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Ascribe Unto the Lord Sacred Choral Works by Samuel Sebastian Wesley

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Ascribe Unto the Lord Sacred Choral Works by Samuel Sebastian Wesley Ascribe unto the Lord sacRED CHORAL WORKS BY Samuel Sebastian Wesley Choir of St John’s College, Cambridge Andrew Nethsingha Samuel Sebastian Wesley Sebastian Samuel Engraving in The Graphic, 6 May 1876 / © Illustrated London News Ltd / Mary Evans Picture Library Samuel Sebastian Wesley (1810 – 1876) 1 Blessed be the God and Father 7:23 Anthem for four-part choir and organ ‘Blessed be the God and Father of our Lord Jesus Christ’ – ‘But as He Which hath calleth you is holy’ – Peter Hicks treble ‘Love one another with a pure heart fervently’ – Peter Hicks treble ‘Being born again’ – ‘But the word of the Lord endureth for ever’ 2 Wash me throughly from my wickedness 4:35 Anthem for four-part choir and organ ‘Wash me throughly from my wickedness’ – Jason Cobb treble ‘For I acknowledge my faults’ Ascribe unto the Lord 14:00 Anthem for four-part choir and organ 3 ‘Ascribe unto the Lord’ – 2:36 4 ‘O worship the Lord in the beauty of holiness’ – 3:05 Alec D’Oyly treble 1 Andrew Jones treble 2 Peter Hicks treble 3 James Imam counter-tenor Julian Gregory tenor 5 ‘As for the gods of the heathen’ – 2:16 3 6 ‘They that make them are like unto them’ – James Imam counter-tenor Julian Gregory tenor Samuel Oladeinde tenor Basil McDonald bass ‘As for our God, he is in heaven’ – 2:00 7 ‘The Lord hath been mindful of us’ 3:57 Peter Hicks treble James Imam counter-tenor Julian Gregory tenor Huw Leslie bass Samuel Wesley (1766 – 1837) 8 Psalms 42 and 43 7:27 Psalm chant for four-part choir and organ Psalm 42 ‘Like as the hart desireth the water-brooks’ – Psalm 43 ‘Give sentence with me, O God’ – ‘Glory be to the Father, and to the Son’ 4 Samuel Sebastian Wesley Magnificat and Nunc dimittis 10:13 from Morning and Evening Service in E major • in E-Dur • en mi majeur 9 Magnificat 6:46 for eight-part choir and organ ‘My soul doth magnify the Lord’ – ‘And His mercy is on them that fear Him’ – James Imam counter-tenor Alexander Simpson counter-tenor Julian Gregory tenor Samuel Oladeinde tenor Kieran Brunt tenor Basil McDonald bass Geoffrey Claphambass ‘He hath shewed strength with His arm’ – ‘He rememb’ring His mercy hath holpen his servant Israel’ – ‘Glory be to the Father, and to the Son’ 10 Nunc dimittis 3:24 for eight-part choir and organ ‘Lord, now lettest Thou Thy servant depart in peace’ – ‘Glory be to the Father, and to the Son’ 5 The wilderness and the solitary place 12:38 Anthem for five-part choir and organ 11 ‘The wilderness and the solitary place’ – 2:17 Peter Hicks treble James Imam counter-tenor Julian Gregory tenor Basil McDonald bass 12 ‘Say to them of a fearful heart’ – 2:33 Basil McDonald bass 13 ‘Then shall the lame man leap as an hart’ – Peter Hicks treble James Imam counter-tenor Julian Gregory tenor Basil McDonald bass ‘And a highway shall be there’ – ‘But the redeemed shall walk there’ – 3:21 Alec D’Oyly treble Peter Hicks treble James Imam counter-tenor Alexander Simpson counter-tenor Julian Gregory tenor 14 ‘And the ransomed of the Lord shall return’ – 2:23 15 ‘And sorrow and sighing shall flee away’ 2:01 Alec D’Oyly treble James Imam counter-tenor Kieran Brunt tenor Julian Gregory tenor Basil McDonald bass 6 16 Larghetto 5:54 in F sharp minor • in fis-Moll • en fa dièse mineur No. 2 from Three Pieces for a Chamber Organ, Book II O give thanks unto the Lord 8:12 Anthem for five-part choir and organ 17 ‘O give thanks unto the Lord’ – 2:48 18 ‘Who can express the noble acts of the Lord’ – 3:24 Peter Hicks treble 19 ‘Blessed are they that alway keep judgment’ 1:57 Peter Hicks treble James Imam counter-tenor Samuel Oladeinde tenor Geoffrey Claphambass 20 O Thou who camest from above 2:41 Hymn for four-part choir and organ 21 Thou wilt keep him in perfect peace 3:55 Anthem for five-part choir and organ TT 77:10 Choir of St John’s College, Cambridge John Challenger organ Andrew Nethsingha 7 Choir of St John’s College, Cambridge Andrew Nethsingha Director of Music John Challenger Assistant Organist Freddie James Organ Scholar treble counter-tenor bass Maximilian Boorman Nicholas Edwards Joseph Ataman Oliver Brown James Imam Geoffrey Clapham Francis Bushell Guy James Jonathan Hyde Jason Cobb Simon Nathan* Huw Leslie William Collison Simon Ponsford† Basil McDonald Alec D’Oyly Alexander Simpson Augustus Perkins Ray Peter Hicks Matthew Holman tenor Andrew Jones Kieran Brunt Robert Murray John John Clapham Peter Nethsingha Guy Edmund-Jones Rufus Pawsey Julian Gregory Michael Tuft Samuel Oladeinde Jed Upjohn Sebastian Wade *Ascribe unto the Lord, The wilderness and the solitary place, Thou wilt keep him in perfect peace †Blessed be the God and Father, Wash me throughly from my wickedness, Ascribe unto the Lord, Magnificat and Nunc dimittis in E,The wilderness and the solitary place, O Thou who camest from above, Thou wilt keep him in perfect peace 8 Samuel Sebastian Wesley: Choral Works Introduction incomparable for his compositional creativity. ...a grumbler and a radical reformer, a This disc presents a survey of some of his rater of the clergy, and particularly of the better-known choral works, interspersed dignitaries of the church; but like most with an organ work, and a psalm chant by his radical reformers, has no reason that we father, Samuel Wesley (1766 – 1837). From can see for his discontent. terrorist of the established church to one of its So wrote one critic in response to the cherished sons: the course of the life of Wesley incendiary preface which Samuel Sebastian is charted through his music. Wesley (1810 – 1876) published in 1844, highly critical of the clergy and the state of The wilderness and the solitary place church music. Throughout his life, Wesley From the moment of his birth, Samuel would regularly fire off such sallies, both Sebastian was no stranger to controversy. He in print and in person, and this led to was born the son of the composer Samuel disputatious and unsatisfactory relations Wesley and Samuel’s teenage housemaid, wherever he went. He was undoubtedly the Sarah Suter. His great uncle was John most controversial figure in nineteenth- Wesley, founder of Methodism, whose century English music, ricocheting from one anti-establishment radicalism, unshakeable employ to the next, ruffling feathers in each in the face of opposition, seems to have been successive establishment. But his creation an early manifestation of the family trait. of wholly new styles of church music and Wesley gained youthful musical experiences renewal of choral practices could hardly have as a chorister in the Chapel Royal and then happened without persistence to the point as a jobbing pianist and choir conductor in of stubbornness, and vision to the point of London. At this stage it was not immediately bloody-mindedness. Wesley manifested a evident that he would follow a career in unique pioneering spirit, perhaps ill suited church music – his main employment was at to a career in the established church, but the English Opera House, and later Covent 9 Garden. His first appointment to cathedral (either 1833 or 1834), Wesley made maximum music, in Hereford at the age of twenty-two, use of his unpropitious forces, and gave the brought him his first taste of the sometimes world early examples of both his ‘aria’ style unsatisfactory life of the provincial cathedral (‘Love one another’) and choral recitative (‘to organist. He found himself having to an inheritance incorruptible’ etc.). Nowadays supplement the meagre cathedral salary we take such techniques for granted in church with the ‘tiresome and somewhat degrading music, but the ‘fiat lux’ of the opening section, activity’ of teaching. The organ was out of leading to the words ‘resurrection of Jesus action, too, in the process of being renewed by Christ’, and the dramatic interjections of J.C. Bishop, and it was for the re-inauguration the organ in the final section (‘But the word of the enlarged instrument in 1832 that of the Lord’), have a novelty all too easily Wesley composed the anthem The wilderness obscured by familiarity. and the solitary place. More like a compressed oratorio, or an operatic scena, it displays O Thou who camest from above an overt emotionalism and huge range of Wesley’s Hereford days also saw an early textures which were unlike anything that foray into the then young art of hymn had ever been heard in English church music writing – ‘Hereford’ was written down before, and bore testimony to Wesley’s around 1834 and is today’s standard tune previous, theatrical, occupations. The written- for O Thou who camest from above, thanks to out organ part, orchestral in its ambition, Sidney Nicholson’s later pairing of tune and tested both organ and organist to hitherto words. These words were written by Samuel unknown limits, too. It is no wonder that the Sebastian’s grandfather, Charles Wesley conservative critic R.J.S. Stevens called it ‘a (1707 – 1788). clever thing. But it is not cathedral music’. O give thanks unto the Lord Blessed be the God and Father Wesley received his next appointment, a Circumstances dictated the form and content somewhat provocatively short time after of another Hereford anthem, Blessed be the his appointment to Hereford, to Exeter God and Father. With only a single bass and Cathedral, in 1835. Compositions continued treble voices at his disposal one Easter day to flow periodically from his pen, though 10 from 1840 onwards he was forbidden to a romantic anthem.
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