Wednesday, February 28, 2018

London Snow

St. Sepulchre-without-Newgate: I failed to notice when taking this photograph that this street it stands on is Snow Hill!
Snow came to London today after a prelude of several days of freezing cold.  In the excitement I left my season ticket at home, so had to make the final part as well as the middle of my journey on foot (my eccentric route usually involves a bracing walk along the South Bank of the Thames), but I did not mind the walk of two miles in sunlight and snow.  So a rare and welcome excuse for this poem of Robert Bridges', a favourite of mine:

London Snow

When men were all asleep the snow came flying,
In large white flakes falling on the city brown,
Stealthily and perpetually settling and loosely lying,
Hushing the latest traffic of the drowsy town;
Deadening, muffling, stifling its murmurs failing;
Lazily and incessantly floating down and down:
Silently sifting and veiling road, roof and railing;
Hiding difference, making unevenness even,
Into angles and crevices softly drifting and sailing.
All night it fell, and when full inches seven
It lay in the depth of its uncompacted lightness,
The clouds blew off from a high and frosty heaven;
And all woke earlier for the unaccustomed brightness
Of the winter dawning, the strange unheavenly glare:
The eye marvelled – marvelled at the dazzling whiteness;
The ear hearkened to the stillness of the solemn air;
No sound of wheel rumbling nor of foot falling,
And the busy morning cries came thin and spare.
Then boys I heard, as they went to school, calling,
They gathered up the crystal manna to freeze
Their tongues with tasting, their hands with snowballing;
Or rioted in a drift, plunging up to the knees;
Or peering up from under the white-mossed wonder,
‘O look at the trees!’ they cried, ‘O look at the trees!’
With lessened load a few carts creak and blunder,
Following along the white deserted way,
A country company long dispersed asunder:
When now already the sun, in pale display
Standing by Paul’s high dome, spread forth below
His sparkling beams, and awoke the stir of the day.
For now doors open, and war is waged with the snow;
And trains of sombre men, past tale of number,
Tread long brown paths, as toward their toil they go:
But even for them awhile no cares encumber
Their minds diverted; the daily word is unspoken,
The daily thoughts of labour and sorrow slumber
At the sight of the beauty that greets them, for the charm they have broken.

St. Pancras Station (left) and the British Library (right)
Lines from this poem come to me fairly often, generally à propos of nothing in particular and even in high summer; in fact, it contains some of my favourite lines of poetry.  'All night it fell, and when full inches seven / It lay in the depth of its uncompacted lightness, / The clouds blew off from a high and frosty heaven', ... 'the unaccustomed brightness'... 'past tale of number'.  'Paul's high dome' is a line that murmurs comes to me almost every time I walk to work along the S Bank.    'Stealthily and perpetually settling and loosely lying' is delicious, and notice the harmonious juxtaposition of 'stealthily' and 'perpetually', one with a Germanic root and the other derived from Latin; it is also evidence of Bridges' efforts, for musicality's sake, to purge his English poetry of sibilance (this is why he employed so often the older third-person singular conjugation, -eth or -th).  In general, the apparently irregular rhythm, the slight breathlessness of excitement, is one effect of Bridges' quantitative verse, which involves measuring a line by the length of syllables, rather than the stress placed upon them.  Catherine Phillips explains all this in her interesting biography of Bridges, which I read cover-to-cover about three years ago.

Sunlight and snow become London rather well, I think, just as they did in Bridges' time.

Regent Square

Sunday, February 25, 2018

‘It is good to be here’: Hymns and belonging in a Polish park


Sławcie usta Ciało Pana — Pange Lingua (Of the glorious body telling)

Good things are always going on in the world, even if out of sight or over the horizon, and these days, it seems, many of them are happening in Poland.  Heres an example of something we should know about in Britain: enormous open-air hymn-singing concerts which every year draw great multitudes, people in their tens of thousands, to a park in the city of Rzeszów.  As the feast day of Corpus Christi draws to its close, huge numbers of ordinary folk  young and old, married and single, lay and consecrated religious, public officials and plain citizens  gather in the Sybiraków park to sing and pray.  There to lead them is a choir a hundred-and-thirty strong and an array of other musicians.  Candle-light spreads and strengthens as evening falls: the multitude joins hands and sing hymns into the night.

These are the ‘Jednego Serca Jednego Ducha’ concerts (the name means ‘Of One Heart, Of One Spirit’; the ‘c' in ‘Serca’' is pronounced ‘ts’ as in ‘dance’, the ‘ch’ in ‘Ducha’ as in ‘loch’), and I can find no evidence against the claim that they are Poland’s, and Europe’s, largest regular concerts of religious music.  Last year 45,000 people were present, the greatest number since the events began in 2003.  Even those who came up with the idea  Jan Budziaszek, a drummer, Fr. Andrzej Cypryś and Fr. Mariusz Mik — might be forgiven for some surprise at what they have created.  And it is not only the high attendance that is remarkable: the concerts convey a definite and distinctive atmosphere, even over the Internet.  Something is happening which Fr. Cypryś describes as a kind of transfiguration: “There are lots of events in which a crowd enjoys itself and goes crazy, for better or worse.  But in this concert the crowd reacts differently; people are uplifted, spiritual.  A spirit rises up out of the heart and, ultimately, to the Lord God.”  Paraphrasing Simon Peter’s words at the Transfiguration of the Lord, he says, “Most likely what lies behind the phenomenon is this: 'it is good to be here'.”


Serce wielkie nam daj — Give us a great heart

Of course, the musicianship has a great deal to do with its success.  There is no cutting of corners here.  Members of the choir must first pass an audition and, if successful, learn their parts and words by heart.  The orchestra is reinforced by players from the Rzeszów Philharmonic.  Hubert Kowalski, who conducts the orchestra and creates the orchestral arrangements of many of the hymns, is a composer and prominent figure in Polish liturgical music.  Marcin Pospieszalski, a bass guitarist, violinist and and composer of film music, also produces arrangements for the ensemble.  His wife Lidia Pospieszalska, along with Tamara Kasprzyk-Przybysz, leads the choir.  The solo singers and instrumentalists, too, tend to be prominent names in Polish music — Joachim Mencel, Poldek Twardowski, Viola Brzezińska — and some are international visitors, such as last year’s guests Levi Sakala (Zambia) and Fr. Stan Fortuna (U.S.A.).

For those of us who were struck by the quality of the music at the 2016 World Youth Day in Kraków (about which my tuppence-worth here and here), this all explains a great deal.   For at Kraków too there was this same compelling recipe of familiar or singable tunes heightened by rich and colourful orchestration.  The same musicianship, it turns out, is behind both phenomena — and by musicianship’ I mean both the same individual musicians (Marcin Pospieszalski also contributed to the WYD hymn, for instance) and, more broadly, the same strong underlying musical culture.  Now I see why, when the world came to Kraków, the youth of Poland rose so splendidly to the occasion.

Even so, the evenings are not meant to be thought of simply as as an aesthetic experience, as this article (translated here) explains.  It is not for a performance that the multitudes have gathered.  In fact, the distinction between stage and audience is relaxed: the soloists, however famous, are not announced by name when they come on stage to sing; instead, the words of the hymns are projected onto screens so that everyone can join in.  There is a togetherness of music-making, itself in service of a togetherness of heart and spirit: “We believe profoundly that it is not only for an artistic event that we are gathered together,” says Hubert Kowalski; “but for deep prayer, in an expression of our belonging to God, and of our faith.”


Ciebie całą duszą pragnę  ‘For you I long with all my soul’, Psalm 63 (62)

And hymns are sung from every age and corner of the Church.  Taizénineteenth-century patriotic hymnsplainsongseventeenth-century German melodiesAmerican worship songsthe oldest known Polish hymn (the ‘Bogurodzica’) and even a rap, to whose lyrics presumably nihil obstat, performed by its author, a priest in full cassock — now I’ve seen it all!.  All sorts, then, which is another sign of a concerted effort to unity.  Perhaps not all the music will be to everyone’s taste, but everyone will like at least some of it.  I don’t think either traditionalists or innovators could complain of being left out, and I have to say I find most of it very appealing, especially with the choir’s open, unaffected, even raw way of singing.  But maybe it is the idea itself that matters more, the idea that people might willingly choose to spend some hours in each other’s company, and their Creator’s.  This is perhaps why, in 2010, when a terrific rain-storm caused flooding in the region and threatened the concert itself, those without long journeys to face decamped to a car park, hurriedly set up a new stage, and carried on singing under the deluge.


Chrystus Pan karmi nas — ‘Christ the Lord nourishes us’.

‘Serdecznie zapraszamy,’ they say —  ‘we cordially invite’ all people to join the gathering in the park.  Even from afar, watching online from here in England, it is impossible to resist being drawn into this spirit of togetherness, and to notice certain heartening things: the sheer variety of the people who are there, the roughly equal numbers of men and women, the presence of families and children, the breadth of ages, the large number of young priests and religious.  Then there are other surprising details, other refreshing sights, like natural ornaments of celebration and goodwill (as simple as flowers in the ladies’ hair, or exuberant balloons and banners among the audience), bishops’ bonhomie, John Paul II look-alikes, and people holding hands, or couples with their arms gently around each other, quite ordinarily and unshowily.  Everyone is quite obviously having a good time.  The young in particular are visibly uncynical, relaxed and actually youthful in spirit.  This is the youth that Benedict XVI knew is ‘not as superficial as some think’, and surely it is precisely because of the concert’s sincerity and authenticity — no artificial emotion, no pseudo-intellectualism, no smarminess, all those fakeries that young people can smell a mile off  that they come in such huge numbers.   Here all that is good about modern music and the modern world are taken and elevated to their highest purpose.  It is enough to make anyone ask why we are agonising and dithering over the New Evangelisation.  This is what it looks like and how it is done: some of this music could evangelise a potato.

A spirit that can rise up from the heart’... an expression of our belonging to God’... The unison of lifted voices begets the unity of many lifted hearts and lifted spirits: one voice, one heart, one spirit.  It is what it says on the tin, then, and how sad it is that most of us in Britain can scarcely imagine it.  Yet what should be more natural than this, than gathering in a park to pray and sing?  Hymns were made to be sung anywhere, as much at home, at work, or to candlelight in the park as in church.  The concerts are astonishing to us not, then, because they are strange in themselves, but precisely because they are so completely natural that they should be commonplace, and yet are not.  Of course, the concerts are not meant as a substitute for going to church, or the sacraments, or the ordinary practice of the faith — the organisers suggest nothing of the kind — but as the natural expression of a certain moral and spiritual culture, as well as a musical one, a culture that knows the meaning of purposeful worship, it is a great sign of hope.

In other words, it is the reality of the occasion that is so startling: startling both because it is rather astounding that a gathering like this should happen in real life, and also because it is such a real, such a genuine thing to do, a thing so refreshingly free of illusion or falsehood.  There’s nothing forced or self-conscious about it.  Really, the broadcasts and videos of the occasion show for themselves what is going on.  The Holy Spirit is not very easily faked. 

Dziękuję wam, organizatorzy, muzycy i śpiewacy koncertu ‘Jednego Serca Jednego Ducha’, za takie wydarzenie, tak podnoszące na duchu!


Przykazanie miłości: The Commandment of Love’

Tuesday, February 20, 2018

Ruth Gipps: anniversaries

Today, 20th February, is the ninety-seventh anniversary of the birth of the composer Ruth Gipps; Friday (23rd) will mark the nineteenth of her death.  Meanwhile, with some important exceptions, most of her music languishes in silence, unrecorded and unperformed, which was probably not the composer's intention.

I have written already about Ruth Gipps and the strange neglect in Britain of her colourful, lyrical music during her lifetime and since. But there's good news on the horizon — or at least somewhere beyond it!  In just over a month's time, on the 31st March 2018, the Seattle Philharmonic Orchestra under Adam Stern will give the United States première of Gipps' Symphony No. 2.

Over in America they are showing us up rather, so we have no excuse not to follow suit.  Ruth Gipps' centenary is swiftly approaching; 2021 lies far enough ahead that we can organise some recordings and concerts.  Of her life's work these are the only recordings that I know of, very few of them commercially available.  Only the second of her five symphonies has been recorded; the fifth has never even been broadcast.  There is a piano concerto which would go down well at the BBC Proms, other concerti for violin, oboe and clarinet, a set of Evening Canticles, tone poems and suites for strings... and much more unchartered territory.

To strengthen interest in Ruth Gipps would simultaneously put right the injustice of her obscurity and awaken musical and cultural life, in Britain and elsewhere, to the serious and determined pursuit of beauty that is made in her musical craft.

As an example, here are the closing passages of the otherworldly, moonlit second movement of her fourth symphony; the whole movement can be heard here.



Wednesday, February 14, 2018

Rondel for Ash Wednesday

Hold fast, all friends of Christ, hold fast:
Be not afraid: keep faith, keep Lent.
All grunged-up souls, all people pent
In pleasure's prison, bravely cast
Your needless sin aside at last:
Believe the Gospel and repent.
Hold fast, all friends of Christ, hold fast:
Be not afraid: keep faith, keep Lent:
The thirst and hunger will not last,
For by God's Son, who underwent
the Cross, we know that we are meant
For endless life when pain is past.
Hold fast, all friends of Christ, hold fast.

(D. Newman, Shrove Tuesday, 13 February 2018)

Wishing all readers... not exactly a happy Lent, but one that will bring happiness in the end!