My Land. 8. Joyful Morning (Canon)

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His early musical works include nine sets of psalm tunes 'with symphonies and an instrumental bass', and twelve sets of 'psalm and hymn tunes'. An obituary published on p of The Christian reformer; or, Unitarian magazine and review in vol. He was by trade a shoemaker, and worked at his business till about twenty years since. He had received but a scanty education, but was an incessant reader, especially in history and theology.

Both his taste and his passion for music were extraordinary. While hammering at the lapstone or lying awake in the night, melodies were suggested to him which, casting aside the implements of his trade or leaping directly out of bed, he at once committed to paper, and added the harmonies when he had greater leisure.

It would almost seem as if this love for one of the most delightful of all arts, and capability of excelling in it, were literally born with him; for he never received a lesson on the theory of music in his life. He published at various times nearly twenty volumes of anthems and hymns, besides editing various collections; and has left behind him a great store of MS. In private as in public life, Mr. Clark bore a blameless character; and died with the respect, not only of his co-religionists, but of all his fellow-citizens. He was a member of the Unitarian congregation assembling in the Blackfriars' chapel, Canterbury, where he had conducted the music for more than half a century.

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Privacy policy About ChoralWiki Disclaimers. Anthems including collect settings Almighty God, who hast given Almighty God, who through thy only begotten Son Awake up my glory, awake lute and harp Behold, God is my salvation Come unto me, all ye that labour God, who at this time Hear me when I call, O God of my righteousness Hear my prayer, O God Holy, holy, holy, Lord God of hosts I will arise and go to my Father In that day shall this song be sung Lord, how are they increased O be joyful in the Lord, all ye lands Rejoice in the Lord, O ye righteous The Lord liveth, and blessed be his name The Lord's name be praised for this and every favour This is the day which the Lord hath made Why do the heathen rage Canticles Magnificat Nunc dimittis Other works Chants Praise God from whom all blessings flow canon Responses to the Commandments Sanctus.

Set-pieces through-composed settings of metrical texts Adieu, my friend, accept the starting tear At anchor laid, remote from home Awake, our souls, and bless his name Awake our souls, away our fears Down headlong from their native skies Firm was my health, my day was bright Guide me, O thou great Jehovah Happy the heart where graces reign Happy the man prepared to reign He comes, he comes, the Judge severe Hear me, O Lord, in mercy hear I come, ye messengers of love, I come I will extol thee, Lord, on high In Babylon their harps they hung In God's own house pronounce his praise Is Jesus mine?

I'm now prepared Jehovah, 'tis a glorious name Lord, what a wretched land is this Mortals awake, with angels join My Captain sounds th'alarm of war My hiding place, my refuge tower My soul, triumphant in the Lord O praise the Lord in that blest place Our souls shall magnify the Lord Salvation, O the joyful sound Shall the kind mother's gentle breast Sing to the Lord a new-made song The year of jubilee is come We sing his love who once was slain When God arose my part to take When God is nigh, my faith is strong When I can read my title clear Ye nations round the earth rejoice Yes, the Redeemer rose.

Why droops my soul with grief oppressed? Why, O my soul, why weepest thou? With cheerful notes let all the earth With one consent let all the earth With pity, Lord, thy servant view With restless and ungoverned rage With reverence let the saints appear to the tune Malden , from A Second Set of Psalm and Hymn Tunes from A Ninth Set of Psalm Tunes With what delight, great God, I trace Within thy tabernacle, Lord Ye boundless realms of joy Ye children come, my precepts hear Ye children which do serve the Lord Ye dying sons of men Ye glittering toys of earth, adieu Ye humble souls, rejoice Ye little flock whom Jesus feeds Ye people all with one accord Ye princes that in might excel Ye servants of God, your master proclaim Ye tribes of Adam join Ye virgin souls, arise Yield unto God the mighty Lord Your harps, ye trembling saints Zion, lift thy drooping head.

A near-eastern feel is created by the dominant presence of recorders, horns, and oboes. The melismas on Gaben "offerings" at 0: Jesus, apparently, wants your heart, not your gold: Jesus will das Herze haben. What follows is a triple canon between two oboes and the continuo in an imitative dialogue among the gold, incense, and myrrh. The cantus firmus the basic tune is uncharacteristically given to the altos, perhaps to keep the sopranos from interfering with our angels.

The first half of the fantasia seems a preparation for the climax at 4: Er ist der Morgensterne "He is the morning star," ie, Jesus. This is sublime craftsmanship.

Toutes les pistes libres de droits

The ending is radiant 0: Christus wehret allem Leide "Joy, joy, beyond joy! Christ wards off all sorrow". You hear the rattling sounds at 0: A canon introduces the voices in ascending order bass, tenor, alto, soprano over one measure each, as in this run of eighth notes: The piece is in D, which is the trumpet's native key and the richest in acoustic resonance. The dramatic buildup of this opening chorus is a model of power, control, and compositional wizardy. Rhythm aside, the melodic density of this music is positively humbling.

What's striking is how, unlike the lame attempts at rock-and-rollifying Beethoven and his ilk, Grappelli and South remain squarely within the confines of Bach's idiom and yet sound completely modern. The duet between the oboe and the first violins is evocative of the title "I have much sorrow in my heart. The walking bass line resumes at 2: The call-and-response, the walking bass, the clean melodic lines, and the meticulous construction bring to mind this exquisite Clifford Brown solo. Based on a famous hymn written by Philipp Nikolai after a devastating plague epidemic in the 16th century, this chorale fantasia opens with a French overture, almost courtly with its triple-time dotted rhythm.

The music builds up to its first climax at 4: The repeated melismas over the first syllable of the word never fail to give me goosebumps. It's got the sort of driving rhythm that always attracted me to jazz and whose tragic absence from classical music is, pace Kipling, the actual "white man's burden. Sopranos sing the cantus firmus in long ascending lines suggestive of an angelic flyover.

The great man never wrote an opera, but how many composers have matched the dramatic flair of these last two minutes? I use these gorgeous tunes here as cleansing transition pieces, musical trous normands if you will. You won't want to miss the word painting over Geist erfreun "delighted spirit" with the gorgeous melisma at 1: With the first violins gyrating around the melody with breathless runs of sixteenth notes, the orchestration has a distinct Mozartian feel: Now how cute is that?

Now try to wrap your head around this if you can: A solemn opening adagio segues into a brisker andante at 0: If the four repeated Gs the dominant of the key , beginning at 2: They're a pedal tone over which the left hand plays the descending line Eb-D-C-Bb. This leads to a flatted sixth Ab still in the home key of Cm at 2: As a bonus, Glenn Gould seems to have forgotten to mutter to himself. Also, you won't want to miss Martha Argerich's masterly take on that last movement. Qui tollis… A man well versed in tragedy, having lost his parents by the age of ten, then his wife and ten children of his own, Bach never succumbed to cynicism.

His darkness is deep yet gentle, sad yet sweet. A retooling of the first movement of a cantata bwv 46 that he wrote 25 years earlier, the Qui Tollis of the Bm Mass could have been composed at any time in the last years. Which of Mozart's operas is not timestamped?

A distinctive feature is the anxious sequence of throbbing pulses of the bass line with the viola playing two-note successions. Beginning at the 8th bar 0: Don't be surprised that the piece ends not on the tonic chord Bm but, in anticipation of the next aria, on its dominant F. The Qui tollis is part of the Gloria and must be fully appreciated in that wider context.

Henry VIII: Addenda, Cromwell Period Papers

Bach never stopped finetuning his monumental Mass, adding enough liturgical material along the way to make it unacceptable to Protestants and Catholics alike. Like the Art of Fugue, the work recapitulates all of Bach's learning. It is likely that he intended the former as a treatise on the instrumental science of music and the latter, pragmatic considerations aside, as its vocal counterpart. In particular, the Mass is the culmination of all choral music, past and present, to the extent that it features every single idea known to mankind about singing in a group.

Bach never heard the Mass performed in full in his lifetime. Falling over a steady bass line of descending eighths, the plucked cello strings sound-paint teardrops: Meanwhile the violin solo, Yehudi Menuhin's favorite, weaves its way around it with frequent rhythmic changes. Andreas Scholl, the world's greatest countertenor, shines. There's no describing the heart-rending beauty of this music; so, bowing to Wittgenstein's wisdom, "Whereof one cannot speak, thereof one must be silent.

This musical "Goodnight Moon" bids Jesus farewell with the words: Ruht wohl "Rest well". At this most solemn juncture of the most solemn hour of the most solemn day of the Christian calendar, what does Bach give us? A sweet, gentle dance! Only the achingly beautiful motet-like bridge at 2: The whole chorus is structured as a pair of nested palindromes: Bach was big on those. The music dissolves into a chorale of exquisite beauty 1: Dies mein Herz, mit Leid vermenget… geb ich dir "This my heart, crowded with sorrows… I give to you".

If more grace and tenderness can be captured in a simple melody, I haven't heard it yet. As Jaroslav Pelikan pointed out, Bach's theology was supple and nonsectarian. In any event, the Kyrie and the Gloria of the Bm Mass were part of a job application with the new Elector of Saxony, who being a Catholic would not have looked too kindly to a Passion. Bach thought that a Court appointment would raise his standing with the ruling doofuses of the Leipzig council. Sadly, crafting one of the crown jewels of Western civilization didn't quite cut it and Bach was turned down—though he did get the job three years later.

After three kyrie for the trinity and an eleison "have mercy" , Bach segues into a long five-part fugue. After an interlude, the theme is reintroduced successively by the lines of tenor 2: The rest is a typically Bachian fugal development with a staggering number of melodic motifs vying for attention. Not enough attention is given to recitatives. While Mozart's seem little more than random sequences of notes that try hard not to intrude, Bach's recitatives are extraordinary works of art in and of themselves.

I'll admit to having been slow to grasp this fact, which only repeated exposures to his sacred music made increasingly "obvious. Jesus is dead and the title, "Come, you daughters, help me lament," is an injunction to the Church aka the daughters of Zion. In the key of Em, the organ holds a low droning pedal tone E for five measures 0: The two orchestras play together until 1: Now you know where Wagner got the idea for his blitz modulations.

The melody culminates 1: In parallel, the bass marks the chromatic descent from C to B to A 1: Herreweghe rightly highlights this syncopated bass line, which other conductors too often neglect. This is followed by a repeated call-and-response between the two choirs 1: The ending features an immensely rich counterpoint, perhaps the most complex music ever written. The SMP is a composition over which Bach gushed with pride.

I've come to regard the two movements as inseparable, so there it is. The melody on which it is based is also used in the St John Passion. When nothing happens 0: The piece is in Em but the theme is introduced by the bass starting over Bm and then proceeds along the cycle of fourths tenor over Em, alto over A, soprano over D to end on a G chord, the key's relative major, with the flutes and oboes making their entrance.

The sense of rising anger is amplified by the presence of two choirs. The Picardy third on the final blut minor-to-major modulation caused by the G ends the piece on a note of hope, a common device in liturgical music. Et incarnatus est This 5-part chorus in Bm, one of the Credo's nine movements and one of the few original to the Mass and last one to be added , begins with the violins playing a series of descending runs in unison.

Thomas Clark - ChoralWiki

After going through a i-iv-V7 run with A dim7 subbing for the V7 , the voices come in one at a time at the 4th bar 0: The voices reenter canonically at 1: T, A, S2, S1, B. The piece ends on an imperfect cadence—the V chord is played in its first inversion, with the bass set to A , the third of the chord and the leading tone of the key. This detail matters because, despite the final Picardy third, it contributes to the weak sense of resolution. Mozart's Requiem was heavily influenced by Handel and the Bach lineage, and it shows. After Gardiner's, here is Rilling's slower version in modern-era tuning.

Bach composed chorales by taking old melodies and making them his own.

Addenda, Cromwell Period Papers

So did Paul Simon, paring down Bach's chorale to lovely effect. All that Vivaldi study paid off after all… The plaintive quality of the request begins to weaken at 0: It is striking that each verse beats to a different rhythm. It's roughly the principle of a mirror fugue, which consists of two "inverted" fugues. Bach uses six mirrors at once, which is nothing short of miraculous.

The result is bouncy carnival-like music of catchy elegance. Just as the motion of the stars does not depend on any telescope, the Art of Fugue is not bound to any particular instrument. Here's contrapunctus 2 , which highlights the basic melodic theme: There is no evidence that Bach ever intended this material to be performed in public.

It's an instructional vehicle. In his last words on the cross, Jesus declares himself done with his work: The title comes from the word Tetelestai , meaning "Paid in full. Instead of the sink, make this the sins of the world and you get the idea. Unlike most opera writers, Bach treated the voice like any other instrument, sometimes overlooking minor technicalities such as the need of singers to breathe. The middle part 3: It features long melismas on kampf and macht to end abruptly with the voice, a highly unusual signoff.

No one can touch Andreas Scholl but such is Bach's universal "plasticity" that Marian Anderson's Hollywoodian vollbracht works for me.

In the second measure, Bach modulates to Em, the fourth of the key Bm. Instead of just going there, as any rock song would, he first modulates to B major perhaps to set the cadence V7-i and land in the desired Em.

But that would be too simple, so Bach does it in two steps: V-iv followed by V7-i. By adding the leading tone D to the mix to resolve to the new root E , he uses a diminished-seventh substitution to produce B-Am-D dim7-Em. This is modulation of the highest caliber. As much as I loved the monumental Chaconne in Dm which I learned to play on the guitar, badly , the Passacaglia struck me as the superior piece, unconcerned whether such a judgment even made sense let alone was true.

The Chaconne is the work of a grief-stricken husband who's just lost the love of his life.

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Like much of hip hop, but unlike the blues, it is sad on the inside. The Passacaglia is dramatic on the outside but achingly gentle inside. It is remarkable that Bach wrote such a mature piece in his early twenties or so historians think. It shares with the Chaconne, the Goldberg Variations, the Musical Offering, and the Art of Fugue the basic quality of an extended variation on a short, fixed theme: After the head, the composer is supposed to go on as long as his creative juices allow him.

The gradual buildup climaxes at 5: I can't overstate the power that passage has had over me throughout my life.

It's like the second movement of Beethoven's seventh, only meatier. The piece goes through 21 iterations and then abruptly switches to a double fugue 8: A short coda signs off with the final C major chord, the restorative modulation of church music.

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