Duration: 5'15" Ensemble: trebles organ Grading: Medium/Difficult |
|
The Bangor Service is available on All Angels Cry Aloud (Sarah MacDonald, Ely Cathedral Girls' Choir, Selwyn Chapel College Choir), which can be ordered from here.
As with much of my choral music, the organ and choir writing in this service, written for the trebles of Bangor
Cathedral, seeks to colour the text as far as possible. The opening depicts the quiet awe of Mary at being chosen by
God, with the semi-quavers in the organist's right hand illustrating the frantic fear that she may have initially
felt. As the statements of the text grow bolder, so does the writing until the line "and his mercy", where every
undulating stop possible on the organ should be used, with the singers creating a sense of timelessness.
"He hath put down" begins a section of virtuosic writing; there are triumphant fanfares for the organist, a wide range
for the singers and an awkward chromatic moment in bar 31, to ensure that the proud really are scattered! Once the
organist has put the mighty from their seat with all the reeds, a small, agitated organ solo begins. It's as if the
contrasts of the text preceding it are almost too much to take in - "the mighty are put down... yet the meek are
exalted...... what is happening?" - until a very happy hungry are fed and the rich are left empty, with just a thin
reed stop to join them.
The semi-quaver figurations in the following section are slightly calmer than the opening; it's like a massive piece
of news slowly sinking in, and Mary's sense that she isn't alone, but her strong faith in God will guide her through
the things to come.
The Gloria should be as loud and joyous as possible, although musical shaping should never be lost
in the excitement. The organist shouldn't hold back on the Tuba entries; however 8' and 4' solo reeds combined are
preferable to having a 16', which can muddy the texture.
In contrast, the Nunc Dimittis should feel grand and stately, and given plenty of space. The gradual build up of the
organ from bar 11 should be mirrored by the singers providing a seamless crescendo. No breath should be taken between
bars 11 and 16 (this has been tried and tested - and is possible!). My intention was that the word "light" should act
as a "semi" climax. The change in organ registration should help to colour this with the addition of the mixture.
However, the real drama happens at bar 25 when, for me, Simeon really realises that God has kept his promise to him.