The English Anthem, Volume 1As I was discovering the breadth of Anglican choral repertoire for the first time, The English Anthem series from Hyperion was still in production. John Scott led the choir of St. Paul's Cathedral, London, in a series of eight quasi-encyclopedic recordings from 1990 to 2005. Recently, these recordings have been made available on streaming platforms.
This series loomed larger in my formation than perhaps I realized, and I recently delved back into this catalog for the first time in many years. In retrospect, this series served both as inspiration for a career in Anglican choral music and a kind of “bucket list.” I have made note of those pieces that I have yet to perform.
HADLEY My beloved spake
WOOD Hail, gladdening Light
Standard-length Anthems
BAIRSTOW Let all mortal flesh keep silence
FINZI God is gone up
GARDINER Evening Hymn
IRELAND Greater love hath no man
STAINER I saw the Lord
STANFORD Beati quorum via
Long Anthems
BAIRSTOW Blessed city, heavenly Salem
NAYLOR Vox dicentis: Clama
WESLEY Blessed be the God and Father
The English Anthem, as this first album is called, was released without a “Volume 1” designation, continuation of this series perhaps not yet being conceived.
The album opens with an electric rendition of John Stainer’s “I saw the Lord.” The organ is particularly convincing at the opening, even if the full choir sounds a bit distant in the louder sections. It makes for an arresting start and also proves the point: St. Paul’s Cathedral has been the cradle of a great deal of this music. Stainer was a choirboy at St. Paul’s in 1849, returning as organist and director of music in 1872. He knew the acoustic potential of this building, and stacking up the eight parts of the choir for “and the house was fillèd with smoke” creates an immense sacred smog indeed.
The long, sinuous lines of Balfour Gardiner’s Evening Hymn are also right at home here, with the additive sounds bubbling at a slower simmer.
Much of the music here happens at its own unhurried pace. It’s never unmusical, but one is always aware of the effects of the ample reverberation of St. Paul’s. In places, this reverb time is used to tremendous effect. At the opening of Naylor’s “Vox dicentis,” Scott dovetails the second entrance perfectly with the slow diminishing of the previous fortissimo chord at the back of the nave.
Aspirations
Of the works I’ve never performed (Bairstow, Hadley, Stainer, Naylor):
Bairstow tops the list. I feel like I know this piece so well that I must have done it at some point in the past, but I can’t recall an occasion when I have.
Stainer's “I saw the Lord” still lurks around in my planning notes for Trinity Sunday. It might surface one of these days.
Naylor: I thought about this one recently, but it didn’t make the cut. Without a favorable acoustic, this is probably not as effective.
Hadley: this one doesn’t do it for me. Your mileage may vary.
This week saw the 10 year anniversary of the sudden death of organist John Scott.
I still remember where I was when a colleague telephoned with the news on August 12, 2015.
I met John Scott only briefly after an organ recital. He left us too soon, while at the height of his powers. I was then, and remain now, an avid listener to the webcasts from St. Thomas, New York. Though I never had the opportunity to see him work with a choir, I had the privilege to be a student of his musicianship in some small way through the sheer quantity of music and liturgy that eminated from that wonderful place through the internet (usually four Evensongs a week, and Choral Mass on Sunday).
Stephen Buzard, who was working as an assistant to John Scott at the time of his death, has shared a touching remembrance on Facebook:
I think about John often. His exquisite musicianship, deep churchmanship, and tireless dedication to his craft inspire me daily and shape how I approach my vocation. I am the musician I am today because of him.
We are fortunate that John Scott made many recordings during his lifetime. In recent years, the Hyperion record label has made their recordings accessbile via streaming platforms, and it has been a great joy to explore recordings of his — both organ and choral — I have never heard before. This week, I have delved back into the impressive catalog that is eight-CD "The English Anthem" series from St. Paul's Cathedral, London.
Scott was a musicians' musician, and endlessly adaptable. He sounded just at home on the massive organ of St. Paul's, London, as he does on the two-manual Taylor and Boody at St. Thomas.
Today marks one year since the death of John Scott, the organist and director of music of St. Thomas Church, New York City, and one of the very finest church musicians the world has ever known.
Gentle Jesus, grant him eternal rest.
Nunc dimittis from Howells "St Paul's Service" from St Paul's Cathedral, London 28 January 2004
John Scott, Director of Music; Huw Williams, Sub-Organist
The author of this website is an organist whom the New York Times calls “repeatedly, insisting that he pay for his subscription”.
He likes to read parking meters, music, Indianapolis Monthly, and weather forecasts in Celsius, particularly whilst wearing cassock and surplice.
He serves lasagna, overhand, as an example to many, and on ecclesiastical juries. He mixes salads, drinks, and metaphors. He takes photos, lots of dinner mints, and a little bit of time to get to know.
