Hyperion Records

It is a good thing to give thanks dates from around 1682-1685, with the instrumental writing, clearly designed for single strings, florid and full of the dancing, dotted rhythms that so pleased Charles II (but that had been a feature of music on the Continent for many years previously).

The Symphony is in the usual two halves, the first a duple-time, pompous section typical of a French opera overture, and the second a lively triple-time section whose music recurs in many of the subsequent ritornelli. The three solo voices function largely as a unit, although there is plenty of variety in texture from purely homophonic to quite complex counterpoint. Almost every section is concluded with an instrumental ritornello, with the midpoint marked by a repetition of the triple-time section from the Symphony.

After this interlude the solo bass is given a recitativo-like section, full of word-painting and making much use of vocal and harmonic colour. Once again, the range of the part is enormous, from low D on ‘very deep’ to notes two octaves and more above. The trio solo returns with ‘For thou, Lord, hast made me glad’, leading into a series of Alleluias which make much use of echo effects. After a reprise of the opening vocal material and the dotted ritornello the function of the full choir is small, providing just a simple ‘Alleluia’ at the conclusion – such a device was of course deliberate, for it would not have taken long to teach the boys of the choir their music for this particular service!

from notes by Robert King ©