Blsz:z Eenihindas
LDFORD BOROUGH
LCOUNCIL CONCERTS
1980/81
CIVIC HALL, GUILDFORD
SATURDAY 9 MAY
at 7.45 p.m.
Jack Brymer
Jack Brymer was born in South Shields, Co.
Durham, and studied at London University.
He spent his early adult years as‘'a
schoolmaster, and after war service with the
RAF he returned to that profession until
1947, when he was invited by Sir Thomas
Beecham to take the post of Principal Clarinet
with the Royal
Guildford
Philharmonic
Orchestra
Associate Leaders:
HUGH BEAN and JOHN LUDLOW
Philharmonic Orchestra, a
post he occupied for sixteen years. During this
time he extended his activities to chamber
music and solo playing both here and abroad,
and was a founder member of several wellknown ensembles such as The Wigmore, The
London Baroque and The Prometheus
Ensemble. He was also a professor at the
Royal Academy of Music. Between 1963 and
1972 he was Principal Clarinet with the BBC
Symphony Orchestra and he now holds the
same position with the London Symphony
Orchestra as well as being a member of the
Tuckwell Wind Quintet, the Robles Ensemble and the Music Group of London.
Jack Brymer is often seen and heard on
television and radio not only as a performer
but as a talker on musical topics. He has
recorded most of the important works for his
instrument and is Director of the well-known
Jack Brymer
Clarinet
Philharmonic Choir
Teresa Cahill
Soprano
Ian Partridge
Tenor
Vernon Handley
Conductor
London Wind Soloists as well as a professor
at the Royal Military School of Music,
Kneller Hall.
Philharmonic Choir
The Musical Director acknowledges with
thanks the help he has received in training the
choir from Kenneth Lank and accompanists
Linden Knight and Patricia Wood. The Choir
made its first recording in 1973 with the
Guildford Philharmonic Orchestra: ‘Intimations of Immortality’ by Gerald Finzi,
with lan Partridge as soloist, and in 1976
recorded Hadley’s ‘The Trees So High’ with
the Philharmonic Orchestra.
Teresa Cahill
Teresa Cahill studied at the Guildhall School
This concert is promoted by Guildford Borough
Council with financial support from the South East
Arts Association.
of Music and at the London Opera Centre. In
1969 she joined the Glyndebourne Festival
Chorus and, in the following year, won the
John Christie award and made her solo debut
in “Die Zauberflote”. Last year she returned
| to smg
in
the Glyndcbournc Fc
| production of ““Falstaff”.
In 1970 she Jomed the Royal Opcra Houscr-
Covent Garden and in 1976 she made her -
debut at La Scala, Milan inthe RoyalOpera |
| production of “La Clemenzade Tito” and |
“Peter Grimes”’.
Miss Cahill has appeared with the Welsh
{
National Opera, the English Opera Group,
| Scottish Opera and last autumn she made her
|
' ~Voices: before leaving when solo cngagcmcnts
: rcqunred all his time.
v
Teresa Cahill’s concert career includes
appcaranccs at the Proms, the Edmburgh
Vernon Hahdley
the major Brmsh orchcstras Opcraandcon-
cert engagements have takenher
toDcnmark
Vernon
Sweden, Holland, Bclgxum, Italy, West Germany andNorth America.She made her USA
Missa Solemnis with the Boston Symphony
Orchestra under Cohn Davis.
.
|
Musical Director of the Guildford Philhar-
‘monic Orchestra since 1962 andhas
devclopcd it into a fully profcss:onal body of
|
‘major importance which is now firmly es: rvtabhshed as “The- Orchcstra of the South
East’®
lan Partridge is a lyric tenor with a voice
which one critic described as “‘outstandingly
lovely”. He is in great demand as an oratorio
and
recognition.
has
attained
He
has
Conduc-
Guildford
North London, and studied at Balliol College,
- Oxford and the Guildhall School of Music
~ and Drama. Vernon Handlcy has been
Ian Partridge
- singer
Pnncnpal
Philharmonic Orchcstra,was bornin Enficld
~
and in “Rheingold” at the Royal chtwal
| Hall with Sir Georg Solti.
Handlcy,
tor/Musical Director of the
Miss Cabhill has also rcccntly sung in pcrformances of “The Ring” at Covent Gardens
companies him for recitals, decided on
musical careers from an early age and both
won scholarships to the Guildhall School of
Music and Dramain London. The artist en-
joyed several years with the Purcell Consortof
English National Opera debut.
debutin 1972and returnedin 1975 tosing the
**""
lanand hlS sister, jenmfcr Parfndgc, whoac-
international
performed
in many
European centres and has probably received
the widest acclaim from recitals of German,
English and French songs and from his performances of the Evangelist’s rolein the two
|
with
concerts in ~many
towns
throughout the South East region from
'Cantcrbury to Salisbury. In 1974 the Com-
posers’ Guild
of Great Britain named Ver;noni,
Handlcy as “Conductor of the Year” for his
services to British music and now recognised
as one of the major champions of British
7'musxc, he is frequently cnt‘rustcd_with the
world premieres of new works. He is very
busyin the recording field and has an exten-
sive list ofrecordingsin the current catalogue
: meludmg ‘works by Dvorak, Tchaikovsky,
- Bach Passnons His numerous broadcasts
have rangcd from Plamsong to First Pcrfor-_? = ~ Elgar, Tippett, Debussy, Vaughan Williams
mances andthe variety of his artistry is
| ‘and Faure. His recordingof Elgar’s First
reflectedin his extensivelist of recordings,in| Symphony with the London Philharmonic
cluding Finzi’s ‘Intimations of Immortality’
“Orchestrahas rcccntly been released and his
recorded with the Gunldford Philharmonic
_recordmg of the Second Symphonyis due to
| Orchestra and Phllharmomc Choir conbe rclcased thlsmonth.
ducted by Vernon Handley. In Great Britain,
Vernon Handlcy is now one of Bntams
in addition to hisregular radio and television
busiest conductors. As well as a fullseason of
broadcasts and appearances at the BBC
concerts with all the major British orchestras,
Promenade Concerts, he works with most of
|
thema)or orchestras.
with
: Hc has a great affinity w1th thc music of Benjamin Britten: a recent tour of Australia in-
cluded
three
performances
~ heis also taking on a number of engagements
of ‘‘Les
foreign orchestras
including
the
Stockholm Philharmonic, the NOS Radio
Philharmonic Orchestra, Hilversum and the
Berlin Radio Symphony Orchestra.
In spite of his busyschedulc,chon Handley
Clarmet Conccrto Seend
Wllfred]oscphs b. 1927
still manages to follow his keen interest in or=
:
nithology.
v
Adagio
- Presto
Molto Adagio e semplice
Allegro con fuoco
_ ,Composers programmenote for the worldpmmereon
= IZlhJune 19761in the Usher Ha[l Edmbm'gh
= ':»ln the spring
of 197 511 cecwedamystemous
‘Overture ‘Derby Day
William Alwyn b.1905
=
'flj't’clephonc call from my librettist friend
~ ‘Derby Day was ‘written in 1960 and followsv =t~ Edward Marsh. In a low chalumeau sort of
“the composer’3 powerful Fourth Symphony.
~
There is no programme in the score but the
~ voice he asked me if I wouldlike to write a
clarinet concerto? In an equally scpulchral v
voice Iasked him when had ke learned to play
- connection between the title and the music is
easy for the listener because Alwyn prescri ‘cs =4 the clarinet? In a stilllower voice he replied
that hc hadn’tbut that a fnend of his was the
a gallopmg 6/8 with cross rhythms and
| principal clarmctnst of theScottish Nanonal
accents. The Overture starts with a fortissi
Orchestra. 1 replied that Newcastle upon, =
~ descent on trumpets and trombones across >
(where I was born) was almost in
the first two bars of whichis heard a tremen- | Tyne
Scotland and that I had had a Scottish grand-
‘dous flourish on the strings, clarinets and
bassoons. After a moment ofquiet the basic
~ 6/8 material is heard fragmented on solo
‘bassoon and clarinet, the shape of the first
b .flourlsh outlmcdin thc strmgs and the shapc-'
~ mother andhad always wanted to write a
~ clarinet concerto since I heard the Mozart
“and Brahms clarinet works when I was at
......
'
-
college (studying dentistry) and to tell his
friend all this. He then lowered his voice two
| the whole orchcstra Thc dcvclopmcnt of thns.3 = ~ more octaves to reveal that his frienddidn’t
actually play the clarinet — but his friend’s
- material proceedsin vital orchestration with solos for the first trombonc, the first horn and | 'son-m-lawin mher words l'us l’rtcnd was thc:
the first trumpet. The wide range of that first | !
flourish must be kept in mind if theup and
|;L'-’_»---commlss'xonalrc -to—bc ‘Hefinally rcvcalcd
~in a basso hyperprofundo, that this lady lived in
down nature ofthis first section is to be really
~our road and that our dogs had actually met
enjoyed. The liveliness of the music owes a lot
=
to the composer’s integrity in using ready | but we_hadnt '
‘made modes which dictate the tunes and their
harmony. That he has been influenced by
|~ This complicated chain of commumcatnon
— soloistin thefirst
| ~ meant that Keith Pearson
Indian music probably contnbutes to this
- performance— had madea long distance call
procedure but the resultis aperfectlynatural
and self generating forward impulse. This
= (m our street), who had ‘telephoned our
from Glasgow to London to his wife’s mother
~material eventually burns itself out and the |= mutualfriend around the corner (in the street
stage is set for a long and smooth tune in- | - where we used to live), who had tclcphoncd me
(who had sald‘“ycs” to hnm), who had
troduced by the solo trumpet declamando but
telephoned the lady in our street, who had
reaching full fruition on the first and second
telephoned her son-in-law in Glasgow, who
violins. It is accompanied all the time by the
chattering 6/8 and whencventually the brass | telephoned me to say “I hcarvyou’d like to
7 and thatis
.
- take it up,the woodwind and strings sur| ~ write me a clarinet concerto
~ round them with the gallop. That tune, too,
winds itself down and we are set toreceive
further elaboration of the first material in a
varied recapitulation which eventually concedes that the tune as well should be allowed
~ how tomghts workcame about
The composition was actually begun on 13’
~ May 1975 and the short score outlining the
: Vcomplctc‘work finished in a relatively short
space of time — ten days of intense con-
in again to complctc the work. An Overture
centration (whlch leaves a composcrfl
which sustains interest in thc matcnal and
emotionally drained, weak, limp) ending on
compels admiration for its ‘energy from the
first bar to thc last
:
| 23 May 1975. Then orchestration and in-
evitable revisions took from 27 May till 19
'
geL y
gbASR
LeE
july whcn the twenty-threemmutc conccrto
=
was complete.
x 'INTERVAL
The orchestrationis for a small orchcstra rc-' =
=
—
Vl,i R T
quiring aminimum of twcnty-sxxplayers plus SR
the soloist though augmentationofthe strmgs =
and percussion is pcrmlssnblc
:
:
~ Icanrecall only two scttmgs of thc Bcatltudcs
prior to Bliss’: Liszt’s simple and straightforward setting, which he later incorporated
into his oratorio Chmtus, and the lengthy and
;
I chose
to use the Clarinetin A as the solo in-strument rather than in B flat in order to have
the use of the lowest C sharp which was essen-
~
tial to my compositional thought; around this
uneven oratorio
by César Franck which ‘1s
padded out with dreary mora'hzmg'andin
solo clarinet is the orchestra of two flutes (the
first doubling optional alto flute, the second
~
which a melodramatic Satan emerges from
: his rightful placein grand opera.
_ doublmg piccolo), no oboes or clarinets, two
~Sir Arthur Bliss found the ideal solution to &
bassoons (the second doublmg optional con-
difficult problem. Only three of the
Beatitudes appear singly: the firsttwo, and
= trabassoon) two horns, a celeste, harp, one
(or more) percussionist and a minimum of
six, four, three, three, one s‘trihg_ players.
then five toeight are grouped together: andso
the monotonyof continualsinglepresentation
_ is avoided. The firsttwo are each prcccded by
~a fanfare motive which recurs, variously
The percussionist
has to play timpani, side
drum zylophonc, glockcnsplcl ]argc bass
orchestrated,throughout the woi'k-but the
but not all at the same tlmc '
| soloists sing it before the fourth Beatitude. It
| provides, in ethereal form, an mtroducuon to
The concerto is in three movcments the first
~ movement is a binary form in which the open-
~ the exquisite ‘epilogue, which has wordsfrom
a prayer by Jeremy Taylor, ‘O blessedJesu,
_ing adagio outlines material which is then
developed in the succeeding presto. At one
- who art becomc to us afountain ofpeace and
“point in the fast section the solo clarinet and | ~sanctity’. The use of this motive beautifully
the orchestra swap roles: wherethe orchestra
unifies the whole work. Jeremy Taylor is one
~was playing the opcmng theme of the con-
of three grcat scvcntccnth-ccntury devotional
~ writers whom Bliss,incollaboration with the
~ certo and the soloist spinning a filigree web
~around it, the positions now reverse and the
clarinet plays the theme, the orchestra the
| late
filigree. A quasicadenza directed to be playedin
‘other two are Henry Vaughan, whose poem
“The Mount of Olives’ significantly precedes
~ the first two Beatitudes, and George Herbert.
tempo brings the first movcrncnt toa quxct
close (circa ten mmutcs)
The two parts of Herbert’s poem are set as
separate numbers. In the first of these ‘Rise
heart, thy Lord is risen’, which is full of
The middle movement is a song-hkc slow =
movement lasting
about
six mmutcs
and
should speak for itself.
The final movement — a[legm'am fi«xo —is
strongly rhythmic (perhaps even some Scot-;
tish flavour may be 1magmcd’)and requiresa
great deal of virtuoso playing by both soloist
and orchestra. It culminatesin another short
cadenza (againin tem,bo) whlch leads to a sotto
voce cndmg
There’s very little more1 can say about the
work without delving unnecessarily into the
-
“then at figure 4 the rctrograde inversion
returns in tritonic intervals” type of analysis—
- which is abhorrent to me and pretty useless to
you, the listener. Maybe the best thing
to do
s just to listen. T hope you enjoy it.
Chnstophcr Hassall, drew on for a
splmual commentaryon the Beatitudes. The
>
~ Easterjoy, Blissillustrates Herbert’s musical
symbolxsm, the lutc (harps) the ‘wood to
|
resound his name’ (woodwind), the strings,
the “three parts vied and multxphcd’ of thc
poem. In ‘I got me flowers to strew thy way’,
~ the second half of the poem, Bliss effectively
introduces one of the Easter antiphons from
the Roman rite, and exultant Alleluias.
Vaughan’s poem ‘The Call’, followingon the
fourth Beatitude, with phrases for unaccom~ panied chorus, is one of the loveliest parts of
the cantata. The choral writing, throughout
is of splcndld‘quality. The score is headed
: w:th a quotation from John Donne
‘. . .. we,
: cxccpt God say anothcr Fiat, shall havce
-
GUILDFORD PHILHARMONIC
more day’. The long orchestral mtroductxon <
(allegroviolente), the music breaking out again | ORCHESTRA
- more brieflyin an interlude after“The Call’,
- “ON THE MOVE’
_ vw:dly represents the troubled world of today,
Tonight’s concert is the last in the present
largely indifferent to the sublimemessageof
season and the orchestra thanks all its regular
the Beatitudes. Versesfrom Isa’lah “The lofty
~ concertgoers for their loyal support =
looks of man shall be humbled’, provndc " YoKo,
‘throughout the past year which, despite these
powerful movement following on a lovely
stringent times. forthe arts, has made the
setting for solo soprano, of the Beatitude |
1980/81 concerts such agreat success.
‘about the meek: and Dylan Thomas’s poem,
The Orchestra also rccogmscs andvery much
partly quoting words of St. Paul, ‘And death
shall have no
dominion’,
is
appreciatesthe voluntary service given by the
Red Cross at all concerts as well as all the
assistance given by members of the Guildford
Philharmonic Society throughout the season.
even more
dramatlcally set. This’is supcrb Thc enemies
The first concert in the next season will be on
'f‘hc, quxct pea_cc and holmcss of _ Jc_:rcmy
Taylor’s prayer. It is most moving. So ends
a
work inspiringly devised and carried out for
20th September 1981 and full details of the
1981/82 programmes,
the Coventry Cathedral Festival; it is no oc-
-
including
the
favourable discounts on subscription to all
concerts, will be available very shortly.
casional work, but a testament of beauty and
- In the meantime, informationcan be obtained
from any member ofthe Series ‘Working Party’ who can be recogmscd by a blue lapel
badgc and who will be glad to hclp thh any
:
cnqmncs
truth for our times, for all times.
Alec Robertson.
: ,JULYllth GALA CONCERT
(Guildford/F reiburg Assocutnoh)
On July 11th the Guildford Phllharmonic
- Orchestra will be giving a gala concert at the
Civic Hall as the final event in a Festival of
Arts and Music organised by the Guildford/Freiburg Association to be attended by
Civic Dignitaries and the Plcnlpotcntnary to
the German Ambassador
'GUILDFORD
The programme, rcflcctmg the accord of this
Anglo-German liaison, begms with Brahms’
~ Academic Festival Overture and Beethoven’s
First Piano Concerto in which the soloist will be Yasmine Backhaus, a young pianist who,
while living in Freiburg,is establishing herself
with pcrformanccs with some of the finest
PHILHARMONIC
SOCIETY
June Jazz Band Ball
~
Friday 5th June 1981
-
8.30 p.m.-1.00a.m.
Civic Hall Gunldford
orchestras in Gcrmany mcludmg the Berlin
THE ROARING TWENTIbS]AZZBAND
Philharmonic.
Tickets £7.50
(including Buffet Supper ¢» Wine)
Vernon Handlcy will conduct Dchus’ “A
Available from Civic Hall Box Office, or
'Walk to the Paradlsc Gardcn” and Elgar s
Treasurer,
The orchestra iiglzatcf_ul to Qoombg;s (Gunld‘ford) Ltd., and Ind Cooper Friary MeuxLtd.,
the Society’s stand in the foyer during
today’s concert, or from the Hon.
-
R.
A.
Forrow, Flat
3, 6
Mareschal Road, Guildford (tel: 75274),
-
Mrs. K. Apsion (tel: 34872) or from any
committee member.
f
for financxal assistance towards thisconcert.
Tlckcts are available a monthin advance
._‘.‘}
|
AGUILDFORD PHILHARMON[C
ORCHESTRA
Director of Music/Conductor
~ Vernon Handley
First Violins:
Associate Leaders:
Hugh Bean
John Ludlow
Kathy Adams
Sheila Beckensall
- Vito Gambazza
John Gralak
Robert Lewcock
Ann MacDonald
Peter Newman
Geoffrey Short
Alec Suttie
David Towse
Gil White
’
TA-SoRLPlYN,
T
kel
F
Second Violins:
Cellos: :
Gordon Buchan
" Ruth Dawson
Marilyn Downes
Peter Fields
Martin Gill
David Richmond
Adrienne Sturdy
Elizabeth Suttie
Ronald Tendler
| Violas:
Eric Sargon
James Walker
James Swainson
~ Philip Bennett
Laurie Bannister
Horns:
Gordon Carr
Pauline Sadgrove
Tina Macrae
George Woodcock -
Janet Reed
: Ronald Harris
.
.
Peter Hodges
Arthur Watts
‘Stephen Williams
Dugald Lccs
Catharine Hill
Alto Flute:
Henry Messent
Piccolo:
Chnstophcr Nicholls
Oboes:
James Brown
Janice Knight
Clarinets:
~
Organ:
Margaret Phllhps
:
'
Tlmpam
:
Ll oo
,
ey i e ‘
P
'
Concerts Manager:
T’“"‘P“s
Kathleen Atkins
Clifford Haines
i3
.
B
Trombones:
David Groves
Nicholas Bomford ~
ColinParis
Neil Watson
:
'Lyn Evans
Darrell Davison
Basses:
Celesta:
John Forster
:
Dennis Scard
David Boswell-Brown
Flutes:
Nicholas Maxted-Jones
Henry Messent
Rosemary Roberts
Marie Louise Amberg
Contra Bassoon
Nicholas Hunka
- Eldon Fox
Geoffrey Thomas
ey
AT
Concerts Assistant:
lan White
Chris Guy
Bass Trombone:
Robm Turner
Tuba
John Elliott
Percussion:
Charles Fullbrook
- Jack Lees
Rodney Newton -
Harps: »
Cherry Isherwood
Jane Lister
Hale Hambleton
Victor Slaymark
~ Bassoons:
Nicholas Hunka
Anna Meadows
The audience maybe interested to know that
the violin sections are listed in alphabctlcalA
order afterthe first desk because a system of
Courtney Hall
rotation of desksis adoptedin this orchestra
Susan Dench
so that all players have the opportunity of
- playing in all positions in the section.
Leonard Lock
Avoid Box Office queues and save money.
Guildford Philharmonic Orchestra
SUBSCRIPTION SERIES 1981/82
12 Concerts for the price ot 10!
SEASON COMMENCES 20th SEPTEMBER 198
FULL DETAILS AVAILABLE NEXT MONTH FROM THE GUILDFORD
PHILHARMONIC ORCHESTRA'S OFFICE: THE LODGE, ALLEN
HOUSE GROUNDS, CHERTSEY STREET, GUILDFORD. Tel: 73800.
Support the Orchestra for a segson
THE BEATITUDES
Orchestral Prelude —
His stretched sinews taught all strings, what
A Troubled World
key
(....we, except God say
Another Fiat, shall have no more day.)
John Donne
THE MOUNT OF OLIVES
Sweete, sacred hill! on whose fair brow
My Saviour sate, shall I allow
Language to love
Is best to celebrate this most high day.
Consort both heart and lute, and twist a song
Pleasant and long:
Or, since all musick is but three parts vied
And multiplied,
O let thy blessed Spirit bear a part,
And make up our defects with his sweet art.
George Herbert.
And Idolize some shade, or grove,
Haec dies quam fecit dominus: exultemus et laetemur
Neglecting thee? such ill-plac’d wit,
Conceit, or call it what you please,
Is the braines fit,
Hallelujah.
And meere disease;
in ea,
I got me flowers to strew thy way;
I got me boughs to many a tree:
Yet, if Poets mind thee well
They shall find thou art their Hill,
And fountaine too.
Their Lord with thee had most to doe;
He wept once, walkt whole nights on thee,
And from thence (his suff’rings ended)
Unto glorie
Was attended . . . . .
Henry Vaughan
But thou wast up by break of day,
And brought’st thy sweets along with thee.
The Sunne arising in the East,
Though he give light, and th’ East perfume,
If they should offer to contest
With thy arising, they presume.
Can there be any day but this,
Though many sunnes to shine endeavour?
We count three hundred, but we misse:
There is but one, and that one ever.
George Herbert.
First and Second Beatitudes
Blessed are the poor in spirit, for theirs is the kingdom
of heaven.
Blessed are they that mourn, for they shall be comSorted.
EASTER
Rise, heart; thy Lord is risen. Sing his praise
Without delays,
Who takes thee by the hand, that thou
likewise
With him mayst rise:
That, as his death calcined thee to dust,
His life may make thee gold, and much more,
just.
Awake, my lute, and struggle for thy part
With all thy art.
The crosse taught all wood to resound his
name,
Who bore the same.
Third Beatitude:
Blessed are the meek, for they shall inherit the earth.
The lofty looks of man shall be humbled, and
the haughtiness of men shall be laid low, and
the Lord alone shall be exalted in that day.
And the idols he shall utterly abolish.
And they shall go into the holes of the rocks,
and into the caves of the earth, for fear of the
Lord, and for the glory of his majesty, when
he ariseth to shake terribly the earth, and the
Lord alone shall be exalted in that day.
Adapted from Isaiah, 2, 10-20.
Fourth Beatitude:
Ninth Beatitude:
Blessed are
Blessed are ye when men shall revile you,
they
that hunger and thirst after
righteousness, for they shall be filled.
and
persecute you, and shall say all manner of evil against
you falsely, for my sake.
THE CALL
Vouces of the Mob
Come, my Way, my Truth, my Life:
Such a Way, as gives us breath:
Such a Truth, as ends all strife:
Such a Life, as killeth death.
Revile him! Persecute him! Say all manner of
evil against him! Destroy him! Kill!
EPILOGUE
Come, my Light, my Feast, my Strength:
Such a Light, as shows a feast:
Such a Feast, as mends in length:
Such a Strength, as makes his guest.
O blessed Jesu, who art become to us the
fountain of
righteousness
peace and sanctity, of
and charity, of life and
perpetual benediction,
Come, my Joy, my Love, my Heart:
Imprint
Such a Joy, as none can move:
in
our
spirits
these
glorious
characterisms of Christianity,
Such a Love, as none can part:
That we by such excellent dispositions may
Such a Heart, as joyes in love.
George Herbert.
be consigned to the infinity of blessedness,
which thou camest to reveal and minister and
exhibit to mankind,
For thou, O holy Jesu, art our hope, and our
ORCHESTRAL INTERLUDE
life, and glory, our exceeding great reward,
Amen.
Fifth, sixth,
Beatitudes:
seventh
and
eighth
Blessed are the merciful, for they shall obtain mercy.
Blessed are the pure in heart, for they shall see God.
Blessed are the peacemakers, for they shall be called
the children of God.
Blessed
are
they
which
are persecuted for
righteousness’ sake, for theirs is the kingdom of
heaven.
And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands snap in two,
And the unicorn evils run them through;
Split all ends up they shan’t crack;
And death shall have no dominion.
And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through
daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.
Dylan Thomas.
Jeremy Taylor.
( Reprinted by permission of
Novello and Co. Ltd.)