Thursday, September 24, 2026

Faking a Bundle

on Lucrative Careers & Pseudo-Biblical Scholarship

(First published in 
Touchstone, A Journal of Mere Christianity 
in December. 2008)

It was the late 1970s. Collars, lapels, and ties were wide; Jimmy Carter was President; double-knit was still ugly because it was still visible; and I was a young college student unable as yet to grow a decent beard. With a certain amount of naiveté, I sat in my first ever philosophy class.

The instructor (not a professor) lectured on the basics of philosophy before making the most flawed statement I have ever heard: “Then there is the whole idea of matter as something that is evil, which is what we see in Christian teaching.” Never before had I encountered professional and highly refined nonsense (which, I later came to see, is a hallmark of academia when it sinks into higher illiteracy). The punch line, by the way, is that this same instructor taught comparative religion.

This was my first real encounter with the problem of the uninformed informer, whether a journalist or an educator. In the academic world, the uninformed informer presents a special kind of problem, one that is compounded when commercial interests are added. This is especially true when an entire career has been built on a shocking, challenging, and revisionist thesis, authenticated by book sales or television specials rather than by scholarly rigor.

Pesher Ploy

Take, for example, the Australian writer Barbara Thiering, author of Jesus the Man, who earned a Ph.D. from Sydney University and lectured there on Semitic studies until her retirement. Her academic career was based on her reputed expertise on the Dead Sea Scrolls. Yet even Geza Vermes, no champion of traditional Christianity, wrote about her work:

Professor Barbara Thiering’s reinterpretation of the New Testament, in which the married, divorced, and remarried Jesus, father of four, becomes the “Wicked Priest” of the Dead Sea Scrolls, has made no impact on learned opinion. Scroll scholars and New Testament experts alike have found the basis of the new theory, Thiering’s use of the so-called “pesher technique”, without substance.

What is the “pesher technique?” Basically, it’s the theory that the New Testament can be understood correctly only when it is first translated from Greek into Hebrew, and then subjected to the code of interpretation used by the Essenes of Qumran. It is this method that supposedly unlocks the real meaning of the New Testament.

What might be the weaknesses of this thesis? For one thing, we would have to accept Thiering’s unique dating of the Dead Sea Scrolls, which is about fifty years earlier than what is generally accepted. We would also have to assume that Thiering’s own translation of the Greek into Hebrew was exactly, word for word, what the apostles and other New Testament writers had intended.

There are other technical and scientific objections, but also problems evident to common sense. For example, we know that the books of the New Testament were written mostly for Gentile converts to Christianity. These Gentiles, living in such places as Rome, Corinth, Ephesus, Berea, Thessalonica, the regions of the Galatians, and so on, not only were ignorant of Hebrew; they would never have heard of the Essenes. Nonetheless, we are supposed to believe that, in order to understand the Epistles and Gospels written specifically for their instruction, they would have needed a special—dare I say Gnostic?—knowledge of the Essene Hebrew code and how to unlock it.

Thiering would also have us believe that the apostles courted the death of martyrdom for reasons that had nothing to do with actual faith in anything supernatural, such as Christ’s Resurrection. For her pesher method "proves" that the apostles did not really believe in miracles at all, not even the Resurrection they proclaimed at the peril of their lives. And their converts, unless they knew Hebrew and the Gnostic method, could not begin to grasp the real meaning of all the things the apostles wrote and sent to them—sent, I might add, in times of official persecution to the death. It seems like a pointlessly dangerous effort when you think about it.


Nonetheless, Thiering’s work was given enough serious consideration for her to build a career upon: employment for many years by the University of Sydney, sales of her book, and even a documentary expounding her ideas. The latter, produced by the Australian Broadcasting Corporation and called Riddle of the Dead Sea Scrolls, was later shown on the Discovery Channel and sold (at the time) as a VHS tape. The promotion for the documentary called her work a challenge to the faith that every Christian needs to take seriously.

Pagels Sells a Lie

Thiering is hardly the only misinformed informer on Christianity; this kind of thing has become all too common. The Da Vinci Code, while not produced in a quasi-academic manner, is a related phenomenon, but a more relevant example is that of Elaine Pagels, whose life work and commercial success have stemmed from her claim to have discovered suppressed Christian writings, as she describes in her book Beyond Belief:

When I entered the Harvard doctoral program, I was astonished to hear from the other students that Professors Helmut Koester and George MacRae, who taught the early history of Christianity, had file cabinets filled with “gospels” and “apocrypha” written during the first centuries. . . . When my fellow students and I investigated these sources we found that they revealed diversity within the Christian movement that later, “official” versions of Christian history had suppressed so effectively that only now, in the Harvard graduate school, did we hear about them.

The trouble is, the “suppression” she writes about never occurred, and no one needed to explore file cabinets in Harvard to find these Gnostic works. One need only to have read some of the fathers of the Church, or to have taken any standard course in church history, in which Gnostic movements have always been part of the subject matter. In fact, without all of that attention from Christians, those writings would have, no doubt, been completely lost to history.

But Pagels’s claim of suppression is necessary for her to sell her product. Therefore, the elaborate tale was created. It is a cornerstone of her career to present the Church as having tried to silence the very texts that it, alone, preserved (simply for the sake of teaching its own history). Pagels has simply invented a lie, or fiction if you prefer, which she repeats twice in Beyond Belief:

But in [A.D.] 367 Athanasius, the zealous bishop of Alexandria—an admirer of Irenaeus—issued an Easter letter in which he demanded that Egyptian monks destroy all writings, except for those he specifically listed as “acceptable,” even “canonical.” . . . But someone—perhaps monks at the monastery of St. Pachomius—gathered dozens of the books Athanasius wanted to burn, removed them from the monastery library, sealed them in a heavy, six-foot jar, and intending to hide them, buried them on a nearby hillside near Nag Hammadi.

The only problem with this story is that it never happened. Athanasius did write the Easter Letter of 367, to be sure, but it contained none of the things that Pagels claimed it did.

Book-&-TV Deals

Sensationalism and junk science about Jesus Christ have increased in recent years in the related marketplaces of books and television. For example, in 2006, The Judas Gospel was sensationalized as both a book and as a television special on the National Geographic channel. The English translation of the book has since been discredited, as it became apparent that Judas had been inaccurately described as a “spirit” or a “god” where a proper translation would have called him a “demon.” But if the book and TV special were to achieve commercial success, it was necessary to recast the traitor into a loyal disciple. It sold better.

Not to be outdone by National Geographic, the Discovery Channel produced a heavily publicized special called The Lost Tomb of Jesus for broadcast at Easter time in 2007. Directed by Simcha Jacobovici, who has gone on to work for the History Channel as The Naked Archaeologist (just a name for the show), and produced by Titanic director James Cameron, this “feature documentary” was advertised as making the case that “the 2,000-year-old ‘Tomb of the Ten Ossuaries’ belonged to the family of Jesus of Nazareth” and as revealing “new evidence that throws light on Jesus’ relationship with Mary Magdalene.”

In fact, the “discovery” of the tomb had taken place many years earlier, in 1980. The “evidence” amounted to nothing more than a collection of very ordinary names among Jews of the period, such as would be listed in most families. The methods of genuine science were not allowed to interfere, as Michael Medved pointed out in USA Today in March 2007:

Nearly all prominent Israeli archaeologists reject [Jacobovici’s] reasoning. Amos Kloner, who conducted the original excavation, has denounced the project as sloppy, exploitative and irresponsible. Joe Zias, who was the curator at Jerusalem’s Rockefeller Museum for 25 years and personally numbered the now controversial bone boxes, has said this of Jacobovici: “He’s pimping off the Bible. . . . Projects like these make a mockery of the archeological profession.”

(It may be worth pointing out that Medved and the two archaeologists he quoted are Jewish, not Christians with a personal ax to grind.)

There was also a book, The Jesus Family Tomb (co-authored by Jacobovici and Charles Pellegrino), to go along with the TV special, and even an article in Newsweek on the subject. Medved noted that this was not coincidental: “Could this sudden flurry of interest possibly relate to the upcoming Easter holiday?”

Exorcism Time

The need today is to exorcise the TV producers and booksellers from some of the academic hideouts that have been providing a basis for their popular credibility and aiding their commercial success. It is not enough to criticize their methods after the fact, or to hold them in disdain behind the scenes.

I look back on that philosophy instructor who taught comparative religion, and feel sorry for her that she missed the bus. If only she had worked to commercialize her crazy idea, it might well have paid off and put her in fat city. Real scholars would have unloaded their scorn and derision in properly objective words, but she could have cried all the way to the bank.

And, even though I was very young, I think I gave a good answer in that classroom all those years ago. “That’s not Christian teaching.” The instructor replied, “Defend that statement.” I replied that Genesis teaches that all of God’s creation is “very good,” that the Church has always believed in the holiness of sacraments that involved such matter as water, oil, bread, and wine, and that, above all, “the Word was made flesh.”

She was visibly annoyed, and continued her lecture with, “As I was saying. . . .”

In the years since I wrote this for Touchstone, the samples of pseudo-academic nonsense have continued to be produced; but their nature is essentially the same, so from reading this, you get the basic idea.

Tuesday, September 15, 2026

UPDATE

In February of 2025 I retired as the Rector of Saint Benedict's Anglican Catholic Church in Chapel Hill, North Carolina. I had served that parish for sixteen years as the longest serving rector in its history. Throughout the years we had many Requiem Masses and Burials, filling the Memorial Garden from one end to the other. But we also were always welcoming new members, and for the average Sunday Masses the attendance was, over the years, about thirty-five. I say, average. I believe my successor, as a younger man with his own young children, is probably enjoying higher numbers on average, or so it appears whenever I take a peek. I certainly hope so. What was happening to me was that my arthritis and asthma kept becoming worse. I would be unrealistic about it and deny the fact that it was getting worse. The best place for me to reside, based on my experience in 2005 and 2006, is the desert, because what seems to have aggravated both conditions is a lot of humidity. 

Back we came, my wife and one grown son (who is disabled), and also our dog, to the Valley of the Sun, Phoenix Arizona. To employ a term we asthmatics are known to use, I would wake up "with an elephant on my chest" two or three times a week. The whole time I served in North Carolina, as my condition continued to decline, God spared me the agony of ever having "an elephant on my chest" on a Sunday morning. But I was beginning always to feel weak and worn out, including Sundays despite the emotional "bump." Whereas some people have special allergies to this desert here in Arizona, for me it is perfect. Here I almost never need an inhaler, and have now gone months without needing to use one (a need that was expensive when I lived with humidity. Insurance companies seem to suffer from the delusion that breathing is optional, in fact a luxury). My arthritic knees are still making me handicapped, so much so that I shop for groceries riding in one of those indoor electric "golf cart-like things," and walk with a cane. But it hurts less than when I am in a humid place. 

But the most important priority to Diane and me is that we are in God's will, which means being in the local church community where He directs us. To my mind there was no competition: There is no parish I would rather be part of than Christ Anglican Church in Carefree, Arizona, and no Rector with whom I would rather find myself than Canon Steven Dart. We go back over twenty-one years to when I lived here before in Fountain Hills, Arizona. I can fill in and serve as a priest as needed, but without the full responsibilities of being a rector and doing all the things that a rector has to do. With a lighter workload, and with lungs that practically never struggle to breathe under the weight of an "elephant on the chest," this is about as good as it gets. And, yes, it means that I am now serving as a priest in the Anglican Province of Christ the King (APCK) under Bishop Peter Hansen. Archbishop Mark Haverland of the Anglican Catholic Church (ACC) was completely approving and supportive of me returning to, as he put it, "A church with which we are in full communion." 

WHAT YOU CAN DO FOR ME

As a full-time priest, I was never able to set aside a large enough "nest egg" for retirement.  As many of you appear to appreciate, I am writing a lot, having time now to do so. It seems that what I can teach is edifying and helpful. I appreciate the readers I have, all of you. In addition to this blog (which was founded by Albion Land in 2005, and which quickly became seen by everybody as my blog), I have started a publication on Substack. After prayerful consideration I have chosen to name it The Beauty of Holiness, a phrase that seems to really cry out "Anglican Liturgy!" I would ask you to consider supporting this ministry of teaching, mostly of writing, by subscribing to The Beauty of Holiness for $5.10 a month (about the smallest subscription price Substack allows). I do not believe that we are supposed to "peddle the word of God," (2 Corinthians 2:17), so I put nothing behind a paywall. It is all free to read. With, however, enough subscriptions as contributions to a useful ministry of orthodox teaching, I can give my wife the life she deserves in our old age after serving alongside of me (especially in the ministry of my regularly celebrating Mass in a nursing home for eleven of those years; something I am now doing here in Phoenix also with her help). You will find a link to The Beauty of Holiness here.  If you do subscribe, thank you, and may God bless you either way.

The Grace of our Lord Jesus Christ, and the love of God, and the fellowship of the Holy Ghost, be with us all evermore.









Saturday, August 29, 2026

A SOURCE OF MORAL CONFUSION


                                                         Click on the icon to read the essay.

Tuesday, August 18, 2026

Lancelot Andrewes on Holy Communion and Theosis



Click on the illustration by Gustave Dore' and the embedded link will take you to the article

History of Anglican Church Music

by  Karen Janusz                                                    

The origins of Anglican church music trace back to medieval to late medieval and early modern periods, with its roots in English polyphony and the liturgical traditions of the Church of England. The first significant composers in this tradition emerged in the late 16th century, shaped by the English Reformation and the adoption of the Book of Common Prayer. 

Historical Background

The Sarum Rite, also known as the Use of Sarum, originated at Salisbury Cathedral in southern England during the late 11th century under Bishop Osmund, a Norman nobleman appointed by William the Conqueror . Osmund revised the existing Anglo-Saxon and Celtic liturgical practices, incorporating elements from the Roman Rite and Norman traditions, creating a liturgy that was widely respected and adopted across England, Scotland, Ireland, and parts of northwestern Europe . It remained in use until the English Reformation in the 16th century. 

Definition: The Sarum Rite is a medieval English variant of the Roman Rite, developed at Salisbury Cathedral, notable for its distinctive liturgical texts, ceremonial practices, and musical traditions. 

Liturgical Features

The Sarum Rite closely resembles the Roman Rite, but it includes unique variations in texts, ceremonial gestures, and local feasts For example, the Mass begins with specific psalms and prayers, such as the Confiteor and "Adjutorium nostrum in nomine Domini," and includes distinctive ceremonial practices like the preparation of the chalice between the Epistle and Gospel, and a profound inclination of the head and shoulders instead of modern genuflection  The liturgy also features special antiphons and prayers for saints’ days and major feasts. 

 

Musical and Textual Distinctions

The Sarum Rite is renowned for its musical heritage, including unique melodies and tropes. A notable example is the Marian antiphon Salve regina celorum, which features five stanzas of devotional poetry set to a distinctive melody, intertwined with the antiphon’s final acclamations. These musical elements influenced the development of English polyphony during the Tudor and Elizabethan periods and provided a foundation for the post-Reformation Anglican liturgy  

Influence and Legacy

The Sarum Rite served as the basis for the Book of Common Prayer in 1549, shaping the liturgical practices of the Anglican and Episcopal churches  Its ceremonial, textual, and musical traditions continue to be studied and performed by scholars and enthusiasts of historical liturgy, offering insight into medieval English worship and the roots of Anglican liturgy 
In summary, the Sarum Rite is a historically significant liturgical tradition that blends Roman, Norman, and Anglo-Saxon elements, distinguished by its ceremonial richness, unique musical repertoire, and enduring influence on English Christian 

Example: Salveregina celorum- youtube 

Early pioneers

Medieval and pre-Reformation influences
Before the Reformation, English church music was rooted in the polyphonic traditions of the late Middle Ages, with composers like Thomas Tallis and Thomas Weelkes producing works for Anglican liturgical use. Tallis’s Spem in alium (1570) and Weelkes’s A Litany (1589) are among the earliest surviving English choral works in the Anglican tradition 

 

Thomas Tallis: History and Role in Church Music

Thomas Tallis (c. 1505 – 23 November 1585) was one of the most important English composers of the Renaissance, widely regarded as a pioneer of English sacred music. Born in Kent, likely into a family with strong local connections, little is known of his early life, but he began his career as an organist and singer in religious establishments such as Dover Priory and St. Mary-at-Hill in London. 

Career and Royal Service

Tallis joined the Chapel Royal in 1543, serving under four Tudor monarchs: Henry VIII, Edward VI, Mary I, and Elizabeth I  He was both a composer, teacher, and performer, adapting his style to suit each reign’s religious and political climate. Despite the upheavals of the English Reformation, he remained a Roman Catholic in belief, which allowed him to maintain royal favor. In 1575, he and William Byrd were granted a monopoly on printing music in England, leading to the publication of Cantiones sacrae (1575), a collection of Latin motets. 

Contributions to Church Music

Tallis’s work bridged the continental polyphonic tradition with the English choral tradition. He composed in both Latin and English, producing:

  • Motets such as Spem in Alium (1575), celebrated for its intricate polyphony and emotional depth.
    • Spem in alium (Latin for "Hope in any other") is a 40-part Renaissance motet by Thomas Tallis, composed in c. 1570 for eight choirs of five voices each. It is considered by some critics to be the greatest piece of English early music. H. B. Collins described it in 1929 as Tallis's "crowning achievement", along with his Lamentations.[1]
    • A motet is primarily a vocal musical composition that can vary in form and style. It is defined as "a piece of music in several parts with words," which highlights its polyphonic nature, where multiple independent melodies are sung simultaneously. Motets typically feature sacred Latin texts, often drawn from the Bible or liturgical sources, and they were commonly performed in religious settings
    • Listen to recording of Spem n alium
  • Anthems like Lamentations of Jeremiah, blending rich harmonies with accessible melodies 
  • Masses and other liturgical works that helped shape the musical language of the Anglican Church 

His ability to navigate the Reformation’s religious shifts while retaining Catholic influences made him a leading figure in the development of Anglican sacred music. 

Legacy

Tallis is often called the “Father of English Church Music”  His music was central to Victorian England’s sacred choral tradition, and his works remain staples in Anglican and choral repertoire . Many of his compositions were lost or suppressed during the Puritan “cleansing” of liturgical music in the 17th century, but his influence endures in the polyphonic style of later English composers and in the liturgical music of the Anglican Community. 

In summary, Thomas Tallis’s history is intertwined with the religious and musical transformation of England during the Tudor and early Stuart periods. His church music not only preserved and adapted continental polyphony but also helped define the sacred choral tradition in England for centuries to come. 

Anthems:  165, 298, 382, 424- CAC Hymnal 

 

William Byrd (c. 1540–1623) is often regarded as the first major Anglican church composer. His Mass for Four Voices (1588) and other works for the liturgy helped establish a distinct English choral style for Anglican worship 

    • The Mass for Four Voices is a choral Mass written around 1592-1593 during the reign of Queen Elizabeth I and is one of three settings of the Mass Ordinary which he published in London in the early 1590’s. Language- Greek and Latin.
    • It consists of the text of the Mass, (Kyrie, Gloria, Sanctus & Benedictus, Agnus Dei) set for a four-part choir. The work is a noted example of English Renaissance music from the Tudor period.
    • Mass for Four Voices – youtube
    • Historical Background:

Following the religious conflict of the English Reformation, settings of the Catholic Mass were highly sensitive documents and might well have resulted in the arrest of anyone caught with them. It is probably for this reason that Byrd chose not to publish the Masses as a set but individually in single bifolia which is easy to conceal. To make them more difficult to trace, the partbooks were undated, with no title-pages or prefatory material, and the printer Thomas East is not named. The project was almost certainly suggested (and financed) by Byrd’s circle of friends among the nobility and gentry in the Elizabethan Catholic community. Together with the two sets of Gradualia (1605, 1607) the Masses represent a grandiose scheme to provide a comprehensive repertory of music for the Catholic liturgy, to be sung at clandestine Masses. celebrations. in recusant households. These would have included Thorndon Hall and Ingastestone Hall, the two Essex country houses owned by Byrd’s main patron in the later stages of his career, Sir John Petre (later Baron Petre of Writtle) who was a close neighbor of Byrd.

 

The native tradition of Mass composition had lapsed after 1558, when the Catholic queen, Mary Tudor died and the medieval Sarum Rite was officially abolished in favor the Anglican English liturgy. However, Mass continued to be celebrated illegally by the English community, often with considerable pomp and under constant threat from spies and paid informers.

 

Byrd drew from the works of John Taverner (c.1490-1545) who composed the Mean Mass which Byrd may have sung as a choir boy.

 

Byrd’s Masses were forgotten for many years, but enjoyed a revival around the end of the 19th century in the Roman Catholic Church in England. The first modern performance of the Mass for Four Voices is thought to have been sung at the London Oratory at Advent 1890. Richard Terry who was appointed as the first director of music at the newly-founded Westminster Cathedral in 1901, was responsible for reviving Byrd’s liturgical music in regular worship.

 

Today, Byrd’s Mass for Four Voices is often sung as part of services of Sung Eucharist at churches and cathedrals that have a choral tradition. Despite its origins as a form of music suppressed by Protestant reformers and confined to the private chapels of covert Catholics, the piece is commonly heard today in Anglican Cathedrals and is an important piece in the Anglican Choral Tradition.

 

In 2023, the Gloria from the Mass for Four Voices was sung as part of the liturgy for the coronation of Charles III and Camilla.

 

Example: Mass for Four Voices- Youtube 

 

Thomas Weelkes (baptized 25 October 1576 – died 30 November 1623) was an English Renaissance composer and organist, best known for nearly 100 madrigals and numerous Anglican anthems.

Overview

Thomas Weelkes was one of the most significant English madrigalists of the late Renaissance. Born in Elsted, Sussex, he served as organist at Winchester College (1598–1601) and later at Chichester Cathedral from around 1601. He earned a Bachelor of Music degree from Oxford in 1602. 

 

Musical Contributions

  • Madrigals: Nearly 100 survive, with his finest collections published in 1600. His madrigals combine Italianate elegance with strong English tonal clarity and expressive word painting. 
  • Church Music: He wrote at least 41 anthems and 10 Anglican services (none surviving complete). His sacred works show large-scale antiphonal writing influeced by the Venetian school. 
  • Instrumental Works: Pieces for viols, virginal, and organ also survive

 

 

John Marbeck, Merbeck or Merbecke (c. 1510 – c. 1585) was an English choral composer and theological writer whose musical setting of the early Anglican liturgy standardized the sung Anglican service until the late 20th century. He is also known today for his setting of the Mass, Missa Per arma justitiae. 

Life

Probably a native of Beverley in Yorkshire, Merbecke appears to have been a boy chorister at St George's Chapel, Windsor, and was employed as an organist there from about 1541. Two years later he was convicted with four others of heresy and sentenced to be burnt at the stake, but received a pardon owing to the intervention of Stephen Gardiner, Bishop of Winchester,[1][2] who said he was "but a musitian". An English Concordance of the Bible which Merbecke had been preparing at the suggestion of Richard Turner, was however confiscated and destroyed.[3] A later version of this work, the first of its kind in English, was published in 1550 with a dedication to King Edward VI.[2]

In the same year, Merbecke published his Booke of Common Praier Noted, intended to provide for musical uniformity in the use of the First Prayer Book of Edward VI. This set the liturgy to semi-rhythmical melodies partly adapted from Gregorian chant; it was rendered obsolete when the Prayer Book was revised in 1552. Merbecke wrote several devotional and controversial works, and a number of his musical compositions are preserved in manuscript in the British Library, and at Oxford and Cambridge. He died, probably while still organist at Windsor, about 1585.[2]

Legacy

In the first half of the 19th century, the Oxford Movement inspired renewed interest in liturgical music within the Church of England. John Jebb first drew attention to Merbecke's Prayer Book settings in 1841. In 1843, William Dyce published plainsong music for all the Anglican services, which included nearly all of Merbecke's settings, adapted for the 1662 Book of Common Prayer. During the latter half of the 19th century, many different editions of Merbecke's settings were published, especially for the Communion service, with arrangements by noted musicians such as Sir John Stainer, Charles Villiers Stanford and Basil Harwood, Merbecke's Communion setting was very widely sung by choirs and congregations throughout the Anglican Communion until the 1662 Book of Common Prayer began to be supplanted by more modern liturgy in the late 20th century.[4] Parts of his service, notably the Nicene Creed, have been adapted to "modern" wording. His setting has also been adapted for the liturgy of many other denominations; the Catholic Church drew on it for the new English-language form of the Mass of Paul VI following the Second Vatican Council of 1962–65.[5] The Personal Ordinariate of Our Lady of Walsingham uses Merbecke's settings for its own Divine Worship rite.[6]

A voluntary choir for young men and women at Southwark Cathedral in London is named the Merbecke Choir in his honour,[7] because Merbecke's heresy trial had been partly held at the church in 1543.[8]

Examples: Merbecke CommunionService- Youtube Top of Form

Service Music: 701, 702, 703, 704, 705, 706, 707, 796 - CAC Hymnal 

Bottom of Form

  

Orlando Gibbons (1583–1625) was a leading English composer and organist, renowned for his sacred music, madrigals, and keyboard works bridging the Renaissance and early Baroque periods.

 

The compositions of Orlando Gibbons (1583–1625) include works in virtually every genre of the Elizabethan and Jacobean eras. Due to his sudden and early death, Gibbons' output was not as large as that of his older contemporary William Byrd,[1] but he still managed to produce various secular and sacred polyphonic vocal works, including consort songs, services, more than 40 full anthems and verse anthems, a set of 20 madrigals as well as at least 20 keyboard works and various instrumental ensemble pieces including nearly 30 fantasies for viols. He is well known for the 5-part verse anthem This is the Record of John, the 8-part full anthem O Clap Your Hands Together, 2 settings of Evensong and what is often thought to be the best known English madrigal: The Silver Swan.[2] 

Most Popular Anthem by Orlando Gibbons

The most widely recognized and celebrated anthem by Orlando Gibbons is “O Clap Your Hands Together” — an eight-part full anthem setting of Psalm 47 

Example: Oh Clap Your Hands- Youtube

Anthems: 69, 404, 433 ,436, 451, 470, 573 

Summary of first composers

  • Thomas Tallis – medieval polyphony adapted to Anglican liturgy.
  • Thomas Weelkes – early Anglican liturgical motets.
  • William Byrd – foundational Anglican choral master.
  • John Merbecke – first major Anglican composer writing for the new liturgy.
  • Orlando Gibbons – early post-Reformation Anglican sacred music.

These composers laid the groundwork for the rich tradition of Anglican church music, which continues to be central to worship in the Church of England and other Anglican churches worldwide. 

Post-Reformation development
Following the English Reformation under Thomas Cranmer and the adoption of the Book of Common Prayer (1549, 1552), composers began writing specifically for Anglican services. This period saw the rise of Henry Purcell (1659–1695), whose sacred works for the liturgy helped shape the choral repertoire for centuries 

 

Thomas Cranmer (2 July 1489 – 21 March 1556) was an English theologian who was a leader of the English Reformation and served as Archbishop of Canterbury during the reigns of Henry VIII, Edward VI and, for a short time, Mary I. He is honoured as a martyr in the Church of England.

Cranmer was ordained a Catholic priest and served on the theology faculty at Cambridge University. At the behest of Cardinal Wolsey, he later served Henry VIII as a diplomat in Europe. Cranmer helped build the case for the annulment of Henry's marriage to Catherine of Aragon, which was one of the causes of the separation of the English Church from union with the Holy See. Along with Thomas Cromwell, he supported the principle of royal supremacy, in which the king was considered sovereign over the Church within his realm and protector of his people from the abuses of Rome. During Cranmer's tenure as Archbishop of Canterbury, he established the first doctrinal and liturgical structures of the reformed Church of England. Under Henry's rule, Cranmer did not make many radical changes in the Church due to power struggles between religious conservatives and reformers. He published the first officially authorised vernacular (English) service, the Exhortation and Litany. 

 

Henry Purcell (1659–1695) was one of England’s greatest Baroque composers, renowned for his operas, songs, and sacred music. 

Henry Purcell’s sacred music represents a pinnacle of English Baroque church composition, blending grandeur, expressive text setting, and innovative orchestration. 

Historical Context

Henry Purcell (1659–1695) composed during the Restoration period in England, a time of renewed musical activity following the Puritan suppression of church music under Oliver Cromwell The restoration of the monarchy under Charles II revitalized the Chapel Royal and other ecclesiastical institutions, providing Purcell with opportunities to compose for both ceremonial and liturgical occasions His sacred works reflect the influence of French and Italian styles, particularly in the use of orchestral color and contrapuntal textures, while remaining distinctly English in their melodic and harmonic language. 

Key Works

Purcell’s sacred output is extensive, including:

  • Full and Verse Anthems: Sixty-five anthems, such as “Rejoice in the Lord Alway” and “Lord, how long wilt Thou be angry?”, often scored for choir with basso continuo and strings 
  • Services: Morning and Evening Services in B flat, including settings of the Magnificat and Nunc Dimittis in G minor 
  • Te Deum and Jubilate: Grand ceremonial works with string accompaniment, intended for royal or special occasions 
  • Smaller Devotional Pieces: Around thirty-five works for solo voices or small ensembles, often accompanied only by continuo 
    While some of these works remain in regular liturgical use, many are seldom performed today, partly due to the challenges of reproducing Purcell’s original instrumental textures 
  • Example: Rejoice in the Lord Always- Youtube 
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Modern Anglican Composers 

Sir John Milford Rutter (born 24 September 1945) is an English composer, conductor, editor, arranger, and record producer, mainly of choral music. He founded the Cambridge Singers who premiered and recorded many of his works for his own label Collegium Records. His compositions, extended pieces for choir and orchestra, such as Requiem and Magnificat, and many choral works including For the beauty of the earth, Christmas Carol and A Clare Benediction, are popular, especially in the UK and the United States. He is known for Christmas carols, in both arrangements of traditional melodies and new compositions, and Carols for Choirs anthology series compiled with David Willcocks.

 

Example: Nativity Carol - John Rutter, The Cambridge Singers, City of London Sinfonia- youtube

Anthem: A Gaelic Blessing 

Judith Weir (born 11 May 1954[1]) is a British composer. She served as Master of the King's Music from 2014 to 2024. Appointed by Queen Elizabeth II, Weir was the first woman to hold this office.[2]

The first public performance of Weir's arrangement of "God Save the Queen" was performed at the reburial of King Richard III at Leicester Cathedral on 26 March 2015. She was commissioned to compose an a cappella work for the state funeral of Elizabeth II on 19 September 2022, and wrote a setting of Psalm 42, "Like as the hart".[17]

In 2023, Weir was one of twelve composers asked to write a new piece for the coronation of Charles III and Camilla.[18] Her composition for orchestra, Brighter Visions Shine Afar, was performed before the ceremony began.[19]

Dame Judith is President of the Royal Society of Musicians of Great Britain (RSM)

Anthem: Like as the Hart- choral arrangement

Anthem: Drop down, ye heavens from above- choral arrangement

 

Karen Janusz is the organist at Christ Anglican Church (APCK) in Carefree, Arizona and is regularly active assisting the choir.