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ALSO on signumclassics

Rachmaninoff Vespers SIGCD054 Thomas Tallis: The Complete Works SIGCD060 Requiem Aeternam SIGCD503 Sung by one of the most superb of our The complete works of the ‘father’ of English A deeply intimate recording of personal and time, Tenebrae, this live recording embraces music, Thomas Tallis, performed by Chapelle moving works by Howells and Martin. Howells: the spirituality and essence of Rachmaninoff’s du Roi directed by Alistair Dixon – 10 CDs in Requiem (1935) and the motet, Take him, earth, All-Night Vigil. 9 volumes. for cherishing. Martin: Mass (1922/6)

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anthems for the 21st century

1. †Jonathan Dove: Bless the Lord, O my soul (2000) [vv. from Psalm 104] [5.15] 2. Jonathan Rathbone: Absolon, my son (2003) [2 Samuel 18, v.33] [5.37] 3. *Will Todd: Angel Song II (2004) [4.45] 4. *†Jeremy Filsell: Mysterium Christi (2004) [Alice Meynell] [6.22] 5. *Humphrey Clucas: Hear my crying, O God (2004) [vv. from Psalms 61 & 115] [3.34] 6. *Stephen Barlow: When I see on Rood (2004) [Anon. 13th/14thC] [6.37] Fiona McWilliams soprano, Daniel Burges tenor 7. *Gabriel Jackson: Now I have known, O Lord (2004) [Al-Junaid] [7.35] Nicola Balzan soprano, Julia Field alto, David Jackson tenor, Andrew Angus bass 8. †James MacMillan: Chosen (2003) [Michael Symmons Roberts] [6.54] 9. *Philip Moore: I saw him standing (2004) [Anne Griffiths/Rowan Williams] [7.28] 10. *Richard Blackford: On Another’s Sorrow (2004) [William Blake] [4.09] 11. *Barrie Bignold: Peace (2004) [Bob Cassidy] [5.54] Fiona McWilliams soprano, Matthew Wood baritone 12. *Ward Swingle: Give us this day (2004) [Tony Vincent Isaacs] [4.42]

Total Time [69.55]

All tracks are world premiere recordings * Vasari Singers’ 25th Anniversary commission Vocal Coach and Repetiteur - David Bray P 2005 The copyright in this recording is owned by Signum Records Ltd. C Producer and editor - John H. West 2005 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Balance Engineer - Limo Hearn Discs constitutes an infringement of copyright and will render the infringer liable to an action by Recorded - Tonbridge School Chapel 18-20 February 2005 law. Licences for public performances or broadcasting may be obtained from Phonographic VASARI SINGERS All artwork and design - Woven Design Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording Cover image - Creatas †JEREMY FILSELL organ or otherwise, without prior permission from Signum Records Ltd. JEREMY BACKHOUSE conductor Photography - Sim Canetty-Clarke www.signumrecords.com SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, www.vasarisingers.org Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com www.vasarisingers.org - 15 - 059booklet 15/3/05 7:51 pm Page 3

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anthems for the 21st century

Vasari Singers An Introduction by Jeremy Backhouse

Described by Gramophone magazine as “one of the most Soprano Tenor To celebrate its first twenty-five years of vibrant music making, the Our commission from Francis Pott, who has featured regularly in accomplished small choral groups of our time”, Vasari has Nicola Balzan Peter Belasyse-Smith Vasari Singers commissioned ten composers each to write an Vasari Singers’ programmes over recent years, grew into a much performed in most of London’s major concert venues and taken part Alysha De Ionno Daniel Burges anthem that might reflect the state of our world at the start of more substantial work so has not been included on this CD. The in numerous commercial concerts and festivals, including the Jenny Filsell Simon Burges the new millennium. My brief further suggested that their work Vasari Singers will give the premiere this major choral work, ‘The BBC Proms. The choir can be heard regularly on BBC Radio 3 and Emma Hardie David Jackson should be able to sit comfortably within the context of a cathedral Cloud of Unknowing’, in 2006. has featured on BBC TV. Choral evensong is a major part of Lizzie Isherwood Chris Riley Evensong, but that it could also look beyond any constraints of Vasari’s schedule and the choir sings regularly in Canterbury Laura Kirkup Paul Robertson Liturgy or formal religious doctrine to embrace a wider, more In addition to our commissions, we have included on this CD three Cathedral at the request of the Dean and Chapter and at other Julia Mackinder ecumenical audience; something more humanistic perhaps, that gems by composers at the cutting edge of contemporary choral main English cathedrals. Fiona McWilliams might connect more relevantly with multi-cultural, multi-faith music: Jonathan Dove, James MacMillan and Jonathan Rathbone. Jess Stansfield societies of the world in the 21st century. To our great delight, what Together these twelve anthems constitute a fascinating musical Vasari’s substantial discography features recordings across a wide Susan Waton we received was a group of pieces of immense breadth and scope. document, rich in stylistic diversity. range of periods and styles, from Palestrina and Lotti, to Britten, Fauré, Kodály, and Swingle. The Gramophone Award-nominated Alto Bass All the composers commissioned have musical connections either The texts themselves are as richly varied and striking in impact: Howells Requiem and Frank Martin Mass was re-released by Elizabeth Atkinson Andrew Angus with the choir or me: Stephen Barlow I have known and admired as there are verses from contemporary poets (including two specially Signum in 2004 and the recent recordings of works by the French Alison Benton Matt Bernstein a musician since our paths crossed as choristers at Canterbury written by Bob Cassidy and Tony Vincent Isaacs), traditional composer Marcel Dupré both received Gramophone’s ‘Editor’s Julia Field James Cross Cathedral under the hugely influential and expert guidance of Psalms, a translation of a Sufi mystic and an adaptation of a Welsh Choice’ accolade. Sarah Kendrick Malcolm Field Allan Wicks; the Canterbury connection also linked us with Gabriel hymn (by the present Archbishop of Canterbury), Mediaeval texts, Julia Ridout Chris Hunter Jackson, Philip Moore (Assistant Organist during my time there) William Blake, even just the vowels from the one word “Hosanna”. Vasari Singers gratefully acknowledges financial support from Helen Riley Ben Pilling whose choral music Vasari recorded on CD; Barrie Bignold was the PRS Foundation, the RVW Trust, the Holst Foundation, the Paul Newis introduced to us by a member of the choir and played piano on For the Vasari Singers, this set of anthems represents a celebration Michael Marks Foundation, the Leche Trust, the Kenneth Leighton Matt Wood our best-selling CD of close harmony songs, ‘Deep Purple’; Richard of our achievements over the last 25 years through the music Foundation and valuable assistance from our sponsors including Blackford has been an ardent supporter of the choir and we had of some of those who have travelled with us along the way; it La Sologne Publications, Sim Canetty-Clarke Photography, Metro long talked about him writing something for the choir; Humphrey also looks to the future, strengthening our commitment, our Imaging and SLDesign. Clucas is perhaps the longest standing friend of Vasari and has responsibility, to be a channel for the creation of new music. written us numerous works, some of which we have recorded; We have been thrilled that every one of the pieces written for Vasari Singers is a UK Charity 1071299. Jeremy Filsell has been associated with the choir for many years as us (and also the non-commissioned numbers) has a powerful www.vasarisingers.org the choir’s most regular and inspiring accompanist in concert and message to convey. Getting to the heart of the music and on CD; Ward Swingle, personal friend for many years, is the Patron communicating it to our audiences is something for which the choir of Vasari Singers and remains one of its closest colleagues; Will has become renowned over the years and we relish the challenge Todd was introduced to the choir through one of our members and of bringing the soul of these glorious new works to life. will feature strongly in our programmes in coming years. © Jeremy Backhouse, 2005

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Bless the Lord, O my soul Absolon, my son Music: Jonathan Dove Music: Jonathan Rathbone Words: Psalm 104 (paraphrase of vv. 1-4) Words: 2 Samuel 18. v.33

‘Bless the Lord, O my soul’ was commissioned by a group of people ‘Absolon, my son’ was written for the choir of Girton College, whose early lives were dedicated to choral singing (Eton College Cambridge, during the term when I was their stand-in musical Old Choristers’ Association). I wanted their millennium anthem to director. We performed a concert which included ‘When David be a celebration of song, and Psalm 104 provided a wonderful Heard’ by Tomkins. I had always found this, and the Weelkes sequence of expansive imagery. The organ part is quite virtuosic, setting, to be very powerful pieces. Both were written in the first beginning with a flourishing fanfare suggesting a heavenly vision, half of the 17th century. The words are as powerful as ever, and I which provokes the choir into a wordless cry of wonder; in contrast, wanted to make a more contemporary version, with a slightly more their first words are hushed, awe-struck. The organ creates a romantic approach and using more powerful harmonies which backdrop of twinkling stars for “who coverest thyself with light” were not at the disposal of either Weelkes or Tomkins (well, not if and a calm sea for “who layest the beams of his chambers in the they wanted to keep their jobs!). waters”. The hushed “bless the Lord” returns, but now fast and loud, ushering in the most dramatic imagery: the chariot of clouds, The loss of a child must be devastating. David’s army had won a the wings of the wind, and finally the depiction of God’s ministers great victory in battle, yet he could not even congratulate them, as a “flaming fire”. being preoccupied by the loss of his own son. He went away and © Jonathan Dove/Peters Edition. wept. I have tried to paint a picture of his emotions during this Reproduced by permission of the publishers. outpouring. First of all, quietly as he takes the news in - then gradually the full impact of it hits him and he gets more and more Bless the Lord, O my soul, distraught and angry; he cries out that he wishes he himself had Who coverest thyself with light as with a garment: died in Absolon’s place. Finally, after this tirade, I picture him in the Who stretchest out the heavens like a curtain: corner of the room - his energy spent - he can do no more than Bless the Lord, O my soul, repeat the words “Absolon, my son”. Who layest the beams of his chambers in the waters: © Jonathan Rathbone, 2005 Bless the Lord, O my soul, Who maketh the clouds his chariot: When David heard that Absolon was slain, he went up to his Who walketh upon the wings of the wind: chamber over the gate, and wept: Who maketh his angels spirits: And thus he said: O my son Absolon, my son, my son Absolon. His ministers a flaming fire! Would God I had died for thee, O Absolon, my son, my son.

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BIOGRAPHIES Angel Song II poem awakens an acknowledgement that all people through whom Music: Will Todd Christ struggles for expression are the means by which a healing, Words: “Hosanna”/wordless restorative and redeeming power can be mediated. Even the stranger here forms the channel through which a profound sense of ‘Angel Song II’ is inspired by the idea of angels singing on human solidarity is communicated and shared. Christmas night. The music weaves a gentle over the Jeremy Backhouse aleatoric textures of the accompanying voices. The text is designed The musical setting opens in mysterious dissonance, a strong to create the echo of the word ‘Hosanna’, but with no consonants, sense of tonality only emerging at the first appearance of the motto Jeremy Backhouse enjoys a growing reputation in the UK and so that the music feels as if it comes from ‘on high’. It is hoped that chordal idea “O Christ in this man's life”. The second verse is set overseas for inspiring vivid, passionate performances from choirs this movement might one day form part of a larger choral work in animated fashion with the organ’s toccata figurations and choruses in a wide range of repertoire. Equally at home with inspired by the idea of voices from heaven. underpinning fugal and syncopated vocal writing above. The Renaissance music through to contemporary commissions, he is © Will Todd, 2005 gathered momentum is suddenly interrupted by verse 3’s widely recognised as one of Britain’s leading choral conductors. harmonic stasis and the motto idea returns at “Christ in his He has been the sole Music Director of the award-winning chamber Mysterium Christi unknown heart” (verse 4). The evocations successively of ‘battle’ choir Vasari Singers since 1981 and is also Conductor of the Music: Jeremy Filsell and ‘peace’ in the fourthverse are set in musically characteristic 150-voice Guildford Philharmonic Choir. Words: Alice Meynell antithesis before an affirmatory passage incorporates the motto chordal idea once again (verse 5). The predominantly rhythmic Head Chorister at Canterbury Cathedral, he studied music and The inspiration to use the poetry of nineteenth-century poet Alice countenance of this music dissipates to recall the earlier-heard composition at Liverpool University and began his career as a Meynell (1847-1922) in ‘Mysterium Christi’ came initially from the tri-tonal falling ‘peace’ phrase (“Christ in his mystery”) and a Music Editor with EMI. From 1998 to December 2004 he was Dean of Windsor, the Very Revd David Conner (a co-dedicatee of the coda recalls both the atmosphere and music of the opening. Conductor of the Wooburn Singers. He has also worked with the piece), who based a sermon in St George's Chapel in June 2004 on © Jeremy Filsell, 2005 BBC Club Choir, the Kent Youth Choir, the Brighton Festival Chorus, her poem ‘The Unknown God’. London Choral Society, Trinity College of Music Chamber Choir and the Philharmonia Chorus. He has conducted the BBC Singers on The poet finds herself in church, observing a stranger approach the One of the crowd went up, BBC Radio 3 in several programmes of music by Lennox Berkeley, altar rail, receive communion and return to his place to pray. David And knelt before the Paten and the Cup, Holst, Rubbra, Bax, Massenet and Delibes. Conner, in his sermon, spoke of Meynell’s vision of Christ within Received the Lord, returned in peace, and prayed another human being, in a neighbour, a stranger or a friend. Close to my side. Then in my heart I said: Recent recordings with Vasari Singers include the world premiere Through this particular stranger, the poet recognizes Christ’s of Dupré’s ‘De Profundis’ and ‘La France au Calvaire’ (both presence and perceives within him, humanity’s struggle for “O Christ, in this man’s life - selected as Editor’s Choice in Gramophone) and ‘Deep Purple’, a spiritual liberation. He represents the locus found in us all of This stranger who is Thine - in all his strife, medley of swing and jazz choral from Ward Swingle Christ’s struggle to be born within us: the identity of the human All his felicity, his good and ill, and John Rutter to Bob Chilcot and George Shearing. He has spirit straining for expression and release. In the assaulted stronghold of his will,” recorded choral music for EMI, Cala/United, Guild and Signum record labels. For Meynell, the stranger becomes a source of blessing: “From that “I do confess Thee here, secret place, And from that separate dwelling, give me grace!”, Alive within this life; I know Thee near seen, no less than the eucharistic bread and wine so recently Within this lonely conscience, closed away consumed, as a means of grace and a sacramental presence. The Within this brother’s solitary day.”

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“Christ in his unknown heart, When I see on Rood Curfew closing on the light For biographical and publication details of each composer, please His intellect unknown - this love, this art, Music: Stephen Barlow Pungent woodsmoke visit the Vasari Singers’ website on www.vasarisingers.org This battle and this peace, this destiny Words: Anon. late 13th/early 14th century Curling by That I shall never know - look upon me!” Autumn leaching summer cold Jonathan Dove - Peters Edition There is something about this anonymous 13th/14th-century Breathing out in red and gold Jonathan Rathbone - Peters Edition “Christ in his numbered breath, poem that seems timeless, and dramatically highly evocative. Its Flocking high James MacMillan - Boosey & Hawkes Music Publishers Ltd. Christ in his beating heart and in his death, concision belies undercurrents of powerful emotion, mixing ritual Over tall oak Humphrey Clucas - Animus Christ in his mystery! From that secret place with a very human outpouring of shock, pain and grief. The Storks migrating full in flight. Will Todd - Tyalgum Press And from that separate dwelling, give me grace!” language itself seems achingly beautiful to me, the words Richard Blackford - Chester Novello resonate, the vowel sounds invite a sense of lyricism. I was Give us this day … particularly drawn to the idea of a crowd reaction, a unified Hear my crying, O God response to an image that draws from all of us at the very least a All along the trestle bough Music: Humphrey Clucas deep rooted personal revulsion, and a shudder of responsibility. It Incandescent Words: Psalm 61 (vv. 1 & 3) and Psalm 115 (vv. 17 & 18) is certainly an immaculately conceived poem, encapsulating a To the touch piercingly painful recognition of what makes us human. Icy chandeliers ablaze ‘Hear my crying, O God’ is scored for eight-part unaccompanied © Stephen Barlow, 2005 To the suns retreating rays choir, though the full eight parts are not employed all the time. In the clutch Certain ideas recur, the Scotch snap and the rising and falling Omnipresent scales of the opening, for instance. Almost throughout, there is Of the northwind’s bitter vow. simultaneous crotchet and quaver movement. It is a piece full of When I see on Rood When I see on the Cross fear; the concluding ‘Praise the Lord’ is distinctly muted. It is an Jesu, my leman, Jesu, my lover, Give us this day … attempt to contain a deal of drama in a rather small space. And beside him stonden And beside him stand © Humphrey Clucas, 2005 Mary and Johan, Mary and John, Morning creeps upon the day And his rig iswongen, And his back scourged, Stars pay homage Hear my crying, O God; give ear unto my prayer. And his side istungen, And his side pierced, To the sun For thou hast been … a strong tower for me against the enemy. For the love of Man, For the love of Man, Tumult in the swelling bud Well ought I to wepen Well ought I to weep Ripening with verdant blood The dead praise not thee, O Lord, neither all they that go down And sins for to leten, And sins to abandon, Surging through into silence. If I of love can, If I know of love, Winter’s damage But we will praise the Lord from this time forth for evermore. If I of love can, If I know of love, Weaving tendrils on its way. Praise the Lord. If I of love can. If I know of love. Give us this day … © Tony Vincent Isaacs, 2004

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Peace And where take breath to deserve the air we breathe? Now I have known, O Lord Chosen Music: Barrie Bignold Search on Music: Gabriel Jackson Music: James MacMillan Words: Bob Cassidy Drive on Words: Al-Junaid Words: Michael Symmons Roberts (from ‘Her Maker’s Maker’) There is no place This motet is all about the poem. Any temptation I might have had No peace. For this very special commission I wanted to write a piece This carol/anthem sets powerful verses by the contemporary poet to show off was subjugated by the power and simplicity of ‘Peace’, Bring peace to mend the pieces that reflected the particular character of the Vasari Singers - Michael Symmons Roberts, a frequent collaborator with James which I commissioned from my old friend, film editor, poet and And let your wounded angels sleep transparent, refined and meticulous, but also possessed of great MacMillan (most recently ‘Parthenogenesis’, also in collaboration general Renaissance Man, Bob Cassidy. It poses many questions In new-built holy houses. fervour and virtuosity. Jeremy Backhouse proposed a text that was with Archbishop Rowan Williams). The bleakness of the opening about spirituality, religion and identity in the 21st century. The © Bob Cassidy, 2005 sacred, but not liturgical, which led me to the great Sufi mystic section reflects the Virgin Mary’s lonely nocturnal doubts over setting is simple but emotionally engaged, the soloists used as Al-Junaid. Couched in language that is as erotic as it is spiritual, whether she could really be carrying the infant Christ. Blazing and much for verbal clarity as for the symbolism of their being often Give us this day the text seemed to demand a setting of great inwardness. The piece glorious reassurance comes with the rising sun as the fruit of the locked in octaves, but physically as far apart as possible. The piece Music: Ward Swingle is largely restrained and intimate; intertwined melismatic tendrils womb makes His presence felt. Meanwhile, in the fields Joseph offers a resolution of sorts, but even then with a wry sting in the Words: Tony Vincent Isaacs of melody alternate with hushed homophony and self-communing wanders, himself a lonely figure, tending his fruit whilst repeating tail: “Let your wounded angels sleep in new-built holy houses”. murmurings, rising to a climax of fierce brightness and intensity the question: “Why was my chosen one chosen?” © Barrie Bignold, 2005 I was lucky to have a poem written for the occasion by Tony Vincent before sinking back to the meditative calm of the opening. Isaacs. Tony had previously put words to the music of Scott Joplin © Gabriel Jackson, 2005 Last night I had that dream again, Where can we walk and make our feet belong? for the Swingle Singers ‘Rags and all that Jazz’ . For this new that I was empty and alone, And where take breath to deserve the air we breathe? poem, called ‘Give us this day’, I’ve written a very simple Now I have known, O Lord, Where take bread and need to eat no more? four-part setting so that the words (and their important message) What lies within my heart; no seed-child in my womb, no secret Where to lie and sleep the sleep of kings? are quickly understood. In secret, from the world apart, son, tight as a thumbnail, yet complete, Where to stop and never need to move on? © Ward Swingle, 2005 My tongue hath talked with my Adored. Search on no angel at my feet, just the shadow Drive on Scudding clouds of crimson flush So in a manner we of a great bird stretched out There is no place Skim the azure United are, and One; No peace. Evening sky Yet otherwise disunion in the evening light, no voice, When the wires still cry at four a.m. Boding well the morrows dawn Is our estate eternally. no message from the Lord, no kiss, Sending, carrying, receiving To a cloudless glowing morn Sad songs Dragonfly Though from my gaze profound no sickness, tiredness, no joy, Reverbing out across the big curve Neon’s treasure Deep awe hath hid Thy Face, just me, as hollow as a gourd. Prayer echoes lost in god’s star-sown furrows. Strafes the pool in summer’s hush. In wondrous and ecstatic Grace Tied by the knot of life. I feel Thee touch my inmost ground. That dream comes every night, Drifting to heaven. Give us this day but when I wake, I have no doubt: God bridge this fractured world That we may see Al-Junaid (10th century); English translation by A.J. Arberry (1905-73) Where the flame tongues of dragons The beauty before our eyes © Used & reprinted by permission of HarperCollins Publishers Ltd. I feel the rush of Gabriel’s Rise from the cracks to lick our sun. Give us this day wings, the shock that he should kneel, Devour our morning star and break the light. That we may cherish Where can we walk and make our feet belong? The earth before it dies.

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the whispered question. I sing prayers The words fall naturally into three sections and this is reflected in On Another’s Sorrow Can a mother sit and hear into myself, share my days, my fears the music; the first and third sections are slow and sustained, Music: Richard Blackford An infant groan, an infant fear? while the middle section is fast and energetic. In the first section Words: William Blake No, never! never can it be! with him, helpless master, unmade maker, there is dialogue between the tenor and basses, and the altos. Never, never can it be! God and man, my son and father, The sopranos’ first entry is delayed until the words “It will be I wrote ‘On Another’s Sorrow’ on September 2nd 2004, the day after Oh, such a daybreak.” The central section of the work is generally the school siege in Beslan in North Ossetia. Broadcast images of And can He who smiles on all carried in me, weightless, faceless, less chordal and more contrapuntal, with sometimes fairly terrified children fleeing to escape Chechen gunmen influenced my Hear the wren with sorrows small, Lord of life, of seas, skies, stars. thin textures. perception of Blake’s simple song of innocence and gave it deeper Hear the small bird’s grief and care, © Philip Moore, 2005 significance. It became for me a poem about compassion, about Hear the woes that infants bear. Figs are ripe. Blood red roses swell our ability to feel the suffering of others, to be willing to cry their buds. The world is rich and full. Under the dark trees, there he stands, “Never, never can it be” should we become uncaring. How God And not sit beside the nest, There he stands; shall he not draw my eyes? could allow such suffering then and after the recent tsunami Pouring pity in their breast, My Joseph walks his days alone I thought I knew a little disaster also made me wonder about Blake’s serene acceptance And not sit the cradle near, among his fig trees, cypress, pine. How he compels, beyond all things, but now of God’s presence at times of sorrow. The Archbishop of Weeping tear on infant’s tear? He stands there in the shadows. Canterbury’s response, that “we must focus on a passionate He does not tend or cut or make, It will be Oh, such a daybreak, such bright morning, engagement with the lives that are left” seemed to be the best And not sit both night and day, but wallows in their shade When I shall wake to see him as he is. of what we are capable. Wiping all our tears away? He is called Rose of Sharon, for his skin O! never, never can it be! and chokes on his unanswered question Is clear, his skin is flushed with blood, My setting starts with a unison chromatic theme in uneasy Never, never can it be! ‘Why was my chosen one chosen?’ His body lovely and exact; how he compels alternating 7/8 and 5/4. Call and response of sopranos and altos Beyond ten thousand rivals. There he stands, with tenors and basses lead to the first outburst of “No, never, He doth give his joy to all: © Copyright 2003 by Michael Symmons Roberts My friend, the friend of guilt and helplessness, never can it be.” The material develops and climaxes on the second He becomes an infant small, Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. To steer my hollow body over the sea. “O! never”. The final contemplation of God’s presence is hushed He becomes a man of woe, The Earth is full of masks and fetishes, and returns to the original theme, but with altered intervals. The He doth feel the sorrow too. What is there here for me? Are these like him? final “O! he gives to us his joy” is sung pianissimo in sustained I saw him standing Keep company with him and you will know: harmony before returning to the unison of the opening. Think not, thou canst sigh a sigh, Music: Philip Moore No kin, no likeness to those empty eyes. © Richard Blackford, 2005 And thy Maker is not by: Words: Anne Griffiths, trans. Rowan Williams He is a stranger to them all, great Jesus. Think not, thou canst weep a tear, What is there here for me? I know Can I see another’s woe, And thy Maker is not near. The words of ‘I saw him standing’ are a translation, by Rowan What I have longed for. Him. To hold And not be in sorrow too? Williams, of a Welsh hymn by Anne Griffiths. She was a farmer’s Me always. Can I see another’s grief, O! He gives to us his joy, wife without formal education, who died in 1805. She wrote a © Rowan Williams. Reproduced by permission of the author. And not seek for kind relief? That our grief He may destroy: small number of hymns that are remarkable for their bold and Till our grief is fled and gone extravagant imagery and sustained emotional density. The Can I see a falling tear, He doth sit by us and moan. translation is not literal but is instead an attempt to create And not feel my sorrow’s share? something of the energy of the original. Can a father see his child Weep, nor be with sorrow filled?

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