One warning, this is not a disc to listen to at a single
sitting. I explored it slowly.
Nunc Dimittis, H127 has been recorded many times. It was composed in 1915 at the behest of Richard Terry, Master of Music, at Westminster Cathedral. Forgotten for many years it was published in 1979, in an edition prepared by Imogen Holst. The liner notes suggest that it was the “only part of the Anglican Service for Evening Prayer [Holst] composed.” Although it could be sung in the C of E, it is the Roman Catholic Latin text used at the Office of Compline that was set.
It is amazing to think that Holst’s Two Psalms, H117, were premiered at an open air concert at St James’ Park Football Ground, Newcastle upon Tyne on 18 July 1920. Both were written in 1912. The liner notes explain in detail the literary and musical sources of these two pieces. The first, Psalm 86, To my humble supplication is prayerful in intent, with beautiful contributions from the tenor and soprano soloists. The second number is a rousing and imaginative setting of Frances Ralph Gray’s paraphrase of Psalm 148, Lord, who hast made us for thine own.
The Short Festival Te Deum, H145 (1919) really is brief. With words taken from The Book of Common Prayer, Holst whizzes through it in just over 4½ minutes. It was devised for use at Morley College, where he taught. Originally scored for orchestra, it is heard here in Iain Farrington’s arrangement for chorus and organ. It would be effective for “choirs and places where they sing” to perform during Mattins.
Several hymn tunes have been included on this disc. In
This World, the Isle of Dreams (Brookend), H161 (c.1925) is an attractively
melodic, strophic setting of a poem by Robert Herrick. This somewhat secular
hymn was published in Songs of Praise. Gird on thy sword (Chilswell),
also appeared in that hymnary. It was extracted from the anthem Man Born to
Toil H.168 (1927). Our Blest Redeemer (Essex) (uncatalogued) was
written for the Public Schools Hymn Book in 1919. It is a somewhat
dreich tune that would surely not have inspired the scholars. From Glory to
Glory Advancing H73 (Sheen) was taken from the Liturgy of St James,
translated by C.W. Humphreys. It was published in The English Hymnal and
several other “popular” hymnbooks. It is a long breathed hymn that lies well
for congregational voices. By Weary Stages the Old World Ages, (Hill
Crest) H170 was mined from Holst’s The Coming of Christ, H170 incidental
music to a Mystery Play, setting words by John Masefield. The beautiful hymn, Christ
Hath a Garden, H167 does not appear in the composer’s personal list of
works. However, it was mentioned in his diary for 1928, but Imogen Holst thought
it may have been earlier. It seems to have been originally scored for female
voices and small orchestra but is heard here with organ accompaniment. The
words are by the English Congregational minister, hymn writer, theologian, and
logician, Isaac Watts.
An early anthem for choir and organ, Not unto us, O Lord, H22 was completed in 1893. It sets words from Psalm 115. Interestingly, at the top of the score Holst pencilled: “Motto. Search deep enough, there is music everywhere.” It is a notable achievement for the 19 year old composer. The liner notes explain that this was probably not performed in Holst’s lifetime, but the premiere was likely to have been by the present choir during February 2020.
In a Man born to toil, H168, Holst sets words by the then Poet Laureate, Robert Bridges. It is in two discrete sections. The opening verses are set to a gloomy unison melody, that gradually expands into several parts. The second section is hymnlike, ending with bass bells and organ in a blaze of optimism. Listeners will note that this latter tune was heard earlier on this CD as Gird on thy sword, (Chiswell). The bass bells are used again to advantageous effect in another Bridge setting, Eternal Father (H169) along with a soprano solo, organ and choir. Composed in 1927, this powerful, but short, work counterpoises a dramatic opening, an unaccompanied section leading to soprano solo and “a final distant chorus…singing radiant alleluias.” I was taken by the Ave Maria, H49 dating from 1900, dedicated to the memory of Holst’s mother. It is a remarkable anthem for women’s voices in eight parts.
The Four Festival Choruses are interesting. Normally listed as Three Festival Choruses H134, this recording also includes All People that on Earth do Dwell. It probably dates between 1916 and 1919. In Imogen Holst’s Thematic Catalogue (Faber, 1974) this is listed in the appendix as an arrangement for chorus and orchestra. Holst uses the harmonies from the Ravenscroft Psalter (1621), and successfully interpolates the opening chorus of the final choral of Bach’s Cantata No.130, Herr Gott, dich loben alle wir, BWV130. This slight mystery of titling is solved by the fact that All People was included in the set of Holst’s Festival Choruses used by the League of Arts for National and Civic Ceremony – making up the four!
The other pieces are A Festival Chime and Turn
Back, O Man setting words by Clifford Bax, and Let All Mortal Flesh Keep
Silence. These latter are heard in new choir and organ arrangements by Iain
Farrington.
The liner notes are compiled by Andrew Neill and are in part based on a commentary provided by Chris Cope, Chairman of The Holst Society. They provide all the information needed to contextualise and enjoy this music. I would have liked the “H” number to have been given in the notes and on the track listing. To be sure, they are provided in the song texts which have been conveniently included. Dates in the track listing would have been helpful. There are brief details about the choir and the soloists. The cover is a painting by Millicent Lisle Woodforde, dating from 1910 and is (possibly) on display at the National Portrait Gallery in London. The album is sponsored by The Holst Society.
The performance by the Chapel Choir of the Royal Hospital Chelsea under their director William Vann is ideal. The organist, Joshua Ryan makes a significant contribution on the splendid J.W. Walker instrument in Holy Trinity Church, Sloane Square. And let’s not forget the tubular/bass bell player Richard Horne, in A Festival Chime, (and other items) which certainly adds to the celebrations.
This is a significant release of Holst’s music from SOMM Recordings. It explores several byways, which do not seem to be in the public purview. That said, nothing can be more popular than the hymn I Vow to Thee, My Country, H148. Whether known as Princess Diana’s favourite or as the “big tune” from Jupiter (The Planets) it is always going to define Holst for many listeners.
Track Listing:Gustav Holst (1874-1934)
Nunc Dimittis, H127 (1915)
Gird on Thy Sword, H168 (Chilswell) (1931)
Two Psalms, H117, Psalm 86: To My Humble Supplication; Psalm 148: Lord, Who Hast Made Us for Thine Own (1912)
In This World, the Isle of Dreams, H161 (Brookend) (c.1925)
Not Unto Us, O Lord, H22 (1893-96)
Our Blest Redeemer (Not catalogued) (Essex) (1919)
Short Festival Te Deum, H145 (1919)
From Glory to Glory Advancing, H73 (Sheen) (1904-05)
Man Born to Toil, H168 (1927)
Eternal Father, H169 (1927)
By Weary Stages the Old World Ages, from The Coming of Christ H170 (Hill Crest) (1927)
Christ Hath a Garden, H167 (c.1928)
Ave Maria, H49 (1901)
I Vow to Thee, My Country, H148 (pub.1921)
Four Festival Choruses, H134, A Festival Chime; All People That on Earth do Dwell; Let All Mortal Flesh Keep Silence; Turn Back, O Man (1916-19)
Joshua Ryan (organ); Richard Horne (tubular and bass bells)
Chapel Choir of the Royal Hospital Chelsea/William Vann
rec. 21-22 July 2021, Holy Trinity Church, Sloane Square, London
SOMM RECORDINGS SOMM CD 279
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