Today's Discover & explore service at St Stephen Walbrook exploring music and the work of John Dunstaple featured the Choral Scholars of St Martin-in-the-Fields singing Quam pulchra es and Descendi in ortum meum by Dunstable, Ave verum corpus by Byrd and O nata lux by Tallis.
Next week's Discover & explore service is on Monday 16 January at 1.10pm when Revd Sally Muggeridge, together with the Choral Scholars, will explore architecture and the achievements of Sir Christopher Wren.
In today's service I gave the following reflection (which draws on my co-authored book 'The Secret Chord'):
‘John Dunstaple … was an English composer of polyphonic
music of the late medieval era and early Renaissance periods. He was one of the
most famous composers active in the early 15th century, a near-contemporary of
Leonel Power, and was widely influential, not only in England but on the
continent, especially in the developing style of the Burgundian School.’
‘He died on Christmas Eve 1453, as recorded in his
epitaph,’ which was here in the church of St Stephen Walbrook in London (until
it was destroyed in the Great Fire of 1666). ‘This was also his burial place.
The epitaph – stating that he had "secret knowledge of the stars" –
had been recorded in the early 17th century, and was reinstated in the church
in 1904.’
That new memorial is by the London Section of the
Incorporated Society of Musicians and ‘consists of a Latin inscription above,
with simple pilasters and surround, matched with a charming 1900s lunette with
three angels playing musical instruments, seated on clouds with little stars
behind, at the top, and a wreath and fronds below.’ Its colourful painting on
mosaic backing is in an excellent example of the Arts and Crafts style.
‘Dunstaple's influence on the continent's musical
vocabulary was enormous, particularly considering the relative paucity of his
(attributable) works. He was recognized for possessing something never heard
before in music of the Burgundian School: la contenance angloise ("the
English countenance"), a term used by the poet Martin le Franc.’ This was probably ‘a reference to Dunstaple's
stylistic trait of using full triadic harmony, along with a liking for the
interval of the third.’
Harmonies, and the place of chords as a basis of harmony,
give us a significant clue to understanding the power of music. Leonard Cohen's
song ‘Hallelujah’ makes the claim that the Biblical King David had found a
secret chord which, when played, pleased even God himself. The opening words to
Cohen's song are extrapolated from the account in 1 Samuel 16: 14-23 of how
King Saul asked for a skillful musician to be found so they could come and play
to soothe Saul's troubled soul. It is clear that David was both a competent
musician and also a prolific composer. According to the Scriptures, he would go
on to curate and compose many of the 150 Psalms found in the Bible which
survive in multiple translations as part of religious worship today. What Cohen
surmises is that whatever David played, or, most likely, improvised, would have
also pleased the Lord and the children of Israel's God, as well as calming down
King Saul.
Cohen's romantic hypothesis is that David had actually
stumbled across and therefore deliberately employed a particular chord that has
this mysterious power. A chord is a group of (typically
three or more) notes sounded together, as a basis of harmony. Arthur Sullivan
in a song called ‘The Lost Chord’ wrote: ‘It seemed the harmonious echo / From
our discordant life. / It linked all perplexèd meanings / Into one perfect
peace.’ Music is a performance in which harmonies echoing from our discordant
lives link all perplexèd meanings into one perfect peace. Music, in
performance, is an unrepeatable moment in in which all things come together
enabling us to feel God's pleasure. In this sense the Secret Chord, about which
Leonard Cohen writes, is indeed pleasing to the Lord.
As a result of this linking of the echoes from our
discordant lives, Cohen’s Hallelujah includes both the sacred and the sinful –
the holy and the broken Hallelujah. It doesn’t matter which you heard, he
suggests, because a blaze of light is found in every word and he will be able
to stand before God – the Lord of Song – presumably at the Last Judgement and
simply sing Hallelujah itself because both the holy and the broken are
encapsulated in the one word and one chord.
This is to say that distinctions between sacred and
secular are false divides as all of life and all music is holy. As David Adam
has stated: 'We need to reveal that our God is in all the world and waits to be
discovered there – or, to be more exact, the world is in Him, all is in the
heart of God.’ Dunstaple, too, provides us with an example of this as, although
known primarily a composer of sacred music, is also believed to have written
secular music, although no songs in the vernacular can be attributed to him
with any degree of certainty.
Ultimately, music is a symbol of the means by which God
created, and the musician is a partner with God in the creative process.
Therefore we can pray, with the singer-songwriter Bruce Cockburn to be a little of
God’s creative breath as it moves over the waters of chaos to bring all things
into being. In other words, to see and hear life as God sees and hears it and
to articulate something of that vision.
Intercessions:
Bless those who give their time and musical talent in
service to You and to Your Church, O Lord, as they sing praises to You, and
glorify Your Name. Let their music be a witness to Your majesty and love, and
remind us all of Your presence in our lives. Help them to bring the Word of God
to others through music, chant and hymn singing. Lord, in your mercy, hear our prayer.
Lord, may the gifts of our voices and melodies of our
instruments move with the work of your Holy Spirit. May we bring light into
dark places, restore hope and vision to all who are oppressed, and well-being
and health to all those who suffer. Today Lord, we give you our worship. May it
be a platform for you, Father God, to touch our lives afresh and build your
Church. Bless our music that it might glorify your name. May the talent that
you have bestowed upon us be used only to serve you. O God, whose saints and angels delight to worship in
heaven. Lord, in your mercy, hear our
prayer.
Creator God, be ever present with your servants who seek
through art and music to perfect the praises offered by Your people on earth; and
grant to us even now a glimpse of Your beauty, and make us worthy at length to
behold it forevermore. We thank you that you hear us, our words in prayer, our
silent thoughts and pleas and each note or melody we sing and play. May our
praises today connect with heaven and unite our hearts with the sound of
eternity. Let our music be a witness to your majesty and love, and may your
presence and beauty be found in every note. Lord, in your mercy, hear our prayer.
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John Dunstable - Descendi in ortum meum.
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John Dunstable - Descendi in ortum meum.
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