British Music

Who was Zadok the priest, and what does he have to do with royal British coronations?

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The Anointing of Solomon by Cornelis de Vos. According to 1 Kings 1:39, Zadok anointed Solomon as king. Image accessed via Wikipedia.

To answer that question it’s necessary to delve into the following ideas:

1. A history of British coronations dating back to 973.

2. An explanation of why a German composer, George Frederick Handel, was commissioned to write a set of coronation anthems for a British ceremony in 1727.

3. A look at the source of the actual text for the anthem referencing said Zadok.

Let’s start with #3. Zadok was the high priest of Israel at the time of King Solomon’s coronation around 970 BCE. The story about his role in this event comes from the book of I Kings in the Jewish Bible; the text for the anthem is shortened and simplified to read:

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A Mysterious Text with Three Beautiful Settings and a Bonus: “Gaelic Blessing/Deep Peace”

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Image by SEIMORI from Pixabay

The miniature gem “Gaelic Blessing” written by John Rutter in 1978 has an interesting connection with the choral music scene in the US. How did that happen with an English composer and a Scottish text? It all started with one of those inexplicable human connections that can never be completely teased out.

John Rutter started his long relationship with America in 1974 when he was contacted by a church choir director, Mel Olson, in Omaha Nebraska, and asked to write a 20-minute piece for Olson’s Chancel Choir. How did someone from Omaha even know about John Rutter, then in the very early stages of his composing career? I don’t know for sure, but it seems possible that Olson had gotten hold of Rutter’s early Christmas music and liked it. Whatever the reason, Rutter was very pleased to get the commission and ended up writing his magnificent Gloria. As he said in answer to my inquiry when I wrote about that piece, “Other commissions from the USA just seemed to follow, to the point where I was able to look upon America as my second home.” And one of those commissions was for “Gaelic Blessing” in 1978, but this time it was the Chancel Choir that reached out for a piece they could dedicate to Olson. I haven’t been able to find a detailed description of Olson’s career, but I’m wondering if this was a farewell gift to him from that choir because he was leaving Omaha. He ended up at in California, where in 1985 he was involved in the initial performances of Rutter’s Requiem.

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Robert Burns and the Lasses–Two Love Songs

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Jean Armour at age 57, 26 years after Burns’ death. Image accessed via Wikipedia.

It’s always a bit of a facer to track down some lovely, idealized idea about a person or artwork and find out the real story. So it’s been with Robert Burns and two of his famous love songs, “O My Luve’s Like a Red, Red Rose” and “I’ll Ay Call In by Yon Town.” Was he a tender, faithful lover who paid the object of his desire these tributes? Does he stand as an example of proper behavior to those reading his poetry? Did he . . . well, I think you get the gist: the answer to these and similar questions is a resounding “no.”

When Burns died at age 37 he’d fathered 13 children (that we know of) by four different women and had love affairs with a number of others. The only woman he married, though, was Jean Armour. Were she alive today she’d probably be labeled as an “enabler;” she even went so far as to bring up Burns’ daughter by another woman who was born the same month as his son with Jean. As she said, “Oor Rab needed twa wives.” Just to sketch out the relationship between Jean and Burns takes up a fair amount of space. He met her in 1785 when Burns was 26. She quickly became pregnant by him, but her father refused to let the couple marry because of Burns’ poor financial prospects. He went off and got involved with someone else while Jean gave birth to twins. The couple reconciled and married after “many bizarre turnings” and yet another set of twins. She seems to have remained faithful, and her last child by Burns was born on the day of his funeral. He was an on-again, off-again presence in her life. I can’t imagine what they talked about when he was home!

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The Mysterious and Haunting “Skye Boat Song”—Tragic History told in Beautiful Music

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Isle of Skye, Photo by Piotr Musioł on Unsplash

You’ll probably think as you read the lyrics below that they sound familiar, and you’d be right. This song has had a very long and popular life, starting with its first publication in the 1880’s. The most recent incarnation has been as the theme song for the long-running drama Outlander, based on a series of novels by Diana Gabaldon. I’m not going to deal with anything outside of the actual historical origins of the song, as there’s plenty to say just in that area.

The short version of the story behind the lyrics is that it centers around the Battle of Culloden in 1746, in which the Scots were soundly defeated by a much-larger English force. The battle had come about through an attempted restoration of the Stuart dynasty to Britain’s throne, with the Scottish forces being led by Charles Stuart, or “Bonnie Prince Charlie” (and often referred to in the material below as “BPC.”) It’s an incredibly complicated bit of history that I won’t go into in detail here. If you’d like to get a more thorough overview of the events referred to in the song, let me direct you to a post I wrote several years ago that tells the story behind yet another very famous song associated with this battle: “I’ll Take the High Road and You’ll Take the Low Road.”

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Robert Burns’ Duncan Gray: Spurned, then Haughty, then Happy

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Portrait of Robert Burns by Alexander Nasmyth, 1787, Scottish National Portrait Gallery.
Portrait of Robert Burns by Alexander Nasmyth, 1787, Scottish National Portrait Gallery. Image accessed via Wikipedia.

Original Scottish dialect:                                           Standardized English:

Duncan Gray cam here to woo                                 Duncan Gray came here to woo,
(Ha, ha, the wooing o’t!—repeated refrain)           (Ha, ha, such was the wooing of it!)
On blythe Yule-Night when we were fou                On merry Christmas Even when we were drunk,

Maggie coost her head fu’ high,                               Maggie cast her head full high, (raised her head)
Look’d asklent and unco skeigh,                             Looked askance (scornfully) and very skittish,
Gart poor Duncan stand abeigh –                           Made poor Duncan stand off

Duncan fleech’d, and Duncan pray’d                     Duncan wheedled/beseeched, and prayed
Meg was deaf as Ailsa Craig                                     Meg was deaf as Ailsa Craig (a rocky island)
Duncan sigh’d baith out and in,                              Duncan sighed both out and in,
Grat his een baith bleer’t an’ blin’,                         Wept his eyes both bleary and blind,
Spak o’ lowpin o’er a linn –                                       Spoke of leaping over a waterfall

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Britain’s Great “Song of Thanksgiving” from Its Great Composer Ralph Vaughan Williams

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Image accessed via Wikimedia Creative Commons, Piccadilly Square pictured as supporters celebrate VE Day, May 08, 1945. Photo taken by Sgt. James A. Spence, during his service in World War II

Introduction:

What a great centerpiece to a concert centered around the theme of thankfulness! Vaughan Williams’1 15-minute-long work consists of a soloist, adult mixed choir, speaker, children’s choir, and orchestra and was commissioned by the BBC in late 1944 to be performed once the hoped-for and expected victory over the Axis powers was accomplished.

Here’s a description of the piece from the publisher of the sheet music, the Oxford University Press: “Originally entitled ‘Thanksgiving for Victory,’ ‘A Song of Thanksgiving’ is a powerful and moving work that celebrates the Allies’ victory in World War II. It was first recorded in 1944 while the war was still ongoing, but was not broadcast until victory had been achieved in May of the following year. Comprising seven movements, it sets texts from the Bible alongside words by Shakespeare and Kipling, lending the work a sense of timelessness and grandeur.”2

Isn’t it great that there was the will and the appetite after years of war and destruction to commission a piece of music to celebrate victory? There’s no information available on how much or whether Vaughan Williams was paid for the piece, and it’s rarely performed nowadays because it was written for a specific occasion. One reviewer on Amazon for a CD performance says, “Vaughan Williams’ ‘A Song of Thanksgiving’ is the greatest piece of music ever written that almost no one has heard.”

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I have a new book! Karl Jenkins’ Mass for Peace

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I’m pleased to announce that I’ve finished a new book, this one on the Mass for Peace/Armed Man Mass by the contemporary British composer Karl Jenkins. This work is still hugely popular 20+ years after its premier. I would encourage you to order a copy whether or not you anticipate a performance by your group. The material is fascinating in and of itself. I thoroughly enjoyed working on it. Go here to purchase it.

 

John Tavener and William Blake: Two Mystics Team Up to Produce a Masterpiece

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This image represents copy C, object 8 of Blake’s original poem, currently held by the Library of Congress, public domain.

I have been privileged to sing John Tavener’s “The Lamb” twice with the Cherry Creek Chorale here in the Denver area. It’s interesting for me to look back on that first performance in 2013 and to realize how little I understood the piece’s complexities. Our 2021 concert gave me a chance to dig a little deeper.

Let’s start with the author of the text, William Blake. If you remember your English literature class, you’ll know that he was an early Romantic mystic who claimed to have had visions starting in early childhood; he was actually more interested in his art than his poetry. He and his wife put out an illustrated edition of some of his poems, with a few initial copies including his own hand-colored engravings. “The Lamb” is from his poetry collection Songs of Innocence. It seems like a simple little ditty, almost a child’s poem, until you look at it closely, which I will now proceed to do. Here’s my own line-by-line analysis:

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Is the “Bell Carol” Only About . . . Bells? Not By a Long Shot!

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Image by Gerd Altmann from Pixabay

Yet another of my many posts that starts out with the words “I assumed,” as in “I assumed that the ‘Bell Carol’ was a traditional Christmas folk song.” Well, it’s always helpful to read the info on the sheet music itself. Over the title are the words “to D. V. W., seventy years young,” and at the bottom of the first page is the statement “This carol was commissioned by the Bach Choir in celebration of the seventieth birthday of Sir David Willcocks.” The composition date is 1989, and Willcocks would indeed have been 70 that year since he was born in 1919. Was Willcocks especially fond of Christmas music, or bells, or both? The answer to that question is lost to history, I’m afraid. The author of both words and music is William Mathias, who lived until 1992 and seems to have been composing right up until the end of his life.

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The Kings of Rock and Roll (Queen) and their Mega Hit “Bohemian Rhapsody”

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https://debisimons.com/wp-content/uploads/2021/09/Bohemian_Rhapsody.png
This is the cover art for Bohemian Rhapsody. The cover art copyright is believed to belong to the record label or the graphic artist(s). This low-res image was provided to Wikipedia and is used here under my understanding of fair use in a non-commercial and educational context.

I found myself in an interesting situation writing about a choral arrangement of songs by the British rock band Queen. I’d kinda sorta heard of them, but I would have been hard pressed to come up with any of their song titles. Until, that is, I started listening to their four hits included in the arrangement by Mark Brymer, “A Tribute to Queen.” ‘Hey, wait a minute!’ I thought. ‘That’s that song they play at football games.’ (“We Will Rock You.”) “Hey, hold on here! That’s the song Chicken Little sings after he’s improbably scored the winning run for the Oakey Oaks middle-school baseball team.’ (“We are the Champions.”) ‘Hey, what gives? Those are Weird Al Yankovic songs.’ (“Bohemian Rhapsody” and “Another One Bites the Dust,” only they’re really “Bohemian Polka” and “Another One Rides the Bus.” Not a Weird Al fan? Well, I’m sorry to hear that.) I was also vaguely aware that there’d been a movie not too long ago titled Bohemian Rhapsody which seemed to be sort of a big deal and which was about the band. (The lead actor, Rami Malek, won Best Actor for 2018.) And the name “Freddie Mercury” rang a faint bell. Well, I have to say that it’s been pretty interesting to dive into the world of Queen. I used to be a real music snob, but singing with the my own choir, the Cherry Creek Chorale, has revamped my musical taste. We sing such a variety of music, from ABBA to Alberti and Broadway to Biebl, every piece prepared and performed at the same high level of artistry, that it’s simply impossible for me to maintain my snooty attitude.

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