CHORAL ANTHEM REVIEW II

Probably my best contribution to Nick's new series.

Let All Mortal Flesh Keep Silence - arr. by Gustav Holst

This is the arrangement I learned as an 11-year-old tenor in a (can you believe - Catholic) choir of men and boys directed by Reuel Gifford. Yes, I did say tenor! Back then I had never even heard of the hymn, let alone the choral arrangement. Now, as many musicians know, the hymn tune of choice is the French tune, PICARDY. The text comes from the 4th Century Liturgy of Saint James. Many probably know the arranger of this edition I'm reviewing - Gustav Holst - as composer of The Planets, and the hymntune THAXTED (which is Jupiter in The Planets).

The Holst arrangement is for SATB with accompaniment. It calls for piano, but sounds really good on the organ. The end result is quite mysterious, especially in the beginning. Don't rush it. I've heard the basic hymn itself often played at quarter note=120 or more. Take this one at 100 or less (preferably less - maybe low to mid 90's - tops!).

You start with a group of sopranos or a soprano solo (if you have a boychoir, a solo treble would sound really nice). Keep the organ light - probably a very soft string celeste, no pedal.

The second verse is sung by a baritone or group of baritones. The organ takes a bit of a deeper, darker tone here (add 8' flute or geigen to existing registration). Here you could use a well-blending 16' pedal on the bottom note. The excitement builds on the organ with the last line of the verse: his own self for heav'nly food.

Then boom! The third verse is sung a capella (less a near staccato quarter note chord on the very first beat of the verse). It starts as an SAAT harmony (yes, the alto section divides and the bass section sits out the first couple of lines), then goes into SATB. You start to hear the organ on the last few bars.

Now, the final verse. You start in unison, and start playing on brighter stops. I start with 8' and 4' principals here. Get the 2' ready for them triplets in the accompaniment that follows "as with ceaseless voice they cry" (on that line, you should have your choir build a nice crescendo). Then the climaxing Lord, most high! Here I add the mixture, and then the chorus reed for the two Amens that follow.

To this day, thirty years later, I'm still stuck to the Holst arrangement. It's in E-minor. Personally, I won't use this as a "basic" hymn with just a cantor, because of its high pitch. But as a choral piece with or without congregation, this octavo is a must have. It's published by Galaxy Music Company of New York.

Peace,
BMP

Choral Anthem Review I

Welcome to a new feature of the Christus Vincit Blog. Periodically, I will be delving into various anthems from across the choral repertoire: some standards, others not as well known. I hope this will be found useful to our readers.

Thee We Adore – T. Frederick H. Candlyn

This anthem is, of course, a choral adaptation of the Latin chant Adoro te Devote, and is a fine addition to the liturgies of Holy Thursday, and Corpus Christi.

T. Frederick H. Candlyn (1892-1964) was English by birth, and was the Choirmaster at St. Thomas – Fifth Avenue, New York City, being the immediate successor to the famous T. Tertius Noble.

Candlyn beautifully orchestrates the chant into metrical singing, and the introduction of the accompaniment is a perfect location to solo a 4’ flute over some slushy celestes. The tenors and basses begin in unison with the first verse, in unison. A brief interlude, then the sopranos take over with verse 2. After a modulation and registration change (and waking up the altos who have been asleep for the first 3 pages…), we arrive at verse three, where the chant melody is in the tenor, while the other three voices soar around it in gorgeous harmony. It is important to note that the organ accompaniment truly lets the chant have precedence: a fair portion of the anthem is a cappella; the organ provides interludes and “mini-versets”, if you will, after each phrase. For verse four, the organ modulates back to the original key, and the entire choir sings the chant in unison, save for 2 measures, and accompanied by the organ. Candlyn’s work is a true gem worthy of the repertoire of any choir that relishes and thrives on fine anthems.

Thee We Adore is published by Carl Fischer, #CM492. It has been recorded by the choirs of Grace Episcopal Church, Charleston, South Carolina on the album “A Land of Pure Delight”, available from ProOrgano, #CD-7173, with organist-choirmaster J. Scott Bennett conducting.

Reviewed by:
Nicholas F. Basehore, B.Mus
Director of Liturgical Music
The Cathedral Parish of Saint Patrick, Harrisburg, Pennsylvania