A concert of music for Easter - Exultate Singers

A concert of music
for Easter

Exultate Singers conducted by David Ogden

Wednesday 19th March 2008 at 8pm
St James’ Priory, Bristol

A concert of music
for Easter

Exultate Singers conducted by David Ogden

O bone Jesu Robert Carver
John Sanders
The Reproaches Herbert Howells
James MacMillan
Take him, earth, for cherishing
Thomas Tallis
O bone Jesu Thomas Tallis
Ralph Vaughan Williams
Interval

Salvator mundi

Why fumeth in sight?

Mass in G minor

i. Kyrie
ii. Gloria in excelsis
iii. Credo
iv. Sanctus & Benedictus
v. Agnus Dei

Exultate Singers is grateful for the support of:
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John Sanders O bone Jesu Robert Carver (1487-1546)
The text of O bone Jesu is an extended version of a thirteenth century sequence,
attributed to Pope Innocent V. There are many variants of this text, which was also
set in the fifteenth and sixteenth centuries by Josquin, Palestrina, Lassus and Fayrfax.

The setting by the Scottish composer Robert Carver is of a particularly extended
and deeply contrite version of the text, written for the large and unusual number
of 19 voice parts. Such a monumental setting must surely have been composed for
a specific purpose. It has been suggested that his motet served as a private prayer
for James IV, who felt responsible for, and was afflicted with remorse at the death of
his father, James III, at the battle of Sauchieburn in 1488. The text has been transferred
to the first person singular, and the music, compared with Carver’s other works, is sombre
and restrained, and stark in the simplicity of its harmony. The motet is an example of a
gloriously rich culture which came to such an abrupt and violent end because of the
political and religious upheavals of the 16th century.

O good Jesus, O most holy Jesus, O most sweet Jesus,
O Jesus, son of the Virgin Mary, full of piety,
O sweet Jesus,according to your great mercy have mercy upon me.
O most compassionate Jesus
I beseech you by that precious blood
which you willingly shed for sinners
that you might wash away my wickedness
and look upon me miserable and unworthy sinner
imploring this name of Jesus.
O name of Jesus, sweet name, name of Jesus,
beloved name, name of Jesus, sweet name,
for what is Jesus if not our saviour?
Therefore good Jesus through your name
save me that I shall not perish
and suffer me not to be damned
whom you created out of nothing.
O good Jesus, let not my sin destroy me.
I beg you, most holy Jesus,
forsake not me whom your love has made.
O sweet Jesus, accept what is yours
and reject that which offends you.
O most beloved Jesus, O most longed for Jesus,
O most gentle Jesus, O Jesus,
permit me to enter into your kingdom, sweet Jesus.

The Reproaches John Sanders (1933-1994)
The text of The Reproaches is an ancient part of the liturgy for Good Friday.
It comprises three parts: the cry of Jesus on the cross (‘O my people, what
have I done to you?’), the recollection of God's love for his people, and the
Trisagion (‘Holy is God, Holy and strong’), a prayer praising God's greatness
and asking for his mercy. This setting was written by John Sanders, Organist
and Master of the Choristers at Gloucester Cathedral between 1967-94.

Herbert Howells O my people, what have I done to you? How have I offended you? Answer me!

Holy is God! Holy and strong! Holy immortal One, have mercy on us.

i. I led you out of Egypt, from slavery to freedom,
but you led your Saviour to the cross.

ii. For forty years I led you safely through the desert.
I fed you with manna from heaven, and brought you to a land of plenty:
but you led your Saviour to the cross.

iii. What more could I have done for you?
I planted you as my fairest vine, but you yielded only bitterness:
When I was thirsty you gave me vinegar to drink,
and you pierced your Saviour’s side with a lance.

iv. I opened the sea before you, but you opened my side with a spear.
I led you on your way in a pillar of cloud, but you led me to Pilate’s court.

v. I bore you up with manna in the desert, but you struck me down
and scourged me. I gave you saving water from the rock,
but you gave me gall and vinegar to drink.

vi. I gave you a royal sceptre, but you gave me a crown of thorns.
I raised you to the height of majesty, but you have raised me high on a cross.

Take him, earth, for cherishing Herbert Howells (1892-1983)
Herbert Howells composed this motet in the spring of 1964, and
dedicated it ‘to the honoured memory of John Fitzgerald Kennedy,
President of the United States of America.’ The work was premiered later
that year in Washington, D.C. Having lost his own young son to a debilitating
neurological disease a few years earlier, Howells was aware of the pained
state of the audience who would first hear this music, so his setting begins

with a sense of quiet reverence. Quickly the harmonies become thicker, the mood more
agitated, leading to an expansive climax at the words, Take, O take him, mighty Leader,
Take again thy servant’s soul. From here the music broadens and dies back until the final
repetition of the opening text: Take him, Earth, for cherishing.

Take him, earth, for cherishing
To thy tender breast receive him.
Body of a man I bring thee, noble even in its ruin.
Once was this a spirit’s dwelling, by the breath of God created.
High the heart that here was beating, Christ the prince of all its living.

Guard him well, the dead I give thee,
Not unmindful of his creature
Shall He ask it: He who made it
Symbol of His mystery.

Comes the hour God hath appointed to fulfill the hope of men,
Then must thou, in very fashion,
What I give, return again.

Body of a man I bring thee.
Not though ancient time decaying wear away these bones to sand,

James MacMillan Ashes that a man might treasure in the hollow of his hand:
Not though wandering winds and idle winds, drifting through the empty sky,
Thomas Tallis Scatter dust was nerve and sinew, is it given to man to die.

Once again the shining road leads to ample Paradise;
Open are the woods again, that the Serpent lost for men.

Take, O take him, mighty Leader, take again thy servant’s soul.
Grave his name, and pour the fragrant balm upon the icy stone.

Take him, Earth, for cherishing, to they tender breast receive him.
Body of a man I bring thee, noble in its ruin.
By the breath of God created. Christ the prince of all its living.
Take him earth, for cherishing.

Prudentius (348-413), from Hymnus Circa Exsequias Defuncti translated by Helen Waddell

O bone Jesu James MacMillan (b. 1959)
Born in Ayrshire, Scotland in 1959, James MacMillan is one of today’s most
successful living composers and his works are performed throughout the
world. His music is notable for its extraordinary directness, energy and
emotional power. References to Scottish folk music imbue MacMillan’s work
with a strong sense of the vernacular, while strongly-held religious and
political beliefs coupled with community concerns inform both the spirit and

subject matter of his music.

For his setting of O bone Jesu, MacMillan looked back 500 years to his Scottish compatriot
Robert Carver. Like Carver’s setting, MacMillan uses the repeated word ‘Jesu’ to act as
musical pillars that define the structure of the piece. Each time the ‘Jesu’ chords are
harmonised slightly differently. In between, MacMillan writes passages with contrasting
textures and different combination of singers, showcasing different aspects of the choir
rather like a concerto. Like much of his choral music it uses the vocal inflections of the
Scottish lament. The result is a sensual and spiritual web of sound which, in the composer’s
words, is designed to be “gorgeous rather than austere”.

The piece was commissioned by The Sixteen to celebrate their 20th anniversary. It received
its world premiere on 10 October 2002 in Southwark Cathedral, London.

Salvator Mundi Thomas Tallis (1505-1585)
Tallis’ setting of Salvator mundi is one fifteen Latin motets written early in
the reign of Queen Elizabeth I. It was first published in Cantiones Sacrae, a
collection of 34 motets in part book form which Elizabeth commissioned
from her two senior Chapel Royal musicians, Thomas Tallis and William Byrd.
Cantiones Sacrae demonstrated Elizabeth’s determination that England should
be put on the musical map and the intention was almost certainly that sets

of part books would be purchased by domestic households as well as finding their way into
churches and chapels on the continent.

Using a text from the Liturgy for Good Friday, the vocal parts imitate each other entering in
sequence from the sopranos down to the basses with arresting rising intervals of fifths and
fourths. All parts come together at the words words ‘auxiliare nobis’ (help us) followed by a

repeated imitative section, ‘te deprecamur’. Although he restricts himself to an economic
use of rhythmic and melodic motifs, Tallis creates a continuous musical unfolding across
the entire length of the piece.

Saviour of the world, save us,
who through thy cross and blood didst redeem us:
help us, we beseech thee, our God.
Good Friday, Antiphon at the Adoration of the Cross

Why fumeth in sight? Thomas Tallis (1505-1585)
This piece is an example of one of Tallis’ sacred pieces in English which are much simpler
and more direct than his Latin motets. The words are taken from Psalm 2. This hymn-like
tune was made famous by Vaughan Williams in his Fantasia on a Theme of Thomas Tallis
for string orchestra.

Why fumeth in sight: the Gentiles’ spite, God’s wordes decreed: I (Christ) wil spread
In fury raging stout? for God thus said to me:
Why taketh in hond: the people fond, “My son I say: thou art, this day,
Vain things to bring about? I haue begotten thee”.
The kings arise: the lords devise, Ask thou of me: I will give thee,
in counsels met thereto: to rule all Gentiles’ lands:
Against the Lord: with false accord, Thou shalt possess: in sureness,
against his Christ they go. the world how wide it stonds.
Let us they say: break down their ray, With iron rod: as mighty God,
of all their bonds and cords: all rebels shalt thou bruise:
We will renounce: that they pronounce, And break them all: in pieces small,
their laws as stately lords. as shards the potters use.
But God of might: in heaven so bright, Be wise therefore: ye kings the more,
Shall laugh them all to scorn: Receive ye wisdoms law:
The Lord on high: shall them defy, Ye iudges strong: of right and wrong,
they shall be once forlorn. advise you now before.
Then shall his ire: speak all in fire, The Lord in fear: your service bear,
to them again therefore: with dread to him rejoice:
He shall with threat: their malice beat, Let rages be: resist not ye,
in his displeasure sore. him serve with ioyful voice.
Yet am I set: a king so great, The son kiss ye lest wrath he be;
on Sion hill so fast: lose not the way of rest;
Though me they kill: yet will that hill, for when his ire is set on fire,
my law and word outlast. who trust in him be blest.

Mass in G minor Ralph Vaughan Williams (1872-1958)
In 1916 Gustav Holst organised a four-day music festival at Thaxted, Essex, over the
Whitsun weekend. He augmented the church choir with his students from Morley College
and called the result the Whitsuntide Singers. When Vaughan Williams returned from the
war, he was thrilled by this choir and dedicated his Mass in G minor to them. Another
inspiration for the work was the singing of Westminster Cathedral Choir under R. R. Terry,
who had not only revived many of the choral works of Taverner, Tye, Tallis and Byrd, but
commissioned or performed works by contemporary composers, among them Stanford,
Howells, Holst and Bax. Vaughan Williams sent the score of the Mass to Terry for comment,

and was told: “It is the work one has all along been waiting for”.

In the event the first performance was given in December 1922 by the City of Birmingham
Choir under Joseph Lewis. The first London performance was in Westminster Cathedral in
March 1923.

English church music in the early twentieth century was not exempt from the urge
towards greater freedom of expression, in reaction to the cut-and-dried tonal scales of
the previous century. A powerful stimulus towards this liberation was the rediscovery and
republication of the large treasury of Tudor church music. Vaughan Williams was in the
forefront of this movement and this, along with his love of folksong and modal harmony,
provided the inspiration for the compositional style of the Mass in G minor.

The work is in some respects a companion piece to the instrumental Fantasia on a Theme
of Thomas Tallis of 1910, not only in the way it looks back to the Tudor age while still
employing a twentieth century vocabulary, but in its design, being for four soloists and
double choir, as the Fantasia was for string quartet and double string orchestra. Vaughan
Williams also employed some of the features of Elizabethan fantasy, notably the device of a
motif, always slightly varied, that lends unity to the work as a whole.

Each movement is concise in structure but generates considerable power on a large
scale, with the two choirs often singing in dialogue, most notably in the Gloria and Credo.
The Sanctus, where the music seems to pay deliberate compliment to Holst, is especially
imaginative in its deployment of simple chords to powerful effect. The Agnus Dei is
perhaps the most personal movement in the work, and after a reflective opening builds
up to a forthright choral outcry - Dona nobis pacem (GIve us peace) - a cry for peace in an
unsettled and insecure post-war land.

i. Kyrie eleison, Lord have mercy
Christe eleison Christ have mercy
Kyrie eleison Lord have mercy

ii. Gloria

Gloria in excelsis Deo, Glory be to God on high

et in terra pax and peace on earth

hominibus bonae voluntatis. to men of good will.

Laudamus te, benedicimus te, We praise you, we bless you,

adoramus te, glorificamus te. we worship you, we glorify you.

Gratias agimus tibi propter We give you thanks for your

magnam gloriam tuam. great glory.

Domine Deus, Rex caelestis, Lord God, Heavenly King,

Deus Pater omnipotens. God the Father almighty.

Domine Fili unigenite Jesu Christe, Lord Jesus Christ, the only begotten Son.

Domine Deus Agnus Dei, Filius Patris. Lord God Lamb of God, Son of the Father.

Qui tollis peccata mundi, Who takes away the sins of the world,

miserere nobis. have mercy upon us.

Qui tollis peccata mundi, suscipe Who takes away the sins of the world,

deprecationem nostram. receive our prayer.

Qui sedes ad dexteram Patris, Who sits at the right hand of the Father,

miserere nobis. have mercy upon us.

Quoniam tu solus sanctus, You alone are holy,

Quoniam tu solus Dominus, You alone are Lord,

Quoniam tu solus altissimus, Jesu Christe. You alone are the most high, Jesus Christ.

Cum Sancto Spiritu Jesu Christe Cum With the Holy Spirit in the glory of God the Father,

Sancto Spiritu in Gloria Dei Patris, Amen. Amen. 

iii. Credo

Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, maker

factorem caeli et terrae, visibilium omnium et of heaven and earth and of all things visible and

invisibilium. invisible.

Et in unum Dominum Jesum Christum, Filium Dei I believe in one Lord Jesus Christ, the only

unigentum. begotten Son of God

Et ex Patre natum ante omnia saecula. Born of the Father before all ages.

Deum de Deo, lumen de lumine, God of God, Light of Light,

Deum verum de Deo vero. very God of very God,

Genitum non factum, Begotten not made,

consubstantialem Patri being of one substance

per quem omnia facta sunt. with the Father who made all things.

Qui propter nos homines et propter nostram Who for us men and for our salvation came down

salutem descendit de caelis. from heaven.

Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost, of the Virgin
ex Maria Virgine et homo factus est. Mary, and was made man.

Crucifixus etiam pro nobis; He was also crucified for us:
sub Pontio Pilato passus, suffered under Pontius Pilate
et sepultus est. and was buried.
Et ressurexit tertia die And the third day He rose again
secundum Scripturas. according to the scriptures.
Et ascendit in caelum; And ascended into heaven; and is
sedet ad dexteram Patris. seated at the right hand of the Father.
Et iterum venturus est cum gloria; And he shall come again with glory
judicarer vivos et mortuos. to judge the living and the dead.

Cujus regni non erit finis. His Kingdom shall have no end.
Et in Spiritum Sanctum, I believe in the Holy Spirit,
Dominum, et vivificantem: the Lord, the giver of life: who proceeds
qui ex Patre, Filioque procedit. from the Father and the Son.
Qui cum Patre et Filio simul Who with the Father and Son

adorator et conglorificatur: is adored and glorified.

qui locutus est per Prophetas. Who has spoken through the Prophets.

Et in unam sanctam catholicam et apostolicam I believe in one holy catholic and

Ecclesiam. apostolic church.

Confiteor unum baptisma I confess one baptism for the

in remissionem peccatorum. remission of sins. And I await the

Et exspecto resurrectionem resurrection of the dead
mortuorum. Et vitam venturi saeculi. and the life of the world to come.
Amen. Amen.

iv. Sanctus & Benedictus Holy, Holy, Holy,
Sanctus, Sanctus, Sanctus Lord God of hosts,
Dominus Deus Sabaoth. heaven and earth are full of your glory.
Pleni sunt caeli et terra Gloria tua. Hosanna in the highest.
Hosanna in excelsis. Blessed is he who comes
in the name of the Lord.
Benedictus qui venit in Hosanna in the highest.
nomine Domini.
Hosanna in excelsis. Lamb of God, you take away the sins
of the world. Have mercy on us.
v. Agnus Dei Lamb of God, you take away the sins
Agnus Dei, qui tollis peccata mundi; of the world. Have mercy on us.
miserere nobis. Lamb of God, you take away the sins
Agnus Dei, qui tollis peccata mundi; of the world. Grant us peace.
miserere nobis.
Agnus Dei, qui tollis peccata mundi;
Dona nobis pacem.

© Mark Simmons DAVID OGDEN is much in demand as a conductor and
director of choral and church music workshops, courses and
festivals in the UK and abroad. As well as Exultate Singers, he
conducts City of Bristol Choir, the RSCM Millennium Youth
Choir, Midlands and South West Cathedral Singers, and the
youth choir, Bristol Voices. He is Director of Music at the
thriving parish church in Westbury-on-Trym, Bristol.
David has conducted numerous concerts of all kinds of music, from jazz and songs from the
shows to first performances by contemporary composers, along with an extensive repertoire
of choral anthems, motets, oratorios and large-scale choral works. In June 2007 he made his
debut with the City of Birmingham Symphony Orchestra.
In the UK, he works extensively with the Royal School of Church Music, and with the BBC in
religious broadcasting, conducting BBC TV’s Songs of Praise, BBC Radio 4’s Sunday Worship,
BBC Radio 2’s Sunday Half Hour and BBC Radio 3’s Choral Evensong. He has conducted choirs
on BBC Radios 1, 2, 3, 4 and 5 and the World Service. His compositions are sung worldwide
and regularly broadcast on BBC radio.
His anthem Christ has no body now but yours was chosen by the Archbishop of Canterbury
to be included in a radio broadcast in December 2007, and his piece Love’s redeeming work
is done will be performed by 250-strong choir in the presence of Pope Benedict XVI as part
of a Papal Mass during his visit to the USA in April 2008. The Mass will be celebrated by the
Pope in the newly-built Washington Nationals Baseball Stadium with a congregation of
40,000 people. www.davidogden.co.uk

EXULTATE SINGERS

Exultate Singers was founded in order to sing Sunday Worship on BBC Radio 4 for a live
broadcast on Sunday, 15th September 2002. It has gone on to give over 70 concerts,
broadcasts and other appearances in locations varying from concert venues in Bristol
such as the Colston Hall, St George’s, St James’ Priory, St Mary Redcliffe Church and
St Alban’s Church; appearances in other venues around the South West in Dulverton,
Amberley, Bath, Lacock, Weston-Super-Mare, Brompton Regis, Alveston, the National Trust
Victorian house of Tyntesfield, Berkeley Castle and Salisbury Cathedral to venues further
afield as diverse as Wentworth Golf Club in Surrey, St Mary’s Church in Swansea and
St Martin-in-the-Fields, London. In October 2007 the choir toured Germany, singing
in Bach’s Church in Leipzig and in Berlin, Potsdam and Brandenburg, and giving an
impromptu a capella performance at Colditz Castle.

Plans for 2008 include recording a new CD with John Rutter and singing weekend services
at Christ Church Cathedral, Dublin, and in Salisbury Cathedral. In 2009 the choir has been
invited to sing at St Paul’s Cathedral in London.

With a repertoire of over 300 separate pieces - ranging from two-minute anthems to
whole works such as Bach’s St Matthew Passion and Duke Ellington’s Sacred Concert - the
choir has sung music from plainsong and Renaissance masterpieces to contemporary
music, jazz and spirituals. It has appeared on BBC Radios 2, 3 and 4, the BBC World Service
and BBC television, and has performed pieces in an array of different languages including
Russian, Latin, Aztec, French, German, Italian, Portuguese, Spanish, Quechua, Tagalog, Welsh
and Icelandic.

Soprano Liz Bagshaw; Ursula Bowlt; Susan Green; Elena Hazelgrove-Planel; Rachel Irwin;
Jennie Morris; Joanna Osborn; Rebecca Nieboer; Nicola Pocock; Pippa Ramsay;
Eleanor Roylance; Emmeline Smith; Beth Williamson.

Alto Felicity Ball; Jenna Cooper; Alison Harris; Jessica May; Judith Ogden; Susan Pontin;
Barbara Rusbridge; Emily West.

Tenor David Ball; David Brown; Ian Carpenter; Oliver Condy; Andrew Kirk.

Bass Nick Abbott; Richard Bacon; Chris Gray; Chris Lambert; Martin Le Poidevin;
Mike Osborn; Nic Pillow.

THE EXULTATE SINGERS CALENDAR 2008

2nd-4th May - CD recording sessions
Following the success of the debut CD Visions of Peace, we are delighted that John Rutter
will work with Exultate Singers to record and produce their second CD in 2008. The CD
will include a selection of pieces that have been heard at the choir’s concerts including
Pearsall’s Lay a garland, Ian Carpenter’s setting of Christ whose glory fills the skies, Britten’s
Hymn to the Virgin and Billy Joel’s song, And so it goes.

31st May - 1st June - Services at Christ Church Cathedral, Dublin
Exultate Singers sing Saturday Evensong, Sunday morning Eucharist and Sunday Evensong.

Sunday 15th June at 3pm - Concert at the New Room, Broadmead
A Sunday afternoon recital at John Wesley’s Chapel, the New Room in Broadmead. For
tickets, contact the New Room on 0117 9264740.

Friday 4th July - Concert for St Mary Redcliffe Music Festival
An English theme for this year’s appearance at the annual Music Festival in the
magnificent setting of St Mary Redcliffe Church, Bristol. Music will include Vaughan Williams’
Vision of Aeroplanes, marking the 50th anniversary of the composer’s death. The choir will
also perform The voice out of the whirlwind, Walton’s The Twelve, Set me as a seal and Where
does the uttered music go? Tickets will be available from the St Mary Redcliffe Parish Office
on 0117 929 1487.

6th-7th September - Services at Salisbury Cathedral
Exultate Singers return to Salisbury Cathedral to sing weekend services - Saturday Evensong
at 5.30pm; Sunday Eucharist at 10.30am and Sunday Evensong at 3pm.

Saturday 27th September - A concert of French music at St Mary Redcliffe Church
This year’s Autumn St Mary Recliffe appearance has a French theme with music by Debussy,
Ravel, Villette, Hakim, Langlais and Boulanger.

Thursday 18th December - Carols by Candlelight at St James’ Priory

Saturday 20th December - Christmas Oratorio by JS Bach
With Emerald Ensemble at St Mary Redcliffe Church

Monday 22nd December - Christmas Spectacular
Exultate Singers with Emerald Ensemble at St George’s, Bristol

Friends of Exultate Singers is a scheme that helps to support the choir. For more
information about becoming a Friend, visit the website or speak to a member of the choir.

If you would like to be kept up to date with information about Exultate Singers’ concerts and events,
you can join our free mailing list. Just email your contact details to [email protected], fill in the
form online at exultatesingers.org, or write to 13 Oak Grove, Easton in Gordano, Bristol BS20 0LN.

Israel in

EgyptHandel

City of Bristol Choir with Emerald Ensemble conducted by David Ogden
Saturday 17th May 2008 at 7.30pm | St George’s, Bristol
A performance of one of Handel’s greatest works, dominated by massive virtuosic choruses telling
of the plagues of Egypt and the crossing of the Red Sea. Tickets £8-£18 (concessions
£6-£16) from City of Bristol Choir on 07726 762070 or St George’s on 0845 40 24 001.

A monthly organ recital series in aid of
Westbury-on-Trym Parish Church’s
Organ Appeal
Coffee, cakes & organ music from 10.30am
Holy Trinity Church, Westbury-on-Trym, Bristol
Suggested donation £5 in aid of the Organ Appeal.
19 April Huw Morgan | 31 May John Bradley
5 July Nigel Nash | 13 September Nic Pillow
18 October Oliver Condy | 8 November David Bednall
6 December John Davenport
For more details, visit www.organappeal.co.uk or phone 0117 950 8644.

Programme designed by Judith Ogden and printed by David Harrison Printing 0117 957 1493