Richard Lloyd: Drop Down Ye Heavens (AKA "The Advent Prose")

The Choir of St. John's College, Cambridge sings this setting of the Advent text.



This text is commonly known as "The Advent Prose"; it's attributed to Prudentius.  Here is the full text:

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Be not very angry, O Lord, neither remember our iniquity for ever:
thy holy cities are a wilderness, Jerusalem a desolation:
our holy and our beautiful house, where our fathers praised thee.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

We have sinned, and are as an unclean thing,
and we all do fade as a leaf:
our iniquities, like the wind, have taken us away;
thou hast hid thy face from us:
and hast consumed us, because of our iniquities.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Ye are my witnesses, saith the Lord, and my servant whom I have chosen;
that ye may know me and believe me:
I, even I, am the Lord, and beside me there is no Saviour:
and there is none that can deliver out of my hand.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Comfort ye, comfort ye my people, my salvation shall not tarry:
I have blotted out as a thick cloud thy transgressions:
fear not for I will save thee:
for I am the Lord thy god, the holy one of Israel, thy Redeemer.

This is the English version of the plainsong hymn:



And here's the chant score with Latin words, from the Liber Usualis:

 More about the "Advent Prose" from this page:

The Advent Prose is a series of texts adapted from the book of the prophet Isaiah, and said, or more usually sung, in churches during the season of Advent. In its Latin form, it is attributed to Aurelius Clemens Prudentius, who lived in the fourth century. The English translation is traditional. It is most common in high church Anglican or Roman Catholic churches, but no doubt known elsewhere as well. There are several ways of singing it, but a common one is for the Rorate section, shown here with emphasis to be sung as a chorus, and for the choir to take the verses, with the chorus alternating. Although the English text says 'Drop down, ye heavens...', the Latin verb rorare actually means 'to make or deposit dewdrops', a fact which evaded me when I first came to the piece. Similarly, justum in the second line means 'the just man', rather than 'righteousness'.

More about Rorate Coeli, from New Advent:

(Vulgate, text), the opening words of Isaiah 45:8. The text is used frequently both at Mass and in the Divine Office during Advent, as it gives exquisite poetical expression to the longings of Patriarchs and Prophets, and symbolically of the Church, for the coming of the Messias. Throughout Advent it occurs daily as the versicle and response at Vespers. For this purpose the verse is divided into the versicle, "Rorate coeli desuper et nubes pluant justum" (Drop down dew, ye heavens, from above, and let the clouds rain the just), and the response: "Aperiatur terra et germinet salvatorem" (Let the earth be opened and send forth a Saviour"). The text is also used: (a) as the Introit for the Fourth Sunday in Advent, for Wednesday in Ember Week, for the feast of the Expectation of the Blessed Virgin, and for votive Masses of the Blessed Virgin during Advent; (b) as a versicle in the first responsory of Tuesday in the first week of Advent; (c) as the first antiphon at Lauds for the Tuesday preceding Christmas and the second antiphon at Matins of the Expectation of the Blessed Virgin; (d) in the second responsory for Friday of the third week of Advent and in the fifth responsory in Matins of the Expectation of the Blessed Virgin. In the "Book of Hymns" (Edinburgh, 1910), p. 4, W. Rooke-Ley translates the text in connection with the O Antiphons:

Mystic dew from heaven
Unto earth is given:
Break, O earth, a Saviour yield —
Fairest flower of the field".

The exquisite Introit plain-song may be found in in the various editions of the Vatican Graduale and the Solesmes "Liber Usualis", 1908, p. 125. Under the heading, "Prayer of the Churches of France during Advent", Dom Guéranger (Liturgical Year, Advent tr., Dublin, 1870, pp. 155-6) gives it as an antiphon to each of a series of prayers ("Ne irascaris", "Peccavimus", "Vide Domine", "Consolamini") expressive of penitence, expectation, comfort, and furnishes the Latin text and an English rendering of the Prayer. The Latin text and a different English rendering are also given in the Baltimore "Manual of Prayers" (pp. 603-4). A plain-song setting of the "Prayer", or series of prayers, is given in the Solesmes "Manual of Gregorian Chant" (Rome-Tournai, 1903, 313-5) in plain-song notation, and in a slightly simpler form in modern notation in the "Roman Hymnal" (New York, 1884, pp. 140-3), as also in "Les principaux chants liturgiques" (Paris, 1875, pp. 111-2) and 'IRecueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, pp. 218-9).

For the Latin version, and some polyphonic settings, see these posts from previous years.

The Advent Prose, 2011

Advent Prose - YouTube

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Be not very angry, O Lord, neither remember our iniquity for ever:
thy holy cities are a wilderness, Jerusalem a desolation:
our holy and our beautiful house, where our fathers praised thee.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

We have sinned, and are as an unclean thing,
and we all do fade as a leaf:
our iniquities, like the wind, have taken us away;
thou hast hid thy face from us:
and hast consumed us, because of our iniquities.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Ye are my witnesses, saith the Lord, and my servant whom I have chosen;
that ye may know me and believe me:
I, even I, am the Lord, and beside me there is no Saviour:
and there is none that can deliver out of my hand.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Comfort ye, comfort ye my people, my salvation shall not tarry:
I have blotted out as a thick cloud thy transgressions:
fear not for I will save thee:
for I am the Lord thy god, the holy one of Israel, thy Redeemer.

Here's the chant score with Latin words, from the Liber Usualis:

From this page:

The Advent Prose is a series of texts adapted from the book of the prophet Isaiah, and said, or more usually sung, in churches during the season of Advent. In its Latin form, it is attributed to Aurelius Clemens Prudentius, who lived in the fourth century. The English translation is traditional. It is most common in high church Anglican or Roman Catholic churches, but no doubt known elsewhere as well. There are several ways of singing it, but a common one is for the Rorate section, shown here with emphasis to be sung as a chorus, and for the choir to take the verses, with the chorus alternating. Although the English text says 'Drop down, ye heavens...', the Latin verb rorare actually means 'to make or deposit dewdrops', a fact which evaded me when I first came to the piece. Similarly, justum in the second line means 'the just man', rather than 'righteousness'.

More from New Advent:

(Vulgate, text), the opening words of Isaiah 45:8. The text is used frequently both at Mass and in the Divine Office during Advent, as it gives exquisite poetical expression to the longings of Patriarchs and Prophets, and symbolically of the Church, for the coming of the Messias. Throughout Advent it occurs daily as the versicle and response at Vespers. For this purpose the verse is divided into the versicle, "Rorate coeli desuper et nubes pluant justum" (Drop down dew, ye heavens, from above, and let the clouds rain the just), and the response: "Aperiatur terra et germinet salvatorem" (Let the earth be opened and send forth a Saviour"). The text is also used: (a) as the Introit for the Fourth Sunday in Advent, for Wednesday in Ember Week, for the feast of the Expectation of the Blessed Virgin, and for votive Masses of the Blessed Virgin during Advent; (b) as a versicle in the first responsory of Tuesday in the first week of Advent; (c) as the first antiphon at Lauds for the Tuesday preceding Christmas and the second antiphon at Matins of the Expectation of the Blessed Virgin; (d) in the second responsory for Friday of the third week of Advent and in the fifth responsory in Matins of the Expectation of the Blessed Virgin. In the "Book of Hymns" (Edinburgh, 1910), p. 4, W. Rooke-Ley translates the text in connection with the O Antiphons:

Mystic dew from heaven
Unto earth is given:
Break, O earth, a Saviour yield —
Fairest flower of the field".

The exquisite Introit plain-song may be found in in the various editions of the Vatican Graduale and the Solesmes "Liber Usualis", 1908, p. 125. Under the heading, "Prayer of the Churches of France during Advent", Dom Guéranger (Liturgical Year, Advent tr., Dublin, 1870, pp. 155-6) gives it as an antiphon to each of a series of prayers ("Ne irascaris", "Peccavimus", "Vide Domine", "Consolamini") expressive of penitence, expectation, comfort, and furnishes the Latin text and an English rendering of the Prayer. The Latin text and a different English rendering are also given in the Baltimore "Manual of Prayers" (pp. 603-4). A plain-song setting of the "Prayer", or series of prayers, is given in the Solesmes "Manual of Gregorian Chant" (Rome-Tournai, 1903, 313-5) in plain-song notation, and in a slightly simpler form in modern notation in the "Roman Hymnal" (New York, 1884, pp. 140-3), as also in "Les principaux chants liturgiques" (Paris, 1875, pp. 111-2) and 'IRecueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, pp. 218-9).

For the Latin version, and some polyphonic settings, see these posts from last year.

Three Rorates

I have so far found three totally different melodies for the well-known Advent text, Rorate Caeli Desuper (also known as "The Advent Prose").

Here's a Giovanni Vianini take on Rorate - not the Introit for Advent IV, nor the well-known Gregorian tune commonly used for "The Advent Prose," but (I'm assuming from what's written on the site) an Ambrosian hymn that uses the same text (at the start, at any rate; this hymn seems to use a different text later on - will post the words if I can find and translate them):



For comparison, here's a version of the better-known Gregorian Rorate hymn  (I like the soft female voices on this one):



And here's an mp3 of the lovely Advent IV Introit itself, via JoguesChant.

Well, let's make that "Four Rorates"! Here's Heinrich Schütz's polyphonic version:




Here again is the full text in English:

Drop down, ye heavens, from above, and let the skies pour forth righteousness:  let the earth be fruitful, and bring forth a Saviour.

Be not very angry, O Lord, neither remember our iniquity for ever:
thy holy cities are a wilderness, Jerusalem a desolation:
our holy and our beautiful house, where our fathers praised thee.

Drop down, ye heavens, from above, and let the skies pour forth righteousness:  let the earth be fruitful, and bring forth a Saviour.

We have sinned, and are as an unclean thing,
and we all do fade as a leaf:
our iniquities, like the wind, have taken us away;
thou hast hid thy face from us:
and hast consumed us, because of our iniquities.

Drop down, ye heavens, from above, and let the skies pour forth righteousness:  let the earth be fruitful, and bring forth a Saviour.

Ye are my witnesses, saith the Lord, and my servant whom I have chosen;
that ye may know me and believe me:
I, even I, am the Lord, and beside me there is no Saviour:
and there is none that can deliver out of my hand.

Drop down, ye heavens, from above, and let the skies pour forth righteousness:  let the earth be fruitful, and bring forth a Saviour.

Comfort ye, comfort ye my people, my salvation shall not tarry:
I have blotted out as a thick cloud thy transgressions:
fear not for I will save thee:
for I am the Lord thy god, the holy one of Israel, thy Redeemer. 

Here's the full Latin text:

Roráte caéli désuper,
et núbes plúant jústum.

Ne irascáris Dómine,
ne ultra memíneris iniquitátis:
ecce cívitas Sáncti fácta est desérta:
Síon desérta fácta est:
Jerúsalem desoláta est:
dómus sanctificatiónis túæ et glóriæ túæ,
ubi laudavérunt te pátres nóstri.

Peccávimus, et fácti súmus tamquam immúndus nos,
et cecídimus quasi fólium univérsi:
et iniquitátes nóstræ quasi véntus abstulérunt nos:
abscondísti faciem túam a nóbis,
et allisísti nos in mánu iniquitátis nóstræ.

Víde Dómine afflictiónem pópuli túi,
et mítte quem missúrus es:
emítte Agnum dominatórem térræ,
de Pétra desérti ad móntem fíliæ Síon:
ut áuferat ípse júgum captivitátis nóstræ.

Consolámini, consolámini, pópule méus:
cito véniet sálus túa:
quare mæróre consúmeris,
quia innovávit te dólor?
Salvábo te, nóli timére,
égo enim sum Dóminus Déus túus,
Sánctus Israël, Redémptor túus.

The Advent Prose

"The Advent Prose" is the English name for the Rorate Coeli ("Drop down, ye heavens"), a plainsong-ish hymn with texts taken from Isaiah and sung in the season of Advent.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Be not very angry, O Lord, neither remember our iniquity for ever:
thy holy cities are a wilderness, Jerusalem a desolation:
our holy and our beautiful house, where our fathers praised thee.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

We have sinned, and are as an unclean thing,
and we all do fade as a leaf:
our iniquities, like the wind, have taken us away;
thou hast hid thy face from us:
and hast consumed us, because of our iniquities.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Ye are my witnesses, saith the Lord, and my servant whom I have chosen;
that ye may know me and believe me:
I, even I, am the Lord, and beside me there is no Saviour:
and there is none that can deliver out of my hand.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Comfort ye, comfort ye my people, my salvation shall not tarry:
I have blotted out as a thick cloud thy transgressions:
fear not for I will save thee:
for I am the Lord thy god, the holy one of Israel, thy Redeemer.

From this page:

The Advent Prose is a series of texts adapted from the book of the prophet Isaiah, and said, or more usually sung, in churches during the season of Advent. In its Latin form, it is attributed to Aurelius Clemens Prudentius, who lived in the fourth century. The English translation is traditional. It is most common in high church Anglican or Roman Catholic churches, but no doubt known elsewhere as well. There are several ways of singing it, but a common one is for the Rorate section, shown here with emphasis to be sung as a chorus, and for the choir to take the verses, with the chorus alternating. Although the English text says 'Drop down, ye heavens...', the Latin verb rorare actually means 'to make or deposit dewdrops', a fact which evaded me when I first came to the piece. Similarly, justum in the second line means 'the just man', rather than 'righteousness'.

Here's a version in Latin:



Here's the Latin text:

Roráte caéli désuper,
et núbes plúant jústum.

Ne irascáris Dómine,
ne ultra memíneris iniquitátis:
ecce cívitas Sáncti fácta est desérta:
Síon desérta fácta est:
Jerúsalem desoláta est:
dómus sanctificatiónis túæ et glóriæ túæ,
ubi laudavérunt te pátres nóstri.

Peccávimus, et fácti súmus tamquam immúndus nos,
et cecídimus quasi fólium univérsi:
et iniquitátes nóstræ quasi véntus abstulérunt nos:
abscondísti faciem túam a nóbis,
et allisísti nos in mánu iniquitátis nóstræ.

Víde Dómine afflictiónem pópuli túi,
et mítte quem missúrus es:
emítte Agnum dominatórem térræ,
de Pétra desérti ad móntem fíliæ Síon:
ut áuferat ípse júgum captivitátis nóstræ.

Consolámini, consolámini, pópule méus:
cito véniet sálus túa:
quare mæróre consúmeris,
quia innovávit te dólor?
Salvábo te, nóli timére,
égo enim sum Dóminus Déus túus,
Sánctus Israël, Redémptor túus.

And here's the chant score with Latin words, from the Liber Usualis:

More from New Advent:

(Vulgate, text), the opening words of Isaiah 45:8. The text is used frequently both at Mass and in the Divine Office during Advent, as it gives exquisite poetical expression to the longings of Patriarchs and Prophets, and symbolically of the Church, for the coming of the Messias. Throughout Advent it occurs daily as the versicle and response at Vespers. For this purpose the verse is divided into the versicle, "Rorate coeli desuper et nubes pluant justum" (Drop down dew, ye heavens, from above, and let the clouds rain the just), and the response: "Aperiatur terra et germinet salvatorem" (Let the earth be opened and send forth a Saviour"). The text is also used: (a) as the Introit for the Fourth Sunday in Advent, for Wednesday in Ember Week, for the feast of the Expectation of the Blessed Virgin, and for votive Masses of the Blessed Virgin during Advent; (b) as a versicle in the first responsory of Tuesday in the first week of Advent; (c) as the first antiphon at Lauds for the Tuesday preceding Christmas and the second antiphon at Matins of the Expectation of the Blessed Virgin; (d) in the second responsory for Friday of the third week of Advent and in the fifth responsory in Matins of the Expectation of the Blessed Virgin. In the "Book of Hymns" (Edinburgh, 1910), p. 4, W. Rooke-Ley translates the text in connection with the O Antiphons:


Mystic dew from heaven
Unto earth is given:
Break, O earth, a Saviour yield —
Fairest flower of the field".

The exquisite Introit plain-song may be found in in the various editions of the Vatican Graduale and the Solesmes "Liber Usualis", 1908, p. 125. Under the heading, "Prayer of the Churches of France during Advent", Dom Guéranger (Liturgical Year, Advent tr., Dublin, 1870, pp. 155-6) gives it as an antiphon to each of a series of prayers ("Ne irascaris", "Peccavimus", "Vide Domine", "Consolamini") expressive of penitence, expectation, comfort, and furnishes the Latin text and an English rendering of the Prayer. The Latin text and a different English rendering are also given in the Baltimore "Manual of Prayers" (pp. 603-4). A plain-song setting of the "Prayer", or series of prayers, is given in the Solesmes "Manual of Gregorian Chant" (Rome-Tournai, 1903, 313-5) in plain-song notation, and in a slightly simpler form in modern notation in the "Roman Hymnal" (New York, 1884, pp. 140-3), as also in "Les principaux chants liturgiques" (Paris, 1875, pp. 111-2) and 'IRecueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, pp. 218-9).

Advent 4: Rorate cæli desuper

This is the Introit for the Fourth Sunday in Advent; in English: "Let the heavens drop down dew."




Here is an mp3 of the chant, thanks to the Brazilian Benedictines. Here's the score:





The first part of the text is taken from Isaiah 45:8:

“ Rain down, you heavens, from above,
And let the skies pour down righteousness;
Let the earth open, let them bring forth salvation,
And let righteousness spring up together.
I, the LORD, have created it.

The second half is taken from Psalm 19, Coeli enarrant: "The heavens declare the glory of God; And the firmament shows His handiwork." Obviously the common theme is "what the heavens are up to."

Most interesting to me about this Introit is that the same text is the basis for the Rorate Coeli, or "the Advent Prose," a lovely set of responses sung in Advent:

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Be not very angry, O Lord, neither remember our iniquity for ever:
thy holy cities are a wilderness, Jerusalem a desolation:
our holy and our beautiful house, where our fathers praised thee.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

We have sinned, and are as an unclean thing,
and we all do fade as a leaf:
our iniquities, like the wind, have taken us away;
thou hast hid thy face from us:
and hast consumed us, because of our iniquities.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Ye are my witnesses, saith the Lord, and my servant whom I have chosen;
that ye may know me and believe me:
I, even I, am the Lord, and beside me there is no Saviour:
and there is none that can deliver out of my hand.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Comfort ye, comfort ye my people, my salvation shall not tarry:
I have blotted out as a thick cloud thy transgressions:
fear not for I will save thee:
for I am the Lord thy god, the holy one of Israel, thy Redeemer.

Here is an mp3 of the Advent Prose, with Vaughan Williams fauxbourdons, sung by the St. David's Compline Choir in Austin, TX; the words do not match exactly with those above. 

See more about the Advent Prose here.

Fauxbourdons, Part I

First, a definition:

‘Fauxbourdon’ was an enigmatic French phrase attached as a tag or label to short compositions or sections of longer ones, normally sacred and written as apparently two-voice pieces with the cantus firmus in the upper part, appearing in continental musical manuscripts from about 1430 to about 1510. The words ‘faux bourdon’ were often preceded by the preposition ‘à’ or ‘per’, sometimes ‘au’ (even ‘aux’) or ‘in’; the expression might also be shortened to ‘per faulx’ or ‘per bardunum’. Although some scribes contracted the two words into one, this article follows Trumble in reserving ‘fauxbourdon’ for use as a generic term referring to the whole technique or complex of voices, or to the category of composition.

The designation ‘faux bourdon’, or one of its variants, was usually placed in either the discantus or the tenor part – more often the latter, especially in the earlier years, perhaps because the tenor directed the ensemble; it might also appear in both parts, or elsewhere on the page. It signalled the fact that the two given voices had been so composed – essentially by using a framework of 6ths and octaves – that the performer or performers could add a third and eventually a fourth part to them by following certain strictly formulaic procedures. The earliest method was to derive a contratenor altus from the written discantus by singing the same notes simultaneously at the 4th below, which produced essentially a chain of what would now be called 6-3 chords, varied and punctuated by single 8-5 chords, though with some decorative passing notes and suspensions, particularly at cadences, and on occasion more licentious dissonances. This was still regarded as the ‘classic’ manner by most music theorists of the late 15th century and has become known in musical literature as the ‘6th-chord’ or ‘fauxbourdon’ style. But around 1450, or even before, composers and performers started to use a contratenor bassus, derived not from the discantus but from the tenor, beneath which they sang alternate 3rds and 5ths, beginning and ending with a unison or octave, and with the cadential octave preceded by a 5th; to the resulting tricinium a new kind of contratenor altus might also be added, by singing alternate 3rds and 4ths above the tenor, beginning and ending with a 5th, and with the cadential 5th preceded by a 4th (see exx.3 and 4 below).

‘Faux bourdon’, though not in itself a mandatory canonic instruction, is therefore a kind of trademark that tells the performers that they may increase the sonority of the music by adding one or two canonically derived parts.

Not to be confused, of course, with Faburden:

The term ‘faburden’ originally designated the lowest voice in an English technique of polyphonic vocal improvisation that enabled a group of soloists or a choir to sing at sight a three-part harmonization of plainchant, derived from the notes of the chant itself. It flourished from about 1430 or earlier until the time of the Reformation. The highly schematic formula used led to chains of what would now be called 6-3 chords, punctuated by occasional 8-5 chords (particularly at the beginnings and ends of phrases and words). The plainchant was thought of as the mean or middle voice, from which the other two parts were derived, although of course the chant was also present in the treble, which doubled it at the upper 4th while the bottom part sang 5ths or 3rds beneath it. The singers apparently declaimed the words simultaneously in the normal rhythm of plainchant. Ends of phrases were slightly ornamented, probably from quite early on, to provide satisfactory cadential suspensions; it is unlikely, at least in choral performance, that general ornamentation was introduced.

So, Fauxbourdons have to do with expanding plainchant into polyphonic chant, and with a technique of intervals. It has been described to me as a kind of forerunner of Anglican Chant - but of course, Fauxbourdons actually began in France, and came to England, somehow, as Faburden.

The Compline Choir of St. David's Episcopal Church in Austin, Texas has several examples of Fauxbourdons available at its "Music Files for Downloading" page.

Here's one example: a Nunc Dimittis by Ludovico Grossi da Viadana, Tone 5 Fauxbourdons/Antiphon Resurrexit Dominus.

Here's another: another Nunc Dimittis, by Richard Runciman Terry, Tone 5 Fauxbourdons/Antiphon Resurrexit Dominus.

(An aside: What's really interesting to me is that the "Alleluia" in the Antiphons above is the same one used by the French group Discantus in their version of the hymn to St. James the Apostle ("Alleluia, O Iacobe Sanctissime"), sung on the Pilgrimage to Compostela. Go here to listen to it; press the little red triangle under the CD image. Was this a common music theme used in that era, I wonder?)

And here, much to my delight, is The Advent Prose, (with Vaughan Williams Fauxbourdon), sung just this past December 9th. The words of this text (with refrain: "Drop down dew, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour") come from Isaiah; you can see the full set of lyrics, in Latin and in English, here. (The English words used on this recording are a bit different than the ones at that link; you can find them here.)

February 14's Choral Evensong at St. Thomas Church featured a wonderful Evening Service - the Magnificat and Nunc Dimittis - listed as "Tones VI and II in Fauxbourdon - Dearnley." Christopher Dearnley was the Organist at St. Paul’s Cathedral in London from 1968-1990. It's a beautiful and dramatic piece - I'm thinking it's probably a technician's delight - but the link will be gone in another week or so. So act now!

More later.