Music For Lent Music For Lent

Music For Lent Music For Lent
The King’s School, Ely
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DARKE RACHMANINOV TAVENER LOTTI GÓRECKI WOOD
IRELAND HOLST Nine-Fold Kyrie from the Communion Service in F major Ave Maria op 37 no 6
Song for Athene
Crucifixus
Totus Tuus
Nunc Dimittis
Greater Love Hath No Man
Turn Back O Man
CD2 MAUNDER
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Olivet to Calvary
Part I
On The Way To Jerusalem
Before Jerusalem In The Temple The Mount Of Olives Part II
5 A New Commandment 6
Gethsemane 7 Betrayed And Forsaken
8 Before Pilate 9 The March To Jerusalem 10 Calvery
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The King’s School, Ely
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LPCD26
© 2008 Lantern Productions
given in the Lady Chapel & Presbytery of Ely Cathedral.
Friday 7 March 2008
King’s School Chapel Choir, Cantores Eliensis
Graham Griggs conductor, Catriona Clark soprano, John McMunn tenor,
Peter B North baritone & conductor (Cantores Eliensis), Jonathan Lilley organ
King’s School Chapel Choir directed by Graham Griggs,
Cantores Eliensis directed by Peter North
CD1
Nine-Fold Kyrie (Communion Service in F major) - Harold Darke (1888 - 1976)
An interesting theme running through this programme is the significance of the Royal College of Music, founded in 1882, and one
of its most distinguished and influential teachers on a formidable generation of early C20th composers, Charles Villiers Stanford.
Darke followed precisely this educational path before his appointment as organist of St Michael’s, Cornhill, a post he held for 50 years
(1916-1966). Vaughan Williams and Herbert Howells composed for the St Michael Singers founded by Darke in 1919, the same year
as which he joined the RCM staff where he remained until 1969.
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.
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.
Kyrie eleison
Christe eleison
Kyrie eleison
Lord have mercy
Christ have mercy
Lord have mercy
TENORS
Patrick Aspbury, Reggie Chamberlain-King, Luke Cunnah, Joshua Darley Oliver Diss, James Duncalfe, 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
BASSES
Robert Atkinson, Tom Brown, Joe Gardom, Henry Golding-Fuller, Farrel Gray Ollie Kenzie,
George Oxby, Parker Ramsay, Daniel Simmons, Hugh Topping John Wilson, James Wood, Will
Gardner, James Houlston, James Rees
CANTORES ELIENSIS
Briony Ashby, Robert Atkinson, Cecily Beer, Sarah Belcher, Holly Brown, Reggie ChamberlainKing, Luke Cunnah, Jo Davison, Joe Gardom, Ben German, Amelia Harrington, George Morton,
Michael Ng, George Oxby, Tess Pearson, Lawrence Perkins, Daniel Simmons, Ruth Sliwinski
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,
he was equally preoccupied with a lifelong fascination with ecclesiastical chant, finding its way into some of his grandest orchestral
repertoire like the First Symphony and his last work, the innovatively vivid, energised yet harmonically disturbing Symphonic Dances
with its reference to the Dies Irae plainsong and other Russian Orthodox chants in the finale.
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 Vespers, of which this heartfelt Ave Maria is one of the best known movements,
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.
Ave, Ave Maria, gratia plena,
Ave Maria, Ave Maria,
Dominus te cum,
Ave, Ave Maria.
Hail, Mary, full of grace,
Ave Maria,
Sancta Maria, mater Dei,
Ora pro nobis peccatoribus,
Nunc et in hora mortis nostrae.
Hail, Mary,
Blessed Mary, mother of God
Pray for our sins.
Now and in our hour of death.
A LANTERN PRODUCTIONS DIGITAL RECORDING
LPCD26 MCPS
Recorded 7 March 2008 in the Lady Chapel [CD1] and Presbytery [CD2] of Ely Cathedral
by kind permission of the Chapter of Ely
Front cover image ‘Ely Cathedral’ drawn by J. M. W. Turner, R. A.
Production, Engineering & Art direction: Lantern Productions
Executive co-ordination: Sean Farrell
© Lantern Productions 2008
The Lord be with thee.
[2]
WARNING: Copyright subsists in all recordings under this label. Any unauthorised broadcasting, public performance, copying
or re-recording thereof in any manner whatsoever will constitute an infringement of such copyright. In the United Kingdom
licences for the use of recordings for public performance may be obtained from Phonographic Performances Ltd., 1 Upper James
Street, London W1F 9EE.
[15]
GRAHAM GRIGGS conductor
Song for Athene - John Tavener (b 1944)
Graham Griggs was a music scholar at Oakham School during which time he took organ lessons with Dr Stanley Vann at Peterborough
Cathedral. He then gained places concurrently at Manchester University and the Royal Northern College of Music on the ‘joint
course’ where his performing studies continued with Eric Chadwick and Dame Gillian Weir. A post-graduate year at Queens’ College,
Cambridge, led to his first appointment as Assistant Director of Music at Denstone College in 1978. Five years later, he became the first
Director of Music at Barnard Castle School in recent times - at which point he also conducted the Barnard Castle Town Brass Band.
He moved to The King’s School Ely as Director of Music in April 1990, and was subsequently appointed conductor and director of the
Fairhaven Singers of Cambridge for three years. He has also been an A-level examiner for the Cambridge Local Examining Syndicate
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
to the Singapore Straits. He will examine in Hong Kong for the first time this August and return to Malaysia in summer 2009.
After Highgate School, Sir John studied piano and composition at the Royal Academy of Music. His earlier expressionist style with
dense textures and uncompromising harmonic linearity, showing some influence of Messiaen and late Stravinsky, has more recently
mellowed into a more lyrical exuberance and the use of minimalist motivic repetition. Just as Górecki’s deeply personal Catholic faith
brings a burning intensity to his vocal textures so does a pervading influence of the Greek Orthodox church infuse Tavener’s treading
chant-like rhythms, textures and harmonies, underpinned here by a tonic pedal throughout. Tavener’s international reputation was
sealed with the phenomenal success of The Protecting Veil for solo cello and string orchestra (a comparable success to Górecki’s
Symphony of Sorrows). A similar meditational radiance can be found in miniature choral gems like The Lamb and Song for Athene.
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’
Association, representing all aspects of music-making in independent education. The King’s School subsequently hosted the
Association’s annual conference in May 2003 when 120 leading directors of music and their staff spent a memorable weekend as part
of the Ely collegial music community.
He is a Fellow of the Royal College of Organists and a deputy organist of Ely Cathedral where he recorded a commercial CD of
Nineteenth and Early Twentieth Century French Organ Music in 1994. He has subsequently been producer for four commercial
recordings with the Cathedral Choir. In 2003, he completed an MA in Education with the Open University, researching the
stimulation, nurture and development of musical ability during childhood.
CHAPEL CHOIR
Heads of Choir: Anna Day and Henry Golding-Fuller
SOPRANOS
*Briony Ashby, Charlotte Bain, *Cecily Beer, *Sarah Belcher, Lucy Borland, *Holly Brown, Alex
Calder, *Sally Cheng, *Lizzie Chesterman, Katherine Collins, Daria Cuznetsova, Anna Day,
Sarah Diss, Lizzy East, *Martha Eddy, Alicia Eldridge, Julia Freytag, Ianthe Greenwood, *Amelia
Harrington, *Lilli Hines, *Katie Holdsworth, Flavia Kumar, Amelia Leventhorpe, *Julia Makin,
*Tessa Pearson, Harriette Pink, *Lauren Pink, *Beth Poole, *Eleanor Robinson, *Amber Rutterford,
*Ruth Sliwinski, *Cornelia Topping
ALTOS
Katie Bedford, Rosie Brear, Helen Campbell, Grace Curran, Kate Cuznetsova, Veronica Faltermeier,
Harriette Glaister, Tanya Kogan, Claire Martin, Rosie Naylor, Vicki Rush Charlotte Sivier, Melody
Day, Ron Greydanus
*Cathedral Girl Choristers
[14]
Composer’s note in the copy: ‘This work was written in memory of Athene Hariades, who died tragically in March 1993.
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’.
‘Song for Athene was commissioned by the BBC and first performed on 22 January 1994 at St Giles in the Barbican by the BBC
Singers, conducted by Simon Joly. Its highest profile performance was at the funeral of Diana, Princess of Wales, in Westminster Abbey
on 6 September when the Westminster Abbey Choir was conducted by Martin Neary.’
Alleluia.
Alleluia.
Alleluia.
Alleluia.
Alleluia.
Alleluia.
Alleluia.
May flights of angels sing thee to thy rest.
Remember me, O Lord, when you come into your kingdom.
Give rest, O Lord, to your handmaid who has fallen asleep.
The Choir of Saints have found the well-spring of life and door of paradise.
Life: a shadow and a dream.
Weeping at the grave creates the song: Alleluia.
Come, enjoy rewards and crowns I have prepared for you.
Crucifixus - Antonio Lotti (1666 – 1740) Sung by Cantores Eliensis
Although born in Hanover where his father was kapellmeister, Lotti studied in Venice with Legrenzi from 1687 and rose through the
ranks from second assistant to the second organist to first organist between 1690 and 1736 when he was appointed ‘primo maestro di
cappella’. In addition to operas, oratorios and secular cantatas, he wrote much sacred music for the St Mark’s choir including numerous
masses and settings of the Crucifixus.
Totus Tuus - Henryk Mikolaj Górecki (b 1933)
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
a more comfortable diatonic harmonic language, often modal and haunting in mood. His Third Symphony, Symphony of Sorrowful
Songs, most famous for its vocal finale, made it into the Charts in the 1980s, achieving the widest CD sales of any C20th ‘classical’
work. A minimalist construction is similarly evident here in its recurring patterns, Polish folk inflections and deeply emotional religious
fervour.
Totus Tuus sum, Maria,
Mater nostri Redemptortoris,
I am completely yours, Mary,
Mother of our Redeemer.
[3]
Virgo Dei, Virgo pia,
Mater mundi Salvatoris.
Totus Tuus sum, Maria!
Virgin Mother of God, blessed virgin,
Mother of the world’s Saviour.
I am completely yours, Mary!
Words by Maria Boguslawska
Nunc Dimittis - Charles Wood (1866 – 1926)
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
Gonville & Caius Colleges, Cambridge. He subsequently taught harmony and counterpoint at each institution. His fame now rests
solely on his Anglican church music, not least numerous settings of the evening canticles where Stanford’s influence and harmonic
colour shine through. This ravishing a cappella setting in six parts (there is no partnering Magnificat) was composed in 1916 for R R
Terry at Westminster Cathedral.
Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace: Quia viderunt oculi mei salutare tuum ,
Quod parasti ante faciem omnium populorum: Lumen ad revelationem gentium, et gloriam plebis tuae Israel. Lord, now lettest thou thy servant depart in peace,
according to thy word:
For mine eyes have seen thy salvation,
Which thou hast prepared before the face of all people;
A light to lighten the Gentiles,
and the glory of thy people Israel.
Christina Lawrie (Schumann’s Dictherliebe, Strathearn Music Club), and Simon Lepper (Schubert’s Die schöne Müllerin, Kirker Music
Festival). A proponent of new music, he has twice been awarded fellowships to the Tanglewood Music Center, where he premiered
Robert Zuidam’s Rage d’amours. Upcoming engagements include the title roles of Stravinsky’s Renard (Mahogany Opera) and MaxwellDavies’s The Martyrdom of St Magnus (Hebrides Ensemble), Bach’s St John Passion 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.
PETER B NORTH baritone & conductor
Peter North was born and educated in Lancashire where he began singing at the age of seven in Middleton Parish Church in a choir
of 22 boys under the direction of James M Hyde. Peter studied German, Russian and Music at Lancaster University with Barbara
Robotham of the RNCM, afterwards moving to London.
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
Housemaster.
Since then Peter has sung in numerous recordings and BBC Evensongs, appeared as soloist in oratorio in East Anglia, Lancashire,
Denmark and Germany, and also in concerts and recordings with the early-music group Musica Contexta. As Head of Vocal Studies
at King’s, he also conducts five choirs within the school, most recently Cantores Eliensis which is performing this evening, where the
students have the opportunity of singing ‘early music’ – one of Peter’s great loves.
Greater Love Hath No Man - John Ireland (1879 – 1962)
JONATHAN LILLEY organ
One of the more important contemporary Edwardian composers (along with Frank Bridge), Ireland was crucial in the progression
towards a truly original English style as found, for example, in the music of Vaughan Williams, Gustav Holst and Benjamin Britten.
Ireland was another illustrious product of the Royal College of Music between 1893 and 1897and yet another pupil of the formidable
Stanford. During this period, he gained his FRCO, followed by a Durham BMus and eventually a doctorate.
Jonathan Lilley grew up in Salisbury where he was a cathedral chorister. He trained at the Royal Academy of Music as a pupil of
Nicholas Danby, holding the organ scholarship at St George’s Chapel, Windsor Castle and gaining the Fellowship of the Royal College
of Organists both whilst still a first-year undergraduate.
Ireland then made his living primarily as organist and choirmaster of St Luke’s, Chelsea, from 1904 to 1926 towards the end of which
time he returned to teach composition at the RCM where he taught the young Britten. Along with some highly regarded chamber
music and solo songs, his reputation rests on some memorable Anglican choral music: Vexilla Regis in 1898, his Te Deum in 1907
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
climaxes. The contrasting repose at the end is achingly serene.
Many waters cannot quench love, neither can the floods drown it. Love is strong as death.
Greater love hath no man than this, that a man lay down his life for his friends.
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]
On completing his studies he moved to Yorkshire as Sub-Organist of Leeds Parish Church. As well as accompanying the famous choir
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
Girls’ Choir. He joined the staff of Leeds College of Music as choral director, répétiteur and piano accompanist, taught the organ at
Leeds Grammar School and privately, and was accompanist to several choirs including the Halifax Choral Society.
In September 2002 Jonathan moved to Ely as Assistant Organist at the cathedral and organist to the King’s School. His particular role
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
modest solo piano repertoire. In 2005 the Royal Academy of Music conferred on him the honorary diploma of Associate in recognition
of his work and achievements.
[13]
HYMN
1. Rock of Ages, cleft for me, Let me hide myself in Thee; Let the Water and the Blood, From Thy riven Side which flowed, Be of sin the double cure, Cleanse me from its guilt and power. 3. Nothing in my hand I bring,
Simply to Thy Cross I cling;
Naked, come to Thee for dress;
Helpless, look to Thee for grace;
Foul, I to the Fountain fly;
Wash me, Saviour, or I die.
2. Not the labours of my hands
Can fulfil Thy law’s demands; Could my zeal no respite know, Could my tears for ever flow, All for sin could not atone Thou must save, and Thou alone. 4. While I draw this fleeting breath,
When my eyelids close in death,
When I soar through tracts unknown
See Thee on Thy Judgment Throne;
Rock of Ages, cleft for me,
Let me hide myself in Thee. Amen.
Words by Reverend A M Toplady
CATRIONA CLARK soprano
Ely based soprano Catriona Clark is enjoying a thriving performance and vocal teaching career. She graduated from both the Royal
College of Music and the Royal Scottish Academy of Music and Drama with Distinction, winning their four most prestigious prizes.
Since then her operatic and concert career has taken her throughout the UK, Europe and America performing roles such as Zerlina
(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 Requiem, Poulenc’s Gloria, Handel’s Dixit Dominus, Haydn’s Nelson Mass and Vaughan William’s
Sea Symphony.
Future engagements include a European tour of Le Nozze di Figaro (Susanna), Hänsel und Gretel (Dew Fairy/Sandman) and La Belle
Helene (Venus) with Diva Opera, The Bohemian Girl (Arline) with Opera South and concerts of the Mozart Requiem, Haydn Te Deum,
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.
JOHN McMUNN tenor
American tenor John McMunn was educated at Harvard University; King’s College, Cambridge, where he served for two years as a
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
(L’incoronazione di Poppea) and Basilio (Le nozze di Figaro) for the Benjamin Britten International Opera School, the Evil Counselor
(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
Messiah, Solomon, and all of the Chandos Anthems; Mozart’s Requiem, and numerous masses; Haydn’s Creation, and the Missa in
Tempori Belli; Britten’s Cantata Misericordia, and St Nicholas; Bach’s St John and St Matthew Passions, and numerous cantatas; among
many others. As a recitalist, he has appeared with pianists Paul Kwak (Britten’s Canticles, and The Holy Sonnets of John Donne, Paine Hall),
[12]
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.
Turn Back O Man - Gustav Holst (1874 – 1934)
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
for string orchestra. In fact with the former’s completion around 1916 (although not performed publically until 1920), Holst turned to
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.
Turn Back, O Man lies pivotally within this period, one of Three Festival Choruses with orchestra (the others were Let all mortal flesh
and A Festival Chime) composed in 1916 for the Thaxted Festival on 27 May 1917 and first conducted by the composer.
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
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.
Graham Griggs
Turn back, O man, forswear thy foolish ways.
Old now is earth, and none may count her days,
Yet thou, her child, whose head is crowned with flame,
Still wilt not hear thine inner God proclaim,
‘Turn back, O man, forswear thy foolish ways.’
Earth might be fair, and all men glad and wise.
Age after age their tragic empires rise,
Built while they dream, and in that dreaming weep:
Would man but wake from out his haunted sleep,
Earth might be fair, and all men glad and wise.
Earth shall be fair, and all her people one:
Nor till that day shall God’s whole will be done.
Now, even now, once more from earth to sky
Peals forth in joy man’s old, undaunted cry:
‘Earth shall be fair, and all her folk be one.’
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[5]
Olivet to Calvary - John Henry Maunder (1858 – 1920)
A sacred Cantata in two parts with words by Shapcott Wensley, a pseudonym for H S Bunce
Catriona Clark – soprano John McMunn – tenor
Peter North – baritone
Jonathan Lilley – organ
Graham Griggs – conductor
CD2
Preface to the First Edition published by Novello in 1904
“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
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
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
Gethsemane, the sudden appearance of the hostile crowd, Jesus forsaken by His disciples, His utter loneliness among ruthless foes, the
tumult before Pilate in the Judgment Hall, the Passage of the Cross, the tragedy and triumph of Calvary.”
‘John Henry Maunder was organist and choirmaster at a number of churches in South London. Of his compositions, mostly cantatas,
Olivet to Calvary (published in 1904) is perhaps the best known and is still performed regularly in churches today.’
PART I
1.
ON THE WAY TO JERUSALEM
Chorus (Matthew 21)
When o’er the steep of Olivet, The Lord to Salem came,
The crowds their glad hosannas raised, To His beloved name.
They made the path across the Mount, With leafy branches gay:
And spread their robes with eager hands,
To deck Messiah’s way.
His power has poured the light of heaven, Upon the sightless eyes!
His voice has thrilled the silent dead, And bade the sleeper rise!
Hosanna to the Prince who comes, To free a race oppressed!
To drive the Gentile from our land, And make His people blest!
Hosanna! Hosanna! Blessed is the King of Israel! Hosanna to the Son of David!
Blessed is He that cometh in the Name of the Lord! Hosanna in the highest!
2.
Pilate (baritone)
Shall I crucify your King?
Chorus
We have no king but Cæsar! Away with this Man, and release unto us Barabbas! Crucify Him!
Pilate
Take ye Him and crucify Him! for I find no fault in Him at all.
9.
THE MARCH TO CALVARY
Chorus
The Saviour King goes forth to die! Goes forth in all His glory bright!
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,
The majesty of Righteousness! The Saviour King goes forth to die!
With weariness and anguish sore, On, on to death the Saviour goes!
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,
And take, for aye, the sting from death! The Saviour King goes forth to die!
10.
CALVARY
Recitative (Baritone)
And when they came to the place which is called Calvary, there they crucified Him.
And it was now about the sixth hour, and a darkness came over the whole land, until the ninth hour,
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.
And He bowed His head and gave up the ghost.
Solo (Soprano) and Chorus
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.
Gaze, mortal, gaze, The Saviour hangs for thee, Silent in death, Upon the accursèd tree.
Love, holiest love, Shall earth and heaven atone, In fadeless day, From Christ’s eternal throne!
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
1.“Thy will be done,” the Saviour said, And bowed to earth His sacred head, The sands of life had nearly run My Father, Let Thy will be done. Thy will, not Mine, be done. 3. His soul foresaw the cruel scorns,
The brutal scourge, the crown of thorns,
And darker than Gethsemane,
The shadow of the accursèd tree.
Thy will, not Mine, be done.
2. No watch His spent disciples kept, Amid the shadows deep they slept; But silent Angels waiting there, Beheld His agony of prayer. Thy will, not Mine, be done. 4. What though He felt in that dread hour,
The storm of human passion lower!
Nor pain, nor death His soul would shun,
My Father, let Thy will be done,
Thy will, not Mine, be done.
7.
BETRAYED AND FORSAKEN
Chorus
And while He yet spake, there came a great multitude with swords and staves and torches
And they took Jesus, and bound Him, and led Him away. Then all His disciples forsook Him and fled.
Recitative & Air (Tenor)
O was there ever loneliness like His! From the drear garden of His agony, The sinless One was led.
His followers all forsook their Lord and fled; No gentle tone, no kindly glance was there,
But mocking faces, and harsh words of hate, The cruel soldiers, the unpitying crowd.
Despised of men, rejected and forsaken! O was there ever loneliness like His!
Ye who sin, and ye who sorrow, Ye who in temptation fall;
See, O see your blest Redeemer, Standing in the judgment hall.
See Him beaten and derided, See His flesh by scourges torn;
Turn to Him, remembering ever, ‘Twas for you the stripes were borne.
Standing ‘mid the mocking soldiers, In the purple robe of scorn;
See His gaze of gentle pity, From beneath the piercing thorn.
Turn to Him ye heavy-laden, Ye who toil, and ye who mourn;
Lo! He looks in love upon you, ‘Twas for you the pain was borne.
8.
BEFORE PILATE
Chorus
Then came Jesus forth from the judgment hall wearing the crown of thorns and the purple robe.
And Pilate said, Behold your King!
And they cried out, saying, Crucify Him! Crucify Him! He stirreth up the people!
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Recitative & Air (Baritone)
And Jesus paused, and gazed with tearful eyes, While the hushed multitude stood wondering near.
O Jerusalem! Hadst thou but known in this thy day, Even thou, the things which belong unto peace,
But now they are hid from thine eyes! For the days shall come upon thee,
When thine enemies shall compass thee around! They shall dash thee to the ground,
Thee, and thy children within thee! Hadst thou but known, O Jerusalem!
3.
IN THE TEMPLE
Recitative (Tenor)
And Jesus entered into the Temple of God, and cast out them that bought and sold therein.
And He said unto them.
Recitative (Baritone)
It is written, My house shall be called a house of prayer; but ye have made it a den of robbers.
Solo (Soprano)
Another temple waits Thee, Lord divine, The temple of my heart, O make it Thine!
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,
From all that is unworthy Thee!
Temptations’ wiles Thy sacred courts as sail! O hear my cry! Then shall my soul prevail!
Another temple waits thee, Lord divine
The temple of my heart O make it Thine! O hear my cry!
The temple of my heart, O make it thine
Chorus
Bow down Thine ear, O Lord, for I am poor and in misery.
Look upon mine adversity and misery, and forgive me all my sin.
Turn Thee again, O Lord, and let Thine anger cease from us.
Another temple waits Thee, Lord divine,
The temple of my heart, O make it Thine!
Temptations’ wiles Thy sacred courts assail! O hear my cry!
Another temple waits thee, Lord divine, The temple of my heart,
O make it Thine! O hear my cry!
The temple of my heart, O make it Thine!
4.
THE MOUNT OF OLIVES
Solo (Tenor)
Not of this world the Kingdom of our Lord; He sought not victor’s wreath, nor monarch’s crown,
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!
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Chorus
‘Twas night o’er lonely Olivet, The trees their darksome shadows cast;
And slowly up the mountain side,
With weary step the Saviour passed.
No joyous multitude was there, No garments at His feet were thrown;
The path that led to Bethany, He trod in sorrow and alone.
The loud Hosannas all were hushed, The lowly triumph of the day;
And fading in the moonlight pale,
The branches strewn at morning lay.
Thus o’er the brow of Olivet, The Saviour passed with weary tread;
The beasts have lairs, the birds have nests,
He had not where to lay His head!
Solo (Tenor)
He was despised and rejected of men; A Man of sorrows and acquainted with grief.
Not of this world the Kingdom of our Lord; He sought not victor’s wreath, nor monarch’s crown;
He came to die that erring souls may live In sinless joy, where God’s blest mansions shine.
Solo (Baritone) and Chorus
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.
Come unto Him, ye that are weary.
HYMN
1. Just as I am, without one plea
But that Thy Blood was shed for me,
And that Thou bidds’t me come to Thee, O Lamb of God, I come,
Just as I am, just as I am, just as I am, I come. 3. Just as I am, poor, wretched, blind;
Sight, riches, healing of the mind,
Yea all I need, in Thee to find,
O Lamb of God, I come.
Just as I am, just as I am,
just as I am, I come.
2. Just as I am, though toss’d about
With many a conflict, many a doubt, Fightings and fears within, without, O Lamb of God, I come. Just as I am, just as I am, Just as I am, I come. 4. Just as I am, Thou wilt receive,
Wilt welcome, pardon, cleanse, relieve,
Because Thy promise I believe,
O Lamb of God, I come,
Just as I am, just as I am,
Just as I am, I come.
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5. Just as I am (Thy love unknown
Has broken every barrier down,)
Now to be Thine, yea, Thine alone,
O Lamb of God, I come.
Just as I am, just as I am, Just as I am, I come. 6. Just as I am, of that free love
The breadth, length, depth, and height to prove,
Here for a season, then above,
O Lamb of God, I come.
Just as I am, just as I am,
Just as I am, I come.
Words by Charlotte Elliott
PART II
5.
A NEW COMMANDMENT
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
were in the world He loved them unto the end.
And when the supper of the Passover was ended He poured water into a basin,
and began to wash His disciples’ feet.
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.
By this shall all men know that ye are mine, if ye have love one to another.
Semi-Chorus (Sixth Form Girl Choristers and King’s Barbers)
O Thou Whose sweet compassion, Does through the ages shine;
Can our poor hearts enkindle, Affection such as Thine?
Of self unmindful ever, Thy steadfast love shone clear;
A star ‘mid deepening shadows, E’en though the Cross was near.
Thou ever blest Redeemer, Enthroned in heaven above,
O help Thy earthly pilgrims, To love as Thou didst love!
Though dark and wild the pathway, Our feet shall never tire,
If to our souls Thou givest, That spark of sacred fire!
6.
GETHSEMANE
Recitative (Baritone)
And when they had sung a hymn, they went out into the mount of Olives.
And they passed over the brook Kidron unto the garden of Gethsemane.
Then He said unto them, tarry ye here and watch with Me.
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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