The text is formed from the beginning and end of George Herbert’s beautiful poem Gratefullnesse which was written shortly before his death in 1663.  The soprano soloist conveys a sense of personal gratitude whereas the choir represents a more corporate outpouring of thanks for God’s countless blessings.  It is so important that a choir feels this sense of gratitude so that the effect of the music reaches its full potential.

The poet’s deepest desire is that the very basis of his being (his pulse) becomes an expression of gratefulness so that gratitude is never fleeting but constant. From a musical point of view, the concept of a pulse perpetually giving praise is very special.  The incessant crotchet pulse begins in bar 30 and, over the final minute or so of the piece, should both draw in and mesmerise an audience as they too feel moved to thank God for all His goodness.

COMPOSER’S NOTE

This work, originally a duet for soprano and tenor, comes from the heart of the dramatic cantata The Wedding at Cana and was my first major work, written for Pangbourne Choral Society, launching my career as a full-time composer.  The cantata depicts the wedding at Cana of Galilee where Jesus performed his first miracle, turning water into wine. 

The words for The Waters of Love, written by my brother and poet Andrew, shine a light on the moment when the water is actually transformed into wine and reflects on the presence of the divine in human love.

The text of this choral piece takes the form of the last verse of Thomas Traherne’s poem The Salutation. In many of his poems, Traherne conveys a sense of childlike wonder, and in this poem he expresses genuine awe at the mystery of having come into being. He addresses his own infant body (‘these little limbs’) as if amazed at his own incarnation, marvelling at having entered this world of beauty and light and asking where his soul was before. In the words of A Stranger Here, he expresses deep gratitude for the sheer gift of life.

It is essential that choirs are sensitive to this sense of gratitude. This is not a gratitude which is sung from the rooftops but is the product of quiet and profound reflection and revelation. The glory of our existence is a mysterious glory, seen through the eyes of strangers in the world. With the words ‘But that they mine should be’, comes the realisation that the world’s treasures are an extraordinary gift to us all – and there must be a sense of this growing realisation as the music gradually moves towards great peace and a sense of fulfilment in the final tonic chords of the pure and nourishing key of D flat major.

This setting of the iconic poem by Christina Rossetti began as a song for soprano – first with piano and then with orchestra.  Another version followed for choir and string quartet, and it seemed inevitable that a purely a cappella setting would eventually appear.

The deep yearning of the words certainly calls out for musical expression and, with unadulterated vocal textures, it is possible for the full impact of bereavement on the human soul to be powerfully and uniquely conveyed.

The original instrumental introduction and interludes have word underlay rather than open vowel sounds, and it is important that these passages become contrasted in dynamic and timbre to the pillar-like components of Rossetti’s poetry.

Words: Christina Rossetti (1830-1894)

A simple, but beautiful, strophic Christmas carol setting the words of the poem by William Chatterton-Dix.

The tempo is fairly flexible and there are no set dynamic markings.  However, care should be taken to mirror the text’s juxtaposition of question and answer as well as the contrasting moods of each verse.  It may be interesting to note that the premiere performance asked the questions at a quieter dynamic than the ensuing answers, and the last verse began with a confident forte.

Scroll to 17:25 – Pacis et Caritas reprise with video

Performers will notice that this piece is in the pure, unadulterated key of C major.  While this has an enormously positive impact on atmosphere by creating a sense of simplicity and transparency, a lack of even the most subtle modulation means that a performance runs the risk of losing buoyancy.  Buoyancy, therefore, must be created through a strong and engaging pulse and an awareness of the underlying lilt of the phrasing.  Alternating choral textures (semi-chorus and tutti) provide inbuilt contrast, but this should be enhanced by expressive dynamic phrasing and a clear sense of the subtleties of the text.  There must always be an air of prayerful meditation as well as a driving towards climaxes at the appropriate points.

Carmina lungas pacis et caritas
Sempiterno cum desideravit;
Voces veniunt angulis terrae,
Praeter tamen semper conventus.

Singing together of peace and love
While longing for eternity,
Voices from the corners of the earth,
Though set apart, are forever bound in unity.

Words: Mark Strachan (1958 – ); adapted by Andrew Hawes (1954 – )