Holy Week Meditation In The Cathedral

Press, Volume CVI, Issue 31327, 25 March 1967, Page 14

Holy Week Meditation In The Cathedral

By devising the Holy Week Meditation in Christchurch Cathedral last evening, Mr Foster Browne succeeded in drawing clergy, choir and congregation together in contemplation of th* events commemorated at this time in the Church’s year. Purely musical settings of the Passion generally encourage little or no active participation by the people; but Mr Browne’s plan gives the congregation the opportunity to take part in speech and to hymn-singing while making ample provision for the performance of chorales, motets and anthems by the choir. After the singing of “it is nothing to you, all ye that pass by?” (Ouseley), and some introductory prayers with congregational response, the choir sang the Bach chorale, “Jesus, i will ponder,” and Vittoria’s motet, “Pueri Hebraeorum,” immediately after which cam* the well known hymn “Ride on! Ride on in majesty” sung by the choir and congregation. In the Holy Thursday section, the choir sang Phineas Fletcher’s verses, “Drop, drop, slow tears,” to a lovely setting by Gibbons. The pattern of prayers, spoken congregational response, and singing by the choir then continued: the choral movements being Byrd’s “Jesu, Lamb of God," Bairstow** “Let all mortal flesh keep eHence." “0 Sacrum Convivium" (Palestrina) and the Agnu* Del from Charles Wood’s Service in th* Phrygian Mod*. in th* next thora! sente*, after prayer end congregational response, came “Blessed Jesu" (Dvorak), two Bach chorales (“Mysterious act of love” and “O Lord, who flares to smite Thee”), Purcell’s “Remember not, Lord, our offences,” and another Bach chorale, “If I should e’er forsake Thee.” Mr Browne was careful to secure appropriate variation in his treatment of th* chorales. and each moved onward rhythmically, without “dragging.”

Th* “Good Friday” section began with the playing of th* organ Choral* Prelude on “O Man, bewail thy grievous sin" and continued with the congregational singing of “When I survey the wondrous Cross.” Then, after short prayers and their response, the choir sang Palestrina’s “0 Saviour of the world," the Purcell anthem, “Thou knowest, Lord,” a spiritual, and Mr Browne’* appropriate and effective motet, “Tenebrae factae sunt,” th* last two sung by the boys only. Finally, the hymn “Praise to the Holiest,” was sung by choir and congregation. The spirit of unity which Clearly existed between clergy, choir and congregation showed the value of this type of Good Friday Meditation. The choir’s singing under Mr Foster Browne’s direction was most sensitive and musictanly throughout; and that of the congregation, while wholehearted, showed the pervading influences of the various theme* of the meditation and was sensitive, too, in the expression of them.