Music Notes for January 18, 2026

Music for Second Sunday after Epiphany

 

O Lamm Gottes, unschuldig BWV 656 dates from Bach’s later years in Leipzig, part of a collection of eighteen chorale settings known for their theological representations in music. The Lutheran chorale in question is a German paraphrase of the Agnus Dei, setting the threefold text of this ordinary into three poetic stanzas reflecting on the crucifixion. Rather than depicting the suffering and death on the cross, however, Bach’s music highlights the themes redemption and salvation, setting the chorale melody in long notes amongst some of the most perfected counterpoint ever written. Ever the master of musical numerology, Bach underscores the trinitarian symbolism of this triform text, highlighting each stanza with a slightly different texture and voicing. In the final section (representing both the Holy Spirit and the conclusion “give us peace”), the lowest notes of the organ emerge for the first time, placing the chorale melody in the bass as an underpinning for lively passagework that converges in a chromatic sequence centring on diminished fifths, an interval representing the cross in Bach’s musical language. The chorale aptly reflects the words of John the Baptist in today’s gospel that we pray each Sunday before communion: “Behold, the Lamb of God, who takes away the sin of the world … I saw the spirit descend on him as a dove.”

These words, prayed every time we receive Communion, recall the promise of salvation inherent in the Blessed Sacrament; by contrast, the text of today’s communion motet entreats God to protect and provide for his people on earth. Orlando Gibbons was certainly no stranger to the “dangers and necessities” described in the text, working in the Chapel Royal during a period of post-Reformation turmoil that saw many of his colleagues exiled from the isles. Gibbons himself remained in the good graces of the monarchy, composing and playing under steady patronage until his final years – today’s postlude comes from Parthenia, or the Maydenhead, the first ever printed collection of virginal music (also found to have been played on organ in the court), published in 1612 for the occasion of Frederick V and Princess Elizabeth’s marriage.

Dr. Abraham Ross

Solemn Mass takes place at St. James’ Anglican Church, Vancouver at 10:30 am every Sunday.

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Music Notes for January 11, 2026

Music for Baptism of Our Lord

 

Today’s mass settings and motet feature the works of Irish composer Charles Wood, who spent most of his life in Cambridge teaching, directing choir, and playing daily services. As a seventeen-year-old, he enrolled in the inaugural class of the Royal School of Music, studying with Ralph Vaughan Williams, who composed the today’s organ prelude. Best known for his canticle settings and anthems, today we hear the composer at his most demure, in a piece he most likely intended for choral services in Cambridge: a brief setting of the mass ordinaries in Phrygian mode and a striking communion motet composed for his college choir and published after his death.

Jesu, the very thought is sweet sets a text translated from a 12th-century devotional poem titled Jesu dulcis memoria, while its musical setting comes from a 1582 Finnish collection of sacred songs titled Piae Cantiones. That Wood should combine a Latin text with a Renaissance melody may seem surprising, yet his careful synthesis of poetic features and harmonic setting reflect his deep understanding of source material and the continuity of a living tradition. Wood’s motet the antique melody of Piae Cantiones with the emotive poignancy native to his own musical idiom, providing a beautiful reflection in music and poetry on the name of Jesus as proclaimed by the voice from heaven for the first time in the Gospel of Matthew.

Dr. Abraham Ross

Solemn Mass takes place at St. James’ Anglican Church, Vancouver at 10:30 am every Sunday.

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