The Chapel and the Hospital of Saint John Baptist without the Barrs, Lichfield … recalling a journey that began 55 years ago (Photograph: Patrick Comerford)
Patrick Comerford
Today is the Feast of the Birthday of Saint John the Baptist (24 June 2026). I had been planning to be back in Lichfield today for a day of prayer, reflection and thanksgiving, remembering that I was ordained priest 25 years ago on this day, 24 June 2001, and that tomorrow is the anniversary of the day I was ordained deacon 26 years ago (25 June 2000).
I decided not to travel to Lichfield this morning because of the warnings about the soaring temperatures and the advice against travel. But I have reflected throughout this day on these 26 years of ordained ministry, praying, reading, thinking, walking and giving thanks.
Bishops, in the charge to priests at their ordination, call on us to ‘preach the Word and to minister his (God’s) holy sacraments.’ But the bishop also reminds us to be ‘faithful in visiting the sick, in caring for the poor and needy, and in helping the oppressed,’ to ‘promote unity, peace, and love,’ to share ‘in a common witness in the world’ and ‘in Christ’s work of reconciliation,’ and to ‘search for God’s children in the wilderness of this world’s temptations.’
These charges remain a sacred commitment for life, even after a priest retires from parish ministry. I retired from full-time ministry over four ago (31 March 2022) after a stroke earlier that month (18 March 2022), and I am still in the process of seeking Permission to Officiate (PTO). But I shall always remain a priest.
With Archbishop Walton Empey at my ordination as priest in Christ Church Cathedral, Dublin, on 24 June 2001, and (from left) the Revd Tim Close and the Revd Avril Bennett (Photograph: Valerie Jones, 2001)
As I reflected today on the anniversaries of my ordination, I recalled too how my path to ordination began in Lichfield 55 years ago when I was a 19-year-old, following very personal and special experiences in the chapel dedicated to Saint John the Baptist – the Chapel of Saint John’s Hospital, Lichfield – and in Lichfield Cathedral, both of which I return to constantly, and which I continue to see as my personal homes.
It was the summer of 1971, and although I was training to be a chartered surveyor with Jones Lang Wootton and the College of Estate Management at Reading University, I was also trying to become a freelance journalist, contributing features to the Lichfield Mercury, the Rugeley Mercury and the Tamworth Herald.
Late one sunny Thursday afternoon, after a few days traipsing along Wenlock Edge and through Shropshire, and staying at Wilderhope Manor and in Shrewsbury, I had returned to Lichfield.
I was walking from Birmingham Road into the centre of Lichfield, and I was more interested in an evening’s entertainment than prayer or religious life when I stumbled into that chapel out of curiosity. Not because I wanted to see the inside of an old church or chapel, but because I was attracted by the architectural curiosity of the outside of the building facing onto the street, with its Tudor chimney stacks and its Gothic chapel.
I still remember lifting the latch, and stepping down into the chapel. It was late in the afternoon, so there was no light streaming through the East Window, and John Piper’s stained glass window was not yet in place. But as I turned towards the lectern, I was filled in one rush with the sensation of the light and the love of God.
This is not a normal experience for a young 19-year-old … certainly not for one who is focussing on an active social night later on, or on rugby and cricket in the weekend ahead.
But it was – and still is – a real and gripping moment. I have talked about this as my ‘self-defining moment in life.’ It still remains as a lived, living moment.
At the Patronal Festival Eucharist in the Chapel of Saint John’s Hospital, Lichfield, last year (Photograph: Patrick Comerford)
My first reaction was to make my way down John Street, up Bird Street and Beacon Street and into the Cathedral Close and Lichfield Cathedral. There I slipped into the choir stalls, just in time for Choral Evensong.
It was a tranquil and and exhilarating experience, all at once. But as I was leaving, a residentiary canon shook my hand – I think he was Canon John Yates (1925-2008), then the Principal of Lichfield Theological College (1966-1972) and later Bishop of Gloucester and Bishop at Lambeth. He looked at me amusingly and asked whether a young man like me had decided to start going back to church because I was thinking of ordination.
All that in one day, on that one summer afternoon.
The west front of Lichfield Cathedral in afternoon sunshine (Photograph: Patrick Comerford)
However, I took the scenic route to ordination. I was inspired by the story of Gonville ffrench-Beytagh (1912-1991), which was beginning to unfold at the time. He was then the Dean of Saint Mary’s Cathedral, Johannesburg, and facing trial when he opened his doors to black protesters who were being rhino-whipped by South African apartheid police on the steps of his cathedral.
My new-found adult faith led me to a path of social activism, campaigning on human rights, apartheid, the arms race, and issues of war and peace. I also moved into journalism full-time, first with the Wexford People and eventually becoming Foreign Desk Editor of The Irish Times.
While I was working as a journalist, I became a student once again, and completed degrees in theology at the Irish School of Ecumenics and Trinity College Dublin in 1984 and at the Kimmage Mission Institute and Maynooth in 1987. In the back of my mind, that startling choice I was confronted with after evensong in Lichfield Cathedral 55 years ago was gnawing away in the back of my mind.
Letters of ordination as priest by Archbishop Walton Empey (Photograph: Patrick Comerford)
Of course, it was a long road to ordination, from the age of 19 to the age of 48 … almost 30 years: I returned to study theology at the Church of Ireland Theological College (CITC, now CITI) in 1999, I was ordained deacon on 25 June 2000 and I was ordained priest a year later on 24 June 2001, the Feast of the Birth of Saint John the Baptist.
Since then, my ordained ministry has included two years as an NSM curate in Whitechurch Parish, Rathfarnham (2000-2002), while I continued to work as Foreign Desk Editor of The Irish Times; four years working with mission agencies and as a part-time lecturer in the Church of Ireland Theological College (2002-2006); 11 years on the staff of CITC and CITI as Director of Spiritual Formation, college chaplain, and then Lecturer in Anglicanism, Liturgy and Church History (2006-2017); six years also as an adjunct assistant professor in TCD (2011-2017); nine years as a canon of Christ Church Cathedral, Dublin (2008-2017); and five years in west Limerick and north Kerry in the Diocese of Limerick and Killaloe (now Tuam, Limerick and Killaloe) as priest-in-charge of the Rathkeale and Kilnaughtin Group of Parishes, Precentor of Saint Mary’s Cathedral, Limerick, Saint Flannan’s Cathedral, Killaloe, Co Clare, and Saint Brendan’s Cathedral, Clonfert, Co Galway, and Director for Education and Training (2017-2022).
That ministry has included school and hospital chaplaincy, membership of the General Synod and various church commissions and committees and school boards, mission agency visits to Egypt, China, Hong Kong, Italy, the Vatican, Rome, Romania, Hungary and Finland, and six years as a trustee of the Anglican mission agency USPG (United Society Partners in the Gospel). There were additional studies at the Institute for Orthodox Christian Studies and Sidney Sussex College, Cambridge, and the Institutum Liturgicum, based at the Benedictine Study and Arts Centre in Ealing Abbey and KU Leuven.
Archbishop Walton Empey’s inscription on the Bible he gave to me on my ordination to the priesthood on 24 June 2001 (Photograph: Patrick Comerford)
I had started coming to Lichfield as a teenager because of family connections with the area around Lichfield and Tamworth. The traditions of the chapel in Saint John’s Chapel subtly grew on me and became my own personal expression of Anglicanism, while and the liturgical traditions of Lichfield Cathedral nurtured my own liturgical spirituality.
That bright summer evening left me open to the world, with all its beauty, all its problems, all its perplexity and paradoxes, and all its promises.
The chapel in Saint John’s Hospital and Lichfield Cathedral remain my twin spiritual homes, and I had hoped to return to both again today (24 June 2026), to Saint John’s for the Patronal Festival Eucharist at Noon, and to the Cathedral for Choral Evensong at the end of the day.
Then, 11 years ago, Canon Andrew Gorham, the then Master of Saint John’s Hospital, invited me to preach at the Festal Eucharist in the chapel on the Feast of the Birth of Saint John the Baptist on 24 June 2015. It was also the anniversary of my ordination. The attendance included the Lord-Lieutenant of Staffordshire, Dr Ian Dudson, the Deputy Mayor of Lichfield, Mrs Sheelagh James, and a former Mayor, Mrs Norma Bacon.
Friends from Wexford, including priests, writers, journalists and historians, at my ordination to the priesthood in Chrust Church Cathedral, Dublin, on 24 June 2001
As priests, we normally celebrate the anniversary of our ordination to the priesthood and reflect on it sacramentally. However, I still await PTO in a new diocese and I have found unexpected restrictions on celebrating this day in a meaningful way.
This continues to be trying at a personal level, and I held these emotions and feelings in my heart today, deepened by my disappointment of not being at the mid-day Eucharist in Saint John’s and Evensong in Lichfield Cathedral, and those feelings and emotions were in my heart, silently, at the Parish Eucharist in Saint Mary and Saint Giles Church in Stony Stratford last Sunday (21 June 2026). There was further sadness today when I heard the news of the death of my lifelong friend, Ian Kirkpatrick. We had once lived around the corner from one another, and he was one of my best friends in my teens and my 20s. He died in Israel a few days ago.
Today was going to be a day for walks around Stowe Pool and Minster Pool, through the streets of Lichfield, along Beacon Street, and perhaps a walk out into the countryside along Cross in Hand Lane or a late lunch in the Hedgehog Vintage Inn at the corner of Stafford Road. Last year, I ended this day at Choral Evensong in Lichfield Cathedral, where the versicles and responses and the Collects for Peace and for Aid Against all Perils were so appropriate at this time of peril and war, and they continue to be meaningful in the same way today:
Give peace in our time, O Lord,
Because there is none other that fighteth for us,
but only thou, O God.
Here at home in Stony Stratford, we had a quiet celebration of the Eucharist. This has been a day to remind myself that I remain a priest forever, and to remind myself where this journey or pilgrimage began 55 years ago, in the summer of 1971, and I was encouraged by Timothy Dudley-Smith’s opening lines of the Post-Communion hymn in Saint John’s on this day last year:
Lord, for the years your love has kept and guided,
urged and inspired us, cheered us on our way,
sought us and saved us, pardoned and provided:
Lord for the years, we bring our thanks today.
Part of the family circle at my ordination to the priesthood in Chrust Church Cathedral, Dublin, on 24 June 2001
Showing posts with label Shropshire. Show all posts
Showing posts with label Shropshire. Show all posts
24 June 2026
09 July 2023
The Knife Angel visits
Lichfield to highlight knife
violence and killings
The Knife Angel is visiting Lichfield throughout the month of July (Photograph: Patrick Comerford, 2023)
Patrick Comerford
The Knife Angel – the 27 ft tall sculpture consisting of 100,000 knives confiscated by police across the country – is in Lichfield throughout July.
I visited this contemporary and stunning piece of contemporary artwork in the centre of Lichfield at the end of last week. It stands on open space beside District Council House on Frog Lane, where it is the focus of a month-long campaign in Lichfield to raise awareness of the dangers of knife crime.
The ‘Save A Life, Surrender Your Knife’ campaign was born in 2014 when Clive Knowles of the British Ironwork Centre in Shropshire was struck by the large amount of violent crimes being reported in the media.
The Knife Angel sculpture was the brainchild of Clive Knowles and was brought to life by the sculptor Alfie Bradley in 2018. It was made in the British Ironwork Centre in Oswestry and is on a tour of towns and cities throughout Britain to raise awareness of knife crime, the negative effects of violent behaviour, and the need for social change.
The Knife Angel is a poignant memorial and has the potential for being a catalyst in turning the tide against violent and aggressive behaviour. But it is also as a beautiful memorial to remember the lives of people lost through knife violence.
The Knife Angel arrived in Lichfield last weekend (Saturday 1 July) and the visit to Lichfield has been funded by Staffordshire’s Commissioner for Police, Fire and Rescue. As part of the programme, Knife Bins - where blades can be deposited – are sited at four locations: Tesco Extra and Morrisons in Lichfield, Morrisons in Burntwood and Burntwood Leisure Centre.
School parties are visiting the sculpture in Lichfield throughout July. There are daily services on site to welcome people, and there is a full programme of outreach days, with multiple services representatives at the Knife Angel site in Frog Lane (4 July, 12 July, 19 July and 29 July).
There is fun club hub, where children can come along and enjoy a day of crafts and fun activities on 24 July. Other parts of the programme include and a CPR awareness day with West Midlands Ambulance Service (25 July), the Fire Service (26 July), the Air Ambulance team (27-28 July) and an outreach day with multiple service (29 July).
The Knife Angel is a 27 ft sculpture made of 100,000 knives confiscated by police across Britain (Photograph: Patrick Comerford, 2023)
At another level, the visit of the Knife Angel to Lichfield is also appropriate because, through the work of the sculptor Peter Walker some years ago, Lichfield was promoted as the ‘City of Sculpture’, with a sculpture trail throughout the city.
Yvonne James, Lichfield District Council’s Principal Community Safety Officer, said: ‘Lichfield District is one of the safest places to live in Staffordshire in terms of incidents of knife crime and violence. However, we cannot ignore the fact that they are increasing nationally with the Office for National Statistics stating that in 2021/22 the neighbouring West Midlands Police Force recorded the highest rate of 152 offences involving a knife per 100,000 of population.’
‘We need to do everything we can to alert people to the dangers,’ she added.
Councillor Richard Cox of Lichfield District Council said: ‘The Knife Angel is visually extremely striking and thought-provoking. Our aim is to prevent people from carrying knives through education, by explaining how lives can be destroyed and I hope many residents from across Lichfield District, neighbouring boroughs and districts throughout the Midlands will come and see it and help raise awareness.’
The Knife Angel is on site on Frog Lane in Lichfield until Sunday 30 July, when a ‘Civic Departure Event’ includes speakers, dancers, rappers and a procession through the city.
More information about the Knife Angel is available HERE
Share your story on social media by using these hashtags: #britishironworkcentre #knifeangel #savealifesurrenderyourknife
The Knife Angel is on site on Frog Lane in Lichfield until Sunday 30 July (Photograph: Patrick Comerford, 2023)
Patrick Comerford
The Knife Angel – the 27 ft tall sculpture consisting of 100,000 knives confiscated by police across the country – is in Lichfield throughout July.
I visited this contemporary and stunning piece of contemporary artwork in the centre of Lichfield at the end of last week. It stands on open space beside District Council House on Frog Lane, where it is the focus of a month-long campaign in Lichfield to raise awareness of the dangers of knife crime.
The ‘Save A Life, Surrender Your Knife’ campaign was born in 2014 when Clive Knowles of the British Ironwork Centre in Shropshire was struck by the large amount of violent crimes being reported in the media.
The Knife Angel sculpture was the brainchild of Clive Knowles and was brought to life by the sculptor Alfie Bradley in 2018. It was made in the British Ironwork Centre in Oswestry and is on a tour of towns and cities throughout Britain to raise awareness of knife crime, the negative effects of violent behaviour, and the need for social change.
The Knife Angel is a poignant memorial and has the potential for being a catalyst in turning the tide against violent and aggressive behaviour. But it is also as a beautiful memorial to remember the lives of people lost through knife violence.
The Knife Angel arrived in Lichfield last weekend (Saturday 1 July) and the visit to Lichfield has been funded by Staffordshire’s Commissioner for Police, Fire and Rescue. As part of the programme, Knife Bins - where blades can be deposited – are sited at four locations: Tesco Extra and Morrisons in Lichfield, Morrisons in Burntwood and Burntwood Leisure Centre.
School parties are visiting the sculpture in Lichfield throughout July. There are daily services on site to welcome people, and there is a full programme of outreach days, with multiple services representatives at the Knife Angel site in Frog Lane (4 July, 12 July, 19 July and 29 July).
There is fun club hub, where children can come along and enjoy a day of crafts and fun activities on 24 July. Other parts of the programme include and a CPR awareness day with West Midlands Ambulance Service (25 July), the Fire Service (26 July), the Air Ambulance team (27-28 July) and an outreach day with multiple service (29 July).
The Knife Angel is a 27 ft sculpture made of 100,000 knives confiscated by police across Britain (Photograph: Patrick Comerford, 2023)
At another level, the visit of the Knife Angel to Lichfield is also appropriate because, through the work of the sculptor Peter Walker some years ago, Lichfield was promoted as the ‘City of Sculpture’, with a sculpture trail throughout the city.
Yvonne James, Lichfield District Council’s Principal Community Safety Officer, said: ‘Lichfield District is one of the safest places to live in Staffordshire in terms of incidents of knife crime and violence. However, we cannot ignore the fact that they are increasing nationally with the Office for National Statistics stating that in 2021/22 the neighbouring West Midlands Police Force recorded the highest rate of 152 offences involving a knife per 100,000 of population.’
‘We need to do everything we can to alert people to the dangers,’ she added.
Councillor Richard Cox of Lichfield District Council said: ‘The Knife Angel is visually extremely striking and thought-provoking. Our aim is to prevent people from carrying knives through education, by explaining how lives can be destroyed and I hope many residents from across Lichfield District, neighbouring boroughs and districts throughout the Midlands will come and see it and help raise awareness.’
The Knife Angel is on site on Frog Lane in Lichfield until Sunday 30 July, when a ‘Civic Departure Event’ includes speakers, dancers, rappers and a procession through the city.
More information about the Knife Angel is available HERE
Share your story on social media by using these hashtags: #britishironworkcentre #knifeangel #savealifesurrenderyourknife
The Knife Angel is on site on Frog Lane in Lichfield until Sunday 30 July (Photograph: Patrick Comerford, 2023)
08 May 2023
Morning prayers in Easter
with USPG: (30) 8 May 2023
Saint Oswald (left) and Saint Aidan (right) in a stained-glass window in the Chapter House in Lichfield Cathedral (Photograph: Patrick Comerford, 2023)
Patrick Comerford
We are more half-way through the season of Easter, and yesterday was the Fifth Sunday of Easter (7 May 2023). Today, the calendar of the Church of England in Common Worship remembers Julian of Norwich, Spiritual Writer (ca 1417).
Today is a bank holiday in England as the post-cornonation public celebrations continue. Two of us are travelling to York later this morning. But, before this day gets busy, I am taking some time this morning for prayer and reflection. Following my recent visit to Lichfield Cathedral, I am reflecting each morning this week in these ways:
1, Short reflections on the windows in the Chapter House in Lichfield Cathedral;
2, the Gospel reading of the day in the Church of England lectionary;
3, a prayer from the USPG prayer diary.
The Saint Oswald and Saint Aidan window in Lichfield Cathedral is in memory of Archdeacon John Allen and Canon Henry George de Bunsen (Photograph: Patrick Comerford, 2023)
Saint Oswald and Saint Aidan window:
The Chapter House in Lichfield Cathedral is currently the venue for the exhibition ‘Library and Legacy,’ showcasing the collections in the cathedral library.
The chapter house was decorated with frescoes and stained glass in the late 15th century by Thomas Heywood, Dean of Lichfield in 1457-1492. The glass in the Chapter House once contained figures of the apostles, with other depictions above. These all predated the Cromwellian era, and were destroyed by the Puritans during the Civil War in the mid-17th century.
In the 19th century, the glazing of the chapter house displayed armorial bearings, more or less correct, in imitation of glass known to have ornamented the cathedral in the past. This armorial glass gradually gave way to glass representing scenes in the history of the cathedral. Six of the windows were glazed with these images in the late 19th and early 20th century, and the original but unfilled plan was to fill all the windows in the Chapter House.
The second window on the left-hand side on entering the Chapter House is in memory of the Ven John Allen (1810-1886), who was Archdeacon of Salop in the Diocese of Lichfield (1847-1886), and Canon Henry George de Bunsen, Rector of Donington (1847-1869) and a son of Baron de Bunsen. This window is by Burlison & Grylls, ca 1890. The firm was founded in 1868 at the instigation of the architects George Frederick Bodley and Thomas Garner. Both John Burlison (1843–1891) and Thomas John Grylls (1845–1913) had trained in the studios of Clayton and Bell.
The main figures in this window are Saint Oswald and Saint Aidan. Saint Chad, Saint Aidan and Saint Oswald are also depicted in the altar carving in Saint Chad’s Church, Lichfield.
Saint Aidan was one of Saint Columba’s monks from the monastery of Iona. He was sent as a missionary to Northumbria at the request of King Oswald, who was later to become his friend and interpreter. Aidan was consecrated Bishop of Lindisfarne in 635, worked closely with Oswald and became involved with the training of priests.
Saint Chad of Lichfield was one of four brothers who were of Northumbrian nobility and who were educated by Saint Aidan at the monastery in Lindisfarne. At that time Lindisfarne, also known as Holy Island, was one of the most important religious and centres in these islands.
From Lindisfarne, Aidan was able to combine a monastic lifestyle with his missionary journeys. With his concern for the poor and enthusiasm for preaching, he won popular support that enabled him to strengthen the Church beyond the boundaries of Northumbria. He died on this day in the year 651.
Saint Oswald, who was King of Northumbria, spent many years in exile in Dal Riada. On the night before the Battle of Hatfield Chase, it is said, Oswald had a vision of Saint Columba the in which he was told, ‘Be strong and act manfully. Behold, I will be with thee. This coming night go out from your camp into battle, for the Lord has granted me that at this time your foes shall be put to flight and Cadwallon your enemy shall be delivered into your hands and you shall return victorious after battle and reign happily.’
Oswald described his vision to his advisers, and all agreed that they would be baptised and accept Christianity after the battle. After his victory, King Oswald reunited Northumbria and reigned for nine years.
Shortly after becoming king, he asked the Irish of Dál Riada to send a bishop to facilitate the conversion of his people to Christianity. The Irish sent Saint Aidan, and Oswald gave the island of Lindisfarne to Saint Aidan as his episcopal see. Bede says Oswald acted as Aidan’s interpreter because he had learned Irish during his exile.
Bede portrays Oswald as living a saintly life as king and recounts Oswald’s generosity to the poor and to strangers.
Oswald was killed in the year 642 at the Battle of Maserfield, long identified as Oswestry in Shropshire. According to legend, one of his dismembered arms was carried to an ash tree by a raven. Miracles were later attributed to the tree, and legend says ‘Oswald’s Tree’ gave its name to the town.
Saint Oswald’s parish in Oswestry remains a parish in the Diocese of Lichfield.
The scenes in the lower panels of this window in the Chapter House in Lichfield depict Saint Aidan preaching to the Northumbrians, with King Oswald interpreting; and Saint Aidan at Lindisfarne, teaching in his school, where Saint Chad is one of the students.
These educational themes may have been chosen for this window because Archdeacon John Allen had once been a Lecturer at King’s College London.
Canon Henry George de Bunsen (1818-1885), was born in Rome in 1818, a son of the German diplomat and scholar Baron Christian Carl Josias von Bunsen (1791-1860). Canon de Bunsen was Vicar of Lilleshall (1847-1869), Rector of Donington, (1869-1885) and a Prebendary of Lichfield Cathedral (1878-1885). He died in Shifnal, Shropshire, on 19 March 1885.
The lower panels in the window depict Saint Aidan preaching, with King Oswald interpreting, and Saint Aidan at his school Lindisfarne, where Saint Chad was one of the students (Photograph: Patrick Comerford, 2023)
John 14: 21-26 (NRSVA):
[Jesus said:] 21 ‘They who have my commandments and keep them are those who love me; and those who love me will be loved by my Father, and I will love them and reveal myself to them.’ 22 Judas (not Iscariot) said to him, ‘Lord, how is it that you will reveal yourself to us, and not to the world?’ 23 Jesus answered him, ‘Those who love me will keep my word, and my Father will love them, and we will come to them and make our home with them. 24 Whoever does not love me does not keep my words; and the word that you hear is not mine, but is from the Father who sent me.
25 ‘I have said these things to you while I am still with you. 26 But the Advocate, the Holy Spirit, whom the Father will send in my name, will teach you everything, and remind you of all that I have said to you.’
Saint Aidan (left), with Saint Oswald (centre) and Saint Chad (right) on the altar in Saint Chad’s Church, Lichfield (Photograph: Patrick Comerford, 2022)
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘The Work and Mission of the Laity.’ USPG’s Regional Manager for Africa, Fran Mate, reflected yesterday on the work and mission of the laity.
The USPG Prayer invites us to pray this morning (Monday 8 May 2023):
Let us pray for the Church throughout the world. May its members live out their baptismal promises and may each find their vocation and ministry.
Collect:
Most holy God, the ground of our beseeching,
who through your servant Julian
revealed the wonders of your love:
grant that as we are created in your nature
and restored by your grace,
our wills may be so made one with yours
that we may come to see you face to face
and gaze on you for ever;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Post Communion:
God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with Julian to the eternal feast of heaven;
through Jesus Christ our Lord.
Inside Saint Chad’s Church, Lichfield, facing east (Photograph: Patrick Comerford, 2022)
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
We are more half-way through the season of Easter, and yesterday was the Fifth Sunday of Easter (7 May 2023). Today, the calendar of the Church of England in Common Worship remembers Julian of Norwich, Spiritual Writer (ca 1417).
Today is a bank holiday in England as the post-cornonation public celebrations continue. Two of us are travelling to York later this morning. But, before this day gets busy, I am taking some time this morning for prayer and reflection. Following my recent visit to Lichfield Cathedral, I am reflecting each morning this week in these ways:
1, Short reflections on the windows in the Chapter House in Lichfield Cathedral;
2, the Gospel reading of the day in the Church of England lectionary;
3, a prayer from the USPG prayer diary.
The Saint Oswald and Saint Aidan window in Lichfield Cathedral is in memory of Archdeacon John Allen and Canon Henry George de Bunsen (Photograph: Patrick Comerford, 2023)
Saint Oswald and Saint Aidan window:
The Chapter House in Lichfield Cathedral is currently the venue for the exhibition ‘Library and Legacy,’ showcasing the collections in the cathedral library.
The chapter house was decorated with frescoes and stained glass in the late 15th century by Thomas Heywood, Dean of Lichfield in 1457-1492. The glass in the Chapter House once contained figures of the apostles, with other depictions above. These all predated the Cromwellian era, and were destroyed by the Puritans during the Civil War in the mid-17th century.
In the 19th century, the glazing of the chapter house displayed armorial bearings, more or less correct, in imitation of glass known to have ornamented the cathedral in the past. This armorial glass gradually gave way to glass representing scenes in the history of the cathedral. Six of the windows were glazed with these images in the late 19th and early 20th century, and the original but unfilled plan was to fill all the windows in the Chapter House.
The second window on the left-hand side on entering the Chapter House is in memory of the Ven John Allen (1810-1886), who was Archdeacon of Salop in the Diocese of Lichfield (1847-1886), and Canon Henry George de Bunsen, Rector of Donington (1847-1869) and a son of Baron de Bunsen. This window is by Burlison & Grylls, ca 1890. The firm was founded in 1868 at the instigation of the architects George Frederick Bodley and Thomas Garner. Both John Burlison (1843–1891) and Thomas John Grylls (1845–1913) had trained in the studios of Clayton and Bell.
The main figures in this window are Saint Oswald and Saint Aidan. Saint Chad, Saint Aidan and Saint Oswald are also depicted in the altar carving in Saint Chad’s Church, Lichfield.
Saint Aidan was one of Saint Columba’s monks from the monastery of Iona. He was sent as a missionary to Northumbria at the request of King Oswald, who was later to become his friend and interpreter. Aidan was consecrated Bishop of Lindisfarne in 635, worked closely with Oswald and became involved with the training of priests.
Saint Chad of Lichfield was one of four brothers who were of Northumbrian nobility and who were educated by Saint Aidan at the monastery in Lindisfarne. At that time Lindisfarne, also known as Holy Island, was one of the most important religious and centres in these islands.
From Lindisfarne, Aidan was able to combine a monastic lifestyle with his missionary journeys. With his concern for the poor and enthusiasm for preaching, he won popular support that enabled him to strengthen the Church beyond the boundaries of Northumbria. He died on this day in the year 651.
Saint Oswald, who was King of Northumbria, spent many years in exile in Dal Riada. On the night before the Battle of Hatfield Chase, it is said, Oswald had a vision of Saint Columba the in which he was told, ‘Be strong and act manfully. Behold, I will be with thee. This coming night go out from your camp into battle, for the Lord has granted me that at this time your foes shall be put to flight and Cadwallon your enemy shall be delivered into your hands and you shall return victorious after battle and reign happily.’
Oswald described his vision to his advisers, and all agreed that they would be baptised and accept Christianity after the battle. After his victory, King Oswald reunited Northumbria and reigned for nine years.
Shortly after becoming king, he asked the Irish of Dál Riada to send a bishop to facilitate the conversion of his people to Christianity. The Irish sent Saint Aidan, and Oswald gave the island of Lindisfarne to Saint Aidan as his episcopal see. Bede says Oswald acted as Aidan’s interpreter because he had learned Irish during his exile.
Bede portrays Oswald as living a saintly life as king and recounts Oswald’s generosity to the poor and to strangers.
Oswald was killed in the year 642 at the Battle of Maserfield, long identified as Oswestry in Shropshire. According to legend, one of his dismembered arms was carried to an ash tree by a raven. Miracles were later attributed to the tree, and legend says ‘Oswald’s Tree’ gave its name to the town.
Saint Oswald’s parish in Oswestry remains a parish in the Diocese of Lichfield.
The scenes in the lower panels of this window in the Chapter House in Lichfield depict Saint Aidan preaching to the Northumbrians, with King Oswald interpreting; and Saint Aidan at Lindisfarne, teaching in his school, where Saint Chad is one of the students.
These educational themes may have been chosen for this window because Archdeacon John Allen had once been a Lecturer at King’s College London.
Canon Henry George de Bunsen (1818-1885), was born in Rome in 1818, a son of the German diplomat and scholar Baron Christian Carl Josias von Bunsen (1791-1860). Canon de Bunsen was Vicar of Lilleshall (1847-1869), Rector of Donington, (1869-1885) and a Prebendary of Lichfield Cathedral (1878-1885). He died in Shifnal, Shropshire, on 19 March 1885.
The lower panels in the window depict Saint Aidan preaching, with King Oswald interpreting, and Saint Aidan at his school Lindisfarne, where Saint Chad was one of the students (Photograph: Patrick Comerford, 2023)
John 14: 21-26 (NRSVA):
[Jesus said:] 21 ‘They who have my commandments and keep them are those who love me; and those who love me will be loved by my Father, and I will love them and reveal myself to them.’ 22 Judas (not Iscariot) said to him, ‘Lord, how is it that you will reveal yourself to us, and not to the world?’ 23 Jesus answered him, ‘Those who love me will keep my word, and my Father will love them, and we will come to them and make our home with them. 24 Whoever does not love me does not keep my words; and the word that you hear is not mine, but is from the Father who sent me.
25 ‘I have said these things to you while I am still with you. 26 But the Advocate, the Holy Spirit, whom the Father will send in my name, will teach you everything, and remind you of all that I have said to you.’
Saint Aidan (left), with Saint Oswald (centre) and Saint Chad (right) on the altar in Saint Chad’s Church, Lichfield (Photograph: Patrick Comerford, 2022)
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘The Work and Mission of the Laity.’ USPG’s Regional Manager for Africa, Fran Mate, reflected yesterday on the work and mission of the laity.
The USPG Prayer invites us to pray this morning (Monday 8 May 2023):
Let us pray for the Church throughout the world. May its members live out their baptismal promises and may each find their vocation and ministry.
Collect:
Most holy God, the ground of our beseeching,
who through your servant Julian
revealed the wonders of your love:
grant that as we are created in your nature
and restored by your grace,
our wills may be so made one with yours
that we may come to see you face to face
and gaze on you for ever;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Post Communion:
God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with Julian to the eternal feast of heaven;
through Jesus Christ our Lord.
Inside Saint Chad’s Church, Lichfield, facing east (Photograph: Patrick Comerford, 2022)
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
08 March 2023
Dancing with Angels
and listening to music
under the full moon
Patrick Comerford
I know these are forms of illiteracy. But I never learned to sing properly, I never learned to read music, and I never learned to play a musical instrument.
My life has been filled with the pleasure of music since I was 19, when I was introduced to the music of Vaughan Williams while I was staying in Wilderhope Manor in Shropshire, and was challenged to listen to Bach and Beethoven.
Although at school in Gormanston they offered to teach me any instrument I wanted to try, there was no encouragement at home. My parents did not play any musical instruments, they never sang in a choir, and there was no musical instrument in the house. Apart from my elder brother’s mouth organ, there was no piano or violin; why, there wasn’t even a record player there until I was 19 or 20.
I have more than compensated for these forms of illiteracy since then. I was delighted to be part of the choir in Christ Church Cathedral, Dublin, on rare occasions, and to chair the Cathedral Music Committee briefly. I took a particular interest in the chapel music and hymns when I was lecturing in liturgy at the Church of Ireland Theological Institute. And it was a privilege, indeed, to spend five years as Canon Precentor of Saint Mary’s Cathedral, Limerick, Saint Flannan’s Cathedral, Killaloe, Co Clare, and Saint Brendan’s Cathedral, Clonfert, Co Galway.
Additional musical pleasures came with my election as a Fellow of the Academy of Saint Cecilia (FASC) and later as a Fellow of the Fraternity of Saint Cecilia (FFSC). These days, my limited liturgical and musical engagement includes offering my bass voice twice a month in the parish choir on Sunday mornings in Saint Mary and Saint Giles Church, Stony Stratford, although today’s snow across England means this evening’s choir rehearsal has been cancelled.
I suppose it is too late at this stage to imagine I am going to be able to make more than a poor effort at sight reading music. I am never going to play a musical instrument. So, it was a wonderful surprise this week to be told by the American composer Fran Schultz, who lives in Howell, New Jersey, that my writing and ideas have inspired her latest composition and recording, ‘How Many Angels Can Dance on the Head of a Pin.’
Fran started the week off with her new piece of music, which she describes as in the genre of rock, instrumental and digital electronic music. The musical instruments on her recording include a Steinway Grand Piano, Oak Piano Dream Synthesiser, Stutter Stack and Classic D6.
She warns that her five-minute recording is ‘best heard with headphones,’ and on her website is generous when she extends ‘special thanks to Patrick Comerford for his writing and his allowing me use of his photos.’
She introduced this new piece late on Sunday morning or early on Monday morning, depending on which side of the Atlantic you live, saying there is ‘no better time than a Full Moon to release a new piece of music.’
Fran says ‘How Many Angels Can Dance on the Head of a Pin’ is ‘very inspired’ by a recent piece I wrote and that she wrote this piece of music because of my ‘inspirational writing.’
She adds: ‘I also enjoyed reading all the links he provided about the artist, Emily Young, his thoughts and quotes by her. I thank him very much for letting me make use of his photographs for this piece of music and to the artist Emily Young for making them.’
She continues: ‘The connection point for me in his writing was immediate in his succinct and direct insightful recognition of such questions and in my seeing how in social media distracts us into questions that are essentially “A metaphor for wasting time discussing trivial topics that have no practical value, or asking questions whose answers hold no practical value, or asking questions whose answers hold no consequence, at times when we have more urgent concerns to debate”.’
She is unexpectedly generous when she says my ‘writing has many layers of depth to it that I particularly am drawn to in the subjects of architecture, sculptures, history, theology, questions, the deeper meaning of things and the beauty of things we might not have noticed or fully appreciated before. I love his thoughtful responses to the questions and what brought those very questions up upon reflecting the sculptures made by Emily Young as he was taking a walk in London … and taking photos. Hope you enjoy his writing and enjoy my music too!’
And she then offers a link to my website and my article of 25 February 2023, ‘Emily Young’s Five Angels on Columns,’ HERE.
You can listen to Fran Schultz’s composition, ‘How Many Angels Can Dance on the Head of a Pin’, HERE.
I know these are forms of illiteracy. But I never learned to sing properly, I never learned to read music, and I never learned to play a musical instrument.
My life has been filled with the pleasure of music since I was 19, when I was introduced to the music of Vaughan Williams while I was staying in Wilderhope Manor in Shropshire, and was challenged to listen to Bach and Beethoven.
Although at school in Gormanston they offered to teach me any instrument I wanted to try, there was no encouragement at home. My parents did not play any musical instruments, they never sang in a choir, and there was no musical instrument in the house. Apart from my elder brother’s mouth organ, there was no piano or violin; why, there wasn’t even a record player there until I was 19 or 20.
I have more than compensated for these forms of illiteracy since then. I was delighted to be part of the choir in Christ Church Cathedral, Dublin, on rare occasions, and to chair the Cathedral Music Committee briefly. I took a particular interest in the chapel music and hymns when I was lecturing in liturgy at the Church of Ireland Theological Institute. And it was a privilege, indeed, to spend five years as Canon Precentor of Saint Mary’s Cathedral, Limerick, Saint Flannan’s Cathedral, Killaloe, Co Clare, and Saint Brendan’s Cathedral, Clonfert, Co Galway.
Additional musical pleasures came with my election as a Fellow of the Academy of Saint Cecilia (FASC) and later as a Fellow of the Fraternity of Saint Cecilia (FFSC). These days, my limited liturgical and musical engagement includes offering my bass voice twice a month in the parish choir on Sunday mornings in Saint Mary and Saint Giles Church, Stony Stratford, although today’s snow across England means this evening’s choir rehearsal has been cancelled.
I suppose it is too late at this stage to imagine I am going to be able to make more than a poor effort at sight reading music. I am never going to play a musical instrument. So, it was a wonderful surprise this week to be told by the American composer Fran Schultz, who lives in Howell, New Jersey, that my writing and ideas have inspired her latest composition and recording, ‘How Many Angels Can Dance on the Head of a Pin.’
Fran started the week off with her new piece of music, which she describes as in the genre of rock, instrumental and digital electronic music. The musical instruments on her recording include a Steinway Grand Piano, Oak Piano Dream Synthesiser, Stutter Stack and Classic D6.
She warns that her five-minute recording is ‘best heard with headphones,’ and on her website is generous when she extends ‘special thanks to Patrick Comerford for his writing and his allowing me use of his photos.’
She introduced this new piece late on Sunday morning or early on Monday morning, depending on which side of the Atlantic you live, saying there is ‘no better time than a Full Moon to release a new piece of music.’
Fran says ‘How Many Angels Can Dance on the Head of a Pin’ is ‘very inspired’ by a recent piece I wrote and that she wrote this piece of music because of my ‘inspirational writing.’
She adds: ‘I also enjoyed reading all the links he provided about the artist, Emily Young, his thoughts and quotes by her. I thank him very much for letting me make use of his photographs for this piece of music and to the artist Emily Young for making them.’
She continues: ‘The connection point for me in his writing was immediate in his succinct and direct insightful recognition of such questions and in my seeing how in social media distracts us into questions that are essentially “A metaphor for wasting time discussing trivial topics that have no practical value, or asking questions whose answers hold no practical value, or asking questions whose answers hold no consequence, at times when we have more urgent concerns to debate”.’
She is unexpectedly generous when she says my ‘writing has many layers of depth to it that I particularly am drawn to in the subjects of architecture, sculptures, history, theology, questions, the deeper meaning of things and the beauty of things we might not have noticed or fully appreciated before. I love his thoughtful responses to the questions and what brought those very questions up upon reflecting the sculptures made by Emily Young as he was taking a walk in London … and taking photos. Hope you enjoy his writing and enjoy my music too!’
And she then offers a link to my website and my article of 25 February 2023, ‘Emily Young’s Five Angels on Columns,’ HERE.
You can listen to Fran Schultz’s composition, ‘How Many Angels Can Dance on the Head of a Pin’, HERE.
20 August 2022
Praying with USPG and the music of
Vaughan Williams: Saturday 20 August 2022
Upper Clun valley, a little way out of Whitcott Keysett, the view towards Newcastle and the hills beyond. A light shower of rain drifts across the hills near Upper Spoad (Photograph: Geoff Cryer, CC BY-SA 2.0 creative commons licenses via Wikimedia Commons)
Patrick Comerford
Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
The life of Saint Bernard of Clairvaux depicted in a stained-glass window in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
The calendar of the Church of England in Common Worship today (20 August) recalls Saint Bernard, Abbot of Clairvaux, Teacher of the Faith, 1153 (Lesser Festival) and William and Catherine Booth, founders of the Salvation, 1912 and 1890 (Commemoration).
Saint Bernard was born at Fontaines, near Dijon, in France in the year 1090. He entered the Benedictine abbey at Cîteaux in 1112, taking with him many of his young companions, some of whom were his own brothers. He was a leader of the reform among the Benedictines at this time and in 1115 was sent to establish a new monastery at a place he named Clairvaux, or valley of light.
Though times were hard, he built up the community with his remarkable qualities of leadership. Bernard preached widely and powerfully and proved himself a theologian of renown. Literally hundreds of houses were founded on the Cîteaux or Cistercian system and Bernard’s influence on his own generation and beyond was immense. He died on this day in 1153.
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 23: 1-12 (NRSVA):
1 Then Jesus said to the crowds and to his disciples, 2 ‘The scribes and the Pharisees sit on Moses’ seat; 3 therefore, do whatever they teach you and follow it; but do not do as they do, for they do not practise what they teach. 4 They tie up heavy burdens, hard to bear, and lay them on the shoulders of others; but they themselves are unwilling to lift a finger to move them. 5 They do all their deeds to be seen by others; for they make their phylacteries broad and their fringes long. 6 They love to have the place of honour at banquets and the best seats in the synagogues, 7 and to be greeted with respect in the market-places, and to have people call them rabbi. 8 But you are not to be called rabbi, for you have one teacher, and you are all students. 9 And call no one your father on earth, for you have one Father—the one in heaven. 10 Nor are you to be called instructors, for you have one instructor, the Messiah. 11 The greatest among you will be your servant. 12 All who exalt themselves will be humbled, and all who humble themselves will be exalted.’
The Clun Valley, view eastwards from under the bridge across the valley to May Hill and Saddle Hill (Photograph: Trevor Rickard, creativecommons.org/licenses/by-sa/2.0), via Wikimedia Commons)
Today’s reflection: ‘Clun’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
This morning [20 August 2022], I am listening to ‘Clun,’ the sixth and final six setting by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
Perhaps the moment most characteristic of Vaughan Williams’s attitude to life comes at the end of this cycle, when his evocation of the calm of death inspires a vision of the Celestial City – something that was to come again and again in his later works.
Although this may be at odds with Housman’s grief and bitterness, Vaughan Williams’s mood of acceptance and fulfilment raises this cycle to a level of exceptional spiritual awareness.
On Wednesday, while I was reflecting on the third of these songs, ‘Is my team ploughing,’ I recalled how Vaughan Williams omitted the two football stanzas in that poem, to the great annoyance pf Housman, who wrote to his publisher, Grant Richards asking: ‘I wonder how he would like me to cut two bars out of his music?’
But in arranging his setting for this sixth poem, ‘Clun,’ Vaughan Williams also deleted Housman’s superscription to his fiftieth poem (L):
Clunton and Clunbury,
Clungunford and Clun
Are the quietest places
Under the sun.
Housman was from Worcestershire and at first knew little of Clunton and Clunbury, Clungunford and Clun in south Shropshire, to the west of Wenlock Edge. The settings in this poem welled up from his imagination, and he wrote most of the poems in A Shropshire Lad while living in Highgate, London, before ever visiting this part of Shropshire, although it is only about 30 miles from his boyhood home.
He presents Shropshire in an idealised pastoral light, as his ‘land of lost content,’ and Housman creates a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. He became so intimately associated with south Shropshire that when he died in Cambridge in1936 he was buried just outside Saint Laurence’s Church in the market town of Ludlow, which stands on a cliff above the River Teme.
Housman’s ‘Famous Four’ in the beautiful Clun Valley can be reached in one long day’s walk along the Shropshire lanes and their verges. They sit in the beautiful Clun Valley in the Clun Forest, although visitors may be confused, for the Clun Forest has few trees and the name “Forest” refers to the area’s mediaeval use as a Royal Hunting Forest.
Clun is surrounded by the Shropshire Hills Area of Outstanding Natural Beauty, close to the 1200-year-old Offa’s Dyke and the Offa’s Dyke Path, a 177-mile long National Trail. Clun Castle overlooking the town is said to have inspired Sir Water Scott when he was writing The Betrothed.
The town is divided in two by the 15th century Packhorse Bridge, which has alcoves so people crossing on foot can avoid being trampled by the horses. The ancient part of Clun stands on the south side and the newer Norman town on the north, all set in the idyllic Clun Valley.
Saint George’s Church overlooks the river and the castle. The playwright John Osborne (Look Back in Anger, 1956), who lived nearby, was buried in the churchyard in 1994. The Trinity Hospital and Almshouses are Jacobean, built by the Earl of Northampton in 1614 in two quadrangles, to provide ‘charitable accommodation to 12 men of good character.’
Near Clunton, the fort on Bury Ditches Hill, with its ramparts and ditches towering above the slopes, has been described as one of the finest hill forts in Britain.
Neighbouring Clunbury celebrated the centenary of Housman’s A Shropshire Lad in 1996 with an 1896 weekend. As part of the programme, Christopher Train of Holland House, Clunbury, spoke in Saint Swithin’s Church on Clunbury at the time Housman wrote this poem.
Housman described these neat and quiet Shropshire villages as ‘the quietest places under the sun.’ By 1896 this was certainly true for Clunbury, which had lost its pub – The Raven or Pig and Whistle, which is now Dutch Cottage with its thatched roof – after the last tenant, James Harding, died in 1879.
In his lecture, Christopher Train noted that the parishioner who wrote of the Clunbury entry in the Clun Valley parochial magazine at the end of the 19th century regularly laments the fact that he has nothing of significance to report. For example: ‘There are no stirring events to record as having happened in Clunbury last month. It has always had the name of being ‘one of the quietest under the sun.’ A stranger passing the other day on the road to Clun and looking down upon our little village enquired of the driver of the conveyance what happy looking, peaceful sunshiny place it was.’
He notes that the Revd William Jellicorse retired as Vicar of Clunbury in August 1896 after 40 years. That year, Matins were said daily in the Parish Church at 10 a.m., there were two or three services each Sunday, and one of the highlights of life in Clunbury was the annual entertainment of the choir and bell-ringers.
Clungunford in south Shropshire is near the border with Herefordshire. Saint Cuthbert’s is the village parish church and the Rocke Cottage, formerly the Bird on the Rock, was one named by the UK Tea Guild as Britain’s top tea place.
Knighton, which also features in this poem, is a small market town about seven miles south of Clun. It stands on the River Teme, straddling the border between England and Wales, so that the main part of the town is in Powys, within the historic county boundaries of Radnorshire, while a small part of the town is in Shropshire.
Knighton-on-Teme is a village in the Malvern Hills District in Worcestershire, about 14 miles east of Ludlow. It too stands on the banks of the River Teme.
6, Clun
Clunton and Clunbury,
Clungunford and Clun,
Are the quietest places
Under the sun.
In valleys of springs and rivers,
By Ony and Teme and Clun,
The country for easy livers
The quietest under the sun,
We still had sorrows to lighten,
One could not always be glad,
And lads knew trouble at Knighton
When I was a Knighton lad.
By bridges that Thames runs under,
In London, the town built ill,
’Tis sure small matter for wonder
If sorrow is with one still.
And if as a lad grows older
The troubles he bears are more,
He carries his griefs on a shoulder
That handselled them long before.
Where shall one halt to deliver
This luggage I’d lief set down?
Not Thames, not Teme is the river,
Nor London nor Knighton the town:
’Tis a long way further than Knighton,
A quieter place than Clun
Where doomsday may thunder and lighten
And little ’twill matter to one.
‘They love to have the place of honour at banquets’ (Matthew 23: 6) … preparing for dinner at the Hedgehog Vintage Inn in Lichfield (Photograph: Patrick Comerford)
Today’s Prayer, Saturday 20 August 2022:
The Collect:
Merciful Redeemer,
who, by the life and preaching of your servant Bernard,
rekindled the radiant light of your Church:
grant us, in our generation,
to be inflamed with the same spirit of discipline and love,
and ever to walk before you as children of light;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Post Communion:
God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with your servant Bernard
to the eternal feast of heaven;
through Jesus Christ our Lord.
The theme in the USPG prayer diary this week has been ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
We pray for refugees, seeking shelter and safety as they have been forced out of their homes. May we offer them whatever pastoral and practical support possible.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
The life of Saint Bernard of Clairvaux depicted in a stained-glass window in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
The calendar of the Church of England in Common Worship today (20 August) recalls Saint Bernard, Abbot of Clairvaux, Teacher of the Faith, 1153 (Lesser Festival) and William and Catherine Booth, founders of the Salvation, 1912 and 1890 (Commemoration).
Saint Bernard was born at Fontaines, near Dijon, in France in the year 1090. He entered the Benedictine abbey at Cîteaux in 1112, taking with him many of his young companions, some of whom were his own brothers. He was a leader of the reform among the Benedictines at this time and in 1115 was sent to establish a new monastery at a place he named Clairvaux, or valley of light.
Though times were hard, he built up the community with his remarkable qualities of leadership. Bernard preached widely and powerfully and proved himself a theologian of renown. Literally hundreds of houses were founded on the Cîteaux or Cistercian system and Bernard’s influence on his own generation and beyond was immense. He died on this day in 1153.
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 23: 1-12 (NRSVA):
1 Then Jesus said to the crowds and to his disciples, 2 ‘The scribes and the Pharisees sit on Moses’ seat; 3 therefore, do whatever they teach you and follow it; but do not do as they do, for they do not practise what they teach. 4 They tie up heavy burdens, hard to bear, and lay them on the shoulders of others; but they themselves are unwilling to lift a finger to move them. 5 They do all their deeds to be seen by others; for they make their phylacteries broad and their fringes long. 6 They love to have the place of honour at banquets and the best seats in the synagogues, 7 and to be greeted with respect in the market-places, and to have people call them rabbi. 8 But you are not to be called rabbi, for you have one teacher, and you are all students. 9 And call no one your father on earth, for you have one Father—the one in heaven. 10 Nor are you to be called instructors, for you have one instructor, the Messiah. 11 The greatest among you will be your servant. 12 All who exalt themselves will be humbled, and all who humble themselves will be exalted.’
The Clun Valley, view eastwards from under the bridge across the valley to May Hill and Saddle Hill (Photograph: Trevor Rickard, creativecommons.org/licenses/by-sa/2.0), via Wikimedia Commons)
Today’s reflection: ‘Clun’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
This morning [20 August 2022], I am listening to ‘Clun,’ the sixth and final six setting by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
Perhaps the moment most characteristic of Vaughan Williams’s attitude to life comes at the end of this cycle, when his evocation of the calm of death inspires a vision of the Celestial City – something that was to come again and again in his later works.
Although this may be at odds with Housman’s grief and bitterness, Vaughan Williams’s mood of acceptance and fulfilment raises this cycle to a level of exceptional spiritual awareness.
On Wednesday, while I was reflecting on the third of these songs, ‘Is my team ploughing,’ I recalled how Vaughan Williams omitted the two football stanzas in that poem, to the great annoyance pf Housman, who wrote to his publisher, Grant Richards asking: ‘I wonder how he would like me to cut two bars out of his music?’
But in arranging his setting for this sixth poem, ‘Clun,’ Vaughan Williams also deleted Housman’s superscription to his fiftieth poem (L):
Clunton and Clunbury,
Clungunford and Clun
Are the quietest places
Under the sun.
Housman was from Worcestershire and at first knew little of Clunton and Clunbury, Clungunford and Clun in south Shropshire, to the west of Wenlock Edge. The settings in this poem welled up from his imagination, and he wrote most of the poems in A Shropshire Lad while living in Highgate, London, before ever visiting this part of Shropshire, although it is only about 30 miles from his boyhood home.
He presents Shropshire in an idealised pastoral light, as his ‘land of lost content,’ and Housman creates a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. He became so intimately associated with south Shropshire that when he died in Cambridge in1936 he was buried just outside Saint Laurence’s Church in the market town of Ludlow, which stands on a cliff above the River Teme.
Housman’s ‘Famous Four’ in the beautiful Clun Valley can be reached in one long day’s walk along the Shropshire lanes and their verges. They sit in the beautiful Clun Valley in the Clun Forest, although visitors may be confused, for the Clun Forest has few trees and the name “Forest” refers to the area’s mediaeval use as a Royal Hunting Forest.
Clun is surrounded by the Shropshire Hills Area of Outstanding Natural Beauty, close to the 1200-year-old Offa’s Dyke and the Offa’s Dyke Path, a 177-mile long National Trail. Clun Castle overlooking the town is said to have inspired Sir Water Scott when he was writing The Betrothed.
The town is divided in two by the 15th century Packhorse Bridge, which has alcoves so people crossing on foot can avoid being trampled by the horses. The ancient part of Clun stands on the south side and the newer Norman town on the north, all set in the idyllic Clun Valley.
Saint George’s Church overlooks the river and the castle. The playwright John Osborne (Look Back in Anger, 1956), who lived nearby, was buried in the churchyard in 1994. The Trinity Hospital and Almshouses are Jacobean, built by the Earl of Northampton in 1614 in two quadrangles, to provide ‘charitable accommodation to 12 men of good character.’
Near Clunton, the fort on Bury Ditches Hill, with its ramparts and ditches towering above the slopes, has been described as one of the finest hill forts in Britain.
Neighbouring Clunbury celebrated the centenary of Housman’s A Shropshire Lad in 1996 with an 1896 weekend. As part of the programme, Christopher Train of Holland House, Clunbury, spoke in Saint Swithin’s Church on Clunbury at the time Housman wrote this poem.
Housman described these neat and quiet Shropshire villages as ‘the quietest places under the sun.’ By 1896 this was certainly true for Clunbury, which had lost its pub – The Raven or Pig and Whistle, which is now Dutch Cottage with its thatched roof – after the last tenant, James Harding, died in 1879.
In his lecture, Christopher Train noted that the parishioner who wrote of the Clunbury entry in the Clun Valley parochial magazine at the end of the 19th century regularly laments the fact that he has nothing of significance to report. For example: ‘There are no stirring events to record as having happened in Clunbury last month. It has always had the name of being ‘one of the quietest under the sun.’ A stranger passing the other day on the road to Clun and looking down upon our little village enquired of the driver of the conveyance what happy looking, peaceful sunshiny place it was.’
He notes that the Revd William Jellicorse retired as Vicar of Clunbury in August 1896 after 40 years. That year, Matins were said daily in the Parish Church at 10 a.m., there were two or three services each Sunday, and one of the highlights of life in Clunbury was the annual entertainment of the choir and bell-ringers.
Clungunford in south Shropshire is near the border with Herefordshire. Saint Cuthbert’s is the village parish church and the Rocke Cottage, formerly the Bird on the Rock, was one named by the UK Tea Guild as Britain’s top tea place.
Knighton, which also features in this poem, is a small market town about seven miles south of Clun. It stands on the River Teme, straddling the border between England and Wales, so that the main part of the town is in Powys, within the historic county boundaries of Radnorshire, while a small part of the town is in Shropshire.
Knighton-on-Teme is a village in the Malvern Hills District in Worcestershire, about 14 miles east of Ludlow. It too stands on the banks of the River Teme.
6, Clun
Clunton and Clunbury,
Clungunford and Clun,
Are the quietest places
Under the sun.
In valleys of springs and rivers,
By Ony and Teme and Clun,
The country for easy livers
The quietest under the sun,
We still had sorrows to lighten,
One could not always be glad,
And lads knew trouble at Knighton
When I was a Knighton lad.
By bridges that Thames runs under,
In London, the town built ill,
’Tis sure small matter for wonder
If sorrow is with one still.
And if as a lad grows older
The troubles he bears are more,
He carries his griefs on a shoulder
That handselled them long before.
Where shall one halt to deliver
This luggage I’d lief set down?
Not Thames, not Teme is the river,
Nor London nor Knighton the town:
’Tis a long way further than Knighton,
A quieter place than Clun
Where doomsday may thunder and lighten
And little ’twill matter to one.
‘They love to have the place of honour at banquets’ (Matthew 23: 6) … preparing for dinner at the Hedgehog Vintage Inn in Lichfield (Photograph: Patrick Comerford)
Today’s Prayer, Saturday 20 August 2022:
The Collect:
Merciful Redeemer,
who, by the life and preaching of your servant Bernard,
rekindled the radiant light of your Church:
grant us, in our generation,
to be inflamed with the same spirit of discipline and love,
and ever to walk before you as children of light;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Post Communion:
God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with your servant Bernard
to the eternal feast of heaven;
through Jesus Christ our Lord.
The theme in the USPG prayer diary this week has been ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
We pray for refugees, seeking shelter and safety as they have been forced out of their homes. May we offer them whatever pastoral and practical support possible.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
19 August 2022
Praying with USPG and the music of
Vaughan Williams: Friday 19 August 2022
‘The bells they sound on Bredon, / And still the steeples hum’ … Parson’s Folly on Bredon Hill (Photograph: Stephen Dawson, Licensed under CC BY-SA 2.0 via Wikimedia Commons)
Patrick Comerford
Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
‘Teacher, which commandment in the law is the greatest?’ (Matthew 22: 36) … the number of knots and fringes on a tallit or prayer shawl represent the 613 commandments in Jewish law (Photograph: Patrick Comerford)
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 22: 34-40 (NRSVA):
34 When the Pharisees heard that he had silenced the Sadducees, they gathered together, 35 and one of them, a lawyer, asked him a question to test him. 36 ‘Teacher, which commandment in the law is the greatest?’ 37 He said to him, ‘ “You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.” 38 This is the greatest and first commandment. 39 And a second is like it: “You shall love your neighbour as yourself.” 40 On these two commandments hang all the law and the prophets.’
A limestone wall on Bredon Hill (Photograph: Stephen Dawson, licensed under CC BY-SA 2.0 via Wikimedia Commons)
Today’s reflection: ‘Bredon Hill’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
This morning [19 August 2022], I am listening to ‘Bredon Hill,’ the fifth of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
Vaughan Williams composed On Wenlock Edge in 1909, a year after spending three months studying in Paris under Maurice Ravel, the French composer. The French influence on Vaughan Williams can be heard particularly in ‘Bredon Hill,’ and the accompaniment is redolent of ‘La Vallée des Cloches’ from Ravel’s Miroirs for piano (1905).
Vaughan William’s use of the piano quintet as the accompanying ensemble was an innovation in English music. Before he composed On Wenlock Edge, the string quartet alone had been used as an accompaniment to song by Henry Walford Davies in 1894 (Prospice).
Although it was used later by other composers, including Vaughan Williams, its use remained limited even though English musicians had started to rediscover the Golden Age of the Elizabethan period, and the quartet might have become the natural successor to the viol consort. Perhaps the introduction of the piano into the ensemble by Vaughan Williams was inspired by Ravel’s teacher, Gabriel Fauré. His Paul Verlaine cycle, La Bonne Chanson, was composed in 1892-1894 with piano accompaniment, and in 1898, Fauré arranged it for piano and string quintet.
In addition, the bell-like accompaniment of ‘Bredon Hill’ paints a picture of great dramatic intensity.
Bredon Hill in Worcestershire is a hill south-west of Evesham in the Vale of Evesham, with its summit in the parish of Kemerton. The hill is part of the Cotswolds, but millions of years of erosion have left it isolated, standing in the Vale of Evesham.
Bredon Hill has a number of ancient standing stones, the Bambury (or Banbury) and the Queen and King. Local legend says that those passing between the King and Queen stones will be cured of illness. The tradition of going to kiss the Bambury Stone for good luck on Good Friday is one shared with many other stones around England.
What about the bells that sound so clear on Bredon Hill, ‘in steeples far and near,’ calling all to church? A number of interesting churches are dotted about the villages surrounding Bredon Hill. Saint Giles in Bredon village was built in late 12th to mid-13th century. The church has a memorial to Bishop Prideaux, who was chaplain to King James I and King Charles I, magnificent stained glass windows, detached shafts of Purbeck marble supporting the Mitton Chapel, and mediaeval tiles in the sanctuary.
Saint Mary’s in Elmley Castle, 7 or 8 km to the north-east, dates from the end of the 11th century and contains grand monuments to Thomas Coventry, 1st Earl of Coventry, who died in 1699, and 17th century effigies of members of the Savage family.
Roman coins and artefacts have been found at Little Comberton, on the north side of Bredon Hill, where the 12th century church is thought to stand on the site of a Roman temple.
There are views of Tewkesbury Abbey about 5 km to the south-west. When Worcester Cathedral was damaged in the English civil war, it was repaired using stone brought from Bredon.
Bredon Hill is crowned by Parson’s Folly, or the Banbury Stone Tower built in the mid-18th century for John Parsons (1732–1805), MP, of Kemerton Court, as a summer house with a view across the surrounding countryside.
A local rhyme reflects folklore about the way Bredon Hill controls the local weather:
When Bredon Hill puts on his hat
Ye men of the Vale beware of that.
When Bredon Hill does clear appear
Ye men of the Vale have nothing to fear.
Bredon Hill features in the works of many composers, poets, writers and artists, including Ralph Vaughan Williams, Ivor Gurney, George Butterworth and Herbert Howells; John Masefield and Cecil Day-Lewis; and Arthur Quiller-Couch. Bredon Hill is the birthplace of Fred Archer (1915-1999), who describes life on the farms and in the villages in the early 20th century. John Moore describes life at Bredon Hill in the early 20th century in The Brensham Trilogy.
But the hill is best known because of Poem 21 in AE Housman’s anthology A Shropshire Lad (1896). Although Housman names Tewkesbury and Bredon Hill in A Shropshire Lad, neither place is in Shropshire.
5, Bredon Hill
In summertime on Bredon
The bells they sound so clear;
Round both the shires they ring them
In steeples far and near,
A happy noise to hear.
Here of a Sunday morning
My love and I would lie,
And see the coloured counties,
And hear the larks so high
About us in the sky.
The bells would ring to call her
In valleys miles away;
“Come all to church, good people;
Good people come and pray.”
But here my love would stay.
And I would turn and answer
Among the springing thyme,
“Oh, peal upon our wedding,
And we will hear the chime,
And come to church in time.”
But when the snows at Christmas
On Bredon top were strown,
My love rose up so early
And stole out unbeknown
And went to church alone.
They tolled the one bell only,
Groom there was none to see,
The mourners followed after,
And so to church went she,
And would not wait for me.
The bells they sound on Bredon,
And still the steeples hum,
“Come all to church, good people.”
O noisy bells, be dumb;
I hear you, I will come.
‘You shall love your neighbour as yourself’ (Matthew 22: 39) … hearts hanging in decorations in a bar in Lichfield (Photograph: Patrick Comerford)
Today’s Prayer, Friday 19 August 2022:
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for the work of the Clewer Initiative which works to raise awareness of and prevent human trafficking in the UK.
Yesterday’s reflection
Continued tomorrow
‘Love All’ … a sculpture by Rachel Joynt in Templeogue Village, Dublin (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
‘Teacher, which commandment in the law is the greatest?’ (Matthew 22: 36) … the number of knots and fringes on a tallit or prayer shawl represent the 613 commandments in Jewish law (Photograph: Patrick Comerford)
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 22: 34-40 (NRSVA):
34 When the Pharisees heard that he had silenced the Sadducees, they gathered together, 35 and one of them, a lawyer, asked him a question to test him. 36 ‘Teacher, which commandment in the law is the greatest?’ 37 He said to him, ‘ “You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.” 38 This is the greatest and first commandment. 39 And a second is like it: “You shall love your neighbour as yourself.” 40 On these two commandments hang all the law and the prophets.’
A limestone wall on Bredon Hill (Photograph: Stephen Dawson, licensed under CC BY-SA 2.0 via Wikimedia Commons)
Today’s reflection: ‘Bredon Hill’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
This morning [19 August 2022], I am listening to ‘Bredon Hill,’ the fifth of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
Vaughan Williams composed On Wenlock Edge in 1909, a year after spending three months studying in Paris under Maurice Ravel, the French composer. The French influence on Vaughan Williams can be heard particularly in ‘Bredon Hill,’ and the accompaniment is redolent of ‘La Vallée des Cloches’ from Ravel’s Miroirs for piano (1905).
Vaughan William’s use of the piano quintet as the accompanying ensemble was an innovation in English music. Before he composed On Wenlock Edge, the string quartet alone had been used as an accompaniment to song by Henry Walford Davies in 1894 (Prospice).
Although it was used later by other composers, including Vaughan Williams, its use remained limited even though English musicians had started to rediscover the Golden Age of the Elizabethan period, and the quartet might have become the natural successor to the viol consort. Perhaps the introduction of the piano into the ensemble by Vaughan Williams was inspired by Ravel’s teacher, Gabriel Fauré. His Paul Verlaine cycle, La Bonne Chanson, was composed in 1892-1894 with piano accompaniment, and in 1898, Fauré arranged it for piano and string quintet.
In addition, the bell-like accompaniment of ‘Bredon Hill’ paints a picture of great dramatic intensity.
Bredon Hill in Worcestershire is a hill south-west of Evesham in the Vale of Evesham, with its summit in the parish of Kemerton. The hill is part of the Cotswolds, but millions of years of erosion have left it isolated, standing in the Vale of Evesham.
Bredon Hill has a number of ancient standing stones, the Bambury (or Banbury) and the Queen and King. Local legend says that those passing between the King and Queen stones will be cured of illness. The tradition of going to kiss the Bambury Stone for good luck on Good Friday is one shared with many other stones around England.
What about the bells that sound so clear on Bredon Hill, ‘in steeples far and near,’ calling all to church? A number of interesting churches are dotted about the villages surrounding Bredon Hill. Saint Giles in Bredon village was built in late 12th to mid-13th century. The church has a memorial to Bishop Prideaux, who was chaplain to King James I and King Charles I, magnificent stained glass windows, detached shafts of Purbeck marble supporting the Mitton Chapel, and mediaeval tiles in the sanctuary.
Saint Mary’s in Elmley Castle, 7 or 8 km to the north-east, dates from the end of the 11th century and contains grand monuments to Thomas Coventry, 1st Earl of Coventry, who died in 1699, and 17th century effigies of members of the Savage family.
Roman coins and artefacts have been found at Little Comberton, on the north side of Bredon Hill, where the 12th century church is thought to stand on the site of a Roman temple.
There are views of Tewkesbury Abbey about 5 km to the south-west. When Worcester Cathedral was damaged in the English civil war, it was repaired using stone brought from Bredon.
Bredon Hill is crowned by Parson’s Folly, or the Banbury Stone Tower built in the mid-18th century for John Parsons (1732–1805), MP, of Kemerton Court, as a summer house with a view across the surrounding countryside.
A local rhyme reflects folklore about the way Bredon Hill controls the local weather:
When Bredon Hill puts on his hat
Ye men of the Vale beware of that.
When Bredon Hill does clear appear
Ye men of the Vale have nothing to fear.
Bredon Hill features in the works of many composers, poets, writers and artists, including Ralph Vaughan Williams, Ivor Gurney, George Butterworth and Herbert Howells; John Masefield and Cecil Day-Lewis; and Arthur Quiller-Couch. Bredon Hill is the birthplace of Fred Archer (1915-1999), who describes life on the farms and in the villages in the early 20th century. John Moore describes life at Bredon Hill in the early 20th century in The Brensham Trilogy.
But the hill is best known because of Poem 21 in AE Housman’s anthology A Shropshire Lad (1896). Although Housman names Tewkesbury and Bredon Hill in A Shropshire Lad, neither place is in Shropshire.
5, Bredon Hill
In summertime on Bredon
The bells they sound so clear;
Round both the shires they ring them
In steeples far and near,
A happy noise to hear.
Here of a Sunday morning
My love and I would lie,
And see the coloured counties,
And hear the larks so high
About us in the sky.
The bells would ring to call her
In valleys miles away;
“Come all to church, good people;
Good people come and pray.”
But here my love would stay.
And I would turn and answer
Among the springing thyme,
“Oh, peal upon our wedding,
And we will hear the chime,
And come to church in time.”
But when the snows at Christmas
On Bredon top were strown,
My love rose up so early
And stole out unbeknown
And went to church alone.
They tolled the one bell only,
Groom there was none to see,
The mourners followed after,
And so to church went she,
And would not wait for me.
The bells they sound on Bredon,
And still the steeples hum,
“Come all to church, good people.”
O noisy bells, be dumb;
I hear you, I will come.
‘You shall love your neighbour as yourself’ (Matthew 22: 39) … hearts hanging in decorations in a bar in Lichfield (Photograph: Patrick Comerford)
Today’s Prayer, Friday 19 August 2022:
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for the work of the Clewer Initiative which works to raise awareness of and prevent human trafficking in the UK.
Yesterday’s reflection
Continued tomorrow
‘Love All’ … a sculpture by Rachel Joynt in Templeogue Village, Dublin (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
18 August 2022
Praying with USPG and the music of
Vaughan Williams: Thursday 18 August 2022
The memorial plaque commemorating Ralph Vaughan Williams in the Ante-Chapel of Trinity College Cambridge … Vaughan Williams was an undergraduate here and AE Housman was a Fellow of Trinity College Cambridge (Photograph: Patrick Comerford)
Patrick Comerford
I am back in Stony Stratford this morning (18 August 2022) after my consultation in Sheffield Hospital as a follow-up to my stroke five months ago (18 March 2022). Hopefully this is preparing the way for a surgical procedure within the next few weeks.
Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
‘Go therefore into the … streets, and invite everyone you find to the … banquet’ (Matthew 22: 9) … empty tables at restaurants in the side streets in Rethymnon in Crete (Photograph: Patrick Comerford)
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 22: 1-14 (NRSVA):
1 Once more Jesus spoke to them in parables, saying: 2 ‘The kingdom of heaven may be compared to a king who gave a wedding banquet for his son. 3 He sent his slaves to call those who had been invited to the wedding banquet, but they would not come. 4 Again he sent other slaves, saying, “Tell those who have been invited: Look, I have prepared my dinner, my oxen and my fat calves have been slaughtered, and everything is ready; come to the wedding banquet.” 5 But they made light of it and went away, one to his farm, another to his business, 6 while the rest seized his slaves, maltreated them, and killed them. 7 The king was enraged. He sent his troops, destroyed those murderers, and burned their city. 8 Then he said to his slaves, “The wedding is ready, but those invited were not worthy. 9 Go therefore into the main streets, and invite everyone you find to the wedding banquet.” 10 Those slaves went out into the streets and gathered all whom they found, both good and bad; so the wedding hall was filled with guests.
11 ‘But when the king came in to see the guests, he noticed a man there who was not wearing a wedding robe, 12 and he said to him, “Friend, how did you get in here without a wedding robe?” And he was speechless. 13 Then the king said to the attendants, “Bind him hand and foot, and throw him into the outer darkness, where there will be weeping and gnashing of teeth.” 14 For many are called, but few are chosen.’
Today’s reflection: ‘Oh, when I was in love with you’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
This morning [18 August 2022], I am listening to ‘Oh, when I was in love with you,’ the fourth of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
In reacting to the Boer War, in which his brother Herbert was killed, Housman powerfully anticipated the horror and futility of World War I, and his poems would find fresh relevance of with the outbreak of World War I.
His landscape is a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. His dominant themes are love, and a post-industrial pastoral nostalgia, infused with expressions of disillusionment at the sacrifice of the young soldiers going to war, never to return.
Vaughan Williams composed On Wenlock Edge – a cycle of six songs for tenor, piano and string quartet – in 1909, a year after he had spent three months in Paris studying under Maurice Ravel, a composer three years younger than him. The first performance took place in the Aeolian Hall, London, later that year.
In the 1920s, Vaughan Williams made an arrangement of On Wenlock Edge for full orchestra that was first performed on 24 January 1924 by John Booth, with the composer conducting. Vaughan Williams preferred this version to his original.
The fourth of these songs, ‘Oh, when I was in love with you,’ is lighter than the others in tone and is epigrammatic in its brevity.
This song acts as a much-needed respite between Songs 3 and 5, ‘Is my team ploughing,’ and ‘Bredon Hill.’ With its melodic lines and modal harmonies, the melody sounds like an authentic English folksong.
4, Oh, when I was in love with you
Oh, when I was in love with you,
Then I was clean and brave,
And miles around the wonder grew
How well I did behave.
And now the fancy passes by,
And nothing will remain,
And miles around they’ll say that I
Am quite myself again.
‘Those who had been invited to the wedding banquet … would not come’ (Matthew 22: 3) … empty tables at a wedding reception in Lichfield (Photograph: Patrick Comerford)
Today’s Prayer, Thursday 18 August 2022:
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
We pray for all those working to prevent human trafficking worldwide.
Yesterday’s reflection
Continued tomorrow
‘Look, I have prepared my dinner … and everything is ready’ (Matthew 22: 3) … preparing for a banquet (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
I am back in Stony Stratford this morning (18 August 2022) after my consultation in Sheffield Hospital as a follow-up to my stroke five months ago (18 March 2022). Hopefully this is preparing the way for a surgical procedure within the next few weeks.
Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
‘Go therefore into the … streets, and invite everyone you find to the … banquet’ (Matthew 22: 9) … empty tables at restaurants in the side streets in Rethymnon in Crete (Photograph: Patrick Comerford)
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 22: 1-14 (NRSVA):
1 Once more Jesus spoke to them in parables, saying: 2 ‘The kingdom of heaven may be compared to a king who gave a wedding banquet for his son. 3 He sent his slaves to call those who had been invited to the wedding banquet, but they would not come. 4 Again he sent other slaves, saying, “Tell those who have been invited: Look, I have prepared my dinner, my oxen and my fat calves have been slaughtered, and everything is ready; come to the wedding banquet.” 5 But they made light of it and went away, one to his farm, another to his business, 6 while the rest seized his slaves, maltreated them, and killed them. 7 The king was enraged. He sent his troops, destroyed those murderers, and burned their city. 8 Then he said to his slaves, “The wedding is ready, but those invited were not worthy. 9 Go therefore into the main streets, and invite everyone you find to the wedding banquet.” 10 Those slaves went out into the streets and gathered all whom they found, both good and bad; so the wedding hall was filled with guests.
11 ‘But when the king came in to see the guests, he noticed a man there who was not wearing a wedding robe, 12 and he said to him, “Friend, how did you get in here without a wedding robe?” And he was speechless. 13 Then the king said to the attendants, “Bind him hand and foot, and throw him into the outer darkness, where there will be weeping and gnashing of teeth.” 14 For many are called, but few are chosen.’
Today’s reflection: ‘Oh, when I was in love with you’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
This morning [18 August 2022], I am listening to ‘Oh, when I was in love with you,’ the fourth of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
In reacting to the Boer War, in which his brother Herbert was killed, Housman powerfully anticipated the horror and futility of World War I, and his poems would find fresh relevance of with the outbreak of World War I.
His landscape is a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. His dominant themes are love, and a post-industrial pastoral nostalgia, infused with expressions of disillusionment at the sacrifice of the young soldiers going to war, never to return.
Vaughan Williams composed On Wenlock Edge – a cycle of six songs for tenor, piano and string quartet – in 1909, a year after he had spent three months in Paris studying under Maurice Ravel, a composer three years younger than him. The first performance took place in the Aeolian Hall, London, later that year.
In the 1920s, Vaughan Williams made an arrangement of On Wenlock Edge for full orchestra that was first performed on 24 January 1924 by John Booth, with the composer conducting. Vaughan Williams preferred this version to his original.
The fourth of these songs, ‘Oh, when I was in love with you,’ is lighter than the others in tone and is epigrammatic in its brevity.
This song acts as a much-needed respite between Songs 3 and 5, ‘Is my team ploughing,’ and ‘Bredon Hill.’ With its melodic lines and modal harmonies, the melody sounds like an authentic English folksong.
4, Oh, when I was in love with you
Oh, when I was in love with you,
Then I was clean and brave,
And miles around the wonder grew
How well I did behave.
And now the fancy passes by,
And nothing will remain,
And miles around they’ll say that I
Am quite myself again.
‘Those who had been invited to the wedding banquet … would not come’ (Matthew 22: 3) … empty tables at a wedding reception in Lichfield (Photograph: Patrick Comerford)
Today’s Prayer, Thursday 18 August 2022:
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
We pray for all those working to prevent human trafficking worldwide.
Yesterday’s reflection
Continued tomorrow
‘Look, I have prepared my dinner … and everything is ready’ (Matthew 22: 3) … preparing for a banquet (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
16 August 2022
Praying with USPG and the music of
Vaughan Williams: Tuesday 16 August 2022
Trinity Street, Cambridge, on a quiet Sunday afternoon … Vaughan Williams was an undergraduate and AE Housman a Fellow of Trinity College Cambridge (Photograph: Patrick Comerford)
Patrick Comerford
I am staying in Sheffield, where I have a consultation later today (16 August) with the Steretactic Radiosurgery Team at Royal Hallamshire Hospital. This follows my stroke five months ago (18 March 2022) and, hopefully, is in advance of a procedure in the weeks ahead.
But, before the day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
‘It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (Matthew 19: 24) … camels on a mountain track near Fethiye in Turkey (Photograph: Patrick Comerford)
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 19: 23-30 (NRSVA):
23 Then Jesus said to his disciples, ‘Truly I tell you, it will be hard for a rich person to enter the kingdom of heaven. 24 Again I tell you, it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.’ 25 When the disciples heard this, they were greatly astounded and said, ‘Then who can be saved?’ 26 But Jesus looked at them and said, ‘For mortals it is impossible, but for God all things are possible.’
27 Then Peter said in reply, ‘Look, we have left everything and followed you. What then will we have?’ 28 Jesus said to them, ‘Truly I tell you, at the renewal of all things, when the Son of Man is seated on the throne of his glory, you who have followed me will also sit on twelve thrones, judging the twelve tribes of Israel. 29 And everyone who has left houses or brothers or sisters or father or mother or children or fields, for my name’s sake, will receive a hundredfold, and will inherit eternal life. 30 But many who are first will be last, and the last will be first.’
Wilderhope Manor, on Wenlock Edge, Shropshire … here I was first introduced to the music of Vaughan Williams (Photograph: Graham Taylor. Licensed under CC BY-SA 2.0 via Wikimedia Commons)
Today’s reflection: ‘From far, from eve and morning’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
I was recalling yesterday [15 August 2022] that I was first introduced to the music of Vaughan Williams when I was a 19-year-old and I was staying in Wilderhope Manor on Wenlock Edge in Shropshire in what became my first memorable introduction to the great English composers.
I spent some time on Wenlock Edge and in the neighbouring villages before hitch-hiking back to Lichfield – a journey of about 50 miles. Back in Lichfield, I experienced a self-defining moment in the chapel of Saint John’s Hospital, and was invited for the first time to the Folk Masses in the Dominican Retreat Centre at Spode House, near Rugeley, about six miles north of Lichfield.
Ever since, the music of Vaughan Williams, especially his setting in On Welock Edge, have been associated with my understanding of spiritual growth and development.
This morning [16 August 2022], I am listening to ‘From far, from eve and morning,’ the second of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
In reacting to the Boer War, in which his brother Herbert was killed, Housman powerfully anticipated the horror and futility of World War I, and his poems would find fresh relevance of with the outbreak of World War I.
His landscape is a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. His dominant themes are love, and a post-industrial pastoral nostalgia, infused with expressions of disillusionment at the sacrifice of the young soldiers going to war, never to return.
Vaughan Williams composed On Wenlock Edge – a cycle of six songs for tenor, piano and string quartet – in 1909, a year after he had spent three months in Paris studying under Maurice Ravel, a composer three years younger than him. The first performance took place in the Aeolian Hall, London, later that year.
In the 1920s, Vaughan Williams made an arrangement of On Wenlock Edge for full orchestra that was first performed on 24 January 1924 by John Booth, with the composer conducting. Vaughan Williams preferred this version to his original.
The second of these songs, ‘From far, from eve and morning,’ is No 32 in Housman’s original sequence. The late Trevor Hold of Leicester University (Parry to Finzi: Twenty English Song-composers, 2002) describes this song as one of Vaughan Williams’s ‘finest achievements.’
Here, after the elaborate accompaniment of the opening song, ‘On Wenlock Edge,’ Vaughan Williams turns to what he describes as ‘utmost simplicity: wide-spreading piano chords underpin a vocal line that never strays far from its home note (B natural) …’
2, From far, from eve and morning
From far, from eve and morning
And yon twelve-winded sky,
The stuff of life to knit me
Blew hither: here am I.
Now – for a breath I tarry
Nor yet disperse apart –
Take my hand quick and tell me,
What you have in your heart.
Speak now, and I will answer;
How shall I help you, say;
Ere to the wind’s twelve quarters
I take my endless way.
‘It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (Matthew 19: 24) … a camel near the Goreme Open Air Museum and the rock-cut churches of Cappadocia (Photograph: Patrick Comerford)
Today’s Prayer, Tuesday 16 August 2022:
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
We pray for the work of the Anti-Human Trafficking Project in the Diocese of Durgapur. May we support this initiative to identify human trafficking and support victims of human trafficking.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
I am staying in Sheffield, where I have a consultation later today (16 August) with the Steretactic Radiosurgery Team at Royal Hallamshire Hospital. This follows my stroke five months ago (18 March 2022) and, hopefully, is in advance of a procedure in the weeks ahead.
But, before the day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
‘It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (Matthew 19: 24) … camels on a mountain track near Fethiye in Turkey (Photograph: Patrick Comerford)
The Gospel reading at the Eucharist this morning in the Lectionary as adapted by the Church of Ireland is:
Matthew 19: 23-30 (NRSVA):
23 Then Jesus said to his disciples, ‘Truly I tell you, it will be hard for a rich person to enter the kingdom of heaven. 24 Again I tell you, it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.’ 25 When the disciples heard this, they were greatly astounded and said, ‘Then who can be saved?’ 26 But Jesus looked at them and said, ‘For mortals it is impossible, but for God all things are possible.’
27 Then Peter said in reply, ‘Look, we have left everything and followed you. What then will we have?’ 28 Jesus said to them, ‘Truly I tell you, at the renewal of all things, when the Son of Man is seated on the throne of his glory, you who have followed me will also sit on twelve thrones, judging the twelve tribes of Israel. 29 And everyone who has left houses or brothers or sisters or father or mother or children or fields, for my name’s sake, will receive a hundredfold, and will inherit eternal life. 30 But many who are first will be last, and the last will be first.’
Wilderhope Manor, on Wenlock Edge, Shropshire … here I was first introduced to the music of Vaughan Williams (Photograph: Graham Taylor. Licensed under CC BY-SA 2.0 via Wikimedia Commons)
Today’s reflection: ‘From far, from eve and morning’
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
Throughout this week, I am listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
I was recalling yesterday [15 August 2022] that I was first introduced to the music of Vaughan Williams when I was a 19-year-old and I was staying in Wilderhope Manor on Wenlock Edge in Shropshire in what became my first memorable introduction to the great English composers.
I spent some time on Wenlock Edge and in the neighbouring villages before hitch-hiking back to Lichfield – a journey of about 50 miles. Back in Lichfield, I experienced a self-defining moment in the chapel of Saint John’s Hospital, and was invited for the first time to the Folk Masses in the Dominican Retreat Centre at Spode House, near Rugeley, about six miles north of Lichfield.
Ever since, the music of Vaughan Williams, especially his setting in On Welock Edge, have been associated with my understanding of spiritual growth and development.
This morning [16 August 2022], I am listening to ‘From far, from eve and morning,’ the second of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in 1896.
In reacting to the Boer War, in which his brother Herbert was killed, Housman powerfully anticipated the horror and futility of World War I, and his poems would find fresh relevance of with the outbreak of World War I.
His landscape is a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. His dominant themes are love, and a post-industrial pastoral nostalgia, infused with expressions of disillusionment at the sacrifice of the young soldiers going to war, never to return.
Vaughan Williams composed On Wenlock Edge – a cycle of six songs for tenor, piano and string quartet – in 1909, a year after he had spent three months in Paris studying under Maurice Ravel, a composer three years younger than him. The first performance took place in the Aeolian Hall, London, later that year.
In the 1920s, Vaughan Williams made an arrangement of On Wenlock Edge for full orchestra that was first performed on 24 January 1924 by John Booth, with the composer conducting. Vaughan Williams preferred this version to his original.
The second of these songs, ‘From far, from eve and morning,’ is No 32 in Housman’s original sequence. The late Trevor Hold of Leicester University (Parry to Finzi: Twenty English Song-composers, 2002) describes this song as one of Vaughan Williams’s ‘finest achievements.’
Here, after the elaborate accompaniment of the opening song, ‘On Wenlock Edge,’ Vaughan Williams turns to what he describes as ‘utmost simplicity: wide-spreading piano chords underpin a vocal line that never strays far from its home note (B natural) …’
2, From far, from eve and morning
From far, from eve and morning
And yon twelve-winded sky,
The stuff of life to knit me
Blew hither: here am I.
Now – for a breath I tarry
Nor yet disperse apart –
Take my hand quick and tell me,
What you have in your heart.
Speak now, and I will answer;
How shall I help you, say;
Ere to the wind’s twelve quarters
I take my endless way.
‘It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (Matthew 19: 24) … a camel near the Goreme Open Air Museum and the rock-cut churches of Cappadocia (Photograph: Patrick Comerford)
Today’s Prayer, Tuesday 16 August 2022:
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced on Sunday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
We pray for the work of the Anti-Human Trafficking Project in the Diocese of Durgapur. May we support this initiative to identify human trafficking and support victims of human trafficking.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
15 August 2022
Praying with USPG and the music of
Vaughan Williams: Monday 15 August 2022
The icon of the Dormition completed by Alexandra Kaouki for a church in the old town of Rethymnon in Crete
Patrick Comerford
Today in the Calendar of the Church of England in Common Worship is marked simply as ‘The Blessed Virgin Mary’ (15 August 2022), without any indication of any event in her life or any commemoration.
In some traditions in the Church, this is the Assumption, in others the Dormition, in others this day recalls her death. I have discussed the differences in these traditions in previous blog postings on this day.
The reflection in the parish leaflet in Stony Stratford and Calverton yesterday described the Assumption as ‘the taking up of Mary into the glory of the Resurrection.’ It added, ‘In sharing in the fullness of God’s life and love, we remember that the same promise is made to all believers, as we turn to the Lord for grace and mercy.’
Before the day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
The icon of the Dormition was completed by El Greco (Doménikos Theotokópoulos) in Crete, probably before 1567
Luke 1: 46-55 (NRSVA):
46 And Mary said,
‘My soul magnifies the Lord,
47 and my spirit rejoices in God my Saviour,
48 for he has looked with favour on the lowliness of his servant.
Surely, from now on all generations will call me blessed;
49 for the Mighty One has done great things for me,
and holy is his name.
50 His mercy is for those who fear him
from generation to generation.
51 He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
52 He has brought down the powerful from their thrones,
and lifted up the lowly;
53 he has filled the hungry with good things,
and sent the rich away empty.
54 He has helped his servant Israel,
in remembrance of his mercy,
55 according to the promise he made to our ancestors,
to Abraham and to his descendants for ever.’
Wilderhope Manor, on Wenlock Edge, Shropshire … here I was first introduced to the music of Vaughan Williams (Photograph: Graham Taylor. Licensed under CC BY-SA 2.0 via Wikimedia Commons)
Today’s reflection: ‘On Wenlock Edge’ (1)
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
For the rest of this week, I intend listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
I wrote over the past few days that I was first introduced to the music of Vaughan Williams when I was a 19-year-old and while I was spending some days in Shropshire.
I was staying in Wilderhope Manor, a 16th-century Elizabethan manor house on Wenlock Edge, seven miles south-west of Much Wenlock, seven miles east of Church Stretton. Wilderhope Manor was built in 1585 for Francis Smallman. The house was in a poor state and uninhabited when it was bought in 1936 by the WA Cadbury Trust and opened as a youth hostel in 1937. Many of the original features, including the oaken stairways, oak spiral stairs and plaster ceilings have survived.
In the early 1970s, although I had little musical education and no musical background, I was interested in English folk music, and I was enjoying the way it was being interpreted by folk rock bands such as I was enjoying the music of English folk rock bands such as Steeleye Span, Pentangle, Fairport Convention, Lindisfarne and Jethro Thull.
That interest drew the suggestion while I was staying in Wilderhope Manor that I should listen to the music of Vaughan Williams, and, as I was staying on Wenlock Edge in rural Shropshire, that I should listen to On Wenlock Edge and read Housman’s Shropshire Lad.
This became my first memorable introduction to the great English composers. I spent some time on Wenlock Edge and visiting the neighbouring villages before hitch-hiking back to Lichfield – a journey of about 50 miles.
Back in Lichfield, I experienced a self-defining moment in the chapel of Saint John’s Hospital, and was invited for the first time to the Folk Masses in the Dominican Retreat Centre at Spode House, near Rugeley, about six miles north of Lichfield.
Ever since, I have associated the music of Vaughan Williams, especially his setting of On Wenlock Edge, with my understanding of my own spiritual growth and development.
This morning [15 August 2022], I am listening to ‘On Wenlock Edge,’ the first of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in March 1896.
Alfred Edward Housman was born at Fockbury, near Bromsgrove in Worcestershire, on 26 March 1859, the eldest child of Sarah and Edward Housman. His mother died on his twelfth birthday, and the anguished created by this cruel coincidence, led to strong questioning of his Christian faith, although he did not abandon the idea of a God.
Housman studied Classics at Saint John’s College, Oxford, and was Professor of Greek and Latin, University College, London (1892), Kennedy Professor of Latin at Cambridge (1911), and a Fellow of Trinity College Cambridge, where Vaughan Williams had been an undergraduate from 1892 to 1895. He died on 30 April 1936.
In reacting to the Boer War, in which his brother Herbert was killed, Housman also anticipated the horror and futility of World War I, and his poems would find fresh relevance of with the outbreak of World War I.
His landscape is a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. His dominant themes are love, and a post-industrial pastoral nostalgia, infused with expressions of disillusionment at the sacrifice of the young soldiers going to war, never to return.
A younger brother, the author and playwright Laurence Housman (1865-1959), first worked as a book illustrator, and the first authors he illustrated included the poet Christina Rossetti. Laurence Housman also wrote and published several volumes of poetry, a number of hymns and carols, and socialist and pacifist pamphlets, and he edited his brother’s poems which were published posthumously.
In 1945, Laurence Housman opened Housman’s Bookshop in Shaftesbury Avenue, London, founded in his honour by the Peace Pledge Union, of which he was a sponsor. In 1959, shortly after his death, the shop moved to 5 Caledonian Road, London. I was first introduced to Housman’s in 1976 by its co-founder and manager, Harry Mister, after meeting him with Bruce Kent of CND at the Hayes Conference Centre in Swanwick that year. Housman’s Bookshop remains a prime source of publications on pacifism and other radical values.
Vaughan Williams composed On Wenlock Edge – a cycle of six songs for tenor, piano and string quartet – in 1909, a year after he had spent three months in Paris studying under Maurice Ravel, the French composer, who was three years younger than him. The first performance took place in the Aeolian Hall in London on 15 November 1909.
After a performance of the cycle in May 1920, Ivor Gurney wrote: ‘The French mannerisms must be forgotten in the strong Englishness of the prevailing mood – in the unmistakable spirit of the time of creation. England is the spring of emotion, the centre of power, and the pictures of her, the breath of her earth and growing things are continually felt through the lovely sound.’
Housman, who only heard the first two songs, wrote to his publisher in December 1920: ‘I am told that composers in some cases have mutilated my poems – that Vaughan Williams cut two verses out of ‘Is my team ploughing?’ I wonder how he would like me to cut two bars out of his music.’
When he was asked about this after Housman’s death in 1936, Vaughan Williams showed no remorse, claiming ‘the composer has a perfect right artistically to set any portion of a poem he chooses provided he does not actually alter the sense … I also feel that a poet should be grateful to anyone who fails to perpetuate such lines as ‘The goal stands up, the keeper/Stands up to keep the goal’.’
In the 1920s, Vaughan Williams made an arrangement of On Wenlock Edge for full orchestra that was first performed on 24 January 1924 by John Booth, with the composer conducting. Vaughan Williams preferred this version to his original.
In the accompaniment of the first song, ‘On Wenlock Edge,’ the strings are flaring and quivering in powerful simulation of the gales that trouble Wenlock’s woods, and the emotional gales that have troubled the life of humanity since time began.
Vaughan Williams’s approach to the text works on two levels – that of word-painting, and that of bringing out the meanings inherent in phrases or in an entire text. In this first song, for example, he paints words like ‘high’ and ‘gale,’ and depicts the sense of foreboding in phrases like ‘the wood’s in trouble’ and ‘His forest fleece the Wrekin heaves’ in the accompaniment.
1, On Wenlock Edge
On Wenlock Edge the world’s in trouble;
His forest fleece the Wrekin heaves;
The gale, it piles the saplings double,
And thick on Severn snow the leaves.
’Twould blow like this through hot and hanger
When Uricon the city stood:
’Tis the old wind in the old anger,
But then it threshed another wood.
Then, ’twas before my time, the Roman
At yonder heaving hill would stare:
The blood that warms an English yeoman,
The thoughts that hurt him, they were there.
There, like the wind through woods in riot,
Through him the gale of life blew high;
The tree of man was never quiet:
Then ’twas the Roman, now ’tis I.
The gale, it piles the saplings double,
It blows so hard, ’twill soon be gone:
To-day the Roman and his trouble
Are ashes under Uricon.
Afternoon light pours into the Lady Chapel in Saint Laurence’s Church, Winslow, Buckinghamshire (Photograph: Patrick Comerford, 2022)
Today’s Prayer:
The Collect:
Almighty God,
who looked upon the lowliness of the Blessed Virgin Mary
and chose her to be the mother of your only Son:
grant that we who are redeemed by his blood
may share with her in the glory of your eternal kingdom;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
God Most High,
whose handmaid bore the Word made flesh:
we thank you that in this sacrament of our redemption
you visit us with your Holy Spirit
and overshadow us by your power;
strengthen us to walk with Mary the joyful path of obedience
and so to bring forth the fruits of holiness;
through Jesus Christ our Lord.
Monday 15 August 2022 (The Assumption of the Blessed Virgin Mary):
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced yesterday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
Today we celebrate the life of the Blessed Virgin Mary. May we be inspired by her story and encouraged by her words.
Yesterday’s reflection
Continued tomorrow
The Assumption depicted in a stained-glass window in the Church of the Assumption in Dalkey, Co Dublin (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
Today in the Calendar of the Church of England in Common Worship is marked simply as ‘The Blessed Virgin Mary’ (15 August 2022), without any indication of any event in her life or any commemoration.
In some traditions in the Church, this is the Assumption, in others the Dormition, in others this day recalls her death. I have discussed the differences in these traditions in previous blog postings on this day.
The reflection in the parish leaflet in Stony Stratford and Calverton yesterday described the Assumption as ‘the taking up of Mary into the glory of the Resurrection.’ It added, ‘In sharing in the fullness of God’s life and love, we remember that the same promise is made to all believers, as we turn to the Lord for grace and mercy.’
Before the day gets busy, I am taking some time this morning for reading, prayer and reflection.
This year marks the 150th anniversary of the composer Ralph Vaughan Williams, whose music is celebrated throughout this year’s Proms season. In my prayer diary for these weeks I am reflecting in these ways:
1, One of the readings for the morning;
2, Reflecting on a hymn or another piece of music by Vaughan Williams, often drawing, admittedly, on previous postings on the composer;
3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
The icon of the Dormition was completed by El Greco (Doménikos Theotokópoulos) in Crete, probably before 1567
Luke 1: 46-55 (NRSVA):
46 And Mary said,
‘My soul magnifies the Lord,
47 and my spirit rejoices in God my Saviour,
48 for he has looked with favour on the lowliness of his servant.
Surely, from now on all generations will call me blessed;
49 for the Mighty One has done great things for me,
and holy is his name.
50 His mercy is for those who fear him
from generation to generation.
51 He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
52 He has brought down the powerful from their thrones,
and lifted up the lowly;
53 he has filled the hungry with good things,
and sent the rich away empty.
54 He has helped his servant Israel,
in remembrance of his mercy,
55 according to the promise he made to our ancestors,
to Abraham and to his descendants for ever.’
Wilderhope Manor, on Wenlock Edge, Shropshire … here I was first introduced to the music of Vaughan Williams (Photograph: Graham Taylor. Licensed under CC BY-SA 2.0 via Wikimedia Commons)
Today’s reflection: ‘On Wenlock Edge’ (1)
Ralph Vaughan Williams was the composer of symphonies, chamber music, opera, choral music, and film scores, a collector of English folk music and song. With Percy Dearmer, he co-edited the English Hymnal, in which he included many folk song arrangements as hymn tunes, and several of his own original compositions.
For the rest of this week, I intend listening to On Wenlock Edge, a setting by Vaughan Williams of six poems from AE Housman’s Shropshire Lad.
I wrote over the past few days that I was first introduced to the music of Vaughan Williams when I was a 19-year-old and while I was spending some days in Shropshire.
I was staying in Wilderhope Manor, a 16th-century Elizabethan manor house on Wenlock Edge, seven miles south-west of Much Wenlock, seven miles east of Church Stretton. Wilderhope Manor was built in 1585 for Francis Smallman. The house was in a poor state and uninhabited when it was bought in 1936 by the WA Cadbury Trust and opened as a youth hostel in 1937. Many of the original features, including the oaken stairways, oak spiral stairs and plaster ceilings have survived.
In the early 1970s, although I had little musical education and no musical background, I was interested in English folk music, and I was enjoying the way it was being interpreted by folk rock bands such as I was enjoying the music of English folk rock bands such as Steeleye Span, Pentangle, Fairport Convention, Lindisfarne and Jethro Thull.
That interest drew the suggestion while I was staying in Wilderhope Manor that I should listen to the music of Vaughan Williams, and, as I was staying on Wenlock Edge in rural Shropshire, that I should listen to On Wenlock Edge and read Housman’s Shropshire Lad.
This became my first memorable introduction to the great English composers. I spent some time on Wenlock Edge and visiting the neighbouring villages before hitch-hiking back to Lichfield – a journey of about 50 miles.
Back in Lichfield, I experienced a self-defining moment in the chapel of Saint John’s Hospital, and was invited for the first time to the Folk Masses in the Dominican Retreat Centre at Spode House, near Rugeley, about six miles north of Lichfield.
Ever since, I have associated the music of Vaughan Williams, especially his setting of On Wenlock Edge, with my understanding of my own spiritual growth and development.
This morning [15 August 2022], I am listening to ‘On Wenlock Edge,’ the first of the six settings by Vaughan Williams of these poems by AE Housman (1859-1936), published in March 1896.
Alfred Edward Housman was born at Fockbury, near Bromsgrove in Worcestershire, on 26 March 1859, the eldest child of Sarah and Edward Housman. His mother died on his twelfth birthday, and the anguished created by this cruel coincidence, led to strong questioning of his Christian faith, although he did not abandon the idea of a God.
Housman studied Classics at Saint John’s College, Oxford, and was Professor of Greek and Latin, University College, London (1892), Kennedy Professor of Latin at Cambridge (1911), and a Fellow of Trinity College Cambridge, where Vaughan Williams had been an undergraduate from 1892 to 1895. He died on 30 April 1936.
In reacting to the Boer War, in which his brother Herbert was killed, Housman also anticipated the horror and futility of World War I, and his poems would find fresh relevance of with the outbreak of World War I.
His landscape is a mythical, idealised Shropshire, similar to the Wessex of the novels of Thomas Hardy. His dominant themes are love, and a post-industrial pastoral nostalgia, infused with expressions of disillusionment at the sacrifice of the young soldiers going to war, never to return.
A younger brother, the author and playwright Laurence Housman (1865-1959), first worked as a book illustrator, and the first authors he illustrated included the poet Christina Rossetti. Laurence Housman also wrote and published several volumes of poetry, a number of hymns and carols, and socialist and pacifist pamphlets, and he edited his brother’s poems which were published posthumously.
In 1945, Laurence Housman opened Housman’s Bookshop in Shaftesbury Avenue, London, founded in his honour by the Peace Pledge Union, of which he was a sponsor. In 1959, shortly after his death, the shop moved to 5 Caledonian Road, London. I was first introduced to Housman’s in 1976 by its co-founder and manager, Harry Mister, after meeting him with Bruce Kent of CND at the Hayes Conference Centre in Swanwick that year. Housman’s Bookshop remains a prime source of publications on pacifism and other radical values.
Vaughan Williams composed On Wenlock Edge – a cycle of six songs for tenor, piano and string quartet – in 1909, a year after he had spent three months in Paris studying under Maurice Ravel, the French composer, who was three years younger than him. The first performance took place in the Aeolian Hall in London on 15 November 1909.
After a performance of the cycle in May 1920, Ivor Gurney wrote: ‘The French mannerisms must be forgotten in the strong Englishness of the prevailing mood – in the unmistakable spirit of the time of creation. England is the spring of emotion, the centre of power, and the pictures of her, the breath of her earth and growing things are continually felt through the lovely sound.’
Housman, who only heard the first two songs, wrote to his publisher in December 1920: ‘I am told that composers in some cases have mutilated my poems – that Vaughan Williams cut two verses out of ‘Is my team ploughing?’ I wonder how he would like me to cut two bars out of his music.’
When he was asked about this after Housman’s death in 1936, Vaughan Williams showed no remorse, claiming ‘the composer has a perfect right artistically to set any portion of a poem he chooses provided he does not actually alter the sense … I also feel that a poet should be grateful to anyone who fails to perpetuate such lines as ‘The goal stands up, the keeper/Stands up to keep the goal’.’
In the 1920s, Vaughan Williams made an arrangement of On Wenlock Edge for full orchestra that was first performed on 24 January 1924 by John Booth, with the composer conducting. Vaughan Williams preferred this version to his original.
In the accompaniment of the first song, ‘On Wenlock Edge,’ the strings are flaring and quivering in powerful simulation of the gales that trouble Wenlock’s woods, and the emotional gales that have troubled the life of humanity since time began.
Vaughan Williams’s approach to the text works on two levels – that of word-painting, and that of bringing out the meanings inherent in phrases or in an entire text. In this first song, for example, he paints words like ‘high’ and ‘gale,’ and depicts the sense of foreboding in phrases like ‘the wood’s in trouble’ and ‘His forest fleece the Wrekin heaves’ in the accompaniment.
1, On Wenlock Edge
On Wenlock Edge the world’s in trouble;
His forest fleece the Wrekin heaves;
The gale, it piles the saplings double,
And thick on Severn snow the leaves.
’Twould blow like this through hot and hanger
When Uricon the city stood:
’Tis the old wind in the old anger,
But then it threshed another wood.
Then, ’twas before my time, the Roman
At yonder heaving hill would stare:
The blood that warms an English yeoman,
The thoughts that hurt him, they were there.
There, like the wind through woods in riot,
Through him the gale of life blew high;
The tree of man was never quiet:
Then ’twas the Roman, now ’tis I.
The gale, it piles the saplings double,
It blows so hard, ’twill soon be gone:
To-day the Roman and his trouble
Are ashes under Uricon.
Afternoon light pours into the Lady Chapel in Saint Laurence’s Church, Winslow, Buckinghamshire (Photograph: Patrick Comerford, 2022)
Today’s Prayer:
The Collect:
Almighty God,
who looked upon the lowliness of the Blessed Virgin Mary
and chose her to be the mother of your only Son:
grant that we who are redeemed by his blood
may share with her in the glory of your eternal kingdom;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
God Most High,
whose handmaid bore the Word made flesh:
we thank you that in this sacrament of our redemption
you visit us with your Holy Spirit
and overshadow us by your power;
strengthen us to walk with Mary the joyful path of obedience
and so to bring forth the fruits of holiness;
through Jesus Christ our Lord.
Monday 15 August 2022 (The Assumption of the Blessed Virgin Mary):
The theme in the USPG prayer diary this week is ‘Human Trafficking in Durgapur.’ This them was introduced yesterday by Raja Moses, Project Co-ordinator of the Anti-Human Trafficking Project, Diocese of Durgapur, Church of North India.
The USPG Prayer Diary invites us to pray today in these words:
Today we celebrate the life of the Blessed Virgin Mary. May we be inspired by her story and encouraged by her words.
Yesterday’s reflection
Continued tomorrow
The Assumption depicted in a stained-glass window in the Church of the Assumption in Dalkey, Co Dublin (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Labels:
Crete,
Dalkey,
Dormition,
El Greco,
Icons,
Mission,
Music,
Poetry,
Prayer,
Rethymnon,
Saint Luke's Gospel,
Shropshire,
Stony Stratford,
Swanwick,
USPG,
Vaughan Williams,
Winslow
Subscribe to:
Posts (Atom)
















