An evening service

SKU: GI.G-RCP57

Edited by Edward Tambling Thomas Tomkins wrote no fewer than seven services: three full and four verse settings. The first two full services, as numbered in the posthumous publication of ‘Musica Deo Sacra’ (1668), are straightforward settings in the central Elizabethan style. The First Service is in the major mode, and the Second Service in the minor: the Third Service is a radical departure in style from these settings and is presented as a ‘Great Service’ in homage to Tomkins’ ‘ancient and much reverenced master, William Byrd’. The Fourth and Fifth are verse services, and a further two are present only in manuscript sources: the Sixth Service received its first modern publication in this series (CP17), edited and reconstructed by Peter James. The Seventh to date is unpublished, and survives only in the form of an organ part, the vocal parts having been lost to history. This numbering system of one to seven is misleading, however, as it confuses the chronology of the compositions: some attempt to clarify this ordering is given in a table at the end of this edition in order to address this matter. Tomkins’ relatively late death places him well into the seventeenth century, at a time when musical fashions were changing and the Civil War was altering the course of British History. However, it is correct to describe him as ‘the last Elizabethan’, as his style remained conservative, as did the genres with which he worked and cultivated. ‘Musica Deo Sacra’ is supposed to have been supervised by his son Nathaniel, and collates much of Tomkins’ music not found in other sources. As such, it is a valuable resource for the material it contains, and is also a landmark in music publishing, in that it presents the first known printed organ book set in moveable type on two staves, an unrewarding process which seems to have caused considerable trouble for its printer, William Godbid. Even John Barnard in preparing his ‘First of Selected Church Musick’ (1641) did not go to the trouble of printing an organ part to supplement his vocal partbooks, instead providing his customers with a blank manuscript book into which the already ubiquitous organ parts could be copied by hand. As a result, Tomkins’ source as a whole contains a number of errors, but all of which can be corrected without distortion to the musical text, and the composer’s intention can be realised without too much difficulty.  In addition to the note on the ordering of the various services by Tomkins, I have endeavoured to give some brief information concerning the pitch of church music of this period with regards to the organ part, a subject much misunderstood and obfuscated by variously contradictory information.  It is hoped that this new edition of Tomkins’ First Evening Service will fill a need for short, attractive settings of the canticles for Evensong, furthering an appreciation of the music of the last great composer of the Renaissance era in Britain.

SKU: PL.9302SP

Ferguson's love of chant inspires much of his writing in this Evening Service. He offers here a setting of the Phos Hillaron (O Gracious Light), Psalm 111 (Confitebor Tibi), and the Magnificat and Nunc Dimittis. Each movement is voiced according to Ferguson's interpretation of the text: Unison treble chorus for the Phos hilaron, SATB for the Psalm and Magnificat and TTBB for the Nunc Dimittis; all accompanied by organ, revealing the heritage of the French style of chant accompaniment as well as the time-honored tradition of Anglican psalmody and singing of the evening canticles. The Nunc Dimittis also has optional parts for three violoncelli.

SKU: PL.9626

Joel Martinson's setting of the evening canticles balances a rare sensitivity to the text with an exuberant use of voices and organ. The Magnificat opens with sopranos alone supported by a gently undulating accompaniment. The flow of the text is sustained throughout by the use of mixed meters. He hath shown strength with his arm, is set in a rapid, syncopated style which returns for the Glory be to the Father section. The Nunc Dimittis begins lyrically and quietly in all parts and gradually builds to a strong conclusion as the harmony and texture increase in intensity. Mr. Martinson's combination of rhythmic drive and sensitively changing harmonies create a fresh and vital setting of these beloved words for the service of Evensong.

SKU: HL.14007602

6.5x9.75x0.166 inches.

For SATB Choir and Organ.

SKU: PL.0007

Andrew Walker has provided an unusual, gently undulating accompaniment for the lyrical phrases of this evening hymn.Tenors and sopranos each have the opportunity to set forth the lovely melody that first expresses the peace of this text. This is followed by a four-part setting that leads into the final section in the major mode. The anthem ends quietly with a repetition of the text, ...may rest in peace, may rest in peace. This setting moves the listener with its simplicity and gentleness and would be an excellent anthem for an evening service.

SKU: MN.50-8952

UPC: 688670589522.

Commonly associated with Thomas Tallis canon, Bishop Thomas Kens beautiful twilight text is here combined with the composers new tune, creating a hymn-anthem for a restful end to an evening service. A morning text by Ken in the same meter makes the piece suitable for morning worship as well.