Michaelmas - the Feast of St Michael and All Angels

Today, 29th September, is Michaelmas, the Feast Day of St Michael and All Angels. Michael, Gabriel and Raphael are the three named biblical angels, depicted as the beloved messengers of God. 

Michael is an archangel in the religions of Judaism, Christianity, and Islam. To Catholics, Eastern Orthodox Christians, Anglicans, and Lutherans he is called "Saint Michael the Archangel and Saint Michael". In other Protestant churches, he is referred to as Archangel Michael. The name Michael means 'who is like God?'., he is described as the protector of Israel and leader of the armies of God against Satan. Michael is perhaps best known for his victory over the dragon, which is told in the Revelation to John. 

"And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, and prevailed not; neither was their place found any more in heaven" (Rev. 12:7). 

As recounted by the Revelation of Saint John, at the end of the world war will break at between Heaven and Hell, between good and evil. As the commander of the Army of God, Archangel Michael leads the other angels in the fight against evil, represented in this picture by a seven-headed dragon. Each of the dragon's heads represents one of the seven deadly sins. Michael is therefore regarded as the protector of Christians from the devil, particularly those at the hour of death. Sanctuaries to Michael were built by Christians in the 4th century, when he was first seen as a healing angel.

We are all familiar with Gabriel's role in Luke's Gospel. Gabriel (meaning 'the strength of God') is the one who is sent by God to Mary to announce the birth of Christ. Raphael (meaning 'the healing of God') is depicted in the Book of Tobit as the one who restores sight to Tobit's eyes. 

Festival of Mary - our Patronal Festival

Late summer is the time of two church Festivals which celebrate Mary, the Mother of God.  

August 15th is the day in which the Roman Catholic Church has the solemnity of the Assumption and the Orthodox Church marks the Dormition. In the Anglican faith the Assumption is sometimes celebrated, or more simply it is a celebration of the Blessed Virgin Mary. This celebration is often delayed until September, mainly for practical reasons since congregations and choirs are often absent on holiday in August, and is then merged with the 8th September when the church traditionally marks the birth of Mary.

Francisco Guerrero - Duo Seraphim

Francisco Guerrero was born in 1528 in Seville, possibly in October. He was Spanish Catholic Priest and composer of the Renaissance. His older brother Pedro was also musical and they received their musical education together, although Francisco's talents soon eclipsed those of his brother. At the tender age of 17 he was appointed Master of Singing at Jaén Cathedral, later accepting a position in Seville in his early twenties. By the age of thirty his reputation was exceptional, he was highly sought after as a composer and singer and had published collections of his compositions at home and abroad.

Guerrero worked for several decades in Spain and Portugal, before travelling to Italy in 1581 where he published two further books of music. After returning to Spain for a few years, he next travelled to the Holy Land, only to be attacked by pirates! Nearly killed and robbed of all his money he returned to Spain penniless until Seville cathedral rescued him and re-employed him. Guerrero published a book of his experiences which met huge success and even planned a return to the Holy Land, but died of the plague in 1599.

Guerrero's unusually wrote both sacred and secular music, unlike his contemporaries Morales and Victoria. Interestingly he anticipated functional harmonic usage in his compositions, which have remained popular for centuries.

Duo Seraphim
This seems to have been the composer’s only piece (surviving complete) for twelve voices in three choirs.

"Guerrero had it printed twice, first in 1589 and again in his final collection (1597). Two lone high voices begin; at ‘Tres sunt’ three voices are exposed on their own. At ‘Plena est omnis terra …’ the grand tutti join in massive chords. The Trinitarian symbolism of the three choirs is obvious,  choral and instrumental groups enhance the separation of the three choirs and their dramatic potential." from notes by Bruno Turner © 1999

Our choral scholars recorded this beautiful motet during lockdown, one voice per part. It's a wonderful achievement and a fitting end to our current cycle of recordings. Next week we are back singing in church!

Duo seraphim clamabant alter ad alterum: 

Sanctus Dominus Deus Saboath. 

Plena est omnis terra gloria ejus. (Isaiah 6:3) 

 Tres sunt, qui testimonium dant in coelo: 

Pater, Verbum et Spiritus Sanctus: 

et hi tres unum sunt. 

Sanctus Dominus Deus Sabaoth. 

Plena est omnis terra gloria ejus.

Isaiah 6:2-3; 1 John 5:7

You can download a copy of the score from choral wiki here under their copyright license.

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.

Why you cannot put a price on our Cathedral Choirs

You may well have read Benedict King's letter to the Times today, in which he disparagingly dismissed England's choral tradition as "insanely expensive" and a superfluous part of the Church of England, evidence of our departure from a clear focus on faith and more specifically the cause of the financial crisis facing our churches. He couldn't be more wrong.

The quire at Ely Cathedral

King may well be "History and Economics Editor" at Five Books,  but he seems to have fallen foul of the fundamental truth of economics. Namely that the price of something is a very poor indicator of its worth.

Music is such a fundamental part of worship in our churches. It allows the congregation to participate, invites people to pray and settles their mind ready for worship. Music can give words meaning, preparing the congregation for each stage of the service, conferring a sense of inclusivity and enhancing scripture. Just as children are often taught important information via song, music aids memory and connects with the soul. It is comforting, reassuring, and heightens our emotional involvement in worship. It is also a fundamental expression of joy and as such should be the foundation for praising God!

A good example of music reinforcing scripture is Thomas Weelkes "Hosanna to the Son of David". Hosanna to the Son of David is a famous example of the English 'full' anthem – as opposed to the 'verse' anthem, and opens with a majestic six-voice proclamation. It's glorious thick texture shows how effectively music can conjure up an image, it's a joy to sing! The anthem facilitates the visualisation of the scripture, and actually gives the text meaning in a modern world far removed from biblical times. Words alone simply cannot achieve this.

Celebrations have involved music since time immemorial, and Anglican choral music is inseparable from both the Church of England and our Monarchy. Unless King is in favour of a programme of disestablishment and abolition, advocating the survival of our cathedrals and churches at the expense of their music is profoundly impossible. (Our cathedrals were actually *built* for choirs with their wonderful acoustics!)

Westminster Abbey, where I was fortunate enough to sing Evensong in December

King's reference to Cranmer is also interesting, but as an historian I can assure him music has stood the test of time as a vehicle for communication, emotional connection and teaching. The congregation are not spectators, but participants. I wrote at length here about the impact of the English Reformation on music and whilst Cranmer's reform of the church in England strayed from the Lutheran model, he was a supporter of the Protestant movement in Europe. It's also worth pointing out that Cranmer's motives were mercenary as much as they were religious. And whilst Protestantism is indeed associated with plainer worship, Luther had significant appreciation for music. Not only did he like and enjoy music, (he was a rather accomplished musician himself) he deliberately included music as part of the church service as a means for worship. He believed strongly in the ethical power of music and that through it one could glorify God and grow closer to Him. Music survived as an essential and integral part of Protestant worship as a means of glorifying God and connecting with him. Calvin was deeply concerned for the piety and religious devotion of parishioners, but considered that children could "teach adults simplicity, childlike devotion, and a sincere heart when singing, even though there might be problems with intonation and the like." He was responsible for adding children's choirs to worship music.

As a chorister parent and former teacher I can perhaps reassure King that the musical education offered in cathedral schools and cathedral style choirs is, in fact, inexpensive and of enormous value to society. Places are earned by ability and potential, not social position or income and they provide children who often have little access to a musical education with unparalleled opportunity. Our choirs are a main source of Mission within the Church of England, at a time when many congregations are dwindling and the average age in the pews is increasing. It's also worth noting that even the best music directors earn significantly less than senior teachers in our schools yet in opening the window to classical choral music they promote skills and enthusiasm which stretch far beyond the individual and benefit whole communities. Cathedral choirs promote more than a tradition; they teach history, which gives the present context, train the mind and bring significant mental health benefits. For many, the chorister experience will enrich their lives for many years to come; for some it will be the foundation for a career in professional music.

If this year has taught us anything as a society, it has shown that our value system is profoundly skewed. Our mental health has been damaged by fear and loneliness, no amount of money or privilege can protect us against the virus and supporting retail and business hasn't made us any happier. What people really need, and are crucially missing, is music. Because it's so fundamentally essential for the soul.

And *that* is what is at the foundation of faith; the connection between the soul and our Maker. Prayer may be that connection, but it is the accompanying music which gives it wings.

Music for Lammastide

History
The name Lammas Day comes from the Anglo-Saxon hlaf-mas, meaning "loaf-mass". It is a Christian holiday celebrated on August 1st in the Northern Hemisphere, and February 1st in the Southern Hemisphere, also known as Loaf Mass day due to the tradition of making a loaf from the first wheat harvest and bringing it to the church to bless of the "first fruits" of the harvest. A similar religious offering of the first agricultural produce of the harvest was present in classical Greek, Roman and Hebrew religions. In Judaism it corresponds with the Hebrew Festival of Unleavened Bread in April when a sheaf from the barley harvest was offered, followed by the Festival of Weeks in May when the first wheat harvest was offered up; both as an act of thankfulness for bringing the Israelites into the Promised Land. (Deuteronomy 16; 10-16).

In the Bible, Jesus' resurrection was referred to as "First Fruits" in Corinthians 1:-

"But now Christ has been raised from the dead, the first fruits of those who are asleep."

In the Middle Ages the idea of offering the first fruits was adapted by the Christian church. This was called a tithe and was basically a tax to support the local clergy and church demesne. In England, every tenth egg, sheaf of wheat, lamb, chicken, and all other animals were given to the church as a tithe, farm products were expected to be donated throughout the year and not only on Lammas Day.

Photo by James Coleman on Unsplash

Ralph Vaughan Williams

I gained first awareness of the composer Vaughan Williams as a child. Aged 9, (in what would now be school Year 5) I was chosen to sing the opening verse of "Linden Lea" to open a whole school concert. Bearing in mind this was a school which went from ages 3-18, and could summon a large audience of parents and governors, I should have been somewhat daunted at the prospect. (I certainly would be now.) But children either possess an uncanny self confidence or are completely oblivious of occasion,  which keep nerves completely at bay and I don't remember being remotely nervous. I knew the song and enjoyed singing - so what was the problem?! (I do however remember wondering how the composer's name was pronounced and being rather grateful I was not called upon to read any introduction!)

Biography
Born 12 October 1872 Ralph Vaughan Williams was an English composer whose works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions written over sixty years. Strongly influenced by Tudor music and English folk-song, his work marked a "clear break in British music from its German-dominated style of the 19th century." (Wikipedia)

A student at Charterhouse, he entered the Royal College of Music rather than completing his education, briefly transferring to Trinity College, Cambridge to study music. Vaughan Williams' first composition teacher at the RCM was Hubert Parry, whom he idolised. In his "Musical Autobiography" of 1950 Vaughan Williams describes a quote from Parry which gives perspective to his choral work.

Parry once said to me: "Write choral music as befits an Englishman and a democrat". We pupils of Parry have, if we have been wise, inherited from him the great English choral tradition, which Tallis passed on to Byrd, Byrd to Gibbons, Gibbons to Purcell, Purcell to Battishill and Greene, and they in their turn through the Wesleys, to Parry. He has passed on the torch to us and it is our duty to keep it alight."

At Cambridge Vaughan Williams studied composition with Charles Wood, and after graduating in 1894 he returned to the RCM to find Charles Villiers Stanford as his new professor of composition. Once a maverick who blazed a trail, Stanford had become musically deeply conservative and the two clashed frequently, although it's acknowledged Stanford held Vaughan Williams in deep affection, recognising his talent. Vaughan Williams became a friend and fellow critic of Gustav Holst, a fellow student who became a lifelong friend.

Initially Vaughan Williams focussed on collecting folk songs, building on his passion for Tudor music and tight modal style. His mature style developed as he produced choral music, orchestral works and chamber music. Born into a family with a strong morality and progressive social outlook his aim was to make music accessible, rather than focus on the ornate and challenging.

Despite being forty one in 1914 Vaughan Williams volunteered for active service in the Great War, and stopped composing during the war years. Older than most the war took a huge emotional toll on him and contributed to deafness which he suffered in later years. By 1936 the shadow of war was looming again and he was compelled to write Dona nobis pacem as a plea for peace.

He died suddenly, (in rude health despite reaching the age of 85) on 26th August 1958. His ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.

Music
At the turn of the century Vaughan Williams was among the first to travel into the countryside to collect folk songs and carols from singers, preserving them for future generations to enjoy. As musical editor of The English Hymnal he composed several hymn tunes that remain popular (including Sine Nomine, “For all the Saints” and Down Ampney, “Come down O love Divine”). But is perhaps as a composer of symphonies that he is best known. Although Vaughan Williams did not complete the first of them until he was thirty-eight years old, the nine symphonies span nearly half a century of his creative life.

Focus on Plainchant

With churches reopening for services many of us are looking to experience services via personal attendance rather than via streaming services such as Facebook. However, don't expect services near you to return to normal any time soon, and there will, sadly, be absolutely no choral or congregational singing for the foreseeable. Thus the best option currently is for an organist, priest and cantor to be present (the latter two roles may obviously be combined) with a focus on plainchant.

Plainchant, or plainsong is a type of early church music consisting of a single line (monophonic) of unaccompanied vocal melody in free rhythm, with no regular bar lengths. It has been present in Christian worship since its earliest days, possibly influenced by Judaism and certainly by the Greek modal system. It was initially the only type of music allowed in the Christian church. It was believed that music should make the listener receptive to spiritual thoughts and reflections, to achieve this the melody was kept pure, repetitive and unaccompanied.

Plainchant is usually either responsorial (where the cantor/soloist sings a series of verses, each one with a response from the congregation) or antiphonal (verses are sung alternately by soloist and choir, or choir and congregation). For now, I suspect most churches will adopt a cantor only approach. A key feature in plain chant is the use of the same melody for various texts. This is similar to ordinary psalms in which the same formula (the "psalm tone") is used for all the verses of a psalm, just as in a hymn or a folk song the same melody is used for the various verses.

"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.

Sergei Rachmaninov - To Thee O Lord

Sergei Rachmaninov (1873-1943) was a celebrated Russian pianist, conductor, and composer who was one of the last Romantic artists in Russian classical music.

Coming from a musical family, his mother gave him piano lessons beginning at four, but after his talent became obvious his grandfather insisted that he receive formal piano training. His earliest compositions were written while he was a student at the Moscow Conservatory, from which he graduated in 1892. Rachmaninov suffered a significant period of depression following negative criticism of his Symphony No. 1 in 1897, until the positive welcome Symphony No. 2 received in 1901. Initial compositions showed the strong influence of Tchaikovsky, but Rachmaninov quickly developed his own style. Following the Russian Revolution his family fled Russia in 1917 and spent a year performing in Scandinavia, eventually coming to the United States where they settled in New York in 1918. His final years would be artistically and personally fulfilling.

Musicologist Joseph Yasser highlighted Rachmaninov's use of an intra-tonal chromaticism that stands in notable contrast to the inter-tonal chromaticism of Richard Wagner and strikingly contrasts the extra-tonal chromaticism of the more radical twentieth century composers like Arnold Schoenberg. This means that rather than using two groups of tonal chromaticism he used one within another. Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale for "Colour" (chroma is greek for colour). So Rachmaninov cleverly embedded his chromatic embellishments within diatonic tonal harmony rather than in contrast to it.

Vivaldi's Gloria

Biography
Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and Roman Catholic priest. Born in March 1678 in Venice, Vivaldi's health was problematic as a child. It is now believed that he suffered from asthma, and prevented him from learning to play wind instruments. However he learned to play the violin, and at age fifteen began training for the priesthood. Not long after his ordination, in 1704, he was given a dispensation from celebrating Mass most likely because of his ill health and Vivaldi appeared to withdraw from liturgical duties, saying Mass as a priest only a few times though he remained a member of the priesthood.

In 1711 Vivaldi begin work at Ospedale della Pietà in Venice as Master of Violin. An all-female orphanage, music school and convent Vivaldi composed most of his work whilst there, writing concertos, cantatas and sacred vocal music for them. These sacred works number over sixty and include solo motets and large-scale choral works for soloists, double chorus, and orchestra. Vivaldi had to compose an oratorio or concerto at every feast and teach the orphans both music theory and how to play certain instruments.

Venice in the early 18th century was the cultural centre of Europe, and a visit to the opera was part of the court and social life of the city. Opera houses were however required to close for all important religious festivals, but Venetians still wanted to be entertained. Vivaldi’s all-female orchestras and choirs were legendary sensations, but the girls needed to be protected from noblemen and travellers to the city. To keep them sheltered from the corruption of the visiting public, the choir sang from the upper galleries of the church, hidden behind the patterned grills, which only added to the theatrical sense of drama matched by Vivaldi’s music.

"Those young men in Venice for a stop on the Grand Tour flocked to Vivaldi’s church to hear these mysterious women seen only in silhouette, but sounding like angels."

At the height of his career, Vivaldi received commissions from European nobility and royalty including the French court of Louis XV. Vivaldi's Opus 9, "La cetra" was dedicated to Emperor Charles VI. He gave Vivaldi the title of knight, a gold medal and an invitation to Vienna. It is also likely that Vivaldi went to Vienna to stage operas, especially as he took up residence near the Kärntnertortheater. However, shortly after his arrival in Vienna in 1741 Charles VI died, which left the composer without any royal protection or a steady source of income. Having squandered his fortune Vivaldi became impoverished and died during a pauper in July 1741, aged 63.

Gloria in D
Vivaldi's  Gloria in D is probably one of his best known sacred works, but it also reflects Vivaldi’s
other skill as an opera composer which he regarded as a distraction from his day job at the Pieta.

Dr. John Sentamu, Vision and Change

In the middle of a pandemic, during lockdown; and over a weekend of protests, social disturbance and violence, we can be forgiven perhaps if the retirement of Dr. John Sentamu completely passed us by. And yet the timing of his retirement is striking in several ways. His voice is perhaps needed now more than ever - or have his vision and mission already initiated the change that we so desperately need?

"The Archbishop of York Dr John Sentamu, accompanied by his wife, the Revd Margaret Sentamu, laid down his crozier of office on the high altar of York Minster on Sunday 7 June. The Dean of York, the Rt Revd Dr Jonathan Frost and Head Verger Alex Carberry were witnesses to this final act as Archbishop. (Music - Recorded previously by York Minster Choristers Psalm 150)"

The following biography is an abridged version of the information on Wikipedia, and other information published this weekend. I knew little and have learned much! There is also much on the Archbishopric of York website.

Dr. John Sentamu
Born in Uganda in 1949, Dr. Sentamu was the sixth of thirteen children. He obtained a Bachelor of Laws at Makerere University, Kampala, and practised as an advocate of the High Court of Uganda.

He incurred the wrath of the dictator Idi Amin, considered one of the cruelest despots in world history. Sentamu was detained for 90 days after refusing to overlook the crimes of one of Amin's family; he fled his home country to arrive as an immigrant in the United Kingdom in 1974.

Sentamu studied theology at Selwyn College, Cambridge and trained for the priesthood at Ridley Hall, Cambridge, being ordained a priest in 1979. He worked as assistant chaplain at Selwyn College, as chaplain at a remand centre and as curate and vicar in a series of parish appointments. Sentamu was consecrated a bishop on 25 September 1996, by George Carey, Archbishop of Canterbury, at St Paul's Cathedral.

During this time that he served as advisor to the Stephen Lawrence Judicial Enquiry, in 2002 he chaired the Damilola Taylor review - in both cases his personal experience of institutional racism proved invaluable. That same year he was appointed Bishop of Birmingham where his ministry, according to the Archbishop of Canterbury, Rowan Williams, was praised by "Christians of all backgrounds".

Sentamu has spoken on issues including young people, the family, slavery, and injustice and conflict abroad. He seemed to have a natural talent for highlighting social ills in an insightful yet tactful way which won supporters. Above all his career has been a constant campaign against injustice.

Florence Price

It would seem that Florence Price was just waiting for me to discover her.

On the RSCM Facebook group I am a member of I saw a post on the fundamentally important theme of #BlackLivesMatter linking to a performance of Price's "Adoration", in memory of George Floyd. I had already searched for a black composer of anglican music to include here, in some small way offering my own contribution to such an important movement - to no avail. But here I was being offered a perfect example, which has also proved wonderfully coincidental as well.

Florence Price was born in Little Rock, Arkansas, USA on April 9th 1887, one of three children in a mixed race family. She had her first piano performance at the age of four and had her first composition published at the age of 11. by the time she was 14 she had graduated as top of her class, and went on to study music at the New England Conservatory of Music in Boston, Massachusetts, majoring in piano and organ. She achieved a level of renown which defied all expectations for an African-American woman in her day. Acutely aware of her heritage, initially Florence identified as Mexican to avoid prejudice for being African American.