Father in the Heavens
Leeds Guild of Singers is delighted to return to St Margaret’s – we always enjoy making the trip out to Ilkley and this church is the perfect, peaceful setting for choral music. We’re grateful to the church administration for their support in arranging and promoting this concert.
The plea “Father in the heavens” resounds throughout tonight’s programme, uniting us in a shared invocation of divine presence. Composers have long turned to these words for inspiration: some works cry out in anguish, seeking solace in times of trial, while others express serene trust in God’s mercy and love. As we journey through Lent, we invite you to contemplate the depth of this invocation—whether whispered in prayer or proclaimed in exultation.
Please take a minute to complete the feedback form and put it in the box at the exit. We value your comments, and we’d like to stay in touch to tell you about our upcoming concerts as well as the progress of our new commission. Best wishes.
David Bowman (Outgoing Chair of LGS committee)
PROGRAMME NOTES & TEXTS
Our Father in the Heavens Edward Bairstow (1874-1946)
A Yorkshire-born composer, organist and choirmaster, Bairstow worked at Leeds Minster before moving on to his final position as Organist and Director of Music at York Minster in 1913. Most of his output is church choral music. This anthem, published in 1932 for Trinity Sunday, is in up to eight parts and shows considerable freedom of style, including some quite challenging harmonic and tonal contrasts.
Text:
Our Father in the heav’ns, Fount of Deity,
From Whom proceedeth momently the Eternal Spirit
Of Whom is momently begotten the Eternal Son.
Holy may Thy Name be made, O Holy Ghost! As in heav’n, So on earth:
Thy kingdom come, O Christ! As in heav’n, So on earth:
Thy will be done, O Father! As in heav’n, So on Earth.
O Father, for tomorrow’s loaf give us the means today:
O Christ, forgive us our debts, as we forgive our debtors:
O Holy Ghost, bring us not into temptation:
But deliver us, O Three in One, from the evil, which like a dragon lies across the world.
For Thine is the kingdom O Christ, for ever and ever, Amen.
Thine is the pow’r, O Holy Ghost, for ever and ever, Amen.
And Thine is the glory, O Father, for ever and ever, Amen.
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Prayer of Kierkegaard IV Knut Nystedt (1915-2014)
Nystedt was a leading Norwegian composer, who studied with Aaron Copland and whose music is much influenced by ancient church music, especially Gregorian chant and the music of Palestrina. This cantata, written in 1999, is settings of prayers by the Danish theologian and philosopher Søren Kierkegaard, and is for divided four-part choir. Of particular note is his treatment of dissonance which can produce some very “crunchy” chords, although there is usually a resolution into a recognisable tonality. Tonight we sing the fourth movement, following our performance of the first three movements last autumn. We will add the final movement at a future concert this season.
Text:
Father in heaven! open the fountains of our eyes,
let a torrent of tears like a flood obliterate all of the past life,
which did not find favor in your eyes;
but also give us a sign as of old,
when you set the rainbow as a gateway of grace in the heavens,
that you will no more wipe us out with a flood;
let sin never again get such power over us
that you again have to tear us out with the body of sin.
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Prayer to the Father of Heaven Ralph Vaughan Williams (1872-1958)
This motet, written in 1948, is a setting of a text by John Skelton (c.1463-1529) and is stylistically a long way removed from the lyrical folk-song idiom usually associated with this quintessentially English composer. Written to mark the centenary of Hubert Parry’s birth, the eloquent dedication pays homage to “the memory of my master, Hubert Parry, not as an attempt palely to reflect his incomparable art, but in the hope that he would have found in this motet something characteristic”. It is difficult to discern the influence of Parry’s music here. However, in the beautiful, strange harmonic shifts, enlisted in the service of a nuanced and individual response to the text, it becomes a fitting tribute.
Text:
O radiant Luminary of light interminable,
Celestial Father, God of might.
Of heaven and earth O Lord incomparable,
Of all perfections the Essential most Perfite!
O Maker of mankind, that formèd day and night,
Whose power comprehendeth every place!
Mine heart, my mind, my thought, my whole delight
Is, after this life, to see Thy glorious face.
Whose magnificence is incomprehensible,
All arguments of reason which far doth exceed,
Whose Deity doubtless is indivisible,
From whom all goodness and virtue doth proceed,
Of thy support all creatures have need;
Assist me, good Lord, and grant me of thy grace
To live to thy pleasure in word, thought and deed,
And, after this life, to see thy glorious Face
.
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Her Sacred Spirit Soars Eric Whitacre (born 1970)
Grammy award-winning composer and conductor Eric Whitacre is among today’s most popular musicians. A graduate of The Juilliard School, his works are performed worldwide, and his ground-breaking Virtual Choirs have united well over 100,000 singers from more than 145 countries. This piece, commissioned for a thriving Shakespearean festival, uses a 14-line sonnet by the modern poet Silvestri and is effectively a canon for double choir. The acrostic text, where the first letter of each line spells out “Hail Fair Oriana”, is a tribute to the virgin Queen Elizabeth I, who was often referred to in the arts as Oriana.
Text:
Her sacred spirit soars o’er gilded spires,
And breathes into creative fires a force;
In well-tuned chants and chords of countless choirs,
Lives ever her immortal shadowed source.
From age to age the roll of poets grows,
And yet, a lonely few are laurel-crowned,
In whose sweet words her inspiration shows,
Revealing insights deep and thoughts profound.
O shall Cecelia, or shall Goddess Muse
Reach then to me across eternal skies?
Is heaven’s quick’ning fire but a ruse,
Abiding rather here before mine eyes?
Nearer than I dream’d is she whose fame
All poets sing, whose glory all proclaim:
“LONG LIVE FAIR ORIANA!”
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Songs from The Princess Gustav Holst (1874-1934)
British composer Holst is today chiefly remembered for his great orchestral suite “The Planets”, but he also leaves a rich legacy as a choral composer. This collection of 5-part songs for upper voices dates from 1905, when Holst was embarking on his teaching career as music director at St Paul’s Girls school in Hammersmith. With their lovely flowing melodic phrases and beautifully crafted simplicity, they clearly show the influence of folk music as well as that of Elizabethan English madrigals – two musical forms that were significant factors in his future compositions.
Text:
1. Sweet and Low
Sweet and low, sweet and low
Wind of the western sea,
Low, low, breathe and blow,
Wind of the western sea!
Over the rolling waters go,
Come from the dying moon, and blow,
Blow him again to me,
While my little one, while my pretty one, sleeps.
Whose magnificence is incomprehensible,
Sleep and rest, sleep and rest,
Father will come to thee soon;
Rest, rest, on mother's breast,
Father will come to thee soon;
Father will come to his babe in the nest,
Silver sails all out of the west
Under the silver moon.
Sleep my little one, sleep my pretty one, sleep.
2. The Splendour Falls
The splendour falls on castle walls
And snowy summits old in story:
The long light shakes across the lakes,
And the wild cataract leaps in glory:
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle, blow; answer, echoes, dying, dying, dying.
O love, they die in yon rich sky,
They faint on hill or field or river:
Our echoes roll from soul to soul
And grow for ever and for ever.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle, blow echoes, answer, dying, dying, dying.
O hark, O hear how thin and clear,
And thinner, clearer, farther going!
O sweet and far from cliff and scar
The horns of Elfland faintly blowing!
Blow, let us hear the purple glens replying:
Blow, bugle, blow answer, echoes, dying, dying, dying.
3. Tears, Idle Tears
Tears, idle tears, I know not what they mean,
Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy Autumn fields,
And thinking of the days that are no more.
Fresh as the first beam glittering on a sail,
That brings our friends up from the underworld,
Sad as the last which reddens over one
That sinks with all we love below the verge;
So sad, so fresh, the days that are no more.
4. O Swallow, swallow
O Swallow, Swallow, flying, flying South,
Fly to her, and fall upon her gilded eaves,
And tell her, tell her, what I tell to thee.
O tell her, Swallow, thou that knowest each,
That bright and fierce and fickle is the South,
And dark and true and tender is the North.
O Swallow, Swallow, if I could follow, and light
Upon her lattice, I would pipe and trill,
And cheep and twitter twenty million loves.
O were I thou that she might take me in,
And lay me on her bosom, and her heart
Would rock the snowy cradle till I died
Why lingereth she to clothe her heart with love,
Delaying as the tender ash delays
To clothe herself, when all the woods are green?
O tell her, Swallow, that thy brood is flown:
Say to her, I do but wanton in the South,
But in the North long since my nest is made.
O tell her, brief is life but love is long,
And brief the sun of summer in the North,
And brief the moon of beauty in the South.
O Swallow, flying from the golden woods,
Fly to her, and pipe and woo her, and make her mine,
And tell her, tell her, that I follow thee.
5. Now Sleep the Crimson Petal
Now sleeps the crimson petal, now the white;
Nor waves the cypress in the palace walk;
Nor winks the gold fin in the porphyry font:
The fire-fly wakens: waken thou with me.
Now droops the milk-white peacock like a ghost,
And like a ghost she glimmers on to me.
Now lies the earth all Danaë to the stars,
And all thy heart lies open unto me.
INTERVAL
Messe pour double Choeur (Mass for Double Choir) Frank Martin (1890-1974)
If it had been up to Geneva-born Frank Martin, his Mass for Double Choir would never have reached the ears of audiences at large. For decades he considered this composition, dating from 1922-1926, as a private matter, or more precisely, as something between God and himself. It was not until 1963 that the work was premiered, after a Hamburg choral conductor had requested a copy of the manuscript “for study purposes”, and it wasn’t even published until 1972.
Although clearly a composition of the 20th Century, we can trace a number of influences within Martin’s writing. His use of counterpoint has echoes of the polyphony of the high Renaissance (Bach in particular), whilst his modal forms may remind us at times of Gregorian chant. However, at all times, his writing shows a freedom of expression firmly rooted within his own spirituality.
The Kyrie is sublime and ethereal, weaving its counterpoint within a beautifully controlled texture. This gradually builds to a climax where all eight parts join together in an emphatic falling phrase before resolving into the final cadence. The Gloria shows great contrasts, from fast-flowing interlocking melodic fragments to chant-like unison statements. The Credo is a masterpiece of dramatic expression: from the opening antiphonal homophony we progress through anguished outbursts on “Crucifixus” to the sunny uplands “et resurrexit” and the final “Amen” on bare open 5ths. The Sanctus is probably the most demanding movement: after the opening restrained “Sanctus” the two choirs move to a fast, highly rhythmic iteration for “pleni sunt coeli” with frequent complex time changes and a wide vocal range. The final Agnus Dei uses one choir to provide a steady repeated crotchet harmonic chant as a backdrop for the second choir to intersperse fragments of flowing, mainly unison melody.
Texts & translations:
Kyrie
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord have mercy.
Christ have mercy.
Lord have mercy.
Gloria
Gloria in excelsis Deo,
et in terra pax hominibus bonae voluntatis.
Laudamus te, Benedicimus te,
Adoramus te, Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex caelestis, Deus Pater omnipotens.
Domine fili unigenite, Jesu Christe,
Domine Deus, Agnus Dei, Filius patris,
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundo,
suscipe deprecationem nostram.
Qui sedes ad dexteram patris,
miserere nobis.
Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus Altissimus, Jesu Christe!
Cum Sancto Spiritu in gloria Dei Patris.
Amen.
Glory to God in the highest,
and on earth peace to people of good will.
We praise you, We bless you,
We adore you, We glorify you.
We give you thanks for your great glory.
Lord God heavenly King, God the almighty Father.
Lord the only begotten Son, Jesus Christ,
Lord God, Lamb of God, Son of the Father,
You who take away the sins of the world,
have mercy on us.
You who take away the sins of the world,
receive our prayer.
You who are seated at the right hand of the Father,
have mercy on us.
For you alone are the Holy One.
You alone are the Lord.
You alone are the Most High, Jesus Christ!
With the Holy Spirit in the glory of God the Father. Amen.
Credo
Credo in unum Deum, Patrem omnipotentem,
factorem coeli et terre,
visibilium omnium et invisibilium.
Et in unum Dominum Jesum Christum,
filium Dei unigenitum,
et ex Patre natum ante omnia saecula,
Deum de Deo, lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum,
consubstantialem Patri,
per quem omnia facta sunt.
Qui propter nos homines et propter nostram salutem
descendit de coelis.
Et incarnatus est de Spiritu Sancto
ex Maria Virgine. ET HOMO FACTUS EST.
Crucifixus etiam pro nobis, sub Pontio Pilato
passus et sepultus est.
Et resurrexit tertia die,
secundum Scripturas
et ascendit in coelum,
sedet ad dexteram Patris.
Et iterum venturus est cum gloria,
judicare vivos et mortuos,
cujus regni non erit finis.
Et in Spiritum Sanctum,
Dominum et vivificantem,
qui ex Patre Filioque procedit,
qui cum Patre et Filio simul
adoratur et conglorificatur,
qui locutus est per Prophetas.
Et unam, Sanctam, catholicam
et apostolicam Ecclesiam.
Confiteor unum baptisma
in remissionem peccatorum.
Et expecto resurrectionem mortuorum
et vitam venturi saeculi.
Amen.
I believe in one God, the Father almighty,
maker of heaven and earth,
and all things visible and invisible.
And I believe in one Lord Jesus Christ,
the only-begotten Son of God,
born of his Father before all worlds.
God from God, Light from Light,
true God from true God.
Begotten, not made,
consubstantial with the Father,
through whom all things were made.
Who for us men and for our salvation
came down from heaven.
And by the Holy Spirit was incarnate
of the Virgin Mary, AND WAS MADE MAN.
Was crucified for us, under Pontius Pilate
he suffered and was buried.
And rose again on the third day,
according to the Scriptures,
and ascended into heaven,
and sits at the right hand of the Father.
And he shall come again with glory,
to judge the living and the dead,
and his kingdom shall have no end.
And I believe in the Holy Spirit,
the Lord and giver of life:
who proceeds from the Father and the Son,
who with the Father and the Son together
is worshipped and glorified,
who has spoken through the Prophets.
And I believe in one holy, Catholic
and Apostolic Church.
I confess one Baptism
for the forgiveness of sins.
And I look forward to the resurrection of the dead
and the life of the world to come.
Amen.
Sanctus
Sanctus, Sanctus, Sanctus
Domine Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Holy, Holy, Holy,
Lord God Almighty.
Heaven and earth are full of your glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.
Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis,
dona nobis pacem.
Lamb of God, who takes away the sins of the world,
have mercy upon us,
grant us peace.
Programme notes by Lindsay Robertshaw, Texts & translations by Robbie Curtis, 2025.
LEEDS GUILD OF SINGERS
Founded in 1948, Leeds Guild of Singers has established a reputation as one of Yorkshire’s finest chamber choirs and is a group of around 40 singers which prides itself on a light, flexible and pure sound. We perform a wide and adventurous repertoire of sacred and secular music, mostly unaccompanied and spanning seven centuries. Recent highlights include a tour to France in 2016, the first performance of a work specially commissioned for our 70th anniversary, and a suite of virtual performances recorded during the pandemic.
Email: secretary@leedsguildofsingers.org.uk
web: www.leedsguildofsingers.org.uk
Facebook: facebook.com/leedsguildofsingers
Instagram: @leedsguildofsingers
Bluesky: @leedsguildofsingers.org.uk
Mastadon: mastodon.social/@LeedsSingers
YouTube: @leedsguildofsingers
BENJAMIN KIRK – MUSICAL DIRECTOR
Benjamin was born in Beverley, East Yorkshire in 1992, attended Christ’s Hospital School, and in 2011 moved to Tallinn, Estonia, to begin studying choral conducting under Tõnu Kaljuste. Thus began a love affair with Baltic, Nordic and Russian choral music that he is committed to share with audiences around the world.
Benjamin's career as a choral conductor began in Estonia in 2016. He won 3rd prize at the World Conducting Competition in Hong Kong in 2019, and has worked with choirs across Europe, as well as preparing numerous choruses for performance.
He is currently also Musical Director of the Lea Singers in Harpenden,
the Clerkes of All Saints in York and the Orlando Singers in Cambridge, as well as Conductor with The Purcell Singers in London. Further afield, Benjamin has been Guest Conductor with the National Forum of Music Choir in Wrocław, Poland since 2021.
Outside of conducting, Benjamin enjoys playing chess, watching stand-up comedy and reading.
benjamintheophilus.com
OUR SINGERS IN THE 2024-25 SEASON: (not all performing today)
Soprano:
Sara Caine
Emily Clarke
Alexis Cooling
Orlen Crawford
Mel Dodds
Kristýna Farag
Lizzie Fry
Charley Hellier
Claire Osborne
Eve Ridgeway
Elodie Smith
Sophie Swinson
Catherine Whatmough
Anna Williams
Alto:
Laura Barker-Bey
Amy Barwick
Milena Büchs
Vicky Hands
Enson Lee
Ally Martin
Myriam Mitchell
Mary Seeds
Ruby Thomas
Cassie White
Claire White-McKay
Katie Woollam
Tenor:
Peter Coltman
Chris Cunliffe
Andrew Downs
Angus McAllister
Matthew Oglesby
Nick Salmon
John Scholey
Ellis Soothill
David Williams
Bass:
David Bowman
Martin Coombes
Robbie Curtis
David Green
David Jackson
Matt Knowles
Lindsay Robertshaw
Aidan Sadgrove
Clive Spendlove
Dan Walters
Ali Wood
FUNDRAISING FOR A NEW CHORAL COMMISSION
LGS has commissioned a new choral work by an award-winning composer, in memory of David Eaves. A much-loved friend and former bass singer in the Guild, David (pictured) died of cancer in 2020 aged just 45. He kindly left a small legacy to the choir, which we are putting towards this commission in his memory.
David was a kind, thoughtful, generous and talented person, a proud Scot who touched the lives of so many people. Singing and music were always a big part of his life. We have selected the York-based (but Scotland-born) composer, Martin Suckling, to produce a work of several movements that reflect David’s Scottish heritage and his Christian faith.
We are excited to be collaborating with Martin to bring a new composition into the contemporary choral repertoire, and we aim to perform its premiere in autumn 2025. In addition to David’s legacy, some financing will come from LGS charity reserves, and we are applying for grant funding. But we would be very grateful to receive donations of any size from supporters of the Guild. If you would like to contribute to the creation of this enduring work, visit our website and follow the link to our Just Giving page (justgiving.com/campaign/davideavescommission)
UPCOMING CONCERTS
Saturday 12 April 2025, 7.30pm –“Father in the Heavens”, St Chad’s Church, Far Headingley.
June 2025 – Summer concert, date & venue to be confirmed.
November 2025 – Premiere performance of new work by Martin Suckling, date & venue TBC.
