brighter light which is the Church's sole reason for existing: the Light of Jesus' resurrection. In the Bible, light has always been a symbol of holiness, goodness, knowledge, wisdom, grace, hope, and God's revelation, which makes sense as the theme as we embark on the season of Lent. 

There are many options for anthems with such a theme; "O Nata Lux" by Tallis, "Be Thou my Vision" by Chilcott, McDowall's "Aurea Luce" or Howells' "My eyes for beauty pine" but  I've chosen an anthem by Harold Darke. Darke held an enviable reputation as an organist and choral composer during his lifetime, but the popularity of his setting of Rossetti's poem "In the Bleak Midwinter" has perhaps resulted in some of his other works achieving less attention in recent years. 

Christ Whose Glory fills the Skies - Harold Darke

Harold Edwin Darke was an English composer and organist, with a world-wide reputation as one of the finest organists of his era. He is particularly known for his choral compositions, which are an established part of the repertoire of Anglican church music.  Educated at the Royal College of Music, he became organist at St Michael Cornhill in 1916, and stayed there until 1966, briefly deputising for Boris Ord as Director of Music at King's College during World War II. Famous for his 1909 setting of Christina Rossetti's "In the Bleak Midwinter" (Voted the greatest Christmas carol of all time in a poll of choral experts and choirmasters in December 2008) his Communion Service in F is a popular staple in the repertoire of many choirs. "Christ Whose Glory Fills the Skies" is not an anthem I have sung, but was once a standard of parish church repertoire.

Christ, whose glory fills the skies, 

Christ, the true, the only Light, 

Sun of Righteousness, arise, 

Triumph o’er the shades of night; 

Dayspring from on high, be near; 

Day-star, in my heart appear. 

 Dark and cheerless is the morn 

Unaccompanied by Thee; 

Joyless is the day’s return 

Till Thy mercy’s beams I see; 

Till they inward light impart, 

Glad my eyes, and warm my heart. 

Visit then this soul of mine, 

Pierce the gloom of sin and grief; 

Fill me, Radiancy divine, 

Scatter all my unbelief; 

More and more Thyself display, 

Shining to the perfect day.

Shrovetide - Transfiguration and Transformation

"Shrovetide, also known as the Pre-Lenten Season, is the Christian period of preparation before the beginning of the liturgical season of Lent. Shrovetide starts on Septuagesima Sunday, includes Sexagesima Sunday, Quinquagesima Sunday (commonly called Shrove Sunday) and culminates on Shrove Tuesday, also known as Mardi Gras." 

This Sunday is Quinquagesima or Shrove Sunday, which falls roughly fifty days before Easter. In the Western Christian Churches, it is the last Sunday of Shrovetide, the Sunday before Ash Wednesday. It is also called Quinquagesima Sunday, Quinquagesimae, Estomihi, Shrove Sunday, Pork Sunday, or the Sunday next before Lent. (Estomihi is derived from the beginning of the Introit for the Sunday, Esto mihi in Deum protectorem, et in locum refugii, ut salvum me facias, Psalms 31:3.) The name originates from the Latin quinquagesimus, referring to the fifty days before Easter Day using inclusive counting which counts both Sundays. (Although even with the most inclusive counting the ten day weeks are only roughly applicable!) Traditionally, it was the third of the three Sundays (following Septuagesima and Sexagesima) of preparation for Lent. 

Similarly, last Sunday (7th Feb 2021) was the Second Sunday before Lent, also known as Sexagesima & Creation Sunday. Sexagesima means "sixtieth", the date falling approximately 60 days before Easter. The liturgical theme for Sexagesima is the Word of God, sent to renew the face of the earth. Since God continually creates and recreates, our relationship with God will determine whether or not the seed of His Word bears fruit in our lives. 

Quinquagesima precedes Easter by the same number of days as Pentecost follows Easter. It is a watershed in the Christian year and it is no coincidence that we encounter the Transfiguration Gospel at this time as we prepare to revisit Jesus' mission through Lent, Passiontide and Easter. In the Transfiguration Gospel, Mark 9.2-9 we are reminded that God accepts us as we are, thus Quinquagesima is a good day to rejoice at this acceptance and focus on the coming seasons of Lent, Passiontide and Easter.

The acceptance theme of the Transfiguration is absolutely perfect for our current reality. As society becomes progressively more divided over controversies surrounding lockdown decisions, vaccination and how best to remain an inclusive society by protecting the weakest and most vulnerable we must remain united at least over the premise on which decisions are made. I personally struggle with lockdown, the impact it has on so many which to me appears to exceed the protection it allegedly gives. What I do not dispute is that we should always strive towards inclusion. If God accepts us as we are, then we must aim to offer that same acceptance to others. Shrovetide is the perfect time to be thankful for God's acceptance of us - and to examine ourselves and our care for others.

Dr. Ian Paul writes eloquently on his blog Psephizo about possible interpretations of the term "transfiguration". The Gospel of Luke suggests a more profound meaning, that it is not Jesus - or Moses or Elijah who change, but the disciples' understanding which is transformed. I highly recommend reading it, I really enjoy Dr. Paul's insightful articles. (He also tweets under the account @psephizo.) 

Meanwhile as we start the Lenten journey once more, we should remember that the symbolism of the ash cross on our foreheads is threefold. It symbolises God's acceptance of us, indeed to be "Shriven", means to receive forgiveness, to be absolved of our sins. It is our cue to examine ourselves and our faith as we approach Easter, and a timely reminder about our place in society and how we view and care for others. 

Franz Schubert

Born 31st January 1797, Franz Peter Schubert was an Austrian composer who bridged the worlds of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast body of work which included more than 600 secular vocal works, seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. He was particularly noted for the melody and harmony in his songs (lieder) and chamber music.  

Franz was their fourth surviving son of Franz Theodor Schubert, schoolmaster, and Elisabeth Vietz who was in domestic service at the time of her marriage. The family was musical and cultivated string quartet playing in the home, the boy Franz playing the viola. He showed a gift for music from an early age, with his father gave him his first violin lessons and his elder brother gave him piano lessons, continuing later with organ playing and music theory under the instruction of the parish church organist. However Schubert soon exceeded their abilities. In 1808 aged 11 he won a scholarship that earned him a place in the imperial court chapel choir and an education at the Stadtkonvikt, the principal boarding school for commoners in Vienna, where his tutors were Wenzel Ruzicka, the imperial court organist, and, later, the composer Antonio Salieri, then at the height of his fame. There he became acquainted with the orchestral music of Haydn, Mozart, and Beethoven. Schubert played the violin in the students’ orchestra, was quickly promoted to leader, and in Ruzicka’s absence conducted. He also attended choir practice and, with his fellow pupils, cultivated chamber music and piano playing. 

Schubert left the Stadtkonvikt at the end of 1813, returning home where he began studying to become a schoolteacher. He continued his studies in composition with Antonio Salieri and still composed prolifically. The first public performance of one of his works, the Italian Overture in C Major, took place on March 1, 1818, in Vienna. This boosted his pubic reputation and in June he left the city to take up the post of music master to the two daughters of Johann, Count Esterházy, in the family’s summer residence at Zseliz, Hungary. 

Initially Schubert struggled to publish his own works, but with support from friends his song “Erlkönig” ("Elf King") was offered gonna subscription basis. This proved very successful and in Vienna the popularity of Schubert’s songs and dance music became so great that concert parties were entirely devoted to them. These parties, called Schubertiaden, were given in the homes of wealthy merchants and civil servants, but the wider worlds of opera and public concerts still eluded him.   

In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his own works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis. 

Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of Western classical music and his music continues to be popular.  

Schubert truly stands between the worlds of Classical and Romantic music. One of the last of the great Classical composers, his music is emotional and poetic in the style of the Romantic era. It is nevertheless a product of the formal mould of the Classical school and Schubert belongs to the age of Haydn, Beethoven, and Mozart than to that of Schumann, Chopin, and Wagner.

Schubert's Mass in G is a personal favourite, and we recorded Schubert's "Holy, Holy, Holy" virtually during lockdown last year with our choir (below). I also have fond memories of my youngest son as a treble recording "Ave Maria" a few years back, then aged 11. 

Kate Thompson · Ave Maria di Schubert