9:00am Eucharist, II

      Treble Choir / Canterbury Choir

      John Linker, Organist/Choirmaster

            J.S. Bach / Trio Sonata I in E-flat, BWV 525

            Sowerby / Eternal Light

            Hymns

            530*                   Spread, O spread, thou mighty word             Gott sei Dank

            124* (st. 1)         What star is this                                                  Puer nobis

            304*                   I come with joy to meet my Lord                     Land of Rest

            653*                   Dear Lord and Father of mankind                             Repton

11:15am Eucharist, II

      Parish Choir

      John Linker, Organist/Choirmaster

            Atkins / Psalm 27:1, 5-13

            Sowerby / Eternal Light

            J.S. Bach / Trio Sonata I in E-flat, BWV 525

            Hymns

            530*                   Spread, O spread, thou mighty word             Gott sei Dank

            124* (st. 1)         What star is this                                                  Puer nobis

            304*                   I come with joy to meet my Lord                     Land of Rest

            653*                   Dear Lord and Father of mankind                           Repton

4:15pm Concert

      Patrick Tuck, Trumpet, with John Linker, Organ

            A Favourite Melodies Recital

            Holst / Second Suite in F (Movements I & IV)

            Arr. Tiersot / The Parable of the Sinful Rich Man

            Moore / Believe me, if all those endearing young charms

            Arr. Coleridge-Taylor / Deep River

            Arr. Fischer / Sometimes I feel like a motherless child

            Clarke / Suite in D Major

5:00pm Eucharist, II

      Patrick Tuck, Trumpet

      John Linker, Organist

      Joshua Bracken, Music Intern / Assisting Organist

            Saint-Sa�ns / Prelude in E-flat major, Op. 99, No. 3

            J.S. Bach / Trio Sonata I in E-flat, BWV 525

            Hymns

            530*                   Spread, O spread, thou mighty word             Gott sei Dank

            124* (st. 1)         What star is this                                                  Puer nobis

            WLP 750            So the day dawn for me                                                       

                                                  Wildridge and St Charles, Queensborough Terrace

[* = Hymns chosen from the 2009 Hymn Survey]

Second Suite in F

Gustav Holst

Movement I: "March: Morris Dance, Swansea Town, Claudy Banks." "The "March" of the Second Suite begins with a simple five-note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the morris-dance tune "Glorishears." After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite "Swansea Town". The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional sub-dominant minor of B-flat minor and changes the meter to 6/8. (Usually one would modulate to sub-dominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in "El Capitan"), it was not commonplace.) The third theme, called "Claudy Banks", is heard in a low woodwind soli, as is standard march orchestration. Then the first strain is repeated da capo.

Movement IV: "Fantasia on the Dargason." This movement is based on two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with an alto saxophone solo based on the folk tune "Dargason," a 16th Century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band - or today - the organ. The final folk tune, Greensleeves, is woven into the fantasia by the use of polymeter, with Dargason in 6/8 and Greensleeves in 3/4. At the climax of the movement, the two competing themes are placed in competing sections. As the movement dies down, a tuba and piccolo duet forms a call back to the beginning of the suite with the competition of low and high registers. According to Chappell, it appears that the word 'dargason', perhaps derived from Anglo-Saxonduergar ('dwarf', 'fairy'), is a personal name occurring in an unidentified romance (hence 'Donkin Dargason'), and is used to signify fairyland in John Day's Isle of Gulls (1606) and Ben Jonson's Tale of a Tub (1633).  Sidanen (Welsh: 'silken') is a Tudor epithet for a fine woman; the dance 'Sedany', as described by Playford, like its tune, proceeds ad infinitum.

Imogen Holst

Margaret Dean-Smith

Patrick Tuck

Parable of the Sinful Rich Man                              English version by Frederick H. Martens

Clad in rags the Saviour wanders, "Charity of you I pray!

But the crumbs from your table, they my hunger would allay."

"All the crumbs from my table, to my hungry dogs they fall.

For my dogs they bring me rabbits; You, you bring me naught at all."

"Lady at the window standing, Charity of you I plead!"

"Enter in, you poor man, enter. Supper warm shall fill your need."

When he stepped into the chamber, round Him shone a wondrous light.

"Tell me, tell me, poor man, tell me is the moon now shining bright?"

"Nay 'tis not the moon has risen, 'tis your charity instead.

'Tis your deeds of kindness lady, that their glow about your shed."

"Tell me, pray, you poor man, tell me, are you Jesus in disguise?"

"Never fear my gentle lady, King am I above the skies.

Three days hence you'll die my lady, joys of Paradise you'll know;

While your husband burns in torment, in the flames of Hell below."

Believe Me, If All Those Endearing Young Charms                                         Thomas Moore

Believe me, if all those endearing young charms,

Which I gaze on so fondly today,

Were to change by tomorrow and fleet in my arms,

Like fairy gifts fading away,

Thou wouldst still be adored, as this moment thou art,

Let thy loveliness fade as it will

And around the deer ruin in each wish of my heart

Would entwine it self verdantly still.

It is not while beauty and youth are thine own,

And thy cheeks unprofaned by a tear,

That the fervour and faith of a soul can be known.

To which time will but make thee more dear;

No, the heart that has truly loved never forgets,

But as truly loves on to the close,

As the sunflower turns on her god, when he sets,

The same look that she turned when he rose.

Sometimes I Feel Like a Motherless Child                      Arranged by William Arms Fischer

   Transcribed by S. Coleridge Taylor

Sometimes I feel like a motherless child,

A long ways from home.

True believer, a long ways from home.

Sometimes I feel like a motherless child,

A long ways from home.

Sometimes I feel like I'm almost gone,

Way up in de Heb'nly land.

True believer, way up in de Heb'nly land.

Sometimes I feel like I'm almost gone,

Way up in de Heb'nly land.