Mary and I went, as is our custom, in August to the Three Choirs Festival, this year at Hereford where there is always a very friendly atmosphers. I'll mention just a few of what were for us the highlights of a great week.
The Sunday morning Catherdral Eucharist was to a setting by Denys Darlow specially commissioned for the Festival. The Dean preached about settings for the mass, commended singing the Creed as emphasing the spirit not the letter and thus avoiding use of doctrine as a hurdle, and made special mention - by actually singing it - of how Darlow's Agnus Dei yearns for peace.
Sunday ended with Elgar "The Kingdom" - a very moving presentation of Pentecost and the life of the early Church. (One wonders about its impact on the performers - the Philharmonia Orchestra and Festival Chorus under Geraint Bowen and soloists Judith Howarth, Catherine Wynne-Rogers, Adrian Thompson and Roderick Williams.) Yet by the time of its first performance in 1906 Elgar had long lost his Christian faith!
Later in the week we heard the Dean again - speaking on The Legacy of The English Hymnal (published in 1906). Prime movers were Percy Dearmer (anglo-catholic socialist cleric) and Vaughan Williams (enthusiast for corporate, community activity [singing in unison] but not a churchgoer). In the late 19th century, hymn standards were low and anglo-catholics, in contrast to the founders of the Oxford Movement, over-emphasised ceremonial. Nothing but the best should be offered in worship, but new sources were found, including American hymns and folk tunes, and provision was made for the structure of the liturgical year.
Initially it was controversial, particularly for including hymns on Our Lady and the Saints. It was banned by some bishops. But, the Dean noted, John Wesley agreed Mary was indeed "full of grace". What is now being celebrated is not a book but a movement, a movement which continues in new publications such as "New English Praise."
The final concert on Friday evening comprised Shostakovitch "Tahiti Trot" (based on "Tea for Two" from the musical "No, No, Nanette" and for which the composere was forced by his Soviet masters to make a grovelling apology); Ravel "Ma mere l'oye (Mother Goose); Stravinski "Pulcinella Suite" and as a stunning climax Walton's "Belshazzar's Feast". The Philharmonia Orchestra, Festival Chorus and Soloist Neal Davies, under Geraint Bowen, were magnificent. This was followed by wine, finger buffet and fireworks in the grounds of the Bishop's Palace.
Posted by Richard Hall at September 14, 2006 03:52 PM