Quantcast
Channel: The Artsy Honker» church music
Viewing all 84 articles
Browse latest View live

“I walked in darkness”: an anthem for Epiphany

$
0
0

I wrote this one for a competition at St Paul’s Cathedral. They didn’t get back to me, so I’m assuming that someone else won.

The words are by Thomas Thurman, and were written at my request. I like his poetry generally, but have usually worked with finished works; it was interesting and delightful to see this poem taking shape and even have a bit of influence over the wording in one or two lines.

I had hoped to publish this on the feast day of Epiphany itself, but realised the judging panel would be meeting on Tuesday 7th January and I needed to wait until well after then or else risk compromising the anonymity of the process.

I walked in darkness. Many a lonely mile,
My eyes and footsteps hesitant and blind.
I sought a kindly light I did not find
In land or ocean, asking all the while
If lightless lives are taken in exchange
For light eternal. Still the shades of sight
Would whisper, “Even I shall see the light!”
I never thought the light would look so strange.
Not in a temple, echoing and awed,
Nor in a palace, glistening and grand,
Nor in my home, nor any friendly land.
But distant, dirty, in a shed abroad,
I met a maiden bloody from a birth
And in her arms, the light of all the earth.

I walked in darkness — [PDF file] [MIDI file]


Early Music Experiences

$
0
0

Ruth of Moss and Jones asks:

What are your earliest music experiences? What do you remember, perhaps vaguely, being played in your house when you were a toddler / pre-school aged child?

This is interesting: I think for me, the first question and the second aren’t necessarily the same.

My instinctive answer to “What are your earliest music experiences”, you see, isn’t to do with listening to music but with making music. I remember going to some sort of group (possibly at a church?), sitting in a circle on the floor, singing. I have some memories of Suzuki-style violin lessons, of a bow control exercise where I had to thread the bow through a circle made with my father’s hands, of playing “Mississippi River” in a group with many other children. I remember piano lessons with a nice lady who also gave me green Jell-O to eat, and playing “Mister sun, show your face, frighten all the clouds away, please make haste!” on the two black keys of the piano above Middle C. I have vague recollections of another song, too, one about a rooster perhaps?

Listening is harder, but I remember my mother playing a song called “The Snowman” on the piano — no, not “I’m Walking On The Air” from this film, a different one. I liked to hold myself up on the arms of two adjacent chairs and swing my body back and forth in time to the music. There was also a song about a train that said “No, I choo, I choo choo choo choo choo”: a quick internet search shows it attributed to this book, which is now out of print; I’m sure I remember scribbling on it. I have a visual, but not aural, memory of my mother and father playing together: I imagine them playing the Fauré Berceuse they played at my wedding, but I have probably superimposed that on the image because I later played the piano part for it myself.

I remember “Hush a bye, don’t you cry” sung, I think by my paternal grandfather. My grandfather also sang “There was an old woman who had a little pig”, and had a grandfather clock which every hour played a tune that I remember as being the second quarter, and final scale, of the tune described here as “Whittington Tune Generally Used After 1950 Except by Herschede and Elliott”. (At the quarter hours it chimed gently, but I don’t remember a tune. I suppose I could ask my uncle to record it for me if the clock still works, and there’s no good reason it shouldn’t!). I remember getting ready for bed in time to hear the clock chime, then going upstairs to my dad’s old room to be tucked in. I have a vague memory of my grandmother playing the piano, too, but I do not remember what she played.

My dad sang “The grand old Duke of York” to me, and various other songs too, I think, and this afternoon visiting a friend whose child I teach, I had great fun with “There once was a man named Michael Finnegan” and “There’s a hole in my bucket”. I’m not sure when I learned those two, I may have been a little older, but car journeys with my father invariably involved singing, much to the embarrassment, once we were teenagers, of a friend who sometimes came with us.

My earliest musical experiences I don’t remember. While my mother was pregnant with me, she was an organist at St Andrew’s United Church in Moose Jaw, Saskatchewan, and I certainly would have heard hymns then from the 1980 red Hymn Book that was jointly produced between the United Church of Canada and the Anglican Church of Canada. It still has one or two of my favourites in it, and I haven’t found them anywhere else. Those hymns continued to be part of my soundscape until I was thirteen and we moved to a church that used another hymnal (and had an organist who wasn’t my mum!). Another thing I would have heard even in the womb would have been the six-volume series “Old English Organ Music for Manuals”, edited by C. H. Trevor, which I use today too. It certainly comes in handy when the pedals don’t work reliably!

I know there was a record (an LP, for you kids) of Peter and the Wolf about when I was very young, and I used to listen to it and follow along in the book. I don’t really have any memories of listening to the radio or other recorded music until I was a little older, maybe six or seven. Both my parents were CBC FM fans, which meant lots of classical music, especially on car journeys, and Choral Concert on Sunday mornings if we were home at the right time. But most of those memories are from later, when my mum and stepdad and I had moved to New Brunswick, not from my very early years. Also in New Brunswick I remember picking out hymn tunes by ear on the piano.

My earliest musical memories are of live music, not recorded. Some of it was professional-quality performance, some of it was grandparents singing and playing to a child, some of it was my own inexpert fumbling with a violin bow or trial-and-error attempts at playing the piano.

So it’s perhaps no wonder that these days, most of the music I hear, I play myself.

 

Cheerful voices: As pants the hart

$
0
0


This anonymous piece is one of my favourite settings of Psalm 42. I know it from playing and singing with London Gallery Quire, though I’ve recorded one more verse than we usually sing in order to better portray the hopeful tone of the psalm near the end. The setting is edited by Dr Francis Roads.

Psalm 42 is the sort of thing that many people think of as a bit miserable. It is a psalm of crying out to God from the depths of the soul, saying “Why have you left me alone and outcast?” and remembering happier times, particularly times of offering praise to God in the company of friends. But the psalmist ends by addressing their own soul, both a resolution to be faithful and continue in praise and a reminder that God will give the hopeful reasons to offer that praise. Such yearning combined with faith is also perhaps appropriate for today, when the Church remembers the life and work of St John of the Cross.

This is the first track on my most recent album, Cheerful voices.

O Sapientia

$
0
0

The “O” Antiphons are traditionally sung with the Magnificat starting on 17th December (Roman use) or 16th December (Book of Common Prayer). I like the BCP use, so I start today.

O Sapientia, quae ex ore Altissimi prodiisti,
attingens a fine usque ad finem,
fortiter suaviter disponens que omnia:
veni ad docendum nos viam prudentiae.

(English:) O Wisdom, which camest out of the mouth of the most High, and reachest from one end to another, mightily and sweetly ordering all things: Come and teach us the way of prudence.

What does prudence mean in the context of waiting for God? What does prudence mean in the context of the Incarnation? Today I am struck by a practicality to this, an emphasis on ordering all things, not necessarily a lofty guru on a hilltop dispensing axiomatic wisdom but more “a stitch in time saves nine”. Maybe it’s just that my bicycle got yet another puncture last night, discovered this morning, and I hadn’t gotten around to ordering the new tyres needed to deal with all the glass on the roads here. I don’t feel particularly wise. Nothing deflates the ego like a puncture when you’re trying to get somewhere on time.

After all that trouble for pink yesterday, I’m back to purple hair today:

Purple. Again. People have been making noises about being concerned about all the bleach needed to keep this up. I won’t lie: I’m concerned too. I may yet fry my hair. But I’m committed to doing this until at least 11th January. After I get the purple out for Christmas I should be able to go easy on the bleach for a while, using red hair chalk or similar for the odd Red day. I would really like to make it to 2nd February. You can sponsor me here.

O Adonai

$
0
0

O Adonai, et Dux domus Israel,
qui Moysi in igne flammae rubi apparuisti,
et ei in Sina legem dedisti:
veni ad redimendum nos in brachio extento.

(English:) O Adonai, and leader of the House of Israel,
who appeared to Moses in the fire of the burning bush
and gave him the law on Sinai:
Come and redeem us with an outstretched arm.

The photograph is from St Catherine’s Monastery in Sinai. I love the juxtaposition of Moses taking off his sandals, and the antiphon saying “Come, save us with an outstretched arm.” Perhaps taking off our shoes or sandals is not just something people do to honour God: it is something that highlights our vulnerability and God’s strength. What are our metaphorical sandals? What do we do to protect ourselves, from one another and from God? When might we risk being more intimate, more open? And how does that prepare us for the coming of Christ?

O Radix Jesse

$
0
0

O Radix Jesse, qui stas in signum populorum,
super quem continebunt reges os suum,
quem Gentes deprecabuntur:
veni ad liberandum nos, jam noli tardare.

O Root of Jesse, standing as a sign among the peoples;
before you kings will shut their mouths,
to you the nations will make their prayer:
Come and deliver us, and delay no longer.

This is an interesting one to try and relate to, at first glance. Living as we do in a constitutional monarchy, where the Queen has relatively little political power, what difference do we think it makes if kings will shut their mouths?

Substitute the word “ruler” and things change. Who rules in our nation now, in our world today? The government? The mainstream media? The banks? Contractors like Serco, A4E and G4S? Multinationals?0 It is an interesting and revealing exercise to compare Jesse Tree artwork with diagrams of corporate power and control. One ends in the salvation of the whole world, the other in an illusion of freedom and choice.

Come and deliver us, and delay no longer.

O Clavis David

$
0
0

O Clavis David, et sceptrum domus Israel;
qui aperis, et nemo claudit;
claudis, et nemo aperit:
veni, et educ vinctum de domo carceris,
sedentem in tenebris, et umbra mortis.

O Key of David and sceptre of the House of Israel;
you open and no one can shut;
you shut and no one can open:
Come and lead the prisoners from the prison house,
those who dwell in darkness and the shadow of death.

This feels like an extension of yesterday’s antiphon, O Radix Jesse. The same emphasis on provenance, though a generation or so later; the same emphasis on the power of Christ. And an extension of the idea of deliverance.

O Rex gentium

$
0
0

O Rex Gentium, et desideratus earum,
lapisque angularis, qui facis utraque unum:
veni, et salva hominem,
quem de limo formasti.

O King of the nations, and their desire,
the cornerstone making both one:
Come and save the human race,
which you fashioned from clay.

I always feel the “you made us” argument is a bit petulant, almost. “Oi! God! You got us INTO this mess, you get us out of it! We didn’t ASK to be born!

But the flip side of that petulance is a strong desire for God, which must in turn acknowledge that God, and God alone, can indeed get us out of “this mess”. Humans have been trying since year dot, and we haven’t managed it. Maybe this hope is born out of desperation; but to trust in the God who fashioned us is a very different response to the world than simple despair.


Those Naughty Organists

$
0
0

I read with some bemusement an article in the Telegraph. Beware the wrath of the church organist, it warns, and goes on to list various musical infelicities.

Slipping unexpected tunes into music is practically obligatory, as far as I’m concerned. Yes, I will play “We’re walking in the air” as a recessional voluntary when it is actually snowing (or at least for the first Sunday snowfall of the year); this past Sunday, I played variations on “The Sun Has Got His Hat On.” This is gentle humour, not wrathful revenge, and I am often thanked for it by congregation and clergy alike; sometimes people even make suggestions, and if I think they’re appropriate I’m very happy to oblige. Like any humour in churches, pastoral sensitivity is required and there are bound to be occasions where it goes wrong. I’ve heard wedding sermons with actually offensive jokes in them (not, I hasten to add, at St Andrew’s!), and I’m disinclined to make much of those rare occasions where a recessional turns out to be a little too close to the bone.

I’m more discreet with music during services, but if there is a hymn quoted in the sermon, I will try to work it into the improvisation after the Communion hymn. If there is an obvious theme for the day (a few weeks ago it was sheep) I will play something relevant. This isn’t humour as such; more drawing attention to connections between things. People learn in different ways and the tune of a hymn, for some, can reinforce something they’ve learned, or help them see a passage in a new light. And again, these allusions and musical puns are not always my idea: I’ve had the Dr Who theme requested for an All Age service involving a time machine before now.

I know that joke about the difference between organists and terrorists. I won’t repeat here the reciprocal equivalent for the clergy: it isn’t kind, and like its counterpart it is generally untrue. I’ll just say that organists and clergy both tend to care about liturgy, don’t always see eye to eye, and display the full range of human error in their interactions with one another; yes, this means that some working relationships can be difficult.

But let’s get real. If we were dealing with wrath, here, we wouldn’t be talking musical jokes. I play the loudest thing in the building — no, the loudest thing on the block — and if I wanted to be disruptive, the 16′ CONTRA FAGOTTO is at my disposal. Of course I would not use such weaponry in an argument with clergy or congregation: I would consider it unprofessional, very poor musicianship, very poor leadership, very poor discipleship. I can’t think of a single organist I know who would behave in such a manner.

I note that the Telegraph article has a link mid-way down the page to an “article” (I would call it an advertorial, really) for a sort of hymn karaoke machine, marketed to stressed-out vicars with a shortage of musicians and not enough musical training themselves to be able to lead hymns with confidence. I’ve seen various other versions of this spiel before, and it’s a bit tired, to be honest. Could it be that the “ooh, scary mean organists are going to MESS UP YOUR CHURCH” tone of today’s article is intended to provide a little boost to this apparently cost-effective solution?

I respectfully submit that live music, albeit appropriate to the context of the church in question and realistic for its resources, is usually going to be a better long-term investment.

Versicles and Responses

$
0
0

I wrote these for the Small Choirs International competition. It’s a fairly standard Versicles and Responses for Anglican Evensong services — but being set for SAB instead of SATB it might be more suitable for small choirs or those with few men.

[PDF]
[MIDI]

License for the music is CC BY-SA, as usual.

The MIDI file is a bit odd in the timing in one or two places: making the reciting notes display properly involved some “invisible” notes. An expert user of Sibelius would probably manage better but I am not such a one. So, you might not want to use the MIDI file if you’re trying to teach the notes to your cantor.

The Doubter

$
0
0

This is another piece I wrote for the Small Choirs Competition. Unusually, I’ve used my own text for this one. I had planned to set the text just as a hymn, but enjoyed employing a bit of retrograde and some changes to timing in order to turn it into a more interesting anthem. It’s set for unison voices but there’s no reason you couldn’t swap things around even more by setting some for lower and some for higher voices, for example.

[PDF]
[MIDI]

Cheerful voices: As pants the hart

$
0
0


This anonymous piece is one of my favourite settings of Psalm 42. I know it from playing and singing with London Gallery Quire, though I’ve recorded one more verse than we usually sing in order to better portray the hopeful tone of the psalm near the end. The setting is edited by Dr Francis Roads.

Psalm 42 is the sort of thing that many people think of as a bit miserable. It is a psalm of crying out to God from the depths of the soul, saying “Why have you left me alone and outcast?” and remembering happier times, particularly times of offering praise to God in the company of friends. But the psalmist ends by addressing their own soul, both a resolution to be faithful and continue in praise and a reminder that God will give the hopeful reasons to offer that praise. Such yearning combined with faith is also perhaps appropriate for today, when the Church remembers the life and work of St John of the Cross.

This is the first track on my most recent album, Cheerful voices.

O Sapientia

$
0
0

The “O” Antiphons are traditionally sung with the Magnificat starting on 17th December (Roman use) or 16th December (Book of Common Prayer). I like the BCP use, so I start today.

O Sapientia, quae ex ore Altissimi prodiisti,
attingens a fine usque ad finem,
fortiter suaviter disponens que omnia:
veni ad docendum nos viam prudentiae.

(English:) O Wisdom, which camest out of the mouth of the most High, and reachest from one end to another, mightily and sweetly ordering all things: Come and teach us the way of prudence.

What does prudence mean in the context of waiting for God? What does prudence mean in the context of the Incarnation? Today I am struck by a practicality to this, an emphasis on ordering all things, not necessarily a lofty guru on a hilltop dispensing axiomatic wisdom but more “a stitch in time saves nine”. Maybe it’s just that my bicycle got yet another puncture last night, discovered this morning, and I hadn’t gotten around to ordering the new tyres needed to deal with all the glass on the roads here. I don’t feel particularly wise. Nothing deflates the ego like a puncture when you’re trying to get somewhere on time.

After all that trouble for pink yesterday, I’m back to purple hair today:

Purple. Again. People have been making noises about being concerned about all the bleach needed to keep this up. I won’t lie: I’m concerned too. I may yet fry my hair. But I’m committed to doing this until at least 11th January. After I get the purple out for Christmas I should be able to go easy on the bleach for a while, using red hair chalk or similar for the odd Red day. I would really like to make it to 2nd February. You can sponsor me here.

O Adonai

$
0
0

O Adonai, et Dux domus Israel,
qui Moysi in igne flammae rubi apparuisti,
et ei in Sina legem dedisti:
veni ad redimendum nos in brachio extento.

(English:) O Adonai, and leader of the House of Israel,
who appeared to Moses in the fire of the burning bush
and gave him the law on Sinai:
Come and redeem us with an outstretched arm.

The photograph is from St Catherine’s Monastery in Sinai. I love the juxtaposition of Moses taking off his sandals, and the antiphon saying “Come, save us with an outstretched arm.” Perhaps taking off our shoes or sandals is not just something people do to honour God: it is something that highlights our vulnerability and God’s strength. What are our metaphorical sandals? What do we do to protect ourselves, from one another and from God? When might we risk being more intimate, more open? And how does that prepare us for the coming of Christ?

Trinitie Sunday

$
0
0

A few weeks ago when Fr Duncan and I were discussing hymn lists, he said he’d like to have a lot of George Herbert this Sunday. It seemed like as good a reason as any to write an anthem.

I launched into a setting of “Love (III)” but it didn’t quite “sit” right, wasn’t working out, and was perhaps a little long. So instead I decided to set the poem “Trinitie Sunday” as an anthem. It isn’t Trinity Sunday today, but we might sing it again: the choir picked it up quickly and seem to like it well enough.

Lord, who hast formed me out of mud,
And hast redeemed me through thy blood,
And sanctified me to do good;

Purge all my sins done heretofore:
For I confess my heavy score,
And I will strive to sin no more.

Enrich my heart, mouth, hands in me,
With faith, with hope, with charity;
That I may run, rise, rest with thee.

I’ve put the piece up at Patreon where you can download a .pdf and the usual singing robots (MIDI). I’ll get it up on ChoralWiki in due course.

If you like my work and you are able to do so, please support me by pledging your support on Patreon (from USD $1/new work), buying my albums on Bandcamp (name your price), commissioning a choral work or telling other people what you like about my music and how to find it.


Open Volume

$
0
0

I am looking for words and music for a hymnal. The working title is “Open Volume: singable, photocopiable hymns”.

The intent is to create a body of new hymnody which will be available to churches as a supplement, or as individual pieces; to showcase the work of writers and composers who might not gain the attention of traditional publishers; and to make the advantages of Creative Commons licensing of church music more widely known. The initial edition will be online, but I am very keen to do a print version of some sort too, available for costs plus a small amount to go toward contributors. Or perhaps we’ll do a crowdfunding campaign for each printing, such that each contributor can get a lump sum, rather than micropayments. I haven’t worked out the details of that part just yet!

Why do I want to do this?

People frequently complain about a lack of new hymns. And let’s face it, singing the same Victorian stuff* all the time would be boring. But the current publishing climate doesn’t make it easy for your average cash-strapped parish to go out and buy just one hymn… instead, the decision must be taken to buy an entirely new hymnbook, or at least a hymnal “supplement”. Twelve full music copies for the choir and fifty words only copies for the congregation is a pretty big investment. But something they can photocopy, perfectly legally, without needing a CCLI license or similar, is much easier. So is music that can be downloaded and printed as needed. I want to make it easier for churches to use new hymns.

But then, people also frequently complain that “new” church music is hard to sing. Well, some of it is… I don’t have anything in particular against your standard drums-and-guitars Christian Contemporary Music, but much of it isn’t great for congregational singing, especially if the instrumentation you actually have is an ailing pipe organ! I think the form and style of traditional hymnody is actually pretty accessible and versatile, and I don’t think “new” music needs to abandon that. I also think there are good poets and composers out there who might not be interested in making a lot of money from their work, but would like to be published, would like their work used. I should know: I’m one of them, and having my work used outside my own parish or those I have some close connection with is one of the reasons this project is attractive to me. Publishing a collection of hymns, rather than just a hymn here and there and everywhere else, means a better audience for all contributors.

Churches and copyright end up in all kinds of tangled knots at times, because current copyright law is difficult to understand and churches don’t have much money. I think Creative Commons offers a good solution: it isn’t always easy to grasp right away, but it is much easier to find out what you can or can’t do with a piece of music if you happen across a printed copy with only minimum information on it than it is with traditional copyright. The standard Creative Commons licence blurb is a lot more helpful than the first initial and last name of the composer, especially if the composer is rather obscure. I deal with this regularly as an organist: hymns that have turned up in one book or another, or on a sheet, but with no way of me finding out when the composer died or, if I can tell that it’s been less than 70 years, how to contact them or their agent to request permission to use their work. The Christian Copyright Licensing Initiative is one attempt to solve this problem but it isn’t exhaustive and it requires people to pay a licence fee and do extra paperwork. I want to encourage the use of Creative Commons licencing for church music whenever it is appropriate. I feel so strongly about this that everything I publish is under some kind of CC licence.

I do think writers and composers should be paid for their work. I’m not doing this to try to get free stuff out of anyone, or take advantage of people’s good will! I know there are people out there writing stuff for free already, and I want to encourage them to use an appropriate CC licence and I want to put together an anthology of some of the better material. I don’t think the publication-and-royalties route is always a good way to get paid as a composer, though obviously it works well for some and I wish them no ill. I’m also not sure that a commission conditional on signing away all your rights is advantageous, nor a large grant for a complex project where the composing takes a back seat to coordination and publicity activities. Offering a choice of two licenses, CC BY-SA or CC BY-NC, allows contributors to retain some control over their work and any derivatives, while trying out a different business model than they might otherwise consider. My business model for the hymns I will contribute? Patronage. In fact, it was meeting one of my funding goals at Patreon that triggered the start of this project. But others may wish to make their own arrangements, or none — and that’s fine. The point is to avoid some of the restrictions of traditional publishing.

If you know anyone that might like to be involved, please do point them at this page, or at the call for words and scores.

*Actually there’s an awful lot that we sing that isn’t Victorian in origin. Off the top of my head: Gibbons, stuff from the Piae Cantiones, stuff from the Genevan Psalter, from the Scottish Psalter, good solid Lutheran chorales, Irish folk tunes, plainchant. And there’s some thoroughly decent 20th-century hymnody too, I didn’t have Coe Fen at my wedding for nothing.

O come hither

$
0
0

One of the pleasures of singing and playing in the London Gallery Quire is being allowed to spring my music on them from time to time. A greater joy is the privilege of performing, from time to time, the work of our musical director, Dr Francis Roads.

I like his work enough that I asked him to write a piece for my wedding; he did, and “Set me as a seal” was just the right thing for the context, making good use of the combination of the St Andrew’s choir and the London Gallery Quire singing together. It’s not every day one receives such a wedding gift.

My favourite piece of his so far, though, might be his setting of Psalm 46, verses 8-10:

“O come hither, and behold the works of the Lord : what destruction he hath brought upon the earth.
He maketh wars to cease in all the world : he breaketh the bow, and knappeth the spear in sunder, and burneth the chariots in the fire.
Be still then, and know that I am God.”

This is dedicated “to the immortal memory of William Knapp”, that composer of the fine hymn tune known as Wareham, as well as many good West Gallery anthems. In the sheet music the word “knappeth” is capitalised, “Knappeth”. I rather like the implication that the music of Knapp and other church musicians is one way that God ends violence, though that’s probably me reading too much into the pun.

You can listen to the music here if you have the Sibelius Scorch plug-in, or download a Sibelius file here which I believe plays in some sort of eye pad app, but really the robots don’t do it justice. The best way to hear it is to come to our concerts! The first concert is at St. George’s German Lutheran Church, 55 Alie Street, London E1 8EB, on Wednesday 18th June at 7pm. Tickets are £5 and doors open 6.30pm.

If you miss that one, or like it so much you want another, the next is at St Peter-in-the-Forest, Woodford New Road, Walthamstow, E17 3PP,
on Saturday 28th June 2014 at 7pm.

Perhaps that will inspire you to download the sheet music and suggest it to a good SATB church choir; or indeed to join us in London Gallery Quire and have the pleasure of singing more of the same.

Love (III)

$
0
0

At St Andrew’s Leytonstone we had the final service of our much-loved parish priest, Fr Duncan, this morning. I’ve interrupted the Song Cycle pilgrimage to come back and play. He is retiring and we will all miss him loads.

I wanted to do something special for this service, so I asked him for a favourite poem. When he said “Love bade me welcome” by George Herbert, I was delighted; and I had already started working on it, anyway.George Herbert stained glass window

Love bade me welcome: yet my soul drew back,
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning
If I lacked anything.

“A guest,” I answered, “worthy to be here”:
Love said, “You shall be he.”
“I, the unkind, ungrateful? Ah, my dear,
I cannot look on thee.”
Love took my hand, and smiling did reply,
“Who made the eyes but I?”

“Truth, Lord; but I have marred them; let my shame
Go where it doth deserve.”
“And know you not,” says Love, “who bore the blame?”
“My dear, then I will serve.”
“You must sit down,” says Love, “and taste my meat.”
So I did sit and eat.

It should be available on the Choral Public Domain Library from sometime tomorrow. I may yet revise it; there are some bits I’m not entirely happy with… but as things stand I needed to get something finished so that the choir would have music to learn! They sang it well this morning and there were positive comments from some in the congregation, anyway. And as always, this is licensed under a Creative Commons license, so anyone who wants to can use it as long as they do attribute me.

Composer in Residence?

$
0
0

I’ve been thinking a lot lately about how to continue building some kind of career as a composer of choral music, especially liturgical music. I do most of my publicity online, and church music is still a largely-offline world. I do love our small-but-mighty choir at St Andrew’s Leytonstone, but realistically, they can’t sing my SATB work, and the unison/two-part/flexible music I write for them is heard by very few people. I put my work online under a CC by-SA license, so anyone can use it for free, but they aren’t going to look for it if they don’t know it’s there.

Would your church like a composer-in-residence for six months?

I’d love to spend one day a week somewhere with more choral services, a more extensive choral programme, and exposure to a wider community. I could write some music especially for the choir(s) and congregation there, in consultation with the musical staff already in place, and some of my other work could be sung in services or concerts if appropriate.

What I can offer

  • The opportunity for your choir(s) to work with a living composer
  • works written especially for your choir(s)
  • publicity! regular tweeting and/or blogging about my experiences as a composer-in-residence and my impressions of the wider life of your church
  • something else? What would you like from me? I can direct choirs, sing alto or (if stuck) tenor, lead sung Compline… but I’d like my primary duties to be related to composing

What I need

  • A suitable church: preferably Anglican, with a strong choral tradition that extends beyond Sunday mornings
  • quiet-ish space to sit and compose, one weekday per week. Background noise in a community café is absolutely fine, background music really isn’t. I do most of my composing with paper and pencil so all I really need is a table I can write at, but occasional access to a plug and wi-fi or at least a spot with good mobile reception will help a lot with the twitter/blogging part of the residency
  • a Director of Music and clergy who will let me sit in on rehearsals and include me in the musical life of the church
  • performance of some of my work, either what I’m writing while in residence or stuff I’ve already written. You can hear examples at Soundcloud and most of my scores are on my works page
  • some flexibility: I have existing obligations at St Andrew’s Leytonstone and elsewhere, so Thursday evenings are just not a good option for me, and my Sunday mornings are going to be limited.
  • ideally, a location within 90 minutes on public transport from my home in East London; this could stretch a bit if I can stay overnight on one or the other side of my residency days
  • travel expenses (public transport)
  • lunch would be nice; accommodation and breakfast will be necessary if overnight stays are going to be involved
  • some sort of remuneration would also be good.

So, who pays for all this?

I’m not sure yet! If I can find a willing and suitable church, we could apply for some grants, or if you are up for it we could try crowdfunding. I’m in a position to be a little bit flexible about this — I already spend a day per week composing — so if your first thought is “we can’t afford that” then do speak to me anyway, maybe we can work something out.

If you’re interested, please do get in touch: artsyhonker at gmail dot com.

O Rex gentium

$
0
0

O Rex Gentium, et desideratus earum,
lapisque angularis, qui facis utraque unum:
veni, et salva hominem,
quem de limo formasti.

O King of the nations, and their desire,
the cornerstone making both one:
Come and save the human race,
which you fashioned from clay.

I always feel the “you made us” argument is a bit petulant, almost. “Oi! God! You got us INTO this mess, you get us out of it! We didn’t ASK to be born!

But the flip side of that petulance is a strong desire for God, which must in turn acknowledge that God, and God alone, can indeed get us out of “this mess”. Humans have been trying since year dot, and we haven’t managed it. Maybe this hope is born out of desperation; but to trust in the God who fashioned us is a very different response to the world than simple despair.

Viewing all 84 articles
Browse latest View live




Latest Images