Page 38 - October.indd

Lesser-Known or Infrequently-Performed Choral Works of

A Study of Works the composer and highly effi cacious. A fi nal eruption
The Three Choral Hymns (1929), for baritone or tenor of the chorus brings the motet to a victorious conclu-
solo, chorus (SATB), and orchestra (alternatively pi- sion.
anoforte or organ accompaniment), were composed Valiant for Truth (1940) and A Vision of Aeroplanes (1956)
3
for the Leith Hill Music Festival (Dorking). Each of represent two motets premiered by Harold Darke and
the movements—“Easter Hymn,” “Christmas Hymn,” his St. Michael’s Singers of St. Michael’s Church,

and “Whitsunday Hymn” (in duration about 3.5, 6, Cornhill, the latter written specifically in celebration
and 3.5 minutes, respectively)—introduces words by of the renowned organist’s fortieth anniversary there.
Myles Coverdale (the second and third were translated Valiant for Truth, a motet (5.5 minutes in duration) for
from Luther by him) and all are treated similarly. In a
D mode, “Easter Hymn” begins and ends with an ec-
static paragraph constructed of overlapping choral en-
tries on an “alleluia” motif (consisting of a descending T he Sons of (1950) r epr
The Sons of Light Light (1950) represents the esents the

fourth from D to A—D, C, B , A) found frequently in
ende
avor
fi
rst
of
aughan
Williams’
V

Vaughan Williams’s works; it is the composer’s instinc- first endeavor of Vaughan Williams’s s
of

and all
fi
nal

compositional phase,
tive formula for his biggest emotional displays. These final compositional phase, and all of the the
te
of
compelling elements
his la

decorate the noble unison theme of the first two verses compelling elements of his late style style
(executed by alto and bass, then soprano and tenor), are visible in its pages.pages.
in
its
ar
e visible
but are omitted from the harmonized treatment of the
third. In F major, “Christmas Hymn” is based on a
tranquil “kyrie eleyson [sic]” motif (derived from the
interval of a descending third and ascending fourth—F, mixed chorus unaccompanied (or with organ or piano-
D, G); in the opening and closing paragraphs, it is sub- forte) represents one of several works on the Chris-
5
jected to choral imitative entries, varied and elongated, tian allegory of John Bunyan that Vaughan Williams
and, thereafter, laces the ensuing cantabile tune for the composed over the course of his life, commencing in
seven verses. In a C mode, “Whitsunday Hymn” un- 1906 with incidental music to a play and concluding in
folds via a melody (the intervals of a second, third, and 1951 with the opera The Pilgrim’s Progress. Beginning in
fourth predominate) and response pattern: baritone a D mode, the work moves vividly through solo-homo-
(or tenor) solo and choral response for verses one and phonic statements (quasi recitativo)—in paragraphs
two, choral harmonization and solo response for verses framing the modes of D, B, G, and D major, before
three and four, and culminating with an elaborate cho- returning to the initial D mode—and imitative entries
ral outburst based on the preceding cadential material. in an E mode on the text “Death, where is thy sting”
The souls of the righteous (1947), an unaccompanied and “Grave, where is thy victory?” to the extraordi-

motet (3.5 minutes in duration) written for the Dedica- nary final choral trumpet calls (ma marcato, G mode):
tion Service for the Battle of Britain Chapel in West- echoing phrases and pulsating meter on “sounded for
!
minster Abbey, sets words from The Wisdom of Solomon him,” executed three times in B major, emerging/re-
4
(chapter 3) and proceeds in a like fashion. Commenc- solving in G major “on the other side.”

ing in F minor with a melodic theme sung by a single A Vision of Aeroplanes, using words from Ezekiel 1, is a

soprano voice (F , C , C , B, C ; the intervals of a fi fth, technically demanding motet (10 minutes in duration)
second, and third provide the initial melodic material), that explores horizontally and vertically the interval of
the work expands with a varied answer by the chorus the semitone and the simultaneities that are produced
and with further baritone (or tenor) solos above sus- through its ubiquitous disposition—Moderato, alla

tained chords. The harmonic shift from F minor to F marica, and piu lento—in the fantastic organ fanfares
minor (m. 10) and the chordal progression—E major, (introduction and interludes) and choral declamation. 6
C minor, A major (mm. 15-16)—are characteristic of Though much of the work proceeds with fervor and
36 CHORAL JOURNAL October 2022 Volume 63 Number 3