| STAINER – CRUCIFIXION:
As a boy, the English John Stainer (1840-1901) sang in the choir of St Paul’s Cathedral London, returning there as organist in 1872 having gained his Bachelor of Music Degree from Magdalen College Oxford in 1860 at the age of 19. His example at St Paul’s greatly raised the standard of church music throughout the whole of England. He left in 1889 to become Professor of Music at Oxford, carrying out valuable research into Early music and composing Oratorios of which The Crucifixion has had lasting popularity.
HISTORICAL CONTEXT
1845: Irish potato famine forcing emigration to USA.
1849: Californian gold rush.
1862: Victor Hugo’s novel Les Miserables is a big hit in Paris.
1869: Suez canal opens.
1870: English author Charles Dickens dies.
1885: Daimler’s petrol driven horseless carriage appears in Germany.
Stainer described The Crucifixion as ‘A Meditation On The Sacred Passion of The Holy Redeemer’. Written to be performed in the context of a service including hymns, prayers and a sermon, it was specially composed for the choir of Marylebone Parish Church, and first performed on Thursday 24th February 1887 (the day after Ash Wednesday). It was conducted by Stainer and dedicated ‘to my friend and pupil, William Hodge’ who was organist and choirmaster at Marylebone as well as assistant to Stainer at St Paul's.
The choir at Marylebone was no ordinary parish choir, but one of the best and most active in London with sixty boys (trebles and altos) and thirty men including paid tenor and bass soloists. William Hodge selected boys from local parish schools and rehearsed them every day up to fifteen times a week modelling his work on the high standards at St Paul's.
In 1873, Stainer introduced Bach’s St Matthew Passion into the Holy Week services at St Paul’s Cathedral. Its structure of solo recitatives (telling the story) arias (longer pieces reflecting on particular aspects of these events) and crowd choruses, interspersed with chorales (hymns), offered the basis for Stainer’s own less demanding setting of the Passion story.
In the fly leaf of the first edition of The Crucifixion, Stainer wrote ‘this work is an attempt to supply the wont, long felt, of an easy and short form of Passion music suitable for use in ordinary Parish churches. It is composed for two solo voices, a tenor and a bass and for the church choir. At intervals, hymns occur in which the whole congregation can join. The performance will probably not exceed 40 minutes in duration thus giving an opportunity for a short address if desirable. No orchestra is required, the accompaniment being adapted for organ only. Much of the expense usually attending Passion services will therefore be avoided.’
The libretto, drawing on the gospel story for the text of the narration, arias, choruses and five hymns, was provided by Rev. William Sparrow-Simpson, then curate of Christchurch Albany Street, a close family friend. His work as a librettist has been criticised as sentimental but should be seen as a period piece of the Victorian era intended to dramatise the Passion story for ordinary listeners and amateur musicians. Stainer was subsequently somewhat embarrassed by the immediate popularity of the work in which the words are painted with music ranging from deeply devotional to highly dramatic. Especially notable are the hymn tunes that are both memorable and moving and the sublime unaccompanied chorus: God so loved the world.
Executive Producers: Richard Martin & Peter Sternberg
Compilation Producer: Eric Wyse
(P) & © MMIV Classic Fox Records
www.foxrecords.co.uk
AN INTRODUCTION TO THE MASTERWORKS OF WORSHIP SERIES
Classical music can be a most exhilarating and satisfying sensory experience. However you uncover the gems of classical masterpieces, whether on a recording or in a live concert, the genius of the composer, as well as the emotional and spiritual underpinings all contribute to the uniqueness of each piece.
For Christians there is an added bonus to listening to much of this kind of music, since it was, in fact the praise and worship music of its time. This was the music that came out of the church, written to encourage and inspire believers to turn their attention toward the Kingdom of Heaven. Have you ever listened to a passage of classical music and felt something spiritual, that you couldn’t put your finger on? Many of these composers lived lives that were intensely spiritual, and used their music as a way to communicate their faith. Sounds like the contemporary Christian music scene of today, doesn’t it?
The Masterworks of Worship collection is an opportunity for you to sink into some of the greatest sacred classical masterpieces ever composed. You may have heard some of the music before, but perhaps you’ve never taken the time to find out what they were really saying in the lyrics. Here is a chance for you to pump new life into your daily worship through an inspirational connection with the classics as you find that these composers have put into words the thoughts you’ve only had in your heart.
The following notes provide an insight to each composer and their work. Wherever possible lyric translations have been included for pieces performed in languages other than English - a resource which we hope will provide you with the greatest possible understanding, enjoyment and appreciation of these celebrated classics.
Produced by Eric Wyse
Executive Producers: Peter Sternberg & Richard Martin
(P) & © MMIV Classic Fox Records
www.foxrecords.co.uk
TITLES AVAILABLE IN THE SERIES:
MASTERWORKS OF WORSHIP VOLUME 1
1. Handel - MESSIAH (Highlights)
2. Mozart - CORONATION MASS
3. Brahms - REQUIEM
4. GREAT CHORUSES (With Full Orchestra)
MASTERWORKS OF WORSHIP VOLUME 2
1. Bach - ST. JOHN’S PASSION (Highlights)
2. Vivaldi - GLORIAS
3. Haydn - CREATION (Highlights)
4. GREGORIAN CHANT
MASTERWORKS OF WORSHIP VOLUME 3
1. Beethoven - MISSA SOLEMNIS
2. GREAT INSTRUMENTALS
3. Rachmaninov - VESPERS
4. Stainer - CRUCIFIXION
Produced by Eric Wyse
Executive Producers: Peter Sternberg & Richard Martin
(P) & © MMIV Classic Fox Records
www.foxrecords.co.uk |
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