Sir Edward ELGAR (1857-1934)
The Reeds by Severn Side
Joshua Ryan (organ), Chapel Choir of the Royal Hospital Chelsea/William Vann
rec. 19-20 July 2021, Holy Trinity Church, Sloane Square, London, UK
SOMM RECORDINGS SOMMCD278 [79:47]
The advertising blurb for this very fine CD states that the concept is to “traverse Elgar’s remarkable ascension from lowly lawyer’s clerk to self-taught composer to Master of the King’s Musick.” In addition, the chosen works “chart the impeccable fusing of his Roman Catholic heritage with the Anglican church tradition to which he contributed several masterpieces.” I am beholden to the outstanding liner notes written by Andrew Neill, former Chairman of the Elgar Society, for details of the less well-known music.
The proceedings open with two remarkable early choral works: the Gloria (1872) and the Credo were both composed by Elgar when he was still a schoolboy. The former is based on the Allegro from Mozart’s Violin Sonata No.36, K.547. The liner notes explain that the liturgical text was included “with minimal change to the structure of the movement.” It all functions remarkably well. Equally novel is the Credo (1873), which uses Themes from Symphonies 5, 7 and 9 by Beethoven. When I saw the track listing, I did wonder what this confection would sound like. Once again, I was impressed; it is really successful. The Credo is scored for soloists, mixed chorus and organ. Elgar left the accompaniment incomplete, and this has been sensitively provided by James Olsen in his performing edition.
The next number in this chronological survey is Hymn Tune in F major, No. 1 (Drakes Boughton), (1878), which was a setting for Francis Stanfield’s Here thy children, gentle Jesus. This lovely, innocent melody was later incorporated into Elgar’s late Nursery Suite, written in 1930 and dedicated to the Princesses Elizabeth and Margaret Rose, as well as their mother, the then Duchess of York.
O Salutaris Hostia in F (1880) needs no introduction and is well established in the choral repertoire. It is one of several settings made by Elgar of Thomas Aquinas’s text. The three motets, op.2 date from 1887. Originally, the Latin settings, Ave Verum, Ave Maria and Ave Maris Stella, they were duly published with English words (not translations). This is the version heard here, and it is a first recording. The overall impression is that it is “polished” but not “adventurous.”
Eleven years later, Elgar completed his Scenes from the Saga of King Olaf, op. 30 (1896). This was a long work, almost operatic in nature. It is a piece that I do not know; however, critical opinion suggests that it is a mixed bag and a little longwinded. The short extract As Torrents in Summer features in the Scenes’ epilogue. It is perfect as a standalone motet.
There is sweet music, op. 53, No. 1 was the first of four choral songs written during 1907-1908. It is a setting of words from Tennyson’s The Lotus-Eaters. The remarkable thing about this motet is its bitonal nature. The choir is divided antiphonally, with the women’s voices singing in A flat major and the male voices in G major. Yet, nothing really jars. It is “sensuous, dreamy, drugged” and, as Diana McVeagh has suggested, “inhabits that half world between waking and sleep.”
It is good that SOMM have included one of the Six Chants for mixed voices written in 1907. Psalm 68, Let God arise, and let his enemies be scattered, is a messianic song, that forthtells the coming of Christ. The choir sing a selection of verses, as well as the Gloria. It is certainly a chant that ought to be heard often in choirs and places where they sing.
Edward Elgar holidayed in Tuscany during 1909. While there, he wrote the short part-song, Angelus. Apparently, he translated the words from the “traditional Tuscan” dialect, although Lewis Foreman thinks that this is “a safe clue to Elgar’s own authorship.” The middle voices imitate the bells heard at a monastery near Fiesole. It was dedicated to Alice Stuart-Wortley who would eventually become the composer’s “Windflower.”
St. John Henry Newman sourced the text of the short anthem, They are at rest. These words were penned in 1835 before his conversion to Catholicism. This unaccompanied setting is quiet, reserved and intimate. This anthem commemorated anniversary of the death of Queen Victoria and was premiered at the Royal Mausoleum, Frogmore on 22 January 1910.
The 1911 Coronation of King George V brought forth the exquisite Intende voci Orationis Meæ (O Hearken Thou), op. 64. It was designed to be sung during the Communion Service. it is a deeply spiritual and intensely devotional short piece, which found its ideal place in the most intimate part of the Coronation Service.
I have never been sure about the big, gutsy setting of Give unto the Lord, (Psalm 29) op. 74. Authored in 1914, for the annual Festival of the Sons of the Clergy, it was premiered at St Paul’s Cathedral on 30 April of that year. There are almost operatic moments in this anthem, which is full of word painting. Despite the generally powerful contrapuntal writing, there are some reflective moments of considerable beauty, especially in the quiet “Temple scene” and the serene ending.
Fear not, O land was a Harvest Anthem for Parish Choir. The text is taken from the biblical book of Joel and refers to a respite from a plague of locusts and a famine affecting God’s chosen people. The date of composition, 1914, may be prophetic of hardships to come during and after the Great War. It is a robust anthem and is full of joy for wonderful things.
The Carol: I sing the birth (1928) is unusual for Elgar in that it is a modal piece, using the Dorian mode. The words are by the Cavalier poet Ben Johnson. Diana McVeagh notes the “austere unaccompanied solos for alto, tenor and bass in turn.” The composer added “alleluias” at the end of each verse. An innocent ear may think they were hearing a motet by Gustav Holst.
The final two numbers reflect Elgar’s commitment to the Master of the King’s Musick. Good Morrow (A simple carol for His Majesty's happy recovery) (1929) was a commission written for the annual concert held at St George’s Chapel, Windsor, on 9 December 1929 and gave thanks for King George V’s recovery from septicaemia. The text is by the Elizabethan poet, George Gascoigne. The adjective “simple” is disingenuous; “heartfelt” would be more appropriate. The carol has “stirring crescendos and rich harmonic effects” so typical of the Elgarian idiom.
This is followed by the evocatively titled So many true princesses who have gone. As Queen Alexandria’s Memorial Ode, it was completed in 1932. The text was by the Poet Laureate John Masefield. It was originally scored for choir and military band. In 2004 Anthony Payne provided an arrangement for full orchestra. The present performance features only the organ. The work was first performed by the joint choirs of the Chapel Royal and Westminster Abbey in the presence of a group of dignitaries assembled by the garden of Marlborough House. The composer conducted. It is well known that one young chorister present at the commemoration was a certain David Willcocks…
The liner notes remind the listener that this was Elgar’s last completed “choral composition, quietly concluding the unique contribution he had made to choral music.”
The singing is perfect in every detail. The recording made in John Dando Sedding’s beautiful Holy Trinity Church, Sloane Square is clear, immediate and resonant. As noted above the liner notes are essay length. They are authoritative and readable. Full texts are included. Dates of each work should have been given in the track listing. There are biographical notes about William Vann and the Chapel Choir of the Royal Hospital Chelsea, the organist Joshua Ryan, and the composer James Olsen, who completed the Credo. The product is enhanced with an evocative view of Worcester Cathedral.
This is an ideal survey of Elgar’s choral music, from his earliest efforts until just 18 months before his death in 1934. I hope that SOMM will revisit this repertoire with further recordings from this excellent choir.
John France
Contents
Gloria (based on the Allegro from Mozart's Sonata in F for violin and piano, K. 547) (1872) [5:07]
Credo on Themes from Symphonies 5, 7 and 9 by Beethoven; completion by James Olsen) (1873) [11:09]
Hymn Tune in F major, No 1 (Drakes Boughton) Here thy children, gentle Jesus (1878) [1:53]
O Salutaris Hostia in F (1880) [3:21]
Jesu, word of God Incarnate, op. 2, No. 1 (1887) [2:52]
Jesu, Lord of Life and Glory, op. 2, No. 2 (1887) [2:44]
Jesu, Meek and Lowly, op. 2, No. 3 (1887) [3:39]
As Torrents in Summer (Scenes from the Saga of King Olaf, op. 30) (1896) [2:23]
There is sweet music, op. 53, No. 1 (1907) [4:54]
Psalm 68 (Novello’s New Cathedral Psalter) (1909) [4:23]
Angelus (Tuscany), op. 56, (1909) [3:30]
They are at rest (1909) [3:27]
Intende voci Orationis Meæ (O Hearken Thou), op. 64 (1911) [2:44]
Give unto the Lord, (Psalm 29) op. 74 (1914) [8:30]
Fear not, O Land (1914) [3:46]
I sing the birth (1928) [4:10]
Good Morrow (A simple carol for His Majesty's happy recovery) (1929) [4:32]
Queen Alexandra's Memorial Ode (So many true princesses who have gone) (1932) [6:41]
