Part two of St Mary's Ewell Church Choir 'Royal Connections' Concert April 22nd 2023
🎞️ · 24.04.2023 · 00:44:29 ··· Montag ⭐ 0 🎬 0
📺 Jonathan Holmes
🎬 · 24.04.2023 · 00:44:29 ··· Montag
😎 · 03.07.2024 · 15:40:29 ··· MiTTwoch
Edward Elgar
O hearken Thou was written, for chorus and orchestra, for the Coronation of King George V and Queen Mary and was completed in March 1911 and first performed at the Coronation service in Westminster Abbey on 22 June 1911, when the conductor was Sir Frederick Bridge. It was immediately issued by Novello in this version for chorus and organ in Novello’s series of church anthems. Elgar had also written a Coronation March and a Coronation Hymn, but here he is not looking to make a big public statement. Elgar takes verses 2 and 3 from Psalm 5 for his setting which was sung while the King took communion. This was not the time for his ceremonial manner and Elgar’s intense mood encompassing a rich choral sound took advantage of the huge acoustic to underline the fervent but essentially private dedication of the moment.
A Little Jazz Mass Bob Chilcott
Bob Chilcott is one of the busiest and most popular choral composers and conductors in Britain today. He has been involved in choral music for most of his life. He was a boy chorister and then a tenor choral scholar in the choir of King’s College, Cambridge, and later sang with, composed and arranged for the celebrated King’s Singers. Since 1997 he has worked as a full-time composer. Today, Bob is in great demand internationally as composer, conductor and choral consultant. He has been invited to appear at many important international festivals and has worked with some of the world’s leading choral ensembles. At home, he is currently Principal Guest Conductor of the BBC Singers.
Bob Chilcott’s singing experience has given him an inside knowledge of an exceptionally wide range of music, and this is reflected in the eclectic nature of his own compositions which, whilst remaining within the mainstream English choral tradition, are variously inspired by folksongs, Gregorian chant, Anglican hymns, spirituals, jazz, close-harmony, gospel and African music.
During his time with the King’s Singers, Chilcott had the good fortune to work with such jazz luminaries as George Shearing, Richard Rodney Bennett and John Dankworth. His wonderful setting of the Latin Missa Brevis, A Little Jazz Mass, was composed for the 2004 Crescent City Choral Festival, New Orleans. A relaxed, easy tempo Kyrie is followed by a Gloria with driving, upbeat outer sections enclosing a lyrical central section. The music of the Sanctus could be described as a ‘jazz lullaby’; the Benedictus ups the tempo a little, building to a strong forte for the ‘Hosanna’. Clearly inspired by the blues, the Agnus Dei reaches a powerful climax at ‘Dona nobis pacem’ before arriving at a peaceful conclusion. It says much for Chilcott’s skill that he has successfully brought together two very diverse traditions - the Latin mass and the jazz idiom - in such an expressive and entirely unforced way, an achievement that has generally eluded other composers who have tried something similar. Note by John Bawden
Organ Solo
George Frederick Handel
Zadok the Priest
For his coronation in Westminster Abbey in October 1727, George II requested that Handel write the music. Each of Handel’s 4 coronation anthems is a setting of a biblical text appropriate to the stages of the ceremony. The text of Zadok the Priest, is a translation of the traditional antiphon ‘Unxerunt Salomonem’ derived from the biblical account of the anointing of Solomon, by the titular priest, Zadok (from the First book of Kings, in King James Bible – Kings 1:38-40). These words have been used in every English, and later British, coronation as far back as King Edgar in 973 at Bath Abbey. Zadok the Priest accompanied the Anointing during the ceremony, and the God Save the King with which it ends provided a transition to the Crowning itself. At its debut despite the grand occasion, the 160 instrumentalists drowned the 40 voices of the combined choirs of the Abbey and the Chapel Royal and the full potential of the music was not realised; with the Archbishop of Canterbury adding the comment "Anthem in confusion". Despite that performance the compositional skill is obvious, and the music masterfully captures the ceremony’s progression of moods: from an opening instrumental that builds a strong sense of anticipation, through the opening commanding choral declaration “Zadok the priest and Nathan the prophet,” culminating in shouts of rejoicing. The anthem contains no recitatives or arias. Following the long introduction, the first vocal entry is one that makes an immediate impact. Handel’s writing is in a triumphant, majestic, ceremonial manner, with a festive mood.
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