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    • The Bach Project / programme 9
      • Michael Stewart Friday 15 May, 2015 Fantasia and Fugue in G minor BWV 542 Tradition has it that Bach played this well-known fugue to the aged Johann Adam Reincken on a visit to Hamburg in 1720. The Dutch Reincken was the last representative of a line of organists that included Sweelinck and Scheidemann, and was considered one of the most important composers in 17th Century Germany. The fact that the fugue’s subject is almost exactly the same as the Dutch folk tune Ik ben gegroet has been seen by some to be a sort of tribute to Reincken – certainly there is evidence of Bach’s high regard for his music (the Keyboard Sonatas BWV 954, 965 and 966 are arrangements from Reincken’s Hortus Musicus), while the earliest discovered Bach autograph is a copy of Reincken’s An Wasserflüssen Babylon, evidently copied for his then teacher Georg Böhm in 1700. Whether or not the two movements were intended to be performed together (or that they were even composed at the same time) is contentious. The style of each is markedly different, particularly the incredibly daring enharmonic passages found in the Fantasia. The Fugue exists in a version in F minor (with one copy even having an entirely different prelude) while the Fantasia does not survive in any other transposition – it could be deduced from this that there was a tradition of playing the Fugue separately. The Fantasia boasts one of the most arresting openings of any piece in the organ repertoire. There are many wonderful moments, particularly the places where the harmony proceeds somewhere entirely different to where it would be expected. The two opposing ideas – one bold and declamatory, the other densely contrapuntal, are finally brought together after a hair-raising circle of fifths passage that would have sounded wild on the unequally tempered organs of Bach’s day. The Fugue has a contrasting jollity about it, which belies its difficulty! The copyist of one of the source manuscripts noted that this was ‘the best of all the pedal works of JS Bach’. Three chorale preludes on Freu dich sehr, o meine Seele        BWV Anh. II 52 / BWV Anh. II 53 / BWV deest Rejoice greatly, o my soul, and forget all stress and anguish, since now Christ, your Lord, calls you out of this valley of sorrow! His joy and glory you shall behold in eternity, to celebrate with the angels, and triumph in eternity. Text: Christoph Dimantius (1620) None of these settings are considered to be by JS Bach, but their inclusion in the Baerenreiter collected works merits their performance as part of our series. The first is a charming three-part gigue with the chorale melody in the soprano. The second setting, subtitled fugato, is a short three-part fugue based on the first line of the chorale, which expands towards the end with the final iteration given to double pedal. The subtitle ‘deest’ is Latin for ‘not present’ (the negative of ‘est’) and signifies that the works are not accepted in the Bach Catalogue. This setting resembles harpsichord music in its figuration, and makes constant use of a repeating rhythmic motif in the accompanying parts. Fugue in F# major BWV Anh. II 52 Again, this piece is most likely by another composer, most probably Bach’s well-regarded pupil Johan Ludwig Krebs (1713-1780). This is a straightforward allabreve fugue; however, the real piquancy of this piece can only be imagined on the unequally tempered organs of the Baroque period. Nun freut euch, lieben Christen g’mein/ Es ist gewisslich an der Zeit BWV 734 Es ist gewisslich an der Zeit BWV 755 Now rejoice, dear Christians all, and let us leap for joy, that we – confident and united – sing with pleasure and love of what God has given for us and of his sweet miracle; very dearly has he purchased it. Indeed the time is here when God’s Son will come in His great glory to judge the wicked and the righteous. Then laughter will be rare, when everything goes up in flames, as Peter bore witness.         Text: Barthold Ringwaldt (1682) The melody for this chorale was associated with each of these texts in turn, both intended for Advent. It seems to have been derived from the secular song Wach auf, wach auf du schöne, bringing to mind Luther’s wonderful apocryphal saying “Why should the devil have all the good music?”. BWV 734 exists in various guises as a manuals only piece (as in the Neu Bach Ausgabe) or as a trio with pedal cantus firmus – which is the way I will perform it here today. It is characterised by a frenetic perpetual semiquaver movement in the right hand against constant quavers in the bass. BWV 755 on the other hand is a straightforward cantus firmus setting with fore-imitation in the Pachelbel style. Canzona in D minor BWV 588 The Canzona (Italian: song) was a favourite musical form in 17th century music, denoting a piece contrapuntal in style and often for the keyboard. There is nothing in the autograph manuscript to suggest that this is necessarily written for organ – it is written out on only two staves, and all of it is manageable without the use of the pedals, so the piece could just as easily be performed on the harpsichord. The main theme and the secondary falling chromatic fourth countersubject are reminiscent of motives found in Frescobaldi’s Fiori Musicali (1635), which is one of the handful of organ works that Bach is known to have copied himself. However, BWV588 most likely dates from even earlier than 1714, the date Bach inscribed on his copy. Incidentally, I somehow managed to miss this work out during the recital on 13 March, so have managed to include it here (hopefully). Wer nur den lieben Gott lässt walten BWV 690 Whoever lets only the dear God reign and hopes in him at all times, he will preserve in a marvellous way in every cross and sadness. Whoever trusts in almighty God has not built upon sand.       Text and melody: G Neumark (1641) The first of the so-called ‘Kirnberger’ collection of chorale preludes, BWV 690 has the chorale melody in the soprano line above a flowing accompaniment that makes much use of the suspirans figure. Johann Kirnberger was a pupil of JS Bach and is known today as a music theorist, particularly in relation to temperament. The chorales BWV 690-713 are found together in manuscript sources that were either directly copied by or for Kirnberger, hence the name. The layout and look of the work suggests performance on a domestic instrument, such as the harpsichord. Allabreve in D major BWV 589 The Allabreve belongs to the group of Bach organ works written in the stile antico, or ‘ancient style’. This style is modelled on the strict counterpoint of the likes of Palestrina, as codified in the famous counterpoint text Gradus ad Parnassum by Johann Joseph Fux. Alla breve simply means ‘at the breve’, and denotes a piece in cut-common time, which in the context of Baroque organ music meant vocally-derived melodic and contrapuntal writing with frequent use of suspensions. A companion to this is the middle section of Bach’s Piece d’Orgue, currently the dark horse frontrunner in our Voting Recital!

    • The Bach Project / programme 8
      • Richard Apperley Tuesday 1 May, 2015 Toccata in d minor ‘Dorian’ BWV 538 This work is nicknamed the ‘Dorian’ Toccata and Fugue because there is no key signature printed at the start of the music and the tonality is based in d minor, which would usually imply that it was written in the dorian mode. The Toccata is very firmly in D minor – and the Fugue is principally in the aeolian mode, not the dorian! The toccata opens with a motoric pattern of semiquavers, which continues almost without ceasing throughout the movement. The work is clearly influenced by Buxtehude (compare it to the opening couplet of his Magnificat primi toni) and Vivaldi (the d minor concerto, which Bach arranged as BWV 596). It is interesting that on the copy by Kittel’s pupil Fischer notes that the work was ‘played at the examination of the large organ in Kassel by S. Bach’, which occurred in September 1732. We know this work was written while Bach was working in Leipzig – between 1708 and 1717. Ach Herr, mich armen Sünder BWV 742 O Lord, do not punish me, a poor sinner, in your wrath, but mitigate your earnest rage, otherwise I will be lost. O Lord, you want to forgive me my sins and be merciful, so that I may live eternally and escape the pain of hell. The opening melodic gesture of this chorale prelude is uncharacteristic for Bach, however the three-part writing and hectically varied figurations that follow are similar to those found in the Neumeister collection – and fit in with its general experimentation. Ach Gott und Herr BWV 714 Ah God and Lord, how great and heavy are the sins I have committed! There is no one who can help to be found in this world. There are two different versions of Ach Gott und Herr published in the Bärenreiter edition of the complete organ works of J S Bach. The setting I will play today comes from the Neumeister collection. The only difference between the two versions is a lengthy introduction prior to the chorale melody appearing in canon between the soprano and tenor voices – this is the version I am playing today. Erbarm dich mein, O Herre Gott BWV 721 Be merciful to me, O Lord God; according to your great mercy wash away, make clean my misdoing; I know my sin and am sorry for it. Only against you have I sinned, that is constantly against me; evil cannot exist before you, you remain just, however one judges you. This beautiful chorale setting bears a striking resemblance to a work by Johann Kuhnau (another favourite composer of mine!) – the movement labelled ‘their prayer to God’ in his biblical sonata depicting the conflict between David and Goliath. Kuhnau was Bach’s immediate predecessor as cantor at the Thomas Church in Leipzig, so it almost certain that Bach knew the work. A shameless plug – my CD recording of the Kuhnau Biblical Sonatas is available for purchase in the cathedral shop after this recital – or online at www.organism.co.nz! The pulsing quaver pattern gives the effect of a slow tremulant – the organ builder Esais Compenius had noted earlier that a suitable rate for the organ tremulant was eight times per bar – the same rate of the quaver accompaniament in this work. Despite being labelled as a manualiter work (for hands alone), I am playing the chorale melody which appears in the soprano in the pedals to highlight the melody. Fugue in b minor ‘on a theme of Corelli’ BWV 579 The subjects that this fugue are based on come from Corelli’s Sonate da Chiesa a Tre op. 3, composed in Rome in 1689. Bach reworked the themes to extend the length of them and to add more detail to the fugue. The final cadence is unusually restrained for Bach – more italianate in nature. Aus tiefer Not schrei ich zu dir BWV deest Aus tiefer Not schrei ich zu dir BWV 1099 From deep distress I cry to you, Lord God, hear my call. Incline your gracious ear to me and open them to my entreaty; for if you will take notice of what sin and wrong is done, who may abide you, Lord? BWV deest is thought to have been a work written by Bach as a teenager – though it doesn’t display the level of harmonic originality that we would expect. It is however a convincing work, with the chorale melody appearing in all voices, with a varied accompaniament. BWV1099 comes from the Neumeister collection of chorales. The melody appears in canon between the soprano and bass voices, and becomes more intense as it develops. The middle section in 12|8 provides a lighter texture before the the fanfare like closing section arrives – complete with a gripping false cadence to G minor before the final cadenza. Allein zu dir, Herr Jesu Christ BWV deest Allein zu dir, Herr Jesu Christ BWV 1100 Only to you, Lord Jesus Christ, does my hope on earth turn. I know that you are my comforter, no other solace may be mine. There is no Elect from the beginning, there is no earth-born person who can help me in my need, I call to you, to whom I have entrusted myself. BWV deest is another work thought to have been written by Bach during his teenage years. This setting however displays a great degree of ingenuity and development. The chorale melody is heavily disguised among the part writing – often used as the opening gesture of the accompanying figures. There is a great deal of imitative writing between the parts – very much in keeping with the chorales in the Neumeister collection. BWV 1100 comes from the Neumeister collection, and is very similar to the canzonas written by Buxtehude and Walther. Listen for the imitation between the voices – particularly the repeated semiquaver patterns and arpeggio figures. Herr Jesu Christ, du höchstes Gut BWV 1114 O Jesu Christ, you highest good, you source of all grace, see how in my spirit I am weighed down with pains and have many arrows in me, which oppress me without purpose, poor sinner, in my conscience. This is yet another chorale from the Neumeister collection. This is set in two clear sections – the first is quasi fugal, with the chorale melody appearing only in brief glimpses before changing into something entirely different. The second section is much freer, with the chorale melody singing out through an angular accompaniament – perhaps representing the arrows mentioned in the chorale text? Wo soll ich fliehen hin BWV 694 Whither should I flee, since I am weighed down with sins many and great? Where should I find salvation? If all the world were at my feet, it would not take away my anxiety. This is a trio setting, with the chorale melody appearing in long notes in the pedal. Peter Williams suggests that the amount of repetition in the work colours the word ‘flee’ , and others have heard in the sustained, twisting lines a reference to verse 7 of the text ‘with your blood I will overcome death and sin’. Fuga sopra Durch Adams Fall ist ganz verderbt BWV 705 Durch Adams Fall ist ganz verderbt BWV 637 Durch Adams Fall ist ganz verderbt BWV 1101 Through Adam’s fall is totally spoiled all human nature and being, the same poison is bequeathed to us from which we cannot be delivered without the solace of God, who has redeemed us from the great disgrace by which the serpent forced Eve to draw God’s anger down upon herself.  BWV 705 appears as a typical ‘organ motet’ – so much so that it could well be a transcription of a chorale setting of the text. BWV 637 comes from the Orgëlbuchlein, and despite being a relatively early work is a hugely profound and original setting. Russell Stinson feels “there is perhaps no other chorale setting, instrumental or vocal, whose music so clearly and effectively symbolizes its text.” It is a highly chromatic setting – so much so that the tonality of the work is often difficult to pick. The pedal part consists primarily of descending sevenths – surely depicting both Adam’s fall and the concept of poison. BWV 1101 again comes from the Neumeister collection, and is a complete four part fughetta, based on the chorale melody. There is a great deal of imitation between the voices, and it depicts the text well – starting with a gloomy portrayal of Adam’s fall , and finishes with God’s redemption. Fugue in d minor ‘Dorian’ BWV 538 Despite being nicknamed the ‘Dorian’ (not by Bach – the first appearance of this title is in the 1845 Peters edition of the work) – the fugue itself is largely in the aoelian mode. It is an unusually complex fugue based on a symmetrical theme that rises and falls an octave. It features some of the most carefully constructed four part harmony in the organ repertoire, filled with suspensions. It is so complicated in places that Bullivant, in his text ‘The fugal techniques of J S Bach”, said it ‘defies harmonic analysis’. Stylistically the fugue seems to hark back to his earlier compositions – it is, on the whole, written in the old style. Towards the end he suddenly breaks free from this, and the work becomes highly chromatic. He raises the bar even further by adding a 6 bar (!!) pedal trill. Aside from being taxing on the organist, this also places great strain on the organ to maintain the wind supply. Our organ barely survives this assualt (it sounds very similar to a recording I inadvertently made a few years back when an earthquake hit during a CD recording at St Peter’s on Willis!) – but the organs that Bach would have played would have really struggled to maintain the air supply to the pipes. It verges on the absurd! After this the fugue continues as normal, until the final four bars, which seem to hark back to the dialogue found in the Toccata.

    • The Bach Project / programme 6
      • Richard Apperley Tuesday 31 March, 2015 O Mensch, bewein dein Sünde groß BWV622  O man, weep for your great sin, for which Christ left his father’s bosom and came to earth: of a Virgin pure and gentle he was born here for us; to become the mediator [for sins]. He gave life to the dead and banished all sickness, until the time came on that he should be sacrificed, bearing the heavy burden of our sins long on the cross. Text by Sebald Heyden (1494-1561), based on Matthew 26, Mark 14, Luke 22 and John 18. This is the most well known of the organ chorales in the Orgelbüchlein, and is undoubtedly one of the most well known of all of Bach’s chorales. Charles-Marie Widor described it as “the finest piece of instrumental music written.” It is a highly ornamented chorale, and it is one of the few Bach chorale preludes that I resist the urge to add extra ornamentation to. Bach is particularly vivid in his setting of this text, using a ‘sighing’ appoggiatura figure and dense chromaticism. Particularly notable is the C flat major chord towards the end of the work – a startling chord even on an equal-tempered instrument like the one here in the cathedral, but it would have sounded particularly aggressive on a non-equally tempered instrument like Bach would have known. This coincides with the phrase “long on the cross”, and the effect is heightened with the tempo marking adagissimo (very slowly) – we know Bach had a penchant for depicting “long” words with long notes. Concerto in D minor BWV596 This concerto in a transcription of Vivaldi’s Concerto in D minor for Two Violins and Cello obbligato, op 3 no 11. I have chosen this work to celebrate Bach’s birthday as I feel it is the clearest example of his immense skill as an arranger – his arrangement of Vivaldi’s concerto is even more exciting and fulfilling than the original! The first movement is notable because of the registrations he has suggested. It is unusual to find such specific registrations in German baroque organ music. He specifies two separate 4’ stops for each manual and an 8’ stop for the pedal, and later adds 8’ to the left hand and a 32’ (!) in the pedal, with a change of manual. This is important as it establishes that historically manuals were not necessarily basd on 8’ pitch, that hands could exchange manuals in the course of a piece and that stops could be added to the manuals or pedals in the course of a piece. The last point is particularly important, as in this movement there is no chance for the organist to change stops himself – it indicates the use of a registrational assistant. With modern technology I am able to make this change myself – but it certainly wouldn’t have been possible in Bach’s day. The second movement begins with seven part chords – another rare technique! The fugue that follows is a strict example of Italian contrapuntal teaching – and the changes that Bach makes in his transcription merely underline the nature of the counterpoint. This is much more sectional than Bach’s fugues – but the invertibility of the theme was surely an attraction to him. The third movement is a beautiful siciliano, and has no clear parallels in other works by Bach. Again, Bach couldn’t resist making changes in this movement! The final movement is highly virtuosic, and is highly idiomatic of Italian string writing. Sonata III in d minor BWV527 Andante – Adagio e dolce – Vivace This is my favourite of the six sonatas, which is why I chose to programme it today. In an earlier manuscript of the score this sonata was titled ‘Sonata I’, which might imply an earlier plan to start the compilation with it, and stylistically it appears to be one of the earliest sonatas. The first movement is reminiscent of a chamber work – though scholars suggest this was indeed written for the organ, and not an arrangement of another work. The second movement is very graceful and sweet – and was evidently a favourite of Bach’s as he used the same ideas in his later Triple concerto BWV1044. The third movement quickly dispels any misconception of this being an ‘easy’ sonata – it requires a high degree of virtuosity from the player, and the triplet figures present a touch of the new gallant style. Partita diverse sopra il Corale Sei gegrüßet, Jesu gütig BWV768   Hail, kind Jesus, gentle beyond all measure. Oh, how are you broken and your body so torn? Let me inherit your love and die in it blessed O Lord Jesus! My God and salvation, my heart’s comfort and my portion, give me your hand at (my) side when I must dispute. Let me inherit your love and die in it blessed Jesus, be easy on my sins, for I join myself to you with troubled heart and spirit. Your blood relieves my pain. Let me inherit your love and die in it blessed O you red and white fountain, cool my weary soul. When I lie at the bottom, help me to be victorious gallantly. Let me enjoy your love and end my life in it Oh, how pleasantly you can refresh all who have you, Jesus. Those who hold on to your suffering can depart blessed. Let me enjoy your love and end my life in it Jesus, let me not lose heart when the enemy accuses me. Guard my soul when I leave this misery, always singing “Holy, holy, holy,” when I am blessed Sweet Jesus, sun of grace, my darling, highest joy and delight. Let me praise you eternally with the angels there above, singing always “Holy, holy, holy,” when I am blessed Text by Christian Keimann (verses 1-5), verses 6-7 anon. Chorale           A conventional four part setting of the chorale Variation 1       A beautiful bicinium – the melody is highly ornamenented, and presented against a single accompanying line Variation 2       Bach employs a new harmonic structure for this movement – and it is interesting how fluidly it moves between 3 and 4 part texture, with the melody often appearing out of the previous accompanying figure Variation 3       a perpetuum mobile – the semiquavers in the right hand are accompanied by a relentless series of quavers in the left Variation 4       This variation is strikingly similar to Bach’s setting of Ach wie nichtig, ach wie flüchig from the Orgelbüchlein, with a flurry of g minor scales. He introduces a three-note semiquaver pattern throughout the movement which adds a sense of urgency. It is interesting that every time this figure appears the harmony extends to a four part texture Variation 5       This movement reminds me of a French basse de trompette. An earlier version of this has the marking à 2 Clav, which suggests that it should be played on two manuals, which further suggests this. Variation 6       The opening bass motif occurs widely in organ music, but is not as fully exploited elsewhere as it is here – it darts from voice to voice, even in to the soprano cantus firmus Variation 7       The melody thunders in the pedals, with a few chromatic alterations – offset by an angst-ridden accompaniament in the manuals Variation 8       This is one of my favourite of the variations – the melody is paraphrased in semiquaver movement which then unfurls into the chorale melody. This figure passes between the voices, and is accompanied by a pizzacato bass Variation 9       The melody again appears in the pedal, with a decidely odd duo accompaniament in the manuals Variation 10     A sarabande like movement. Bach indicates that this should be played on two manuals – but the part writing suggests that three is more satisfactory. He marks changes of manual ‘p’ and ‘f’ – a standard way to indicate where to change. In the ‘p’ sections the melody (in the right hand), overlaps the accompanying figure, which suggests the use of three manuals Variation 11     A powerful organo pleno in five voices

    • The Bach Project / programme 5
      • Michael Stewart Friday 27 March, 2015 BWV 727 Herzlich tut mich verlangen What better chorale to begin this recital of Passiontide music than the ‘Passion Chorale’. I wonder how many churchgoers realise that this well-known melody was lifted from a love-song published by Hassler in 1601? As Luther famously said, “the devil does not need all the good tunes for himself”, and this is merely one example of many where a secular tune has been dressed in ecclesiastical garb. Bach’s lovely setting BWV 727 is an ornamented chorale prelude in the manner of O Mensch, bewein dein Sünde gross. BWV 623 Wir danken dir, Herr Jesu Christ The Orgelbüchlein chorales abound in the development of short melodic and rhythmic motives, which often have an extra-musical association of mood. The motive that is so exhaustively worked out in this prelude (a ‘short-short-long’ pattern, or ‘anapest’) can be associated with joyful thanksgiving, which is reflected in the text to the chorale. The prelude is so jaunty as to belie its position alongside O Mensch, bewein dein Sünde gross and Christus, der uns selig macht as a Passiontide chorale. deest Herzliebster Jesu, was hast du verbrochen BWV 1093 Herzliebster Jesu, was hast du verbrochen BWV 624 Hilf, Gott, dass mir’s gelinge The chorale melody used here uses features of the many different versions that were in use to these words. This is one of the most beautiful of the Orgelbüchlein chorales, incorporating the chorale in canon (at the fifth, and for two lines at the fourth) between the soprano and alto in the right hand, with roving triplet passage-work in the left hand. The accompanying figure covers a three octave range, occasionally sweeping above the canon which is itself very free. BWV 619 Christe, du lamm Gottes A beautiful five-part setting, with the plainsong theme in a canon at the fifth between the tenor and soprano parts. Bach employs small motives incessantly through his Orgelbüchlein chorale preludes, and in this one the accompanying motive is simply a descending scale. Unusually for preludes found in this collection, it begins with a three bar introduction prior to the entry of the chorale melody. BWV 620 Christus, der uns selig macht BWV 747 Christus, der uns selig macht Two very contrasting settings of this Passiontide chorale, which in its seven verses follows the events of the Crucifixion. BWV 620 from the Orgelbüchlein portrays the anguish and anger of the Passion with jarring dissonance and brutal syncopations, with the chorale in canon at the octave between the soprano and pedals. This prelude exists in two versions – Bach later revised the Weimar version BWV 620a to include the distinctive synocaptions and semiquavers in the accompanying parts, giving the whole a much more dynamic feel. BWV 747 is a rather lilting arrangement with the chorale in the tenor. Note the very abrupt ending! Bach scholar Peter Williams deems it likely to be the work of a young composer c. 1750 by virtue of the rather confused form, and notes rather caustically that “the texture in the middle of the work and the pedal line throughout suggest no intimate knowledge of the organ, just as the repetition suggests no creative gifts.” Anh.II 72 Kanon One of the doubtful works in the Bach repertoire, this is a strict two part canon below an unidentified chorale melody BWV 1094      O Jesu, wie ist dein Gestalt Another of the Neumeister chorales, BWV 1094 is notable for its very subtle fore-imitation, beginning just before the repeat of the first line of chorale. BWV 563 Fantasia in b minor Often referred to as “Fantasia and Imitatio”, this is in the mould of a Prelude and Fugue if indeed the two movements belong together at all – in one of the sources, the movements are separated by over 300 pages! The Fantasia is built on the figura corta motif (repeated note with descending note in between) while the Imitatio bears a strong resemblance to the Offertoire of De Grigny’s Livre d’Orgue, one of the works Bach copied out in full in his youth. deest Da Jesus an dem Kreuze stund BWV 621 Da Jesus an dem Kreuze stund The chorale deals with the Seven Last Words from the cross, and the shape of its melody lent itself nicely as a fugue subject for South German composers such as Pachelbel and Fischer. The deest setting is a simple four part prelude with fore-imitation, while the Orgelbüchlein setting BWV 621 is a great deal more complex – note the ‘cross’ motif in the pedals at the beginning (E-B-B making a cross shape) and the hanging pedal suspensions which have often been seen to represent a sinking body or dragging. BWV 1095 O Lamm Gottes, unschuldigBWV 618 O Lamm Gottes, unschuldig BWV 618 shares several similarities with Christe, du Lamm Gottes BWV 619; both are canons at the fifth, they are the only two chorale preludes with introductory material in the Orgelbuchlein, and both are based on the Agnus Dei (BWV 618 being a paraphrase, BWV 619 a literal translation). Much use is made of the ‘sighing’ motive of slurred descending stepwise semiquavers, which Bach uses to greatest effect in the chorale fantasia on O Mensch, bewein dein Sünde gross which closes Part I of his St Matthew Passion. The opening mordant presents the performer with an interesting problem – if one plays it the same at the repeat as at the beginning, with a B flat as the auxillary note, it sounds completely wrong due to the change in tonality. In his book on the Orgelbüchlein, Russell Stinson conjectures that this may be a unique instance in the Bach repertoire where one must play the trill with different notes on its restatement than on its original appearance. BWV 1095 is another of the simple four-part Neumeister chorales, with the melody clearly stated in the soprano voice. BWV 575 Fugue in C Closely resembling a canzonetta, this rondo fugue is notable by its rhetorical subject with answering countersubject, which often appears at times when the ear least expects it. The unusual beginning (starting on A flat in C minor) along with the fantasia like ending, might suggest that this was part of a larger Praeludium in the North German style, since lost.  

    • Create in me a clean heart
      • Opening night – Friday 20 March, 7.30pm The artist, Jeremy Thomas, is the foreman of a Christian demolition company, in Rangiora, called Grace Works Demolition. The company has maintained a significant role in the demolition of Christchurch and in particular the deconstruction of the churches. While pulling down these historic places of worship, Jeremy felt that God was speaking to him in a very personal way. Jeremy’s response to that personal conversation can be seen in these works of art. The works are created using material from the churches, material such as Totara, Matai. Canadian Oregon, copper, steel plate, and hand made nails. These art works speak of one man’s very personal response to the Christchurch earthquakes, a man who has helped demolish the city and is therefore helping to rebuild it as well. Jeremy is also very aware that God is wanting to rebuild the human heart and, like King David in the Psalms, all we have to say in response to God is, “create in me a clean heart O God and renew a right spirit within me.”

    • The Bach Project / programme 4
      • Michael Stewart Friday 13 March, 2015 In keeping with the doom and gloom associated with Friday the 13th, today’s programme draws on some of Bach’s particularly ghoulish music. While the Toccata and Fugue in D minor, BWV 545 sets this scene, I will follow with some chorale preludes that have Judgement, Death and Dying as their theme… Toccata and Fugue in D Minor BWV 565 Perhaps the most well-known organ work in the repertoire, Bach’s Toccata and Fugue in D Minor has been used to evoke horror in such films as Dr Jeckyll and Mr Hyde, The Phantom of the Opera, and of course Disney’s Fantasia. Since the 1970s some doubt has been cast on the authenticity of this extraordinary piece of music, predominantly regarding a number of stylistic problems that are not seen in any of Bach’s other organ pieces. These include parallel octaves throughout the prelude, a pedal statement of the fugue without any supporting accompaniment, and the striking but unusual cadence in the minor. Peter Williams has suggested another possibility: that the piece is actually a transcription for organ of a solo violin piece, since lost. Certainly much of the writing is imitative of string figuration, and it is not hard to imagine the final flourish being performed with sweeping scales and quadruple stopping. Ach Gott, tu dich erbarmen BWV 1109 Oh God, have mercy through Christ your Son, on rich and poor, help us to repent and for each to recognize himself. I fear that God has bound a whip with which he will punish us, the shepherd with the sheep, no one will escape him. Text: M. Müntzer c. 1550 Another of the Neumeister chorales, the manuscript of which was rediscovered in the Yale University archives in early 1984. This collection includes works attributed to Johann Michael Bach (cousin and father-in-law), Johann Christian Bach (cousin) as well as Johann Sebastian. BWV 1109 is a straightforward prelude to a chorale dealing with Judgement – a space was left for a prelude on this melody in the original Orgelbüchlein under the heading ‘Day of Judgement’. Herr Jesu Christ, wahr’ Mensch und Gott BWV deest Herr Jesu Christ, wahr’ Mensch und Gott BWV deest Lord Jesus Christ, true man and God, who suffered torture, anguish and mockery, who also finally died for me on the cross and gained for me your fathers grace: I beg you through your bitter suffering, may it be your will to be gracious to me a sinner! The subtitle ‘deest’ is Latin for ‘not present’ (the negative of ‘est’) and signifies that the works are not accepted in the Bach Catalogue. In other words, there is some disagreement as to whether these works were written by JS Bach. The two preludes on Herr Jesu Christ are very similar and straightforward works, the first using the foreimitation technique used by Pachelbel, the second resembling a written out accompaniment for congregational singing. Meine Seele erhebt den Herren (Fuga sopra il Magnificat) BWV 733 My soul magnifies the Lord… He remembers his mercy and helps his servant Israel. This piece is a fantasy on the Gregorian chant for the Magnificat (9th tone, or tonus peregrinus) which is heard finally in the pedals right at the conclusion. Many composers, notably Buxtehude and Scheidt, had produced preludes on the Magnificat which would have had a place in the evening Vespers service. The piece survives only in copies where the title is given variously as Fuga sopra il Magnificat and Meine Seele erhebet den Herren – pro organo pleno con pedale. It is certainly does not fit the bill as a fugue, but is more in the style of the stile antico Kyrie preludes from the Clavierübung, with the accompanying motifs being developed and imitated rather than the chorale itself. Herr Jesu Christ, meines Lebens licht BWV 750 Lord Jesus Christ, my life’s light, my refuge, my comfort, my confidence, on earth I am only a visitor and the burden of sin presses heavily upon me. Text anon c. 1608 Machs mit mir, Gott, nach deiner BWV 957 Machs mit mir, Gott, nach deiner Güt BWV deest Do with me, O God, according to your goodness, help me in my suffering. What I ask of you do not deny me when my soul wishes to depart, so take it, Lord, in your hands. All is good if the end is good. Text and melody: JH Schein, 1628 Though Christoph Wollf suggests that BWV 750 is an early Bach work pre-dating even the Neumeister collection, there is little to suggest that this very simple four-part setting was composed by him at all. BWV 957 has also been published as Fugue in G Major – the chorale melody takes some locating for the first part of the piece, but in actual fact the first line of the chorale is paraphrased as the running semiquaver subject. The chorale is heard in full with a closing four-part harmonisation, complete with a canon at the fifth for the final line. The BWV deest setting is really rather lovely, so if it is not written by Bach I would love to know who did write it! It features fleet harpsichord figuration throughout and constant mordants, and has a very optimistic affekt which parallels the Lutheran view of death as a release from the trials and pain of earthly life. Canzona in D minor BWV 588 The Canzona (Italian: song) was a favourite musical form in 17th century music, denoting a piece contrapuntal in style and often for the keyboard. There is nothing in the autograph manuscript to suggest that this is necessarily written for organ – it is written out on only two staves, and all of it is manageable without the use of the pedals, so the piece could just as easily be performed on the harpsichord. The main theme and the secondary falling chromatic fourth countersubject are reminiscent of motives found in Frescobaldi’s Fiori Musicali (1635), which is one of the handful of organ works that Bach is known to have copied himself. However, BWV588 most likely dates from even earlier than 1714, the date Bach inscribed on his copy. Herzlich lieb hab ich dich, O Herr BWV 1115 I love you with all my heart, O Lord, I ask that you will not be far from me with your help and grace. The whole world delights me not, I do not ask after heaven and earth if only I can have you. And were my heart even to break you are still my confidence, my salvation and my heart’s solace, who has redeemed me through his blood. Lord Jesu Christ, my God and Lord, let me never be shamed. Text: M Schalling, 1569 Melody published by B. Schmid, 1577 Nun lasset uns den Leib begraben BWV 1111 Now let us bury the body, of this we have no doubt but that it will rise up on Judgement Day, and go forth incorruptible. Text: M. Weisse Melody published in a hymnbook from 1544. Two further chorales from the Neumeister collection. BWV 1115 is very sectional, beginning as a two part bicinium before transforming into a short gigue, and finishing with a coda featuring insistent parallel thirds. The chorale itself is used prominently in the St John Passion (final chorales). BWV 1111 is a setting of a funeral hymn, written in the ‘Pachelbel’ style with each accompanying voice imitating each appearance of the chorale line. It features a curious shift to triple time towards the end. Prelude and Fugue in A minor BWV 551 Just like the famous BWV 565 which began this programme, the earliest source for this work is a copy by Johannes Ringk. Some scholars believe this to be a very early work, perhaps even written prior to Bach’s journey to Lübeck in 1705. It is clearly in the style of a North German Praeludium, quite possibly modelled on Buxtehude’s works. There are five short sections, comprising two fugues separated by a five-part harmonically rich durezze section, and book ended by a prelude and postlude based on scale passages.

    • The Bach Project / programme 3
      • Richard Apperley Friday 27 February, 2015 Toccata in C BWV 564 Toccata – Adagio – Fugue This is one of the most famous of Bach’s organ works – and was my own introduction to his music as a student. The opening Toccata is an updated and extended version of the Prelude form – featuring a manual only passagio, followed by a pedal solo and a grand contrapuntal section. The pedal solo is unique in the repertoire as it is the longest known pedal introduction. One unusual feature is the inclusion of slurs over the pedal demisemiquaver passages – this is extremely rare in baroque organ scores. Peter Williams speculates that this may indicate the use of the heels while playing – something very unusual to do when playing baroque organ music. The second movement is in two sections – one marked Adagio and the other Grave. The inclusion of a middle slow movement is unusual for Bach, but the idea can be found in a few other works of the same period. The quasi-pizzicato pedal line and use of Neopolitan sixths suggest an Italian influence. The fugue features an extremely light-hearted subject. There are several distinctive features to the fugue – particularly the counter-subject which engages in dialogue with the subject. Several features of the fugue suggest that it represented a considerable advance for Bach, especially considering that there are middle entries as far as the mediant and the dominant of the dominant. Erhalt uns, Herr, bei deinem Wort BWV 1103 Erhalt uns, Herr, bei deinem Wort BWV deest Erhalt uns, Herr, bei deinem Wort BWV Anh.II 50 Support us in your word, Lord, and restrain the murder of the pope and turk, who want to cast down Christ Jesus, your Son, from his throne. The text’s first three verses by Luther were used as children’s hymn against the pope and Muslims, and also used as a closing hymn in services. BWV 1103 comes from the Neumeister collection of chorale preludes, and is a three part fughetta on the chorale theme – opening up to four parts in the last eight bars. BWV deest is a relatively lengthy chorale fantasia. The chorale melody is treated a variety of ways – often moving quickly from a fugal section that uses material from the chorale melody to an embellished cantus firmus with frenzied semiquaver movement in the other part. The effect is rather akin to Jekyll and Hyde! Despite this, there is nothing to suggest that this was not written by Bach – it is very much in keeping with the chorales from the Neumeister collection. The authorship for BWV Anh.II 50 is not clear – the attribution to Bach comes only from the manuscripts general titles for a collection of miscellaneous chorales. Stylistically this work is akin to compositions by Walther, but nothing in the music or manuscript can clearly rule this out as not have being written by Bach. Wie nach einer Wasserquelle BWV 1119 Oh, when will I come there, so that I behold God’s face and what he has prepared for the godly ones in heaven? It is difficult to ascertain the proper text of Wie nach einer Wasserquelle. The melody Bach has set for this chorale prelude is Ach wann werd ich dahin kommen, and it is the text for this that is presented above. The two known texts that begin Wie nach einer Wasserquelle are paraphrases of Psalm 42 (Like as the hart desireth the waterbrooks…), and do not fit with the melody used in this work. Ach wann werd ich dahin kommen is also a paraphrase of Psalm 42. This chorale prelude is set in 3/2 time and features imaginative harmony. Fugue in G minor BWV 131a This fugue is a transcription of the last forty five bars of the final chorus of Bach’s Cantata 131 (Aus der Tiefen rufe ich, Herr, zu dir). This cantata is one of the earliest known to have been written by Bach, and is unusual because the opening and closing movements are a prelude and fugue. It is highly unlikely that this was arranged by Bach himself – though it cannot be ruled out. We know Bach to have been an extremely able arranger and transcriber for the organ, but there are numerous changes and omissions from the original cantata movement, and it has little in common with Bach’s early organ fugues. As a performer it is notable that this does not sit comfortably under the fingers and feet as Bach’s fugues normally do! Dies sind die heilgen zehn Gebot BWV 635 These are the holy Ten Commandments which our Lord God gave to us through Moses, his true servant, high on Mount Sinai. Kyrie eleison. The text for this chorale is by Luther and lists the Ten Commandments followed by a prayer for help from ‘our mediator’. This is a highly intellectual work – the melody is presented in minims, with the main motive in the accompiament being the first eight notes of the chorale played as quavers. It is noteworthy that this motive appears exactly ten times in its original melodic guise (GGGGGABC). Bach set this text numerous times, and each time he did he used the number ten in a variety of ways – Cantata 77 features ten trumpet entries, BWV 678 is the tenth chorale in Clavierübung III, and BWV 679 has ten fugal entries. Du Friedefürst, Herr Jesu Christ BWV 1102 You Prince of Peace, Lord Jesus Christ, true man and true God; you are a strong helper in need in life and in death. Therefore we call to your Father in your name alone. The text for this chorale is Ebert’s prayer for peace in time of war, published in 1601. The setting has two verses, the first a bicinium (a work where the melody is accompanied by a lively bass) and an energetic allegro variation. It is unusual that the time signature of the piece does not become clear until the melody enters in the fourth bar – up to this point it could easily be 3/4 rather than the written 4/4. Sonata 2 in C minor BWV 526 Vivace – Largo – Allegro … so beautiful, so new and rich in invention, they will never age but will outlive all changes in music anonymous 18th century writer, describing Bach’s six Trio Sonatas The opening Vivace movement alternates between homophonic and imitative sections. Despite being written in C minor, I find this movement to be hugely light and uplifting in nature. There has been much speculation about whether the trio sonatas were originally written for the organ, or whether they are arrangements of instrumental works. The writing in this movement convinces me that this was written for a keyboard instrument. The second movement is unusual in that it opens in E flat major and closes in the mediant (G major) – a clear link to the final movement which returns to C minor. The movement opens very simply, but as it progresses it gradually becomes more complicated as all three parts enter into dialogue with each other. A highlight for me is the closing of the movement where, in the last four bars, the two manual voices join together in dialogue against the pedal. The third movement has always struck me as being rather schizophernic – it opens with a stately alla breve theme with the expected fugal entries in each part. Out of nowhere, at the end of the second page, a new idea enters – a harried, almost aggressive, new theme appears against the original crotchet movement in the pedal. These two ideas are expertly combined to create a homogenous whole.

    • The Bach Project / Programme 1
      • 2015 marks the 330th anniversary of the birth of Johann Sebastian Bach. Michael Stewart (Organist and Director of Music) andRichard Apperley (Assistant Director of Music) are marking this by playing his complete organ works in recitals throughout the year. The first concert for the year is Friday 30 January at 12.45pm. Richard Apperley will play the Prelude in E flat BWV 552/1, alongside chorale preludes for Christmas, New Year and the Feast of the Purification. For more details, including information about how to listen to the recitals live on the internet, please visit this link.

    • The Bach Project / programme 2
      • Michael Stewart (organ) Friday 20 February, 2015 BWV 741 Ach Gott, vom Himmel sieh’ darein BWV 592 Concerto in G major BWV 725 Herr Gott, dich loben wir BWV 545 Prelude and Fugue in C major BWV 525 Sonata 1 in Eb major BWV 1098 Wir glauben all an einen Gott BWV 765 Wir glauben all’ an einen Gott, Schöpfer Anh.II 69 Wir glauben all’ einen Gott Anh.II 70 Wir glauben all’ einen Gott (Fuga)

    • Appointment: Reverend Simon Winn
      • Dean Digby Wilkinson is pleased to announce the appointment of Reverend Simon Winn as Canon Precentor. Simon will take up this post in April 2015. Simon has been the Vicar in the Parish of Hataitai-Kilbirnie since 2010, and the Director of Ordinands for the Diocese since 2013. Please uphold Simon, his family and the Parish of Hataitai-Kilbirnie in your prayers as they face significant changes in the months to come.  

    • A Festival of Nine Lessons and Carols 2014
      • jQuery('#podlovewebplayer_39eb8521f117e43781ff6fc33fb7643de2fa3f02').podlovewebplayer({"pluginPath":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/plugins\/podlove-podcasting-plugin-for-wordpress\/lib\/modules\/podlove_web_player\/player\/podlove-web-player\/static\/","alwaysShowHours":true,"alwaysShowControls":true,"timecontrolsVisible":false,"summaryVisible":false,"hidetimebutton":false,"hidedownloadbutton":false,"hidesharebutton":false,"sharewholeepisode":false,"loop":false,"chapterlinks":"all","permalink":"http:\/\/wellingtoncathedral.org.nz\/a-festival-of-nine-lessons-and-carols-2014\/","title":"A Festival of Nine Lessons and Carols 2014","subtitle":"Sunday 21 December","summary":"A festival of Nine Lessons and Carols at the Wellington Cathedral of St Paul","publicationDate":"2014-12-22T20:34:48+00:00","poster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","showTitle":"Podcasts from the Wellington Cathedral of St Paul","showSubtitle":"Podcasts of services held at the Wellington Cathedral of St Paul","showSummary":"We are delighted to be able to offer a selection of our services as podcasts. These will feature a selection of both our regular services (the heartbeat of the cathedral) and our larger services, including Advent and Christmas carol services and other major occasions in the church year.","showPoster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","show":{"title":"Podcasts from the Wellington Cathedral of St Paul","subtitle":"Podcasts of services held at the Wellington Cathedral of St Paul","summary":"We are delighted to be able to offer a selection of our services as podcasts. These will feature a selection of both our regular services (the heartbeat of the cathedral) and our larger services, including Advent and Christmas carol services and other major occasions in the church year.","poster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","url":"http:\/\/wellingtoncathedral.org.nz"},"license":{"name":"CC BY-NC-ND 3.0","url":"http:\/\/creativecommons.org\/licenses\/by-nc-nd\/3.0\/"},"downloads":[{"assetTitle":"MP3 Audio (mp3)","downloadUrl":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/podcasts\/2014-12-21PM.mp3","url":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/podcasts\/2014-12-21PM.mp3"}],"duration":"00:00:00","chaptersVisible":false,"features":["current","progress","duration","tracks","fullscreen","volume"]}); Sunday 21 November, 2014 Sung by the Cathedral Choir and Choristers Download the PDF file .

    • Darkness to Light – An Advent Procession
      • jQuery('#podlovewebplayer_75e79acf95904fc855e1212a801bc678edefcd5e').podlovewebplayer({"pluginPath":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/plugins\/podlove-podcasting-plugin-for-wordpress\/lib\/modules\/podlove_web_player\/player\/podlove-web-player\/static\/","alwaysShowHours":true,"alwaysShowControls":true,"timecontrolsVisible":false,"summaryVisible":false,"hidetimebutton":false,"hidedownloadbutton":false,"hidesharebutton":false,"sharewholeepisode":false,"loop":false,"chapterlinks":"all","permalink":"http:\/\/wellingtoncathedral.org.nz\/darkness-to-light-an-advent-procession\/","title":"Darkness to Light – An Advent Procession","subtitle":"","summary":"","publicationDate":"2014-12-07T09:07:16+00:00","poster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","showTitle":"Podcasts from the Wellington Cathedral of St Paul","showSubtitle":"Podcasts of services held at the Wellington Cathedral of St Paul","showSummary":"We are delighted to be able to offer a selection of our services as podcasts. These will feature a selection of both our regular services (the heartbeat of the cathedral) and our larger services, including those held as part of the 2012 cathedral choir festival, Advent and Christmas carol services and other major occasions in the church year.","showPoster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","show":{"title":"Podcasts from the Wellington Cathedral of St Paul","subtitle":"Podcasts of services held at the Wellington Cathedral of St Paul","summary":"We are delighted to be able to offer a selection of our services as podcasts. These will feature a selection of both our regular services (the heartbeat of the cathedral) and our larger services, including those held as part of the 2012 cathedral choir festival, Advent and Christmas carol services and other major occasions in the church year.","poster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","url":"http:\/\/wellingtoncathedral.org.nz"},"license":{"name":"CC BY-NC-ND 3.0","url":"http:\/\/creativecommons.org\/licenses\/by-nc-nd\/3.0\/"},"downloads":[{"assetTitle":"MP3 Audio (mp3)","downloadUrl":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/podcasts\/2014-12-01pm.mp3","url":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/podcasts\/2014-12-01pm.mp3"}],"duration":"00:00:00","chaptersVisible":false,"features":["current","progress","duration","tracks","fullscreen","volume"]}); Sunday 30 November, 2014 Sung by the Cathedral Choir   Download the PDF file .

    • New CD – Eternal Spirit
      • We are delighted to announce that the latest CD from the choirs of the Wellington Cathedral of St Paul is now available to purchase. Titled ‘Eternal Spirit’, the disc features solely music that has been written for our cathedral musicians. It includes two works written for the opening service of the cathedral, as works by Katherine Dienes-Williams, Andrew Baldwin, Andrew Cantrill, Philip Walsh and many more. The disc is available for purchase for $30 from the cathedral shop, and online (also as a digital download) from www.organism.co.nz Eternal Spirit by The choirs of Wellington Cathedral of St Paul

    • Canon Precentor
      • The Wellington Cathedral of St Paul is looking to fill the position of Canon Precentor which will become available in February 2015. The Canon Precentor will be an ordained Priest and is responsible to the Dean of the Cathedral. Working collaboratively with the Cathedral staff, the Precentor exercises a ministry of pastoral care and outreach, primarily through shaping and leading worship that gives glory to God and responds to the needs of different congregations and the building. In order to do so, the Precentor will have a thorough understanding of liturgy as the work of the people of God; enhancing a sense of word and sacrament; spiritual and accessible; sacramental and evangelical; in its effect upon those who participate, and so further the Cathedral’s practice of being open to all traditions within the Anglican Church of Aotearoa, New Zealand and Polynesia, and to reflect this in worship that embodies dignity, warmth, excellence and variety. View the job description here.

    • The Bach Project / programme 1
      • Chorales for the New Year and the Feast of the Purification Richard Apperley (organ) Friday 30 January, 2015 Prelude in E flat major BWV 552/1 New Year Das alte Jahr vergangen ist BWV 288 Das alte Jahr vergangen ist BWV 614 Das alte Jahr vergangen ist BWV 1091 Das alte Jahr vergangen ist BWV deest Helft mir Gottes Güte preisen BWV 613 Helft mir Gottes Güte preisen ANH.II 54 In dir Ist Freude BWV 615 Feast of the Purification Herr Gott, nun schleuß den Himmel auf BWV 617 Herr Gott, nun schleuß den Himmel auf BWV 1092 Mit Fried und Freud ich fahr dahin BWV 616

    • Dates for Your Diary – Advent & Christmas Services 2014
      • ADVENT AT THE CATHEDRAL Sunday 23rd November 6pm after Evensong, Launch of new Cathedral Choir CD Eternal Spirit, music written especially for this Cathedral. Special launch-night prices! Sunday 30th November  8.30 pm Darkness to Light Advent Carol service by candlelight, preceded by 7.00 pm Companions’ Advent  Soiree – mince pies & mulled wine in the Loaves & Fishes Hall, all welcome. CHRISTMAS AT THE CATHEDRAL Sunday 21st December 7.00 pm Nine Lessons and Carols service Wednesday 24th December – Christmas Eve 4.30 pm Christingle service for families 10.30 pm Carol singing 11.00 pm Midnight Mass Preacher: Bishop Justin Duckworth Thursday 25th December – Christmas Day 7.45 am Eucharist with Carols 10.00 am Choral Festal Eucharist, with Blessing of the Christmas Crib for children Sunday 25th January 2015 Patronal Festival for the Conversion of St Paul 10.00 am Choral Eucharist and Parish Lunch with farewell to Canon Jenny Wilkens  

    • Sunday 19 October 2014 – Evensong
      • jQuery('#podlovewebplayer_11a09d0619b83bfe439f6603bfd6b89084fbba72').podlovewebplayer({"pluginPath":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/plugins\/podlove-podcasting-plugin-for-wordpress\/lib\/modules\/podlove_web_player\/player\/podlove-web-player\/static\/","alwaysShowHours":true,"alwaysShowControls":true,"timecontrolsVisible":false,"summaryVisible":false,"hidetimebutton":false,"hidedownloadbutton":false,"hidesharebutton":false,"sharewholeepisode":false,"loop":false,"chapterlinks":"all","permalink":"http:\/\/wellingtoncathedral.org.nz\/sunday-19-october-2014-evensong\/","title":"Sunday 19 October 2014 – Evensong","subtitle":"","summary":"","publicationDate":"2014-10-21T12:21:34+00:00","poster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","showTitle":"Podcasts from the Wellington Cathedral of St Paul","showSubtitle":"Podcasts of services held at the Wellington Cathedral of St Paul","showSummary":"We are delighted to be able to offer a selection of our services as podcasts. These will feature a selection of both our regular services (the heartbeat of the cathedral) and our larger services, including those held as part of the 2012 cathedral choir festival, Advent and Christmas carol services and other major occasions in the church year.","showPoster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","show":{"title":"Podcasts from the Wellington Cathedral of St Paul","subtitle":"Podcasts of services held at the Wellington Cathedral of St Paul","summary":"We are delighted to be able to offer a selection of our services as podcasts. These will feature a selection of both our regular services (the heartbeat of the cathedral) and our larger services, including those held as part of the 2012 cathedral choir festival, Advent and Christmas carol services and other major occasions in the church year.","poster":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/2013\/07\/logo.jpg","url":"http:\/\/wellingtoncathedral.org.nz"},"license":{"name":"CC BY-NC-ND 3.0","url":"http:\/\/creativecommons.org\/licenses\/by-nc-nd\/3.0\/"},"downloads":[{"assetTitle":"MP3 Audio (mp3)","downloadUrl":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/podcasts\/2014-10-19PM.mp3","url":"http:\/\/wellingtoncathedral.org.nz\/wp-content\/uploads\/podcasts\/2014-10-19PM.mp3"}],"duration":"00:00:00","chaptersVisible":false,"features":["current","progress","duration","tracks","fullscreen","volume"]});

    • Sonnet Lumiere – light on Shakespeare, man of mystery
      • Sunday 12th October, 6.30 – 7.30 pm, The Lady Chapel.  Trio Literati perform from Shakespeare’s sonnets and other works with sidelights on his mysterious life, some original pronunciation and a few surprises. Join Jane Oakshott and Richard Rastall plus soprano Pepe Becker performing favourite songs from the plays with lutenist, Don King Tickets $20 at the door. Refreshments available from 6pm (after 5pm Choral Evensong).   A Cathedral Jubilee 1964-2014 event. sonnet lumiere poster Oct 2014  

    • Wellington Cathedral 2015
      • Most holy God we pray for the Wellington Cathedral of St Paul, a sacred space for Diocese, City and Nation. Inspire many to join us in our journey of faith, celebrating worship, generous in welcome and disciplined in study, until together, we serve our neighbour and praise your name, Father, Son and Holy Spirit. Amen.

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