Lichfield Cathedral Choir sing music by Lichfield Composers (1980) Sleeve Notes

 Transcribed from the LP sleeve, these are the sleeve notes to accompany this recording of Lichfield Cathedral Choir singing music by Lichfield Composers, which can be heard at

SIDE ONE

Michael East was Organist of Lichfield Cathedral in the early seventeenth century. He was born in about 1580 and was a lay clerk at Ely Cathedral before taking up his appointment at Lichfield in about 1615 where he remained for some twenty-five years. He is thought to have been the son of Thomas East. the influential music publisher; this would account for the unusually large number of publications to his name — a precocious contribution to The Triumphs of Oriana (1601) and seven collections of madrigals, Church music, instrumental fantasias etc. spanning the years 1606 to 1638. He died in London in 1648.

Most of his Church music is to be found in three of the published collections, that of 1624 (the sixth set) being devoted entirely to sacred music. His style is simple and direct with an appealing vitality, and it demonstrates an ability to write fluently in up to six parts. His music displays an attractive lyricism but the development of his ideas tends to be four-square, a weakness overcome by only a few of his contemporaries such as Gibbons and Tomkins. Ten of the twelve published anthems are in the early Baroque verse style — with solo sections accompanied instrumentally alternating with chorus. Although the published anthems were designed for accompaniment by viols, the existence of a number of contemporary organ arrangements indicates that this was normal practice for liturgical purposes.

Lichfield Cathedral enjoyed an excellent musical reputation while East was Organist. The Vicars Choral provided six Gentlemen for the celebrated Chapel Royal Choir although most cathedrals sent no more than three. In 1634 Lieutenant Hammond in his Survey of Twenty-six Counties commented that "The organs and voices were deep and sweet . . . (the singers) most melodiously acted and performed their parts . . . the melodious harmony of the music invited our longer stay."

1. WHEN ISRAEL CAME OUT OF EGYPT
This setting of part of Psalm 114, was one of the most popular verse anthems of the period. It appeared in the Third Set of Books (1610), a collection consisting for the most part of secular music, and this influence may be found in some of the word-painting, particularly in the appealing duet "The mountains skipped like rams" and "Tremble thou earth" with its bold chorus interpolation. The work ends with a sweeping 'Amen' so characteristic of East's church music.

Trebles: Thomas Barnard, Patrick Craig, David Craig
Altos: Raymond Leang, Dermot Coleman
Tenor: Michael Guest

2. O LORD, OF WHOM I DO DEPEND
This anthem was included in the Fourth Set of Books (1618). The text, by the late sixteenth century devotional writer, William Hunnis. is set in a simple but appealing manner for two solo boys, chorus and accompaniment. It is interesting that the work shares the text and some of the musical material with John Mundy's setting published in 1594.

Trebles: David Craig, Mark Hindley

3. WHEN DAVID HEARD
East's Version of When David heard (1618) is one of eight early seventeenth century settings, the most familiar being by Weelkes and Tomkins. Arguably his finest composition, the rhetorical and poignant text is set in a largely diatonic idiom which matches the composer's austere and dignified conception.

4. MAGNIFICAT — VERSE SERVICE
5. NUNC DIMITTIS — VERSE SERVICE
The Verse Service comprising the evening canticles Magnificat and Nunc Dimittis survives in manuscripts at Lichfield Cathedral and Peterhouse, Cambridge. The organ part has been editorially supplied by the writer. Its layout for SSATB chorus (rather than the normal SAATB) reflects the vocal disposition of East's church music in the madrigal part-books while similar influences are to be found in some of the word-painting and the unusually long instrumental incipits to the main sub-divisions. As in Gibbons' Second Service, the same splendid 'Amen' ends both canticles.

Altos: Mark Cowley, Raymond Leang
Tenors: Geoffrey Talbot, Peter Bailey
Bass: David Hill

SIDE TWO

1. EXALT THYSELF, O GOD William Byrd
Byrd's festive anthem Exalt thyself, O God, a setting of Psalm 57, vv 6. 8-12, ranks among his best works for the Anglican liturgy. The writer has reconstructed the work from an incomplete anonymous score (previously thought to be by Tomkins) in Worcester Cathedral, together with an authentic bass part. The opening 20 bars, lacking in the Worcester manuscript, arc recapitulated towards the end in the same way as Gibbons' Hosanna to the Son of David with which Byrd's anthem com-pares in several respects.

2. OUT OF THE DEEP John Alcock
John Alcock (1715-1816) was Organist of Lichfield Cathedral from 1750 to 1760. Out of the Deep was included in his Six and Twenty Select Anthems (1771). It is a simple but dignified setting of part of Psalm 130 and is a typical example of cathedral music of the period.

Treble: Mark Hindley
Alto: Mark Cowley
Tenor: Geoffrey Talbot

3. KING OF GLORY, KING OF PEACE William Harris
4. ALMIGHTY AND MOST MERCIFUL FATHER William Harris
5. I WAS GLAD WHEN THEY SAID UNTO ME (Psalm 122) William Harris
6. COME DOWN, O LOVE DIVINE William Harris
Sir William Harris (1883-1973) was assistant organist at Lichfield Cathedral between 1911-19 and was subsequently organist at New College, Oxford (1919), Christ Church Cathedral, Oxford (1928) and St George's Chapel Windsor (1933). His compositions are in a conservative, tonal idiom characterised by a pleasing lyricism, grateful vocal writing, tasteful chromaticism and a clear sense of structure.

King of Glory was written for the choristers of New College, Oxford in 1925. Almighty and Most Merciful Father is a setting of the last prayer of Samuel Johnson, famous son of Lichfield; it was composed in 1968 for Richard Greening and the Choir of Lichfield Cathedral. Psalm 122 is sung to a chant by Harris. Harris wrote a number of effective anthems based on hymn tunes; Come Down, O Love Divine, composed in 1965, is based on his own tune North Petherton.

THE CATHEDRAL CHOIR
The Choir of Lichfield Cathedral consists of eighteen choristers and nine Lay Vicars Choral, whose work it is to maintain the tradition of daily sung services in the Cathedral. a tradition which stretches back several hundred years. In order that this work may be performed to the highest possible standard, the boy choristers arc educated in a choir school, situated in the Cathedral Close and maintained by the Dean and Chapter. Although this school for centuries existed exclusively for the choristers, since 1942 it has been run as a normal Preparatory School of which the choristers are a part. Every day the choristers rehearse for an hour in the morning and half an hour in the evening before singing the Office of Evensong; this, of course, is extra to a normal school timetable during the day. The choristers come from homes in different parts of the country, some a great distance from Lichfield; this requires most of the boys to live in the school. All choristers are expected to learn to play two instruments and some reach a high standard of proficiency by the time their course here comes to an end. There is then an opportunity of winning a substantial Scholarship to a Public School for the continuation of their education.

Trebles
David Craig (Head Chorister)
Mark Hindley (Second Head Chorister)
Douglas Jones
Mark Parrott
Sebastian Prentis
Richard Simpkin
Thomas Barnard
Patrick Craig
Alastair Hodgson
Paul James
Daniel Hunt
Robert Ninis
Alan Richardson
Jonathan Cooper-Bagnall
Daniel Norman
Christopher Betts
Angus Veitch

Altos
Raymond Leang
Dermot Coleman
Mark Cowley

Tenors
Geoffrey Talbot
Michael Guest
Peter Bailey

Basses
Edgar Parkinson
Sandy Hunt
David Hill

Jonathan Rees-Williams
Jonathan Rees-Williams studied at the Royal Academy of Music with Arnold Richardson and at New College. Oxford where he was Organ Scholar and Acting Organist. After a period as Assistant Organist of Hampstead Parish Church and St Clement Danes, London, he was appointed Assistant Organist at Salisbury Cathedral, where he was also Director of Music in the Cathedral School and Chorus Master to the Portsmouth Festival Choir. He took up his appointment as Organist and Master of the Choristers of Lichfield Cathedral in 1978.

Peter King
Peter King, the Assistant Organist of the Cathedral, was a chorister of the Cathedral. Subsequently, he was educated at the King's School. Canterbury, going on to read Music at Queen's College, Cambridge. He is frequently heard as a recitalist and broadcasts for the BBC. Since last autumn he has been Assistant Chorusmaster and Accompanist to the CBSO chorus.

THE CATHEDRAL ORGAN
The organ by William Hill was installed in 1884, incorporating earlier pipework (1861) by George Holdich. An extensive rebuild in 1974 by Hill. Norman and Beard provided the instrument with a remodelled Choir Organ and some extra ranks including a Trompette en chamade. The organ is tuned to a sharp pitch (C = 540), over a quarter tone higher than present day pitch.

Produced by Peter James

Executive Producer Harry Mudd

Recorded in Lichfield Cathedral July 1980

Sleeve Notes by Peter James

Cover Photograph Lichfield Cathedral from across Minster Pool by John Rackham

Recording first published 1980

Sleeve printed by Senor Printing Limited

Lichfield Cathedral Choristers sing Christmas Carols (1972) Sleeve Notes

Transcribed from the LP sleeve, these are the sleeve notes written to accompany this recording of the Lichfield Cathedral Choristers. The record is available to listen to at

Directed by Richard Greening, Organist and Master of the Choristers,

and accompanied by the Assistant Organist, Peter Noyce, unless otherwise indicated.

Side 1

Silent night - arr. Richard Greening (soloist: James Lockyer)
An arrangement by Richard Greening of the well known tune

Lute book lullaby - Richard Rodney Bennett
This early work of Richard Rodney Bennett takes its name from a lute book by William Ballet dating from the early 17th century. Ballet himself set the words to music in the style of his own period, an echo of which lingers in Bennett's music. The carol was written for the pupils of Betteshanger School.

Behold, I bring you glad tidings - Maurice Greene, arr. Richard Greening (Harpsichord: Robert Watt Boyd; Violoncello: John Clemson; Double Bass: Peter James)
Maurice Greene was Organist of St. Paul's Cathedral in the time of Handel and most of his anthems were for solo voices with some choruses. This treble solo (sung here by all the choristers) begins his 'Anthem for Christmas Day' taken from his Second Book of Anthems, published by Walsh in 1743. It is one of the few anthems which Greene wrote to words from the New Testament (Luke II). The continuo part, originally intended for organ, has been realised by Richard Greening. The solo originally ended in the dominant and was followed at once by a chorus. The repeat of the ritornello at the end is editorial.

Away in a manger - Alfred Noyce (soloists: James Lockyear, Andrew West)
Alfred Noyce was the father of the present Assistant Organist of Lichfield Cathedral. He composed this charming music to the familiar words while he was Organist of Rugby Parish Church.

As I outrode this enderes night - Gerald Hendrie
Gerald Hendrie wrote this lively music for the choristers of Norwich Cathedral. The shepherds' pipes are heard fading into the distance at the end.

The Birds - Benjamin Britten (soloist: Andrew West)
Though this is not strictly a carol, Hilaire Belloc's words speak of the infancy of Christ and Britten has added music which matches their charm and simplicity.

Ah, my Saviour (from Christmas Oratorio) - J S Bach (echo voice: Andrew West; Oboe: John Sankey; Chamber Organ: Peter Noyce; Violoncello: John Clemson; Double Bass: Peter James)
This aria, with its attractive echo music in the oboe and voice parts, comes from Part IV of the Christmas Oratorio. Usually in performances of the oratorio the soprano soloist is echoed by another soprano standing at a distance. In this performance the solo is sung by a number of boys, and the echoes by a single boy.

Organ: Marche de Rois Mages - Theodore Dubois (Organ: Peter Noyce)
Theodore Dubois was an active composer, teacher and organist. He succeeded Saint-Satins as Organist of the Madeleine in 1877 and was head of the Paris Conservatoire 1896-1905. His organ music is slight in importance, but the 'March of the Magi Kings' has been included for two reasons, apart from its attractiveness. It is an organ piece specifically connected with Christmas, though it is not much played nowadays. It employs the amusing device of a deliberate fault known as a cypher (or note sticking on). The player is advised to engage an assistant to hold down the key throughout the piece, or else to place a weight on the key. Peter Noyce uses a small wedge of folded paper. Dubois intended the continuous note to suggest the guiding star continuing unchanged over the various harmonies beneath it. The cypher device is particularly appropriate since the Cathedral organ is now in a precarious condition and it is to undergo an extensive and costly restoration during 1973.

 

Side 2

Away in a manger - W J Kirkpatrick (soloist: Holger Aston)
Kirkpatrick's famous tune makes an interesting comparison with the setting by Alfred Noyce on Side one.

The Blessed Virgin's Cradle Song - Sir Edward Bairstow (soloist: Andrew West)
This favourite late Victorian carol setting was written when Sir Edward Bairstow was Organist at Wigan Parish Church. All the boys sing the verses, and there is an additional solo part to round off each section.

Song of the Nuns of Chester - 15th century, ed. David Wulstan
This mediaeval carol is taken from the Processional of the Convent of S. Mary, Chester. The words are in Latin, the solo voice announcing the text and the chorus answering with lullabies. The exact meaning of the words is not as important as the atmosphere created by the beautiful tune.

When Christ born of Mary free - John Gardner
The mediaeval English words are set to modern music by John Gardner (op. 55). The only similarity with the previous carol is the absence of accompaniment.

Blessed be thou hevene Quene - 13th century, ed. HK Andrews
This, though it is possibly the earliest music on this disc (13th century) has a fresh and appealing tune. The suggestions of knightly chivalry in the words are rooted in the secular music of the period.

A new year carol - Benjamin Britten
The quiet calm of Britten's music, written in 1934, is closely akin to some of the best English folk songs.

From virgin's womb - William Byrd (String accompaniment: The Duggan Consort (Celia Davis, Susan Jacob, Geoffrey Duggan, John Clemson))
Byrd set these splendid words (by Francis Kindlemarsh) for solo voice with string accompaniment. There were four verses in the original, separated by choruses which have been omitted in this performance. The source is Songs of sundrie natures (1589).

O men from the fields - Arnold Cooke
Described as ‘A cradle song’, Arnold Cooke's quiet tune matches perfectly the words by Padraic Colum,

Chanticleer's carol - Norman Fulton
Norman Fulton's forceful and exciting music, to the words by William Austin (d. 1633), was commissioned for The Cambridge Hymnal. Choristers enjoy singing the fast phrase especially, since it ends with a note of 15 beats, which is further extended by a pause.

Three different places were used for the recording of this disc. All the items with piano, harpsichord and string accompaniment were recorded in the Great Hall of the Bishop's Palace at Lichfield (now part of St Chad's Cathedral School). This hall has a resonant acoustic. Numbers 3, 4 and 5 on side two were also recorded in the Great Hall. Three items (side one numbers 5 and 8, side two number 2) were recorded in the choir of the cathedral using the cathedral main organ, which is almost a semitone sharp to standard pitch. In the choir of the cathedral there is little resonance. All the remaining items (side one numbers 1 and 7, side two number 1) were recorded in the Lady Chapel of the cathedral. The organ used for part of these items is an 18th century chamber organ of three stops, restored by Noel Mander. The Lady Chapel has a fairly resonant acoustic.

All the instrumentalists involved are at present working in the Midlands. Two of them — Dr Peter James and Robert Watt Boyd — are members of the cathedral choir. All the boys study instrumental music as well as singing. Andrew West has passed Grade VIII of the Associated Board with distinction. He is a flautist and is going on to Malvern as a scholar.

The cover photograph shows the choristers in front of the altar and reredos of the Lady Chapel with the famous glass from Herckenrode in Belgium glowing in the East window.

The Choristers
James Lockyer (Head Chorister), Andrew West (Deputy Head Chorister), Jamie Adamson, Holger Aston, Robert Boyce Shaun Carvill, Frederick Dunstan, Jeremy Grinnell-Moore, Christopher James, Robert Langford, Crispin Morton, Andrew Mould, David Newell, James Newell, Adrian Peacock, William Ring, Jeremy Summerly, David Winfield.

Produced by Richard Greening

Recorded by Harry Mudd

Cover Notes by Richard Greening

Cover Photograph by John Rackham of Lichfield

Record first published 1972

Cover printed by West Brothers Printers Limited, London

'His Praises Sound' (1966) Sleeve Notes

Transcribed from the LP sleeve, these are the sleeve notes written by Richard Greening to accompany the earliest known commercial recording of Lichfield Cathedral Choir, which is available online: 

BENJAMIN BRITTEN'S setting of Jubilate was written at the request of HRH The Duke of Edinburgh for the choir of St George's Chapel, Windsor Castle, and it is now often sung in conjunction with the composer's earlier setting of the Te Deum in C. The music is of great brilliance, and incorporates an exciting organ part which makes much use of simple scale passages. The voice parts are mainly concerned with a short phrase, heard at the opening, and its inversion. There is a quiet, subdued middle section, and the music of the opening returns at the Gloria, which ends quietly and is followed by an extended Amen in the form of a coda. The words are those of Psalm 100.

JOHN SHEPHERD'S anthem, I give you a new commandment, was published in 1560 by John Day in his Certaine Notes. It also appears in some early MSS at the Bodleian, dated c.1547. The music is for men's voices, and the transposed version sung on this record is for two alto parts, one tenor part and one bass part. The text is from St John 13.34-35

HENRY PURCELL'S eight-part setting of the words Hear my prayer, O Lord is perhaps the finest of all Restoration full anthems. The music is developed from two short ideas, the second of which is capable of inversion, and contrasts a major with a minor third. From a quiet beginning by the first altos a complex mass of counterpoint is built, ending in a great climax, using only the material of the first four bars as a basis.

ORLANDO GIBBONS' Second Service, from which this Magnificat and Nunc dimittis are taken, is a verse service — a term which implies the treatment of the music sectionally, using an independent organ accompaniment and exploiting various combinations of solo voices for some sections, interspersed with chorus passages. Gibbons was one of the younger composers of the late 16th century period and wrote church music to English words only. His verse service is the most beautiful example of this type and period which we have. It explores many different combinations of voices and the word-setting is particularly fine.

Prevent us, O Lord, is a splendid example of WILLIAM BYRD'S music for the English church. Written for five voice-parts, it is a setting of the collect from the communion service, and demonstrates all his skill in portraying the sense of the words and his handling of the sonorities of a choir.

MAURICE GREENE was Organist of St Paul's Cathedral in the time of George II — a time during which English music was much overshadowed by continental musicians, of whom Handel was the most important. The anthem Lord, let me know mine end, is none the less one of the finest productions of English Cathedral music of any period. The sombre words are most movingly matched by the music, and a feature of the work is the organ bass which proceeds in crotchets from first to last as if to mark the passage of time. There are two choruses for four voices, separated by a verse for two trebles. The realisation of the original figured bass is by Sir Ernest Bullock, and may be regarded as a model. The words are from Psalm 39.

Eheu, sustulerunt Dominum is a motet which was included by THOMAS MORLEY in his Plaine and Easie Introduction to Practicall Musicke, a treatise on composition which he published in 1597. It may be sung at Easter, or on the feast of St Mary Magdalen, the words being those she is recorded as saying in St John's Gospel. The sense of loss at finding the tomb empty on the first Easter morning is well conveyed by the music, perhaps especially by the opening, where the word Eheu (Alas!) is repeated by all the voices.

MICHAEL EAST is the earliest Organist of Lichfield of whom we know any details. He is thought to have been the son of the famous Thomas East (or Este), who published music by almost all the great Elizabethan composers. Michael East was Organist of Lichfield from 1618-1638. His anthem When Israel came out of Egypt (words from Psalm 114) is in verse form, the verses being for alto, tenor, and two trebles in various combinations. It is a less successful example of the form than the Gibbons service but it shows great vitality and a feeling for expression.

The Evening Canticles — Magnificat and Nunc dimittis — have been set to music several times by HERBERT HOWELLS, who is one of the most distinguished church music composers of our time. He has written settings for many choral foundations, such as Gloucester, St Paul's, and New College, Oxford. This Nunc dimittis (Collegium Regale) was written for the Choir of King's College, Cambridge. It opens with a solo for tenor, with choir and organ accompaniment. The fine Gloria (also used to end Magnificat) commences with an ecstatic passage in which all the voices are employed in a high register, and there is a matching climax at the end.

RG

Long play 331/3 R.P.M. record

mono

Made in England by "EROICA" SOUND RECORDING SERVICES LIMITED ALTRINCHAM, CHESHIRE from Tapes supplied by the Organist, 1966

Printed by Lomax's Successors, The Johnson's Head, Lichfield, Staffs.

The Friends of Lichfield Cathedral are grateful to A.B.C. Television Ltd. for permission to reproduce the photograph of the Choir.

Lichfield Cathedral Choir 1996