Saint Cecilia / Benjamin Britten

Saint Cecilia (Latin Sancta Caecilia) is the patron of musicians and Church music. It is written that as the musicians played at her wedding, Cecilia "sang in her heart to the Lord". Musical compositions are dedicated to her, and her feast, on 22 November is the occasion of concerts and musical festivals.  

St. Cecilia, (also spelled as Cecily), is one of the most famous Roman martyrs of the early church and historically one of the most discussed. She did not need documented miracles for her to be canonised for two reasons; she was canonised long before the current process was in use (there is evidence of the Church considering her a saint from the 4th century, when the church dedicated to her name was founded in Rome) and because she was martyred. 

According to a late 5th-century legend, she was a noble Roman who, as a child, had vowed her virginity belonged to God. When she was married against her will to the future saint Valerian, then a pagan, she told him an angel of God wished her to remain a virgin. He promised to respect this wish if he were allowed to see the angel. She replied that he would if he were baptised, and on his return from baptism he found Cecilia talking to the angel. Cecilia then converted his brother Tiburtius, who also saw the angel. 

The martyrdom of Cecilia is said to have followed that of her husband Valerian and his brother at the hands of the prefect Turcius Almachius. Cecilia distributed her possessions to the poor, which enraged the prefect Almachius, who ordered her to be burned. When the flames did not harm her, legend says that after being struck three times on the neck with a sword, she lived for three days, and asked the pope to convert her home into a church. Cecilia was buried in the catacomb of St. Callistus, near Rome. 

At the beginning of the 9th century, Pope Paschal I discovered her incorrupt relics in the catacomb of St. Praetextatus and had them moved to Rome, to a basilica in Trastevere that now bears her name. According to reports from the two occasions her body was moved (the 9th and 16th centuries), she looked like she was simply sleeping; her body was entirely incorrupt after 1500 years. 

Cecilia became the patron saint of musicians and music; in art she is often represented playing the organ. 

St. Cecilia, patron saint of music

Benjamin Britten

Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913–1976), a setting of a poem by W. H. Auden written between 1940 and 1942. 

Born on St. Cecilia's day, Britten wanted to write a piece dedicated to St Cecilia for a long time. In addition to her patronage of music and musicians, there is a long tradition in England of writing odes and songs to St Cecilia. The most famous of these are by John Dryden ("A song for St. Cecilia's Day" 1687) and musical works by Henry Purcell, Hubert Parry, E. Florence Whitlock, and George Frideric Handel. Another briefer work by Herbert Howells has the similar title A Hymn for St Cecilia, but was written later in 1960. (Wikipedia)

The first known reference to Britten's desire to write such a work is from 1935 was when Britten wrote in his diary "I’m having great difficulty in finding Latin words for a proposed Hymn to St Cecilia. Spend morning hunting." The Hymn was actually composed in America, for performance in New York in 1941. However in the midst of World War II Britten and his partner Peter Pears decided to return home to England in 1942 and the composition was confiscated by customs, and rewritten on board the ship MS Axel Johnson, along with "A Ceremony of Carols".

Richard Ayleward, a harmonic link between Tudor and Restoration music.

Born in 1626, Richard Ayleward was the son of a minor canon at Winchester Cathedral, also called Richard. Ayleward sang as a chorister in the Winchester cathedral choir under the director of music Christopher Gibbons, son of Orlando Gibbons. Ayleward must have paid attention, or received a significant amount of tuition since his handwriting style for text and music is almost identical to Gibbons! During the English Restoration, Ayleward was organist and choirmaster of Norwich Cathedral from 1661-1664, and again from 1666-1669. It's not clear why Ayleward gave up his post temporarily in 1664 but he was reappointed in 1665 and remained until his death in 1669.

During the Civil War Interregnum Ayleward must have privately composed many choral pieces, since after the Restoration he was able to quickly produce twenty highly original anthems, one written for the Coronation of Charles II. Ayleward seems to have had distinct Royalist sympathies, and possible connections to the Royal Court, which would have not made him a popular figure during the Interregnum and hence suggests a possible reason for composing privately until the Restoration.

And that was as much as I could discover about this Restoration composer whose Preces and Responses I have sung with our choir for some years.

However Dr. Hugo Janacek, a member of a Facebook Choral Evensong group, piqued my interest recently when he shared some research of his. Janacek researches East Anglian choral music, and has used a complete set of 17th century partbooks written in Ayleward’s hand and signed by him. All the manuscripts of Ayleward's compositions were owned by Norwich Cathedral, purchased by A. H. Mann in the nineteenth century and published.  However whilst Mann deserves much credit for preserving Ayleward's work, he seems to be the source of some confusion around Ayleward's dates, writing in 1886 that Ayleward's birth year was 1626, later admitting he was without proof. As part of his research, Janacek ha in fact uncovered a good candidate for Ayleward’s baptism record, which suggests he was in fact baptised in April 1625 in a village close to Winchester.

The surviving choral music consists of 20 verse anthems, 2 verse settings of the evening canticles (the Magnificat and Nunc Dimittis) and the Short Service, which contains settings of music for the whole daily office. it is his Short Service which is best known. His responses, with which I was already familiar, are from this Service.

"Ave Maria" Robert Parsons

The world of Choral Evensong has perhaps never enjoyed such an exciting, high profile, edge-of-seat week since the Reformation; or since Thomas Tomkins was fined for urinating on the Dean of the Chapel Royal. As the final few anthems competed for the increasingly coveted top spot to win the "Evensong Anthem World Cup" title, even Radio 3 got involved! The final resulted in a draw between Harris' "Faire is the heaven" and Bainton's And I saw a new heaven"; an incredibly appropriate result since Harris and Bainton were reputed to be friends. (And let's face it, most of us were just grateful we didn't break Twitter all over again with the 48:52 result which looked likely a few hours previously!)

During the competition intense discussion proliferated on the specific criteria for an evensong "anthem", although the definition is fairly broad:

a musical composition for a choir, usually set to words from the Bible, sung as part of a church service. a religious chant sung antiphonally.

Or from Wikipedia:-

An anthem is a piece of music written for a choir to sing at an Anglican church service. The difference between an anthem and a motet is that an anthem is sung in English. Also most anthems are accompanied by an organ.

The best description I have found is from John Ewington (General Secretary, Guild of Church Musicians):-

In origin, an anthem was written especially for a choir to sing during Anglican services, usually matins or evensong, when, after the third collect, the rubric states: "In Quires and Places where they sing here followeth the Anthem." It was normally sung in English. A motet is a piece that was sung at mass and was usually in Latin. At various times, anthems have also been composed with Latin words, and motets have similarly been composed with English words. These days, they seem to be interchangeable. 

This obviously leaves the floor pretty open and the competition had ten minute pieces such as Howells' (incredible) "Take Him Earth for Cherishing" which is not only challenging to sing but pretty long for your average evensong service; and the equally long (and amazing) "The Deer's Cry" by Arvo Pärt. The firm favourites were there too, you can check out the full list on my earlier post here. (There is also a link to the Spotify playlist I created which is a fantastic way of enjoying familiar pieces again and discovering some fabulous new ones!)

So with 128 anthems from 100 composers there was something for everyone. Until there wasn't. In the preliminary rounds alone 89 942 votes were cast and as voters' favourites left the competition the visceral attachment we have to our choral music became all too apparent. Deprived of all opportunities to sing these wonderful anthems during the pandemic our only option was to fight their corner at every turn...

My personal favourite is "Ave Maria", by Robert Parsons.
Born around 1535, little is known about Parson's early life but it is likely that he was a choir boy. He was an assistant to Richard Bower, Master of the Children of the Chapel Royal and was later appointed as a Gentleman of the Chapel Royal. Parsons is especially noted for his choral motets, of which "Ave Maria" is the best known after its inclusion in the Oxford Book of Tudor Anthems in 1978. Recognised as a master of polyphonic writing for choirs, Parsons was composing during the religious upheaval of the Reformation. He is thought to have collaborated with John Sheppard in the 1550s (or at least been influenced by him) and Richard Farrant in the early 1560s. It is believed he taught William Byrd at Lincoln Cathedral. He died prematurely from drowning in the Trent River.

Parson's "Ave Maria" ("Hail Mary") was likely written in the 1550's under Queen Mary 1; it's a Catholic prayer which would have found little favour later in Elizabethan England and it's also likely he was a Catholic sympathiser, like Sheppard, Tallis and others. Parsons' "Ave Maria" is a truly magical setting of the text with *the* most exquisitely beautiful Amen coda. It encapsulates the very essence of early english choral music, combining scripture with music to capture the hearts and minds of both choir and congregation. It sends our prayers soaring, surely elevating our worship.

So for me, this post should really be titled "The anthem which *should* have won the Evensong Anthem World Cup on Twitter", because of every anthem on the list, the one piece which will have me crying with total happiness and contentment when I'm back in the choir stalls is Robert Parsons' "Ave Maria".

Amen.

Music for Trinity Sunday - Philip Wilby

Trinity Sunday
This Sunday, 7th June 2020 is Trinity Sunday. Trinity Sunday is the first Sunday after Pentecost in the Western Christian liturgical calendar. Trinity Sunday celebrates the Christian doctrine of the Trinity, the three Persons of God: the Father, the Son, and the Holy Spirit.

The triquetra (below) is sometimes used to represent the Holy Trinity: Father, Son, and Holy Spirit. It is a form of Celtic knot work and is sometimes shown with an interlocking circle, as well, as shown below.

Trinity Sunday is a Principal Feast in the Anglican Church, and marks the start of the second and longest section of "Ordinary Time" in the liturgical year. This period  continues up to the first Sunday in Advent. (The first is from Christ's Baptism to Ash Wednesday.) Trinity Sunday is the Sunday following Pentecost, and eight weeks after Easter Sunday. The earliest possible date is May 17 and the latest possible date is June 20.

Green is the liturgical colour for Ordinary Time, although white is used for Trinity Sunday as a Principal Feast. (An interesting topic in its own right, but worth a read if you are preparing for your Gold Award. It's all useful background knowledge!)

History note on Trinity Sunday in the Anglican church
Thomas Becket (1118–70) was consecrated Archbishop of Canterbury on the Sunday after Pentecost (Whitsun), and his first act was to ordain that the day of his consecration should be held as a new festival in honour of the Holy Trinity. This observance spread from Canterbury throughout the whole of western Christendom.

Music for Trinity Sunday
A beautiful piece for Trinity Sunday is Victoria's "Duo Seraphim", you can download the music here. However I absolutely love Geurrero's "Duo Seraphim" which I was fortunate enough to perform in concert a couple of years back. Written for triple choir, this cleverly builds on the text to celebrate the Trinity. The music can be downloaded here.

The English Reformation and its impact on liturgy and music

A brief discussion on the impact of religious change in sixteenth century England on church music and liturgy, from a layman's 21st Century perspective!

The Reformation is a hugely misunderstood and underestimated period of flux in Europe and beyond over the sixteenth and seventeenth centuries. I have long been intrigued by the way religion not only underpinned society at every level during the Early Modern period, but how those influences are still relevant today. Having studied this period of history in depth at university I believe there are two significant themes of the English Reformation and its impact on liturgy and music:-

1) The Reformation was not an event which occurred at a single point in time.

The Reformation was not an event, it was more an evolutionary phase which spread out from Henry's break with Rome in 1530 like a mycelium which infiltrated every aspect of English life - and then re-wove itself through again and again creating a vast web of differing experiences, opinions and outcomes. It was the all and everything for the English people for almost 200 years, whether they participated religiously or not. In religious life it encompassed "English Catholics" with their highly latinised services, and Quakers who worshipped in words and silences only.

Henry VIII lived and died a Catholic, his break with Rome was a matter of convenience only. Whilst the establishment of the Church of England was hugely significant nationally and internationally, the average parishioner would have noticed very little difference in daily worship during Henry's reign. For the common people, the dissolution of the monasteries would have had a far greater impact on their lives, since these institutions helped the poor and sick and were paid to sing masses for the souls of the dead. (i-see below)

Henry VIII

Whilst Henry VIII did indeed break with Rome in 1530 and become Head of the Church of England via the Act of Supremacy in 1534; Henry he remained a Catholic, taking the last rites on his deathbed. Indeed, on 11 October 1521 Pope Leo X granted Henry and his descendants the title "Defender of the Faith" in recognition of Henry's book "Assertio Septem Sacramentorum" (Defense of the Seven Sacraments), which defended the sacramental nature of marriage and the supremacy of the pope in defence of the ideas of Martin Luther. (ii)

Music and Liturgy after the dissolution
Most parish churches had been endowed with chantries, each maintaining a stipended priest to say Mass for the souls of their donors, and these continued unaffected under Henry. In addition there remained over a hundred collegiate churches in England, whose endowments maintained regular choral worship through a body of canons, prebends or priests. All these survived the reign of Henry VIII largely intact, only to be dissolved under the Chantries Act 1547, by Henry's son Edward VI.

Edward, Mary and Elizabeth
After the death of Henry VIII in 1547, the new king Edward VI advanced the Reformation in England, introducing major changes to the liturgy of the Church of England. Thomas Cranmer had significantly greater freedom under Edward and in 1549, Cranmer's new Book of Common Prayer swept away the old Latin liturgy and replaced it with prayers in English. Church choirs began singing some songs in English, eg Westminster Abbey and St. Paul’s.  This brand new liturgy suddenly demanded that new music should be written for the church in English, and musicians of the Chapel Royal such as Thomas Tallis, John Sheppard, and Robert Parsons were called upon to demonstrate that the new Protestantism was no less splendid than the old Catholic religion. Some composers also began writing in a more chordal style because it was argued that the words were easier to hear and understand that way.

Gerald Finzi's "God is Gone Up" - an anthem for Ascension

Ascension
The Feast of the Ascension of Jesus Christ, also called Ascension Day, Ascension Thursday, or sometimes Holy Thursday, commemorates the Christian belief of the bodily Ascension of Jesus into heaven. In Christian belief Ascension is on the 40th day after his Resurrection (Easter being reckoned as the first day), this year falling on Thursday 21st May. Jesus' final moments with his disciples focus on the commission that will shape their lives as apostles, as they spread the gospel beyond those who encountered Christ in the flesh to those who believe based on testimony. This culminates in St. Paul using the term "the body of Christ" to describe the Church.

There are many well known anthems composed for Ascension, Stanford's "Coelos ascended hodie" is another favourite of mine, and our choir have recorded Byrd's "Non von relinquam orphanos" remotely this week. See bottom of this post.)

Finzi's "God is Gone Up" Op. 27b was written in 1951, the same year in which he learned he was suffering from Hodgkin's Disease, from which he eventually died in 1956. The text is taken from a longer poem by Edward Taylor (c1642-1729) and is the second of his three opus 27 anthems. It was written in 1951 for a St Cecilia's Day Service at St Sepulchre's Church in Holborn. This anthem has rightly become an integral part of the choral repertoire, and is probably Finzi’s most well-known piece of sacred music.