Beatam: Music Written for The Choir of York Minster
Edward Cuthbert BAIRSTOW (1874-1946)
Three Introits (1925) [5:01]
Francis JACKSON (b. 1917)
Benedicite in G major (1949) [6:46]
Remember for good, O Father (1956) [8:01]
Audi, Filia (1950) [7:48]
Evening Service in G major (1950?) [9:44]
Philip MOORE (b.1943)
Ubi Caritas (1997) [1:56]
O Lord God of Time and Eternity (1983) [3:00]
The Spacious Firmament (2008) [8:56]
Richard LLOYD (b.1933)
The Call (1994) [1:37]
Richard SHEPHARD (b.1949)
Be Strong and of a Good Courage (2011) [1:36]
O Nata Lux (?) [2:15]
James CAVE (b.1979)
Ave Maria (2016) [4:13]
Judith BINGHAM (b.1952)
York Service (2017?) [7:12]
Francis GRIER (b.1955)
Ave maria stella (2017) [4:55]
The Choir of York Minster/Robert Sharpe
Benjamin Morris (organ)
rec. 2018, York Minster
REGENT REGCD522 [73:02]
The philosophy behind this new CD by York Minster Choir is an exploration of a “continually developing tradition” over the past hundred years or so. The music is presented in largely chronological fashion. All the pieces were composed specifically for this choir. The selection of music includes ‘services’ for the daily round of Choral Evensong and Sung Matins as well as anthems suitable for the Eucharist and for special occasions. A considerable portion of this CD is devoted to works penned by successive Musical Directors of the Cathedral.
The programme gets of to a great start with Sir Edward Bairstow’s ‘Three Introits’. These were designed to be sung as the clergy entered the cathedral at the commencement of Solemn Eucharist. With the pedestrianisation of the Liturgy, these have been abandoned from this service. However, they are sometimes sung at Choral Evensong, which fortunately retains the incomparable language of The Book of Common Prayer. All three Introits are perfectly judged miniatures that set the scene for the following worship. They were published in 1925.
Several works are presented by Francis Jackson, who was Director of Music at York Minster for some 36 years, between 1946 and 1982. The ‘Benedicite’ in G major was composed in 1947. This canticle sometimes takes the place of the ‘Te Deum’ in the service of Sung Matins and is often used in Lent and Advent. It is a tricky work to set as the repetition of the refrain ‘praise him and magnify him for ever’ can tend towards tedium. Jackson solves this problem by grouping the petitions together and reducing the number of refrains. This is a piquant setting that marks the beginning of Jackson’s mature style. The music is vibrant and often exciting.
The lovely anthem ‘Remember for good, O Father’ was a collaboration between the innovative Dean of York Minster, Eric Milner-White and Francis Jackson. It was written for Battle of Britain Sunday in 1956. This is a perfectly designed anthem for services of remembrance. The work grows from a quiet organ prelude and is largely subdued, but reaches an impressive climax mid-way, before the work returns to a reprise of the opening organ music.
‘Audi, filia’ was written to celebrate Francis Jackson’s wedding on 1 November 1950. The service was held, naturally, at York Minster and the choir sung this beautiful setting of part of Psalm 45. The biblical text was tinkered with by Milner-White. It is a pleasant and inspiring anthem that lasts for nearly eight minutes. It is enhanced by a lovely choir-boy solo.
The last offering by Francis Jackson on this disc is the powerful and vibrant ‘Magnificat and Nunc Dimittis’ (Evening Service in G major). The liner notes do not give an exact date for this work, save to suggest that it was composed shortly after the ‘Benedicite’ (1949). I was amazed at just how intimate this music is, especially in the ‘Magnificat’. There are several outbursts of the ‘power of sound’ but typically this is a restrained setting.
In 1983 Philip Moore succeeded Francis Jackson as Director of Music. He stayed in this post until 2008. Three works are given here. The ‘Ubi caritas’ is from the liturgy for Maundy Thursday. This quiet anthem is composed in three parts for men’s voices only. It is quite lovely and succeeds in complementing Jesus’ commandment of “love and service”. ‘O Lord God of Time and Eternity’ was written for the inauguration of Dr John Hapgood as Archbishop of York in 1983. Once again this is a reflective work that acted as a deliberate foil to this “magnificent and memorable” event. The final piece by Philip Moore is ‘The Spacious Firmament’, which was produced for the Friends of Cathedral Music to celebrate his retirement from his post as musical director in 2008. It is a work that sounds just a little strained in places. The text was taken from the works of Joseph Addison (1672-1719). The liner notes state that there are four verses here. I can only find three – in the poet’s published work and in the printed text in the booklet. I agree that the music falls into four parts – reflective opening, a sense of urgency on ‘Soon as the evening shades prevail’, repose again and a fugal conclusion with a powerfully dynamic organ accompaniment.
Richard Lloyd’s setting of George Herbert’s well-known poem, ‘The Call’, is a perfectly poised little number It is really a strophic song with some rhythmic diversity and melodic embellishment. It is a gem.
Richard Shephard’s short anthem ‘Be strong and of a good courage’ was dedicated to Hamish Ogston CBE who had donated £2 million towards the restoration of the East Front of the Minster. The words, from the Old Testament Book of Chronicles I, refer to Kind David’s building of the Temple at Jerusalem. It is straightforward with simple harmonies and engaging melodic lines. Also, by Shephard is the very short anthem ‘O nata lux’. This is a perfect miniature that gives a modern slant to the medieval origin of the words, without ever departing from the long tradition of Anglican Church Music.
‘Ave Maria’ (2016 was composed whilst James Cave was on a composer-residency at the Mahler-Le Witt Studios in Spoleto. It was in the immediate aftermath of the Central Italian earthquake during August of that year. Although avoiding serious damage, the Studios felt the aftershocks and witnessed the reports of the death and damage, especially at Amatrice. Cave coupled this frightening experience with the artwork of Grunewald, who captured suffering in his paintings, most especially the Virgin Mary, as ‘an icon of grief.’ The resulting anthem is a subtle combination of old and new, with considerable nods to Palestrina, at least in the structure of his polyphony, if not the harmonic style.
Judith Bingham has chosen to use the Latin text of the ‘Magnificat’ and ‘Nunc Dimitis’ in her 2017 York Service. Now, I do not have a problem with that great language, but I would rather the words for Evensong were from The Book of Common Prayer, 1662! That said, it is perfectly wrought and quite lovely. Although written in a relatively ‘modern’ musical language, there is nothing here to detract from the liturgical impact of the text. On the other hand, the composer’s own liner notes suggest that the work may have been designed as a standalone anthem and not meant for use as part of the service. She states that this work would be sung at ‘Our Lady’s Funeral’ (bad theology, at least to an Anglo or Roman Catholic, surely, she meant Assumption!) and is cast as a ‘procession’. Whatever the use of this Mag & Nunc Dim, it is an excellent, challenging work that deserves its place in the repertoire.
The final track on this CD is ‘Ave Maria Stella’ by Francis Grier. This is a modern ‘take’ on the old plainsong hymn. Diverse and often complex harmonies are overlaid on this melody but never quite obliterate it. It is an interesting piece that just does not quite do it for me. The ‘modern’ part has a harshness that sometimes does not blend with the ‘ancient,’ Despite my reservations there are moments of profound beauty in these pages. It was composed for the 2017 York Minster Carol Service.
The liner notes are most helpful, although (for some reason) the dates for one or two pieces are not included. Naturally, the singing and the organ accompaniment cannot be criticised. It is a stunning performance from first to last.
This is imaginative repertoire, that introduces several pieces that are premiere recordings. I enjoyed most of these anthems and service settings immensely. Finally, I look forward to hearing more Francis Jackson from the Choir of York Minster: he is the composer on this CD that I can most do business with!
John France
