The original Latin text for
How mighty are the Sabbaths is by Peter Abelard and Holst dedicated the work to Archibald T Davison and the Harvard Glee Club. This setting, again for TTBB, is described in the score as a ‘Chorus for male voices and an ad lib chorus for treble voices in unison, with accompaniment for full orchestra or strings or organ’. The accompaniment recorded here is for strings only, with treble voices used as indicated from the twelfth stanza onward. Holst further suggests that in the event of a treble choir not being available, a solo trumpet may be used instead!
Once again, Holst’s concentration on the natural rhythm of the words leads to a sequence of changes of metre based this time on 7/4, but moving on occasion through 6/4, 3/2, and 5/4. This poem, the longest of the set, also embraces the greatest variety of emotional mood and expression. Once again, the setting opens with a scalic ostinato in the bass, this time in the form of a melodic descent (the opposite of the climbing figure that opened ‘Intercession’). The opening two stanzas are characterized by a forward-marching confidence and stoicism, in total contrast to the contemplative inwardness of expression at the mention of the Holy City. This sense of self-communion is further enhanced at the words ‘There all vexation ended’, marked parlante in the score, directing the singers to adjust their vocal production to resemble normal speech characteristics. The celebratory final section (più mosso ma non troppo) begins at the twelfth stanza where the treble choir sings the words of the opening two stanzas as a rousing counterpoint to the joyous celebration expressed by the faster-moving men’s voices underneath.
from notes by Julian Haylock © 1989