Music for Saint Peter and Saint Paul

Jesu, the very thought of thee – Text: Latin c. 12th century, tr. Edward Caswall (1814-78). Music: Gordon Slater (1896-1979), arr. Paul Halley (b. 1952).

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For many years it was assumed that Bernard of Clairvaux was the author of the Latin poem of 42 stanzas beginning Dulcis Jesu memoria. But, though it is in keeping with his spirit and medieval piety, there is no proof that he wrote it. David Livingstone, greatly moved by the poem, wrote in his diary: “That hymn of St Bernard, on the name of Christ, although in what might be termed dog-Latin, pleases me so; it rings in my ears as I wander across the wide, wide wilderness.” The best translation is that of Edward Caswall, from which our hymn books and this arrangement have taken these verses.

The variable accentual pattern in the successive stanzas has made it difficult for music editors to choose a suitable tune for the hymn. No fewer than 28 different tunes have been associated with it since the beginning of the last century. Gordon Slater, the author of the tune used here, was organist of Lincoln Cathedral from 1930 until 1966. His tune “St Botolph” fits this hymn exceedingly well, and Paul Halley’s arrangement for the Elora Festival Singers of Slater’s melody, this Sunday’s communion motet in church, is lush and lyrical, a beautiful watercolour of vocal harmonies and organ line.

A personal note: In 1982, I obtained a copy of Paul Halley’s then recently released LP “Nightwatch”, inspired by the organ improvisations Halley created in the vast Cathedral of St. John the Divine in New York City for groups of teenagers late on Friday nights. In 1982 I was a nascent musician not much older than Halley’s original audience in that cathedral. As a young man growing up in a small farming community in the Fraser Valley, Halley’s music – the whole otherworldly, sonic experience of it – was revelatory. To this day, I feel I owe a debt of gratitude to Paul Halley, who now holds the position of Director of Music at All Saints Cathedral in Halifax.

Jesu, the very thought of thee
With sweetness fills my breast;
But sweeter far thy face to see,
And in thy presence rest.

Nor voice can sing, nor heart can frame,
Nor can the memory find,
A sweeter sound than thy blest name,
O Saviour of mankind!

O hope of every contrite heart,
O joy of all the meek,
To those who fall, how kind thou art!
How good to those who seek!

But what to those who find? Ah, this
Nor tongue nor pen can show;
The love of Jesus, what it is
None but his loved ones know.

Jesu, our only joy be thou,
As thou our prize wilt be;
Jesus, be thou our glory now,
And through eternity. Amen.

Gerald Harder

Music for Indigenous Prayer Sunday

God be in my head – Andrew Balfour (b. 1967)

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Of Cree descent, Winnipeg based composer Andrew Balfour (b. 1967) is an innovative composer, conductor, singer and sound designer with a large body of choral, instrumental, electro-acoustic and orchestral works, including Take the Indian (a vocal reflection on missing children) and Empire Étrange: the Death of Louis Riel. His 2017 Indigenous opera, Mishaabooz’s Realm, was premiered in Montreal and Haliburton, Ontario, commissioned by L’Atelier Lyrique de Opéra de Montréal and Highlands Opera Workshop. He has also been commissioned by the Winnipeg, Regina and Toronto Symphony Orchestras, among many others. Andrew is also the founder and Artistic Director of the innovative, 14-member vocal group Dead of Winter. He is passionate about music education and outreach, particularly in schools located in low-income areas of Winnipeg and in northern communities.

Balfour calls his music a “reimagining of history,” a reckoning both with the larger colonial past and with his own story of being “taken from [his] Indigenous family when he was a baby” while also being “luckily. . . raised in a loving and very musical family.” In his works, the Christian scriptures and hymns are transformed into “a more Indigenous perspective of spirituality but keeping the beauty of the polyphony intact.” In this Sunday’s communion motet in church, God be in my head, Andrew Balfour fashions the well-known text, a short hymn originating in French in the late 15th century and appearing in English in 1514 in a Book of Hours, into his own spare and concise style, again blending an Indigenous viewpoint with the traditional choral form.

God be in my head, and in my understanding.
God be in mine eyes, and in my looking.
God be in my mouth, and in my speaking.
God be in my heart, and in my thinking.
God be at my end, and at my departing.

Gerald Harder