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Track(s) taken from CDA66826

For lo, I raise up, Op 145

composer
1914
author of text
Habakkuk 1: 6-12; 2: 1-3, 14, 20, adapted

St Paul's Cathedral Choir, John Scott (conductor), Andrew Lucas (organ)
Recording details: June 1995
St Paul's Cathedral, London, United Kingdom
Produced by Arthur Johnson
Engineered by Antony Howell & Julian Millard
Release date: April 1996
Total duration: 9 minutes 16 seconds
 
1
For lo, I raise up Op 145  [9'16]

Other recordings available for download

Worcester Cathedral Choir, Donald Hunt (conductor), Paul Trepte (organ)
Kenan Burrows (treble), William Kendall (tenor), Winchester Cathedral Choir, Stephen Farr (organ), David Hill (conductor)

Reviews

'St Paul's is the king of cathedral choirs, and the sound of their singing, with the majesty of the organ in the awesome reverberance of the great building to match, is as rich and noble as any sound on earth' (Gramophone)

'Truly heroic performances from the St Paul's Choir which is on top form. A memorable record' (Organists' Review)
For lo, I raise up, Op 145, Stanford’s most dramatic anthem, was composed in 1914. Through the analogy of Habakkuk’s prophetic writings, Stanford sought to express his own sense of horror at the war, of its needless destruction and of future deliverance. This is powerfully evident in the first part of the anthem, set in F minor, in which the restless choral lines are tossed about by the turbulent (quasi-orchestral) organ accompaniment. Yet, although initially Habakkuk’s text (taken from chapters one and two) is infused with a sense of woe, its conclusion is concerned with hope and the fulfilment of God’s purpose. In the certainty that all enemies shall be vanquished with the establishment of God’s order, Habakkuk’s message is one of consolation, a sentiment that is affirmed in Stanford’s climactic cadential phrase ‘We shall not die’. Building on this declaration of spiritual confidence the momentum increases, animated by a sense of divine destiny (‘The vision is yet for the appointed time’) and an impassioned acclamation of faith (‘For the earth shall be filled with the knowledge of the glory of the Lord’) which is tempered only by the sudden and compelling stillness of the coda (‘But the Lord is in his holy temple’). Here the memories of violence and dread are dissolved in a vision of peace and awe.

from notes by Jeremy Dibble 1998

Other albums featuring this work

Stanford: Cathedral Music
CDA66030Archive Service
Stanford: Sacred Choral Music
CDS44311/33CDs Boxed set (at a special price)
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