Mu s i c Fo r Le n t Mu s i c Fo r Le n t The King’s School, Ely The King’s School, Ely

CD1 1 DARKE Nine-Fold Kyrie from the Communion Service in F major [1.50] 2 RACHMANINOV Ave Maria op 37 no 6 [3.12] 3 TAVENER [5.59] 4 LOTTI Crucifixus [2.57] 5 GÓRECKI Totus Tuus [9.56] 6 WOOD Nunc Dimittis [3.39] 7 IRELAND Greater Love Hath No Man [6.17] 8 HOLST Turn Back O Man [4.13] [38.10] CD2 MAUNDER Olivet to Calvary Part I 1 On The Way To Jerusalem [3.54] 2 Before Jerusalem [4.01] 3 In The Temple [7.48] 4 The Mount Of Olives [15.18] Part II 5 A New Commandment [7.13] 6 Gethsemane [4.30] 7 Betrayed And Forsaken [7.32] 8 Before Pilate [4.08] 9 The March To Jerusalem [5.18] 10 Calvery [11.11] given in the Lady Chapel & Presbytery of Ely Cathedral. [71.01] Friday 7 March 2008 Ki n g ’s Sc h o o l Ch a p e l Ch o i r , Ca n t o r e s Eliensis Gr a h a m Gr i g g s conductor, Ca t r i o n a Cl a r k soprano, Jo h n McMu n n tenor, LPCD26 Pe t e r B No r t h baritone & conductor (Cantores Eliensis), Jo n a t h a n Li ll e y organ © 2008 Lantern Productions King’s School Chapel directed by Graham Griggs, Cantores Eliensis directed by Peter North CD1 TENORS Patrick Aspbury, Reggie Chamberlain-King, Luke Cunnah, Joshua Darley Oliver Diss, James Dun- Nine-Fold Kyrie (Communion Service in F major) - Harold Darke (1888 - 1976) calfe, Brad Fulford, Ben German, Sam Graham, Charlie Green, Nicholas Heller, Oliver Hill, Harvey Naylor, Lawrence Perkins Fraser Steele Lok-Man, Tang David Tagg-Oram, Peter North An interesting theme running through this programme is the significance of the , founded in 1882, and one of its most distinguished and influential teachers on a formidable generation of early C20th composers, Charles Villiers Stanford. BASSES Darke followed precisely this educational path before his appointment as organist of St Michael’s, Cornhill, a post he held for 50 years Robert Atkinson, Tom Brown, Joe Gardom, Henry Golding-Fuller, Farrel Gray Ollie Kenzie, (1916-1966). Vaughan Williams and composed for the St Michael Singers founded by Darke in 1919, the same year George Oxby, Parker Ramsay, Daniel Simmons, Hugh Topping John Wilson, James Wood, Will as which he joined the RCM staff where he remained until 1969. Gardner, James Houlston, James Rees His musical output was almost exclusively for choir and organ and he is probably best known for his setting of In the Bleak Mid-winter. CANTORES ELIENSIS His two beautifully crafted communion services – in E and F majors – are core Anglican liturgical repertoire of which this simple but effective Kyrie is the first movement of the latter. Briony Ashby, Robert Atkinson, Cecily Beer, Sarah Belcher, Holly Brown, Reggie Chamberlain- King, Luke Cunnah, Jo Davison, Joe Gardom, Ben German, Amelia Harrington, George Morton, Kyrie eleison Lord have mercy Michael Ng, George Oxby, Tess Pearson, Lawrence Perkins, Daniel Simmons, Ruth Sliwinski Christe eleison Christ have mercy Kyrie eleison Lord have mercy

Ave Maria op 37 no 6 - Sergei Rachmaninov (1873 – 1943)

As a consequence of his father squandering the family fortune, the family moved to St Petersburg where the young Rachmaninov attended the conservatoire studying piano and harmony. Family turmoil deeply affected the composer, and a self-doubt permeated much of even his best and most spectacular music. Whilst this was predominantly pianistic and a showcase for his own prodigious virtuosity, A LANTERN PRODUCTIONS DIGITAL RECORDING he was equally preoccupied with a lifelong fascination with ecclesiastical chant, finding its way into some of his grandest orchestral LPCD26 MCPS repertoire like the First Symphony and his last work, the innovatively vivid, energised yet harmonically disturbing Symphonic Dances Recorded 7 March 2008 in the Lady Chapel [CD1] and Presbytery [CD2] of Ely Cathedral with its reference to the Dies Irae plainsong and other Russian Orthodox chants in the finale. by kind permission of the Chapter of Ely These traits were inevitably conspicuous in his major a cappella choral works, including the 1910 Liturgy of St John Chrysostom and All-night Vigil of 1915. Otherwise known as his , of which this heartfelt Ave Maria is one of the best known movements, Front cover image ‘Ely Cathedral’ drawn by J. M. W. Turner, R. A. Rachmaninov’s choral style is characterised by idiomatically modal, rich sonorous harmonies and rhythmic fluidity. This touching motet also simulates a tolling bell on the approach to a spectacular build-up that subsides almost as suddenly as it was generated. Production, Engineering & Art direction: Lantern Productions Executive co-ordination: Sean Farrell Ave, Ave Maria, gratia plena, Hail, Mary, full of grace, © Lantern Productions 2008 Ave Maria, Ave Maria, Dominus te cum, The Lord be with thee. Ave, Ave Maria.

Ave Maria, Hail, Mary, WARNING: Copyright subsists in all recordings under this label. Any unauthorised broadcasting, public performance, copying Sancta Maria, mater Dei, Blessed Mary, mother of God or re-recording thereof in any manner whatsoever will constitute an infringement of such copyright. In the United Kingdom Ora pro nobis peccatoribus, Pray for our sins. licences for the use of recordings for public performance may be obtained from Phonographic Performances Ltd., 1 Upper James Nunc et in hora mortis nostrae. Now and in our hour of death. Street, London W1F 9EE.

[2] [15] GRAHAM GRIGGS conductor Song for Athene - (b 1944)

Graham Griggs was a music scholar at Oakham School during which time he took organ lessons with Dr Stanley Vann at Peterborough After Highgate School, Sir John studied piano and composition at the Royal Academy of Music. His earlier expressionist style with Cathedral. He then gained places concurrently at Manchester University and the Royal Northern College of Music on the ‘joint dense textures and uncompromising harmonic linearity, showing some influence of Messiaen and late Stravinsky, has more recently course’ where his performing studies continued with Eric Chadwick and Dame Gillian Weir. A post-graduate year at Queens’ College, mellowed into a more lyrical exuberance and the use of minimalist motivic repetition. Just as Górecki’s deeply personal Catholic faith Cambridge, led to his first appointment as Assistant Director of Music at Denstone College in 1978. Five years later, he became the first brings a burning intensity to his vocal textures so does a pervading influence of the Greek Orthodox church infuse Tavener’s treading Director of Music at Barnard Castle School in recent times - at which point he also conducted the Barnard Castle Town Brass Band. chant-like rhythms, textures and harmonies, underpinned here by a tonic pedal throughout. Tavener’s international reputation was He moved to The King’s School Ely as Director of Music in April 1990, and was subsequently appointed conductor and director of the sealed with the phenomenal success of for solo cello and string orchestra (a comparable success to Górecki’s Fairhaven Singers of Cambridge for three years. He has also been an A-level examiner for the Cambridge Local Examining Syndicate Symphony of Sorrows). A similar meditational radiance can be found in miniature choral gems like and Song for Athene. before joining the panel of practical music examiners for the Associated Board of the Royal Schools of Music. He has undertaken four overseas examining tours in Malaysia and has acted as co-ordinator to a team of fifteen other examiners stretching from Kuala Lumpur Composer’s note in the copy: ‘This work was written in memory of Athene Hariades, who died tragically in March 1993. to the Singapore Straits. He will examine in Hong Kong for the first time this August and return to Malaysia in summer 2009. Her inner and outer beauty was reflected in her love of acting, poetry, music and of the orthodox Funeral Church. The text is taken from Shakespeare’s Hamlet and the Orthodox Funeral Service’. Graham has been previously President of the Manchester University Music Society, Northern Liaison Officer on the Council of the Incorporated Association of Organists and more recently completed his term as President of the Music Masters’ and Mistresses’ ‘Song for Athene was commissioned by the BBC and first performed on 22 January 1994 at St Giles in the Barbican by the BBC Association, representing all aspects of music-making in independent education. The King’s School subsequently hosted the Singers, conducted by Simon Joly. Its highest profile performance was at the funeral of Diana, Princess of Wales, in Westminster Abbey Association’s annual conference in May 2003 when 120 leading directors of music and their staff spent a memorable weekend as part on 6 September when the Westminster Abbey Choir was conducted by Martin Neary.’ of the Ely collegial music community. Alleluia. May flights of angels sing thee to thy rest. He is a Fellow of the Royal College of Organists and a deputy organist of Ely Cathedral where he recorded a commercial CD of Alleluia. Remember me, O Lord, when you come into your kingdom. Nineteenth and Early Twentieth Century French Organ Music in 1994. He has subsequently been producer for four commercial Alleluia. Give rest, O Lord, to your handmaid who has fallen asleep. recordings with the Cathedral Choir. In 2003, he completed an MA in Education with the Open University, researching the Alleluia. The Choir of Saints have found the well-spring of life and door of paradise. stimulation, nurture and development of musical ability during childhood. Alleluia. Life: a shadow and a dream. Alleluia. Weeping at the grave creates the song: Alleluia. Alleluia. Come, enjoy rewards and crowns I have prepared for you.

CHAPEL CHOIR Crucifixus - Antonio Lotti (1666 – 1740) Sung by Cantores Eliensis Heads of Choir: Anna Day and Henry Golding-Fuller Although born in Hanover where his father was kapellmeister, Lotti studied in Venice with Legrenzi from 1687 and rose through the SOPRANOS ranks from second assistant to the second organist to first organist between 1690 and 1736 when he was appointed ‘primo maestro di *Briony Ashby, Charlotte Bain, *Cecily Beer, *Sarah Belcher, Lucy Borland, *Holly Brown, Alex cappella’. In addition to operas, oratorios and secular cantatas, he wrote much sacred music for the St Mark’s choir including numerous Calder, *Sally Cheng, *Lizzie Chesterman, Katherine Collins, Daria Cuznetsova, Anna Day, masses and settings of the Crucifixus. Sarah Diss, Lizzy East, *Martha Eddy, Alicia Eldridge, Julia Freytag, Ianthe Greenwood, *Amelia Harrington, *Lilli Hines, *Katie Holdsworth, Flavia Kumar, Amelia Leventhorpe, *Julia Makin, Totus Tuus - Henryk Mikolaj Górecki (b 1933) *Tessa Pearson, Harriette Pink, *Lauren Pink, *Beth Poole, *Eleanor Robinson, *Amber Rutterford, *Ruth Sliwinski, *Cornelia Topping Górecki studied composition in his early twenties at the Music Academy in Kotwice where he subsequently taught until a controversial resignation in 1979. He became a leading Polish avant-garde composer, and an earlier uncompromising serial atonality mellowed into ALTOS a more comfortable diatonic harmonic language, often modal and haunting in mood. His Third Symphony, Symphony of Sorrowful Katie Bedford, Rosie Brear, Helen Campbell, Grace Curran, Kate Cuznetsova, Veronica Faltermeier, Songs, most famous for its vocal finale, made it into the Charts in the 1980s, achieving the widest CD sales of any C20th ‘classical’ Harriette Glaister, Tanya Kogan, Claire Martin, Rosie Naylor, Vicki Rush Charlotte Sivier, Melody work. A minimalist construction is similarly evident here in its recurring patterns, Polish folk inflections and deeply emotional religious Day, Ron Greydanus fervour.

*Cathedral Girl Choristers Totus Tuus sum, Maria, I am completely yours, Mary, Mater nostri Redemptortoris, Mother of our Redeemer. [14] [3] Virgo Dei, Virgo pia, Virgin Mother of God, blessed virgin, Christina Lawrie (Schumann’s Dictherliebe, Strathearn Music Club), and Simon Lepper (Schubert’s Die schöne Müllerin, Kirker Music Mater mundi Salvatoris. Mother of the world’s Saviour. Festival). A proponent of new music, he has twice been awarded fellowships to the Tanglewood Music Center, where he premiered Totus Tuus sum, Maria! I am completely yours, Mary! Robert Zuidam’s Rage d’amours. Upcoming engagements include the title roles of Stravinsky’s Renard (Mahogany Opera) and Maxwell- Words by Maria Boguslawska Davies’s The Martyrdom of St Magnus (Hebrides Ensemble), Bach’s with the Bath Bach Choir, Messiaen’s Cinq Rechants in festival at the Royal College of Music, and Die schöne Müllerin with Simon Lepper at the National Portrait Gallery. Nunc Dimittis - Charles Wood (1866 – 1926) PETER B NORTH baritone & conductor Born in Ireland and educated as a chorister at Armagh Cathedral, Wood won the Morley Open Scholarship in Composition at the newly formed Royal College of Music, studying under Parry and Stanford before gaining organ scholarships to Selwyn and then Peter North was born and educated in Lancashire where he began singing at the age of seven in Middleton Parish Church in a choir Gonville & Caius Colleges, Cambridge. He subsequently taught harmony and counterpoint at each institution. His fame now rests of 22 boys under the direction of James M Hyde. Peter studied German, Russian and Music at Lancaster University with Barbara solely on his Anglican church music, not least numerous settings of the evening canticles where Stanford’s influence and harmonic Robotham of the RNCM, afterwards moving to London. colour shine through. This ravishing a cappella setting in six parts (there is no partnering ) was composed in 1916 for R R Terry at Westminster Cathedral. After singing with the Canonbury Choir and studying with Elizabeth Ritchie, Peter eventually moved to Ely to take up the position of Tenor Lay Clerk at the cathedral (a position he held for seventeen years) and to found the Choir House with James Tilly as Nunc dimittis servum tuum, Domine, Lord, now lettest thou thy servant depart in peace, Housemaster. secundum verbum tuum in pace: according to thy word: Quia viderunt oculi mei salutare tuum , For mine eyes have seen thy salvation, Since then Peter has sung in numerous recordings and BBC Evensongs, appeared as soloist in oratorio in East Anglia, Lancashire, Quod parasti ante faciem omnium populorum: Which thou hast prepared before the face of all people; Denmark and Germany, and also in concerts and recordings with the early-music group Musica Contexta. As Head of Vocal Studies Lumen ad revelationem gentium, A light to lighten the Gentiles, at King’s, he also conducts five within the school, most recently Cantores Eliensis which is performing this evening, where the et gloriam plebis tuae Israel. and the glory of thy people Israel. students have the opportunity of singing ‘early music’ – one of Peter’s great loves.

Greater Love Hath No Man - (1879 – 1962) JONATHAN LILLEY organ

One of the more important contemporary Edwardian composers (along with ), Ireland was crucial in the progression Jonathan Lilley grew up in Salisbury where he was a cathedral chorister. He trained at the Royal Academy of Music as a pupil of towards a truly original English style as found, for example, in the music of Vaughan Williams, and . Nicholas Danby, holding the organ scholarship at St George’s Chapel, Windsor Castle and gaining the Fellowship of the Royal College Ireland was another illustrious product of the Royal College of Music between 1893 and 1897and yet another pupil of the formidable of Organists both whilst still a first-year undergraduate. Stanford. During this period, he gained his FRCO, followed by a Durham BMus and eventually a doctorate. On completing his studies he moved to Yorkshire as Sub-Organist of Leeds Parish Church. As well as accompanying the famous choir Ireland then made his living primarily as organist and choirmaster of St Luke’s, Chelsea, from 1904 to 1926 towards the end of which both in the daily round of services and for its popular concerts in Leeds Town Hall and elsewhere, he was the first director of the new time he returned to teach composition at the RCM where he taught the young Britten. Along with some highly regarded chamber Girls’ Choir. He joined the staff of Leeds College of Music as choral director, répétiteur and piano accompanist, taught the organ at music and solo songs, his reputation rests on some memorable Anglican choral music: Vexilla Regis in 1898, his Te Deum in 1907 Leeds Grammar School and privately, and was accompanist to several choirs including the Halifax Choral Society. and the immortal anthem Greater Love Hath No Man in 1911. Taken from St John’s gospel, the text is imaginatively illuminated by soprano and baritone solo lines and a powerful mastery of choral textures and chromatic harmony leading to some unforgettable In September 2002 Jonathan moved to Ely as Assistant Organist at the cathedral and organist to the King’s School. His particular role climaxes. The contrasting repose at the end is achingly serene. is to play for the majority of the cathedral services, but he is a full-time member of the cathedral music team involved in all aspects of the running of the department and the training of the boy choristers. He remains in demand as a keyboard accompanist, and maintains a Many waters cannot quench love, neither can the floods drown it. Love is strong as death. modest solo piano repertoire. In 2005 the Royal Academy of Music conferred on him the honorary diploma of Associate in recognition Greater love hath no man than this, that a man lay down his life for his friends. of his work and achievements. Who his own self bare our sins in his own body on the tree, That we, being dead to sins, should live unto righteousness.

Ye are washed, ye are sanctified, ye are justified in the name of the Lord Jesus. Ye are a chosen generation, a royal priesthood, a holy nation; That ye should show forth the praises of him who hath called you out of darkness into his marvellous light. [4] [13] HYMN I beseech you brethren, by the mercies of God, that you present your bodies, a living sacrifice, holy, acceptable unto to God, which is your reasonable service. 1. Rock of Ages, cleft for me, 3. Nothing in my hand I bring, Let me hide myself in Thee; Simply to Thy Cross I cling; Turn Back O Man - Gustav Holst (1874 – 1934) Let the Water and the Blood, Naked, come to Thee for dress; From Thy riven Side which flowed, Helpless, look to Thee for grace; Holst’s choral output tends to be overshadowed by the classic status of the seven movement suite, The Planets, and his St Paul’s Suite Be of sin the double cure, Foul, I to the Fountain fly; for string orchestra. In fact with the former’s completion around 1916 (although not performed publically until 1920), Holst turned to Cleanse me from its guilt and power. Wash me, Saviour, or I die. more introspective and at times unorthodox religious themes. His Hymn of Jesus in 1917 and Ode to Death in 1919 balance a rhythmic vibrancy with an austerity that make these two of his most profound pieces. 2. Not the labours of my hands 4. While I draw this fleeting breath, Can fulfil Thy law’s demands; When my eyelids close in death, Turn Back, O Man lies pivotally within this period, one of Three Festival Choruses with orchestra (the others were Let all mortal flesh Could my zeal no respite know, When I soar through tracts unknown and A Festival Chime) composed in 1916 for the Thaxted Festival on 27 May 1917 and first conducted by the composer. Could my tears for ever flow, See Thee on Thy Judgment Throne; All for sin could not atone Rock of Ages, cleft for me, Its dour tread and sparse initial harmonies fill out and grow in urgency towards a message of hope and salvation. In this time of Lent Thou must save, and Thou alone. Let me hide myself in Thee. Amen. and preparation for the celebration of Easter, we hope that the unpretentious sincerity found in this selection of often eclectic musical styles has a similarly uplifting message. Words by Reverend A M Toplady Graham Griggs

CATRIONA CLARK soprano Turn back, O man, forswear thy foolish ways. Old now is earth, and none may count her days, Ely based soprano Catriona Clark is enjoying a thriving performance and vocal teaching career. She graduated from both the Royal Yet thou, her child, whose head is crowned with flame, College of Music and the Royal Scottish Academy of Music and Drama with Distinction, winning their four most prestigious prizes. Still wilt not hear thine inner God proclaim, Since then her operatic and concert career has taken her throughout the UK, Europe and America performing roles such as Zerlina ‘Turn back, O man, forswear thy foolish ways.’ (Don Giovanni), Tytania (Midsummer Night’s Dream), Mistress Ford (Merry Wives of Windsor) and the title role in Handel’s Semele. Concert repertoire includes the Verdi , Poulenc’s Gloria, Handel’s Dixit Dominus, Haydn’s Nelson Mass and Vaughan William’s Earth might be fair, and all men glad and wise. Sea Symphony. Age after age their tragic empires rise, Built while they dream, and in that dreaming weep: Future engagements include a European tour of Le Nozze di Figaro (Susanna), Hänsel und Gretel (Dew Fairy/Sandman) and La Belle Would man but wake from out his haunted sleep, Helene (Venus) with Diva Opera, The Bohemian Girl (Arline) with Opera South and concerts of the Mozart Requiem, Haydn Te Deum, Earth might be fair, and all men glad and wise. and Strauss’ Four Last Songs. Catriona will be performing on the final Christmas Cruise of the QE2 and she is also a frequent soloist with the highly acclaimed Locrian Ensemble. Earth shall be fair, and all her people one: Nor till that day shall God’s whole will be done. JOHN McMUNN tenor Now, even now, once more from earth to sky Peals forth in joy man’s old, undaunted cry: American tenor John McMunn was educated at Harvard University; King’s College, Cambridge, where he served for two years as a ‘Earth shall be fair, and all her folk be one.’ Choral Scholar; and the Royal College of Music, where he was awarded the Cuthbert Smith and Lucy Ann Jones scholarships. A former Paine Traveling Fellow of Harvard University, he is generously supported by the Josephine Baker Trust, and is the recipient of a major award from the Sir Peter Moores Foundation. Recent roles include the Madwoman (Curlew River) for Mahogany Opera, Lucano Lantern Productions specialises in quality recordings made on location (L’incoronazione di Poppea) and Basilio (Le nozze di Figaro) for the Benjamin Britten International Opera School, the Evil Counselor in Cathedrals. churches, schools, colleges and other concert/recording venues. (Ludus Danielis) for Andrew Lawrence-King’s Harp Consort, Acis (Acis and Galatea) for Bampton Classical Opera, and L’Allegro (cover, L’Allegro ed il Moderato) for the Paris Opera with William Christie’s Les Artes Florissant. Oratorio appearances include Handel’s 19 Castle Street, Southborough, Tunbridge Wells, TN4 0PE Messiah, Solomon, and all of the Chandos Anthems; Mozart’s Requiem, and numerous masses; Haydn’s Creation, and the Missa in Tel: 07977 900715 [email protected] Tempori Belli; Britten’s Cantata Misericordia, and St Nicholas; Bach’s St John and St Matthew Passions, and numerous cantatas; among ww.lantern-productions.co.uk many others. As a recitalist, he has appeared with pianists Paul Kwak (Britten’s Canticles, and The HolySonnets of John Donne, Paine Hall), [12] [5] Ol i v e t t o Ca l v a r y - Jo h n He n r y Ma u n d e r (1858 – 1920) Pilate (baritone) Shall I crucify your King? A sacred Cantata in two parts with words by Shapcott Wensley, a pseudonym for H S Bunce CD2 Catriona Clark – soprano John McMunn – tenor Peter North – baritone Chorus Jonathan Lilley – organ Graham Griggs – conductor We have no king but Cæsar! Away with this Man, and release unto us Barabbas! Crucify Him!

Preface to the First Edition published by Novello in 1904 Pilate “Olivet to Calvary recalls simply and reverently the scenes which mark the last few days of the Saviour’s life on earth, and some of the Take ye Him and crucify Him! for I find no fault in Him at all. reflections suggested thereby. The rejoicing of the multitude with hosannas and palms, the view of Jerusalem from the steep of Olivet, the lament over the beautiful city, the scene in the Temple, and the lonely walk back over the Mount at night, form the chief features of 9. THE MARCH TO CALVARY the first part. Part two opens with the Supper of the Passover, at which Jesus washes His disciples’ feet, and gives to His friends the new commandment of love for one another as the sign of true discipleship. From this the scene passes to the infinite pathos of the Garden of Chorus Gethsemane, the sudden appearance of the hostile crowd, Jesus forsaken by His disciples, His utter loneliness among ruthless foes, the The Saviour King goes forth to die! Goes forth in all His glory bright! tumult before Pilate in the Judgment Hall, the Passage of the Cross, the tragedy and triumph of Calvary.” And Angels from the realms on high, Look down to see the wondrous sight. On, on to Calvary’s fateful hill Reviled by those He came to bless But in His suffering bearing still, ‘John Henry Maunder was organist and choirmaster at a number of churches in South London. Of his compositions, mostly cantatas, The majesty of Righteousness! The Saviour King goes forth to die! Olivet to Calvary (published in 1904) is perhaps the best known and is still performed regularly in churches today.’ With weariness and anguish sore, On, on to death the Saviour goes! PART I The Roman helmets flash before, Behind Him shout exultant foes. The Son of God goes forth to die! To yield in pain His mortal breath! To rob the grave of Victory, 1. ON THE WAY TO JERUSALEM And take, for aye, the sting from death! The Saviour King goes forth to die!

Chorus (Matthew 21) 10. CALVARY When o’er the steep of Olivet, The Lord to Salem came, The crowds their glad hosannas raised, To His beloved name. Recitative (Baritone) They made the path across the Mount, With leafy branches gay: And when they came to the place which is called Calvary, there they crucified Him. And spread their robes with eager hands, And it was now about the sixth hour, and a darkness came over the whole land, until the ninth hour, To deck Messiah’s way. the sun’s light failing; and the veil of the temple was rent in the midst. And when Jesus had cried with a loud voice, He said, Father, into Thy hands I commend My Spirit. His power has poured the light of heaven, Upon the sightless eyes! And He bowed His head and gave up the ghost. His voice has thrilled the silent dead, And bade the sleeper rise! Hosanna to the Prince who comes, To free a race oppressed! Solo (Soprano) and Chorus To drive the Gentile from our land, And make His people blest! Droop, Sacred Head, Upon that breast divine, The strife is o’er, The victory is Thine. Hush, sounds of earth, Sink, sink thou mournful sun; On Calvary’s cross, Lo! mercy’s work is done. Hosanna! Hosanna! Blessed is the King of Israel! Hosanna to the Son of David! Gaze, mortal, gaze, The Saviour hangs for thee, Silent in death, Upon the accursèd tree. Blessed is He that cometh in the Name of the Lord! Hosanna in the highest! Love, holiest love, Shall earth and heaven atone, In fadeless day, From Christ’s eternal throne!

2. BEFORE JERUSALEM

Recitative (Tenor) Like a fair vision in the morning light, Lay the proud city of Jerusalem; In all the beauty of its soaring towers, And flashing domes, and marble palaces. A diadem on Zion’s holy hill, The glorious Temple in its splendour shone With sheen of gold, and pinnacles of snow. [6] [11] HYMN Recitative & Air (Baritone) And Jesus paused, and gazed with tearful eyes, While the hushed multitude stood wondering near. 1.“Thy will be done,” the Saviour said, 3. His soul foresaw the cruel scorns, O Jerusalem! Hadst thou but known in this thy day, Even thou, the things which belong unto peace, And bowed to earth His sacred head, The brutal scourge, the crown of thorns, But now they are hid from thine eyes! For the days shall come upon thee, The sands of life had nearly run My Father, And darker than Gethsemane, When thine enemies shall compass thee around! They shall dash thee to the ground, Let Thy will be done. The shadow of the accursèd tree. Thee, and thy children within thee! Hadst thou but known, O Jerusalem! Thy will, not Mine, be done. Thy will, not Mine, be done. 3. IN THE TEMPLE 2. No watch His spent disciples kept, 4. What though He felt in that dread hour, Amid the shadows deep they slept; The storm of human passion lower! Recitative (Tenor) But silent Angels waiting there, Nor pain, nor death His soul would shun, And Jesus entered into the Temple of God, and cast out them that bought and sold therein. Beheld His agony of prayer. My Father, let Thy will be done, And He said unto them. Thy will, not Mine, be done. Thy will, not Mine, be done. Recitative (Baritone) 7. BETRAYED AND FORSAKEN It is written, My house shall be called a house of prayer; but ye have made it a den of robbers.

Chorus Solo (Soprano) And while He yet spake, there came a great multitude with swords and staves and torches Another temple waits Thee, Lord divine, The temple of my heart, O make it Thine! And they took Jesus, and bound Him, and led Him away. Then all His disciples forsook Him and fled. Drive far away the sin that would ensnare; O cleanse Thy courts, and bless Thine altar there. No voice but Thine can make it free, Recitative & Air (Tenor) From all that is unworthy Thee! O was there ever loneliness like His! From the drear garden of His agony, The sinless One was led. Temptations’ wiles Thy sacred courts as sail! O hear my cry! Then shall my soul prevail! His followers all forsook their Lord and fled; No gentle tone, no kindly glance was there, Another temple waits thee, Lord divine But mocking faces, and harsh words of hate, The cruel soldiers, the unpitying crowd. The temple of my heart O make it Thine! O hear my cry! Despised of men, rejected and forsaken! O was there ever loneliness like His! The temple of my heart, O make it thine

Ye who sin, and ye who sorrow, Ye who in temptation fall; Chorus See, O see your blest Redeemer, Standing in the judgment hall. Bow down Thine ear, O Lord, for I am poor and in misery. See Him beaten and derided, See His flesh by scourges torn; Look upon mine adversity and misery, and forgive me all my sin. Turn to Him, remembering ever, ‘Twas for you the stripes were borne. Turn Thee again, O Lord, and let Thine anger cease from us. Another temple waits Thee, Lord divine, Standing ‘mid the mocking soldiers, In the purple robe of scorn; The temple of my heart, O make it Thine! See His gaze of gentle pity, From beneath the piercing thorn. Temptations’ wiles Thy sacred courts assail! O hear my cry! Turn to Him ye heavy-laden, Ye who toil, and ye who mourn; Another temple waits thee, Lord divine, The temple of my heart, Lo! He looks in love upon you, ‘Twas for you the pain was borne. O make it Thine! O hear my cry! The temple of my heart, O make it Thine! 8. BEFORE PILATE 4. THE MOUNT OF OLIVES Chorus Then came Jesus forth from the judgment hall wearing the crown of thorns and the purple robe. Solo (Tenor) And Pilate said, Behold your King! Not of this world the Kingdom of our Lord; He sought not victor’s wreath, nor monarch’s crown, And they cried out, saying, Crucify Him! Crucify Him! He stirreth up the people! With peace, and tidings of great joy He came, Of radiant heaven, the Way, the Truth, the Life; A holy Guide through paths of night and time, He came to die that erring souls may live In sinless joy, where God’s blest mansions shine! [10] [7] Chorus 5. Just as I am (Thy love unknown 6. Just as I am, of that free love ‘Twas night o’er lonely Olivet, The trees their darksome shadows cast; Has broken every barrier down,) The breadth, length, depth, and height to prove, And slowly up the mountain side, Now to be Thine, yea, Thine alone, Here for a season, then above, With weary step the Saviour passed. O Lamb of God, I come. O Lamb of God, I come. Just as I am, just as I am, Just as I am, just as I am, No joyous multitude was there, No garments at His feet were thrown; Just as I am, I come. Just as I am, I come. The path that led to Bethany, He trod in sorrow and alone. The loud Hosannas all were hushed, The lowly triumph of the day; Words by Charlotte Elliott And fading in the moonlight pale, The branches strewn at morning lay. PART II

Thus o’er the brow of Olivet, The Saviour passed with weary tread; 5. A NEW COMMANDMENT The beasts have lairs, the birds have nests, He had not where to lay His head! Recitative & Air (Baritone) And Jesus, knowing that His hour was come, that He should depart out of this world unto the Father, having loved His own which Solo (Tenor) were in the world He loved them unto the end. He was despised and rejected of men; A Man of sorrows and acquainted with grief. And when the supper of the Passover was ended He poured water into a basin, Not of this world the Kingdom of our Lord; He sought not victor’s wreath, nor monarch’s crown; and began to wash His disciples’ feet. He came to die that erring souls may live In sinless joy, where God’s blest mansions shine. And He said, A new commandment give I unto you that ye love one another; even as I have loved you, so love ye one another. Solo (Baritone) and Chorus By this shall all men know that ye are mine, if ye have love one to another. Come unto Him, all ye that labour, and He will give you rest. Take His yoke upon you, and learn of Him, and ye shall find rest unto your souls. Semi-Chorus (Sixth Form Girl Choristers and King’s Barbers) Come unto Him, ye that are weary. O Thou Whose sweet compassion, Does through the ages shine; Can our poor hearts enkindle, Affection such as Thine? HYMN Of self unmindful ever, Thy steadfast love shone clear; A star ‘mid deepening shadows, E’en though the Cross was near. 1. Just as I am, without one plea 3. Just as I am, poor, wretched, blind; Thou ever blest Redeemer, Enthroned in heaven above, But that Thy Blood was shed for me, Sight, riches, healing of the mind, O help Thy earthly pilgrims, To love as Thou didst love! And that Thou bidds’t me come to Thee, Yea all I need, in Thee to find, O Lamb of God, I come, O Lamb of God, I come. Though dark and wild the pathway, Our feet shall never tire, Just as I am, just as I am, Just as I am, just as I am, If to our souls Thou givest, That spark of sacred fire! just as I am, I come. just as I am, I come. 6. GETHSEMANE 2. Just as I am, though toss’d about 4. Just as I am, Thou wilt receive, With many a conflict, many a doubt, Wilt welcome, pardon, cleanse, relieve, Recitative (Baritone) Fightings and fears within, without, Because Thy promise I believe, And when they had sung a hymn, they went out into the mount of Olives. O Lamb of God, I come. O Lamb of God, I come, And they passed over the brook Kidron unto the garden of Gethsemane. Just as I am, just as I am, Just as I am, just as I am, Then He said unto them, tarry ye here and watch with Me. Just as I am, I come. Just as I am, I come. And He prayed, saying, O my Father, if it be possible, let this cup pass from Me; nevertheless not as I will, but as Thou wilt.

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