Choral Evensong

Choral Evensong this evening is sung by members of the Saint Thomas Girls’ Course.

In 2005, music directors in the New York area expressed interest in joining together to form a chorister experience of the highest caliber for girls. The Choir School was delighted to offer space, resources and experience to the endeavor. Since then, the Choir School has proudly taken full ownership of the course and developed a schedule and musical standard parallel to that of the boys during the academic terms. In 2008, the course expanded to nine days. In 2011, the Course began on Saturday, July 30th and concludes on Sunday, August 7th. In addition to singing this evening, the girls sang on Tuesday and will sing alongside the Gentlemen of the Choir on Sunday.

‚ñ∫Over the years, two distinguished female organists & directors of music have shared the musical direction of the course: Sarah Baldock, who directed the girls last year and the year before, and Sarah MacDonald, who was last with us for the course in 2008 and returns to direct this year. Both hold prestigious positions in the United Kingdom and are mentors and role models in every way for the young women who participate in the course.

Sarah MacDonald came to the UK from her native Canada in 1992 as Organ Scholar of Robinson College, Cambridge after studying at the Royal Conservatory of Music in Toronto. She was appointed Director of Music in Chapel at Selwyn College in 1999, and is the first woman to hold such a post in an Oxbridge Chapel. Sarah has taught organ and conducting for Eton Choral Courses, the Oundle School for Young Organists, and courses run by the Royal College of Organists. Sarah has played numerous recitals and made several recordings and has conducted choirs on tours throughout the UK, Europe, the Middle East, New Zealand, and Canada. A winner of the RCO Limpus Prize, Sarah is also a Fellow of the RCO.

‚ñ∫Sarah MacDonald’s Music Notes for tonight’s evensong:

John Sheppard (c1515-1558) was an English musician, and one of the most important Tudor composers (he lived during the reigns of Henry VIII and Edward VI). He held posts as Director of Music at Magdalen College, Oxford, and then as a Gentleman of the Chapel Royal (where he was a professional singer). A good deal of his music has survived in various manuscripts, and he is a great favourite of lovers of early music. He wrote three settings of Psalm 31: 6 “In manus tuas‚Äù, which Jesus called out from the cross: “Into thy hands O Lord, I commend my spirit.‚Äù It is assumed that music at the time would have been arranged and transposed to suit whichever singers or players were available on the day, so although it is most likely that this anthem would have been sung by adult male singers only, it is perfectly acceptable to rearrange it to be sung by teenage girls, as we do for the Introit this evening. The semi-chorus of older girls sing this piece.

As we did on Tuesday, we sing the Ely Responses again, and we sing Psalm 22 to plainsong.

Bryan Kelly was born in 1934, and studied composition with the great Herbert Howells at the Royal College of Music in London. He has lived and worked in various places, including Rome, Washington DC, Paris, and Cairo. His Jamaican Canticles are an energetic, rhythmic, and entertaining setting of the Magnificat & Nunc dimittis, which use (as you might have guessed) Jamaican rhythms and musical motifs. They are extraordinarily good fun to sing, and are loved by choristers everywhere.

The anthem this evening is by the composer Paul Edwards, who was born in 1955. He is best known for his Christmas Carol “No small wonder‚Äù, but he has also written over 450 other pieces, most of which have been published in the UK. Paul was a boy chorister at St Paul’s Cathedral, London, and now spends most of his time playing the organ, composing, and teaching music in Bedfordshire. In his spare time, he drives a school bus! It is a miniature masterpiece, with beautiful soaring melodic lines, exquisitely colourful harmonies in the organ accompaniment, and sensitive word setting.

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