Award-winning British composer Thomas Hewitt Jones releases a new version of the much-loved hymn Abide With Me on the 80th anniversary of D-Day, the invasion of Normandy by Allied forces which marked a crucial turning point in the Second World War.
American troops arriving in Normandy on D-Day (National Geographic)
Originally written in 1847 by Scottish Anglican cleric Henry Francis Lyte, with words based on Luke 24: 13–35, ‘Abide with Me’ is a prayer for God to stay (“abide”) with the speaker through the trials and tribulations of life and death. Traditionally sung at remembrance events and services, and at funerals, it offers comfort to the bereaved and hope for the coming weeks. The hymn speaks to the universal human condition, and it is that feeling of hope and assurance which makes this hymn so special. It is most often sung to the tune “Eventide” by the English organist William Henry Monk.
Abide with me; fast falls the eventide; The darkness deepens; Lord with me abide. When other helpers fail and comforts flee, Help of the helpless, O abide with me.
This new version by Thomas Hewitt Jones is performed by the Scottish Session Orchestra, conducted by Adam Robinson, recorded remotely in Glasgow – with Thomas on solo cello and pipe organ from his home studio.
Composer Thomas Hewitt Jones says, “‘Abide with Me’ is such a well-loved tune which typically has resonances with wartime and remembrance. However, as my friend Gordon Giles, Canon at Rochester Cathedral, reminded me, the words also allude to the resurrection. As such, I think it can be seen as a song of great comfort in trying times. I have given it the unashamedly rich string treatment here, with nods to Vaughan Williams but also a couple of subtle harmonic twists. I have also showcased the Lammermuir pipe organ, which is in my studio, and it is wonderful to have the excuse to get the cello out again! I hope you enjoy this new take on the beloved melody.”
‘Abide with Me’ – arranged by Thomas Hewitt Jones (solo cello & organ), with the Scottish Session Orchestra conducted by Adam Robinson.
A SEASON TO SINGby British composer Joanna Forbes L’Estrangeis a brand new 40-minute work for SATB choir/organ or piano, inspired by Vivaldi’s The Four Seasons
Joanna Forbes L’Estrange
A Season To Sing will be published by the Royal School of Church Music (RSCM) in 2025, marking 300 years since the publication of The Four Seasons. This choral re-imagining of Vivaldi’s enduringly popular set of violin concertos weaves texts from poetry and the Bible on the subject of spring, summer, autumn and winter into Vivaldi’s much-loved melodies. It will also include a new setting by Joanna Forbes L’Estrange of Ecclesiastes 3:2 – To everything there is a season. With its seasonal theme, A Season To Sing can be performed at any time of the year, and is expected to become a firm favourite with choirs throughout the world.
Joanna Forbes L’Estrange recalls, “The Four Seasons is the first piece of music I can remember hearing from my childhood. I used to dance around the sitting room to it! I thought a great way to mark its 300th anniversary would be to make it possible for choirs to perform it. Vivaldi’s tunes are so magnificent they deserve to be sung!”
To make this commission possible, the RSCM is inviting choirs to contribute £300 ($500) each to participate in this project, for which each choir will:
have the opportunity to perform the piece before its general publication
meet Joanna Forbes L’Estrange for a Q&A session via zoom
be listed in the vocal score as one of the commissioning choirs
receive a limited-edition, hardback copy of the vocal score, signed by the composer
This exciting opportunity is open to all choirs, large and small, professional and amateur, and to individual supporters. Deadline for registering – 31 August 2024.
Joanna Forbes L’Estrange (b.1971) is a multifaceted musician who performs, composes, records, directs and produces music in a wide variety of genres. Her career began with seven years as soprano and Musical Director of the five-time Grammy® award-winning vocal group The Swingles, with whom she toured the world and produced six albums. Specialising in contemporary crossover music, Joanna is a regular soloist for Mass in Blue by Will Todd (which she recorded for the Convivium label) and Duke Ellington’s Sacred Concert. With the world’s leading orchestras and contemporary music ensembles she performs works by Steve Reich and Luciano Berio and has sung on over 300 film soundtracks.
One of the Royal School of Church Music’s best-selling composers, Joanna was commissioned to compose an anthem to mark the coronation of King Charles III. The Mountains Shall Bring Peace was sung by over 600 choirs around the world including in the USA, South Africa, Australia, New Zealand and throughout Europe and the UK. Her music has been performed and recorded by Tenebrae, The King’s Singers, The Swingles, The Military Wives Choirs, The National Youth Choir and London Voices. Television credits include Fleabag, which featured her 1940s-style song You Are, and Glee, which featured her Moonlight Sonata arrangement, written for and recorded by The Swingles.
Joanna has written many songs and choral pieces in support of equal opportunities for women: We Will Remember Them (for the Military Wives Choirs of Great Britain), A Woman (Wearing Bloomers) On A Wheel (made into a film by the National Youth Girls’ Choir), Suffragette March (part of a larger work, Freedom! The Power of Song, composed in collaboration with her husband Alexander L’Estrange), A place for us maids (commissioned to mark 40 years of female undergraduates at Trinity College, Cambridge), The Three Wise Women (commissioned to mark the 135th anniversary of St Swithun’s School, Winchester) and Byrd Song (commissioned to mark the 400th anniversary of the death of William Byrd). In 2018 Joanna founded the all-female vocal group AQUILA and, in the same year, made history by organising the first ever all-female recording session at Abbey Road Studios in London, recording her single Twenty-first-century Woman for International Women’s Day.
The Royal School of Church Music (RSCM) is the Salisbury-based, national, independent charity enabling the flourishing of church music. As the central ‘home’ of church music, RSCM provides relevant education, training and resources to its membership, the wider church, and beyond. It is committed to encouraging the best of music in worship, and to advocating music as a tool for growth of the church.
The RSCM supports thousands of member churches across the UK and worldwide through its international partners. In addition, it also supports many schools and Individual members, and its work is sustained by thousands of Friends, Regular Givers and other donors.
The RSCM is an open, life-long learning organisation, offering face-to-face and distance education and training through its programmes, published resources, courses and activities.
Founded by Sir Sydney Nicholson in 1927, the RSCM’s original emphases were English and choral. Now, in a diverse international context, the RSCM’s work is far broader and more diverse, and aims to make all its work ecumenical in purpose, nature and content.
His Majesty King Charles is the RSCM’S Royal Patron, and its president is The Most Revd and Rt Hon The Lord Archbishop of Canterbury. The organisation celebrates its centenary in 2027.
CARITAS CONSORT releases May the Spirit Sing in your Heart
Music by Thomas Hewitt Jones, words by Canon Gordon Giles
A new choral anthem commissioned by soprano Susanna Gray-Jones in honour of the 70th birthday of Susanna’s father, Lindsay Gray, Founder and Director of Caritas Consort
Caritas Consort
Conductor – Lindsay Gray
Organist – Claire Alsop
Susanna Gray-Jones says, ‘The anthem’s soaring melody aims to reflect and celebrate the contribution Lindsay has made to choral music, both as a singer himself, choral conductor and in his various roles as a headmaster and as a former director of the Royal School of Church Music. The poignant words by Gordon Giles, Canon Chancellor of Rochester Cathedral, reflect on music, faith and spirituality and we hope will make an enjoyable and meaningful liturgical anthem, as well as being hopefully fun to sing. I’d like to thank Lindsay for being an incredible father – for me that includes being my singing coach, headteacher, cricket bowling coach, business support coach, choir conductor, counsellor and grandad to our children. Happy 70th birthday Dad!’
The music is available via YouTube, Spotify and other major streaming networks.
Caritas, Latin for ‘charity’, is a chamber choir based in Cardiff. They perform a range of music, unaccompanied or with organ, from the Renaissance period to the present day. Formed of professional and other high-quality singers, all members give of their own time and aim to raise at least £1,000 per performance for charitable organisations and good causes.
Since their first performance in March 2013, Caritas have presented 49 concerts and events, building a large and wide-ranging repertoire of over 300 pieces as well as raising over £63,000 for 66 charities and other good causes. With the release of May The Spirit Sing in your Heart, Caritas will be fundraising for the Cardiff Branch of Samaritans.
This is an exciting and important addition to RSCM’s catalogue. Authoritatively edited, clearly laid out, and handsomely presented, this volume is ideal for every choir performing this classic work.
Bertie Baigent, Director of Music, St Marylebone Parish Church, Marylebone
The Royal School of Church Music announces the publication of a new Critical Edition of Sir John Stainer’s The Crucifixion, edited by the leading Stainer expert, Professor Jeremy Dibble, using Stainer’s original manuscript, recently given to the Durham University Library. This handsome new edition has comprehensive introductory, editorial and performance notes, uses state-of-the art music engraving, and includes facsimile pages from Stainer’s original autograph manuscript. The new edition is compatible, page for page, with existing editions, so can be used where others will be using other editions.
New state of the art music engraving
The Crucifixion: A Meditation on the Sacred Passion of the Holy Redeemer is an oratorio composed by John Stainer (1840–1901) in 1887. It is scored in 20 movements for a SATB choir and organ, and features solos for bass and tenor. The words were selected and written by Reverend William John Sparrow Simpson. Stainer intended the piece to be within the scope of most parish church choirs and it includes five hymns for congregational participation. Its structure is clearly modelled on the scheme of choruses, chorales, recitatives and arias of Bach’s St Matthew Passion, which in 1873 Stainer had introduced into the Music for Holy Week at St Paul’s Cathedral.
Written for St Marylebone Parish Church, Marylebone, London, where Stainer’s former pupil William Hodge was organist, The Crucifixion was premiered there on 24 February 1887, the day after Ash Wednesday, where a choir of boys and men was directed by Stainer himself with the organ accompaniment provided by Hodge. It received its first performance in the United States at St Luke’s Church, Baltimore, on Palm Sunday, 3 April 1887. Aided by positive press coverage (some of which is pasted into the front and back of the autograph manuscript), the work was quickly taken up by parish choirs throughout Britain, the Empire and the United States and soon became a fixture of Holy Week. There have been performances in St Marylebone Parish Church annually since then, and in its Good Friday performance this year, the choir will be using this new edition for the first time. Stainer envisaged that The Crucifixion should be available to as wide a range of church choirs and organists as possible and the work remains a staple of the repertoire of choral music for Passiontide and Easter.
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