English choral music has undergone a remarkable evolution since its medieval origins. Beginning with the monophonic Gregorian chants of the early Middle Ages, the tradition flourished with the development of polyphony in the later medieval period. The Renaissance era saw a golden age for English choral music, with composers like William Byrd and Thomas Tallis crafting intricate polyphonic works that balanced multiple independent vocal lines. The Baroque period brought new forms and styles, exemplified by Henry Purcell's expressive text-setting and melodic inventiveness. The 18th and 19th centuries saw the rise of choral festivals and the composition of large-scale works by Edward Elgar; while the early 20th century ushered in a distinctly English sound with Ralph Vaughan Williams and Gustav Holst incorporating folk melodies into their compositions. This period also saw Herbert Howells blending modern techniques with the English cathedral music tradition. In the latter half of the 20th century and into the 21st, composers like Benjamin Britten and John Tavener pushed boundaries with innovative harmonies and spiritual influences. Throughout this rich history, English choral music has consistently demonstrated an ability to evolve while maintaining a connection to its deep-rooted traditions.
Most of these composers are renowned for their large-scale choral works, but here we present a veritable treasure box of smaller gems for your musical delight. And we’ve sprinkled in a few surprises for you, namely, viol consort music from the Tudor and Jacobean eras.
In the late Renaissance and early Baroque, composers blurred the lines between vocal and instrumental music, especially for the viola da gamba. The viola da gamba’s expressive timbre closely mirrors the human voice, making it ideal for translating vocal music into instrumental form. Many composers of this era explicitly treated their works as interchangeable between voices and viols. Our guest artists will present fantasias, dance movements, and madrigals by William Byrd, John Wilbye, Giovanni Coperario, Thomas Tompkins, and Henry Purcell.
Thomas Tallis (c. 1505–1585) was a pivotal figure in English Renaissance music, serving under four Tudor monarchs. He composed numerous sacred works. Tallis's ability to adapt his compositional style to meet the changing religious demands of each monarch showcases his versatility and political acumen.
Although Tallis's mastery of polyphonic writing in the Renaissance style is well known, he also wrote simpler pieces as well. “O ye tender babes” is a didactic piece written in a very straightforward homophonic style, and the flexible, almost unmetered musical setting serves to focus on the words, which are an admonition to young people to turn their efforts towards education and virtue.
Anonymous
“Sumer is icumen in” is a medieval English round dating from the mid-13th century. It is one of the oldest known musical compositions. The song celebrates the arrival of summer with vivid imagery and lively lyrics. Structurally, it is designed for at least three voices to sing in a specific manner, with each voice starting at a different time. Its enduring popularity is evident in numerous modern performances and adaptations.
Imogen Holst (1907–1984), daughter of composer Gustav Holst, was a versatile musician who worked as a composer, arranger, conductor, and music educator. She composed choral works such as Three Psalms and arranged numerous folk songs. Notably, Holst served as Benjamin Britten's musical assistant and was an artistic director of the Aldeburgh Festival, playing a crucial role in promoting British music.
Holst was very interested in traditional English folk songs and arranged a number of them. “O Shepherd” and “My father gave me an acre of land” come from this rich tapestry of English pastoral folk music.
Sir Arthur Sullivan (1842–1900) is best known for his collaborations with W.S. Gilbert in comic operas, but he also composed significant choral works. Interestingly, Sullivan's hymn tune "St. Gertrude," commonly known as "Onward, Christian Soldiers," remains widely popular in hymnals today.
“Fair Daffodils” is a setting of a poem by the Elizabethan poet Robert Herrick. It was composed well before Arthur Sullivan was a “sir,” at the tender age of 15 (he was a very precocious child). Herrick’s poem was likely inspired by observing the short-lived bloom of daffodils in spring, using their fleeting beauty as a metaphor for the brevity of life.
Sir Henry Bishop (1786–1855) was a prolific composer of English operas, glees, and songs, including the famous "Home, Sweet Home." As a choral composer, he wrote numerous part-songs and arranged traditional melodies. Bishop was the first British musician to be knighted, receiving the honor in 1842.
“Foresters, sound the cheerful horn,” a rollicking glee, is one of Bishop's best-known works. The piece draws inspiration from the traditional association of forests, hunting, and horn calls, while recalling the playful gods and goddesses portrayed in earlier English madrigals.
William Turner (c. 1651–1740) was a prominent composer of the English Baroque period, known for his verse anthems and services. He composed over forty anthems, including "The Queen shall rejoice." Turner's long career at the Chapel Royal, spanning four monarchs, underscores his enduring influence on English sacred music.
“The Queen shall rejoice” is a celebratory anthem, written for the coronation of Queen Anne in 1702. It showcases the grandeur associated with English court music of the period.
Maurice Greene (1696–1755) was a prominent English composer and organist during the Georgian era. He held prestigious positions including organist at the Chapel Royal, professor of music at Cambridge University, and Master of the King's Musick. Greene's acknowledged masterpiece is the anthem "Lord, let me know mine end," which showcases his skill in polyphonic writing and use of expressive harmonies.
Henry Aldrich (1648–1710) was a versatile figure in 17th century Oxford, serving as dean of Christ Church and vice-chancellor of Oxford University. His compositions include full and verse anthems, as well as settings of canticles for Anglican services.
“Out of the deep” is a verse anthem, a form that alternates between sections for full choir and passages sometimes sung by soloists. The mood is quiet and yearning, with a recurring upward musical motif representing the words of this prayer rising up “out of the deep”.
Henry Purcell (1659–1695) is widely regarded as one of the greatest English composers. His compositions for the church include numerous anthems and service music. In addition to his sacred music, Purcell composed for the theater, writing incidental music, semi-operas, and the first important English opera, Dido and Aeneas.
Purcell's "Cantate Domino" exemplifies his mastery of Baroque choral writing. This joyful setting of Psalm 98 features vibrant rhythms, word-painting, and contrasts between homophonic and polyphonic textures.
Malcolm Singer (b. 1953) is a contemporary British composer and educator known for his diverse musical output. His choral works include Kaddish for choir and orchestra, and The Mask of Esther for children's choir. Singer's unique contribution to British music lies in his role as director of music at the Yehudi Menuhin School from 1998 to 2016, where he nurtured young musical talents and composed works that bridge classical and contemporary styles.
“Psalm 117,” composed in 1995, is set for double choir. It consists of only two verses; the composer exploits this constraint by combining long lyrical phrases and sections that explore the Hebrew language via intricate rhythmic patterns.
Anonymous
“The Agincourt Carol,” also known as "Deo gratias Anglia," is a celebrated English folk song from the early 15th century, composed shortly after the Battle of Agincourt in 1415. This piece is one of the earliest examples of English carols and represents a significant milestone in the development of English polyphonic music.
John Tavener (1944–2013) was a prominent figure in contemporary British classical music, known for his deeply spiritual compositions. His choral works, such as "The Lamb" and "Song for Athene" (famously performed at Princess Diana's funeral), are characterized by their mystical quality and Orthodox Christian influences.
"The Lamb," composed in 1982, is a setting of a poem by William Blake, the renowned English poet and artist. It features a simple, haunting melody that is passed between voice parts in a canon-like structure.
Sir Edward Elgar (1857–1934) was one of the most celebrated English composers of his time. While best known for orchestral works like the Enigma Variations, Elgar also composed significant choral pieces, including "The Dream of Gerontius" and "The Music Makers." Elgar's importance in British music is underscored by his role in establishing an English national style that gained international recognition, bridging the gap between the Victorian era and 20th-century modernism.
"Ave Maria," Op. 2 No. 2, was composed in 1887. This early work exemplifies Elgar's rich, late-Romantic harmonic language. The piece features lush choral textures, with Elgar's characteristic long, arching melodic lines
Herbert Howells (1892–1983) was a key figure in 20th-century English church music. His choral compositions, including numerous settings of the Anglican service, are characterized by their rich harmonies and expressive depth. Howells' unique contribution lies in his ability to blend modern compositional techniques with the English cathedral music tradition, creating a distinctive sound that has profoundly influenced subsequent generations of British composers.
"My eyes for beauty pine" is a masterful anthem composed in 1925, to a text by Robert Bridges. Howells employs his characteristic rich harmonic language, including modal inflections and carefully crafted dissonances, to create a sense of yearning and transcendence.
Benjamin Britten (1913–1976) was one of the most significant British composers of the 20th century. His choral output is extensive and varied, ranging from large-scale works like his War Requiem to smaller pieces like A Ceremony of Carols. His innovative approach to text setting and his ability to write accessible yet sophisticated music left a lasting impact on British musical culture.
"Concord" is the second choral dance from the opera Gloriana, composed in 1953 for the coronation of Queen Elizabeth II.
“Ballad of Green Broom” is part of Britten's "Five Flower Songs," Op. 47, composed in 1950. It is a lively, folk-inspired work that displays the composer’s wit and humor. The composition blends traditional elements with modern techniques, resulting in a work that is both accessible and sophisticated.
Ralph Vaughan Williams (1872–1958) was one of the most influential British composers of the 20th century. His work played a crucial role in establishing a distinctly English musical voice, drawing inspiration from folk songs and Tudor music. As a teacher at the Royal College of Music, he nurtured a new generation of composers, including Michael Tippett and Benjamin Britten, ensuring his legacy would continue to shape British classical music for decades to come.
"The Willow Song" is a setting of text from Shakespeare's Othello. Composed in 1913, it is part of his "Three Elizabethan Part Songs." The setting is tender and poignant, foreshadowing Desdemona's tragic fate.
— Patrica Jennerjohn