My favourite set of music this month is on the evening of the fourteenth: the first lesson is anticipated in the music of a well-known spiritual, Kelly’s less authentically-exotic Magnificat is counterpointed by Stanford’s setting in the same key, and Handel’s glorious His yoke is easy completes the service (the eager listener will notice that the shape of the notes in the first phrase (B flat – C – D – C – B flat) draws the shape of a yoke).
But I shan’t be here for it: I have been asked to become Director of Chapel Music at Emmanuel College, Cambridge – a role which entails being away from Hampstead for a few Evensongs each term. Thankfully, Cambridge terms are remarkably brief, and a favourable arrangement for musical provisions in my absence (on both sides) has been arranged: for some services, Aidan Coburn will reprise his highly successful role as Assistant Conductor of the professional Parish Choir; for others, David Moore will direct. I’m delighted that for one service later this term (after the hectic schedule of the Hampstead Arts Festival, on which subject, more in a moment), the Junior Choir will lead worship at Sunday Evensong.
Other highlights this month include Schütz’s setting of the Deus misereatur (one of the alternative canticles at Evensong), and Gibbons’s quite stupendous anthem, See, see, the Word is incarnate. This piece is normally consigned to services around Christmas, simply because of the title. It’s not a specifically-Christmassy piece, though: it charts, in marvelling, breathless language, the entire life, ministry, and coming of Jesus: “…The dead are raised… diseases cured… miracles are wrought… See, the fresh wounds, the prick of nails… a glorious ascension… the Serpent’s head bruised, Christ’s kingdom exalted, and Heaven laid open to sinners.”
In the Hampstead Arts Festival, three events take place here at the Parish Church. The last, in memory of Ian Macdonald-Hay, features Elgar’s Cello Concerto and Vaughan Williams’s Dona nobis pacem; the second is a feast of silent movies and improvisation; the first is a performance of the Verdi Requiem, and for this we are seeking a fairly small number of singers to join twelve professionals, plus the Choir of Emmanuel College (making the most of the connection), and the wonderful Orpheus Sinfonia. For the choir, there will be a brief ‘refresher’ rehearsal during the late morning of the 17th of November – please note that this is not a come and sing event, so there will not be time to learn the notes during this session – followed by the tutti rehearsal that afternoon, and performance in the evening. If you are familiar with the Verdi, and should like to sing, please drop me an email: [email protected]