WESLEY, Samuel Sebastian (1810-1876) - Anthems

Obra de Briton Rivière (1840-1920), pintor anglès (1)

- Recordatori de Samuel Sebastian Wesley -

En el dia de la commemoració del seu 140è aniversari de decés

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Parlem de Pintura...

Briton Riviére (London, 14 d'agost de 1840 - London, 20 d'abril de 1920) va ser un pintor anglès. Es va formar amb el seu pare William Rivière (1806-1876), un mestre de dibuix en el Cheltenham College, i més tard professor d'art a la Universitat d'Oxford. Més tard es va formar al Cheltenham College i a Oxford, on es va graduar el 1867. Les seves primeres pintures les va exposar a la British Institution i el 1857 va exposar tres treballs a la Royal Academy, però no va ser fins el 1863 que es va convertir en pintor habitual de les exposicions de l'acadèmia. Tot i que la temàtica de les seves obres inicials el van donar a conèixer en els cercles artístics, ràpidament es va especialitzar en pintura de gènere animal, principalment gossos, que va plasmar en la majoria de les seves obres. Aquesta singularitat va ser determinant pel seu esdevenir ja que va assolir gran èxit entre el públic victorià, sovint pel caràcter còmic de les seves produccions. De fet, la seva obra més coneguda va ser "Sympathy" on la imatge d'una nena trista reconfortada pel seu gos va causar notable sensació quan va ser exposada el 1878. Va seguir pintant tota la vida i principalment a Londres, ciutat on va morir l'abril de 1920.

Font: En català: No disponible - En castellano: Briton Rivière (1840-1920) - In english: Briton Rivière (1840-1920) - Altres: Briton Rivière (1840-1920)

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Parlem de Música...

Samuel Sebastian Wesley (London, 14 d'agost de 1810 - Gloucester, 19 d'abril de 1876) va ser un organista i compositor anglès. Fill del també compositor anglès Samuel Wesley, va ser l'organista més important a Anglaterra després de Purcell i abans de Stanford. Va ser educat musicalment des de ben petit. Admirador, com tota la seva família de Bach, de fet el nom Sebastian va ser en homenatge a l'alemany, tan sols se l'ha de considerar romàntic des del punt de vista cronològic. Igual que altres membres de la seva família, va ser un compositor essencialment de música eclesiàstica, sent encara a dia d'avui considerablement popular a Anglaterra, especialment en els oficis religiosos. Durant tota la seva vida va ocupar diversos càrrecs d'organista en algunes de les més importants catedrals angleses. En la seva producció van predominar els salms, càntics i serveis, encara que també va compondre nombroses àries i peces per a orgue. Va escriure dues obres de música anglicana: The English Cathedral Service (1845) i Few Words on Cathedral Music (1849). Va ser autor, per tradició familiar i per obligació del seu càrrec, de nombrosos himnes litúrgics. Va morir a Gloucester l'abril de 1876.

OBRA:

Vocal secular:

Stage:
Ballet music, ? for an opera, c1825, GB-Cfm*
The Dilosk Gatherer (E. Fitzball), ov. and incid music, London, Olympic, 30 July 1832, Lbl

Secular choruses, glees, partsongs:
5 male-voice glees [4 for annual competitions at the Gentlemen’s Glee Club, Manchester]:
I wish to tune my quivering lyre (Byron), 5vv, 1833, GB-Mp* (1839);
At that dread hour (W. Linley: Faith), 4vv, 1834, Mp (1839);
Fill me, boy, as deep a draught (T. Moore), 5vv, 1834, Mp;
When fierce conflicting passions (Byron, after Euripides), 5vv, ?1837 (1839);
[text unknown] (W.H. Bellamy), 1838, lost
Arising from the deep, 5vv (1874)
Millions of spiritual creatures (J. Milton), S, A, T, B, orch, 1835, Lcm*
Shall I tell you?, 4vv, vc, pf (1862)
Then sing we in chorus (T. Oliphant: The Praise of Music), S, A, T, B, 10vv, 1872 (1874)
When from the great creator’s hand (W.H. Bellamy: Ode to Labour), S, S, A, T, B, 5vv, orch, 1864, Lcm* (1865) [for the North London Working Men’s Industrial Exhibition]
When the pale moon (C.A. Burroughs: The Mermaid), 4vv (1874)

Songs (sacred and secular):
Almighty God, give us grace (W.H. Bellamy), S, pf, 1848 (1848)
Blessed are the dead (Byron), S, pf (1835)
Butterfly, butterfly, brilliant and bright (Lady F. Hastings: The Butterfly), 1v, pf (1872–6)
Did I possess the magic art (S. Rogers), 1v, pf (1835)
For Charity’s Sake (M.F. Tupper), 1v, pf (Liverpool, 1849)
God moves in a mysterious way (W. Cowper), 1v, pf (c1832) [no copy known; advertised in The Musical World, i (1836), cover to no.4]
I beheld her from my casement (after P.J. de Béranger: The Smiling Spring), 1v, pf (1832)
I have been young, B, orch, c1848, perf. Gloucester 1850, GB-Lcm*
Most blessed Lord (Bellamy), S, pf, 1848 (1848)
O Lord Jesu Christ (Bellamy), B, pf, 1848 (1848), ed. in MB, xliii
Orphan hours, the year is dead (P.B. Shelley), S/T, pf, c1836, Lbl* (1867)
Shall I tell you, 1v, vc, pf (1868) [version of chorus listed above]
Take thou my son (Bellamy: Abraham’s Offering), B, orch, perf. Hereford 1834, Lcm*, inc.
The bruised reed (Bellamy), S/T, pf, 1834, Lcm*, Mr* (1839)
There be none of beauty’s daughters (Byron), S/T, pf, (1835); orchd, perf. Worcester 1839, Lcm, Lcm*, inc.
There breathes a living fragrance, S/T, pf, 1833, Lbl
They tempt me from my native land (Bellamy: Song of the Seamstress), S, orch, 1864, lost
We sat down and wept (Byron: By the Rivers of Babylon), S/T, pf, Lbl* (1867), ed. in MB, xliii
Wert thou, like me, in life’s low vale (W. Scott), S/T, pf, 1832, Lcm* (1836)
When we two parted (Byron), S/T, pf, Lbl (1832) [no copy known]
Young Bacchus in his lusty prime, T, 3 male vv, orch, c1829, Lcm*
You told me once, 1v, pf (1831)

Vocal religiosa:

Service music
Morning and Evening Service, E (1845):
TeD, 1/7vv, org acc., 1842–3;
Jub, 8/8vv, org acc., 1842–3;
Ky I, 5vv, org, 1842–3;
Ky II, 5vv, org, ?1833–4;
San, 5vv, org, 1835–6?, GB-Lbl*;
Cr, 1/4vv, org acc., ?1833–4;
Mag, 6/8vv, org acc., 1842–3;
Nunc, 7vv, org acc., 1842–3
Short Full Service, F, 4vv, org, c1865, H* (1869)

Chant Service, F, 4vv, org:
TeD, Jub (1855);
Mag, Nunc, 1845–6 (1851)
Chant Service ‘Letter B’, F, 4vv, org (1869)
Chant Service, G, 4vv, org, EP
Benedicite (triple-time chant), D, 4vv, EP
Deus misereatur, F, 4/4vv, org acc., 1858, Lbl
Responses, c1845 [lost]
Kyrie, E , 4vv, org, c1830, Lcm*
Kyrie, E, 4vv, org, c1833, Lcm*
Kyrie, Sanctus, F, 4vv, org, EP
Kyrie, f , 4vv, org, EP
Sanctus, D, 4vv, org, EP
Gloria in excelsis, C, 7vv, org, 1846–7 (1869)
Man that is born of a woman (Burial Service), 4vv, org, c1845, An, H1

Anthems and hymn settings:
All go to one place, 4vv, org acc. (1862) [on the death of the Prince Consort], H3
Ascribe unto the Lord, 7/4vv, org acc., 1851, An; orch acc., 1865, Lcm*, both versions H2
At thy right hand, 4vv, org, 1869, Lbl*, EP [chorus for S. Wesley’s duet, ‘O remember not’], H3
Blessed be the God and Father, 1/5vv, org acc., 1833–4, H*, An, H1
Blessed be the Lord God of Israel, 4vv, org acc., 1868 (1868), H3
Blessed is the man that feareth the Lord, 5vv, org, 1848–9; ed. in Three Introits (1906), H3
Blessed is the man unto whom the Lord imputeth no sin, 4 male vv, org, copyist MS Lbl*, EP, H3
By the word of the Lord, 4/5vv, org acc., 1854, Lcm*, inc., H3
Cast me not away, 6vv, org, 1848, An, H3
Give the king thy judgments, 6/7vv, org acc., 1863, Lcm* (1870), H3
Glory to God on high, 6vv, org, c1831, Lcm*, H1
God be merciful unto us, 4/4vv, org acc., 1866, Lbl* (1867), H3
Hear thou in heaven, 5vv, org, 1848–9; ed. in Three Introits (1906), H3
I am thine, O save me, 5vv, org acc. (1857), H3
I will arise, D, 4vv, org, 1869, Lbl*, EP, H3
I will arise, F, 4vv, org, c1869, Lbl*, H3
I will wash my hands in innocency, 4vv, org, ?1849; ed. in Three Introits (1906), H3
Let us lift up our heart, 5/8vv, org acc., c1836, An, H1
Let us now praise famous men ‘Letter A’, 1/4vv, org acc., 1874, MS at Clifton College (1874), H3
Let us now praise famous men ‘Letter B’, 4/4vv, org acc., 1873, MS at Clifton College (1875), H3
Lord of all power and might, 4vv, org, Lbl* (1873), H3
O give thanks unto the Lord, 1/5vv, org acc., c1835, An, H1
O God, whose nature, 4vv, org, c1831, H* (1831), H1
O how amiable, 4vv, org acc., last section (‘The Lord will give grace and mercy’) Lbl* (1874), H3
O Lord my God, 4vv, org, c1850, An, H3
O Lord, thou art my God, 5/8vv, org acc. [DMus exercise], c1836 (1840), An, H1
Praise the Lord, O my soul, 5/5vv, org acc., 1861 (1862), H3
Praise ye the Lord, ?4vv, ?org, c1873, lost
The face of the Lord, 8/5vv, org, 1848, An, H3
The Lord is my shepherd, 2/4vv, org acc. (1875), H3
The wilderness and the solitary place, 4/4vv, pf/org acc. [for the reopening of Hereford Cathedral organ], 1832, H* (1840), An; orch acc. [for Birmingham Festival], 1852, Lcm, both versions H2
Though round thy radiant throne [charity hymn], 2/2 female vv, org acc., c1827, Lbl*, H1
Thou wilt keep him in perfect peace, 5vv, org acc., c1850, An, H3
To my request and earnest cry, 1/8vv, org acc., c1836, Lbl*, inc., movts 1, 2 (1840); ed. (1906), H1
Trust ye in the Lord, 1/4vv, org acc., c1835, Lcm* inc., H1
Turn thee unto me, 4vv, org [chorus for S. Wesley’s duet ‘Oh deliver me’], EP, H3
Wash me throughly, 1/4vv, org acc., c1840, An, H1
Wherewithal shall a young man, 1/4vv, org acc., c1870–75, Lbl*, inc. (1875), H3
182 further hymn tunes and 39 chants, incl. 142 tunes and 26 chants pubd in EP; for full pubn details see Horton (1983), 357–83
2 tunes, D, carillon, 1874 [for Holsworthy Church, Devon]; 1 arr. with variations, see organ

Latin sacred music:
Gloria in excelsis, inc., E , 4vv, orch, c1830, GB-Lcm*
Benedictus qui venit, A , S, A, T, B, orch/pf, 1832, Lcm*
Agnus Dei, G, S, orch, c1830–32, Lbl
Sanctus, perf. Hereford 1834, lost

Instrumental:

Orchestral:
March, B , c1830, GB-Lcm*
Symphony, 1 movt, C, c1834, Lcm*
Overture, E, Lbl, inc., perf. Hereford Festival, 1834 (attrib. (4) Samuel Wesley in some sources)
Concertante, 12 wind insts, scheduled for Gloucester Festival, 1835, but not perf., lost

Organ:
Variations on God Save the King, 1829 (1831, 2/1869); Ga
Larghetto, f, c1835, GB-Lbl* (1893)
Introduction and Fugue, c , ?1835, in Studio for the Organ, i (1836, 2/1869) [no further numbers pubd]; Ga
A Selection of Psalm Tunes (1834, 2/1842); Ga
3 Pieces for a Chamber Organ, bk 1 (1842): Andante, E , 4/4, Andante, F, Choral Song; Ga
3 Pieces for a Chamber Organ, bk 2 (1842–3): Andante, G, [Larghetto], f , Andante, E , 3/4; Ga
Andante, D, 1846, P. Horton’s private collection, London
Andante cantabile, G (1864); Ga [for organ opening at the Agricultural Hall, Islington, Nov 1863]
Andante, C, org/hmn, Musical Standard, xiv (1871), 40–41; ed. J.E. West as ‘Meditation’ (1909)
Voluntary, d/F (1872); Ga
Andante, C, Lbl, ed. T.R. Matthews: The Village Organist, ii (1872)
Holsworthy Church Bells, air with variations, F, 1874, Lbl* (1877); tune orig. for carillon, see anthems and hymn settings
2 Andantes: A, e, Lbl* (1877)

Piano:
Waltz, The Harmonicon, viii (1830)
Introduction and Rondo on an Air from Spohr’s Azor and Zemira, ?c1831 [no copy known; advertised Leeds Intelligencer, 1842]
Original Air, with Variations, ded. to J.B. Cramer (c1831) [no copy known; reviewed The Harmonicon, x (1832), 15, and The Atlas, vii (1832), 92]
Rondo, ‘La violette’, ?c1832 [no copy known; advertised Leeds Intelligencer, 1842]
Dance, D, c1833–4, GB-Lcm*
Rondo, G, 1834, Lcm* (1835–6)
Piece, e, 1834, Lcm*
Presto, inc., c, 1834, Lcm*
March, c, and Rondo, C, (1842), ed. in LPS, xvi (1985)
Jeux d’esprit, quadrilles à la Herz, 2 or 4 hands (1847)

Editions and arrangements:
L. Kozeluch: Air with Variations, arr. organ, c1830, GB-Lcm
L. Spohr: The Witches’ Rondo (Faust), arr. pf, c1832, Cfm
J. Connolly: Oh when do I wish for thee, song, pf acc. by Wesley (1832)
E. Harwood: Vital spark of heav’nly flame, set piece, arr. 1v, pf (1832)
Melodia Sacra [selections from Handel and Haydn], arr. pf, 12 nos. (c1834 [no copy known; advertised Musical World, i (1836), cover to no.4])
The Psalter … with Chants, ed. (Leeds, 1843)
Harmonizations of 4 tunes in J. Hullah: Psalter (1843)
W.A. Mozart: songs, duets & trios, 36 nos., ed. (1849–51)
W. Owen: ‘By the streams of Babylon’/‘Wrth Afonydd Babilon’, anthem, org/pf acc. by Wesley (1854)
E. Stephen: The Storm of Tiberias/Ystorm Tiberias, orat, org/pf acc. by Wesley (1854)
Mozart: Ten Songs, ed. (1861)
The Hundredth Psalm, SATB, org, with varied harmonies, 1856 (1864) [also orch, lost]
S. Wesley: ‘Thou, O God, art praised in Sion’, anthem, ed. (1865)
The European Psalmist, ed. (1872) [EP]
Spohr: Psalm 24, ed. (1874)
Wesley: (5) Samuel Sebastian Wesley

Literatura:

Preface to A Selection of Psalm Tunes [for organ] (London, 2/1842)
Notes for Liverpool lectures on church music (MS, 1844, GB-Lcm 2041f)
Preface to Service in E major (London, 1845)
A Few Words on Cathedral Music (London, 1849)
Reply to the Inquiries of the Cathedral Commissioners Relative to the Improvement in the Music of Divine Worship in Cathedrals (London, 1854)
Words of Anthems Used in Cathedral and Other Churches (Gloucester, ?1869)

Font: En català: No disponible - En castellano: Samuel Sebastian Wesley (1810-1876) - In english: Samuel Sebastian Wesley (1810-1876) - Altres: Samuel Sebastian Wesley (1810-1876) 

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Parlem en veu pròpia o en veu d'altri...

Samuel Sebastian Wesley (1810-76) is one of the most intriguing figures in nineteenth century English music. At an early age he made his mark in London, as both organist and composer, but forsook the capital to become organist at Hereford Cathedral in 1832. He seems to have been of a disputatious temperament, and quarrels with deans and chapters arising from his outspoken comments on the need for the reform of church music were to be a constant feature of his career. He must hold some sort of record for the number of major organ posts he occupied: Hereford was to be followed by Exeter (1835), Leeds Parish Church (1841), Winchester (1849) and finally Gloucester (1865).  As an organist he was particularly renowned for his improvisations. As a composer, his early promise was never quite fulfilled: his output was relatively small and rarely ventured beyond the fields of church and organ music. Yet on the evidence of this disc he stood head and shoulders above his contemporaries. Unfortunately he was easily discouraged - in the 1850s he gave up composing altogether - which is not surprising given that his music seemingly did not find favour with the church authorities (the magnificent anthem To My Request and Earnest Cry, here recorded for the first time, was written while he was at Exeter: but it was probably never performed in his lifetime). 

He possessed an easy mastery of chromatic harmony, boldly deploying a notable degree of dissonance. Another quality he displayed was a wonderful ability to match music to the meaning of particular texts. Take Trust Ye in the Lord (another anthem receiving its first recording): the words ' … the labour of the olive shall fail and the fields shall give no wheat' are clothed in music of gentle pathos; but the following 'Yet will I rejoice in the Lord' is notable for the soaring, exultant treble line to which they are entrusted.  The whole disc abounds with similar felicities - the exquisite dissonances in the concise, moving Man that is Born of a Woman, written for the Burial Sentences, the affecting simplicity of Lead Me Lord, the tremendous fugue leading to the climax of To My Request and Earnest Cry, followed by a coda of moving serenity. And the organ Introduction & Fugue in C# minor is a splendidly structured affair.  I cannot recommend this disc too highly. The acoustic of York Minster is a perfect setting for the music, and the choir is thoroughly on top of its work: it fields splendid soloists, trebles Alastair Hewish and Matthew Ferguson are particularly outstanding). Telling contributions come from Stephen Varcoe (baritone) and John Scott Whiteley (organ); and Philip Moore is the authoritative conductor. Peter Horton's sleeve notes are a model of their kind.

Adrian Smith (source/font: aquí)

Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: John Scott Whiteley (organ); The Choir of York Minster; Philip Moore
RECICLASSICAT: WESLEY, Samuel Sebastian (1810-1876)
GUILD: WESLEY, S.S. - Anthems

IMSLP: Samuel Sebastian Wesley (1810-1876)

CPDL: Samuel Sebastian Wesley (1810-1876)

SPOTIFY: WESLEY, S.S. - Anthems



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