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Track(s) taken from CDH55443

From the rising of the sun

composer
author of text
Malachi 1: 11

St Paul's Cathedral Choir, John Scott (conductor), Huw Williams (organ)
Recording details: February 2001
St Paul's Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: January 2002
Total duration: 2 minutes 34 seconds

Cover artwork: The Adoration of the Magi (tapestry made by William Morris & Co) by Sir Edward Burne-Jones (1833-1898)
Hermitage, St Petersburg, Russia / Bridgeman Art Library, London
 
1
From the rising of the sun  [2'34]

Reviews

'Luminous with a sense of goodness and well-being, brightest and best of choral records for the last many months … a distinguished record' (Gramophone)

‘Fascinatingly diverse anthology … a tonal brightness and rhythmic vitality that sparkle with festive brilliance’ (BBC Music Magazine)

‘This series is the richest treasure trove an Anglican musician or English choral buff could hope to find. Texts and notes are an Anglophile’s dream. Sound is stunningly rich and ringing’ (American Record Guide)

‘The eclectic and thoughtful repertoire mix make for compelling listening … warmly recommended’ (Classic FM Magazine)

‘The choral tone is pleasant, the soloists are well chosen, and the recorded balance keeps everything in perspective’ (Fanfare, USA)

'Hurrah for John Scott and St Paul's, who with this wonderful CD remind all how glorious the Epiphany repertoire is … every piece is approached as if it were the finest thing ever written, and joy is taken in rendering the simple beautiful … let us rejoice at the richness of this programme' (Organists' Review)

‘Seventy-two minutes of utter bliss. This is a disc of St Paul’s and the Hyperion team at their best. Organ and choir make an impact and what a magnificent sequence of music! … this is one of the finest discs I have heard in a long time and I have not stopped playing it’ (Cathedral Music)

‘There is much of merit here, and those who collect St Paul’s and church music in general won’t go far wrong with this one’ (The Delian)
Sir Frederick Arthur Gore Ouseley (1825–1889) is one of the most neglected, but most fascinating characters in nineteenth-century church music. As a child, his musical precocity was said to be rivalled only by that of Mozart. ‘Only think,’ he exclaimed as a child of five, ‘papa blows his nose in G!’ At the age of eight he is supposed to have written his opera L’Isola disabitata. His father was ambassador to Persia and Russia and was made a baronet in 1808. Frederick took his names from his father (Gore) and his godfathers, Frederick, Duke of York, and Arthur, Duke of Wellington. He entered Christ Church, Oxford, in 1843, the year before he succeeded to the baronetcy. He was ordained in 1854 and received the degree of DMus in 1854. Ouseley became a curate at St Barnabas’s Church, Pimlico, the scene of considerable unrest in the late 1840s and early 1850s, culminating in riots sparked off by the elaborate Anglo-Catholic rituals at the church engendered by the so-called Oxford Movement. Whilst at Pimlico he presented the organ and paid for the choir’s costs. As a man of considerable wealth, Ouseley was able to found St Michael’s College, Tenbury, in Worcestershire (completed in 1856) and became its first Warden. There, influenced by the Oxford Movement, he developed his notions of the cathedral service which, as Nicholas Temperley has observed, became the model over its rivals to become the standard form of cathedral service.

Ouseley became Professor of Music at Oxford University in 1855 and was an influential scholar in his day, editing the sacred works of Gibbons and making a study of Spanish musical treatises. As a composer he wrote relatively little, although several of his anthems are still regularly performed today. He eschewed secular influences in music at a time when organists ‘inflict upon the congregation long voluntaries, interludes, &c. which consist either of his own vulgar imagination, or selections from the last new opera’ (Sutton). Ouseley commented on the use of secular melodies in Hymn tunes as follows: ‘How can they result in aught but the disgust and discouragement of all musical churchmen, the misleading of the unlearned, the abasement of sacred song, the falsification of public taste, and (last, but not least) the dishonour of our God and his worship?’ Both at Oxford and at St Michael’s College, Tenbury, Ouseley’s musical style and views on liturgy influenced many Victorian church musicians—including Stainer, whom he invited to Tenbury to become organist there in 1857.

The anthem From the rising of the sun is a short and unpretentious essay of Hymn-like character, in what might be termed Ouseley’s self-imposed ecclesiastical compositional idiom. As with all his church music, Ouseley allows the words to speak clearly to the listener—exemplified by the setting of the words ‘thus saith the Lord!’. The text (from the Book of Malachi) clearly chimed with his own Oxford Movement-inspired Anglo-Catholicism: ‘and in every place incense shall be offered up’.

from notes by William McVicker 2002

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