Love Bade Me Welcome - album cover

Love Bade Me Welcome

J.A.C. Redford composer
London Voices | Ben Parry conductor

Release Date: January 10, 2025
Catalog #: NV6695
Format: Digital
21st Century
Vocal Music
Choir

LOVE BADE ME WELCOME is a collection of choral music from composer J.A.C. Redford exploring spirituality, love, and the human experience. Blending traditional forms with contemporary harmonies and time-honored texts, Redford sets the poetry of Shakespeare, Gerard Manley Hopkins, George Herbert, and more. By employing distinctive gestures and a range of vocal timbres, the composer offers sensitive musical interpretations of each poem, from the serene resonance of The Singing Bowl to the Old Testament drama of Who Hears the Ocean Roaring in a Tree. In giving voice to these humanistic texts, LOVE BADE ME WELCOME is a compelling invitation to self-reflection.

Listen

Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 All Shall Be Well (for unaccompanied choir) J.A.C. Redford London Voices | Ben Parry, conductor 2:08
02 The Singing Bowl J.A.C. Redford London Voices | Ben Parry, conductor 4:45
03 Love Bade Me Welcome J.A.C. Redford London Voices | Ben Parry, conductor 4:49
04 Who hears the ocean roaring in a tree J.A.C. Redford London Voices | Ben Parry, conductor 2:37
05 Wake Up, My Spirit J.A.C. Redford London Voices | Ben Parry, conductor; Alun Derbyshire, oboe; Hugh Webb, harp 4:01
06 O Sacrum Convivium J.A.C. Redford London Voices | Ben Parry, conductor 3:58
07 Ave Verum Corpus J.A.C. Redford London Voices | Ben Parry, conductor 4:05
08 Pied Beauty J.A.C. Redford London Voices | Ben Parry, conductor 3:22
09 There is a fear men flee not from but to J.A.C. Redford London Voices | Ben Parry, conductor 2:41
10 A touch of incommunicable pain J.A.C. Redford London Voices | Ben Parry, conductor 3:27
11 The Mirrors J.A.C. Redford London Voices | Ben Parry, conductor 5:46
12 She's Like the Swallow J.A.C. Redford London Voices | Ben Parry, conductor; Louisa Fuller, violin 1; Kathryn Parry, violin 2; John Metcalfe, viola; Nick Cooper, cello 7:03
13 Time and a Summer's Day J.A.C. Redford London Voices | Ben Parry, conductor 5:08
14 Great Is the Lord J.A.C. Redford London Voices | Ben Parry, conductor; Richard Gowers, piano 4:36
15 Straight for My Home J.A.C. Redford London Voices | Ben Parry, conductor; Rachel Fright, piano 4:20
16 All Shall Be Well (for choir and orchestra) J.A.C. Redford London Voices | Ben Parry, conductor; London Studio Orchestra | Ben Parry, conductor 3:27

Published by Plough Down Sillion Music, except Wake Up, My Spirit, which is published by Mark Foster Music, exclusively distributed by Hal Leonard.

Cover painting is “Brightwell Barrow III” by Roger Wagner
www.rogerwagner.co.uk

VOCES8 Centre, London
voces8.foundation

St. George’s Headstone, Harrow
stgeorgeheadstone.org.uk

Tracks 1, 5, 12, 14, 16
Recorded November 2023 at St. George’s Headstone, Harrow, England
Producers J.A.C. Redford, Ben Parry, Simon Kiln
Session Engineer Simon Kiln
Editing Simon Kiln

View list of performers

Orchestra Recording on Track 16
Recorded at Abbey Road Studio One on August 31-September 1, 2024
Producer J.A.C. Redford, Ben Parry & Simon Rhodes
Engineer Simon Rhodes
Recordist Matt Jones
Assistant Neil Dawes
Runner Daniela Sicilia

Tracks 2-4, 6-11, 13, 15
Recorded January 2022 at the Voces8 Centre in London, England, United Kingdom
Session Producers J.A.C. Redford, Ben Parry, Barnaby Smith
Session Engineer Barnaby Smith
Editing Barnaby Smith

View list of performers

Additional Mastering Melanie Montgomery

Executive Producer Bob Lord

VP of A&R Brandon MacNeil
A&R Ivana Hauser

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Kacie Brown
Digital Marketing Manager Brett Iannucci

Artist Information

J.A.C. Redford

Composer

J.A.C. Redford is a composer, arranger, orchestrator and conductor of concert, chamber and choral music, film, television and theater scores, and music for recordings. Artists and ensembles that have performed his work include: Academy of St. Martin in the Fields, Paul Barnes, Joshua Bell, Liona Boyd, Cantus, Chicago Symphony, De Angelis Vocal Ensemble, Debussy Trio, Israel Philharmonic, Kansas City Chorale, Los Angeles Chamber Singers, Los Angeles Master Chorale, Anne Akiko Meyers, Millennium Consort Singers, New York Philharmonic, Phoenix Chorale, Staatskapelle Dresden, St. Martin’s Chamber Choir, St. Paul Chamber Orchestra, Utah Chamber Artists and Utah Symphony.

Malcolm Guite

poet

Ayodeji Malcolm Guite, born 12 November 1957, is an English poet, singer-songwriter, Anglican priest, and academic. Born in Nigeria to British expatriate parents, Guite earned degrees from Cambridge and Durham universities. His research interests include the intersection of religion and the arts, and the examination of the works of J. R. R. Tolkien, C. S. Lewis and Owen Barfield, and British poets such as Samuel Taylor Coleridge. He was a Bye-Fellow and chaplain of Girton College, Cambridge, and associate chaplain of St Edward King and Martyr, Cambridge. On several occasions, he has taught as visiting faculty at several colleges and universities in England and North America.

Guite is the author of five books of poetry, including two chapbooks and three full-length collections, as well as several books on Christian faith and theology. Guite has a decisively simple, formalist style in poems, many of which are sonnets, and he stated that his aim is to “be profound without ceasing to be beautiful”. Guite performs as a singer and guitarist fronting the Cambridgeshire-based blues, rhythm and blues, and rock band Mystery Train. He also has a YouTube channel where he shares his passions and musings with his viewers.

malcolmguite.wordpress.com

Roger Wagner

artist & writer

Born in 1957, Roger Wagner read English at Oxford University before studying at the Royal Academy School of Art. He has been represented in London since 1985 by Anthony Mould Ltd exhibiting there many times. Other one man shows include retrospectives at the Ashmolean Museum in 1994 and 2010. He has produced several books of illustrated poems and translations: Fire Sonnets (1984), In a Strange Land (1988), A Silent Voice (1997), Out of the Whirlwind (1997). The Book of Praises – a translation of the psalms Book One (1994), Book Two (2008), Book Three (2013). His major work Menorah was acquired by the Ashmolean Museum in 2010 and hangs in St Giles Church Oxford.

His first stained glass window was installed in St Mary’s Iffley in 2012. It was joined in 2014 by a font cover designed in collaboration with Nicholas Mynheer and an altar cloth installed in 2019. In 2014 he also painted the first portrait of Archbishop Justin Welby which was installed in Auckland Castle. In 2016 Oxford University Press published The Penultimate Curiosity co-authored with Andrew Briggs. In 2019 The Canterbury Press published a collection of his poems and images The Nearer You Stand, and a selection of his illustrated psalm translations The Book of Praises in 2020. In 2022 he was elected an Honorary Fellow of Lincoln College Oxford. A permanent collection of his work in the Faith Museum at Auckland Castle opened in 2023.

www.rogerwagner.co.uk

Barnaby Smith

Artistic Director

Grammy-nominated, Barnaby Smith is Artistic Director of the internationally renowned vocal ensemble VOCES8, LIVE From London digital festivals, and the UK and US arms of The VOCES8 Foundation including its Digital Academy and Milton Abbey Festival. He is in demand as a conductor, presenter, film-maker, choir trainer, countertenor and arranger.

Amongst a busy touring, education, filming and conducting schedule with VOCES8 and ensembles around the world, recent projects have included Barnaby’s debut with Nederlandse ReisOpera in Handel Messiah, two solo-recordings Handel & Bach, of which – Gramophone notes that there is “no denying the refined beauty and sheer skill of Smith’s performance” as well as producing and presenting the 10th LIVE From London Festival.

Collaborations with Eric Whitacre and Paul Simon continued, resulting in two new albums – Home (reaching No.1 in the Classical Album chart and awarded a BBC Music Magazine Choral and Song Choice) and Seven Psalms (which garnered wide-ranging 5 star reviews and high praise from Rolling Stone magazine). Future releases include Decca’s Christmas 2023 album release of A Choral Christmas on which Barnaby conducts festive works by Taylor Scott Davis and a third solo – Pergolesi’s Stabat Mater, due in 2024. Barnaby will direct VOCES8, Ola Gjeilo and Carducci Quartet in BBC Prom 34: Mindful Mix. The following seasons include debut conducting appointments with Queensland Symphony Orchestra (Vaughan Williams and Tin The Lost Birds), and return projects with the Academy of Ancient Music (Handel Israel in Egypt) and Nederlandse Reisopera.

Barnaby has performed at many of the world’s prestigious festivals and halls including BBC Proms, Royal Albert Hall, the Barbican Centre, Wigmore Hall, Bridgewater Hall, Sydney Opera House, Muziekgebouw Amsterdam, La Seine Musicale and Cité de la Musique in Paris, Elbphilharmonie Hamburg, BOZAR in Brussels, Tokyo Opera City, NCPA Beijing, Mariinsky Theatre Concert Hall, Victoria Concert Hall in Singapore, Palacio de Bellas Artes in Mexico City and Vienna Konzerthaus.

Barnaby has conducted orchestras including the Philharmonia Orchestra, the Academy of Ancient Music, Australian National Academy of Music, English Chamber Orchestra, London Philharmonic Orchestra, Tokyo Philharmonic Orchestra, Monte Carlo Symphony and he directed the music for the Olympic Mascots Film Scores at Abbey Road Studios with the British Film Orchestra. He conducted the VOCES8 Foundation Choir and Orchestra in the premiere of Christopher Tin The Lost Birds alongside new arrangements of Eric Whitacre Sleep, Caroline Shaw and the swallow, and a new adaptation of The Lark Ascending for violin, choir, and orchestra.

Barnaby’s collaborations have included projects with Paul Simon, Rachel Podger, Roderick Williams, Christina Pluhar, Jack Liebeck, Masaki Suzuki, Jacob Collier, Ola Gjeilo, Eric Whitacre, Jonathan Dove and Christopher Tin amongst others. Digital collaborations have included The Sixteen, the English Chamber Orchestra, Gabrieli Consort & Players, The King’s Singers, The Tallis Scholars, the Academy of Ancient Music and Chanticleer. A passionate pedagogue, he has taught at Academies and Universities across the world including co-curating the Master’s course in ensemble singing at the University of Cambridge and at Milton Abbey International Summer School. Other activities have included curating and producing the LIVE From London digital festival, now in its 10th Season having reached audiences in over 180 territories across the world and commissioning a new violin concerto for Jack Liebeck, choir and orchestra To Sing of Love from composer Taylor Scott Davis.

On disc Barnaby has released albums with record labels including Decca Classics, Universal, Sony, Warner, Naxos, Signum Classics and VOCES8 Records. He has six No.1 albums to his credit and has won numerous awards including Classic FM Album of the Year. He has released two solo albums on VOCES8 Records, Handel, with guest Mary Bevan in October 2021 and Bach with the Illyria Consort in February 2023. Barnaby conducted the Philharmonia for the world premiere recording of Mårten Jansson and Charles Anthony Silvestri’s Requiem Novum. Recent releases with VOCES8 include Infinity (Decca Classics), After Silence (VOCES8 Records) and Home (Decca Classics).

Barnaby completed his studies in Specialist Early Music Performance at the Schola Cantorum Basiliensis where he was a pupil of Andreas Scholl and Ulrich Messthaler. He is an alumnus of the Britten-Pears Young Artists Programme and began his career singing as a treble in The Choir of Westminster Abbey. Barnaby Smith is managed worldwide by Percius.

barnabysmith.net

Simon Kiln

Producer & Editor

An award-winning Classical Producer and Editor, Simon Kiln worked for 25 years at the renowned Abbey Road Studios in London before establishing SimonKilnMusic Ltd in 2017.

Recent production credits include many DVD Productions for the Royal Opera House including La Traviata with Ermonela Jaho and Charles Castronovo, Andrea Chenier with Jonas Kaufmann, Eva Maria Westbroek, Antonio Pappano and The Flying Dutchman with Andris Nelsons and Bryn Terfel. Other highlights are CDs of Beethoven’s Violin Concerto and series of Beethoven Sonatas with Violinist James Ehnes and an SACD in surround sound of Howells with the Choir of Kings College Cambridge, Stephen Cleobury, Britten Sinfonia and Guy Johnston – described as reference quality in the Gramophone magazine. His recording with James Ehnes of James Newton Howard’s Violin Concerto won a Grammy Award in 2019 and the CD of Beethoven’s Diabelli Variations with Stephen Kovacevich continues to one of the preferred versions by critics.

He has also worked with Simon Rattle, Maxim Vengerov, Natalie Clein, Alison Balsom, Augustin Hadelich, Benjamin Grosvenor as well as singers Julia Kleiter, Nicky Spence, Allan Clayton, Angelika Kirchschlager, Susan Graham, Henk Neven, Christianne Stotijn, Elizabeth Watts and Alice Coote amongst many others.

He has made well over 400 recordings for Universal, Decca Classics, Warner Classics, EMI Classics, Virgin Classics, Hyperion Records, Sony Classical, Onyx Classics, Avie, Rubicon Classics and Opus Arte

Highlights during his years at Abbey Road include La Boheme (Pappano, Alagna) Tristan (Domingo, Stemme, Pappano), many recordings with the Choir of Kings College Cambridge, with whom he has helped to establish a thriving label. Special memories were recording and mixing New Year’s celebrations in Vienna (1997) and Berlin (2007).

Simon has also worked on the music for many major film productions including Planet Earth and The Lord of the Rings trilogy.

Simon enjoys the dialogue with artists that working in production involves, as well as the technical aspect of the recording process. He believes that the equipment and microphones are really important in recording the detail for the perfect performance.

simonkilnmusic.com

Ben Parry

conductor

Parry studied Music and History of Art at Cambridge University, and was a member of King’s College Choir. In the mid-1980s he joined the international vocal group, The Swingle Singers as a singer, arranger and music director, toured globally and performed with some of the world’s greatest musicians including Stephane Grappelli, Pierre Boulez and Dizzy Gillespie. Moving to Edinburgh in 1995, he co-founded the Dunedin Consort, which has gone on to establish itself as Scotland’s premiere Baroque ensemble. He also took up posts as Director of the Scottish Chamber Orchestra Chorus, Director of Choral Music at the Royal Scottish Academy of Music and Drama and conductor of Haddo House Opera.

He moved back to England in 2003, becoming Director of Music at St. Paul’s School, London, then of Junior Academy at the Royal Academy of Music. He has recently stepped down as Principal Conductor of the National Youth Choir of Great Britain after nearly 11 successful years. As Director of London Voices he has performed in major concert houses around the world as well as conducting many major film soundtracks including Harry Potter, The Hobbit and Avengers. Ben was Assistant Director of Music at King’s College, Cambridge, until 2022. As an orchestral conductor he has worked with the Academy of Ancient Music, Britten Sinfonia, City of Birmingham Symphony Orchestra, London Mozart Players, Seville Royal Symphony Orchestra, London Symphony, London Philharmonic and BBC Concert Orchestras.

Parry’s own compositions and arrangements include the popular Faber Carol Book and a burgeoning catalogue of choral music for Peters Edition, OUP and Stainer & Bell. He has enjoyed commissions from, among others, St John’s College, Cambridge, the BBC Singers, National Youth Choir, Chelmsford, Ely, Norwich and Worcester cathedrals, and his music has been heard at the BBC Proms and on the TV and radio. He is also a regular composer of production music for some major UK library music companies. Ben features on the credits of well over 300 recordings, appearing variously as singer, conductor, director, producer, chorus master and composer.

benparry.net

London Voices

choir

Founded in 1973 by Terry Edwards, former Director of the Royal Opera House Chorus, London Voices is now managed and directed by Ben Parry, conductor, composer and formerly Artistic Director of the National Youth Choirs of Great Britain.

The choir has performed throughout Europe, Asia and the USA and can range from a small vocal consort through to a choir of more than 100 singers. The choir has tackled a vast array of repertoire ranging from Renaissance polyphony (Tallis at Luzern Festival) to contemporary music (Frank Zappa at Southbank Centre, London) as well as featuring on recordings as diverse as opera, oratorio, Coldplay, German Heavy Metal and Ozzy Osbourne.

The ensemble has collaborated with many distinguished composers and conductors including John Adams, Semyon Bychkov, Bernard Haitink, Vladimir Jurowski, György Ligeti, Vasily Petrenko, Sir Simon Rattle and Georg Solti. It had a particularly close association with composer Luciano Berio, performing his Sinfonia on many occasions (most recently at the 2018 BBC Proms), as well as works including Coro, Cries of London, A‑Ronne, Laborintus II and Folk Songs. The choir also performed in the world première of Stockhausen’s Mittwoch aus Licht, staged by Birmingham Opera in 2012. It has given concerts globally, in locations including Aldeburgh, Beijing, Berlin, Birmingham, Munich, Jordan, Lucerne, New York, St Denis, Shanghai and Turkey.

London Voices is well-known for singing on hundreds of movie and computer game soundtracks, including Abzu, Distant Worlds (Final Fantasy), Halo 5, the Harry Potter, Hobbit, Star Wars, Hunger Games and Lord of the Rings film series, Spectre, Grand Budapest Hotel (Oscar® for Best Soundtrack) and recently appearing on-screen in Mission: Impossible – Fallout. London Voices provided singers for Bradley Cooper’s recent biopic of Maestro, singing the solos in Bernstein’s Chichester Psalms, Symphony no.3 and The Mass. It has participated on many operatic and choral recordings and has collaborated with musicians including Dave Brubeck, Renée Fleming, Ellie Goulding, Sir Paul McCartney, Sam Smith, Sting, Sir Bryn Terfel and Roger Waters.

london-voices.com

London Studio Orchestra

Ben Parry, Conductor
Thomas Bowes, Leader

FLUTES
Karen Jones
Anna Noakes

OBOES
John Anderson
Janey Miller

CLARINETS
Jon Carnac
Anthony Pike

BASSOONS
Sarah Burnett
Gavin McNaughton

FRENCH HORNS
Richard Watkins
Martin Owen
Nigel Black
John Ryan

TRUMPETS
Philip Cobb
Andy Crowley
Christian Barraclough

TENOR TROMBONES
Andy Wood
Ed Tarrant

BASS TROMBONE
Barry Clements

TUBA
Owen Slade

HARP
Skaila Kanga

VIOLINS 1
Thomas Bowes, Leader, Soloist
Magnus Johnston
Warren Zielinski
Cathy Thompson
Thomas Kemp
Clio Gould
Dorina Markoff
Thomas Gould
Julian Leaper
Jonathan Evans-Jones
Oscar Perks
Debbie Widdup
Paul Willey
Helena Wood
Patrick Kiernan
Bea Lovejoy

VIOLINS 2
Steve Morris, Principal, Soloist
Natalia Bonner
Peter Hanson
Kathryn Parry
Jeremy Isaac
Marije Johnston
Ronald Long
Martin Burgess
Mark Berrow
Harriet Davies
Raja Halder
Oli Langford
Charlie Brown
Emil Chakalov

VIOLAS
Vicci Wardman, Principal, Soloist
Bruce White
Helen Kamminga
Reiad Chibah
Edward Vanderspar
Kate Musker
Gillianne Haddow
Robert Smissen
Julia Knight
Martin Humbey
Clare Finnimore
Rachel Bolt

CELLOS
Caroline Dale, Principal, Soloist
Tim Gill
Vicky Matthews
Nick Cooper
Caroline Dearnley
David Daniels
Joely Koos
Bozidar Vukotic
Frank Schaefer
Paul Kegg

DOUBLE BASSES
Mary Scully, Principal
Laurence Ungless
Dominic Worsley
Stephen Williams
Paul Kimber
Roger Linley
Markus Van Horn
Lynda Houghton

Lucy Whalley, Susie Gillis, Amy Ewen & Eleanor Cawser, Orchestra Booking (for Isobel Griffiths, Ltd)
Ellie Macready, Studio Bookings Assistant
Jill Streater, Librarian

Notes

All Shall Be Well is a setting of Julian of Norwich’s memorable lines, which were also quoted in T. S. Eliot’s Four Quartets. The fourth of Eliot’s poems takes its title from the historic Cambridgeshire community of Little Gidding. Eliot wrote of the chapel there with these words: “You are not here to verify, instruct yourself, or inform curiosity or carry report. You are here to kneel where prayer has been valid.” While visiting Little Gidding in 2007, I heard the sound of a bird outside the chapel “singing” the melody on which my setting is based. This collection contains two mixes of All Shall Be Well. The version heard here is arranged for unaccompanied choir.

All Shall Be Well
Julian of Norwich (c.1343-1416), from Revelations of Divine Love, Chapter XXVII)

All shall be well,
And all shall be well,
And all manner of thing shall be well.

TEXT: PD
MUSIC: Copyright © 2021 by J.A.C. Redford. All rights reserved. Used by permission.

Whether facing a blank page, a new relationship or the next life stage, many of us wrestle with the question of how to begin. In his beautiful terza rima sonnet, The Singing Bowl, my friend and colleague, Malcolm Guite, invites a posture of body, mind and heart that opens up space for a resonant, fruitful response to this question. My choral setting seeks to honor this space with an attentive stillness, created from a single limited set of musical tones, accompanied by two singing bowls, one of them struck and the other creating a drone.

The Singing Bowl
Malcolm Guite (b. 1957), from The Singing Bowl (Canterbury Press, 2013)

Begin the song exactly where you are,
Remain within the world of which you’re made.
Call nothing common in the earth or air,

Accept it all and let it be for good.
Start with the very breath you breathe in now,
This moment’s pulse, this rhythm in your blood

And listen to it, ringing soft and low.
Stay with the music, words will come in time.
Slow down your breathing. Keep it deep and slow.

Become an open singing-bowl, whose chime
Is richness rising out of emptiness,
And timelessness resounding into time.

And when the heart is full of quietness
Begin the song exactly where you are.

TEXT: Copyright ©2013 by Malcolm Guite. All rights reserved. Used by permission.
MUSIC: Copyright ©2017 by J.A.C. Redford. All rights reserved. Used by permission.

Ralph Vaughan-Williams composed a beautiful and definitive setting of George Herbert’s profoundly transformative poem, Love (3), for his cycle, Five Mystical Songs. When faced with the commissioned task of composing a new setting of this text, I wondered how I could possibly illuminate it in a fresh way. RVW’s evocation haunted my every step. Part of the solution entailed creating distinct musical gestures for each of the poem’s “characters”—the poet, Love embodied, and a third-person narrator. I also found inspiration in asking how it might feel to experience, after the poem’s final lines, the dawning realization that one has finally arrived in a place of unqualified welcome and love. I sought to capture the slow-blooming joy of that dizzying thought in my closing sets of chords.

Love (3)
George Herbert (1593-1633), from George Herbert: The Complete English Poems (Penguin, 1991)

Love bade me welcome; yet my soul drew back,
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning,
If I lacked anything.

A guest, I answered, worthy to be here.
Love said, You shall be he.
I, the unkind, ungrateful? Ah, my dear,
I cannot look on thee.
Love took my hand, and smiling did reply,
Who made the eyes but I?

Truth, Lord, but I have marred them; let my shame
Go where it doth deserve.
And know you not,” says Love, who bore the blame?
My dear, then I will serve.
You must sit down, says Love, and taste my meat.
So I did sit and eat.

TEXT: PD
MUSIC: Copyright © 2017 by J.A.C. Redford. All rights reserved. Used by permission.

Roger Wagner, is a painter, poet and friend from Oxford, England. Some years ago, he wrote a cycle of sixteen poems entitled Fire Sonnets, which, when originally published, were accompanied by the author’s woodcuts. I set the first seven of these sonnets to music as a choral cycle. The fourth of these, “Who hears the ocean roaring in a tree,” considers, through elemental references to air, water and fire, the spirit-stirred relationship between writer, reader and written word. My responsive music is composed for soprano and alto voices.

IV.
Roger Wagner (b. 1957), from Fire Sonnets (The Besalel Press, 1984)

He makes winds his angels
His servants flames of fire.
Psalm 104 v4

Who hears the ocean roaring in a tree
That rustles like a thousand angels’ wings
And feels the rising wind he cannot see,
Is seeing to the burning heart of things.
For as a book has pages stamped with ink
While yet some meaning rustles all its leaves,
So all things are as words that forge a link
Between the writer and the one who reads.
And that exulting love which made all things
Whose laughter is the ocean in a tree
That rustles like a thousand angels’ wings
Stirred by a wind no human eye can see,
Breathes love into a world he would inspire
In winds that flame with pentecostal fire.

TEXT: Copyright ©1984 by Roger Wagner. All rights reserved. Used by permission.
MUSIC: Copyright © 2020 by J.A.C. Redford. All rights reserved. Used by permission.

The modal lyricism of Wake Up, My Spirit combines elements of Renaissance counterpoint with a free chromaticism characteristic of contemporary harmony. It features a winsome rhythmic gesture found in traditional Irish music—the sixteenth note followed by a dotted eighth. In hushed and vibrant anticipation the choir and instrumentalists become a piper coaxing the sun out of hiding. Their song comes from Psalm 57; after a night of anxiety for his very life, David now looks with hope to the morning. Here, the singers repeat the Psalmist’s joyous affirmation, “my heart is ready [to] sing and make music for you!”

Wake up, my spirit
Psalm 57:7-11, adapted by J.A.C. Redford

Wake up, my spirit
awake, lute and harp;
I myself will waken the dawn.

My heart is ready, my heart is ready, O God;
I will sing, and make music for you.

Wake up, my spirit
awake, lute and harp.
I myself will waken the dawn.

My heart is firmly, firmly fixed, O God;
I will make music for you, O my Glory, O my Soul.

I will confess you among the peoples, O Lord.
I will sing praise to you among the nations.
For your loving kindness is greater than the heavens
and your faithfulness reaches to the clouds.
Exalt yourself above the heavens, O God,
and your glory over all the earth.

Wake up, my spirit
awake, lute and harp;
I myself will waken the dawn.

My heart is ready, my heart is ready, O God;
I will sing, and make music for you.
I will sing, and make music for you.

TEXT: PD
MUSIC: Copyright © 2009 by J.A.C. Redford. All rights reserved. Used by permission.

O Sacrum Convivium is the bright component of a Eucharistic chiaroscuro pairing with Ave Verum Corpus. The traditional liturgical Latin text is sung freely in the style of chant, paying more attention to the phrase than to the barline.

O sacrum convivium
Traditional (punctuation from Liber Usualis)

O sacrum convivium!
in quo Christus sumitur:
recolitur memoria passionis eius: mens impletur gratia:
et futurae gloriae nobis pignus datur.
Alleluia.

O sacred banquet!
in which Christ is received,
the memory of his Passion is renewed,
the mind is filled with grace,
and a pledge of future glory to us is given.
Alleluia.

Text: PD
Music: Copyright © 2021 by J.A.C. Redford. All rights reserved. Used by permission.

Ave Verum Corpus is the dark companion of O Sacrum Convivium in my chiaroscuro duo. The choir’s tone color remains consistently veiled until the sound opens up in the climaxes, though even these are more intense than bright in color. The music ends in shadow, as befits a contemplation of the Cross.

Ave verum corpus
14th Century (attributed to Pope Innocent VI)

Ave verum corpus,
natum de Maria Virgine,
vere passum,
immolatum in cruce pro homine cuius latus perforatum
fluxit aqua et sanguine:
esto nobis praegustatum
in mortis examine.

O Iesu dulcis, O Iesu pie
O Iesu, fili Mariae.
Miserere mei.
Amen.

Hail, true Body,
born of the Virgin Mary,
having truly suffered,
sacrificed on the cross for mankind,
from whose pierced side
flowed water and blood:
Be for us a foretaste [of the Heavenly Banquet] in the trial of death!

O sweet Jesus, O holy Jesus,
O Jesus, son of Mary,
have mercy on me.
Amen.

TEXT: PD
MUSIC: Copyright © 2018 by J.A.C. Redford. All rights reserved. Used by permission.

With Pied Beauty, the brilliant English poet, Gerard Manley Hopkins, provides a colorful new vocabulary for the glorious variety of all created things. In my setting, I tried to capture the shimmering bravado of the imagery with tone painting in the music.

Pied Beauty
Gerard Manley Hopkins (1844-1889), from The Poems of Gerard Manley Hopkins (Oxford University Press, 1967)

GLORY be to God for dappled things—
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.

All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.

TEXT: PD
MUSIC: Copyright © 2015 by J.A.C. Redford. All rights reserved. Used by permission.

The fifth in Roger Wagner’s Fire Sonnets cycle, this poem is set exclusively for tenor and bass voices. The sonnet’s volta, or turn, is underscored with a transition from minor to major in a developed recapitulation of the opening music, which parallels the counterpoint between the poem’s first line and its final words, “Who…draws us near into that love which exorcises fear.”

V.
Roger Wagner (b. 1957), from Fire Sonnets (The Besalel Press, 1984)

Rejoice with trembling Psalm 2

There is a fear men flee not from but to
A glory so compelling us to awe
We flee from our own selves and will pursue
A love whose absence no man can endure.
A joy which has some terror in its strength
A fear whose joy the cautions cannot know
As though one rode upon some wave whose length
And height seemed evermore to grow,
Or came upon an ordinary man
And looking for one moment in his eyes
Beheld the one through whom all worlds began
Who formed the stars and made the seas and skies.
Who formed us for himself and draws us near
Into that love which exorcises fear.

TEXT: Copyright ©1984 by Roger Wagner. All rights reserved. Used by permission.
MUSIC: Copyright ©2020 by J.A.C. Redford. All rights reserved. Used by permission.

This text is the sixth of Roger Wagner’s Fire Sonnets. It is a poetic reimagining of Isaiah’s dazzling vision and dramatic vocation. I begin my setting with a buzzing hum in the altos, which seeks to create a kind of aural electricity over which the first few lines are sung by alternating sopranos and tenors. From there to the end, I try to paint with varied musical gestures the roiling ideas which the poet so successfully paints with words.

VI.
Roger Wagner (b. 1957), from Fire Sonnets (The Besalel Press, 1984)

In the year that King Uzziah died I saw the Lord Isaiah 6 v2

A touch of incommunicable pain
As though God’s burning kiss had brushed my soul
At once all that I called myself was slain
By love destroyed and then, by love, made whole.
There is no refuge, no dark place to hide,
No hope we can conceal our disgrace:
I lost my self when King Uzziah died
But found my God and saw him face to face,
It was as though the doorposts of my soul
Were shaken like a ship on some great sea
And then he kissed me with a burning coal
My sin was gone and I, at once, was free;
I heard as some unthought, undreamt of dawn
The voice that spoke before the sun was born.

TEXT: Copyright ©1984 by Roger Wagner. All rights reserved. Used by permission.
MUSIC: Copyright ©2020 by J.A.C. Redford. All rights reserved. Used by permission.

The heartbreaking and evocative text for this piece was also written by Roger Wagner, author of the Fire Sonnets. The setting is in three sections. The first, comprising the first two quatrains, is a reflection on the plight of London’s homeless, amplified by a reference to the parable of Dives and Lazarus. The music cycles through a series of minor chords, not unlike the lives of those whom the text describes so poignantly. I wanted to create an atmosphere both beautiful and sad. The second section, underscoring the third and fourth quatrains, begins after a brief restatement of the principal motif. It quickly incorporates more and more dissonance, following the text to a conclusion referring to Herod’s niece, Salome, who demanded John the Baptist’s head in payment for a dance. The musical turn in this poem begins with the fifth stanza where a more redemptive note is struck, through further citations of New Testament stories, eventually culminating in a series of short fortissimo stabs on the word “love” to drive the setting to a bright, ringing climax.

The Mirrors
Roger Wagner (b. 1957), from In a Strange Land (The Besalel Press, 1988)

The mirrors of Almighty God
Have blankets made of plastic bags
Beneath the bridge at Charing Cross
Near where the river’s current drags

Its burden of unwholesome mud
And rubber tyres and broken oars
They lie like Lazarus at night
When rich men’s guard dogs licked his sores.

The mirrors of Almighty God
Have Oxford Street as their love bower
They leave their names in public phones
And sell themselves for half an hour,

Or find their work in adult shows
That line the streets off Soho Square
Performing like King Herod’s niece
For those that buy their right to stare.

The mirrors of Almighty God
More deeply than all skill could mend,
In love’s first garden looked on death
And looking cracked from end to end.

Yet if a face could crack a glass
The reflex of that would be true:
That in the beauty of a face
A broken mirror is made new.

And once among the Gadarenes
The naked man they came to find
Sat looking into God’s own face
Clothed, healed, and in his right mind.

And one who came from Simon’s house
Found that her face was wet with tears
But shining just as Moses did
When love had washed away his fears.

TEXT: Copyright ©1988 by Roger Wagner. All rights reserved. Used by permission.
MUSIC: Copyright © 2021 by J.A.C. Redford. All rights reserved. Used by permission.

This traditional ballad is a story of love betrayed. There are two obvious characters, the first a “fair maid”, generous and devoted, and secondly her “true love”, who proves spectacularly untrue in the course of the tale. The original text exists in several variants. As I mused over the shadings these variants gave to the story, I realized that there was a third, less obvious character: the one telling the story who is helplessly and completely in love with the fair maid. That gave the whole narrative an extra poignance for me, and I privileged those variant verses that underlined this element as I adapted the traditional text and music for my setting.

She’s Like the Swallow
Traditional, adapted by J.A.C. Redford

She’s like the swallow that flies so high,
She’s like the river that never runs dry,
She’s like the sunlight upon the sea shore,
I love my love and love is no more.

‘Twas out in the garden this fair maid did go,
For to pluck her some wild primrose,
The more she plucked, well, the more she did pull,
Until this maiden’s apron was full.

She climbed on yonder hill above,
To give a rose unto her love,
She gave him one, she gave him three,
She gave him her heart in company.

And as they sat on yonder hill,
His heart grew hard, so harder still,
He has two hearts instead of one,
She says, “My love, what have you done?”

“How foolish, how foolish you must be,
To think that I loved no one but thee,
This world ‘s not made for one alone,
I take my delight in everyone.”

Then out of these roses she made a bed,
A stony pillow for her head.
She laid her down, no more she did say,
Just let her roses fade away.

Her heart was broke and her body lay cold:
It was unto her true love the tale I told.
“I’m glad, I’m glad, I’m glad,” said he,
“That she had thought so much of me.”

And when I go home I’ll write a song,
I’ll write it wide and I’ll write it long,
And every line I’ll shed a tear,
And every verse recall my dear.

She’s like the swallow that flies so high,
She’s like the river that never runs dry,
She’s like the sunlight upon the sea shore,
I love my love and love is no more.

TEXT: PD
MUSIC: Copyright © 2015 by J.A.C. Redford. All rights reserved. Used by permission.

Time and a Summer’s Day is a combined setting of two Shakespearean texts. Sonnet XVIII is unquestionably one of Shakespeare’s most famous sonnets, and it’s all too easy to remember it merely for the golden warmth of its opening lines. Yet this poem, along with the next, Sonnet XIX, contains a poignant reflection on the ravages of time, a theme that haunts much of Shakespeare’s work. The poet may wish to forbid time’s devastating effects, or to circumvent them with attempts to immortalize the beloved in eloquent verse, but he knows he cannot ultimately halt or reverse them. My setting underscores this bittersweet subtext, first by combining the two sonnets into one contiguous piece of music, then by repeating the word “time” throughout both poems in chanted tones like the tolling of bells. Words which speak of time’s deprivations are amplified with harmonic or rhythmic gestures. At the end of Sonnet XIX, the opening line of Sonnet XVIII is reprised, but it is now no longer the breezy compliment of an enamored youth. It has been transformed through the passage of musical time into a textured question that challenges the listener to answer with care.

Sonnet 18
William Shakespeare (1564-1616), from Shakespeare’s Sonnets (Yale, 1977)

Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And ev’ry fair from fair sometime declines,
By chance or nature’s changing course untrimmed:
Ah But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st,
Nor shall death brag thou wand’rest in his shade,
When in eternal lines to time thou grow’st.
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

Sonnet 19
William Shakespeare (1564-1616), from Shakespeare’s Sonnets (Yale, 1977)

Devouring time, blunt thou the lion’s paws,
And make the earth devour her own sweet brood;
Pluck the keen teeth from the fierce tiger’s jaws,
And burn the long-lived phoenix in her blood;
Make glad and sorry seasons as thou fleet’st
And do whate’er thou wilt, swift-footed time,
To the wide world and all her fading sweets;
But I forbid thee one most heinous crime,
O carve not with thy hours my love’s fair brow,
Nor draw no lines there with thine antique pen.
Him in thy course untainted do allow,
For beauty’s pattern to succeeding men.
Yet do thy worst, old time; despite thy wrong,
My love shall in my verse ever live young.

TEXT: PD
MUSIC: Copyright © 2006 by J.A.C. Redford. All rights reserved. Used by permission.

Psalm 145 unfolds with unalloyed joy in praise. Despite its air of gladness, the textual and musical reminder of the end of evil is permitted a brief shadow before the strong and ebullient conclusion.

Great is the Lord
Psalm 145 (No. 3 from A Psalm Triptych), adapted by J.A.C. Redford

Great is the Lord and most worthy of praise;
his greatness no one can fathom.
One generation will commend your works to another;
they will tell of your mighty acts.
They will speak of the glorious splendor of your majesty,
and I will meditate on your wonderful works.
They will tell of the power of your awesome works,
and I will proclaim your great deeds.
They will celebrate your abundant goodness
and joyfully sing of your righteousness.

Great is the Lord and most worthy of praise;
I will exalt you, my God the King;
I will praise your name forever and ever.
Every day I will praise you
and extol your name forever and ever.

The Lord is gracious and compassionate,
slow to anger and rich in love.
The Lord is good to all;
he has compassion on all he has made.
The Lord is faithful to all his promises
and loving toward all he has made.
The Lord upholds all those who fall
and lifts up all who are bowed down.
The Lord is righteous in all his ways
and loving toward all he has made.
The Lord is near to all who call on him,
to all who call on him in truth.
He fulfills the desires of those who fear him;
he hears their cry and saves them.
The Lord watches over all who love him,
but all the wicked he will destroy.

Great is the Lord and most worthy of praise;
My mouth will speak in praise of the Lord.
Let ev’ry creature praise his holy name
forever and ever.

TEXT: Psalm 145 (NIV)
MUSIC: Copyright © 2001 by J.A.C. Redford. All rights reserved. Used by permission.

This is a song composed for a film I scored in the nineties. I played it for my eldest son, Jonathan, before bedtime almost every night when he was in middle school. In its rearrangement for choir, as the pandemic waned, I thought it might be a voice of hope for others as it had been for him.

Straight for My Home
J.A.C. Redford

Forward I walk with every breath
Sometimes through wind, icy as death
Sometimes through rain, wet to the bone
Forward I walk, straight for my home

With every step I hear my heart speak
Of lessons to learn and a promise to keep
Held by a trust more solid than stone
Forward I walk, straight for my home

The way grows steep, the night is falling
Can’t see where I’m going, can’t see where I’ve been
But in the dark, a voice keeps calling
To find me, remind me what waits at the end

Forward I walk, no turning back
Faith will supply whatever I lack
Never without and never alone
Forward I walk, straight for my home

The dawn is near, a bright tomorrow
Beyond the horizon, a glint in the skies
And all my fear, and all my sorrow
Is turned into gold in the sudden sunrise

Forward I walk into the light
Hope like a jewel, shining so bright
Love like a fire that burns in the bone
Forward I walk, straight for my home
Forward I walk, straight for my home

WORDS & MUSIC: Copyright ©1990 by J.A.C. Redford.
ARRANGEMENT: Copyright ©2021 by J.A.C. Redford. All rights reserved. Used by permission.

See the notes above for All Shall Be Well. The version heard here is arranged for choir and orchestra.

All Shall Be Well
Julian of Norwich (c.1343-1416), from Revelations of Divine Love, Chapter XXVII)

All shall be well,
And all shall be well,
And all manner of thing shall be well.

TEXT: PD
MUSIC: Copyright © 2021 by J.A.C. Redford. All rights reserved. Used by permission.