AGO SERVICE PLAYING ANTHEM ACCOMPANIMENT · sic theory at New York University and serves as music...
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AGO SERVICE PLAYING ANTHEM ACCOMPANIMENT THOU WILT KEEP HIM IN PERFECT PEACE: APPROACHES TO WESLEY'S MOST POPULAR ANTHEM Jonathan B. Hall, FAGO, ChM S AMUEL SEBASTIAN WESLEY (1810-76) is often referred to as the "natural" (that is, illegitimate) son of the or- ganist Samuel Wesley and the grandson of the hymn writer Charles Wesley. De- spite his inauspicious start-his mother was his father's teenage maid-the young Wesley got on well in life, espe- cially in music. At seven, he began to sing in the Chapel Royal under William Hawes; at 22, he was organist at Here- ford Cathedral; and in a feat that many of us would have liked to emulate, he was awarded bachelor of music and doctor of music degrees at the same time, in 1839, at Oxford. He went on to serve the cathedrals of Winchester, Ex- eter, and Gloucester. Regarded as a "modern" composer in his day, Wesley is seen as a seminal figure in the great development of Anglican church music in the 19th century. (He was also at the very forefront ofthe movement to equip English organs with full pedalboards.) In June 1853, the popular Musical Times and Singing Class Circular car- ried an advertisement placed by Dr. Wesley, who was then about 43 years old. "Now Publishing: A Volume of An- thems, in Score, with Organ or Pi- anoforte Accompaniment, for the use of choirs, by Samuel Sebastian Wesley, Organist of the Cathedral and College of Winchester, etc." Of these twelve an- thems, which were listed by title, the twelfth was "Thou wilt keep him in per- fect peace." The price for the volume, which Wesley printed himself, was two pounds and two shillings.' The work received something of a cool review in The Athenaeum, where the unsigned article acknowledged" ... one of the handsomest volumes of sa- cred music which have been of late submitted to us," but went on to lament a lack of "discretion" and "invention," both of which, the reviewer felt, "must be combined ifthe labor is to prove last- ing. "2 Undaunted, in the same year of 1854, Wesley announced a second edi- tion and reduced the price to two pounds for subscribers.P His labor has since proved lasting! The anthem was eventually pub- lished by Novello in Volume five of Novello's Collection of Anthems by Modern Composersi and it is in this edition, via H.W. Gray, that many of us are still most familiar with it. With this background, let us turn to the piece itself. Some of the performance issues with this piece are straightforward and com- paratively easy to resolve. This includes articulation, where a conservative, dig- nified legato is appropriate virtually throughout, and a few distinct articula- tions (such as at the final repetition of text) round out a vision of peace and calm. There is one typographical error in the commonest edition. In m. 30, the alto line contains a whole note on F. This is surely incorrect; the alto line moves to G on beat three, and the paral- lel passages-mm. 2 and 56-provide a half rest in lieu of the G. The best solu- tion is probably to make the whole note a half, and rest for two beats. Also comparatively straightforward is the question of registration. Here, a basic sense of 19th-century English or- gans and, again, a sense of dignity will lead one to emphasize 8' tone, with just enough 4' for clarity, and to eschew brilliance in any case. I do not believe in dogmatic registrational rules, and every organ, room, choir, and occasion is different. Still, one does well to begin with the advice given at the start: "Ch. Dul. or Diaps. and Sw. Prin." This is not completely clear, but it is beyond our scope to look into the history of in- cluding diapasons on the Choir divi- sions ofEnglish organs. Use gentler flue work in the diapason family, under expression. Later, we are asked to play on the Great with an 8' Diapason. The presence of crescendo and diminuendo marks (colloquially, "hairpins") in those sec- tions suggests coupling. Of course, all of this will have to take root on an American organ, probably of the 20th century. Do not violate the understated and prayerful dignity intended by the registration. Be aware, as you practice, that the piece is in five-part texture for the most part. Be especially careful, for example, in holding a whole note while moving other voices in the same hand-see m. 2, left hand, and m. 3, right hand, for examples of this. Fingering challenges like this will arise throughout the piece. A thornier issue emerges with the use of the pedal. In the Novello edition, there is a very clear marking in the sec- ond measure: senza ped. Then, as the eighth measure begins, the downbeat is a low F, calling for "Ped. 16'." This is followed, at the third beat, by a manual indication: "Gt. Open Diap." (Again, as there is a crescendo marked in the organ part under the text "night is as clear," one infers that the manuals are to be coupled.) In other words, if the score is taken literally, the pedal is first heard on the downbeat ofm. 8, as if it were an- nouncing the new material just as the opening matter concludes; a kind of "point of imitation." An effective musical touch, to be sure, but it raises serious problems for the preceding measures, where there are several stretches that the hand sim- ply cannot be expected to play while maintaining legato. The best British recordings do not use an independent pedal line here, so the best solution would be to use "silent pedal" from the start through the end of m. 6. In other words, play the lowest line on the ped- als, but use only 8' manual couplers but no pedal stops, in essence adding a third hand to the manual registration. In m. 7, the hands can handle the music, leaving the pedals out and the foot free to bring on a pedal stop in the gap. At the section usually marked with a letter B, at the return of the opening material, there is a useful gap in the texture that allows the reversal of the procedure. In m. 35, just before the "0 let my soul live," there is simply the marking "ped." and no indication of 16' pitch. This may also be an error, as the next measure is a far more logical and con- sistent spot for the addition of the pedal, with 16', just as in the parallel passages. The recordings I studied do exactly that; and the early Novello edi- tion has no indication here whatsoever, probably because it takes the paral- lelism for granted. A few moments after that, in m. 42, the voices enter forte starting on beat two. For this, I would suggest moving the tenor middle C to the Great imme- diately on beat two, to be followed by the other voices as they enter with the new text. The other significant issue with this anthem is its tempos, particularly its metronome markings. The "refrain" is marked at 69 to the quarter-note, and 46 THE AMERICAN ORGANIST
Transcript of AGO SERVICE PLAYING ANTHEM ACCOMPANIMENT · sic theory at New York University and serves as music...
AGO SERVICE PLAYING ANTHEM ACCOMPANIMENTTHOU WILT KEEP HIM IN PERFECT PEACE:
APPROACHES TO WESLEY'S MOST POPULAR ANTHEM
Jonathan B. Hall, FAGO, ChM
SAMUEL SEBASTIAN WESLEY (1810-76)is often referred to as the "natural"(that is, illegitimate) son of the or
ganist Samuel Wesley and the grandsonof the hymn writer Charles Wesley. Despite his inauspicious start-his motherwas his father's teenage maid-theyoung Wesley got on well in life, especially in music. At seven, he began tosing in the Chapel Royal under WilliamHawes; at 22, he was organist at Hereford Cathedral; and in a feat that manyof us would have liked to emulate, hewas awarded bachelor of music anddoctor of music degrees at the sametime, in 1839, at Oxford. He went on toserve the cathedrals of Winchester, Exeter, and Gloucester. Regarded as a"modern" composer in his day, Wesleyis seen as a seminal figure in the greatdevelopment of Anglican church musicin the 19th century. (He was also at thevery forefront ofthe movement to equipEnglish organs with full pedalboards.)
In June 1853, the popular MusicalTimes and Singing Class Circular carried an advertisement placed by Dr.Wesley, who was then about 43 yearsold. "Now Publishing: A Volume of Anthems, in Score, with Organ or Pianoforte Accompaniment, for the use ofchoirs, by Samuel Sebastian Wesley,Organist of the Cathedral and College ofWinchester, etc." Of these twelve anthems, which were listed by title, thetwelfth was "Thou wilt keep him in perfect peace." The price for the volume,which Wesley printed himself, was twopounds and two shillings.'
The work received something of acool review in The Athenaeum, wherethe unsigned article acknowledged"...one of the handsomest volumes of sacred music which have been of latesubmitted to us," but went on to lamenta lack of "discretion" and "invention,"both of which, the reviewer felt, "mustbe combined ifthe labor is to prove lasting. "2 Undaunted, in the same year of1854, Wesley announced a second edition and reduced the price to twopounds for subscribers.P His labor hassince proved lasting!
The anthem was eventually published by Novello in Volume five ofNovello's Collection of Anthems byModern Composersi and it is in thisedition, via H.W. Gray, that many of usare still most familiar with it. With this
background, let us turn to the pieceitself.
Some of the performance issues withthis piece are straightforward and comparatively easy to resolve. This includesarticulation, where a conservative, dignified legato is appropriate virtuallythroughout, and a few distinct articulations (such as at the final repetition oftext) round out a vision of peace andcalm.
There is one typographical error inthe commonest edition. In m. 30, thealto line contains a whole note on F.This is surely incorrect; the alto linemoves to G on beat three, and the parallel passages-mm. 2 and 56-provide ahalf rest in lieu of the G. The best solution is probably to make the whole notea half, and rest for two beats.
Also comparatively straightforwardis the question of registration. Here, abasic sense of 19th-century English organs and, again, a sense of dignity willlead one to emphasize 8' tone, with justenough 4' for clarity, and to eschewbrilliance in any case. I do not believein dogmatic registrational rules, andevery organ, room, choir, and occasionis different. Still, one does well to beginwith the advice given at the start: "Ch.Dul. or Diaps. and Sw. Prin." This is notcompletely clear, but it is beyond ourscope to look into the history of including diapasons on the Choir divisions of English organs. Use gentler fluework in the diapason family, underexpression.
Later, we are asked to play on theGreat with an 8' Diapason. The presenceof crescendo and diminuendo marks(colloquially, "hairpins") in those sections suggests coupling. Of course, allof this will have to take root on anAmerican organ, probably of the 20thcentury. Do not violate the understatedand prayerful dignity intended by theregistration.
Be aware, as you practice, that thepiece is in five-part texture for the mostpart. Be especially careful, for example,in holding a whole note while movingother voices in the same hand-seem. 2, left hand, and m. 3, right hand, forexamples of this. Fingering challengeslike this will arise throughout thepiece.
A thornier issue emerges with the useof the pedal. In the Novello edition,
there is a very clear marking in the second measure: senza ped. Then, as theeighth measure begins, the downbeat isa low F, calling for "Ped. 16'." This isfollowed, at the third beat, by a manualindication: "Gt. Open Diap." (Again, asthere is a crescendo marked in the organpart under the text "night is as clear,"one infers that the manuals are to becoupled.) In other words, if the score istaken literally, the pedal is first heardon the downbeat ofm. 8, as if it were announcing the new material just as theopening matter concludes; a kind of"point of imitation."
An effective musical touch, to besure, but it raises serious problems forthe preceding measures, where thereare several stretches that the hand simply cannot be expected to play whilemaintaining legato. The best Britishrecordings do not use an independentpedal line here, so the best solutionwould be to use "silent pedal" from thestart through the end of m. 6. In otherwords, play the lowest line on the pedals, but use only 8' manual couplers butno pedal stops, in essence adding athird hand to the manual registration. Inm. 7, the hands can handle the music,leaving the pedals out and the foot freeto bring on a pedal stop in the gap. At thesection usually marked with a letter B,at the return of the opening material,there is a useful gap in the texture thatallows the reversal of the procedure.
In m. 35, just before the "0 let my soullive," there is simply the marking"ped." and no indication of 16' pitch.This may also be an error, as the nextmeasure is a far more logical and consistent spot for the addition of thepedal, with 16', just as in the parallelpassages. The recordings I studied doexactly that; and the early Novello edition has no indication here whatsoever,probably because it takes the parallelism for granted.
A few moments after that, in m. 42,the voices enter forte starting on beattwo. For this, I would suggest movingthe tenor middle C to the Great immediately on beat two, to be followed bythe other voices as they enter with thenew text.
The other significant issue with thisanthem is its tempos, particularly itsmetronome markings. The "refrain" ismarked at 69 to the quarter-note, and
46 THE AMERICAN ORGANIST
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Jonathan B. Hall, FAGO, ChM, teaches music theory at New York University and servesas music director of Central PresbyterianChurch, Montclair, N.J. He is the author ofCalvin Hampton: A Musician Without Borders, Wayne Leupold Editions.
copy contains the handwritten date of August 14, 1894. This edition contains a farricher wealth of scriptural citations; insteadof just the Isaiah 26:3 we now see, referencesare also made to Psalm 139:11, 1 John 1:5,and Psalm 119:175. Thanks and acknowledgment to Bill Powers, who found time during a business trip to consult and photographthis score.NOTES
1. The Musical Times and Singing Class Circular, Vol. 5, No. 109 (June 1, 1853), p. 208.2. "New Publications," The Athenaeum,whole No. 1392 (July 15, 1854), p. 884.3. The Musical Times and Singing Class Circular, Vol. 6, No. 127 (July 1, 1854), p. 124.4. Undated, but the Boston Public Library's
the "verses" at 100. (These tempochanges coincide exactly with both registrational changes and the appearanceor disappearance of the pedal.) Thesemarkings appear in the Novello edition,and to some contemporary ears theyseem awfully slow. However, the consensus ofthe important recordings is indeed for the "refrain" sections to beright about at these tempos (DavidBriggs takes it still slower with the choirof Truro Cathedral. Christopher Robinson and the choir of Clare College, Cambridge, take the metronome indicationsquite literally. In both cases, the effect isvery musical.) At "for thine is the kingdom," the score says "faster" and suggests a quarter-note at 80; perhaps someadditional accelerando is appropriatehere.
Whatever tempo you choose, avoidthe all-too-common idea that the music must "move along and not die." Itwon't die, I promise you, if you maintain a sense ofline, and oflong breaths;and above all, observe a sense of religious dignity that can make the pieceso wonderful. I find that this piececomes alive at the recommended restrained tempos.
However precisely you choose to register and pedal this piece, and at whatever tempo you choose to perform it, itis clear that registration and tempo areintended to work together to emphasizethe structure of the work. Consistencywill be the key to success.
The greatest technical difficulties inthe piece are probably at the same "forthine is the kingdom" section just mentioned. The pedal is quite active, andthere are several challenging fingeringissues. I feel that this section offerssome tone-painting on the words"power and glory" in particular. Without abandoning legato, one could adddynamic and movement here. Bringsome intensity to this section if youwish, but observe the rallentando, andquiet things down artfully as you approach the tempo primo.
I would advise particular care in theexquisite final measures. There is justenough chromaticism in the cadence,and just enough complexity in thevoice-leading, to warrant extra practice.If this section is played carefully, accurately, and tastefully, with just enoughritard and just enough crescendo anddiminuendo, it will form a hauntingand memorable conclusion to this wonderful piece-or might one even call ita perfect piece? Happy practicing!
AUGUST 2012 47
