7.737" .—_ _ . .-.-

 

THE SACRED CHORAL MUSIC OF
HEALEY WlL-LAN

Thesis for the Degree OfiPh. D. _
MICH‘GAN STATEU-NiVERSITY "

WlL-UAM EBWARDT‘MARWICK
1970

IITTITIWIWHHIHITFTH'HTITm LIBRARY

3 1293 00839 Michigan State
University

 

 

 

THF'C‘C

 

This is to certify that the

thesis entitled

The Sacred Choral Music of

Healey Willan

presented by

William Edward Marwick

has been accepted towards fulfillment
of the requirements for

PH.D. degree in MUSlC

(Meg, [em/Z

Major professor

0-169

 

“was 0 7 1994

[5 it 9

ABSTRACT

THE SACRED CHORAL MUSIC OF
HEALEY WILLAN

By

William Edward Marwick

Healey Willan is probably the most outstanding
Canadian composer of the first century of Canada's
nationhood. It has been the writer's good fortune to
have been closely associated with Dr. Willan from 19H5
to his death in 1968.

The text of this thesis contains a detailed
biography of the composer and a theoretical analysis of
thirty—one representative works chosen from the unaccom-
‘panied, accompanied, and longer works. The final chapter
compares the general types of works examined and gives an
estimation of the composer by leading Canadian musicians.
In the appendices there is a comprehensive listing of all
compositions by Healey Willan as complete as it is
possible to be at this time.

The harmonic analysis tabulates all sonorities,
root movements, modulations, rhythms, melodic motion and

contrapuntal devices in each work, ending with a summary

William Edward Marwick

pointing out any distinguishing features. A more
extensive summary is found at the end of the three main
divisions of works. A guide to the analysis is found
in the Appendices.

Dr. Willan was a very traditional composer of the
"common-practice" period, strongly influenced by the
Elizabethan period as well as thePalestrina School. He
did not make use of any of the resources of contemporary
music. His basic harmonies are triads and seventh chords.

Dr. Willan started writing his sacred choral music
late in the 1890's. His most progressive work was
accomplished between 1930 and 1950. There was a return
to a more conservative style in the composer's final
years, due in part to the numerous commissions to write
for less-skilled choirs. When writing for professional
choirs or for his own church choir, Dr. Willan used a
wider harmonic range. When writing for children's
choirs or for congregational singing he reverted to a
very traditional style.

Dr. Willan's success in his chosen field of church
music is indicated by the large number of sales of both
his choral and organ compositions. In other fields he
may not be as long remembered but in the realm of sacred
choral music, he is perhaps unique among composers of the

twentieth century.

THE SACRED CHORAL MUSIC OF

HEALEY WILLAN

By

William Edward Marwick

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Music

1970

G) Copyright by

WILLIAM EDWARD MARWIC K

1971

PREFACE

Dr. Healey Willan is the most important figure in
the first century of Canadian music. His death, shortly
after Canada's Centennial Year ended, was the end of an
era. Dr. Willan's music will continue to have widespread
use in sacred services in many parts of the world in the
years to come. His influence as a teacher and a crafts—
man on the younger generation of Canadian composers will
long be a tribute to his memory. In the past, Dr. Willan
was the only Canadian composer to achieve international
renown and to have a large body of his compositions
publiShed in Canada, the United States, and Great
Britain. It is appropriate that his music be examined
in one of the first dissertations on the music of Canada.

The writer had the good fortune as an undergraduate
to study under Dr. Willan and to sing under his leadership
in the gallery choir of the Church of St. Mary Magdalene
in Toronto for many years. During this time the writer
was able to obtain a first-hand knowledge of much of the
composer's sacred music and to have access to Dr. Willan's
study and his great scholarship. The writer's deepest
gratitude must be expressed even if posthumously, to that
kind and generous man.

11

The writer is also deeply grateful to his Committee
at Michigan State University for permission to write this
thesis and for the long period of help and advice they
have extended to him. Dr. William Sur, now retired, the
Chairman of Music Education, was the writer's adviser
and friend for many years and was the first to give his
approval for the topic. Dr. Robert Sidnell who succeeded
to Dr. Sur's position has been a most encouraging and
helpful Committee member. The writer would like to
express his debt to Dr. H. Owen Reed, Head of the Theory
and Composition Department for his patient help in the
analysis and his many years of personal friendship and
encouragement. Dr. Murray Barbour was the original
dissertation adviser but had to withdraw for reasons of
ill health. It was most fortunate for the writer that
Dr. Corliss R. Arnold was appointed to succeed Dr.
Barbour. Without Dr. Arnold's fine taste and scholarship
as well as the many hours he has so freely given to this
project, the study would not have been possible.

Appreciation must be extended to Mr. John Bird of
the publishing firm of Gordon V. Thompson, Limited, in
Toronto for assisting the writer in compiling as complete
a collection of Dr. Willan's sacred music as was possible
during the composer's life, and acknowledgment must be
made of Mr. Giles Bryant's research into the unpublished
manuscripts under the composer's direction shortly before

111

his death. Miss Margaret Gillespie, the choir librarian
of the Church of St. Mary Magdalene was of great assistance
in helping obtain copies of music used in the church but
not available elsewhere.

In addition, the writer would like to thank Dr. and
Mrs. Clarence Nelson of East Lansing for their continuing
help and interest. The final note of gratitude must go
to the writer's wife who has assisted him in countless
ways over the years during which he has been working on

this thesis.

William Marwick
Ste. Anne de Bellevue, Que.,
April, 1970

iv

TABLE OF CONTENTS

Page
PREFACE . . . . . . . . . . . . . . . . ii

Chapter
I. BIOGRAPHY . . . . . . . . . . . . . 1
II.' THE UNACCOMPANIED wonxs . . . . . . . . 58

The Masses . . . . . 58
The Motets . . . . . . . . . . . 70
The Service Music . . . . . . . 83
Final Summary . . . . . . . 91

III. THE ACCOMPANIED WORKS . . . . . . . . . 93

The Anthems . . . . . . . . . . . . 93
The Hymn Anthems . . . . . . . . . . 121
The Masses . . . . . . . . . . . . 132
The Canticles . . . . . . . . . . . 140
The Propers . . . . . . . . . . . . 146
The Service Music . . . . . . . . . . 150
Final Summary . . . . . . . . . . . 156

IV. THE LONGER WORKS . . . . . . . . . . 159
Final Summary . . . . . . . . . . . 187
V. CONCLUSIONS . . . . . . . . . . . . 189

A Comparison of General Types . . . . . . 189
Final Evaluation . . . . 19A

BIBLIOGRAPHY . . . . . . . . . . . . . . 202
APPENDICES . . . . . . . . . . .1 . . . . 207

CHAPTER I

BIOGRAPHY

James Healey Willan was born in Balham, Surrey, a
suburb of southeast London, on the twelfth of October,
1880. His father, James Henry Burton Willan, was a
druggist whose family tree boasted of a considerable
number of doctors, school masters and clergymen but no
muSicians. Indeed there is no trace of any outstanding
musical aptitude anywhere in Dr. Willan's ancestry. His
father enjoyed music but was in no way musical himself.
His mother, born Eleanor Healey, played the piano in a
pleasant amateurish manner. Both parents were of Irish
descent. .Their names were combined in the name of their
son. One daughter, Mary, four years younger than Healey,
completed the family. 8

The young boy played his own little tunes on the
family piano as soon as he was tall enough to reach the
keyboard. He was familiar with the sound of chords and
progressions in any key long before he became aware of

their technical names. "Dr. Willan does not remember a

1 When he was two

time when he could not read music."
years old the family moved to Beckenham in Kent where
William Sr. was engaged as a chemist. Beckenham "was
then a thriving suburb of 13,000 souls"2 and was a city
of wide streets and graceful homes. It was here that
the first real contact with serious music was made and
his formal musical education began. It was here that
his interest in music and his lifelong love of it began.
One of the outstanding edifices of Beckenham was
the church of St. George, built in 1866. As a boy of
four, the young Healey would steal over to the church to
listen to the organist practicing, whenever he could
escape the kindly protection of the venerable family
St. Bernard watchdog, Meg. (Meg much preferred taking
both children to a nearby railway bridge to watch the
trains go by.) St. George's was Anglo-Catholic and was
influenced by the Tractarian Movement which had been
helping to improve the music of many English parish
churches toward the end of the nineteenth century. In
view of this movement, plainsong was again taking its
place in the music of the service. Thus music in the

forms of organ performance and plainsong made such a

 

1Louise 0. McCready, Canadian Portraits--Famous
Musicians (Toronto: Clarke‘IrwIn and Co., Limited,
19577. p. 103.

2Godfrey Hideout, "Healey Willan," The Canadian
Music Journal, Vol. III, No. 3 (Spring, 19597: p.'F}

deep impression on the boy that the family decided he
should audition for a place in a choir school.

Positions in Anglican choir schools were eagerly
sought when there was any sign of interest or ability in
music. Choir schools were usually maintained by a
cathedral and they provided an excellent general education
as well as a strict and thorough training in choral music
through the daily choir rehearsals and participation in
the Sunday services and the weekly routine of the church.
There was no system of free education in England at that
time. Attending a school was fairly expensive. Choir
schools were less costly since they were in part sub-
sidized by the church. Sometimes they admitted a
student free in the case of a talented but needy boy.

Dr. Willan could not remember what arrangements were
made regarding fees in his case.

On his mother's birthday, May 1, 1889, the eight
and one-half year old boy applied for admission to St.
Saviour's Church School in Eastbourne on the south
coast of England. St. Saviour's was not a cathedral
but it was well known for its.standards in choral music
under Dr. Walter Hay Sangster, the organist and head
of the school. It was Dr. Sangster who examined the young
applicant, who had to read at sight a passage from one
of the Psalms and a hymn tune with the melody on one

page and the words on the opposite one. This was

followed by sight-reading the second sporano part of the

final chorus of Wesley's The Wilderness. There were in

 

addition ear tests and probing of the voice compass. Dr.
Willan's voice was not particularly high but he managed
to surmount all these hurdles with ease and was admitted
into the resident institution as a probationer. A rare
exception was made shortly afterwards and the probation
period for him was reduced from a year to six months.
On Advent Sunday of 1899 Healey Willan took his place as
a full-fledged chorister. The anthem on that occasion
reflected musical taste at the turn of the century:
Praise His Awful Name from Spohr's The Last Judgment.
The next six years were busy and enlightening as
well as enjoyable. The thirty to forty boys in the
school had classes in English, Mathematics, Latin and
History, in addition to daily choir rehearsal and
Evensong. A few of the more talented and interested
had private lessons in organ and theory with Dr. Sangster
and Healey Willan was included among those chosen few.
At one harmony lesson Willan was told that consecutive
fifths were absolutely forbidden in music. The boy, who
had a fondness for the outlawed device, immediately
epointed to just such an example of fifths in the slow
movement of Beethoven's first piano sonata with which he
was struggling at the time. Dr. Sangster had to take
great pains to explain this exception to his rather

doubting pupil.

There was time for play as well as for work at the
choir school, where the physical condition of each
chorister was of prime importance to the church authori—
ties. The school had a good football team and the
nearby playing field known as "The Saffrons" was the
home field for the St. Saviour's cricket team when it
played in competition with other schools. Willan was
never a gifted player himself but he loved the game and
was always keenly interested in it. He knew cricket
players and scores as American boys and men know hockey
or baseball.

From the first vivid musical impressions made upon
Dr. Willan by the beauty of the ceremonial of the Anglo-
Catholic service and the plainsong at St. George's in
Beckenham to the end of his long career at the Church of
St. Mary Magdalene in Toronto, the customary "broad"
Anglican service held little interest for him. The six
years at St. Saviour's were thus years during which Dr.
Willan participated in a considerable amount of music
that was not of the Anglo-Catholic order. The first
time he heard Anglican chant he thought it was hilarious.
However, the educational advantages made up for a great
deal and Dr. Sangster was a fine teacher and musician of
academic attainment. During Dr. Willan's long career
there were to be only eleven other years spent in the

broad general type of Anglican service.

Willan's more than ordinary interest in and
enthusiasm for music quickly led to additional responsi-
bilities in the school. At the age of eleven, he was
entrusted by Dr. Sangster with some of the rehearsals
as well as with playing the organ for some of the
services. This did not always sit well with some of
the older and more experienced choirboys, so the special
position of "Choir Monitor" was created to prevent the
young director from being rough-housed after the
rehearsal.

In an English school the monitor is regarded as

the representative of the headmaster himself.

It would be as unthinkable to punch a monitor

as to punch the headmaster. "This kindly act

of the headmaster," says Dr. Willan, "probably

saved my life."1
The next promotion was to "Book Boy" or choir school
librarian assistant and included the duty of helping to
prepare all the music in correct order for the rehearsal.
Next came assisting the church choir librarian in pre-
paring the music for the services in the church, and
finally the coveted "Doctor's Boy," which was the highest
post a boy could attain. This included preparing the
organ fifteen minutes before the service by turning on
the water for the hydraulic instrument, dusting the keys,
placing the books and music on the organ rack and finding

all the places in the books the organist was to use

during the service.

 

lMcCready, p. 106.

When Willan's voice broke he had become so useful
to Dr. Sangster that he was kept on for an additional
year. The day finally came when he had to leave. Dr.
Willan loved to quote Dr. Sangster's parting words to
him: "Well, Willan, I shall miss you. You never had a
great voice, y'know, but youwneveerissed a lead" (italics
mine). Dr. Willan considered this to be the finest
compliment that can be paid to a chorister.

On leaving the choir school Willan spent a year
at home working and studying by himself. His physical
size had been reached too quickly and the fifteen-year-
old boy needed a quiet time for his strength to catch
up with his body. It was during this year that a long
period of illness confined him to his bed and he passed
the time in devising all sorts of contrapuntal combina-
tions in all five species for every possible arrangement
of any three notes in the scale. These self-imposed
exercises were to stand him in good stead later and lead
to his complete mastery of traditional counterpoint.

The following year he followed his parents to the'
cathedral city of St. Alban's in Hertfordshire and it was
there that he accepted his first position as organist and
choirmaster at the Anglo—Catholic St. Saviour's Mission

Church twenty—eight miles northeast of London.1 The Head

 

1The church has no connection with St. Saviour's,
Eastbourne.

Missioner, Darwin Burton, greeted him with "Now, my boy,
give us plainchant. Lots of it! The devil hates it so!"
In July, 1897 he became an Associate of the Royal

College of Organists. Shortly after he took advantage

of the proximity to London to start organ lessons with
Dr. William Stevenson Hoyte, the organist of the Church
of All Saints, Margaret Street, London. (A fellow organ
student was Gustav Holst.) After his organ lesson on
Monday afternoons he often stayed on to play Evensong.
Two years later, at the age of eighteen, he passed the
examination and became a Fellow of the Royal College of
Organists, receiving his diploma from the august hands
of Sir Hubert Parry, the Director of the College. Parry,
on seeing the youthful appearance of the candidate,
jokingly asked him if the diploma was intended for his
father!

During his student years Willan had written some
marches as well as some church music but now he started
to write more seriously and concentrated on religious
music. After three years at St. Saviour's Mission
Church he moved to a higher paying position in northeast
London where he served from 1900 to 1903 as organist and
choirmaster of Christ Church, Wanstead, a more evangelical
parish. His first published composition appeared from

there in 1900: a Sanctus, Benedictus and Agnue Dei for

 

 

women's voices. In 1903 he moved to the very Anglo-Catholic

Church of St. John the Baptist, Holland Park, Kensington,
London, where he was to remain for ten busy and happy
years until his departure for Canada. Dr. Willan loved
London and it was always a second home to him. In the
big metrOpolis he continued his organ studies with Dr.
Hoyte and started piano with Evelyn Howard-Jones. For

a time he considered the career of a concert pianist and
his studies with Howard-Jones, a noted specialist in

the music of Brahms, were toward that end. An arm injury
persuaded him that the life of a piano virtuoso was not
for him and he returned to his first love, the organ.
Another fellow organ student of Hoyte's at that time was
a young man of Polish and Irish descent and organist of
St. James, Piccadilly, one LeOpold Stokowski. In London
at that time, another promising organ student was Thomas
James Crawford, then private assistant to Sir Frederick
Bridge at Westminster Abbey. Crawford was later to
follow Willan's path to St. Paul's Church in Toronto and
to serve under him at the Toronto Conservatory of Music.
Later he became organist of Timothy Eaton Memorial Church
in Toronto.

In London years were rich in many ways. Sir
Richard Terry at the Roman Catholic Westminster Cathedral
conducted an inspired series of services featuring the
finest of liturgical music to be heard anywhere. Organists

and music students flocked there to hear the

10

seldom-performed works of Palestrina, Byrd, Vittoria, and
the great Elizabethan church composers. Terry would fre-
quently devote an entire week's services to the music of
one of these Renaissance composers, i.e., a Palestrina
week. This great music, superbly performed, was to
influence deeply the style of the young composer and form
a large part of the repertoire of his own services in
later years.
According to Dr. Willan, plainchant was "the

essence of music."

The late Sir Richard Terry once said "plainchant

is unpopular with congregations because it exacts

from them the exercise of more intelligence than

they are accustomed to give to the offices of the

Church. It is unpopular with choirs because it
gives more glory to God than it does to the choir.

"1
Thus it is not surprising that one of the most important
associations of Dr. Willan's life stems from these same
London years; his friendship with the plainchant
specialist Francis Brugess. Burgess was a fellow-
organist who took Holy Orders toward the end of his life,
and whose lifelong interest and enthusiasm for plainsong
gave purpose and direction to Dr. Willan's preferences

in that direction. Burgess wrote enlightening books for
church musicians who were hoping to introduce that style

of liturgical singing into their services. Willan and

Burgess went about lecturing and demonstrating as

 

‘1'

lMcCready, p. 133.

ll

missionaries for the art. Burgess followed Dr. Warwick
Jordon in presenting Gregorian festivals at St. Paul's
Church in London, continuing and improving the tradition
there. Willan was his assistant and frequently wrote for
these occasions, culminating in a set of Evening

Canticles with Faux Bourdons for the sixtieth anniversary

 

0f the Association in 1930. His membership in the London
Gregorian Association dates from 1910 and continued to
the end of his life. In Toronto he was to organize and
develop the Toronto Gregorian Association which
flourished for several primising years but is now, at
least for the time being, inactive.

Outside the church and church music Willan developed
a keen interest in the theatre. He became the conductor
of the Thalian Operatic Society in London, an amateur
group specializing in Gilbert and Sullivan works. This
interest in the stage was to flower again in the New
World. Meanwhile in London orchestral concerts, opera
and oratorio opened up an ever-widening world of music to
the enthusiastic young organist and composer. A con-
siderable number of his choral works appeared and were
published, carrying his name across the seas. Included
among these were service settings and the anthems There

Were Shepherds, While All Things Werein Quiet Silence,

 

I LookedLand Behold a White Cloud and Hail,gTrue Bgdy.

12

In 1905 Willan married a brilliant young piano and
voice student of the Royal Academy of Music. Gladys
Ellen Hall was to be not only wife and mother but a
continuing support and strength for the next sixty years.
Four children were born into the family, three boys,
Michael, Bernard, Patrick born in England, and one girl,
Mary, born in Canada. Although all were and are
interested in music, not one chose it as a career.

As Willan's family increased in size the financial
pressures became understandably greater. The church
salary of one hundred pounds a year, although adequate
by standards of the period and higher than most church
positions, was not enouch to support a growing family.
An organist usually supplemented his income in some way,
and Willan did this by private teaching and proof-
reading for the music firm of Novello and Company,
Limited. The proof-reading included the score of Sir
Edward Elgar's Violin Concerto. But the financial
pressure did not disappear. A move to a more lucrative
position was inevitable.

In the summer of 1912 and while Willan was still
at St. John the Baptist, he received a visitor who was
to be partly instrumental in bringing him to Canada.
Willan's music was becoming known in Toronto and it
interested and impressed the conductor of the Toronto

Mendelssohn Choir, Dr. A. S. Vogt, who was also the senior

l3

piano instructor at the Toronto Conservatory of Music.
Dr. Vogt asked a friend of his, Dr. Alexander Davies, a
medical doctor interested in music and who was planning
to visit the United Kingdom, if he would call on Healey
Willan and inquire if he would consider a position on
the Conservatory Faculty if a vacancy should occur. The
meeting took place and the inquiry was made. Willan
said that he would be glad to consider it and there the
matter rested for a year and Willan put it out of his
mind when nothing more was heard about it.

However, things were happening on the other side
of the Atlantic. The head of the Theory Department at
the Toronto Conservatory, the renowned Dr. Humphrey
Anger had died and Dr. Vogt became the principal of the
Conservatory. One of his first duties was to find a
successor for Dr. Anger and he had his man picked out
and initially contacted. A firm invitation was now
extended to Willan to come to Toronto and head the Theory
Department. Threes and numbers containing three were
lucky for Willan, and he remarked laughingly to his wife
that the invitation had come to him on the third day of
the third month of the year 1913, when he was thirty-
three years of age. The Fates appeared to be giving
him good omens to embark for the New World. He left
England alone in 1913 in order to arrive in Toronto for
the autumn term, but returned to England briefly a year

later to bring back his wife and family.

in

Willan quickly made his mark at the Conservatory
with his boundless energy and enthusiasm, combined with
his gifts as a teacher. Within three weeks of his
arrival he was appointed organist at St. Paul's Anglican
Church on Bloor Street in Toronto. At that time the
present magnificent edifice was in the process of being
built, replacing a much older building. Services were
still held in the old church but in December, 1913,
services could be moved into the new building. Since
the organ could not be installed for some time, Willan
played for the services on a huge concert grand paino.
The Blachford String Quartet also joined him in playing
for the services. The organ was completed in the spring
of 191A and was opened at an Evensong, Willan sharing
the console with Miles Farrow on that festive occasion.
The organ was one of the finest instruments in Canada,
and the church is as spacious and beautiful as any
cathedral. The organ position was and is one of the most
highly paid in the city, and it introduced Willan to the
music world of Toronto. Soon he was in great demand as
a concert organist. Only one flaw spoiled the perfection
of his new life. The evangelical service was the tradition
of St. Paul's and it was gradually to chafe a musician
so indoctrinated in the music and liturgy of the Catholic

rite.

15

However, for the first several years in Canada
Willan was too busily occupied in establishing himself
and his family in a new country to be too deeply con-
cerned with the level of the services. His first pub-

lished work in Canada was an arrangement of A Christmas

 

Song of the Fourteenth Century (Now, 0 Zion, Raise the
Strain). With a superb instrument at his command, he
turned to organ composition and the result was his
first large work which was to make him known all over
the world—~the monumental Introduction, Passacaglia and
23522. In 1919, after hearing a performance of the

Reger Passacaglia on the Convocation Hall organ, Dalton

 

Baker, a friend and organist of the Roman Catholic Church
of St. Peter's, expressed the thought that such a work
could only come from the mind of a Germanic composer.
Willan brooded on this statement and felt he could not
accept it. The result of this mental cogitation was this
work which many feel to be the most important work for
organ written in this century. Much of it was written

on the radial trolley connecting Toronto with the summer
resort of Jackson's Point on Lake Vimcoe, sixty miles
north of the city. The Willan family had a summer
cottage there and Willan commuted from his work in
Toronto. During the time it took the trolley to cover
the route oneway, Willan would write two of the varia-

tions, and two more on the way back. This composition

16

has been called the best work of this genre since
Bach.1

Choral music was by no means neglected during
these first years in Canada. The Mendelssohn Choir of
around two hundred picked voices was then at the peak
of one of its great periods of performance under Dr.
Vogt. Few of the younger musicians in Canada appreciate
the immense sc0pe of this great man who did so much for
Canadian music, and yet today he is largely and inexcus-
ably forgotten. For this great choral conductor and
his principal at the Conservatory, Dr. Willan wrote the
motet How They,So Softly Rest in memory of choir members
killed in World War I. Other works of this period

include the anthems In the Name of Our God, 0 Perfect.

 

Love and 0 Strength and Stay, as well as several service

 

settings.

Dr. Vogt's health began to fail at the beginning
of the Twenties, and, in order to spare him some of the
strain of the duties at the Conservatory, Willan was
appointed Vice Principal in 1920. He had joined the
small Faculty of Music of the University of Toronto in
191A as Lecturer and Examiner. The Conservatory and the
Faculty of Music were cloSely intertwined and the pro—

fessors of the Faculty also taught classes and lessons

 

1Joseph Bonnet, 188A-19AM, French organist and
composer.

17

at the Conservatory. Indeed, the Faculty of Music was
actually housed within the Conservatory. Dr. Vogt was
the Dean of the Faculty in addition to his far too
numerous other responsibilities. Other Examiners in
the Faculty were Dr. Albert Ham, organist of St. James'
Anglican Cathedral in Toronto, Mr. W. E. Fairclough and
the University Organist Dr. F. Moure. The degree of
Bachelor of Music conferred by the Faculty was largely
of an extramural nature. The students studied on their
own or with a teacher of their choice. Many of the
candidates did not live in the city but simply appeared
in the spring to write the examinations. Only four
official lectures a year were required of the new
faculty member, and the actual teaching was for the most
part private. Thus began thirty-five years of happy
and active association with the University of Toronto
that was to extend to his formal retirement in 1950 at
the age of seventy. 'In 1932 he was to take over the
position of University Organist and to make of it a
great and glowing tradition until he had to terminate
his activities there in 196”.

Dr. Vogt's health had forced him to retire from the
Mendelssohn Choir in 1917, and his position was filled
by Dr. Herbert Austin Fricker. Dr. Fricker commissioned
Willan to write his most ambitious large-scale choral

work, An Apostrophe to the Heavenly Hosts for unaccompanied

18

double chorus. This huge motet has been indelibly
associated with the Mendelssohn Choir ever since and it
has been performed in the United States and in England.
In stature this choral work occupies a corresponding

position to the Introduction, Passacaglia and Fugue.

 

The text was prepared by Willan's friends, Father
Hiscocks and Dixon Wagner. Willan was to have the work
ready for the printers by the seventeenth of August and
the slack summer period would give him plenty of time to
compose the work. Unfortunately it did not work out
that way. ‘Just at the busiest time of the year, when
he was feverishly marking Conservatory theory examina-
tion papers, the news came from England that the deadline
for the printers had been moved up a month to the
seventeenth of July. This left only a few days to
complete a massive work that he knew would be a mile-
stone in his career. Willian simply announced to the
stunned Registrar of the Faculty1 that he was disappearing
for a few days. With his family at the summer cottage,
he shut himself up in his home on Inglewood Drive and
composed the work under tremendous pressure, but it was
completed in time and forms an important position among
his works. Some consider it to be his finest choral work.
The Arts and Letters Club of Toronto has been a

haven for artistic and intellectual people of the city

 

lMiss Marion Ferguson.

19

for many years. Willan joined the club when it was
situated over the Court Street Police Station in down—
town Toronto. Later it was moved to its permanent home
in the time-honored building on Elm Street. Dr. Willan
was elected President in 1922 and celebrated the
occasion as only he could, by setting the constitution
of the club to music. He never relinquished his
interest and participation in the club's activities.
A considerable amount of music was written for diverse
club activities. Dr. Willan's choral groups frequently
assisted the composer in presenting recitals or inci—
dental music there. A large portrait of the young and
vigorous Healey Willan, painted by Adrian Dingle, hangs
in the club. This was the Willan of the thirties, with
more and darker hair but with the same friendly smile
and mischievous, twinkling eyes.

Shortly after the First World War was over, Hart
House was Opened on the University campus and has been
the heart of the campus ever since. One of the most
important features of Hart House is its excellent intimate
theatre which was to be the cradle of Canadian drama in
the years following the Second World War. When it first
opened it was entrusted to a small group of faculty
members interested in dramatics. The University Players
Club of the post-World War I years was small in member-

ship as well as experience and equipment but both were

20

available at the Arts and Letters Club. It was natural
that there would be considerable sharing of talent and
facilities between the two groups. The director of the
University Players was Mr. Roy Mitchell. Mitchell con-
tacted Dr. Willan in December, 1919 to discuss the
incidental music for the forthcoming University Players

production of The Chester Mysteries.l After the director

 

had outlined his wishes for the required music, Willan
returned home and worked until three in the morning. The
score and parts for an ensemble of seven women's voices
and string quartet were ready for rehearsal the next
day. Willan chose the singers and a colleague selected
the string players. The work was rehearsed during the
noon hour and again later in the same afternoon. Thus

a fully prepared musical group appeared at Hart House

in the evening ready to rehearse with the astonished
director and actors. This was the first of many happy
collaborations with the University Players. From 1919
to 1925 Willan served as Musical Director of Hart House,
for which he wrote incidental music for fourteen plays,
including playwrights like Euripides, Shakespeare and
Ben Jonson. The genius for writing for dramatic pro—
duction was to find its fullest flowering in later years

with Brebeuf, Transit Through Fire and Deirdre.

 

 

1The Chester Mysteries originated at Chester,

England in 155“. This old form of religious play usually
was presented at a religious festival and took its name
from the town in which it was first performed.

21

With his appointment as Vice Principal of the
Conservatory in 1920, Willan felt financially secure
enough to ponder a decisive step that was to be the
most momentous one of his life. Other than the six
years at the choir school, Willan had never been
associated with the broad traditional and "low" Anglican
service, and the eight years at St. Paul's had been very
long indeed. Relations with the rector were cordial and
were to remain friendly even after Willan had left the
church. All through his career Willan was always on the
best of terms with his clergy. His Irish charm won over
the hardest clerical heart, and frequently the astonished
rector found that after discussion with the composer he
had not gained his point at all but rather Dr. Willan
had entrenched his position all the more strongly.
However, to return to the situation at St. Paul's,

Willan felt he was temperamentally unfitted to carry out
the musical ideas which were favored by the authorities
there. He longed for a church where he could bring forth
the music most fitted for sacred service in a ceremony
that was beautiful and dignified and represented the long
and glorious history of the church's liturgy. Such a
church could be found only in an Anglo-Catholic or Roman
Catholic setting. Dr. Willan was approached many times
by Roman Catholic authorities but he always steadfastly

refused to leave the Church of England which was a vital

22

part of his being and his entire life. It would be
unthinkable to imagine the composer anywhere else but
in an Anglican setting.

Just at this time when Willan was feeling increas—
ingly restless at St. Paul's, the Fates stepped in once
more. The position of organist and choirmaster at the
Church of St. Mary Magdalene was vacant. The vicar,
Willan's friend Father Hiscocks, wished to establish
just such a service with just that kind of music.

Knowing Willan's unfailing interest in anything connected
with the Anglo-Catholic liturgy, he asked Willan if he
would recommend an organist for the position. Willan
completely astonished his friend by recommending himself.
It was a big step to take and meant a great financial
loss. St. Paul's paid one of the highest salaries of

any church in Canada whereas at St. Mary's the salary

was minimal and at times, as the future turned out,
nonexistent. But Willan did not hesitate in making his
decision and he never regretted it. As a birthday

present to himself he posted his resignation at St. Paul's
on October 12, 1921 and moved into the much smaller church
in the then fashionable district around Bathurst and
Harbord Streets. Overnight the church was suddenly
transformed into what is everything a cathedral is except
in name, and with the complete Anglo-Catholic liturgy and

glorious music, both plainsong and choral works that

23

represent the very best liturgical music available to
Christian worship. At this church Dr. Willan found the
leisure, the serenity and the inspiration so necessary
to a man of his nature. It was at this church that he
spent forty-six years and for this church he wrote his
finest choral music.

Father Hiscocks and Willan worked out a plan for
the church which served until the composer's death.
Willan was to be organist and choirmaster, and, what
was more important, Precentor. Such a title suggests
either a cathedral or a monastic church. Anglican
cathedrals in Canada are traditionally either "low" or
"middle-of—the-road" and St. James' Cathedral in Toronto
occupies that position. However, the adjoining Convent
of the Sisters of the Church (Anglican) made the church
a conventual one.1 For a number of years the Society
of the Sisters of the Church were constant attendants
at the services and materially assisted in the work of
the parish. A Precentor has complete control over all
the music used at the choir services and this right Dr.
Willan guarded carefully.

The church has not been a true parish church for
many years. It is situated in what was at one time,

but is no longer, a fashionable and prosperous part of

 

lThe Convent was moved to Oakville, Ontario in

1965.

2A

the city. St. Mary Magdalene's has been in many ways a
shrine. During Dr. Willan's long career there the
liturgy has been performed with an authority and beauty
seldom found elsewhere on this continent. The majesty
of the music attracted students and music-loving

people in a thin but continuous stream, for the complexity
of the ritual tended to intimidate all but the most
dedicated and devoted. The intellectual appeal of such
a church drew visitors from the seminaries of the nearby
University of Toronto. Indeed, the church had to depend
to a certain extent for much of its support on this
floating congregation of visitors. The permanent con—
gregation is small and far from wealthy but it is loyal
and deVOut. Most of the members come from the suburbs,
and in some cases from neighboring cities.1 The beauty
of the music and the liturgy made the trip more than
worth while.

For Dr. Willan, too, the sacrifice was well worth
the financial loss incurred by leaving St. Paul's, as
well as by refusing to consider the numerous offers
made to him over the years by wealthy and influential
churches in the United States. St. Mary Magdalene's was
his spiritual home from 1921 with the regrettable

exception of one unhappy year when he was away from

 

1Two of Dr. Willan's gallery choir members regu-
larly drove forty miles from Oshawa and another slightly
farther, from St. Catherines.

25

September, 1941 to September, 19A2 in order to have more
time for composition. However, he discovered that his
church and choir were an integral part of his life that
no other interest could fill. At St. Mary's the new
organist was far from satisfactory and the office was
once more vacant within a year. The church was extremely
anxious for Dr. Willan to return and he was glad to do
so. He never seriously considered leaving again.

Healey Willan was awarded a Doctor of Music degree
honoris cause by the University of Toronto in 1921, the
year of other important changes in his life. But more
changes were in store. Dr. Vogt's health continued to
fail, and his death in 1926 left the dual positions of
Principal of the Conservatory and Dean of the Faculty of
Music vacant. Many people in Toronto felt most strongly
.that the position should have been given to Dr. Willan
but instead it was granted to Dr. (later Sir) Ernest
MacMillan, a Canadian-born though English-trained
musician, who had close connections with the university
and who proved to be a capable administrator. Such a
position would probably have been stifling to a creative
man like Dr. Willan. Although they remained friends
through a period which might very well have caused serious
disagreement between them, it is a matter of regret that
Sir Ernest did not see fit to bring Dr. Willan's large

scale choral and orchestral works to audiences both in

26

Canada and in the United States, and in Europe where he
frequently travelled as guest conductor. For his
orchestral works Dr. Willan was to find a sensitive and
sympathetic interpreter in Dr. Ettore Mazzoleni who
succeeded Sir Ernest as Principal of the Toronto Con-
servatory of Music, but who did not have the oppor-
tunities to present Dr. Willan's larger works to a wider
audience.

The situation with Sir Ernest as Principal and
Dr. Willan as Vice Principal continued for ten years
until the Conservatory felt the effects of the great
depression of the thirties. In an economy wave it was
decided to abolish the position of the Vice Principal.
There was a great deal of bitterness and ill feeling
which might have developed into a cause célebre if Dr.
Willan had chosen to take advantage of the situation.
He simply moved out, however, and set up his studio a
few blocks away behind Malloney's Art Gallery on Grenville
Street, where he continued his university duties. He
was appointed University Organist in 1932. His resent-
ment was against the Conservatory, which was a School of
Music and not an integral part of the university although
the university issued its diplomas and certificates.

During the twenties and early thirties many of Dr.
Willan's finest works appeared. Six ballad operas were

written for Hart House, one of them having a Canadian

27

setting (The Order of Good Cheer) and another being a
revision and part reworking of the music for The

Beggarjs Opera. Two violin and piano sonatas, some fine

 

organ chorale preludes and the Christmas cantata, The

Mystery of Bethlehem, date from this period. But what

 

is more important is that his sure grasp on sacred
choral music broadened and deepened during this time,
as is evidenced in many service settings and Masses but
above all in the series of liturgical motets which are
revered throughout the English-speaking world. Some
musicians feel that this decade and the following saw
the composer attain his peak in creativity, approaching
many of the trends found in the music of the twentieth
century but never losing his contact with the past.

Dr. Willan's appointment as University Organist
led to the continuation of the regular series of
recitals on the massive organ in Convocatioanall, in
addition to the official university duties. The recitals
were given at five o'clock in the afternoon and became
a cherished university tradition. Through the years
countless thousands of students as well as faculty and
people off the campus found a source of rest and inspira—
tion in hearing the works of the masters played so
sensitively and flawlessly in impressive surroundings.
In later years the strain of preparing and presenting

all the recitals in the series began to tell, and guest

28

organists were invited to share what had been Dr. Willan's
alone and had become almost an institution. The univer-
sity saw him depart with deep regret and he was always
welcomed back. The close association with the University
of Toronto was a very long one that was happy in every
way.

Dr. Willan's keen interest in the choral music of
the Elizabethan period could only be partly satisfied
through his church choir since of necessity the great
wealth of the madrigal writing of the period could find
no outlet there. The Tudor Singers were formed under
Dr. Willan in 1932 to specialize in the secular branch
of the Golden Age of English Music, featuring madrigals,
bellets and other Tudor music. This small but select
group enjoyed a highly successful concert career until
the outbreak of World War II, when the shortage of men's
voices in both the Tudor Singers and the gallery choir
at St. Mary's forced Dr. Willan to combine the two under
the title The St. Mary Magdalene Singers. This group
continued to give recitals apart from the church services,
but less frequently as time went on and the conductor's
strength had to be considered and used more carefully.
One annual recital that was eagerly anticipated by both
the choir and the university was the choral concert in
the Great Hall at Hart House each December. Motets of

the English Renaissance, followed by traditional

29

Christmas carols frequently arranged by the composer-
conductor, were particularly impressive in the barial
surroundings. In later years the personnel of the

choir varied in quality and rehearsal time was curtailed
when the choir ceased to sing Evensong as a regular
practice in 1957, since the service was invariably
followed by a rehearsal. Appearances outside the church
entirely ceased in the last few years of the composer's
.life, including the Christmas recital at Hart House. In
the church, with its unique acoustics and atmosphere, the
choir continued to the end to retain much of its former
artistry and Dr. Willan's vigor as a conductor and
organist were little diminished by the years. His
improvisation at the console during the service and in
the Postlude afterwards provided musical experiences that
were seldom found elsewhere.

The thirties saw the first eight of the fourteen
Masses written especially for the St. Mary Magdalene
choir, as well as other liturgical music, including Dr.
Willan's best-known motet Hodie Christus Natus Es. In
this decade Dr. Willan began to turn to orchestral
music with the writing of his first symphony. The
accession of George VI to the throne in England inspired

the Coronation March and Coronation Ode as well as the

 

 

Coronation Te Deum. He wrote numerous arrangements of

 

French Canadian folk songs and edited a series of motets

by earlier composers for the Flammer Choral series.

30

The Faculty of Music at the university was
reorganized along new lines in 1938. Canon Cody, a
longstanding friend and then President of the university,
asked Dr. Willan to return to the Conservatory as Pro-
fessor of the Faculty of Music. The university did not
then have a separate building for music and, in fact,
could scarcely foresee the tremendous expansion that
would follow World War II with the addition of Music
Education courses, the Opera School and the Artist
Diploma courses. At that time the classes in the
Bachelor of Music course and the Honor Arts in Music
were quite small, in the manner of tutorials or seminars.
By placing the Faculty of Music in the Conservatory,
university students could have access to the library
there as well as to the teaching facilities, practice
studios and recital halls. Conservatory students, on
the other hand, could participate in the Faculty of
Music lectures.l

Dr. Willan consented to return to the conservatory
building on College Street facing the provincial parlia-
ment buildings, with the clear understanding that his
entire relationship was to be with the university and not

with the conservatory. He would not permit his name to

 

1Students in the Bachelor of Music program had
a rather unique status somewhere between that of regular
university students and conservatory students. They did
not have any actual university privileges until a postwar
expansion of the Faculty in 19h6.

31

be listed on the conservatory staff and accepted organ
students only on a scholarship basis, teaching them at
his church. The late Leo Smith shared the teaching-
duties of the Faculty of Music. Both men taught classes
in all the various musical subjects, but Professor
Smith tended to concentrate more on harmony, while Dr.
William specialized in counterpoint and fugue. Sir
Ernest MacMillan taught a limited number of classes in
orchestration to the third year students. In many
classes students met with the professors in small
groups, reflecting the influence of English university
education. The weekly tutorials with Dr. Willan were
so inspired and exciting that few who participated will
ever forget what it meant to work under the direction
of such a master. Dr. Willan's contrapuntal skill had
few rivals in the academic world. He was an exacting
taskmaster and demanded the very best from his students.
Woe betide the student who presented careless or sloppy
work! Both Dr. Willan and Professor Smith were gifted
lecturers and between them they taught most of the
present—day composers and many of the leading musicians
in Ontario until their retirement in 1950.

The First Symphony was first performed under
Reginald Stewart (who was to become the conductor of the
Baltimore Symphony Orchestra and the principal of the

Peabody Institute of Music) at a Promenade Symphony

32

Concert in 1936.1 There were fine later performances
during the next twelve years, both in Toronto and
Montreal. This work marked Dr. Willan as a composer of
larger canvasses and in l9u0 the Canadian Broadcasting
Corporation commissioned him to write an opera

especially designed for radio, Transit Through Fire, to

 

a text by John Coulter. This was performed over the

CBC on March 8, 19u2. The opera was concerned with the
problems and frustrations of the Intellectual during

the Depression, and its message was so topical that its
appeal was limited to that particular time and place

but it served to lead to other and more important works.
The first of these was Brebeuf, in the form of a
documentary cantata, based on the narrative poem of

E. J. Pratt about the sufferings and deaths of the Jesuit
martyrs of Huronia in the seventeenth century. It was
presented as a radio cantata over the CBC on September 26,
19AA and at a concert performance in Massey Hall.

The second larger work was Deirdre, based on a
Celtic legend with the libretto again fashioned by John
Coulter. This was the first full-length Opera by a
Canadian composer of stature, and received wide acclaim

when it was performed on CBC Radio on April 20, 19A6.

 

1The Promenade Concerts were given in Varsity
Stadium during the summer to provide employment for
musicians. They specialized in lighter music and were
immensely popular for years.

33

It was far too fine a work to suffer the eclipse of the
other two works and was to be revised and given full
stage presentation in the sixties.

The war years inspired one partiotic work, The_

Trumpet Call, for chorus and orchestra to a poem by

 

Noyes, in 19A1, as well as A Marching Tune for small

 

orchestra in 19A2. More important and not connected

with the war was the Concerto for Piano and Orchestra

 

that was completed in 19A“ and recorded by RCA Victor

the following year, played by Agnes Butcher with Ettore
Massoleni conducting the CBC Symphony Orchestra. It was
also performed in Montreal under Jean Baudet and recently
by Sir Ernest MacMillan with Sheila Henig as soloist.

The full score was published by BMI Canada in 1960.

The original pressing of the recording has long been out
of print and a re-issue on long playing recording is
badly needed, as well as recordings of the other larger
works.

The Second Symphony of 1950 was first performed by

 

Mazzoleni and the Conservatory Symphony on May 18th

and later by Sir Ernest MacMillan and the Toronto
Symphony Orchestra on November 7th and 8th in a special
concert devoted to the works of Canadian composers. It
was performed again in 1958 at a concert sponsored by
the Toronto Star, played by the TorOnto Symphony under

Walter Susskind. It is gratifying that Dr. Willan's

34

large orchestral works have been performed at least a
few times during his lifetime rather than entirely post-
humously.

In 1945 the St. Mary Magdalene Singers performed
two liturgical recitals in Town Hall, New York. They
were enthusiastically received and perhaps this occasion
marked the highest point of the choir's concert career.
With the war over and a tremendous surge of activity on
the campus crowded with returning veterans, a new era in
music emerged. It was a period of excitement and intense
activity. At St. Mary's the choir had recovered its
full balance of male voices and was widely known as the
finest church choir in the country. Dr. Willan once
more started to write his series of Missae Breves for

the choir and a Magnificat and Nunc Dimittis for the

 

Episcopal Church Congress of 1949. One particularly
effective selection of this period is Dr. Willan's
arrangement of The Twelve Days of Christmas. In 1950
Concordia Publishing House issued the first publications
of Dr. Willan's compositions that were to grow to a con-
siderable number in the next fifteen years. The first
works brought out by Concordia were the anthems Eige

as the Hart and I Will Lay Me Down in Peace. Numerous

 

other anthems, hymn-anthems, collections and service
music were to follow. Dr. Willan's opinion on musical
matters was sought frequently by individuals as well as

groups and often by music publishers. He was always

35

glad to oblige, but all these activities and distractions
were to prove too heavy a load.

A heart attack in February, 1947 provided a warning
signal that Dr. Willan's varied and intense activities
had to be curtailed. His classes and lectures at the
Faculty of Music, rehearsing his church choirs1 and the
complex services on Sundays, preparing for the Convocation
Hall recitals, his activities in connection with the Arts
and Letters Club and many others, as well as his composing,
all combined to overtax the busy composer. The summers
did not bring rest, since he twice travelled to Ann Arbor,
Michigan, for the summer sessions, twice to the Univer-
sity of California, and once to Wellesley, Mass. Now
the doctors ordered a complete cessation of all work and
activity. He spent five weeks in Wellesley Hospital and
convalesced for two months at home. Dr. Charles Peaker,
the organist and choirmaster of St. Paul's, took over
the classes at the university to the best of his
abilities but Dr. Willan's shoes are almost impossible to
fill and the students missed him intensely. At the
church, a senior choir member, Margaret Harmer, bravely
managed to maintain the high standard of music that was

traditional there and was able to guide the choir through

 

1Dr. Willan used to rehearse his unison men's
voices ritual choir in plainsong on Thursday nights and
the renowned gallery choir on Friday nights as well as
Sundays after Evensong.

36

the winter season without having to make any changes in
the list established by Dr. Willan. All breathed a great
sigh of relief when Dr. Willan was able to return to the
church in June. The Cowley Fathers from Anglican
monastery in Bracebridge, Ontario, planned a special
Gregorian evensong for that occasion and Dr. Willan
could not resist the temptation of returning to work,
although the doctor was not aware of this one defection
from his strict orders about total rest. His patient,
except for this one excursion, was careful to adopt a
slower pace and for the first time did not regret his
coming retirement in 1950. The slower pace allowed more
time for leisure and for composition. It may be that
the heart attack jolted others into awareness of Dr.
Willan's accumulating years. Recognition of his unique
position in Canadian music brought many honors in the
succeeding seasons.

A special concert in St. Paul's Church was prepared
by the Canadian College of Organists to salute Dr. Willan
on his seventieth birthday. The soloists were Dorothy
Allen Park and Norman Minnoch, with the choirs of St.
Paul's Church and the Church of St. Mary Magdalene. This
concert, appropriately performed in the church that had
been Dr. Willan's when it first opened its doors, was a
deserved and grateful tribute. By this time, Dr. Willan's
published works numbered 250 and were soon to rise to over

300.

37

The younger generation of Canadian composers, many
of them trained by Dr. Willan, desired to form an organi-
zation that would unite the English-speaking composers
of Ontario and the rest of Canada with the French—
speaking composers of the Province of Quebec. Dr.
Willan was approached and requested to head the new
organization, but he felt it would be more fitting for
the younger men to stand on their own feet unhampered
by the Older generation whose music reflected the tradi-
tional styles of the European background and an earlier
century rather than the present one. The newly—formed
Canadian League of Composers gratefully bestowed
honorary membership on Dr. Willan and on his Quebec
counterpart, Dr. Claude Champagne of Montreal.

In 1952 a further honor came from Queens Univer-
sity in Kingston, Ontario, where he was given an honorary
Doctorate of Laws at their convocation. The citation
read:

Scholar, musician, composer, formerly Professor
of Music with the University of Toronto, who has
greatly and permanently enriched the cultural
life of this country with his learning, his
creative skill and his inspiration and his
enthusiasm.1

The Anglican Synod Centenary, held later the same

year, climaxed with a massed service in Maple Leaf

Gardens in Toronto where 1,600 voices from numerous

 

lThe Toronto Globe and Mail, June 7, 1952.

 

38

Toronto churches united under Dr. Willan to sing special
music composed for the occasion, including the anthem

Great is the Lord.

 

But the highest tribute was yet to come. The St.
Cecilian Sodiety of England, which had been formed in
1580 and has been in continuous existence since the
seventeenth century, honored Dr. Willan as the first
non-British resident to have his music performed at their
annual festival. Dr. Willan thus returned to his home—
land to be honored at this festival and, incidentally,
in so doing joined the ranks of Purcell, Dryden, Handel,
Blow and Parry, all of whom had written for the society.
An Appstrophe to the Heavenly Hosts was flawlessly per-
formed by the Alexandra Choir of Great Britain under
Charles Proctor at the Royal Festival Hall with the
royal family in attendance on November 24, 1952. Dr.
Willan was presented to Queen Elizabeth and Prince Philip
during intermission. Four days later there was a per-
formance of Dr. Willan's music at Yorkminster, conducted
by Alex Redshaw and broadcast by the British Broadcasting
Corporation. Another highlight of this same visit was
the presentation of $30,000 to the organ fund at
Coventry Cathedral, which had been totally demolished by
German bombs during the war. Dr. Willan, as a past head
of the Canadian College of Organists (1922-23 and 1933-35),

and as chairman of the Sub-committee for the restoration

39

fund (BROF), had led a drive to raise sufficient funds
to restore the organ at Coventry through a series of
concerts and recitals in Canada. Dr. Willan was proud
to be able to turn over this sum to the Mayor of
Coventry and Provost Howard of the cathedral.

In England, Dr. Willan had a reunion with his
sister Mary and they re-lived many memories. The
British press made quite a feature out of England's
welcoming Dr. Willan "home" once more. However, he
realized as so many do when they return after many years
overseas, that no matter how deep were his roots in the
"Old Country," he belonged to the new and to Canada.
Toronto was home now.

As a parting honor, he was commissioned to write 8
for the St. Cecilian Festival the following year. e

Prayer of Rejoicing was the result. It was published

 

by the firm where he had worked as a proof-reader and
which had brough out many of his early works, Novello
and Company, Limited. It was performed at St. Sepulchure's
Church, Holborne, on November 16, 1953.

Earlier in 1952, in August, Dr. Willan had met the
organist of Westminster Abbey, Dr. William McKie, at
Grace Church, Toronto, where Dr. McKie was presiding as
an examiner. Dr. McKie mentioned that the Commonwealth
should be represented at the forthcoming Coronation. It

was not until he was in England to be honored by the St.

4O

Cecilian Society that Dr. Willan was to recall this
conversation. He received a note from Dr. McKie request-
ing him to submit a text for a homage anthem. Deeply
moved, Dr. Willan found in the library of the Savage
Club in London, where he was staying and which was
similar to his beloved Arts and Letters Club, an old
prayer book from the Victorian era which included a
special service of Thanksgiving for the twentieth day
of June, the day on which Queen Victoria had started
her long reign. In this service Dr. Willan found a
collection of verses from the psalms inserted in place
of the customary Venite and at once realized that no
better text could be found for his anthem. Dr. Willan
submitted these verses to Dr. McKie, who in turn sub—
mitted them to the Archbishop of Canterbury. Speedy
approval was given and the first sketches for the work
were made that November in London, with the finished
anthem being mailed from Toronto on December 9, 1952.

O Lord, our Governour was the fourth homage anthem

 

jubilantly performed by the superb choir and orchestra
of Westminster Abbey at that memorable service. Dr.

Willam was present and it was a stirring moment to hear
his music come to life so vividly in these surroundings

while the peers were making their homage to the queen.

41

In 1954 Dr. Willan organized the Diocese of
Toronto Summer School of Church Music and served with
it for nine years.

The Canadian Broadcasting Corporation saluted
Dr. Willan on his 75th birthday by devoting to him an
entire program of the coast-to-coast unsponsored and
cultural CBC Wednesday Night series. For three hours
the subject was the composer and his music. Recitals
of 45 minutes' length were presented by Gerald Bales,
organist of St. Andrew's Presbyterian Church in Toronto,
and by the St. Mary Magdalene Singers. These were
followed by a series of taped reminiscences and recollec-
tions by the great and near-great from all parts of the
world, all commenting on Dr. Willan's music or his
unique personality. The climax of the evening was a
concert by the CBC Symphony under Geoffrey Waddington
and the Festival Singers of Toronto under Elmer Iseler
(both conductors are former students of Dr. Willan's)

of the Second Symphony, the Homage Anthem O Lord, our

 

 

Geyernour, and the last three movements of Dr. Willan's

 

Coronation Suite for chorus and orchestra.

 

The following year a rare distinction was bestowed
on Dr. Willan by the Archbishop of Canterbury, Dr.
Geoffrey Fisher. This was the Lambeth Doctorate (Doctor
of Music, Cantaur.,) and takes precedence over all

degrees conferred by the universities of Britain.

42

Dr. Willan was the second Canadian to receive this
degree.1 Only nine of these doctorates had been granted
in the previous twenty years, one of them to the English-
born Dr. Tertius Noble of New York, N.Y. There were
but four living men in England so honored. To celebrate
this event, Sir Willaim McKie performed a special pro—
gram of Dr. Willan's music in Lambeth Chapel. Sir
William, originally from Australia, was by now an old
friend and one who delighted in presenting the homage
anthem each year in the Abbey on Accession Day.2 When
Sir William married a Canadian girl, Dr. Willan wrote
special wedding music for him.3
Returning to Canada, Dr. Willan wrote a choral
work to mark the opening of the now-famous Stratford
Shakespeare Festival.” The next several years were
comparatively quiet and were devoted to composition and
to activities of the Toronto Gregorian Association, which
included not only the writing of extensive service

settings and arrangements for the elaborate musical

services presented by the association, but the planning

 

1The first was the late Dr. C. W. Illsley, organist
of St. George's Church, Montreal.

2The anniversary of Elizabeth II's becoming queen.
3The Epithalame for Organ, BMI Canada Limited,
April 5, 1956.

 

“A Song of Welcome for chorus and orchestra, words
by Nathaniel Benson, 1955 MS.

 

43

and presentation of the services as well. A considerable
body of service music not available to the general public
is to be found in the private publications of the music
for the festivals of Gregorian music, presented by the
Toronto Gregorian Association, as well as formerly by

the London Gregorian Association. It is to be hoped

that at some future day this music will be available to
all. It was a deep sorrow to Dr. Willan that plainsong
has not made a deeper inroad into the music of Canadian
Anglican services.

More honors followed in 1958 when the Toronto
Estonian Choir sang a Willan Magnificat in its native
language at a concert in Knox Church, Toronto. Dr.
Willan gave a controversial address to the Canadian
Club that same year, on the explosive topic of modern
music. For the royal visit in 1959 a special Reyel
Salute, a concert march for full orchestra, was com-
missioned. Perhaps more exciting and certainly more
time-consuming was the making of an 18 minute film short,
by the National Film Board of Canada, devoted to Dr.
Willan and his music. The Music Director of the Film
Board, Robert Fleming, was a former student and choir
member at St. Mary's and planned this film with deep and
long-standing respect and affection. Unable to leave his
duties in Montreal, he delegated the musical supervision

to another former student and fellow-composer, Louis

44

Applebaum. The film crew was largely composed of French—
Canadian technicians from Montreal who quickly won the
hearts of the more staid Anglo-Saxon Torontonians.

Scenes were shot on the university campus, in a classroom
at the conservatory where Godfrey Rideout was seen
teaching a class in fugue, which was pleasantly inter-
rupted by Dr. Willan, to whom the class was turned over
and an impromptu fugue was improvised for the students.
The rehearsal facilities at St. Mary's did not permit

the installation of proper lighting so the choir
rehearsal scenes were filmed at St. Paul's Church. Most
of the scenes were shot in the church of St. Mary
Magdalene, in the side chapels, the chancel, the choir
loft and the main body of the church itself. One
interesting scene was filmed in Dr. Willan's studio in
his home on Inglewood Drive, Toronto. A photograph of
the Coronation service melts into a filmed excerpt of

the actual service in Westminster Abbey.1

Mrs. Willan,
who was ever content to remain in the background, made
a rare appearance in the film as she brings the composer
a cup of tea.

The making of the film turned out to be something

of an endurance contest as technicalities and complica-

tions would stretch the filming into the small hours of

 

1This was an excerpt from the Coronation film
edited by Malcolm Sargeant.

45

the morning. Dr. Willan refused to leave as long as any
of his choristers were involved, even at the hour of
4 a.m., although the film crew did all they could to
spare him as much as possible. He seemed to be com-
pletely tireless and on cue would conduct or play the
organ brilliantly when everyone else was faint with
fatigue. It was amazing to watch the affection and
respect that grew between the Roman Catholic technicians
and the Anglo-Catholic composer as well as the priest of
the church, Father William Crummer, and also the choir
members. Ecumenicism had not then entered the minds of
contemporary theologians but it was a living fact
during the filming of "Man of Music."

The film short played in commercial theatres for
some time before being placed in the National Film
Board library, available to schools and local organiza-
tions free of charge. The sound is still excellent on
the 16 millimeter reduction, and the persOnality of the
"Grand Old Man of Canadian Music" comes through clearly
and with great impact. The sweet organ tone projects
well and the scenes showing Dr. Willan at the console are
particularly memorable.

The year 1960 represents a remarkably facil year
in the composition of choral works. No less than 22
were published then, including the last two of the Missae

Breves, as well as a considerable number of anthems and

46

hymn-anthems. After this climactic period, composition
proceeded at a somewhat slower pace. The composer was
irritated at times to find his years catching up with
him. Although his energy appeared to be as boundless
as ever during a choir rehearsal or a church service,
the activity took an increasing toll of his strength.
Both eyesight and hearing were strained from time to
time. It is probably safe to say that his choir work
and his organ playing at St. Mary Magdalene's kept him
vital and interested so that he appeared perennially
youthful and enthusiastic.

Necessary restoration of the interior of the church
was started in June, 1963. During the Anglican Congress
in August of that year, a service was held in St. Mary's
with much of the scaffolding still in place. In
September the redecoration was completed. New and
modern fittings were placed in the chancel. In the
choir loft the painters carelessly painted right over
two bas-reliefs of Dr. Willan's beloved St. Cecilia,
which had been set into the wall near the organ keyboard.
Dr. Willan's reaction was violent and understandable, but
nothing could be done about the desecration.l The church's
acoustics had always been "live" so that the small
gallery Choir sounded more like a large chorus, but now

the reverberation was much sharper and quicker. For a

 

I

1One of the bas-reliefs has now been restored.

147

while it appeared as if Dr. Willan might be so disturbed
by the changes that he might leave, but in time everyone
became accustomed to the innovations. Much of the
atmosphere of age and mysticism was gone, but much was
gained in cleanliness and brightness.

From 1961 to the end of his life Dr. Willan
attempted no large-scale works, either choral or instru-
mental, other than the revision of his opera Deirdre and
the writing of the plainsong psalter. Instead he con-
centrated for the most part on shorter works where he
could draw upon his boundless liturgical experience and
write in his accustomed style refined over his many
years of composition. Some of the works that have
appeared in the later years especially some of the hymn-
anthems, are understandably not on the same level as the

motets of the twenties and thirties or the large-scale

 

 

works like the Second Symphony, the Piano Concerto or
Deirdre. These simple works are most useful to small
choirs and are highly practical for groups of limited
skill.

In 1964 Dr. Willan, at 84, played as University
Organist for the last time. The occasion was the installa—
tion of Douglas LePan as Principal of University College.
It marked the end of 31 years of service by Dr. Willan

to the University of Toronto.

48

Deirdre was too fine a work to remain neglected
forever, and the Opera School of the University decided
to give it a full stage production with their new
facilities in the Edward Johnston Memorial Building,
where the Sir Ernest MacMillan Theatre offered its
large stage, excellent lighting and full orchestra pit.
The entire work had to be revised since it was designed
originally for aural, not visual production. This
required not only extensive re-writing but the composi—
tion of numerous new sections and interludes for purely
visual reasons and for scene changing. This re-writing,
which went on simultaneously with the work on the
psalter, took a full year to complete. Both works were
completed within the same week but the long—sustained
effort took its toll. The over-tired composer contacted
influenza which changed to pneumonia and he was hospital-
ized for six weeks during the busy Easter season.

Deirdre was presented to an invited audience for
two performances in April 1965. All aspects of the pro-
duction showed the love and affection that all concerned
felt for this man whom all considered the "Dean of
Canadian Music." The student actors, under the inSpired
direction of Herman Geiger-Torel, gave a performance
that was in many ways superior to many professional ones.
The orchestra, composed of the best instrumental students,

glowed with the dark romantic tones of Celtic mysticism,

49

especially in the extended orchestral interludes linking
the scenes and preparing the audience for the action to
follow. The spare and starkly primitive settings were
placed on a tilted oval stage against a stormy
cyclorama designed by Larry Schafer, who was later to
win an award for the settings of this opera. The vocal
and orchestral writing has some overtones of Wagner and
Elgar, both ofwhom Dr. Willan admired, but there is
much more of the Celt and the warmth of romanticism.
The recitatives follow the speech patterns of plainsong
to a certain extent and the action pulses with the
freedom of real life. The figures of Deirdre and her
lover Naisi seemed a bit shadowy in this first full
stage presentation, but the cruel Conocher and the
menacing Druid chorus projected forcefully. The
experience was one that few members of the audience
will ever forget, and the cheering ovation given the
composer each night must have helped compensate for many
years of neglect. The demand for tickets was so great
that an additional performance had to be arranged. It
is an encouraging sign of growing maturity in the arts
in Canada that Deirdre was chosen by the Canadian Opera
Company for professional production in its 1966 season
at the O'Keefe Centre, in lieu of a Wagnerian opera.

On December 8, 1965 a blow fell that was unexpected

and without warning. Mrs. Willan died very suddenly of

50

a heart attack, having had few symptoms of previous
illness. After recovering from the initial shock and
grief, the composer valiantly continued with his life
and work, but the old rambling home on Inglewood Drive
seemed lonesome and empty. Dr. Willan had countless
friends and acquaintances but three people were
especially close to him now that his beloved wife was
no longer with him. Dr. Ettore Mazzoleni,l the Principal
of the Royal Conservatory of Toronto, and conductor of
most of his large works including Deirdre, was one of
these, as was Margaret Drynan, an ex-student and member
of his choir who composes in a style closely resembling
Dr. Willan's. Perhaps the closest and the most loyal
was Margaret Gillespie, the choir librarian for many
years. She has devoted untold hours to Dr. Willan's
work at the church and was a pillar of strength at all
times.

Deirdre was presented for three productions at the
O'Keefe Centre for the Performing Arts in the fall of
1966, on September 24 and 29, and October 4. Ettore
Mazzoleni conducted once more, and Herman Geiger-Torel
directed as before. The settings for the student pro-
duction were as effective as previously and the pro-

fessional production had considerable dignity and maturity

 

1Dr. Mazzoleni was killed in an automobile
accident in June, 1968.

51

in place of the youthful energy of the students. The
reviews were on the whole congratulatory and the audiences
responsive. Jeannette Zarou repeated her role of
'Deirdre brilliantly, and Patricia Rideout presented a
moving portrayal of the nurse Levercham. Conocher did
not project as a convincing character this time, and
Naisi, played by an Italian singer, seemed out of focus.
With repeated hearings the music became more and more
haunting. Whatever the future of the opera, it will
hold a unique position in history since it is the first
full-length opera by a Canadian composer to meet the
demands of a professional production. It would perhaps
be most telling on television, since it is in many ways
a chamber work. The beautiful orchestral interludes may
well be able to stand alone as concert music apart from
the full opera. Certainly it is to be hoped that many
of the arias and orchestral sections will be available
separately some day.1

On December 22, 1966, the Canadian Broadcasting
Corporation presented a widely publicized tribute to Dr.
Willan on the program "TeleSOOpe," which featured an
interview with the composer as he reminisced about his
early life in England, and a rehearsal of the choir on

the music for the Christmas midnight service.

 

lSince writing, plans have been made for early

publication.

52

Centennial Year in Canada brought many honors to
Dr. Willan. The year of 1967 celebrated the first
hundred years of Canadian nationhood and was one of
retrospect. Perhaps it is fitting that it brought to a
close Dr. Willan's long career. In his life and his
music he looked back to an older heritage and he was
never comfortable with many of the new changes in both
life and music.

A solemn ceremony on Capital Hill in Ottawa, the
nation's capital city ushered in Centennial Year.
Prime Minister Lester B. Pearson lighted a Centennial
flame which burned throughout the year as the climax of
the ceremony. A large choir sang the first performance

of Dr. Willan's Inter-Faith Hymn in both English and

 

French. This hymn was written for an Inter-Faith

Conference later in the year at Quebec City. A

 

Centennial March for full orchestra was commissioned by

the publishing firm of Broadcast Music Inc. It was

Bailey Bird of this firm who completed the last portions

of the full score of Deirdre when the composer became

ill. Dr. Willan's final two years were largely devoted

to the meticulous preparation of this score. Each page

of full choral and orchestral score had to be written

in the composer's own hand in preparation for photographing

so each note had to be in professional script. This work

53

went on month after month and proved to be an increasing
strain on the composer's failing eyes.

On May 24, 1967 the greatest tribute was paid to
Dr. Willan by the people of Toronto when the 3,000 seats
of St. Paul's Church were jammed to capacity for a
concert of Dr. Willan's music. Hundreds of people had
to stand and many had to be turned away at the door,
including some members of the press. The concert was
organized by a former student and choir member, Elmer:
Iseler, the conductor of both the Toronto Mendelssohn
ChOir and the Festival Singers of Toronto. Both choirs
participated in the concert, which also featured the
noted British organist Dr. Francis Jackson who had
made a long playing recording of many of Dr. Willan's
organ works. The combined choirs sang the great motet

An Apostrophe to the Heavenly Host and later joined

 

with Dr. Jackson in the hymn-anthem O Qhanta Qualia.

 

Among other organ works in the program Dr. Jackson
played Dr. Willan's finest instrumental work, the Intro-

duction, Passacaglia and Fugue. Everyone present

 

 

appeared to feel that this was a momentous occasion~and
the music was prepared and performed with great care and
devotion. Applause was not permitted in the church but
the standing audience at the end moved the composer

deeply. It was to be the last big public tribute to him

54

and ranked with the ovations given him after performances
of his opera.

Dr. David Oucherlony, organist of Timothy Eaton
Memorial Church in Toronto, had been a close friend and
admirer of Dr. Willan's over many years. It was he who
drove the ailing composer to his church each Sunday
morning and then went on to his own. Many cities,
organizations and individuals had Centennial projects
in 1967. Dr. Oucherlony made his the preparation and
presentation of the cantata Brebeuf which had not been
performed in some years. There was some revising and
cutting to be done, and an organ part reduced from the
full score. The work was to be performed by the combined
choirs of Dr. Oucherlony and Dr. Willan but Dr. Willan's
increasingly poor eyesight slowed the preparation and
rehearsal during the spring. It was performed, however,
in the fall and broadcast by the CEO to mark the feast
of St. Jean de Brebeuf. Dr. Willan conducted for the
last time in public. A narrator recited the story of
the martyrdom. Dr. Oucherlony' played flawlessly and
the choir sang well but the acoustics of the building
impaired the diction. After the broadcast a moving
tribute was made to Dr. Willan. Centennial medallions
were presented to the composer and to each choir member.

During the Centennial Year the government of

Canada instituted an honorary order somewhat resembling

55

the annual honors presentation by the Queen in England,
Dr. Willan was among the first to be recognized for
making an unique contribution to his country, although
he was not well enough to go to Ottawa for the investi-
ture. A somewhat different recognition came in having
his portrait prominently displayed among other portraits
of well-known Canadians on both the Centennial Train and
the Centennial Caravans which toured the country from
coast to coast in 1967.

Cataracts on both eyes had plagued the composer
during his final years. A long-awaited operation to
remove the cataract from one eye was performed in
November. Dr. Willan had thought that he would be up
and about almost at once and when the recovery proved
to be slow and extended he became depressed. The
medical authorities refused to let him return to his
home unless there were a nurse or housekeeper to take
care of him. This proved impossible since the house on
Inglewood Drive is massive and lacking in many conveniences.
Just at this point one of Dr. Willan's Sons returned from
the Caribbean with his wife and they were glad to take
up residence and look after him. For a short time he was
able to return to his home and was well enough to make
one last trip to his church to play and conduct the
midnight service on Christmas Eve. During his illness

Margaret Harmer once more took over both choir and organ.

56

Dr. Willan's brief return was received joyfully by
everyone but it was to be his last.

Immediately after Christmas Dr. Willan returned
to the hospital for a prostate operation. Malignancy
was discovered but not reported except to the family.

An additional operation was necessary which further
weakened him. After a two week period when he was very
feeble he recovered sufficiently to return home for a
few weeks. During this time he was happy and cheerful,
having friends visit him and making plans for the
future. A mild heart attack returned him to the
hospital again. On Friday, February 16 he quietly and
painlessly passed away in sleep.

Although long expected, his death came as a severe
blow to the choir and congregation of St. Mary Magdalene
as well as to his numerous friends. Ironically the High
Mass the following Sunday was to be televised and could
not be postponed. The rector, Father Hutt, spoke
movingly of Dr. Willan's years of devotion to the church.
The choir on camera was obviously under severe strain
and just barely able to sing. It proved to be an ordeal
which served them in good stead for the next day.

The Requiem High Mass for Healey Willan was sung
in a packed church on Monday, February 19. Many had to
stand at the back. The highest dignitaries from the

Anglican Church in Canada, from the University of Toronto

57

and from the Royal Conservatory of Toronto were present.
Sir William McKie flew from England, Paul Callaway,
organist of Washington Cathedral, and Alec Wyton,
organist and Master of the Choristers at the Cathedral
Church of St. John the Divine, New York City, flew from
the United States. The impressive service was celebrated
with the full pomp and ritual of the Anglo-Catholic rite.
The choir sang more beautifully than they ever had
before. It was, as many said later, the end of an era.

It was feared that the traditions in music and
liturgy established by Dr. Willan would in time change
and fade but that fear was dispelled by the appointment
of Mr. Giles Bryant as organist and choirmaster at the
Church of St. Mary Magdalene. Mr. Bryant worked closely
with Dr. Willan during his final years and is now con-
tinuing Dr. Willan's traditions without sacrificing any
of his own ideals.

John Coulter, Dr. Willan's collaborator on his two
operas wrote a poem the day his friend was laid to rest.
Some selected lines from that poem make a fitting way
to close this chapter.

. he made music,

cared chiefly for music,

reality and meaning for him were music.
As master-craftsman contemptuous of
the meretricious

he was repelled by the strident new,
the bright facetious.

The beauty of the singinf of his choir
was the spiritual body of Healey to me.

CHAPTER II

THE UNACCOMPANIED WORKS

The Masses

 

Four representative works will be examined. Missa

Brevis No. l is typical of Dr. Willan's early Mass writing

 

for unaccompanied voices. It is perhaps closer to the

choral writing of the nineteenth century than the later

 

Masses. Missa Brevis No. 7, based on the folk song,

0 Westron Wynde, shows the influence of plainsong.

 

Missa Brevis NO. 10 was written at what many believe to

 

be the peak of Dr. Willan's creative period. Missa Brevis

 

No. 14, sub-titled St. Alphege, was written towards the

 

end of his life. In each case, a Mass movement representa-
tive of the entire Mass is selected for analysis.

There are no ninth chords, eleventh chords or
augmented sixth chords in any of the unaccompanied works
and these categories will not be included in the analyses

of this chapter.

58

59

Missa Brevis No. l (Kyrie) 1932 E—flat

 

A. Isolated Chords:

 

Triads Seventh Chords Number
B-flat 30
E-flat 27
A-flat 15
f 13
g 8
c 8
d0 5
s7 2
Total 108

B. Type Chords:

 

Triads Number Percentage
Major 72 66.6%
Minor 29 26.9%
Diminished 5 4.6%
Total 106 98 1%

Seventh Chords

 

 

 

Minor _2 1.9%
Total 2 1.9%
Grand Total 108 100.0
C. Tonal Chords:

Triads Seventh Chords Number. Percentage

I 27 27 25.0%

11 13 13 12.0%

111 8 2 10 9.3%

IV 15 15 13.8%

v 30 30 27.8%

VI 8 8 7.4%

VII 5 5 4.6%

Total I68 997??

Rounding—off Error .1%

100.0%

60

 

 

 

 

Root Movements Number Percentage
a. Up 2nd (Down 7th) 14
b. Down 2nd (Up 7th) 9 a plus b 23 33.8%
0. Up 3rd (Down 6th) 1
d. Down 3rd (Up 6th) 18 c plus d 19 27.9%
e. Up P5th (Down P4th) 7
f. Down p5th (Up P4th) 19 e plus f 2g 38.2%
Total 68 99.9%
g. Repetition 39
Grand Total 1 7
Rounding-off Error .1%
100.0
Modulation: none
Rhythm:
a. Time Signature: 3
b. Rhythmic Patterns:
Patterns: r]
0' a
The Unit: J
0. Pattern Combinations: D j
.0, fl

Melody: Numbeg' Percentage
a. Up 2nd 77
b. Down 2nd 101 a plus b 178 70.3%
0. Up 3rd 23
d. Down 3rd 31 0 plus d 54 21.3%
e. Up P4th 17
f. Down P4th 3 e plus f 20 8.0%
g. Down P5th l l 4

Total 253 100.0%

H.

Missa Brevis No. 7 (O Westron Wynde) (Sanctus, Benedictus)

61

 

Nonharmonic Tones: Number Percentage
a. 'Passing tones 27 57.4%
b. Suspensions 10 21.3%
c. Neighboring tones 1 2.1%
d. Anticipations l 2.1%
e. Escape tones 8 17.0%
Total ‘47 99797
Rounding—off Error .1%
100.0%

Contrapuntal Devices: imitation

Summary: As in many of Dr. Willan's sacred choral
works designed for a background role in the service,
the harmonic vocabulary is conservative. There are
no altered chords and very few sevenths. All the
sonorities are within the E-flat tonality. Root
movement at the fifth is strong. There is no
modulation. Melodic motion is predominantly step-
wise. There are few melodic intervals larger than

a third and none larger than a fifth.

 

 

1936 s
A. Isolated Chords:

Triads Number
8 39
d 27
B—flat 18
F 16
c 10
G 8
E—flat 6
C 4
a° 2
a ___1_

Total 131

62

Type Chords:

Triads Number
Major 52
Minor 77
Diminished 2
Total 131
Tonal Chords:
Triads Altered Chords Number
I 39 8 47
II 2 l 3
III 18 18
IV 10 4 14
V _ 27 27
VI 6 6
VII 16 16
Total 13
Root Movements:
Number

*meLOCTW

 

Up 2nd (Down 7th) 23
Down 2nd (Up 7th) 11
Up 3rd (Down 6th) 6
Down 3rd (Up 6th) 12
Up P5th (Down P4th) 15
Down P5th (Up P4th) 15

Repetition

Grand Total 1

Modulation: none

Rhythm:

a.

b.

Time Signatures: 3,

3
u

Rhythmic Patterns:

Patterns: I I I I
9

The Unit: J

Pattern Combinations:

, 4 (free

a plus b 34
c plus d 18

e plus f 30
Total 8

:-
CD‘N

LA)
0

6

none

Percentage

 

39.7%
58.8%
1.5%
100.0%

Percentage

 

35.9%
2.3%
13.7%
10.7%
20.6%
4.6%
12.2%
100.0%

Percentage

 

rhythm)

41.5%
21.9%

36.6%
100.0%

Q

63

 

 

Melody: Number Percentage
a. Up 2nd 105
b. Down 2nd 114 a plus b 219 75.5%
0. Up 3rd 21
d. Down 3rd 32 0 plus d 53 18.3%
e. Up P4th 13
f. Down P4th 3 e plus f 16 5.5%
g. Down P5th 2 2 .7%
Total 90 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 27 79.4%
b. Suspensions 6 17.6%
c. Neighboring tones l 2.9%
Total 34 99.9%
Rounding-off Error .1%
10 .0

Contrapuntal Devices: sequence, imitation, inversion.
Summary: The influence of plainsong is especially
evident in the sacred choral music Dr. Willan wrote
in the mid-thirties. The overall effect is a clearer
and more modal sound. There are no sevenths, and the
altered chords are due to the plainsong style. Root
movement is now more at the second than in Mleee

Brevis No. 1, again probably as a result of the

 

plainsong influence.

64

Missa Brevis No. 10 (Sanctus) 1949

A.

Isolated Chords:

 

Triads Seventh Chords
G
B—flat
d
F
C
a
E-flat
8
f
e
c

F7

d7

b°7

Total

Type Chords:
Triads
Major
Minor
Total

Seventh Chords

 

Major—minor
Minor
Diminished-minor

Grand Total

Number

}_:
IHcouuuuupxrcxnownononl

\1
N

Number

39
26

Percentage

 

54.2%
36.1%
90.3%

4.15%
4.15%
1.4 %
9.7 %

100.0%

65

Tonal Chords:

 

 

Seventh Altered
Triads Chords Chords Number Percentage
1 15 12 27 37.5%
II 2 l l 4 5.5%
III 3 l 4 5.5%
1V 6 l 7 9.8%
V 1 l 2 2.8%
VI l4 14 19.4%
VII 13 e5 19.4%
Total 72 99.9%
Rounding—off Error .1%
100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 13
b. Down 2nd (Up 7th) 10 a plus b 23 59.0%
0. Up 3rd (Down 6th 2
d. Down 3rd (Up 6th) 5 c plus d 7 17.9%
e. Up P5th (Down P4th) 4
f. Down P5th (Up P4th) 5 e plus f _9 23.1%
Total 39 100.0%
g. Repetition 33
Grand Total 7

Modulation:
Confirmed: C, g, d, g
Common Chord: 3

Diatonic 2

1. Diatonic

2. Altered Diatonic 1

Rhythm:
a. Time Signature: 3

b. Rhythmic Patterns:

Patterns: I I I I
J

The Unit: J

H.

66

0. Pattern Combinations:
Melody:

a. Up 2nd 90

b. Down 2nd 96 a plus
0. Up 3rd 16

d. Down 3rd 16 c plus
e. Up P4th 3

f. Down P4th 5 e plus
g. Up P5th 2

h. Down P5th 2 g plus

Nonharmonic Tones:

QOO‘DD

Contrapuntal Devices:

Summary:

Passing tones
Suspensions
Neighboring tones
Pedal points

None

0'

Cit-'50:

Total

Total

imitation.

Number

186
32

Ol-fi' CI.)

23

Number

29
1

8
_l_
39

Percentage

 

80.9%
13.9%
3.5%
10—6:_6'%

Percentage

 

74.3%
2.6%
20.5%
2.6%
TOO—0%

Although still very conservative, the

harmonic vocabulary in this Mass is considerably

more extensive than in the two previous works.

Seventh chords and altered chords are used to a fair

extent.

There is modulation.

Root movement at the

second continues to grow compared to Missa Brevis

No. 7.

 

67

Missa Brevis No. 14 (St. Alphege) (Sanctus, Benedictus)

 

 

 

 

 

 

 

1963 s
A. Isolated Chords:
Triads Seventh Chords Number
e 18
E 17
B 13
a 11
C 7
G 7
F 6
d 5
b 5
f—sharp° 5
F-sharp7 4
D 4
f—sharp 3
A 3
D7 3
c-sharp 2
C—sharp 2
G-sharp 2
g-sharp° 1
f—sharp° l
d-sharp° 1
F-sharp 1
d7 1
b°7 1
A7 1
a7 __1
Total 125
B. Type Chords:
Triads Number Percentage
Major 62 49.6%
Minor 44 35.2%
Diminished 8 6.4%
Total TIE 91.2%
Seventh Chords
Major-minor 8 6.4%
Minor 2 1.6%
Diminished-minor _1 .8%
Total 11 8.8%

Grand Total 125 100.0%

68

Tonal Chords:

Seventh Altered

Triads Chords Chords Number
I 33 5 38
II 4 l 7 12
III 5 5
IV 10 1 3 14
V 21 5 8 34
VI 10 2 12
VII 2 1 7 .IHZ
125

Root Movements: Number

a. Up 2nd (Down 7th) 24
b. Down 2nd (Up 7th) 12 a plus b 36
c. Up 3rd (Down 6th) 4
d. Down 3rd (Up 6th) 11 c plus d 15
e. Up P5th (Down P4th) 7
f. Down P5th (Up P4th) 24
g. Tritone l e plus f 32
plus g
Total 83
h. Repetition 41
Grand Total 124
Modulation:
Confirmed: e, b, a, G, a, e, f—sharp, E
a. Common Chord: 7
l. Diatonic = Diatonic 4
2. Altered = Altered 2
b. Common Tone 1
Rhythm:

a. Time Signature: 3 (slow)

b. Rhythmic Patterns:

Patterns: I I I I
a

The Unit: J

Percentage

 

30.4%
9.6%
4.0%

11.2%

27.2%
9.6%
8.0%

m

Percentage

 

43.4%
18.1%
38.5%

100.0%

Q

69

0. Pattern Combinations: I I I I

7

 

 

Melody: Number Percentage

a. Up 2nd 128

b. Down 2nd 160 a plus b 288 75.4%

0. Up 3rd 27

d. Down 3rd 32 c plus d 59 15.4%

e. Up P4th 24

f. Down P4th 4 e plus f 28 7.3%

g. Down P5th 4 4 1.0%

h. Up 6th 1

1. Down 6th 1 h plus i 2 .5%

3. Down 8th 1 l .2%
Total 382 99.8%

Rounding-off Error .2%
100.0

Nonharmonic Tones: Number Percentage

a. Passing tones 39 60.9%

b. Suspensions 6 9.4%

0- Neighboring tones 18 28.1%

d. Escape tones 1 1.6%
Total 64 100.0%

Contrapuntal Devices: sequence, imitation, inverted

pedal
Summary: As we examine the various types of Healey

Willan's sacred music, we find that in his later
years there is a tendency to return to a more con-
servative way of writing. An example of this is in
the use of a stronger root movement at the fifth,
which is similar to that used in the two early
Masses. There is also a smaller percentage of

altered chords.

70

The‘Motets

 

Four representative works will be analysed. Very

Bread, Good Shepherd Tend Us is from the first group of

 

motets written shortly after the composer had started
his long career at the Church of St. Mary Magdalene.

Behold, the Tabernacle of God is one of the liturgical

 

motets written in the productive period of the late

twenties and early thirties. The Spirit of the Lord

 

represents the motets written later in Dr. Willan's
life and intended for choirs less skilled than his own.
(Much of the service music and most of the Masses and

motets were written for his own choirs.) If Ye Love Me

 

is one of the motets for a children's choir.

Very BreadJ Good Shepherd Tend Us. 1924 g minor, ends

 

 

in B—flat
A. Isolated Chords:

Triads Seventh Chords Number
8 . 29
E-flat 22
B-flat 21
c 20
F 14
A—flat 9
d 8
G 7
f 6
b-flat 6
C 5
D 3
a° 3
c7 3
F7 3
f7 2
D-flat 1
E-flat7 1
Total 163

71

Type Chords:

 

Triads Number Percentage
Major 82 50.3%
Minor 69 - 42.3%
Diminished 3 1.8%
Total 154 94.42

Seventh Chords

 

 

 

Major—minor 4 2.4%
Minor _2 3.1%
Total 9 _§T§7
Grand Total 163 99.
Rounding—off Error .1%
100.03
Tonal Chords:
Seventh Altered
Triads Chord§_ Chords Number Percentage
I 39 14 53 32.5%
11 5 2 3 10 6.1%
III 2 l7 19 11.7%
IV 23 3 26 16.0%
V 7 10 17 10.4%
VI l4 14 8.6%
VII 1 23 24 14.7%
Total 163 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 19
b. Down 2nd (Up 7th) 14 a plus b 33 34.4%
0. Up Bra (Down 6th) . 3
d. Down 3rd (Up 6th) 17 c plus d 20 20.8%
e. Up P5th (Down P4th) 10
f. Down P5th (Up P4th) 31 44.8%
g. Tritone 2 e plus f 43
plus g 100.03

Total 96
h. Repetition 66
Grand Total 162

C}

72

Modulation: g, E—flat, g, f, g, f, B-flat

a. Common Chord: 5

l. Diatonic Diatonic 4

2. Altered Diatonic 1

b. Common Tone l
Rhythm:
.. 4 6
a. lime signatures: 4’ 4 (free rhythm)

b. Rhythmic Patterns:

Patterns: I I

The Unit: J

c. Pattern Combinations:

D
D

 

 

Melody: Number Percentagg'
a. Up 2nd 114
b. Down 2nd 124 a plus b 238 82.9%
0. Up 3rd 5
d. Down 3rd 20 0 plus d 25 8.7%
e. Up P4th 20
f. Down P4th 4 e plus f 24 8.4%
287 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 50 73.5%
b. Suspensions 8 11.8%
c. Neighboring tones 8 11.8%
d. Anticipations 1 1.4%
e. Escape tones 1 1.4%
Total 6'8 99.9%

.1%
100.0%

Rounding—off Error

73

Contrapuntal Devices: sequence, imitation.

Summary: This early motet has a much larger harmonic
vocabulary than the early Masses previously examined,
although it was written at the same period in the
composer's life. This might be explained by Dr.
Willan's conviction that the music for the Mass is

a form of background music in a sacred drama. On the
other hand, in motet writing the choir is intended to
be heard and to be observed and the composer there-
fore allows himself more freedom to compose more
difficult works. Although the root movement at the
fifth is strong, as in the more conservative Mass
writing, we do find seventh chords and altered

chords which are not a feature of the early Masses.

Behold,The Tabernacle of God 1934 g

 

A.

Isolated Chords

 

Triads Seventh Chords ” Number
g 31
c 28
B-flat 21
f7 18
f 15
c7 14
C 12
E—flat 10
G ' 8
' g 7 7
e-flat 7
b-flat°7 6
d 6
e-flat7 5
sub-total I88

continued

74

isolated Chords, continued

 

 

 

Triads Seventh Chords Number
E-flat7/ 5
F-flat 4
d-flat7 4
b—flat7 4
a-flat 3
F 3
c-flat7 3
6%"? 3
C—flat 3
G7 2
D 2
F7 2
D-flat7/ 2
A-flat 2
F-flat7/ 2
B-flat7/ 2
d°7 2
f° l
b-flat 1
A-flat7/ . l
C-flat7/ 1
A7 1
d7 __1.
Total 51
Grand Total 242
B. Type Chords:
Triads Number Percentage
Major 65 26.4%
Minor 91 38.0%
Diminished __1 .4%
Total 157 64.8%
Seventh Chords
Major-minor 5 2.2%
Major 13 5.0%
Minor 53 22.0%
Diminished-minor 14 6.0%
Total 86' 35.2%
Grand Total 54? 100 0

75

Tonal Chords:

 

 

Seventh Altered
Triads Chords Chords Number Percentage
1 73 1 15 89 36.8%
II 3 17 11 31 12.8%
III 2 16 18 7.4%
IV 13 25 13 51 21.1%
V 4 2 16 22 9.1%
V1 12 7 7 26 10.7%
VII 5 5 2.1%
Total 242 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 21
b. Down 2nd (Up 7th) 19 a plus b 40 44.4%
c. Up 3rd (Down 6th) 9
d. Down 3rd (Up 6th) 6 c plus d 15 16.6%
e. Up P5th (Down P4th) 11
f. Down P5th (Up P4th) 19
g. Tritone 5 e plus f 35 38.8%
plus g
Total _90 99.8%
h. Repetition 151
Grand Total 241
Rounding—off Error .2%
100.0%

Modulation: g, c, f, e-flat, a—flat, B-flat, g, f, g.

a. Common Chord 8

1. Diatonic Diatonic 6

2. Diatonic Altered 2

Rhythm:
6

a. Time Signatures: 3, (one bar only-—no change in
tempo)

76

b. Rhythmic Patterns:

Patterns: D J?
J

The Unit: J J
I

c. Pattern Combinations:

J7
J7

 

 

Melody: Number Percentage

a. Up 2nd 183

b. Down 2nd 211 a plus b 394 77.9%
0. Up 3rd 31

d. Down 3rd 42 0 plus d 73 14.4%
e. Up P4th 10

f. Down P4th 10 e plus f 20 4.0%
g. Up P5th 5

h. Down P5th 8 g plus h 13 2.6%

i. Up 6th 1 1 .2%

j. Down 8th 5 5 1.0%

Total fife? “£00771

Rounding-off Error — .1%

100.0%

Nonharmonic Tones: Number Percentage

a. Passing tones 53 69.7%

b. Suspensions 10 13.2%

c. Neighboring tones 9 11.8%

d. Anticipations l 1.3%

e. Appoggiaturas 1 1.3%

f. Escape tones 2 2.6%

Total 76“ 99.9%

Rounding-off Error .1%

100.0%

Contrapuntal Devices: imitation, inverted canon.

77

Summary: This motet in common with many of the other
liturgical motets is on a harmonic scale akin to that

used in An Apostrophe to the Heavenly Hosts.

 

Compared to the Mass writing (which of course was
deliberately on a quiet scale) and the motet Very

Bread, Good Shepherd Tend Us, the harmonic idiom is

 

more advanced. There is a considerable increase in
the use of seventh chords. Also in evidence is Dr.
Willan's fondness for writing both triads and

seventh chords in second inversion. Modulation takes
place, often to remote keys. Root movement at the
second predominates. Perhaps the most important
aspect of this work is the mystical setting of the

words, which of course cannot be observed in a

 

J.

harmonic analysis.
The Spirit of the Lord 1951 A
A. Isolated Chords:

 

Triads Seventh Chords Number
A 35
f—sharp 39
E 27
b 19
f-sharp7 12
c-sharp 11
D 9
g-sharp
d-sharp° 6
g-sharp7 4
d-sharp°7 4
B7 4
sub-total I68

continued

78

isolated Chords, continued

 

Triads Seventh Chords Number
g-sharpO 4
c-sharp7 3
B 2
e 1
A7/ 1
g—sharp°7 __1
Total 12

Grand Total 180
B. Type Chords:

 

 

 

Triads Number Percentage
Major 73 40.6%
Minor 67 37.2%
Diminished 11 6.1%
Total 151 83.9%

Seventh Chords
Major—minor 4 2.2%
Major 1 .6%
Minor 19 10.5%
Diminished—minor 5 2.8%
Total 29 1 .2
Grand Total 180 100.1%
Rounding—off Error - 11%
100.0%
C. Tonal Chords:
Seventh Altered

Triads Chords Chords Number Percentage
I 46 46 25.6%
11 19 13 32 17.8%
111 9 4 13 7.2%
IV 29 l 1 31 17.2%
v 13 6 3 22 12.2%
VI 16 4 20 11.1%
VII 10 3 3 16 8.9%

Total 180 100.0%

F.

79

 

Root Movements: Number Percentage
a. Up 2nd (Down 7th) 30
b. Down 2nd (Up 7th) 16 a plus b 46 43.8%
c. Up 3rd (Down 6th) 6
d. Down 3rd (Up 6th) 14 0 plus d 20 19.0%
e. Up P5th (Down P4th) 16
f. Down P5th (Up P4th) 20
g. Tritone 3 e plus f 39 37.1%
plus g ‘___
Total 105 "9979%
h. Repetition _14
Grand Total 179
Rounding-off Error .1%

l 0.0

Modulation: F—sharp, A, E, f—sharp

Common Chord: 3
Diatonic = Diatonic 3
Rhythm:
,. . 4 5 6 3
a. lee Signatures: 4’ 4’ 4’ (free rhythm-—no
change in tempo)
b. Rhythmic Patterns:

Patterns: I I fl
2

The Unit: J
Pattern Combinations: I I I I

D
D, J3

C3

80

 

 

 

 

Melody: Number Percentage
a. Up 2nd 186
b. Down 2nd 181 a plus b 367 78.4%
c. Up 3rd 26 .
d. Down 3rd 32 c plus d 58 12.3%
e. Up P4th 18
f. Down P4th 11 e plus f 29 6.2%
g. Up P5th 5
h. Down P5th 9 g plus h 14 3.0%
Total 4’68 99.9%
Rounding-off Error .1%
100.0
Nonharmonic Tones: Number Percentage
a. Passing tones 59 71.9%
b. Suspensions 9 11.0%
c. Neighboring tones 13 15.9%
d. Anticipations 1 1.2%
82' 10 .0
Contrapuntal Devices: imitation, inversion,

fugal exposition.
Summary: The last section of this motet has not
been analysed since it is an exact repetition of the
Alleluia section of the second page. The tendency
to return to a more conservative style of writing has

been observed in Missa Brevis No. 14. The same

 

tendency is evident here. The percentage of seventh
chords and altered chords is reduced and root movement
at the fifth is much stronger than it is in Behold,

the Tabernacle of God. It must be remembered that the

 

composer is deliberately writing in a simpler style
in this motet and the one to follow since both are

designed for choirs of limited ability.

81

If Ye Love Me (SSA) 1953 F

 

A.

('3

Isolated Chords:

Triads

—sharp°

O

WQWOWZDOCCQ

Total
Type Chords:
Triads
Major
Minor
Diminished
Tonal Chords:

Triads Altered Chords

 

I 34 5
II 7 2
III 2 10
IV 25
V 30 4
VI 17
VII 4 9
Total

Number

26
22
22
16
13
10

DIW-lr-EJI'U‘IOQCD

H
\0

Number

101
41

149'

Number

39

12
25
34
17
13
149’

Percentage

 

67.8%
27.5%
4.7%
10070%

Percentage

 

26.2%
6.0%
8.1%

16.8%

28.8%

11.4%
8.7%

Tom

82

 

Root Movements: Number Percentage

a. Up 2nd (Down 7th) 20

b. Down 2nd (Up 7th) 14 a plus b 34 39.1%

c. Down 3rd (Up 6th) 13 13 14.9%

d. Up P5th (Down P4th) 12

e. Down P5th (Up P4th) 28 d plus e 40 46.0%
Total _87 100.0%

f. Repetition 61

Grand Total 148

Modulation: F, g, F, g, d, F

Common Chord 5
Diatonic = Diatonic 5
Rhythm:

a. Time Signature: 3

b. Rhythmic Patterns:

Patterns: I I I I
2

The Unit: J

c. Pattern Combinations: I I

 

Melody: Number Percentage
a. Up 2nd 124
b. Down 2nd 92 a plus b 216 78.5%
c. Up 3rd 11
d. Down 3rd 30 c plus d 41 14.9%
e. Up P4th 9
f. Down P4th 4 e plus f 13 4.7%
g. Up P5th 1
h. Down P5th 4 g plus h __5 1.8%
Total 275 99T9%
Rounding-off Error .1%

100.0%

83

 

 

ll. Nonharmonic Tones: Number l’orccntngg
a. Passing tones 20 69.0%
b. Suspensions 6 20.7%
c. Neighboring tones _3 10.3%
Total 29 100.0%
I. Contrapuntal Devices: imitation

J. Summary: The reduction from four to three vocal
parts as well as the imposed restriction of writing
in a simple style helps to make this motet conserva-
tive. There are no seventh chords. Root movement
at the fifth is strong. There is, however, a

fairly strong percentage of altered chords.

The Service Music

 

Most of the music in this category is accompanied.

The Responsaries for the Offices of Tenebrae is the only

 

work of its kind by Dr. Willan, as is The Aaronic

 

Benediction. The Magnificat on Tone II (Solemn) is

 

 

representative of numerous settings of the Evening
Canticles by Dr. Willan. In these canticles the

majority of the verses is sung by the cantors or by men's
or boys' voices in unison accompanied by the organ.

Every third verse is sung a cappella in parts and is a
faux-bourdon on the plainsong melody. It is one of

these faux-bourdon verses which we will examine.

84

 

 

 

 

 

Tenebrae for Maundy Thursday (Part 1) 1956 bars 1-27
F, ends in d
A. Isolated Chords:
Triads Number
d 38
F 19
B—flat 15
C 11
E—flat 10
A 10
g 8
a 3
f 2
Total 116
B. Type Chords:
Triads Number Percentage
Major 65 56.0%
Minor 51 44.0%
Total 116 100.0%
C. Tonal Chords:
Triads Altered Chords Number Percentage
1 51 51 44.0%
11 2 2 1.7%
111 1 2 3 2.6%
IV 18 '18 15.5%
V 23 9 32 27.6%
VI 10 10 8.6%
Total I16 10010%
D. Root Movements: Number Percentage
a. Up 2nd (Down 7th) 6
b. Down 2nd (Up 7th) 5 a plus b 11 21.6%
c. Up 3rd (Down 6th) 4
d. Down 3rd (Up 6th) 8 0 plus d 12 23.5%
e. Up P5th (Down P4th) 12
f. Down P5th (Up P4th) 16 e plus f 28 54.9%
Total 51 10 .
g. Repetition 64
Grand Total 115

Modulation: F,

85

B-flat, d, F, E-flat, g, d, F,

E—flat, g, d

a. Common Chord: 9

1. Diatonic = Diatonic 7

2. Altered = Diatonic 2

b. Common Tone: _1
Total 1

Rhythm:

4

a. Time Signature: 4’ 3 (slow)

b. Rhythmic Pat

terns:

Pattern: J?

The Unit: .I

c. Pattern Combinations: j]

Melody:

Up 2nd
Down 2nd
Up 3rd
Down 3rd
Up P4th
Down P4th
Up P5th
Down P5th
Up 6th
Down 6th

Cah*3flqhmeLOCTm

59

54 a plus b
19

26 c plus

9

1 e plus

d
1 f
u
4 g plus h
l
1 1 plus j
Total

Rounding-off Error

Number

113
45
20

8

2
T88

Percentage

 

60.1%
23.9%
10.6%

4.2%

1.1%
99.9%

.1%
100.0%

86

 

 

H. Nonharmonic Tones: Number Percentage
a. Passing tones 7 53.8%
b. Suspensions 5 38.5%
c. Neighboring tones _1 7.7%
Total 13 100.0%
I. Contrapuntal Devices: imitation
J. Summary: The Services of Tenebrae consist for the
most part of unaccompanied plainsong. This
Responsary is designed to fit a medieval atmosphere
and is intentionally simple and stark. There are no
seventh chords but there are a few altered chords.
Root movement at the fifth is very strong.
The Aaronic Benediction 1958 G
A. Isolated Chords:
Triads Number
G 17
e 14
C 9
a - 9
D 7
b 4
F 3
f—sharp° 2
b° 1
Total 66
B. Type Chords:

 

Triads Number Percentage
Major 36 54.5%
Minor 27 40.9%
Diminished 3 4.5%
Total 66 99.9%
Rounding-off Error .1%

100.0

87

Tonal Chords:

 

 

 

Triads Altered Chords Number Percentage
I 16 16 24.2%
II 9 9 13.6%
III 4 4 6.1%
IV 9 9 13.6%
V 9 9 13.6%
VI 14 14 21.2%
VII 3 2 5 7.6%
Total 66 _99T9%
Rounding-off Error .1%
100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 5
b. Down 2nd (Up 2nd) 15 a plus b 20 44.5%
0. Up 3rd (Down 6th) 1
d. Down 3rd (Up 6th) 5 c plus d 6 13.6%
e. Up P5th (Down P4th) 6
f. Down P5th (Up P4th) 10
g. Tritone 2 e plus f 18 40.9%
plus g
Total 44 99.0%
h. Repetition 21
Grand Total _65
Rounding-off Error 1.0%
100.0

Modulation: G, C, G

Common Chord: 2
Diatonic = Diatonic 2
Rhythm:

a. Time Signature: fl

b. Rhythmic Patterns:

Patterns: I I

The Unit: J

H.

C.

88

Pattern Combinations:

Melody:

K14F*SUQPbWClOCTW

Up 2nd
Down 2nd
Up 3rd
Down 3rd
Up P4th
Down P4th
Up P5th
Down P5th
Up 6th
Down 6th
Up 8th

HtAFJHroxum

Nonharmonic Tones:

a.
b.
c.

Contrapuntal Devices:

Summary:

Passing tones
SuSpensions
Anticipations

a hymn tune.

altered chords.

none

tilt]

Total

Number Percentage

 

116 68.2%
36 21.1%
12 7.1%

3 1.7%
2 1.4%
1 .5%
WT)" ""‘100.0"%

Number Percentage

 

7 77.8%
1 11.1%
__1_ 11.1%
9 ——%loo.0

This short piece of choral music resembles

There are no seventh chords and few

Root movement at the fifth is strong.

As in the other service music selections in this

chapter, it is not intended to be listened to per se

but to be part of the background of the service, and

the composer deliberately restricts his harmonies to

traditional ones.

89

Magnificat from Magnificat and Nunc Dimittis (on Tone II

 

 

(Solemn) Verse 6) 1958 g
Isolated Chords:

Triads Seventh Chords

 

B—flat
E—flat

”UGO-1090

F7

SD

d7
Total

Type Chords:
Triads
Major
Minor
Diminished
Total

Seventh Chords

 

Major-minor
Minor
Total
Grand Total

Rounding—off Error

Tonal Chords:

Seventh Altered

Triads Chords Chords

I 9 4

II 4
III 5 1

IV 9

V 2

VI 4
VII 1 2

 

 

Number
8
7
6
5
5
u
2
2
1
l
'47
Number Percentage
21 51.2%
16 39.0%
1 2.4%
88 W .
2 4.9%
_1_ 2.4%
3 7.3%
41 99.9%
.1%
100.0%
Number Percentage
13 31.7%
4 9.8%
6 14.6%
9 21.9%
2 4.9%
4 9.8%
3 7.3%
41‘ 166717

90

 

 

Root Movements: Number Percentage
a. Up 2nd (Down 7th) 5
b. Down 2nd (Up 7th) 3 a plus b 8 32.0%
c. Up 3rd (Down 6th) 4
d. Down 3rd (Up 6th) 2 0 plus d 6 24.0%
e. Up P5th (Down P4th) 3
f. Down P5th (Up P4th) 7
g. Tritone 1 e plus f 11 44.0%

plus g __

Total 25 100.0%
h. Repetition 15

Grand Total 40

Modulations: B—flat, g
Common Chord 1
Diatonic = Diatonic 1
Rhythm:

a. Time Signatures i, 3, 3 (slow)

b. Rhythmic Patterns:

Patterns: I I ‘JJTJ
:

The Unit: J

c. Pattern Combinations: I I I‘J
D, J]

91

G. Melody:
a. Up 2nd 36
b. Down 2nd 46 a plus b
0. Up 3rd 8
d. Down 3rd 7 c plus d
e. Up P4th 2
f. Down P4th 3 e plus f
g. Up P5th 1
Total
Rounding-off Error
H. Nonharmonic Tones:
a.“ Passing tones
b. Suspensions
c. Neighboring tones
d. Appoggiaturas
Total
1. Contrapuntal Devices: none

 

 

 

 

Number Percentage
82 79.6%
15 14.5%

5 4.9%
__1_ .9%
103 99.9%

.1%
100.0%

Number Percentage
15 75.0%

3 15.0%

1 5.0%

_1 5.0%
20 m

J. Summary: The writing here is somewhat similar to

that of the Responsaries for the Offices of Tenebrae,

but since the occasion is not a penitential one, there

is a slightly wider harmonic scope.

There are a few

seventh chords and a fair number of altered chords.

Understandably the root movement at the fifth is

again strong.

Final Summary

Modulation is fairly rare in Dr. Willan's writing

for unaccompanied voices except in the motets of the middle

and late periods and to a lesser extent in the correspond-

ing Masses. When writing for his own skilled choir, he

would frequently modulate to more remote keys but when

92

writing for less skilled choral groups, he would restrict
his modulation to closely-related keys. Root movement by
the tritone is rare in the early periods but does occur
occasionally in the middle and late ones. Tritones are
not found in melodic motion. The voice movement is
overwhelmingly by step and the leaps are small ones.

The tendency to return to a more conservative style of
writing in the later works has already been noted, quite
apart from the fact that many of these later works were

for less skilled choral groups.

CHAPTER III

THE ACCOMPANIED WORKS

The Anthems

 

Among Dr. Willan's many published compositions
the anthems are possibly the most widely known. This
study will examine six works chosen from different
periods of the composer's life. The first is one of

his earliest choral works, I Looked,_and Behold a White

 

Cloud, which dates from 1907. The second was one of the
first compositions written after Dr. Willan had come to
Canada and when his own style was more firmly established.

It is In the Name of our God we will set up our Banners.

 

Sinnglleluya Forth in Duteous Praise was written in the

 

period in which many of the best choral works appeared.

it was published in 1940. The homage anthem, O Lord our

 

Governour, was written for the coronation of Queen

 

Elizabeth II in 1953. Rejoice, 0 Jerusalem, Behold Thy

 

King Cometh, written towards the end of the composer's

 

life, is an example of the many shorter anthems written
for less accomplished choirs. Similar to it in aim and

period is the last example, Christ Hath Humbled Himself

 

for two-part children's choir. Since ninth chords,

eleventh chords and augmented sixth chords are found

93

94

in only four of the Sixteen works in this chapter

they will be categorized only when used. Melodic writing
in the organ accompaniment is not included because the
number of voices is constantly changing. To decide on
how the voices divide and coalesce again would be guess—

work at best.

I Looked, and Behold a White Cloud_ 1907 E—flat

 

A. Isolated Chords:

 

 

Triads Seventh Chords Eleventh Chords Number
E-flat 91
B-flat 52
c 43
A-flat 31
f 23
F 21
g 19
F7 14
f7 11
c7 10
G-flat 10
B-flat7 9
C
G 8
c°7 8
e—flat 8
A 6
s7 5
e7 4
d°7 4
d 4
D-flat 4
b—flat° 4
c—sharp° 4
G11 4

Sub-total 405

ii

Triads

Seventh Chords

95

Eleventh Chords

 

 

b-flat
d0
C—flat+

a0

E—flat+
A-flat+
F+
G-flat+
D

c—sharp d-flat

Type Chords:
Triads

Major
Minor
Diminished
Augmented

D7
c—shrtp°7°

C7

6070

b0 70
a-flat7
G7

E—flat+7/
A-flat+7 /

b—flat7
d7

f°7

a7

Total

Seventh Chords:

 

Major—minor
Minor

Diminished—minor

Diminished

Augmented-major

Total

Sub—total

Grand Total

Number
232
101

9

34—9-

33
19

\o
FJm-Q

Number

LJFJHPAFJHF4FJHFHFJHFURJNPURJNCUUHALUUJ

383

Percentage

 

52.3%
22.7%
2.0%
1.6%

78.6%

6.8%
7.4%
4.3%
1.6%
.4%
20.5%

 

96

 

 

Eleventh Chords Number
Major—minor-major 4
Total _4
Grand Total 444
Tonal Chords:
Seventh Eleventh Altered
Triads Chords Chords Chords Number
I 103 17 120
II 39 17 8 64
III 10 4 20 34
IV 42 9 51
v 45 22 4 7 78
V1 35 5 22 62
VII 4 6 6 16
Total 425
Non—tonal Chords: (third relationship)
Triads Number
Major 12
Diminished 4
Total 16
Seventh Chords
Diminished _3
Total 3
Grand Total 444
Root Movements: Number
a. Up 2nd (Down 7th) 43
b. Down 2nd (Up 7th) 37 a plus b 80
c. Up 3rd (Down 6th) 23
d. Down 3rd (Up 6th) 39 c plus d 62
e. Up P5th (Down P4th) 18
f. Down P5th (Up P4th) 76
g. Tritone 10 e plus f 104
plus g
Total 246
h. Repetition 197

Grand Total

3

Percentage

 

.9%
.9%

100.0%

Percentage

 

27.0%
14.4%

7.6%
11.5%
17.6%
13.9%

3.6%

95.6%

Percentage

 

2.8%
.9%
3.7%

.7%
-7%

100.0%

Percentage

 

32.5%
25.2%

42.3%

100.0%

97

Modulation: A-flat, E-flat, C, E—flat, B-flat, F

E-flat, B-flat, c, E-flat

Common Chord: 10
l. Diatonic = Diatonic 5
2. Diatonic = Altered 2

Diatonic l

3. Altered

4. Altered Altered 2

Rhythm:
3

a. Time Signatures: 3, 4

b. Rhythmic Patterns:

Patterns: fl,m,7fi’ fl, ,m,fl

 

 

 

 

 

 

The Unit: J

c. Pattern Combinations:

 

 

 

 

as
:3: as

 

 

98

 

 

Melody: (voices) Number Percentage
a. Up 2nd 141
b. Down 2nd 148 a plus b 289 69.6%
0. Up 3rd 30
d. Down 3rd 40 c plus d 70 16.9%
e. Up P4th 32
f. Down P4th 11 e plus f 43 10.4%
g. Up P5th 4
h. Down P5th 4 g plus h 8 1.9%
1. Down 6th 3 3 .7%
3. Up 8th 1
k. Down 8th 1 j plus k 2 .5%
41—5 W
Nonharmonic Tones: Number Percentage
a. Passing tones 122 57.8%
b. Suspensions 26 12.3%
c. Neighboring tones 11 5.2%
d. Anticipations 1 .5%
e. Appoggiaturas 15 7.1%
f. Escape tones 3 1.4%
g. Pedal points 33 15.6%
Total 211 99.9%
Rounding-off Error .1%
100.0%
Contrapuntal Devices: sequence, imitation.

Summary: It might be noted that the harmonic
vocabulary is more extensive in the accompanied
works where the organ supports the voices than in
the unaccompanied works. In a cappella singing,
intonation is frequently a problem if the sonorities
vary from the tonic key or difficult modulations are
introduced. No such difficulties exist for the
organ, nor for voices supported by the organ. 'There
are many seventh chords and altered chords in this

anthem as compared to their absence in the unaccompanied

99

works of the early period. Root movement at the fifth
is strong. There is modulation to both nearly-

related and to foreign keys as compared to the lack of
modulation in the early unaccompanied works. Melodic
writing in the voices and in the organ accompaniment

is to a certain extent much the same, with a slightly
larger number of leaps in the accompaniment, including
the tritone. The tritone is not found in the melodic
motion for the voices. This anthem is the only one of
the accompanied works which contains some non—tonal
chords. Dr. Willan did not use this kind of-writing in
his later works and it might suggest that at the time

of the writing he was still influenced by the romantic
composers of the previous century. The composer was
somewhat sensitive on this point and perhaps rightly
insisted that it was not so much a question of period as
it was of effective choral music. At any rate, this
anthem and several others from the same period are still
in demand. Some of the other accompanied works of the

early period are now out-of-print.

100

in the Name of our God we will set up our Banners 1917 G

A.

Isolated Chords:

Triads

mmmmfcoo
H)
|._J
S12
r1.

f—sharp

g-sharp

F—sharp

d0
b—flat

d-sharp°
D—sharp

b-flat

Seventh Chords

 

B7

C7

A7
c-sharp°7
D7

a°7

G7

a7
g-sharp°7

F—sharp7
d°7
e7

g-sharp7°

f—sharp
f—sharp°7
C-sharp7
G-sharp7
d-sharp°7

B-flat7

Ninth Chords Number

 

74
66
4O

4NNNNWWWWUUW tt-EEWUWU‘IU'INNNI (1)0300

U1

Total 5
continued

101

Seventh Ninth
Triads Chords Chords
D9
b°7

d-sharp

a-sharp°

f-sharp°
e—sharp°7
g-sharp7
c-sharp7
G7/
b7

Type Chords:
Triads

Major
Minor
Diminished
Total

Seventh Chords

 

Major-minor
Major
Minor
Diminished-minor
Minor-diminished
Total

Ninth Chords

 

Major—minor—minor
Total

Grand Total

Augmented
Sixth Chords

 

E-flat6+
G6+
C6+

Total

Grand Total

11m

299
102

422

8

Number

IAFJH+AFHAFJH+ARHURJM

U1
}_a
[UN

Percentage

 

53.2%
18.1%

3.7%
75.0%

13.0%
.2%
3.2%
7.5%
.7%
23.7%

.4%
.4%

100.0%

102

C. Tonal Chords:

 

 

 

 

 

 

m
U m
o m
c '6 p p
U) pm (DU) U) CU) 524 C.
6 £26 £46 .cw: G)Q o m
m Q)h $54 +>p E13 9 o
H >(3 +30 {:0 w>< E L
s a): rug *4: 3¢4 : m
9+ 010 <c) 2c) <cm 2: m
I 181 31 212 37.7%
11 33 15 38 86 15.3%
III 16 l 10 27 4.8%
IV 44 6 50 8.9%
V 48 24 5 2 79 14.1%
V1 39 3 42 5 89 15.8%
VII 3 5 ll 19 3.4%
Total 562 100.0%
D. Root Movements: Number Percentage
a. Up 2nd (Down 7th) 74
b. Down 2nd (Up 7th) 51 a plus b 125 42.1%
c. Up 3rd (Down 6th) 18
d. Down 3rd (Up 6th) 40 c plus d 58 19.5%
e. Up P5th (Down P4th) 30
f. Down P5th (Up P4th) 61
g. Tritone 23 e plus f 114 38.4%
plus g
Total 297 100.0%
h. Repetition 264
Grand Total 561

E. Modulation: G. C. G. B. E. B. E. A-flat, C, c, G,

D, b, B, G
a. Common Chord: 10.
l. Diatonic = Diatonic 6
2. Diatonic = Altered l
3. Altered = Altered 2
4. Diatonic = Augmented Sixth 1
b. Change of Mode: 2
c. Common Tone: 2

Total 14

103

F. Rhythm:
3

a. Time Signatures: 3, 4

b. Rhythmic Patterns:

Patterns: H m
9

The Unit: J

c. Pattern Combinations:

.fl
DIED
DJ} 17
IT?
177

 

G. Melody: (voices) Number Percentage

a. Up 2nd 192

b. Down 2nd 197 a plus b 389 61.6%

0. Up 3rd 76

d. Down 3rd 63 c plus d 139 22.0%

e. Up P4th 40

f. Down P4th 30

g. Tritone 3 e plus f plus g 73 11.6%

h. Up P5th 6

1. Down P5th 11 h plus i 17 2.7%

j. Up 6th 1

k. Down 6th 2 j plus k 3 .5%

1. Up 8th 3

m. Down 8th 7 1 plus m 10 1.6%
Total 63f 100.0%

H.

LT o

104

 

Nonharmonl c Tones: Number Percentage
a. Passing tones 84 57.9%
b. Suspensions 26 17.9%
c. Neighboring tones 13 9.0%
d. Appoggiaturas 6 4.1%
e. Pedal points 15 10.3%
f. Double pedal points 1 .7%
Total 145 _9979%
Rounding-off Error .1%
100.0
Contrapuntal Devices: sequence, imitation, fugal
exposition.
Summary: The harmonic vocabulary is larger in this

anthem than in I Looked; and Behold a White Cloud.

 

Some traces of the earlier style of writing still
remain in the use of ninth chords and augmented
sixths. There is a high percentage of altered chords.
Root movement at the second is stronger than it was

in the previous work studied. The melodic motion is
slightly less by step in this anthem than it usually
is in Dr. Willan's music because of the militant

mood of the work and its fanfare-like motifs. Tritones
are found in the melodic writing, which is rather
unusual with this composer. Pedals and double pedals
are used to a fairly wide extent in the accompaniment.
Contrast of texture is provided in one instance as

it was in the previous anthem studied by having one

section a solo with florid organ background.

105

 

 

Sing Alleluya Forth in Duteous Praise 1940 d
A. Isolated Chords:
Seventh Augmented
Triads Chords Sixth Chords
d
B—flat
D
a
A
E—flat
c
b
A7
8
67
f
E
c—sharp7
e
g-sharp
87
F
B7
c—sharp°
c-flat
b7
b—flat7
a7
f—sharp
c-sharp
B
D—flat
f—sharp7
e—flat7
A-flat '
c°7
C7
d—sharp°7
g-sharp7
a°7
b—flat
A—flat7
A7/
F7/
E7/

Sub—total

Number

HFJFJHFJFJHFJFWORJMLUU)
(DRJMLUuLtUMfiCDGfiOVDtht

{\J
L‘jNNNMNWWWWWUJ:tttt-‘TJU‘IWWWU'IONONNNKD

106

 

Seventh Augmented

Triads Chords Sixth Chords Number
B-flat7/ 2
D7/ 2
c-sharp°7 2
F7 2
C—sharp l
a-sharp° l
f—sharp° 1
d° l
D-sharp l
a° l
e° 1
G-flat l
f—flat 1
D—flat7/ 1
a-sharp7 1
b-flat°7 l
E-flat7/ 1
07/ 1
G7/ 1
d°7° l
e°7° 1
f—flat°7 1
d—flat°7° l
d°7 1
e°7 1
B-flat6+ l
G-flat6+ 1
Total 21
Grand Total _444

Type Chords:

 

 

 

Triads Number Percentage
Major 186 41.8%
Minor 130 29-3%
Diminished 10 2.3%
Total 326 _7374%
Seventh Chords
Major-minor 26 5.8%
Major 14 3.2%
Minor 60 13.5%
Diminished-minor 15 3.4%
Diminished 3 ‘ .7%
Total 118 26.6%

Grand Total 444 100.0%

Tonal Chords:

107

Seventh Altered Augmented

 

 

 

 

Triads Chords Chords Sixths Number Percentage
I 94 7 8 109 24.6%
II 12 27 14 53 11.9%
III 16 1 6 23 5.2%
IV 43 8 6 57 12.8%
v 35 24 26 85 19.1%
VI 39 25 18 2 84 18.9%
VII 9 13 11 33 7.4%
Total 444 99.9% '
Rounding-off Error .1%
Grand Total 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 88
b. Down 2nd (Up 7th) 58 a plus b 146 49.6%
0. Up 3rd (Down 6th) 10
d. Down 3rd (Up 6th) 54 c plus d 64 21.8%
e. Up P5th (Down P4th) 42
f. Down P5th (Up P4th) 31
g. Tritone 11 e plus f 84 28.6%
plus g
Total 294 100.0%
h. Repetition 149
Grand Total 443

Modulation: d, B—flat, E-flat, B-flat, d, c, B—flat,
F, d, D, E, B, D-flat, E, D, e, a,
E—flat, D
a. Common Chord: l7
1. Diatonic = Diatonic 7
2. Diatonic = Altered 3
3. Altered = Diatonic 3
4. Altered = Altered 3
5. Altered = Augmented Sixth 1
b. Change of Mode: 1

Total 18

108

Rhythm:

to)

NW
AA
VV

Time Signatures:

Rhythmic Patterns:

inseam
.47, J?

The Unit:

J

Pattern Combinations:

 

.0 .0
DJ
.4:

J7
J7

109

Melody: (voices) Number Percentage
a. Up 2nd 189
b. Down 2nd 281 a plus b 470 75.0%
c. Up 3rd 53
d. Down 3rd 48 0 plus d 101 16.1%
e. Up P4th 32
f. Down P4th 8 e plus f 40 6.4%
g. Up P5th 5
h. Down P5th 5 g plus h 10 1.6%
1. Up 6th 4 4 .6%
j. Up 8th 2 2 .3%
Total 627 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 94 46.3%
b. Suspensions 40 19.7%
c. Neighboring tones 38 18.7%
d. Anticipations 1 .5%
e. Appoggiaturas 6 3.0%
f. Escape tones 1 .5%
g. Pedal points _23 11.3%
Total 203 100.0%

Contrapuntal Devices:

 

 

 

sequence, imitation,

 

augmentation, basso ostinato

Summary:

There is a tendency towards leanness in

texture in this anthem comparable to the plainsong-

style unaccompanied works such as the Missa Brevis

No. 7.

 

The ninth chords, and eleventh chords of the

two previously examined anthems are gone, although

there are still some augmented sixths. Melodic

movement is predominantly at the second. In this
work there is a forthright quality characteristic of
the composer and of many of his works forming a con—

trast to the more mystical atmosphere of many of the

motets and Masses.

110

O Lord, our Governour 1953 D (homage anthem)

 

A.

Isolated Chords:

 

Triads Seventh Chords
D
b
e
E—flat
B—flat
G
A
d
B
f-sharp
e7.
A-flat
a
c
87
F-sharp
C
E
8
b7
c—sharp
do
F
f—sharp7
C7
A7
F-sharp7
B-flat7
d—sharp
f
g-sharp
c-sharp°
a-sharp°
G7
G7/
c-sharp7
e°7
d°7
a°7
C7/
E—flat7/
f7
B-flat7/
g-sharp7

Total

Number

33
18

12
12
11
ll
10

IFHAFJHFJFWAFJHF4FHAFJHFAFJmPORflwLUUHNLU£=SNDOVN~Q\P4~QGMDKNO

N
LA)
|._.I

111

Type Chords:

 

Triads Number Percentage
Major 114 49.4%
Minor 71 30.7%
Diminished 5 2.2%

Total 190 82.3%

Seventh Chords

 

 

 

Major-minor 7 3.0%
Major 4 1.7%
Minor 27 11.7%
Diminished—minor 3 1.3%
Total 41 1717%
Grand Total 31 100.0%
Tonal Chords:
Seventh Altered
Triads Chords Chords Number Percentage
I 58 2 3 63 27.3%
II 14 9 5 28 12.1%
111 11 5 7 23 9.9%
IV 27 4 5 36 15.6%
V 18 6 9 33 14.3%
VI 15 8 6 29 12.6%
VII 5 2 12 19 8.2%
Total '31 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 44
b. Down 2nd (Up 7th) 25 e plus b 69 41.1%
c. Up 3rd (Down 6th) 14
d. Down 3rd (Up 6th) 31 c plus d 45 26.8%

e. Up P5th (Down P4th) 19
f. Down P5th (Up P4th) 30

g. Tritone 5 e plus f 54 32.1%
plus g
Total T68 100.0%
h. Repetition 62

Grand Total 230

112

Modulation: D, B, B—flat, d, e, D, B-flat, E-flat,

B-flat, E-flat, D, b, 0

Common Chord: 12
1. Diatonic = Diatonic 5
2. Diatonic = Altered 4
3. Altered = Diatonic 2
4. Altered = Altered l
Rhythm:

. . _ 4 3 3
a. Time Signatures. 4’ 4’ 2

b. Rhythmic Patterns:

Patterns:

3:3 13131071191117.1737 133

3 [1111.05.11.13 .1131

The Unit:

1,1

 

 

Jfl... 4.4.. _ULH AH" DH».

1m. fin

hh nn 1H Um.

H.

114

 

 

Melody: (voices) Number Percentage
a. Up 2nd 168 338 73.9%
b. Down 2nd 170 a plus b

0. Up 3rd 35 73 16.0%
d. Down 3rd 38 c plus d

e. Up P4th 19

f. Down P4th 10

g. Tritone 1 e plus f plus g 30 6.6%
h. Down P5th 12 12 2.6%
1. Up 6th 2

j. Down 6th 1 1 plus j 3 .7%
k. Up 8th 1 1 .2%

Total 457 100.0%

 

 

Nonharmonic Tones: Number Percentage

a. Passing tones 61 61.0%

b. Suspensions 30 30.0%

c. Neighboring tones 5 5.0%

d. Anticipations 2 2.0%

e. Pedal points __2 2.0%
Total 100 100.0%

Contrapuntal Devices: imitation

Summary: With advancing years and experience the
composer moved toward a somewhat more simplified
style. The ninth chords, eleventh chords and
augmented sixths are now gone. There are fewer
altered chords and correspondingly more triads and
seventh chords. Root movement is mainly at the
second. In certain places in this work the chords
were incomplete and the chord had to be guessed at.
It is a tradition at Westminster Abbey to perform
this anthem at the service honoring the birthday of

the Queen.

115

Rejoice, 0 Jerusalem, Behold Thy King Cometh 1960 d

 

A. Isolated Chords:

 

Triads Seventh Chords Number
D 32
A 25
B—flat 20
d 15
B 11
b 10
G 8
e7 7
A7 6
E—flat 5
f-sharp 5
F7 5
e 4
c7 4
s7 4
e0 2
a 2
C7 2
do 1
F 1
C 1
f7 1
B-flat7/ 1
Total 172

B. Type Chords:

 

Triads Number Percentage
Major 92 53.5%
Minor . 47 27.3%
Diminished 3 1.7%

Total 142 82.5%

Seventh Chords

 

Major-minor 13 7.6%
Major
Minor

Total

N UJl-J
M OO\|-’
|._:

o H’

O \1

0 U1

Grand Total 1

116

Tonal Chords:

Seventh Altered

 

 

 

Triads Chords Chords Number Percentage
I 57 57 33.1%
11 4 11 l 16 9.3%
III 11 2 13 7.6%
IV 16 1 17 9.9%
V 30 ll 2 43 25.0%
VI 18 3 l 22 12.8%
VII 1 3 __5 2.3%
17 100.0%
Root Movements: Number Percentage
3. Up 2nd (Down 7th) 18
b. Down 2nd (Up 7th) 9 a plus b 27 29.7%
c. Up 3rd (Down 6th) 2
d. Down 3rd (Up 6th) 21 0 plus d 23 25.3%

e. Up P5th (Down P4th) 11
f. Down P5th (Up P4th) 29

g. Tritone 1 e plus f 41 45.0%
plus 2 .___ .
Total 91 100.0%
h. Repetition _89
Grand Total 171

Modulation: d, B—flat, E—flat, D, B—flat, D

Common Chord: 5
1. Diatonic = Diatonic 2
2. Diatonic = Altered 2
3. Altered = Altered 1

Rhythm:

a. Time Signature: 3

b. Rhythmic Patterns:

117

Patterns: n ’ m , fl, J’j

The Unit: ‘I

0. Pattern Combinations: I J —JJ——|
«d

Melody: (voices) Number Percentage
a. Up 2nd 73
b. Down 2nd 77 a plus b 147 71.0%
c. Up 3rd 8
d. Down 3rd 22 0 plus d 30 14.5%
e. Up P4th 19
f. Down P4th 6 e plus f 25 12.1%
g. Down P5th 5 5 2.4%
Total 207 100.0%
Nonharmonic Tones: Number Percentagg
a. Passing tones 54 75.0%
b. Suspensions 6 8.3%
c. Neighboring tones 10 13.9%
d. Pedal points 2 2.8%
Total 2 100.0%
Contrapuntal Devices: imitation

Ilfl

 

 

118

Summary: It must be remembered that the composer

was writing for choral groups of limited ability in

the group of anthems this work represents.

Fewer

altered chords are used than in other anthems in

this study. Root movement is predominantly at the

second.

Christ Hath Humbled Himself 1962 g

 

A.

Isolated Chords:

 

Triads Seventh Chords

B

D

c

B-flat

E-flat

F

d

a0

G
G7
07
D7
F7

Type Chords:
Triads
Major
Minor

Diminished
Total

Seventh Chords

 

Major-minor
Minor
Total

Grand Total

Total

Number

54
u

|-‘
O
UltrN

l--'
NWO

|._:
H
N

Number

Huanim
nnuorctszunm~qmtnovq

11

N

Percentage

 

46.1%
40.2%

3.4%
89.7%

MN
CNN
BQEQ

H
0
LA)

100.0%

LTJ

119

Tonal Chords:
Seventh Altered
Triads Chords Chords
I 31 8
II 7 2
III 3 2
IV 13 l
V 31 5 2
V1 10
VII 2
Total
Root Movements:
a. Up 2nd (Down 7th) 13
b. Down 2nd (Up 7th) 2 a plus b
c. Up 3rd (Down 6th) 6
d. Down 3rd (Up 6th) 9 0 plus d
e. Up P5th (Down P4th) 3
f. Down P5th (Up P4th) 19
g. Tritone 1 e plus f
plus g
Total
h. Repetition
Grand Total
Modulations: g, B-flat, g
Common Chord: 2
Diatonic = Diatonic 2
Rhythm:
a. Time Signature: 3
b. Rhythmic Patterns:

Patterns: I I

The Unit: J

 

 

Number Percentage
39 33.3%
9 7.7%
5 4.3%
14 12.0%
38 32.5%
10 8.5%
__g 1.7%
11 100.0%
Number Percentage
15 28.3%
15 28.3%
23 43.4%
‘2‘? —‘%‘100.0
3
116

120

c. Pattern Combinations: I I

17

 

 

 

 

Melody: (voices) Number Percentage

a. Up 2nd 32

b. Down 2nd 34 a plus b 66 75.9%

c. Up 3rd 4

d. Down 3rd 9 0 plus d 13 14.9%

e. Up P4th 6

f. Down P4th 2 e plus f 8 9.2%
Total 87 100.0%

Nonharmonic Tones: Number Percentage

a. Passing tones 24 77.4%

b. Suspensions 5 16.1%

c. Neighboring tones _2 6.5%
Total 31 100.0%

Contrapuntal Devices: imitation

Summary: When writing for accompanied children's
voices the composer deliberately chose a limited
harmonic vocabulary. There is a greatly reduced
percentage of seventh chords and of altered chords.
Root movement is predominantly at the fifth as in

the earlier works, both accompanied and unaccompanied.
It must be remembered that the vocal texture is but
for two voices. Dr. Willan was very happy with
children and could write simply but effectively for

children's choirs.

121

The Hymn Anthems

 

This type of anthem appears to have become fairly
popular in many churches according to the number of such
works that have appeared in the last two decades. Dr.
Willan was commissioned to write many of these. They
usually remain in the same key throughout. A well-known
hymn melody is used and at least one of the verses is
in unison so that the congregation may participate if
desired. Two to four verses of the text are used and
each verse has a different type of musical setting to
provide contrast. We shall examine three representative

works. Before the Ending of the Day is the composer's

 

first hymn-anthem, written in 1937. E91 He Comes with

Clouds Descending is one of the last of these works and

 

was published in 1962. When the Herds were Watching

is a hymn-anthem for two-part children's choir.

Before the Ending of the Day 1937 E-flat

 

A. Isolated Chords:

Triads Seventh Chords Number

 

E—flat 35
A—flat 28
g 28
e 26
C 23
f7 21
B-flat 17
c 13
f 12
c7 12
G 8
a 8
Sub-total 23I‘

Triads

c-sharp°

OCTQ

b-flat
D-flat

Type Chords:
Triads
Major

Minor
Diminished

Seventh Chords

 

Major-minor
Major

Minor
Diminished-minor

122

Seventh Chords

 

E-flat7/
A-flat7/

e7
F7
a7

a°7

b-flat7
Total

Grand Total

Number

N
U1 l—‘l—‘i—‘l—‘i—‘NNNNNNLUUUUJ-C'UTONQN

 

Number Percentage
95 33.3%
114 40.0%
__3 1.1%
Total 12 74.4%
9 3.2%
6 2.1%
51 17.8%
_1 2.5%
Total 73 _2576%
Grand Total 285 100.0%

Ton

Tri

I
II
III
IV
V
VI
VII

Roo

OQHDCDCLOO‘SD

Mod

a1 Chords:
Seventh Altered
ads Chords Chords
67 3
17 28 2
5O 7
34 3 1
18 8
22 14
4 6 1
Total
t Movements:
Up 2nd (Down 7th) 48
Down 2nd (Up 7th) 32 a plus b
Up 3rd (Down 6th) 8
Down 3rd (Up 6th) 18 c plus d
Up P5th (Down P4th) 24
Down P5th (Up P4th) 49
Tritone 2 e plus f
plus g
Total
Repetition
Grand Total
ulation: E-flat, B-flat, E—flat,
E-flat
Common Chord: 6
l. Diatonic = Diatonic 4
2. Diatonic = Altered 1
3. Altered = Altered 1
Change of Mode: l

123

Total

'—'7-

 

 

 

 

Number Percentage
70 24.6%
47 16.5%
57 20.0%
38 13.3%
26 9.1%
36 12.6%
11 3.9%

285 100.0%

Number -Percentage
80 44.2%
26 14.4%
75 41.4%

I81 16676%
103

284

c, C, G, C,

F.

124

Rhythm:

a. Time Signature: 3

b. Rhythmic Patterns:

Patterns: I I I I
>

The Unit: J

c. Pattern Combinations:

J7 D
RD

 

 

 

Melody: (voices) Number Percentage
a. Up 2nd 101
b. Down 2nd 104 a plus b 205 81.0%
0. Up 3rd 9
d. Down 3rd 25 0 plus d 34 13.4%
e. Up P4th 8
f. Down P4th 1 e plus f 9 3.6%
g. Up P5th 3
h. Down P5th 1 g plus h "4 1.6%
i. Up 6th 1 __1 .4%
Total 253 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 79 67.5%
b. Suspensions 19 16.2%
c. Neighboring tones 13 11.1%
d. Appoggiaturas 5. 4.3%
e. Pedal points __1 .9%
117 100.0%

Contrapuntal Devices: imitation, sequence.

Lo!

125

Summary: Like most hymn tunes, the melody that
furnishes the basis for this work is fairly simple
both in its melody and harmony. This hymn-anthem
is therefore on the conservative side. There are
few altered chords. Root movement at the fifth is
strong. The melodic motion is even more at the

second than in the majority of Dr. Willan's works.

He Comes with Clouds Descending 1962 g

Isolated Chords:

 

Triads Seventh Chords Number
g 68
c “1
D 35
E-flat 22
B-flat 21
a°7 l7
a° 10
c7 10
D7 10
G 9
d 9
F 8
b°7° 7
f-sharp°7 5
c-sharp°7° 5
e°7 u
A7 3
c—sharp° 3
e0 2
$7 2
G7 2
B-flat7 2
E-flat7 2
f—sharp° 2
a 1
c-sharp 1
c __1_
Sub-total 302

126

 

Triads Seventh Chords Number
B-flat7 l
B-flat+7 1
b°7 1
F7 1
f—sharp°7° __1_
Total

I U1

Grand Total 30

N

Type Chords:

 

 

 

 

 

Triads Number Percentage
Major 96 31.3%
Minor 119 38.8%
Diminished 17 5.5%
Total 23 75.6%
Seventh Chords
Major-minor 18 5.9%
Major 3 1.0%
Minor 13 “.2%
Diminished-minor 27 8.8%
Diminished 13 4.2%
Augmented-minor _1 .3%
Total 5 25.5%
Grand Total 30 100.0%
Tonal Chords:
Seventh Altered
Triads Chords Chords Number Percentage
I 73 2 ll 86 28.0%
11 10 20 4 3H 11.1%
111 3 27 30 9.8%
IV H1 7 10 58 18.9%
V 38 lo 6 SD 17.6%
VI 21 2 6 29 9.“%
VII u 5 7 16 5.2%

Total 307 100.0%

127

 

Root Movements: Number Percentage
a. Up 2nd (Down 7th) 73

b. Down 2nd (Up 7th) 27 a plus b 100 37.5%
c. Up 3rd (Down 6th) 10 '

d. Down 3rd (Up 6th) 38 c plus d 48 17.9%

e. Up P5th (Down P4th) 25
f. Down P5th (Up P4th) 73

g. Tritone 21 e plus f 119 "H.6X
plus g
Total 267 Ifififfii
h. Repetition _3%
Grand Total 30

Modulations: g, B-flat, g, B-flat, g

Common Chord: fl
Diatonic - Diatonic h
Rhythm:

a. Time Signature: 3

b. Rhythmic Patterns:

WJJ JJJ, JD, J7 J1JJ

The Unit:

J

c. Pattern Combinations: JJ

JJ

Melody: (voices)

a. Up 2nd 1H9
b. Down 2nd 182
c. Up 3rd 64
d. Down 3rd 87
e. Up Pflth H3
f. Down Puth 13
g. Tritone 2
h. Up P5th 7
1. Down P5th 6
J. Up 6th 2
k. Down 6th 1
1. Up 7th 2

128

JJJ
JJ

JJJ
JJJ

JJJ JJ
JD In

a plus

c plus

e plus
h plus
J plus

JJJ
DD

JJJU
JJD

JJJJ
JJ

 

f plus g 58

1
k

Total

Number Percentage
687 75.21
151 16.5%

6.u%

13 1.uz
3 .35

2 .21
5TH IUU;61

H.

129

Nonharmonic Tones: Number
a. Passing tones 97
b. Suspensions 25
c. Neighboring tones 12
d. Appoggiaturas 3
e. Anticipations 6
f. Escape tones 1
g. Pedal points 6
h. Double pedal points __3

Contrapuntal Devices: sequence, descant.

Percentage

 

63.“%
16.3%
7.8%
2.0%
3.9%
.7%
3.9%
2.0%
IUUTU%

Summary: This rather sentimental hymn tune provides

tritones in both the choral melodic writing

as the accompaniment. The mood is somewhat

as well

Edwardian. Root movement at the fifth predominates.

Much is a cappella.

 

When the Herds were Watching 1957 G

 

A.

Isolated Chords:

 

 

Triads Seventh Chords Ninth Chords Number
G 50
D 2“
C 17
a 15
D7 15
f—sharp° 10
e 9
e7 5
D9/ u
A 2
b° 2
b 2
d 1
Total 1'56

130

Type Chords:

 

 

 

 

 

 

 

 

Triads Number Percentage
Major 93 59.6%
Minor 27 17.3%
Diminished 12 7.7%
Total 132 85.6%
Seventh Chords
Major-minor 15 9.6%
Minor _2 3.2%
Total 20 12.
Ninth Chords
Major-minor-major H 2.6%
Total —E 2.6%
Grand Total 156 100.0
Tonal Chords:
Seventh Ninth Altered
Triads Chords Chords Chords Number Percentage
I 50 50 32.1%
II 13 4 17 10.9%
III 2 2 u 2.6%
IV 17 17 10.9%
v 2N lu u 2 an 28.2%
VI 9 5 lu 8.9%
VII 10 10 6.9%
Total 156 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 23
b. Down 2nd (Up 7th) 7 a plus b 30 33.3%
0. Down 3rd (Up 6th) 20 20 22.2%
d. Up P5th (Down P4th) 7
e. Down P5th (Up PUth) 33 d plus e 30 MU.M%
Total 90 _§§T§%
f. Repetition 65
Grand Total 55
Rounding-off Error 1%

100.0%

Modulation: none

Rhythm:

a. Time Signature:

b. Rhythmic Patterns:

Patterns: I I

The Unit: J

131

0. Pattern Combinations: I I

Melody: (voices)

D

Number Percentage

 

 

 

a. Up 2nd 38
b. Down 2nd 43 a plus b 81 85.3%
0. Up 3rd 5
d. Down 3rd 3 c plus d 8 8.H%
e. Up Path 2 2 2.1%
f. Down P5th 4 _fl ".2%
Total 95 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 30 57.7%
b. Suspensions 2 3.9%
c. Neighboring tones 12 23.1%
d. Pedal points _8 15.3%
Total 5 100.0%
Contrapuntal Devices: sequence

132

J. Summary: The harmonic vocabulary is restricted in
this hymn—anthem since the composer is writing for
children's voices. The ninth chords are in reality
a decoration of the dominant triad, passing from
that triad to the seventh and back to the simple
triad before moving on. There are few seventh chords
and fewer altered chords. Root movement at the

fifth is strong.

The Masses
The composer did not find this form too congenial
and we have already found that he was happier in writing
Masses for unaccompanied voices. Two examples will
illustrate his accompanied SATB writing and his writing

for accompanied unison voices. The Midda Sancto‘

 

Albano from which the Gloria in Excelsis is selected

 

for analysis was published in 1929. The Missa de Sancta

 

Maria Magdalena from which the Credo is selected for

 

analysis was published one year earlier.

Missa de Sancto Albano

 

A.

Isolated Chords:
Triads

B-flat

c

E-flat
A-flat

—sharp°

UHJUQ ’11“)

D-flat

Type Chords:
Triads
Major

Minor
Diminished

Seventh Chords

 

Major-minor
Minor
Diminished—minor

133

 

 

 

Gloria in Excelsis 1929 E—flat
SATB
Seventh Chords Number
51
33
31
28
22
21
20
10
6
f7 5
D7 5
5
B—flat7 4
u
2
c7 2
2
1
F7 1
a°7 1
Grand Total 25K
Number Percentage

IU7 57.9%

75 29.5%

14 5.5%

Total 236 92.9%

10 3.9%

7 2.8%

l .u%

Total T8 7.1%

Grand Total 25E 100.0%

134

Tonal Chords:

 

 

Seventh Altered
Triads Chords Chords Number Percentage
I 63 4 67 26.4%
11 28 5 9 42 16.5%
111 8 4 12 4.7%
IV 28 2 2 32 12.6%
V 54 10 64 25.2%
VI 20 20 7.9%
V11 12 1 4 17 6.7%
Total 254 160.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 28
b. Down 2nd (Up 7th) 36 a plus b 64 36.8%
c. Up 3rd (Down 6th) 11
d. Down 3rd (Up 6th) 19 0 plus d 30 17.2%
e. Up P5th (Down P4th) 31
f. Down P5th (Up P4th) 47
g. Tritone 2 e plus f 80 46.0%
plus g T74 100.0%
h. Repetition 79

Grand Total 53

Modulation: E-flat, c, B-flat, g, B-flat, g, B-flat,

g, B-flat, g, E-flat

Common Chord: 10
1. Diatonic = Diatonic 6
2. Diatonic = Altered l
3. Altered = Altered 3

Rhythm:

a. Time Signatures: 3, 4’ 2, E

135

 

b. Rhythmic Patterns:
Patterns: .b
J1JTlfl, v
The Unit: J

c. Pattern Combinations: I I I I

Melody: (voices) Number Percentage

a. Up 2nd 88

b. Down 2nd 119 a plus b 207 72.1%

c. Up 3rd 17

d. Down 3rd 19 0 plus d 36 12.5%

e. Up P4th 16

f. Down P4th 5 e plus f 21 7.3%

g. Up P5th 2

h. Down P5th 10 g plus h 12 4.2%

1. Up 6th 3 3 1.0%

j. Down 7th 1 1 .3%

k. Up 8th 5

1. Down 8th 2 k plus 1 7 2.4%

Total 287 99.8%

Rounding—off Error .2%

100.0%

Nonhajmmnric

136

a. Passing tones
b. Suspensions
c. Neighboring tones
d. Appoggiaturas
e. Pedal points
Total
Contrapuntal Devices: imitation

Summary:

side.

 

Number Percentage
109 77.9%
19 13.6%
9 6.4%
2 1.4%
1 .7%
I116 Io'o'". 07

This Mass setting is on the conservative

Root movement at the fifth predominates.

There are few seventh chords and not many altered

chords.

Missa de Sancta Maria Magdalena Credo

 

A.

Isolated Chords:

Triads

Cf)

harp

-sharp

OW'TJWPQHAQUU‘

I
m
:3‘
$1)
*1

’O

c-sharp
d-sharp

c-sharp°

G—sharp

e-sharp°
f-sharp°

g—sharp

Seventh Chords

 

g-sharp°7
c—sharp°7
F-sharp7

A7

1928 d

Total

(unison)

Number

74
72
56
56
55
52
34
29
11

i—‘F—‘F-‘i—‘NNWJI‘DESCDKD

£4

O

137

Type Chords:

 

Triads Number Percentage
Major 259 53.6%
Minor 210 43.5%
Diminished 6 1.2%
Total 475 _9873%

Seventh Chords

 

 

 

Major-minor 3 .6%
Diminished-minor 5 1.0%
Total ’8 1.6%
Grand Total 483 99.9%
Rounding-off Error .1%
100.0%
Tonal Chords:
Seventh Altered
Triads Chords Chords Number Percentage
I 109 7 116 24.0%
II 45 3 24 72 14.9%
111 43 9 52 10.8%
IV 58 2 60 12.4%
V 82 3 21 106 21.9%
VI 62 6 68 14.0%
VII 5 2 2 9 1.9%
Total 483 "§§T§%
Rounding-off Error .1%
100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 54
b. Down 2nd (Up 7th) 36 a plus b 90 34.9%
0. Up 3rd (Down 6th) 14
d. Down 3rd (Up 6th) 52 c plus d 66 25.6%
e. Up P5th (Down P4th) 37
f. Down P5th (Up P4th) 62
g. Tritone 3 e plus f 102 39.5%
plus g
Total 258 100.0%
h. Repetition 224
Grand Total 482

138

Modulation: D, F—sharp, C—sharp, D, b, D, B, D, e, D
Common Chord: 9
1. Diatonic = Diatonic 6
2. Diatonic = Altered 2
3. Altered = Diatonic l
Rhythm:
.. 43
a. Time Signatures: 4’ 2
b. Rhythmic Patterns:
Patterns:
/3\
“D D 3JJ JJJ ,JJ
’4 3 2 a, 1
The Unit:
JJ
0. Pattern Combinations:

3

JJ JJ
JJ JJ

139

 

 

 

 

Melody: (voices) Number Percentage

a. Up 2nd 96

b. Down 2nd 87 a plus b 183 72.6%

0. Up 3rd 19

d. Down 3rd 23 0 plus d 42 16.7%

e. Up P4th 13

f. Down P4th 8 e plus f 21 8.3%

g. Up P5th 4

h. Down P5th 1 g plus h 5 2.0%

i. Up 6th 1 __1 .4%
252 100.0%

Nonharmonic Tones: Number Percentage

a. Passing tones 47 70.1%

b. Suspensions 15 22.4%

c. Neighboring tones 4 6.0%

d. Anticipations l 1.5%

Total 67 100.0%

Contrapuntal Devices: none

Summary: In this Mass setting there are few
seventh chords and not many altered chords. Root
movement at the fifth predominates. This setting
is intended for congregational singing and Dr.
Willan's music shows an understanding for the needs
of congregations. This work is also used by choirs
whose members are lacking in musical training and

experience.

140

The Canticles

 

Two representative works will be examined. Q_§e
Joyful is a setting of the Venite for SATB with the organ
accompaniment mainly a duplication of the vocal parts.
Dr. Willan wrote numerous settings of the evening

canticles——the Magnificat and the Nunc Dimittis. The

 

majority of these and some of his other canticle
settings are in plainsong style, alternating between
solo or unison voices accompanied by the organ and SATB

a cappella. The a cappella writing in these works was

 

 

examined in the previous chapter. We will now examine
the accompanied portion, selecting verses from the first
of a set of six setting of the evening canticles written
in 1928. This traditional plainsong style of writing

did not change at any point in Dr. Willan's career.

0 Be Joyful (The Venite) 1960 B-flat

 

A. Isolated Chords:

 

Triads Seventh Chords Number
B-flat 50
F 32
g 22
d 15
E—flat 14
D 11
c7 10
c 7
C 6
A 6
F7 5
$7 5
C7 4
a° Sub-total 265

141

 

 

 

 

 

Triads Seventh Chords Number
e0 4
f 3
d7 3
e°7 2
a°7 2
a 1
B-flat-7 1
D7 1
d°7 l
Sub-total 18
Grand Total 218
Type Chords:
Triads Number Percentage
Major 122 55.9%
Minor 51 23.4%
Diminished 8 3.2%
Total 181 82.5%
Seventh Chords
Major-minor 13 5.9%
Minor 19 8.7%
Diminished—minor 5 2.9%
Total 37 17.5%
Grand Total 218 looloi
Tonal Chords:
Seventh Altered
Triads Chords Chords Number Percentage
I 67 2 69 31.7%
II 14 17 31 14.2%
III 11 9 20 9.2%
IV 21 1 22 10.1%
V 33 11 4 48 22.0%
VI 14 3 17 7.8%
VII 7 3 1 11 5.0%
Total 218 100.0%

142

 

 

Root Movements: Number Percentage
a. Up 2nd (Down 7th) 41
b. Down 2nd (Up 7th) 20 a plus b 61 43.6%
0. Up 3rd (Down 6th) 3
d. Down 3rd (Up 6th) 15 0 plus d 18 12.8%
e. Up P5th (Down P4th) 5
f. Down P5th (Up P4th) 51
g. Tritone 5 e plus f 61 43.6%
plus g
Total 140 100.0%
h. Repetition 77

Grand Total 217

Modulations: B—flat, g, B—flat, g, B-flat,

HJ
v

B-flat, F, B—flat
Common Chord: 8

l. Diatonic = Diatonic 7

2. Diatonic Altered 1

Rhythm:

a. Time Signatures: 3, g

b. Rhythmic Patterns:

Patterns: I I I I
)

The Unit: J

c. Pattern Combinations: I I

Melody: (voices)

a. Up 2nd 169
b. Down 2nd 185
0. Up 3rd 20
d. Down 3rd 57
e. Up P4th 38
f. Down P4th 3
g. Down P5th 10
h. Up 6th 2
1. Down 6th 1

Nonharmonic Tones:

QOUQJ

Contrapuntal Devices:

Summary:

used to any great extent in this canticle.

Passing tones
Suspensions

Neighboring tones

Appoggiaturas

a

O

143

plus
plus

plus

plus

d

f

1
Total

Total

 

 

 

 

Number Percentage
354 72.9%
41 8.5%
10 2.1%

3 .6%
4'8'5‘ 100.0%
Number Percentage
51 77.3%

8 12.1%

6 9.1%

1 1.5%

66 100.0%

imitation, inversion.

Seventh chords and altered chords are not

Root

movement is fairly evenly divided between the second

and the fifth.

writing of the organ accompaniment.

There is little independence in the

The somewhat

limited harmonic vocabulary in this work may be

related to the traditional style found in the

accompanied Masses, where the composer wished the

music to be kept in the background and thus confined

himself to a more limited pallette than he did when

writing motets or anthems which would be listened

to more intently.

144

Magnificat on Tone II, 2 (Solemn) (from the Evening

 

Canticles, No. l) 1928 g

A. Isolated Chords:

Triads Number
g 40
B—flat 38
d 12
E-flat 8
c 7
F 4

Total 1 9

E. Type Chords:

 

 

Triads Number Percentage

Major 50 45.9%

Minor 59 54.1%
Total 109 100.0%

C. Tonal Chords:

 

 

 

Triads Altered Chords Number Percentage
I 40 40 36.7%
11 38 38 34.9%
III 7 7 7.3%
IV 12 12 11.0%
V 8 8 6.4%
VI 4 __4 3.7%
109 100.0%
D. Root Movements: Number Percentage
a. Up 2nd (Down 7th) 2
b. Down 2nd (Up 7th) 2 a plus b 4 6.7%
c. Up 3rd (Down 6th) 14
d. Down 3rd (Up 6th) 17 0 plus d 31 51.7%
e. Up P5th (Down P4th) 13
f. Down P5th (Up P4th) 12 e plus f 25 41.7%
Total ‘60 100.1%
g. Repetition 48
Grand Total T68
Rounding-off Error - .1%

100.0

145

Modulation: none
Rhythm:
a. Time Signature: none given-~the music follows

the plainsong rhythm of the words.

b. Rhythmic Patterns:

Patterns: I I
The Unit: J J4
0

0. Pattern Combinations:

J3
J7

 

 

 

Melody: (voices) Number Percentage
a. Up 2nd 34
b. Down 2nd 50 a plus b .84 80.8%
C. Up 3rd 8
d. Down 3rd 7 c plus d 15. 14.4%
e. Up 5th 5 5 4.8%
Total 104 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 17 41.7%
b. Suspensions 1 2.4%
c. Neighboring tones 12 29.2%
d. Anticipations 7 17.1%
e. Appoggiaturas 3 7.3%
f. Escape tones 1 2.4%
Total HI 100.1%
Rounding-off Error — .1%

146
Contrapuntal Devices: none

Summary: The extremely restricted harmonic range

is because of the plainsong style. The few notes

of the authentic Psalm tone which furnish the

melody are repeated over and over. Within this style
the choice of possible chords is limited. Seventh
chords are foreign to plainsong. The tone itself is
responsible for the rather unusually large per—

centage of neighboring tones.

The Propers

 

Dr. Willan was requested to write collections of

graduals, introits and responsaries for the various

seasons of the liturgical year according to the Lutheran

rite. Since these short works are so much alike, it will

be necessary to examine only one. It will be 0 Rex

Gentium, one of the "Great" antiphons of Advent. All of

these short propers could be performed a cappella if

 

desired.

147

0 Rex Gentium (Advent antiphon) 1958 g

 

A.

Isolated Chords:

Triads

Type Chords:
Triads
Major

Minor
Diminished

Seventh Chords

 

Major-minor
Minor
Diminished-minor

Seventh Chords

 

 

a°7
C7
F7
f7
Total
Number
13
48
2
Total 63
V 2
I;
_II-
Total 10

Grand Total

\1
U0

Number

29
10

Imromnunamtocrqcn

N
Uh)

Percentage

 

17.8%
65.8%

2.7%
36.3%

148

Tonal Chords:

 

 

 

 

Seventh Altered
Triads Chords Chords Number Percentage
I 29 29 39.7%
II 2 4 6 8.2%
III 3 3 4.1%
IV 7 2 9 12.3%
v 10 10 13.7%
VI 8 8 11.0%
VII 8 _8 11.0%
Total 73 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 17
b. Down 2nd (Up 7th) 11 a plus b 28 49.1%
c. Up 3rd (Down 6th) 4
d. Down 3rd (Up 6th) 8 c plus d 12 21.1%
e. Up P5th (Down P4th) 4
f. Down P5th (Up P4th) 11
g. Tritone 2 e plus f 17 29.8%
plus g ___
Total 57 100.0%
h. Repetition _15
Grand Total 72

Modulation: none

Rhythm:

a. Time Signatures: 4’ 4’ 4

b. Rhythmic Patterns:

Patterns: D

The Unit:

J

149

0. Pattern Combinations: fl

Melody: (voices and organ the same) Number Percentage

Nonharmonic Tones:
a. Passing tones

b. Suspensions
c. Neighboring tones

Contrapuntal Devices: none

a. Up 2nd 61
b. Down 2nd 70 a plus b
c. Up 3rd 16
d. Down 3rd 28 0 plus d
e. Up P4th 8
f. Down P4th 2 e plus f
g. Up P5th 2
h. Down P5th 1 g plus h
1. Up 6th 1
j. Down 8th 2

 

 

131 68.5%

44 23.0%

10 5.2%

3 1.5%

1 .5%

__g 1.3%

Total 191 100.0%

Number Percentage

 

 

2 50.0%
1 25.0%
1 25.0%
Total ‘4 100.0%

Summary: The harmonic vocabulary in this work is

rather narrow for the same reasons given in the

summary to 0 Be Joyful. Root movement at the second

 

predominates. There are a few seventh chords and

altered chords.

150

The Service Music

 

There remain two types of composition to be con—
sidered. Both are short compositions of a practical

nature. As an example of Dr. Willan's faux-bourdon

 

settings we will examine the faux—bourdon on the Rouen

 

Church Melody Iste Confessor. For hymn melodies we shall

 

place two of Dr. Willan's hymns together to allow for a
more thorough analysis. These tunes, in the same key,

are St. Osmund and St. Basil.

 

 

Iste Confessor (Faux bourdon on Rouen Church melody),

 

1927, d

A. Isolated Chords:

 

Triads Seventh Chords Number
d 13
F 10
B—flat 8
A 6
g 6
C 5
A 4
D 4
E 2
b°7 2
Total 60

B. Type Chords:

 

 

Triads Number Percentage
Major 35 58.4%
Minor 23 38.3%
Total 58 96T7%
Seventh Chords
Diminished-minor _2 3.3%
2 3.3
Grand Total 60 100.0

Tonal Chords:

151

 

 

 

 

Seventh Altered
Triads Chords Chords Number Percentage
I 14 6 20 33.3%
II 2 3 5 8.3%
III 7 1 8 13.3%
IV 6 6 10.0%
v 15 3 18 30.0%
VI 3 3 5.0%
Total 60 99.9%
Rounding—off Error .1%
100.0
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 10
b. Down 2nd (Up 7th) 3 a plus b 13 31.7%
0. Up 3rd (Down 6th) 3
d. Down 3rd (Up 6th) 6 0 plus d 9 22.0%
e. Up P5th (Down P4th) 5
f. Down P5th (Up P4th) 14 e plus f 19 46.3%
Total ‘4I' 100207
h. Repetition _18
Grand Total 9
Modulation: d, B-flat, F, a, B—flat, d

Common Chord:

Diatonic =

Rhythm:

a. Time Signature:

Diatonic:

5
5

4
2

b. Rhythmic Patterns:

Patterns:

The Unit:

JJJJ
J

152

c. Pattern Combinations: J J J J
J J, J J

Melody: (voices and organ the same) Number Percentage

 

 

a. Up 2nd 62

b. Down 2nd 74 a plus b 136 64.8%

c. Up 3rd 7

d. Down 3rd 15 0 plus d 22 10.5%

e. Up P4th 7

f. Down P4th 16 e plus f 23 10.9%

g. Up P5th 16

h. Down P5th 10 g plus h 26 12.4%

i. Up 6th 2 2 .9%

j. Down 8th 1 __1 .5%
Total 210 100.0%

Nonharmonic Tones: Number Percentage

a. Passing tones 20 57.1%

b. Suspensions - 11 31.4%

c. Neighboring tones 3 8.6%

d. Appoggiaturas _1 2.9%
Total 35 100.0%

Contrapuntal Devices: none

Summary: The hymn on which this Faux—bourdon setting

 

is based is a traditional melody and this is reflected
in the harmonies used. Root movement at the fifth»

predominates.

153

 

 

 

 

 

Two Hymn Tunes: St. Osmund and St. Basil 1927 G
A. Isolated Chords:
Triads Seventh Chords Number
G 25
D 22
e 8
C 6
a 6
D7 6
A 4
b 4
f—sharp° 3
a7 2
A7 2
B 1
b0 l
c—sharp° 1
f-sharp°7 1
Total 92
B. Type Chords:
Triads Number Percentage
Major 58 63.0%
Minor 18 19.6%
Diminished 5 5.4%
Total 8T 88.0%
Seventh Chords
Major-minor 8 8.7%
Minor 2 2.2%
Diminished-minor _1 1.1%
Total 11 12.0%
Grand Total 92 100.0%

154

Tonal Chords:

 

 

Seventh Altered
Tgiads Chords Chords Number Percentage
I 29 29 31.5%
11 8 2 10 10.9%
111 2 2 4 4.3%
IV 8 8 8.7%
V 20 8 28 30.4%
VI 8 8 8.7%
VII 4 l _5 5.4%
Total 92 99.9%
Rounding-off Error .1%
100.0
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 18
b. Down 2nd (Up 7th) 8 a plus b 26 35.1%
0. Up 3rd (Down 6th) 2
d. Down 3rd (Up 6th) 3 c plus d 5 6.8%
e. Up P5th (Down P4th) 6
f. Down P5th (Up P4th) 35
g. Tritone 2 e plus f 43 58.1%
plus g
Total —74 100.0%
h. Repetition _11
Grand Total 91

Modulation: G, D, G (St. Osmund)

 

G, D, G (St. Basil)

 

Common Chord: 4

Diatonic = Diatonic 4

155

F. Rhythm:
. . 4 3
a. Time Signatures: 4’ 2
b. Rhythmic Patterns:
PatternszJJ JJ
7
The Unit: J
0. Pattern Combinations: JJ

JJ

G. Melody: (voices and organ the same) Number Percentage

 

a. Up 2nd 90
b. Down 2nd 101 a plus b 191 66.6%
c. Up 3rd 21 *
d. Down 3rd 30 c plus d 51 17.7%
e. Up P4th 22
f. Down P4th 3 e plus f 25 8.7%
g. Up P5th 2
h. Down P5th 11 g plus h 13 4.5%
i. Up 6th 3 3 1.0%
j. Up 8th 3
k. Down 8th 1 j plus k 4 1.4%
Total 287 99.9%
Rounding—off Error .1%

100.0%

156

 

H. Nonharmonic Tones: Number Percentage
a. Passing tones 14 63.6%
b. Suspensions 2 9.1%
c. Neighboring tones 1 4.5%
d. Anticipations 2 9.1%
e. Appoggiaturas _3 13.6%
Total 22 99.9%
Rounding-off Error .1%
100.0%
I. Contrapuntal Devices: none
J. Summary: The composer's compositions for congrega-

tional singing or performance by unskilled choirs

reflect his understanding of the musical limitations

of such groups. In writing for them, his style was

more traditional than when he composed for more

highly skilled choirs. Understandably in these

hymn melodies we find few seventh chords or altered

chords. Root movement at the fifth predominates.

Final Summary

The harmonic vocabulary in the early accompanied

works, especially the anthems, is quite large when

compared to the early unaccompanied works.

In all the

anthems there is a fairly large percentage of seventh

chords and altered chords, decreasing to some extent in

the anthems written in his later years for less-

accomplished choirs and still more in anthems for

.children's choirs. The percentage of seventh chords

and altered chords remains fairly constant in the

157

hymn—anthems and in that of the main body of anthems,
decreasing naturally in the hymn-anthems for children's
choirs. Seventh chords are not used as much in the
accompanied Masses as they are in the rest of the
accompanied choral music. There are no seventh chords
at all in the one canticle in plainsong style.

Ninth chords, eleventh chords and augmented sixth
chords are found in the early accompanied works but not
in the works from the mature period. Root movement at
the fifth is strong in the early anthems and to a con-
siderable extent in music for congregational singing
for unskilled choirs. In the mature accompanied choral
works root movement is stronger at the second. Root
movement at the tritone is very rare in the unaccompanied
works but is found to an extent in the accompanied ones.

Modulation is found to a much greater extent in the
accompanied works than in the unaccompanied. In the
early anthems, the works for congregational singing and
less skilled choirs, the modulation is more apt to be
toward nearly-related keys, but in the mature anthems it
is considerably wider in its range.

In the unaccompanied works Dr. Willan showed a
tendency to return to a more conservative style of
writing towards the end of his career. This trend can
also be noticed in the accompanied works, bearing in mind

that in both instances much of the music written in the

158

closing years of Dr. Willan's life was for unskilled
choirs, and thus the composer deliberately restricted

his SCOpe in order to write simple but effective sacred

L)

music.

CHAPTER IV
THE LONGER WORKS
Four of the longer works will be examined. Brébeuf

is more of a dramatic work than it is a religious work

and may be omitted from this study. The Festival Te Deum

 

is a re—working of a Te Deum originally written for the
coronation of King George VI in 1938. The antiphons that
preceded and followed the Te Deum were removed and the
work was somewhat condensed in its final version in 1963.

It is for double choir and organ. Come, Thou Beloved of

 

Christ is the last movement of the Coronation Suite for
chorus and orchestra written to celebrate the coronation
of Queen Elizabeth II. In this work there is a patriotic

tinge to the religious words. Gloria Deo per Immensa

 

Saecula is a large-scale motet in Latin. The final work,
An Apostrophe to the Heavenly Hosts, written for double
choirs and mystic chorus, unaccompanied, may well be Dr.
Willan's finest choral music. It will be examined in two
sections: the first which constitutes the main body of
the motet, is Dr. Willan's own composition. As the final
section is partly a harmonization of the chorale [3

Watchers and Ye Holy Ones, ending in extensive alleluias,

159

160

it was not an entirely original composition but partly

an adaptation of already existing material.

Festival Te Deum, revised, 1963, B—flat major

 

A. Isolated Chords:

 

Seventh Augmented
Triads Chords Sixth Chords Number
B-flat 122
c 61
s 56
E-flat 48
d 38
c7 38
F 29
b 23
D 17
G 17
a 17
e 14
f 13
A—flat l3
9;? 9
C-sharp°7 8
e°7 8
f7 8
f—sharp 8
F7 7
B 7
e°7 7
a° 6
a°7° 6
f—sharp°7° 5
A 5
C 5
C7 4
e7 3
e—flat 3
A-flat G6 3
8°? 3
c-sharp 3
B-flat7/ 2
C7/ 2

Sub-total 618

Triads

D-sharp
D-flat
d—sharp
F—sharp
G+
G-flat
g—sharp
E-flat+

b-flat
C-flat
C+

d-flat

D+
D-sharp

G-sharp
g-sharp°

Type Chords:
Triads

Major
Minor
Diminished
Augmented

161

Seventh
Chords

Augmented
Sixth Chords

 

B-flat7

B+7
b0 70

c-sharp7

d—sharp°7
E-flat7

E+7
F+7
G7
G7
G+7

a7
a—sharp°7° -
Total

Grand Total

Number

U1 ol
:1 -JFJH+AFJHFJFJPIAFaHtak4Hr;FJHFJFJHFAFwandmromHonlm

 

 

Number Percentage
275 42.0%
242 36.9%
7 1.1%
__5_ .8%
Total 529 80.8%

162

 

 

 

 

 

 

Seventh Chords Number Percentage
Major-minor 16 2.4%
Major 6 .9%
Minor 60 9.2%
Diminished—minor 27 4.1%
Diminished 13 2.0%
Augmented—minor 4 .6%
Total 126 —19T2%
Grand Total 655 100.0%
Tonal Chords: m
U m
CD (0
.C "O +3 +3
:0 pm (DU) :3 U) :4 CI
p :13 £.© Q)£'U o o
w oil Q)L E4J$4 o o
H > o p o 60x 0 E B
L o.c rig Zjvifl 3 o
E4 010 ¢cg <malo z m
I 213 13 7 233 35.6%
11 52 45 27 3 127 19.4%
III 29 19 48 7.3%
IV 66 1 9 76 11.6%
V 37 7 22 66 10.1%
VI 40 13 21 74 11.3%
VII 6 3 22 31 4.7%
Total 655 100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 112
b. Down 2nd (Up 7th) 91 a plus b 203 42.5%
0. Up 3rd (Down 6th) 38
d. Down 3rd (Up 6th) 96 c plus d 134 28.1%
e. Up P5th (Down P4th) 45
f. Down P5th (Up P4th) 86
g. Tritone 9 e plus f
plus g 140 29.4%
Total 477 100.0%
h. Repetition 177

Grand Total 654

Modulation: B—flat, C, d, B, d, G, B—flat, c, B—flat,
d, D, a, c—sharp, f, B—flat, d, B-flat, D, B-flat, e,
b, a—flat, A-flat, B—flat, b, B, E-flat, g, B-flat,

g, B—flat

163

a. Common Chord: 25
l. Diatonic = Diatonic 10
2. Diatonic = Altered 6
3. Altered = Diatonic 3
4. Altered = Altered 5
5. Altered = Augmented Sixth l

b. Change of Mode:

c. Common Tone: 1
d. Enharmonic: 1
e. Tonal = Non-tonal passage 1
f. Non—tonal passage = Tonal: _1
Total 32
Rhythm:
.. .324
a. Time Signatures. 2, 2, 4

b. Rhythmic Patterns:

Patterns: '

J J J, J J, .01 ID, 11
JJJ

J JJ, JJ

The Unit:

JandJ

164

c. Pattern Combinations:

J=JJ JJ
JJ JJ

11 .01
JJ .01
1.: ID
JJ JJ
11» JD
JJ m

 

 

Melody: (voices) Number Percentage
a. Up 2nd 508

b. Down 2nd 302 a plus b 810 58.1%
0. Up 3rd 167

d. Down 3rd 252 c plus d 419 30.0%
e. Up P4th 45

f. Down P4th 36

g. Tritone l e plus f plus g 82 5.9%
n. Up P5th 25

1. Down P5th 35 h plus i 60 4.3%
j. Up 6th 5

k. Down 6th 5 j plus k 10 .7%
1. Up 8th 6

m. Down 9th 5 1 plus m 11 .8%
n. Up 10th 3 __3 2%

Total 13 100.0%

\O
W

165

 

Nonharmonic Tones; Number Percentage
a. Passing tones 174 58.2%
b. Suspensions 13 4.3%
c. Neighboring tones 29 9.7%
d. Anticipations 8 2.7%
e. Appogiaturas 12 4.0%
f. Escape tones _ 52 17.4%
g. Pedal points 10 3.3%
h. Double pedal points 1 .3%
Total 99 99-9%
Rounding-off Error .1%
100.0%

Contrapuntal Devices: Imitation, sequence, basso

ostinato, repetition, ground bass, fugal exposition.

Summary: Since this work was written in 1938, it is
conservative. The percentage of seventh chords is
slightly lower than in other accompanied works of the
same period, while the percentage of altered chords
is much the same.' The root movement is predominantly
at the second, again in line with other accompanied
works of the same period. There is fairly extensive
modulation, but this is not too surprising in a work
of this length. Larger leaps are found in both the
voice parts and the organ accompaniment. There is one
example of the use of an augmented sixth chord.

chords.

166

 

Come, Thou Beloved of Christ 1953 D
A. Isolated Chords:
Seventh Ninth Added

Triads Chords Chords Sixth Chords Number
A 105
D 38
b 38
e7 26
B—flat 25
f—sharp 24
B 17
e 16
G 16
c—sharp 14
F—sharp 12
C 12
b7 10
F 9
A7 9
d 8
c-sharp7 8
f-sharp7 7
c-sharp°7 7
g-sharp° 6
E 5
f 5
c—sharp° 5
G7/ 4
A—flat 4
a 4
a-sharp°7 4
C—sharp 4
C—sharp7 4
E7 3
E9/ 3
e°7 3
F-sharp7 3
a7 3
d° 2
d-sharp7 2
E-flat 2
F7 2
G7 2
g 2
g—sharp°7 2
a° 2
B7 2
b-sharp°7° 2
C6 2
c 2

 

 

Sub-total 485

167

Seventh Ninth

Added
Sixth Chord

s Number

 

Triads Chords Chords
D7/
d7
d-sharp
g—sharp
g-sharp7
A+7
A9/
A-flat7/
a-sharp°
C+
C7

Type Chords:
Triads

Major
Minor
Diminished
Augmented
Total

Seventh Chords

 

Major-minor
Major
Minor
Diminished-minor
Diminished
Augmented-minor
Total

Ninth Chords

 

Major-minor—major

Added Sixth Chords

 

Major
Minor
Total

Grand Total

Rounding-off Error

f6

Total

Grand Total

Number

249
115
16
l
581'

\o H
\l NHI—JI—‘HI—JHI—‘P—‘l—JHHH

Percentage

 

50.1%
23.1%
3.2%
.2%
76.6%

5.2%
1.2%
11.7%
3.2%
.4%
.2%
21.9%

.8%

C.

Tonal Chords:

 

168

 

 

 

(D
m
m
g o p
U) pm (DU) U) U) :4 5::
o two $4U 12o 'ULZU o o
m $54 a)p +>L o+>h o o
'H >10 +30 CC) 'U><o E h
p QLC r13 .4: 'Uv45 3 m
8 mo <0 20 ¢mo z m
I 155 9 2 166 33.4%
11 38 37 6 81 16.3%
III 10 6 4 20 4.0%
IV 24 5 12 1 42 8.4%
V 62 20 12 4 98 19.7%
VI 36 12 8 56 11.2%
VII 14 11 9 34 6.8%
Total 497 99.8%
Rounding—off Error .2%
100.0%
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 73
b. Down 2nd (Up 7th) 61 a plus b 134 39.4%
0. Up 3rd (Down 6th) 28
d. Down 3rd (Up 6th) 49 0 plus d 77 22.6%
e. Up P5th (Down P4th) 48
f. Down P5th (Up P4th) 71
g. Tritone 10 e plus f .
plus g 129 37.9%
Total 546 ‘9979%
h. Repetition 156
Grand Total 496
Rounding-off Error .1%
100.0%
Modulation: D, B, f-sharp, D, B, B-flat, C, A,

Common Chord:

l.
2.

3.

Diatonic
Diatonic

Altered

B-flat, E-flat, D

10
= Diatonic l
= Altered 5
= Altered 4

169

F. Rhythm:

a. Time Signatures: 3, 3 (some phrases in free
rhythm, plainsong style)

b. Rhythmic Patterns:

Patterns: D, D) 7th, ‘Ij’ J? m

The Unit: J

c. Pattern Combinations:

J_J
J—J

J7
J7

ID
Jj

a: as {15.1 as

170

Pattern Combinations (continued)

f1 f3
5 In
I?
I?

 

 

Melody: (voices) Number Percentage
a. Up 2nd 348
b. Down 2nd 319 a plus b 667 73.4%
0. Up 3rd 89
d. Down 3rd 106 c plus d 195 21.5%
e. Up P4th 20
f. Down P4th 9 e plus f 29 3.2%
g. Down P5th 9 9 1.0%
h. Up 6th 1
i. Down 6th 4 h plus i 5 .5%
j. Up 8th 1
k. Down 8th 3 j plus k __4 .4%
Total 9 9 100.0%
Nonharmonic Tones: Number Percentage
a. Passing tones 216 54.3%
b. Suspensions _58 14.3%
c. Neighboring tones 70 17.3%
d. Anticipations 10 2.5%
e. Appoggiaturas 28 6.9%
f. Escape tones 3 .7%
h Pedal points 18 4.4%
1. Double pedal points 2 .5%
Total 465 99.9%
Rounding-off Error .1%
100.0%

Contrapuntal Devices: sequence, imitative entries,

imitation.

171

Summary: This is one of Dr. Willan's finest works
in his own estimation. It is the only composition
in this study containing added sixth chords, and one
of the few with ninth chords. Only one of the
anthems has ninths, though in one other they are
introduced simply as a decoration of the dominant

chord. Since in this work and in An Apostrgphe to

 

the Heavenly Hosts the composer was writing for

 

professional or near-professional choirs, he allowed
himself a somewhat wider scope than when writing for
church choirs. The percentage of altered chords is
lower than in most of Dr. Willan's works which may
be partly due to the quasi-organum harmonization of
the plainsong passages. There are larger leaps in
the organ accompaniment than in any other work in
this survey, since this accompaniment is a reduction
of an orchestral score and not written expressly

for the instrument as in the accompanied works and

the Festival Te Deum.

 

Gloria Deo per Immensa Saecula, 1952, A

 

A.

Isolated Chords:

 

Triads Seventh Chords Number
A 140
b 84
f—sharp 76
E 51
D 48
c-sharp 40

Sub—total 459

Triads
G
B

g—sharp°
G—sharp

C-sharp
c—sharp°
a-sharp°
d-sharp°
F-sharp

e—sharp°
g—sharp

B—flat

b0
b—sharp°

172

Seventh Chords

 

f—sharp7
b7

E7

C—sharp7
A7

G-sharp7

D7/

d-sharp°7
e7

g-sharp°7

A7/
c-sharp°7°
C+7

D7
F-sharp7

b—sharp°7°
c—sharp7

d7
f-sharp°7
G7/

a-sharp°7°

C7/
d-sharp7
E7/
e-sharp°7°
F7/
g-sharp7
Total

Grand Total

Number

22
15
14
12
12
11
10

N
-1 U)
W l—‘i—‘i—‘HI—‘Hl—‘i—‘HNNNNI‘UNNNwWWWW-E-EUWUTUWUTUTUTUWUTQONONODCDKOKO

173

Type Chords:

 

 

 

Triads Number Percentage
Major 316 46.9%
Minor 217 32.1%
Diminished 34 5.0%
Total 567 83.9%
Seventh Chords:
Major—minor 36 5.3%
Major 13 1.9%
Minor 37 5.5%
Diminished—minor 13 1.9%
Diminished 6 .9%
Augmented-major 3 .4%
Total 108 15.9%
Grand Total 675 99.8%
Rounding-off Error .2%
100.0%
Tonal Chords:
Seventh Altered
Triads Chords Chords Number Percentage
I 216 11 2 229 33.9%
II 70 18 6 94 13.9%
III 12 5 4 . 21 3.1%
IV 73 9 8 ‘ 90 13.2%
V 64 23 21 108 16.0%
VI 67 10 5 82 12.1%
VII 25 8 18 51 7.6%
Total 675 99.8%
Rounding-off Error .2%

100.0%

174

 

 

Root Movement: Number Percentage
a. Up 2nd (Down 7th) 83
b. Down 2nd (Up 7th) 44 a plus b 127 32.2%
0. Up 3rd (Down 6th) 34
d. Down 3rd (Up 6th) 103 0 plus d 137 34.8%
e. Up P5th (Down P4th) 31
f. Down P5th (Up P4th) 92
g. Tritone 7 e plus f
plus g 130 33.0%
Total 594 100.0
h. Repetition 280

Grand Total 674

Modulation: A, c—sharp, B, C-sharp, D, b, D, b,
f—sharp, A, b, c-sharp, E, A, E, A, E, A, E, A, D,

b, f—sharp, D, c-sharp, f—sharp, E, A, D, F, A

Common Chord: 30
1. Diatonic = Diatonic 21
2. Diatonic = Altered 3
3. Altered = Diatonic 4
4. Altered = Altered 2

Rhythm:

a. Time Signature: 3

b. Rhythmic Patterns:

Patterns: I I I I
a

The Unit: J

C .

175

Patterw:(hnnbinaticnu3:

Melody:

OSBI—‘XUP'D‘ OQWWQ-OC'QJ

Up 2nd
Down 2nd
Up 3rd
Down 3rd
Up P4th
Down P4th
Tritone

Up P5th
Down P5th
Up 6th
Down 6th
Up 7th

Up 8th
Down 8th
Up 10th

658
787

170
100
49

O

:31: E31: as

plus b
plus d
plus f
plus g
plus 1

plus k

plus n

Total

 

Number Percentage
1445 73.7%
253 12.9%
154 7.8%
52 2.6%
36 1.9%
2 .1%
17 .9%
1 .1%
1960 100.0%

176

 

Nonharmonic tones: Number Percentage
a. Passing tones 294 68.5%
b. Suspensions 44 10.3%
c. Neighboring tones 64 14.9%
d. Anticipations 1 .2%
e. Pedal points 25 5.8%
f. Double pedal points 1 .2%
Total 429 ‘99T9%
Rounding-off Error .1%
100.0%

Contrapuntal Devices: imitation, sequence, imitative

entries, diminuition, augmentation, complete fugue

Summary: The conservative trend that appeared to
set in during the last years of the composer's life
is again eVident in this work. The percentage of
seventh chords and altered chords is reduced as
compared to that found in the other longer works
and the accompanied works with the exception of
those designed for congregational singing or choirs
of limited ability. The root movement at the fifth
is fairly strong as it is in the unaccompanied works
and those for congregations or unskilled choirs.
The rhythmic patterns and combinations are as

restricted as in the early unaccompanied works.

177

An ApostrOphe to the Heavenly Hosts, Part I, 1921, E—flat

 

(this section is original composition)

A. Isolated Chords:

Seventh Ninth
Triads Chords Chords Number
E—flat 90
s 73
c 41
f7 29
C 23
f 20
b-flat 20
e-flat l8
A-flat 16
a-flat l6
G-flat 15
B-flat7 l3
D—flat 11
B-flat 10
a-flat7 9
C—flat 8
b-flat7 6
E-flat7/ 5
g—flat 5
g-sharp 5
E-flat+ 4
e-flat7 4
f°7 4
A-flat7/ 4
a7 4
B 4
c7 4
d°7 4
d 4
D—flat7 4
f—sharp 3
A 3
C-flat7/ 3
d°7° 3
d—sharp 3
e-flat9 2
E 2
s7 2
e°7 2
a°7 2
Sub-total 498

178

 

 

 

 

 

Seventh Ninth
Triads Chprds Chords Number
F 1
G l
G—flat7/ 1
G—flat9/ 1
0° 1
c°7 1
do 1
d7 1
D-flat7/ l
d°9 1
Total 10
Grand Total 508
Type Chords:
Triads Number Percentage
Major 184 36.2%
Minor 208 40.9%
Diminished 2 .4%
Augmented 4 .8%
Total 398 78.3%
Seventh Chords
Major—minor 17 3.3%
Major 14 2.8%
Minor 59 11.6%
Diminished-minor ' 13 2.6%
Diminished 3 .6%
Total 106 20.9%
Ninth Chords
Major—major-major 1 .2%
Minor-minor-major 2 .4%
Diminished—minor—minor 1 .2%
A Total ‘4 .8%
Grand Total 508 100.0%

179

Tonal Chords:

Seventh Altered Ninth

 

 

 

 

Triads Chords Chords Chords Number Percentage
I 165 11 9 185 36.4%
11 12 28 2 42 8.2%
III 58 2 10 70 13.8%
IV 43 13 6 2 64 12.6%
V 14 14 25 53 10.5%
VI 49 9 6 1 66 13.0%
VII 1 9 17 1 28 5.5%
Total 568 100. 7
Root Movements: Number Percentage
a. Up 2nd (Down 7th) 49
b. Down 2nd (Up 7th) 36 a plus b 85 37.1%
0. Up 3rd (Down 6th) 29
d. Down 3rd (Up 6th) 44 c plus d 73 31.9%
e. Up P5th (Down 4th) 29
f. Down P5th (Up P4th) 37
g. Tritone 5 e plus f
plus g _11 31.0%
Total 229 100.0%
h. Repetition 278
Grand Total 507

Modulation: E-flat, g, E-flat, C, e-flat, b-flat,

E—flat, g, E—flat, C, d, G-flat, d-sharp, e—flat,

E—flat
a. Common Chord: 12
1. Diatonic = Diatonic 3
2. Diatonic = Altered 5
3. Altered = Diatonic 3
4. Altered = Altered 1
b. Enharmonic: 1
0. Change of Mode: 1

Total 14

181

Melody: Number Percentage
a. Up 2nd 426
b. Down 2nd 454 plus b 880 70.3%
0. Up 3rd 123
d. Down 3rd 115 plus d 238 19.0%
e. Up P4th 38
f. Down P4th 37 Plus f 75 6.0%
g. Up P5th 6
h. Down P5th 19 25 2.0%
i. Up 6th 12
j. Down 6th 2 plus j 14 1.1%
k. Up 7th 2
1. Down 7th 3 plus 1 5 .4%
m. Up 8th 10
n. Down 8th 3 plus n 13 1.0%
o.. Up 11th 1 1 .1%
Total 1251 99.9%
Rounding-off Error .1%
m
Nonharmonic Tones: Number Percentage
a. Passing tones 63 47.0%
b. Suspensions 26 19.4%
c. Neighboring tones 16 11.9%
d. Anticipations 2 1.5%
e. Appoggiaturas 8 6.0%
f. Escape tones 6 4.5%
g. Pedal points 13 9.7%
Total I54 100.0%

Contrapuntal devices:

 

 

 

 

imitation, imitative entries,

augmentation, sequence.

Summary: In this long motet there are times when
the writing is so strongly diatonic that ninth chords,
and in the second part eleventh chords as well, are

formed perhaps accidentally since they make up a very
small percentage of the sonorities. Despite the early

date of this composition, the percentage of seventh

182

chords and altered chords is similar to that in the
works written much later in the composer's most mature

period.

An Apostrophe to the Heavenly Hosts, Part II, 1921, E-flat

 

(this section largely based on the chorale Ye Watchers

 

and Ye Holy Ones)

 

A. Isolated Chords:

Seventh Ninth Eleventh

Triads Chords Chords Chords Number
E-flat 88
B—flat 29
c 27
A—flat 26
f7 19
B—flat7 19
g 16
f 12
c7 12
87 ll
A-flat7/ 10
D—flat 9
E 8
d°7 8
do 7
E-flat7/ 4
F 4
C9/ 4
G 3
a°7 2
C 2
G—flat l
a 1
A 1
B11 1
C-sharp 1
C-flat l
d 1
D 1
Total _§§8

O

183

Type Chords:

 

 

Triads Number Percentage
Major 174 53.0%
Minor 57 17.4%
Diminished 7 2.1%
Total 238 72.5%
Seventh Chords
Major-minor 19 5.8%
Major 14 4.3%
Minor 42 12.8%
Diminished-minor 10 3.0%
Total 85 25.9%

Ninth Chords

 

Minor—minor—major 4 1.2%

Eleventh Chords

 

 

 

 

 

Major-minor-major-perfect _1 .3%
Total 5 1.5%
Grand Total 328 99.9%
Rounding-off Error .1%
100.0
Tonal Chords:

o

w

z w

I: 'U 4—3 +3

m p m m m m Ctn L Q

o :13 at) 12o are m o

m 01p ms. +39 >:. o o

H :>o +>o cc) QJO E h

h 0): r4: an: an: 3 o

B U)o <c3 2:0 Lac) 2 m
I 111 4 115 35.1%
II 11 21 3 35 10.7%
III 16 11 27 8.2%
IV 30 11 41 12.4%
V 30 19 1 1 51 15.6%
VI 24 9 1 4 38 11.6%
VII 7 10 4 21 6.4%

Total 328 100.0%

184

 

 

Root Movements: Number Percentage
a. Up 2nd (Down 7th) 69
b. Down 2nd (Up 7th) 34 a plus b 103 45.0%
c. Up 3rd (Down 6th) 10
d. Down 3rd (Up 6th) 21 0 plus d 31 13.5%
e. Up P5th (Down P4th) 32
f. Down P5th (Up P4th) 57
g. Tritone 6 e plus f

plus g 95 41.5%

Total 229 100.0
h. Repetition 98

Grand Total 327

Modulation: E-flat, B-flat, E-flat, B-flat, E-flat

D-flat, E, G, C, E-flat

Common Chord: 9
l. Diatonic = Diatonic 7
2. Diatonic = Altered 2
Rhythm:

. . , 3 4 2
a. Time Signatures. 2, 2, 2

b. Rhythmic Patterns:
Patterns: JJ DJ J I I JJ
’ a ’

The Unit: J

C.

Pattern Combinations:

Melody:

'COSSF-‘N'Lki-“D‘ UQHJGJQJOC‘QJ

Up 2nd
Down 2nd
Up 3rd
Down 3rd
Up P4th
Down P4th
Tritone

Up P5th
Down P5th
Up 6th
Down 6th
Down 7th
Up 8th
Down 8th
Down 9th
Down 10th

185

JJ JJ
JJ JJ

JJ ,JJ
JJ'J ,JJ

JJ
JJJ

 

Number Percentage
447
425 a plus 6 922 69.0%
2
134 0 plus d 216 16.1%
90
29
3 e plus f
plus g 122 9.1%
14
28 h plus i 42 3.1%
13
4 j plus k 17 1.3%
1 1 .1%
7 .
5 m plus n 12 .9%
1 1 .1%
3 3 .2%
Total 1336 99.9%
Rounding—off Error .1%

100.0%

186

 

Nonharmonic Tones: Number Percentage
a. Passing tones 42 57.2%
b. Suspensions 14 19.2%
c. Neighboring tones 6 8.2%
d. Escape tones 2 2.7%
e. Pedal Points 8 10.9%
f. Double pedal points 1 1.4%
Total 73 W
Rounding-off Error .1%

100.0
Contrapuntal Devices: sequence, imitation, repetition,

canon at the 4th and 5th, mirror inversion,

augmentation in inversion.

Summary: Since a large part of this section of the
motet is a harmonization of a chorale, we find a
slightly more conservative style than in the first
part where the composer was not limited by pre-
existing material. There is a very small percentage
of altered chords, since the chorale is diatonic in
nature. Modulation to closely-related keys is

found in the chorale harmonization; there is less in
the closing portion. Root movement at the fifth

is strong, again due to the position of the chorale

in the design.

187

Final Summary

 

Although there are interesting features to be
found in the longer works, they remain in the traditional
style rather than in the more progressive style the
composer used in the middle of his career. Augmented

sixth chords are found in the Festival Te Deum, a few

 

ninth chords and added sixth chords in Come, Thou Beloved

 

of Christ, but Gloria Deo per Immensa Saecula has only

 

 

triads and seventh chords. Both ninth chords and

eleventh chords are found in An Apostrophe to the

 

Heavenly Hosts. In this same motet the composer at

 

times approaches polychordal writing in the way his
sonorities move, but such a style was not part of Dr.
Willan's way of thinking. Any so-called "polychords"
can be analysed as ninth chords or eleventh chords.

Root movements do not vary too much in these
longer works. Root movement at the second is surprisingly
strong in the second part of An Apostrophe to the Heavenly
Hosts, the section based on a chorale. It is also quite

strong in the Festival Te Deum. Root movement at the

 

fifth is strongest in the second part of An Apostrophe

to the Heavenly Hosts.

 

There is a great deal of modulation in the Festival
Te Deum, made easier for the voices by the organ
accompaniment. In the other longer works the composer

is somewhat restrained in his modulations.

188

The rhythmic patterns in thelonger works never
have more than two in combination as compared to the
several instances in the accompanied works where three
patterns were combined. The pattern combinations in

Gloria Deo per Immensa Saecula are very restricted.

 

The most interesting work from a contrapuntal

standpoint is An Apostrophe to the Heavenly Hosts. There

 

is some very effective canonic writing here. The most

traditional work is Gloria Deogper Immensa Saecula with

 

its complete fugue containing nothing unexpected. The

Festival Te Deum is a rather dated work. ComeJ Thou

 

 

Beloved of Christ celebrates a form of patriotism that

 

is disappearing in Canada. Of the longer works An

Apostrophe to the Heavenly Hosts is the one most likely

 

to last.

CHAPTER V

CONCLUSIONS

A Comparison of General Types

 

As the preceding chapters will testify, there is a
considerable consistency in Dr. Willan's works from the
start of his career to its conclusion. In his
unaccompanied works influenced by gregorian chant, it is
difficult to spot any real differences in style between

the early motet The Reproaches and the much later

 

Responsaries for the Office of Tenebrae. His Mass writing

 

consists of the four periods already described: the
early Masses in the traditional style of Parry and
Stanford, where the Willan style was partly submerged,
the few plainsong masses where the Willan and the chant
merge in so close a blend that it is hard to say where
one starts and the other leaves off, the mature Masses
where the composer had fully developed his own individual
vocabulary, and the later Masses where a certain cur-
tailing of musical forces was evident with a return to
an earlier style of writing.

The motet writing follows a somewhat similar outline
except that Dr. Willan did not turn to motets until his

career was well advanced. The early motets show a more

189

190

fully developed style than the Masses even though they
were written at much the same time. This would suggest
that the composer wrote for the Mass in a deliberately
more restrained style in keeping with his feeling that

the Mass was a form of background music for the religious
drama and should not intrude upon the worshipper's
conscience too deeply, whereas no such restrictions
applied to motet writing. The motets are therefore in

the Willan style from the first and then develop into

the composer's most original and most progressive writing,

especially as seen in An Apostrophe to the Heavenly Hosts

 

and the series of Liturgical Motets of the mature years.
As in the Mass writing, there is a tendency to return to
a more conservative outlook in the final years.

The anthems and the accompanied Masses of the
early years of this century bear the strong impact of
the style of church music of the nineteenth century and
the influence of the successful church composers of that
period. Dr. Willan's writing for accompanied voices
crystallized after his move to Canada, where it lost much
of the overtones of romantic music and took on a leaner
and more straight-forward expression which might be
traced partly to plainsong. This style is seen through-
out the anthem writing over many years. The more con-
servative trend is again evident in the later years but

it must be remembered that the composer was commissioned

191

to write in a less ornate style for choirs of limited
ability, and a considerable repertoire in this vein
exists, including the collections and the hymn—anthems.
Had the composer been commissioned to write this body
of material earlier in his career, probably the same
thing would have happened.

In the service music there is little change in
style over the years. Here the composer is writing in
the traditional church style that is found in any hymn
collection or in the body of settings of canticles,
propers, etc. that has been in use in the Anglican rite
for several hundred years. The Willan imprint is not

strong here except for the settings of the Magnificat

 

and Nunc Dimittis based on the Psalm Tones. In these

 

the composer speaks with the voice of a much earlier
period but one in which he is fully at home.
The longer works can be placed with their shorter

counterparts except for An Apostrophe to the Heavenly

 

Rests which contains perhaps the composer's most advanced
writing and yet was written early in his career. Dr.
Willan was never again to have the Opportunity to work

on such a large scale within the confines of sacred
choral music. The other large works are close in style
to the shorter ones written at the same time, and indeed

Gloria Deo per Immensa Saecula with its traditional fugue

 

is a deliberate return to an older style of writing.

192

What is consistent throughout all Dr. Willan's
sacred choral music is his ability to set a sacred text
so that the words are enriched and expanded through
the medium of music. Dr. Willan's training in a choir
school and his long career in church music gave him a
complete understanding of the human voice and its
place in the service. Combined with this was the
composer's genius in setting words to music and his
unfailing taste in the choice of texts. He would
never set any text unless he approved of its literary
values, and his thorough knowledge of English literature
made him a severe critic in this field.

The other characteristics of Dr. Willan's sacred
choral music have to do with the singability of all of
these works. Although designed for choral forces
ranging from an unskilled congregation to a highly
trained concert choir, all of these works "come off" in
performance. Choirs can sing them, in many cases at
sight. They can be performed without long rehearsal
periods. Dr. Willan was a practical composer working in
a highly practical media. He provided the choir library
with a large number of choral works that are completely
suited to church performance yet which can be mastered
quickly, so that new works can be presented each Sunday
which are proper to the liturgical occasion. All of

these works lie within the realm of traditional music

193

rather than of the contemporary trends in music. This
is not surprising in a composer born in the 18008 and
educated at a choir school whose life was largely spent
inside churches. Religious institutions, of course,
tend to be unchanging and the Anglo-Catholic rite is
much the same as it was in the sixteenth century. The
world of a church organist and choir master can be a
sheltered world where the currents of the outside world
are little felt. Dr. Willan was a man of the Edwardian
age who was not in sympathy with the present day and
could not accept many of the things in it. Had he been
more in touch with current musical trends he might have
written music of this centurytnt it is doubtful if he
could have produced the body of work he did if he had
experimented with new ideas, nor would this body of work
be as easy to sing and learn. It is questionable too if
it would have been as suited to sacred performance. .More
progressive composers such as Stravinsky have con-
tributed to the sacred choral repertoire, but in small
quantities, and much of this more modern sacred choral
music is difficult to sing and to learn. Much of it is
really for the concert hall, not the church. Dr. Willan's
contribution is that of a very large choral repertoire
eminently suited to the occasion. His works sell in
volume second only to Bach within this restricted field

as well as in the related organ music medium.

194

Final Evaluation

 

We must consider Healey Willan's own aims and
beliefs in giving any final evaluation of his work.
These ideals are closely related to his music.

First, what was Church Music to him? '"Church Music
should surely be the embellishment of the Liturgy, the

words taken from the Liturgy or from some Biblical source

"1

embodying the thought or teaching of the day. The

words were always of prime importance, the music simply
the most suitable presentation of these words. Nothing
was allowed to stand in the way of communication. The
role of the organist and choir master was in direct
relation to this philosophy.

The organist, upon whose shoulders lies the main
responsibility of performance, should realize that
the music of the service is in reality the
incidental music of a great drama, and that it
sould in no way obscure the intention or impede
the movement. The choir should realize that the
main reason for their existence is to sing the
choral parts of the service in suchalway that the
incomparable words of the liturgy are enhanced and
not obscured, for they are neither exhibitionists
nor entertainers. The anthem . . . is not their
chief job.2

Dr. Willan's creative mind was Opposed to minute

musical analysis. He wrote

 

lHealey Willan, What's Wrong With Church Music in
Canada, a short article published as a pamphlet, no
publisher given.

2Ibld.

195

Music is the expression of beauty through the

medium of sound, and if something makes an

aesthetic appeal to you, absorb it and revel in

it, and then, if you feel so disposed, examine

it closely and try to find out why and where and

how you are affected by it.3

Dr. Willan's influence on other musicians in Canada

ranges from an almost complete discipleship to reaction
against his ideals. His personal relations with all
Canadian composers were warm and friendly, even when
they were worlds apart, as was the case with the serial
composer.hfln)Weinzweig. Others were so deeply influenced
that their music seems to be a COpy of Willan himself.
But all of the composers in English Canada were influenced
be his demand for good clean work and the discipline of
writing in traditional styles, especially in contrapuntal '
music. Once they had acquired the mastery of writing
music in the traditional way, they were encouraged and
aided in their own thinking, even if their ideas were not
akin to Willan's. His personality was a massive force in
Canadian music and long dominated certain musical areas
during his long career. He was the only Canadian to be
widely published and performed in many parts of the world.
Canada is only now beginning to achieve a natiOnal
identity. In the past she has looked to the Old World,
especially to England for direction. It is fitting that

the composer representing Canada's first one hundred

 

3A letter to the writer dated October 21, 1965.

196

years should be British born and trained. It is also
natural that the most outstanding composer of the new
century, Harry Somers, is Canadian born and trained.

Dr. Charles Peaker, organist and choirmaster of
St. Paul's Church in Toronto and one of Canada's leading
organists, has this to say:

It has been said that Healey Willan (1880-1968)
wrote his music in an idiom that is now gone. Yet
his spirit was such that whether it were smaller
pieces for organ published in 1908, the great
anthem I Looked and Beh d e
(also 1908) or the motets to the B. V. M. and the
towering Introduction,UP§§sac aglig and Eggu e,
(1919) it remains great music. The Apostrophe
to the Heavenly Hosts in eight parts is still
sung and everywhere In Christendom one hears his
plainsong settings of the Daily Office with their
masterly antiphons.

In short, Healey Willan's music is good wine in
either old or new bottles, and in his long musical
life the bottles did change. Furthermore, in
whatsoever medium he wrote, the music does "come
off."

P.S. We sing his Mass settings as do many
Anglican churches in Christendom.4

 

Another great organist and close friend of the
composer is Dr. David Ouchterlony, now Principal of the
Royal Conservatory of Music in Toronto. 'He writes:

I always feel very humble when anyone asks me
to express any views on Healey Willan, because in
spite of his being enormously and unfailingly kind
to me I was always aware of how dwarfed I was, not
only by his artistry, but as a human being.

As far as Dr. Willan' 3 church music is concerned,
its greatest asset, it has always seemed to me, has

 

uE.g., the Episc0palian Hymnary in the 0.3. contains

the Missa de Sancta Maria Magdalena.

197

been the fact that it is consistently valid. He
had a horror, as you know, of anything that smacked
of the theatrical and was able to achieve the most
extraordinary and moving effects without ever
coming close to the boundary of impressionable'
musical taste. It is true that some of it is
extremely difficult to perform but, much in the
way of his lesser involved anthems, it is no less
rewarding and I have never encountered a choir
which was sincere in its aims which did not "fall
in love" with the Willan opus at hand. When the
whole story is written, I think that Healey Willan
will have been found to have made a contribution
in this and in many other musical areas far in
excess of that which even we who knew and admired
him have estimated.

Godfrey Ridout, Associate Professor in the Faculty
of Music at the University of Toronto and a composer
himself, was loathe to assess a composer so soon after
his death, but attempts to do so in these words:

Not really could Willan ever be claimed to be
an internationally well-known composer except in
the realm of church music. Since church musicians
are chorally oriented for the most part, they find
themselves occasionally in the secular field as
conductors of concert choirs; so Willan will some-
times be found on choir programmes, but even then
the work will be a religious work. -

Except then for this, Willan's reputation is
strong in that area now so frequently ignored by
serious musicians. Unlike the days of J. S. Bach,
church music is now on the periphery of the musical
world; by many musicians it is believed to be and
not without reason, sturdy and reactionary. How
many musical peOple outside of England or Anglicanism
know much about Stanford or Charles Wood? How many
people other than organists are even remotely aware
of Karg-Elert?

This is most unfortunate for Willan because the
very best, and oddly enough, the most progressive
of his music is for the church or for its thunderous
appendage, the organ. His symphonies, although
exhibiting a craftsmanship of high order, are not
really in the same league; they hark back to
Tchaikowsky but lack that master's orchestral
panache and attractive vulgarity. Deirdre, his

198

most expansive work, leans too hard on Wagnerian
music drama, is perhaps too well upholstered for
today's audience. It is not a failure, far from
it, but I don't think it will ever "take" any more
than Deems Taylor's The King's Henchman, a work

it closely resembles in musical style, ever did.
This may sound harsh but it is a fact of musical
life that the survival rate of opera is very low
indeed.

WE know Willan. WE know how good he is. I
suspect, however, that we have blown him larger
than life size because he chose to live in Canada.
WE say he's internationally famous but knowing full
well that, except for his church music, his per-
formances abroad probably are far less than those
of Somers, Weinzweig oreven (harrumph) the writer
of this letter. In any case, except for the fact
that more than half his life was spent in Canada,
was he Canadian? As I said in that piece in the
Journa1,l he seems to perpetuate the kind of music
in use in England at the time of his departure for
Canada. Why not? I'm not denigrating him, I'm
only saying that our claim to him as a Canadian
is very shaky.

 

Robert Flemming is the Musical Director of the
National Film Board of Canada. He is also a composer and
an organist. His is perhaps the warmest estimation.

I truly loved the old gentleman and will never
fully realize, I suspect, just how much of me is
Healey Willan. My two years with him as a compo-
sition student were revealing not so much from what
he taught me but what he drew from me. I think he
knew that I was honestly looking for a means of
expressing myself in a useful sort of way; he
seemed to know that I was concerned not only with
developing my techniques but also with reaching
"people" with my music. I am sure now that this
was basically his concept too, that despite his
phenomenal technique he still managed to write
music that sat well on the ear, that spoke of
human virtues, love and kindliness, music that
expressed a deep personal conviction and said "to
hell with the critics--this is the way I am, move
me if you dare!"

 

lGodfrey Rideout, "Healey Willan," The Canadian
Music Journal, Vol. III, No. 3, Spring, 1959.

 

 

199

Strangely enough this personal immobility did

not show itself

when he was appraising the work

of his pupils--any "new" idea they may have had
from time to time was discussed without bias and

put through the

microscope of his all-seeing eye.

When such a session was over the young student
knew precisely why his ideas were good or bad from
a technical viewpoint and the aesthetics were a
matter of the student's conscience from this point
onward. I think that the success of so many of
his pupils is known, and what is surprising is
that no two of them write alike. They have found
success by disciplining themselves and this they

learned from Dr.

Willan. In other words Dr.

Willan's greatest success may well be shown in
the creative composers he nurtured and bullied
along the way-—a11 of whom loved and respected
him even if they didn't entirely agree with him.

As far as his

choral writing is concerned

there is no doubt that he was without a peer in
knowing how to turn a phrase, to explode a word,
to balance a texture and at the same time make it
all singable and right for the occasion it was
intended to sublimate. We certainly witnessed
this at St. Mary's. In other words everything he

wrote "worked,"

and this is the sort of influence

that Canadians should be proud to acknowledge.

An influence they were lucky to have had among
them for so long. While he will be remembered

for this it is important not to forget that once
again his pupils (some of them at least) are still

composing music
legacy in part,
could see human
themselves able

In conclusion
conductors who have

alive through their

for the church as a tribute to his
but also because through him they
values a little better and found

to "go and do likewise."

we have the words of the two choral
kept the choral tradition in Toronto

work with the Toronto Mendelssohn

Choir and various other choral groups including university

and conservatory choirs, church choirs and the Festival

Singers of Toronto.

Their intimate knowledge of Dr.

Willan's music and outstanding performance and recording

of it extend back to the 19308.

200

Sir Ernest MacMillan, former conductor of the
Toronto Symphony and Dean of the Faculty of Music at the
University of Toronto in addition to conducting the
Mendelssohn Choir and who was knighted for his services
to Canadian music, writes:

Probably no other Canadian composer has contributed
so much in sheer volume to our musical literature and
certainly no one has contributed so much of first
rate quality. A large proportion of his music has
been devoted to the services of the Church and Dr.
Willan's influence as an active organist and choir-
master has proved immensely beneficial throughout
Canada and beyond. In many other fields-—orchestral,
chamber and operatic music--he has provided many
works of great distinction and singers everywhere
are grateful to him for his many fine songs.

His body rests in peace and his works do follow
after him.

Elmer Iseler, the present conductor of the
Mendelssohn Choir and the founder and conductor of the
Festival Singers of Toronto has, over a period of many
years, performed Willan's music with dedication and
finest musicianship. He writes:

Dr. Healey Willan was the great choral composer
of Canada. His writing contained a singular
sensitivity to the written word; in his music's
finest moments he has no peer. Since he was Canadian
and since I was intimately acquainted with him, it is
always with a great deal of pride that I continue to
return to programming his works. We shall not see
his like in Canada again; his equal will not soon
appear among us.

My last recording with the Festival Singers of
Toronto was an album devoted entirely to the music
of Willan. The excellent notes provided by Giles
Bryant sum up perfectly my sentiments concerning
the man and his music.

201

Mr. Giles Bryant, who has taken over the position
of organist and choirmaster at the Church of St. Mary
Magdalene in Toronto and who has continued Dr. Willan's
career with these words, which may well be the ones
Mr. Iseler was alluding to:

In sum, his was a life dedicated to the finest

things in music, the giving of pleasure through
beauty of sound, the sharpening of the inspiration
of fine words by the aptness of his settings, and,
present in everything he wrote, meticulous crafts-
manship. Where such qualities are still appreciated,
his music will never be forgotten.

 

1Giles Bryant, "Program Notes," The Choral Music
of Dr. Healey Willan, Capital Stereo Recording, ST. 6248.

BIBLIOGRAPHY

202

BIBLIOGRAPHY

Books

A Bio-Bibliographical Finding List of Canadian Musicians

 

and Those who have Contributed to Music in Canada.
Ottawa: Canadian Library Association, 1960-1961.

 

Bull, Storm. Index to Biographies of Contemporary
Composers. New York and London: The Scarecrow
Press, 1964.

 

 

Canadian Biographies. Canadian Authors, Artists and
Mnsicians. Ottawa: Canadian Library Association,
1850, 1952.

 

 

Canadian League of Composers Catalogue of Orchestral
Music. Toronto: 1957.

 

Canadian Radio and Television Annual. The Canadian
Broadcasting Corporation, 354 Jarvis St., Toronto.

 

Douglas, Winfred. Church Music in History and Practise.
London: Faber and Faber, 1962.

 

Encyclopedia Canadiana. Ottawa: The Grolier Society
of Canada, 1958:

 

Fraser, Hugh, and Barnett, Herbert E., eds. Who's Who
in Canada. Toronto: Toronto International Press
Limited, 1956-1957.

 

 

Hamilton, Ross, ed. Prominent Men in Canada. Montreal:
National Publishing Company of Canada, 1931-1932.

 

Hull, A. Eanglefield, ed. A Dictionary of Modern Music
and Musicians. London: J. M. Dent and Sons Ltd.,
n.d.

 

 

Kallman, Helmut.' Catalogue of Canadian Composers.
Toronto: University of Toronto Press, 1952.

 

. A History_of Music in Canada. Toronto:
University of Toronto Press, 1960.

 

203

204

Macmillan, Sir Ernest, ed. Music in Canada. Toronto:
The University of Toronto Press, 1935.

 

McCoy, G. Portraits of the Worldj§_Best Known Musiciama.
Philadelphia: Theodore Presser Company, 1964.

McReady, Louis G. Canadian Portraits: Famous Musicians.
Toronto: Clarke Irwin and Company, 1957.

Palk, H. The Book of Canadian Achievement. Toronto:
University of Toronto Press, 1951.

Parry, W. H. Thirteen Centuries of English Church

Music. London: Claridge, Lewis and Jordan, Ltd.,
1946.

 

Pratt, Waldo Selden, ed. New Encyclopedia of Music and
Musicians. New York: Macmillan, 1929.

 

 

Reed, H. Owen. Basic Music. New York: Mills Music Inc.,
1954.

. Composition Analysis Chart. New York: Mills
Music Inc., 1958}

 

 

Ross, Malcolm, ed. The Arts in Canada: A Stock-Taking
at Mid-Century. Toronto: Macmillan Company of
Canada, 1958.

 

 

Scholes, Percy A., ed. Concise Oxford Dictionary of Music.
London: Oxford University Press, 1952.

 

 

Slonimsky, Nicolas, ed. Baker's Biographical Dictionary
of Musicians. 5th ed. New York: G. Schirmer, 1948.

 

Stewart, Wallace W., ed. Encyclopedia of Canada. Vol. IV.
Toronto: University Associates of Canada, Limited,
1936.

 

Thompson, Oscar, and Slonimsky, Nicolas, eds. Inter-
national Cyclopedia of Music and Musicians. 3rd
to 8th editions. New York: Dodd, Mead and Co.,

1964.

 

Vincent, John. The Diatonic Modes in Modern Music. New
York: Mills Music Inc., 1954.

 

Westrup, J. A., ed. The New College Encyclqpedia of
Music. New York: W. W. Norton and Company, 1960.

 

205

Periodicals

 

Canadian Review of Music and Art. Toronto: Vol. 4, No. 4.

Opera Canada. Toronto: Vol. VII, No. 3; Vol. VIII, No. 4.

 

The American Organist. New York: September, 1960;
June, 1961; February, 1962; August, 1962; June,
1963; February, 1964; March, 1964; October, 1964.

The Canadian Music Journal. Toronto: Vol. I, No. 3;
Vol. I, No. 4; Vol. III, No. 3.

The Journal of Church Music. Philadelphia: Vol. 2, Nos.

1, 8, 9, 11; Vol. 3, Nos. 2, 10; Vol. 4, Nos. 2, 3,
5, 6, 8, 10.

Newspapers

 

The Globe and Mail. 104 King St. W., Toronto: June 7,
1952; September 17, 1952; November 8, 1952;
December 9, 1952; October 20, 1953; November 7,
-l953; October 10, 1955; October 17, 1955; November
19, 1955; June 26, 1956; October 7, 1956; October 12,
1956; May 29, 1958; September 3, 1959; April 16, '
1960; October 8, 1960; October 13, 1960; December 1,
1962; September 25, 1964; October 9, 1964; October
9, 1965; September 26, 1966; December 24, 1966;
May 23, 1967; May 25, 1967; May 30, 1967; September
25, 1967; February 17, 1968. .

 

The Telegram. 440 Front St. W., Toronto: May 26, 1958;
February 13, 1962; March 27, 1965; October 9, 1965;
May 5, 1966; September 26, 1966.

 

The Toronto Star. 80 King Street W., Toronto: October 11,
1952; November 10, 1952; September 17, 1953;
November 19, 1955; June 12, 1956; October 15, 1956;
February 19, 1958; August 22, 1958; October 14,
1958; December 9, 1958; December 7, 1959; September
26, 1960; May 25, 1967; February 17, 1968.

 

206

Unpublished Material

 

Bray, Mary; Roy, Thomas L.; and Wright, William. "Music

in Canada." An undergraduate term paper prepared
for the Faculty of Music, University of Toronto,
1951.

"Canadian Organists Salute Healey Willan's 70th Birthday."
Mimeographed: BMI Canada Limited, 229 Yonge St.,
Toronto, 1950.

"Suggestions for Analysis." Supplementary to H. Owen Reed's
Compositional Analysis Chart. Mimeographed: East
Lansing, Michigan State University, Music Department.

Willan, Healey, Mus. Doc., LL.D., D.Litt., F.R.C.O.

"What's Wrong with Church Music in Canada."
Broadsheet, n.p., 1958/1959.

Miscellaneous

 

The Flammerion Newsletter. Vol. VIII, No. 1. New York:
Harold Flammer, Inc., 1966.

 

The News Bulletin. Vol. XXII, No. 3. The Canadian
Federation of Music Teachers Associations.

 

APPENDICES

207

APPENDIX I

SUGGESTIONS FOR FURTHER STUDY

208

APPENDIX I

SUGGESTIONS FOR FURTHER STUDY

A companion work to the present one might well be
on the secular choral works of Healey Willan. The
secular part—songs would be interesting to study, along
with the solo songs, the cantata Brébeuf and other longer
choral works of a similar nature. I feel reasonably sure
that many of the same conclusions would be reached as are
found here, since the writing is much the same. The
secular works are far fewer than the sacred choral works.

Perhaps a more valuable study would be the organ
works of Healey Willan. Perhaps they would show some new
facets of the composer's style since they exist in con—
siderable numbers and are instrumental rather than choral
or choral accompanied by an organ.

The instrumental compositions could well furnish a
third study. Dr. Willan was first and foremost a composer
for the voice and for the organ but his two symphonies and
piano concerto could well be studied and compared to
other late-romantic works.

The dramatic works would be my final suggestion as
a field of study. The incidental music to the numerous

plays presented at Hart House would be difficult to obtain
209 '

210

but the opera Deirdre is a major work which is worthy of
study as Canada's first opera by a major composer, and

is, in the composer's own estimation, his finest work.

APPENDIX II

KEY TO ANALYTICAL TECHNIQUE

AND TERMINOLOGY

211

QaCDSZ

Mm7
M7

m7
dm7
d7
md7
AM7
Am7
MmM9
Mmm9
dmm9
MmMPll
Aug.6

M Add.6
m Add.6

APPENDIX II

KEY TO ANALYTICAL TECHNIQUE

AND TERMINOLOGY

Key to Chord Symbols

 

Major triad

Minor triad

Augmented triad

Diminished triad

Major-minor seventh

Major seventh

Minor seventh
Diminished-minor seventh
Diminished seventh
Minor-diminished seventh
Augmented—major seventh
Augmented-minor seventh
Major-minor-major ninth
Major-minor-minor ninth
Diminished-minor-minor ninth
Major-minor-major-perfect eleventh
Augmented sixth

Major added sixth

Minor added sixth

Analytical Technique

 

C+

C7
C7
C7
c°7
0070
c7°
G+7
G+7
C0
C9
c°9
Cll
C6+
C6
c6

In analysing the selected compositions of Dr. Healey

Willan the writer found that because of the solemn nature

of the sacred music, rhythmic unit was always a quarter

note or a half note.

Only in a few plainsong-oriented

works was the unit an eighth note, in which case the unit

would change from a quarter to an eighth with the rhythm

of the words.

212

213

In the majority of cases, there was one chord to
the unit but when nonharmonic tones on the second half
of the beat were consonant with the bass in such a way
as to form a new sonority, there would be two chords
to the unit. This was more frequent when the unit was a
half note.

In incomplete chords the writer had to decide on the
identity of the chord as best he could, trying to keep in
consideration the remainder of the work and the most
logical chord progression.

In common chord modulation, the pivot chord was
taken as belonging to the new key and counted in that
manner.

The inversion of chords was not tabulated. It
might be noted that in Dr. Willan's mature period there
was a strong tendency to write both in triads and seventh
chords in second inversion.

Chord analysis is based on the major and harmonic
minor scales. Since the plainsong influence was strong in
many of Dr. Willan's works this frequently boosts the
percentage of altered chords in a composition. Such
chords as the major mediant in minor or the major on the

lowered seventh degree in minor fall into this category.

214

Pattern of Analysis

 

The pattern of analysis is based upon the Composi-

tion Analysis Chart1 of Dr. H. Owen Reed, Chairman of

 

Graduate Composition, Michigan State University.

After the title of the composition, the year of
publication is given and the basic key of the composition.
In certain cases some additional information is given,
perhaps the Psalm tone on which it is based, the folk
song on which it is based, or the section (e.g., Part I)
when a longer composition is broken into two parts, as
An Apostrophe to the Heavenly Hosts.

The first section of analysis (A) is titled

Isolated Chords and lists all the chords in the composi-

 

tion in order of frequency. Percentages are not included
here.

The second section (B) is titled Type Chords and
lists the chords according to their type, i.e., Triads,
Seventh Chords, Ninth Chords, Eleventh Chords and
Added Sixth Chords. Augmented Sixth Chords are inte-
grated with the Seventh Chords. Each of the above
divisions is then broken into more exact categories, i.e.,
triads are listed as major, minor, diminished and
augmented, etc. Percentages are given for each category
and totalled up for each division, with a Grand Total

at the bottom. Percentages are worked to one decimal

215

point. When the final percentage is not quite exact
(e.g., 99.9%) a Rounding—off Error brings the total to
100.0%.

The third section (C) is titled Tonal Chords and
lists the chords according to their position in the
scale: tonic (I), supertonic (II), etc. For each scale
degree there are places to list the triads, seventh
chords, ninth chords, eleventh chords and chords of the
augmented sixth or added sixth. The lesser used chord
categories are listed only when applicable, i.e., if a
composition does not contain ninth chords, the category
is not listed. Totals are given for each scale degree,
with percentages. In one case non-tonal chords are
used and their percentage is added to the tonal chords
to reach the final total percentage. In this case the

section Non-tonal Chords D is included. In all other

 

cases the letter "D" applies to the next section.

The fourth section, except in the two cases
mentioned above, is titled Root Movements (D) and lists
the number of occurrences of root movements in the follow-
ing manner: root movements up a second and down a second.
These are added together and the percentage is figured
This procedure is followed for root movements at the
third and at the fifth, including the tritone. The final
total is then added to the number of chord repetitions in

the composition (which are not included in the percentage

216

since they are not chord movements) and the grand total
is one number less than the total number of chords as
found in sections A, B and C.

The fifth section (E) is titled Modulation and

 

lists the modulationsillthe order of their occurrence.
Since most of Dr. Willan's modulations are of the Common
Chord variety, this type of modulation is then further
listed in more exact categories, i.e., Diatonic = Diatonic,
etc. Modulations which are other than common chord are
listed underneath when they occur.

The sixth section is titled Melody (G) and lists all
melodic intervals found in the work, i.e., up a second,
down a second, etc. Each category (seconds, thirds,
etc.) is totalled and its percentage figured. In
accompanied works the organ accompaniment is not analyzed
melodically. When a voice divides the intervals formed
by the part splitting into an upper part are tabulated
as are the intervals formed by the voice splitting into
the lower part. This continues until the two parts merge
again and become one.

The eighth section is titled Nonharmonic Tones (H)
and lists all types with their percentages.

The ninth section is titled Contrapuntal Devices
(1) and lists those used, i.e., imitation, sequence, etc.

Percentages are not given here.

217

The final section is the Summary (J) which points
out significant features of the work, compares it to
other works and explains any significant differences
between it and other works in the same category. An
additional summary is found at the end of the three major
chapters of the text, briefly covering all the works

in that particular chapter.

APPENDIX III

CHRONOLOGICAL LIST OF THE MUSIC

COMPOSITIONS OF HEALEY WILLAN

218

ABC

AUG
BER

BH

CAR

CAP

CF

CV

FL

FH

HWG

Ms

APPENDIX III

CHRONOLOGICAL LIST OF THE MUSIC

COMPOSITIONS OF HEALEY WILLAN

Abbreviation of Publishers
Anglican Book Centre, Toronto, Ont.

Ascherberg, Hopwood and Crews, Limited, London,
England

Augsburg Publishing House, Minneapolis, Minn.
Berandol Music Publishers, Scarborough, Ont.
Boosey and Hawkes Limited, London, England.
Bosworth and Company, Limited, London, England.
L. J. Cary and Company Limited, London, England.
Concordia Publishing House, St. Louis, Miss.

Composers and Authors Press, London, England
(Not now in business).

Carl Fischer Incorporated, New York, New York.
Charles Vincent, London, England (Not now in business).
Faith Press, Limited, London, England.

Harold Flammer Incorporated, New York, New York.

Frederick Harris Company, Limited, London, England
and Oakville, Ont.

W. J. Gage and Company Limited, Scarborough, Ont.
H. W. Gray, Company Limited, New York, New York.

Manuscript

219

OUP

RY
RSCM
SB
GVT

WAT

CW

16*

Songs

220

Novello and Company Limited, London, England.
Oxford University Press, London, England.

C. F. Peters Corporation, New York, New York.
Ryerson Press, Toronto, Ont.

Royal School of Church Music, London, England.
Strainer and Bell Limited, London, England.

Gordon V. Thompson Limited, Toronto, Ont.

Waterloo Music Company Limited, Waterloo, Ont.
Western Music Company Limited, Vancouver, B. C.

C. Woolhouse, London, England (Not now in business)
Compositions which were discovered in manuscript

by Giles Bryant just prior to and after the com-
posers death, or compositions about which Mr. Bryant

discovered additional information.

Compositions published separately apart from the
original collection.

1899

Three Songs: Sonnet-~"Love, see thy lover,
Farewell, Serenade,"7words by Thomas Hood, Ms.

 

 

Silence, words by Thomas Hood (lost), Ms.

Verses in an Album, words by Thomas Hood (lost), Ms.

 

Love's Geography, Poet not known, No. 2 of Three

Little Songs, Ms.

 

1900

Communion Setting

Sanctus, Benedictus and Agnus Dei in E flat, SSA,
organ, through-composed Sanctus and Benedictus,
Agnus Dei tripartite with the themes of the first
two parts combined in the third, CV.

 

 

 

221

Anthem

*

Song

Song
*

Songs
*

All Hail, All Hail, SATB, organ, author not known,
CAP (c. 19007.

 

Love's Greeting, words by A. S. Hardy (lost), Ms.

 

From Marah, words by Owen Meredith (lost), Ms.

 

Cleveland's Sopg, words by Walter Scott (lost), Ms.

 

To Daffodils, words by Robert Herrick, Ms.

 

A Birthday Son -—Oct. 12; l900--"Love that hath
us in the net, words by Tennyson, Ms.

 

Tears, Idle Tears, words by Tennyson, Ms.

 

Rondel, No. 1 of Three Little Songs, poet not known,
Ms.

1901

To Electra, words by Robert Herrick, CW, republished
WAT in 1967.

 

1902

Till I Awake, words by Lawrence Hope (lost), Ms.

 

Elaine's Song, words by Tennyson (lost), Ms.

 

The night has a thousand eyes, words by F. W.
Bourdillon, with a cello obbligato part, Ms.

 

To the genius of eternal slumber, words by J. A.
Symonds, Ms.

 

My Little Doll, words by Charles Kingsley, Ms.

 

Love's Fragrance, No. 2 of Two Short Songs, words
by Curtis Hidden Page, Ms.

 

Love and a Day, No. 3 of Three Little Songs, words
by Owen Meredith, Ms.

 

A Lament, words by P. B. Shelley (lost), Ms.

Songs

Songs
*

222

1903

For You, words by Frank Stanton, Ms.

A Little Way, words by Frank Stanton, Ms.

 

Scena--"I Cry at your Mercy," words by Keats, Ms.

Shlps that pass in the night, words by Longfellow,
Ms.

Child Songp No. 2——"Beat upon my little heart,"
words by Tennyson, Ms.

Two Short Songs: Under the hill, words by Monica
Turnbull; To my love, words by E. M. F., Ms.

 

 

E'en as a lovely flower, No. l of Two Short Songs,
words by Heine, Ms.

 

Crossing the bar, ded. to Miss Gladys E. Hall,
words by Tennyson, Ms.

 

1904

To Aziz, words by Lawrence Hope (lost), Ms.

Dresden China, words by F. E. Weatherley, Ms.

 

To Music-—a cycle: A song to becalm his fever,
A song to becalm his sickly youth, words by
Robert Herrick, later revised and published as
Three Songs to Music, Ms.

 

 

 

Orchestral Work

*

Songs

(Untitled), piano and orchestra, incomplete, Ms.

1905

Where e'er my bitter teardrops fall, words by Heine,
tr. by Wallis, Ms.

 

Soft and gently through my soul, words by Heine,
tr. Kroeker, Ms.

 

L'Envoi, words by Ethel Neale, Ms.

223

* Western Flower, words by Clifton Bingham (lost), Ms.

 

* Two Songs from Marah: Prologue, Corroboration,
words by Owen Meredith, Ms.

 

* A Violet--"If I find you a violet," poet not
known, Ms.

 

Chamber Music
* String Quartet in E Minor, incomplete, slow movement
later arranged for string orchestra under the title
Poem, first movement appears in one sketch under
the title Phantaspy, Ms.

 

1906

Canticle
Magnificat and Nunc Dimittis in B flat, SATB, organ,
through-composed, dedicated to the choir of the
Church of St. John Baptist, Kensington, England, N.

Communion Setting
The Office of Holy Communion in G, SATB, tenor and
bass solos, quartet, organ, through-composed,
dedicated to the choir at Christ Church, Wanstead,‘
England, N, republished HWG in 1941.

Anthem
There Were Shppherds Abiding_in the Field, SATB,
tenor solo, organ, through-composed, text from the
Gospel according to St. Luke and two verses of the
hymn Of the Father's Love Begotten, N.

Songs
* The Garden of Passion, words by Valeresco, tr. by
F. G. Bowles, Ms.

 

* Love—-Rondal, words by C. H. Waring (lost), Ms.

 

Violin
* Romance in E flat, violin and piano, AUG.

 

Organ '
* Fantasia on the Plainsong Melody "Ad Coenam Agni,"
in the Village Organist, Book 45, N.

224

1907

Secular Part-Songs

Come Shapherd Swains, SATB, piano, words Anon
English 16th Century, N.

 

My Pretty One, SATB, piano, words Anon English 17th
Century, N.

 

We must nop_part as others do, SATB, piano, words
Anon English 17th Century, N.

Anthems

I Lookedy and Behold a White Cloud, SATB, soprano
and tenor solos, organ, through-composed, text
compiled from Scriptural sources, HWG.

 

While All Things Were in Quiet Silence, SATB,
soprano solo, organ, through-composed, text com-
piled from Scriptural verses and Hymn 55, Hymns
Ancient and Modern, HWG.

 

 

0 How Amiable, ATTB, organ, words from the Psalms,
organ part lost, Ms.

 

Chamber Music

*-

Songs
*

Trio in B flap, in four movements, violin, cello
and piano, piano part lost, Ms.

 

One of these days, poet not known, Ms.

 

Ten Songs: To Electra, words by Robert Herrick;

To Blossoms, words by Robert Herrick; Dedication,
words by Owen Meredith; O Mistress Mine, words by
Shakespeare; The Tourney, words by Tennyson; Summer
Night, words by Owen Meredith; Dimly sinks the summer
evening, words by Heine, tr. by Kroeker; Night lies
on the silent highways, words by Heine, tr. by
Kroeker; O Deatp, thou art the cooling night, words
by Heine, tr. by Kroeker; At Dawn, words by Ella
Wheeler Wilcox, CW, republished by WAT in 1967.

 

 

 

 

 

 

 

 

Absence, words by Owen Meredith, CW, later republished
by the Boston Music Company, Boston, Mass.

Dramatic Work

*-

Cleopatra, dramatic scene, soloists, SATB, orchestra,
Ms.

 

225

1908

Secular Part-Song
Gently_Tune the Warbling Lyre, SATB, piano, words
by Oliver Goldsmith, N.

 

Songs
* Consolation--"As lonely stars before the dawn,"
words by Douglas, Ms.

 

* Love's Springtime, words by F. D. Sherman, Ms.

 

* (Songs marked "after 1908" by Giles Bryant) For You,
poet not known, Ms.; To arms ye warriors bold;
Sunset on the Desert-:fiis the Priest Turns;"—Q
where are the scenes; Mine and mine alone; Love me
not dearest; poets not known for any of these songs,
Ms. .

 

 

 

 

 

Orchestral Work
* §ymphonic Poem--Through darkness into light, in
Memorian Denis O'Sullivan, February 1, 1908, organ
and orchestra, Ms.

 

Piano
* Four Holidanyieces for Children, Ms.

 

1909

Canticles
Magnificat and Nunp_Dimittis in A Minor, SATB,
quartet, organ, through-composed, Gloria of
Magnificat repeated for Nunc Dimittis, HWG.

 

 

 

Te Deum Laudamus in B flat, SATB, baritone solo,
organ, through-composed, HWG, later transferred to
FH.

 

Secular Part—Songs‘
To Chloe,ythat Dear Bewitching Prude, words by
Robert Lloyd, SATB, a cappella, N.

 

Had I a Cave, words by Robert Burns, SATB, a
cappella, N.

 

Anthem
Hail, True Body, SATB, tenor solo, organ, also
published in Latin as Ave Verum, through—composed,
dedicated to Walter S. Vale, N.

 

 

226

Three Songs: Red rose of love; Rest--"As a little
child;" To You, words by M. A., Ms.

 

 

* Epilogue, N.
* Prelude and Fugue in C Minor, N.

* Prelude and Fugpe in B Minor, N., later published
by W.

Orchestral Work
* Epilogue, organ and orchestra, Ms.

Piano
* Three Short Pieces, CAR.

 

1910

Communion Setting
The Office for the Holy Communion in C and E flat,
SATB, tenor and bass solos, organ, through-composed,
dedicated to the Rev. J. A. Beaumont, N.

Song
* Cavalier Song, words by H. C. Shuttleworth, N.

 

1911

Canticle .
Benedicite, Omnia Opera, SATB, organ duplicates
voice parts, Anglican chant with five similar but
contrasting settings of the Psalm verses, N.

Anthem
* Give Ear, YeyHeavens, SATB, organ, words from
Biblical sources, Ms.

 

Secular Part-Songs
Fain Would I Change That Note, SATB, a cappella,
words by Tobias Hume, SB.

Come, 0 Come my Life's Delight, SATB, a cappella,
words Anon English 17th Century, N.

227

Patriotic Cantata
* England, My England——Pro Rege Nostro, unison
voices and orchestra, words by W. E. Henley,
rearranged for SATB and published by HWG in 1914,
republished by FH in 1941.

Orchestral Work
* Rhapsodye-From the Highlands, full orchestra,
incomplete, Ms.

 

1912
Canticles
Magnificat and Nunc Dimittis in E flat and B flat,
SATB, organ, through-composed, N.

* Te Deum in E flat, SATB, organ, Ms.

 

Motet
The Reproaches, SSATB, double choir, a cappella,
can be performed by quartet and full choir,
antiphonal writing With many repeated sections,
composed for use at the Church of St. John the
Baptist, Kensington, England, for the Good Friday
Rite, N.

 

Communion Setting
* Sanctus and Benedictus in C Minor and E Major,
SATB, soprano solo, organ, Ms.

 

Secular Part—Song
* Sweet are the charms of her I love, words by
Barton Booth, SATB, a cappella, Ms.

 

Songs
* Eve, words by F. G. A. Smyth, Ms.

* Dreams--"Between the darkness," poet not known, Ms.

* Wind at nghtfall-—"Wind out of the wintgy_sky,"
poet not known, Ms.

 

* Requiem--"In her calm and blest reppse," words by
Alfred Hyatt, Ms.

* Dawn--"Dawn in the East," poet not known, Ms.

 

* The Dwarf Chorus, poet not known, possibly written
for a dramatic production, Ms.

 

228

Piano duet
* Valse in A Major, Ms.

 

* March in E, Ms.

 

Dramatic Work
* Glastonburye—Prelude and Three Entre'Actes, strings,
piano, play by W. T. Seward, performed May 15 and 22
by the Bedford Players at the Court Theatre, London,
England, Ms.

 

1914

Canticle
* Jubilate Deo in E flat, SATB, organ (lost), Ms.

 

Songs
* Words from Hawthorn and Lavender, "The Wind on the
Wold," words by W. E. Henley, Ms.

 

* Prospice, words by Robert Browning, no connection
with the choral work with orchestra of the same
name, Ms.

Choral Work with Orchestra
In Dulci Jubilo, German traditional arr. by HW,
boys' voices and orchestra, incomplete, Ms.

 

* Dirge for Two Veterans, SATB, orchestra, words by
Walt Whitman, Ms.

 

1915

Carol Arrangement
Christmas Song_of the 14th Century (Resonet in
Laudibus), SATB, organ, can be performed a cappella,
HWG.

 

Two Pianos
* Variations and_Epilogue on an Original Theme, a
fugal section added in 1943, first performed by
Scott Malcolm and Reginald Godden in 1941, Ms.

 

1916

Song
* The Lake in the Woods, poet not known, Ms.

 

229

Violin
* Lullaby and Reel, violin and piano, original source
not known—(lostj, Ms.

 

1917

Anthem
In the Name of our God we will set Up our Banners,
SATB, tenor solo, organ, through-composed, text
compiled from the Psalms, written for the depositing
of the colors of the 169th Battalion of the
Canadian Expeditionary Forces at St. Paul's Church,
Toronto, HWG.

Motet
How Thay So Softly Rest, SSAATTBB, a cappella,
through—composed, text from Longfellow, written
in memory of members of the Toronto Mendelssohn
Choir killed in World War I, HWG.

 

Canticle
* Benedictus in B flat, SATB, organ, HWG.

 

1918

Canticle
Jubilate Deo in B flat, SATB, SOprano solo, organ,
through—composed, inscribed to T. Tertius Noble and
the choir of the Church of St. Thomas, New York,
HWG.

 

* Jubilate in B flat, SATB, organ, HWG.

Anthem
0 Strength and Stay, SATB, SOprano or tenor solo,
organ, also published under the title 0 Perfect Love
and later as a solo song under the latter title,
through—composed, texts based on a hymn attributed
to St. Ambrose as translated by J. A. Ellerton and
a poem by Dorothy Frances Gurney respectively, HWG.

 

Hymn Books
* St. Basil's Hymnal (Roman Catholic), contains works
by HW, Toronto.

 

* The Book of Praise (Presbyterian Church of Canada),
contains works by HW including the hymn tune Eternal
Light, Toronto.

 

Organ
*

230

Suite for Organ: Prelude, Barcarolle and Toccata,
an Elegy incomplete, the Barcarolle later published
by A.

 

 

Choral Work with Orchestra

Motet

Organ
*

Song
*

Two Irish Folk— Songs. Night Magic, My heart is in
the woodlands, Irish traditional arr. by HW, unison
voices, strings, words by J. Murray Gibbon, Ms.

 

 

Reguiem, SATB, orchestra, words from liturgical
sources, incomplete, Ms.

1919

An Apostrophe to the Heavenly Hosts, SATB, double
chorus with mystic choir of two or three voices, a
cappella, major work and longest of the sacred
choral music, text compiled by Dixon P. Wagner and
Rev. H. G. Hiscoks from Eastern Liturgies and the
chorale Lasst uns erfreuen, FH.

 

 

Introduction, Passacaglia and Fugue, dedicated to

Sir Walter Alcock, first performed by the composer
at St. Paul's Church, Toronto, November 30, 1916,

OUP.

 

1920

O littlest hands, words by Norah Holland, Ms.

 

Dramatic Works

'1-

The Alchemist, incidental music, flute, clarinet,
strings, harpsichord, play by Ben Johnson, for
performance at Hart House, Ms.

The Trojan Women, incidental music, flute, strings,
harp, play by Euripides, tr. by Gilbert Murray,
for performance at Hart House, Ms.

 

Love's Labour Lost, incidental music, flute, clarinet,
horn, strings, play by Shakespeare, for performance
at Hart House, Ms.

 

Matsu(o), incidental music, celeste, strings, piano,
play by Takeda Izumo, for performance at Hart House,
Ms.

231

* Rasmus (Montanus), incidental music, strings, play
by Ludwig Holberg, for performance at Hart House,
Ms.

1921

Dramatic Works
* Alcestis, incidental music, strings, harp, play by
Euripides, tr. by Gilbert Murray, for performance
at Hart House, Ms.

* The Romancers, incidental music, two violins, cello,
piano, play by Rostand, for performance at Hart
House, Ms.

 

* Cymbeline, incidental music, clarinet, horns,
trumpet, strings, play by Shakespeare, for performance
at Hart House, Ms.

 

* Pantaloon, incidental music, piano, play by Sir
James Barrie, for performance at Hart House, Ms.

 

1922

Anthem
* Ave Verum No. 2, SATB, organ, words from Liturgical
sources, English text, Ms.

 

Dramatic Works
* Georgian Revue--P1aybills, incidental music, piano,
words arr. by Bertram Forsyth, for performance at
Hart House, Ms.

 

* The Tempest, strings (only a first violin part
remains-—appears to be arrangements of Purcell and
Arne), play by Shakespeare, for performance at Hart
House, Ms.

 

Collection
* School and Communipy Song Book, from various sources,
compiled in conjunction with A. S. Vogt, includes
Alcestis, Come Sing a Merry Song, Night, A wet sheet
and a flowing sea by HW, G.

 

 

 

 

 

Violin
* Sonata No. 3, violin and piano, incomplete, Ms.

 

232

Choral March
* Our Christmas Sopg, TTBB, piano, words by Fred
Jacob, written for the Arts and Letters Club,
Toronto, Ms.

 

Novelty
* The Arts and Letters Club Constitution, cantor,
TTBB, words Anon, for the Arts and Letters Club,
Toronto, lost, Ms.

 

1923

Christmas Cantatas
The Mystery of Bethlehem, SATB, SOprano and baritone
solos, organ, Optional orchestral parts, through-
composed, HWG.

 

** The Prophec , text adapted from the Great Antiphons
of Advent.

 

** The Annunciation, baritone solo with chorus, text
from verses of the hymn Ave Marea Stella and the
Magnificat. ’

 

 

** The Manger, baritone solo with chorus, text from
the hymn Pange Lingua as translated by the Rev.
J. M. Neale.

 

 

The Shepherds, text from the Christmas Responsories
and a verse from a hymn by James Montgomery.

 

The Magi, text adapted from the Epiphany Respon-
sories and verses of an 11th Century carol
Congaudeat turba fidelium as translated by the
Rev. J. M. Neale.

 

 

 

The Fulfillment, text from verses of the hymn Corde
Natus ex Parentis as translated by the Rev. J. M.
Neale.

 

Violin
Sonata No. 2 in E. major, violin, piano, B.

Dramatic Work
* Castles in the Air, incidental music, flute,
clarinet, strings, play by Bertram Forsyth, for
performance at Hart House, Ms.

 

Chamber Music
* Chorale in C, by Bach, arr. by HW, violin, clarinet,
piano, revised 1943, Ms.

 

233

1924

Six Motets

Anthem

*

Piano
*

Motet

No. 1. Hail, Gladdenipg Light, SATB, a cappella,
through-composed, text from verses of a Greek
hymn, translated by John Deble, HWG.

 

No. 2. 0 How Glorious, SATB, a cappella, through-
composed, text from the antiphon to the Magnificat
for the second Vespers of All Saints, HWG.

 

No. 3. Verquread, Good Shapherd Tend Us, SATB,
a cappella, through-composed, text from the third
part of the Corpus Christi sequence attributed to
St. Thomas Aquinas, HWG.

No. 4. 0 Sacred Feast, SATB, a cappella, through-
composed, text from the antiphon to the Magnificat
from the second Vespers of Corpus Christi, HWG.

 

No. 5. 0 How Sweet, 0 Lord, SATB, a cappella,
through-composed, text from the antiphon to the
Magnificat of the first Vespers of the Feast of
Corpus Christi, HWG.

No. 6. Let Us Worshlp and Fall Down, SATB, a
cappella, through-composed, text from the sixth
and seventh verses of the Venite, HWG.

 

In the Heavenly Kingdom, SATB, organ, words from
the Psalms, incomplete, Ms. -

 

A Standard Course in Graded Studies, in 7 volumes,
edited by HW, from various sources, FH.

 

1925

O Trinit , Most Blessed Light, SATB, a cappella,
through-composed, text from the Latin office hymn
at the Vespers on Saturdays in Trinitytide as
translated by the Rev. J. M. Neale, N.

 

234

Service Music
Four Processionals:

Hail Thee, Festival Day, Easter Procession, SATB,
cantors, organ duplicates voice parts, hymn with

alternating verse settings and refrain, text from
the Sarum Processional, HWG.

 

Hail Thee,_Festival Day, Ascension Procession,
SATB, cantors, organ duplicates voice parts, hymn
with alternating verse settings and refrain, text
from the Sarum Processional, HWG.

Hail Thee, Festival Day, Whit Sunday Procession,
SATB, cantors, organ duplicates voice parts, hymn
with alternating verse settings and refrain, text
from the York Processional, HWG.

 

Hail Thee, Festival Day, Dedication Festival
Procession, SATB, cantors, organ duplicates voice
parts, hymn with alternating verse settings and
refrain, text from a York Processional, HWG.

 

Song Collection
Songs for Medium Voice—-Vol. l, FH.
** Drake's Drum, words by Norah Holland;
Sea Song, words by Norah Holland;
Sonnet--"When our two souls," words by E. Barrett
Browning;
** Since thou, O fondest and truest, words by Robert
Bridges;
Sonnet-—"To sleap," words by Robert Keats;
To Ireland's Dead, words by Norah Holland.

 

 

 

 

Songs for Medium Voice-—Vol. 2, FH.
Music, when soft voices die, words by P. B. Shelley;
Cahel of Munster, words by Edward Walsh;
** Shamrocks, words by Rosa Mulholland;
The Lake Isle of Innisfree, words by W. B. Yeats;
To an Isle in the Water, words by W. B. Yeats;
** A Fairy Tale, words by Norah Holland.

 

 

 

 

 

 

Dramatic Work
* The Winter's Tale, incidental music, flute,
clarinet, strings, play by Shakespeare, for per—
formance at Hart House, Ms.

 

Song
*

235

C. 1925

An Irish Love-Sopg, words by Rosa Mulholland, Ms.

 

Dramatic Works

*

Carol

Organ
*

Song
*

Lets Pretend, incidental music (four songs), SS,
piano, play by Lloyd Roberts, Ms.

 

The Christmas Mysteries, arranged, children's voices,
SATB and organ, words from various sources compiled
by Fr. Leslie Rose, music based on two original
themes by Fr. Rose and some carols, performed
annually for many years at the Church of St. Mary
Magdalene, much of the music improvised by HW, Ms.

 

1926

Arrangements

Two Carols: The First Nowell, arr. with refrain
in fauxbourdon; The Great God of Heaven, modern
words by H. R. Bromley, both carols English
traditional, SATB, organ, OUP.

 

 

Two Christmas Carols: The Mummers' Carol; God
Rest You Merry, Gentlemen, TTBB, a cappella, English
traditional, OUP.

 

Chorale Prelude: Puer Nobis Nascitur, also arr.
by HW for piano and strings, published by C in
1956, OUP.

 

What shall he have that hath killed the deer?
words by Shakespeare, written as part of the
incidental music for a Department of Education
production of "As You Like It," lost, Ms.

 

1927

Hymn Tunes

Five Hymn Tunes: St. Osmund; Presentation; Stella
Orientis; St. Michael; St. Basil, new tunes to
hymns in the English Hymnal, OUP.

 

 

 

 

 

236

Ten Faux-bourdons on well known hymns: Iste
Confessor (Angers Church Melody); Christe
Sanctorum; Iste Confessor (Rouen Church Melody);
Coelites Plaudant; Hast du denn, Jesu; Old 104th;
Hanover; Rex Gloriose; St. Ambrose; Regnator Orbis,
OUP.

 

 

 

Mass Setting

Carol

Mass of St. Peter for the Roman Catholic Rite,
unison voices, organ, through-composed, dedicated

to Dalton Baker and the choir of St. Peter's Church,
Toronto, CAR.

Arrangements

Two Christmas Carols: Jesous Ahatonia, by Fr.
Brebeuf, tr. by J. E. Middleton, Ou s'en vont ces
gais Bergers? French traditional, unison voices,
piano, FH.

 

 

Secular Part—Song

Angel Spirits of Sleep, SSA, piano, words by Robert
Bridges, OUP.

Folk-Song Arrangements

*

'1'

Si J'etais Orphalin, French—Canadian traditional,
voice and piano, Ms.

Quand j'etais chez mon_pere, French-Canadian
traditional, voice and piano, Ms.

Dramatic Work

*-

The Beggar's Opera, arranged with New Symphonies
and Accompaniments, flute, clarinet and strings,
includes an original overture, play by John Gay,
for performance at Hart House, FH.

 

1928

Canticles

The Evening Canticles with Faux—bourdons, No. l,
MagnIficat on Tone II,2 (Solemn) and Nunc Dimittis
on Tone VII,1; No. 2, Magnificat on TOne IV,l
(solemn) and Nunc Dimittis on‘Tone VI; No. 3,
Magnificat on Tone V,35and Nunc Dimittis on Tone
II,I; No. 4, Magnificat on Tone III,2 and Nunc
Dimittis on Tone IV,4; No. 5, Magnificat on Tone
VII,6 and Nanc Dimittis on Tone I,2; No. 6, Magnifi—
cat and Nunc—Dimittis on Tonus Peregrinus with faux-
666rdons by J. Si Bach, SATB, cantors, men's or
boys' unison voices, organ, OUP.

 

 

 

 

 

 

 

 

 

 

237

Hymn Tune
Recessional, SATB or unison, organ, text by Rudyard
Kipling, FH.

 

Communion Setting
Missa de Sancta Maria Magdalena for the Anglican
Rite, unison voices, organ, through-composed, OUP.

 

Carols
The Three Kings, SSATBB, a cappella, through—
composed, words by Lawrence Housman, OUP.

 

Tyrle, Tyrlow, Tyrle,yTyrlow, SSAA, a cappella,
verses with recurring refrain, text taken from the
Balliol M.S. of 1936, FH.

 

Regina Coeli, Letare, SSAA, a cappella, through-
composed, text taken from words from the 16th
century, FH.

 

Motets
Preserve us, 0 Lord, SATB, a cappella, through-
composed, text from the Compline antiphon for the
Nunc Dimittis, OUP.

 

0 King All Glorious, SATB, a cappella, through-
composed, text from a Compline antiphon to the Nunc
Dimittis for Holy Week, OUP.

 

I Beheld Her, Beautiful as a Dove, SATB, a cappella,
through—composed, text from Responsaries from an
Office of Our Lady, 8th century, OUP.

Fair in Face, SATB, a cappella, through-composed,
text from Responsaries from an Office of Our Lady,
8th century, OUP. '

 

Rise pp, My Love, My Fair One, SATB, a cappella,
modified ternary form, text from the Song of Solomon,
OUP.

 

Mass Setting
* Missa Brevis No. 3 in D, SATB, a cappella, incomplete,
has no connection with Missa Brevis No. 3 published
in 1932, Ms.

 

 

Secular Part—Songs
Ten Thousand Miles Away, TTBB, baritone solo,
piano, English Sea Shanty arr. by HW, OUP.

 

Spring, SA, piano, words by Norah Holland, OUP.

238

Violin

*

Sonata No. I in E Minor, violin and piano, FH,
republished by BER in 1945.

 

Collections

Songs of the British Isles, in 2 volumes, from
various sources arr. by HW, FH.

 

Dramatic Works

*

Organ

The Order of Good Cheer (L'Ordre de Bon Temps),
ballad opera, arrangement of 14 traditional French
melodies by HW, TTBB, strings, piano, words by
Louvigny de Montigny, for performance at the Quebec
Festival, based on the events during Samuel de
Champlain's first winter in Canada, FH.

 

Chorale Prelude: Andernach, OUP, later assigned
to W.

 

1929

Mass Setting

Motets

Missa de Sancta Albapp for the Anglican Rite, SATB,
organ, through-composed, dedicated to C. Hyton
Stewart, OUP.

 

0 King of Glogy, SATB, a cappella, through-composed,
text from a Sarum antiphon to the Magnificat for
the second Vespers of the Ascension, OUP.

L0, in the Time Appointed, SATB, a cappella,
through—composed, text compiled from Advent
antiphons, OUP.

Hymn Tune

*-

Christ's Wounded Side, author not known, Ms.

Secular Part-Songs

*

Sir Eglamore, TBB, tenor or baritone solo, a
cappella, English traditional arr. by HW, OUP.

 

The Agincourt Song, TTBB, piano, Anon English 14th
Century arr. by HW, also for SATB, piano, also in
Ms for SATB a cappella and SSA a cappella, and for
orchestra, OUP.

 

Shule Agra, traditional arr. by HW, TTBB, baritone
solo, piano, words by A. P. Graves, OUP.

*

239

The Arethusa, English traditional arr. by HW, TBB,
baritone solo, piano, OUP.

 

Secular Part-Song

9(-

Small

Weapflye no more, sad fountains, Anon English 17th
Century, arr. by HW, SATB, a cappella, incomplete Ms.

 

Orchestra
The Agincourt Song, English traditional 14th Century
arr. by HW, OUP.

 

Dramatic Works

*-

The Chepper Mysteries, incidental music: Prelude,
Gloria in Excelsis (de Angelis), Carol—~"Christ is
born today,‘T Interlude and Adoration, Amen, SSA,
harp and strings, written for performance at Hart
House, 1919, part of the score later rearranged and
used as part of the "Nativity Play." Text edited
by Frank M. Conroy and Roy Mitchell, FH.

 

 

 

 

 

 

 

 

 

* Prince Charlie, ballad opera, arrangement of 17
traditional Scots melodies, soloists, flute, violin,
cello and piano, words by J. Murray Gibbon, Ms.

Piano

* Three Short Pieces, CAR
Cello

* Melody, cello and piano, incomplete, Ms.
Collections

* Orgap_Gems, in six volumes, from the classical and
romantic periods edited by HW, FH.«

1930
Canticles

* Magnificat and Nunc Dimittis--Tone II-2 and Tone III,
SATB, cantors, unison Men's or boys' voices, organ,
written for the London Gregorian Association service
at St. Paul's Cathedral, London, July 17, 1930, OUP.

* Benedictus-—Tone I, SATB, Ms.

 

Mass Setting

Mass of Saint Theresa for the Roman Catholic Rite,
unison voices, organ, through-composed, FH.

 

240

 

Carol
Here Ara_Wa in Bethlehem, SATB, a cappella, words by
F. J. Moore, through-composed, OUP.

Hymn Book

* The Hymnary (United Church of Canada), contains
works by HW, also serves as the basis for the
Baptist Church Hymnary (Canada), Toronto.

 

Secular Part-Song
A C1ear_Midnight, SSAATTB, a cappella, words by Walt
Whitman, through—composed, OUP.

 

Collection
* The Red Carol_Book, arrangements of 40 carols from
various sources by HW, unison or SATB, organ/piano,
FH.

 

Piano
* Song of the Volga Boatman, Russian traditional
arr. by HW, Londondergy Air, Irish traditional arr.
by HW, piano, FH.

 

 

Three Character Sketches of Old London, FH.

 

Prelude and Fugue, by Clara Schumann, edited by HW,
FH.

 

Choral Work with Orchestra
A Song of Canada, SATB and orchestra, words by W.
Cecil Fricker, also arr. for unison voices or SATB
and piano, FH.

 

* Mymn to tha Sun, SATB, orchestra, words by Thomas
Hood, Ms.

 

Secular Part-Song
* In Youth is Pleasure, SATB, a cappella, words by
Robert Wever, N.

 

Sigh No More, Ladies, SSAA, a cappella, words by
Shakespeare, FH.

 

Folk—Song Arrangement
* Song of the Volga Boatman, Russian traditional,
voice and piano, Ms.

 

241

Folksong Collections
* Chansons Canadiennes-—Vol. I, FH.
** Sainte Marguerite (also found for SATB and piano
and for SSATB and 2 pianos)
laabeau s:y_promene
La petite hirondelle
Laguelle maprlerons-nous
Rossignol du vert Bocage (also found for SATB,
piano)
Faites mol_un homme sans tete
La Navira_da_Bayonne (also for SATB, w pianos)
Au bois de Rossignolet
Si j'etais_petita mere (also for SATB, piano)
C'est 1a_mon doux plaisir
D'ou viena_tu bergere
La fonpaape est profonde

 

 

 

 

 

 

 

 

 

 

 

 

 

Chansons Canadiannaar-Vol. 2, FR.
Rossignol sauvage
Le Tambpur
J'ai entendu 1e Rossignol chanter
Les enfants au saloir
Le Miroir (also available for SATB, piano)
La Plainte du Coureur-des—Bois
Les Roses Blanches
Il m'a gelaissee
Neypleure_pas tant, Charmante Blonde
La petite Galiote
La Belle a_pris L'Epee
Monsieur 1e Cure

 

 

 

 

 

 

 

 

 

 

 

 

 

1931

Motet
0 King, to Whom_All Thinga Do Live, SATB, a cappella,
through-composed, text compiled from the various
Offices of the Dead, written in memory of Lynwood
Farnham, CF.

 

Secular Part-Songs
To Violets, SSA, piano, words by Robert Herrick, FH.

 

Two Two-Part Songs: When Belinda Playa, words by
J. E. Middleton; The Clown Sopg from "Twelfth Night,"
words by Shakespeare, SA, piano, FH.

 

 

Eternity, SSATB, a cappella, words by Robert Herrick,
OUP. .

Border Ballad, TTBB, piano, words by Walter Scott, CF.

 

242

* Sweet Echo, SATB, a cappella, words by John Milton,
OUP.

 

Orchestral Work
* Three Dances for Small Orchestra, lost, only an
oboe part remains, Ms.

 

1932

Mass Settings
Missa Brevis No. l in E flat, SATB, a cappella,
Kyrie in Ternary form, Sanctus through-composed
with Hosanna repeated after Benedictus, Agnus Dei
Ternary form, CF.

 

 

 

Missa Brevis No. 3 in F major, SATB, a cappella,
Kyrie in modified Ternary form, Sanctus through—
composed with Hosanna repeated after the Benedictus,
Agnus Dei modified Ternary form, CF.

 

 

 

, 1933

Mass Setting
Missa Brevis No. 2 in F minor, SATB, a cappella,
Kyrie and Agnus Dei in Ternary form, Sanctus and
Benedictus through-composed, CF.

 

 

 

Sacred Song
0 Perfect_Love, adapted from the anthem 0 Strength
and Stay, words by D. F. Guerney, HWG.

 

 

 

Hymn Book
* The Hymnal (United Presbyterian Church in the United
States), contains works by HW including the Communion
Service by Merbecke arr. by HW, Philadelphia.

Secular Part—Song
* My Love's an_Arbutus, English traditional arr. by
HW, SSA, a cappella, Ms.

 

Songs
* At thy voica my heart awakes, words by Charles G. D.
Roberts, Ms.

 

Three Sea Shanties: Rocks in de mountens, Boston,
Santa Anna, traditional arr. by HW, Ms.

 

 

243

1934

Mass Setting
Missa Brevis No. 4 based on Corde Natus Ex Parentis,
SATB, a cappella, Kyrie and Agnus Dei in Ternary
form, Sanctus and Benedictus through-composed, CF.

 

 

 

 

Motet
Behold the Tabernacle of God, SATB, a cappella,
through—composed, text from the antiphons for the
Feast of Dedication, dedicated to Leo Sowerby and
written for the 100 anniversary festival of the
Cathedral of St. James, Chicago, CF.

 

Piano
* Four Piano Pieces: No. 1 marked "Allegretto
——for Janie;" No. 2 marked "Andante--for Mary;"
No. 3 marked "For Micky;" No. 4 marked "For Madge"
incomplete date or no date except for No. 3 which is
marked 1934, Ms.

 

1935

Motets
Hodie, Christus natus est, SATB, a cappella, through—
composed, text in both English and Latin compiled from
Christmas antiphons, CF.

 

0 Saving Victim, SSA, a cappella, two verses set to
same music, text from hymn used at Solemn Evening
Devotions, FP.

 

LooM,Downy_0 Lord, SSA, a cappella, modified Ternary
form, text from the Psalms, FP.

 

Canticle
Benedictus es,_Domine in E flat, SATB, organ acc,
through-composed, HWG.

 

* Magnificat and Nunc Dimittis--Tone VII-6 and
Tone VI, SSA, organ, FP.

 

Mass Settings
Missa Brevis No. 5 in F sharp minor, SATB, a cappella,
Kyrie and Agnus Dei in ternary form, Sanctus and
Benedictus through-composed; Hosanna repeats music of
Gloria, CF.

 

 

 

244

Missa Brevis No. 6 in F minor, SATB, a cappella,
based on the chorales of J. S. Bach, Kyrie uses
Hilf, Herr Jesu, the Sanctus Heilig, Heillg, and
the Agnus Dei repeats Christe, Du Lamm Gottes twice,
CF.

 

 

 

Mass of St. Hugp, SSA, organ acc, Kyrie in ternary
form, Sanctus and Benedictus through-composed, Agnus
Qal_modified ternary form, Gloria in Excelsis
through-composed, designed for the Royal School of
Church Music at Chislehurst at the suggestion of
Sidney Nicolson, FP.

 

Songs
* Song——"You are a part of beauty," words by MacDougall,
Ms.

Folk-song Arrangement
BriggyFair, English traditional arr. by HW, FH.

 

Hymn Book
* The Hymnal (The United Presbyterian Church in the
United States), contains works by HW, also the
memunion Service by Merbecke arr. by HW, Philadelphia.

Piano
* Alla Marcia and Tempo di Menuetto, included in the
volume “Meet Canadian Composers at the Piano," GVT.

1936

Canticles .
Benedictas es, Domine--Tone II—2, SATB, cantors, men's
or boys' unison voices, organ, plainsong setting with
fauxbourdons, HWG.

 

* Magnificat--Tone IV, SATB, organ, Ms.

 

Mass Setting
Missa Brevis No. 7 based on the folk melody O Westron
Wynd, SATB, a cappella, Kyrie in modified Ternary
form, other sections through—composed, FP.

 

 

Orchestral Works
* Symphony No. 1 in D Minor, full orchestra, first
performed at a Promenade Symphony concert by the
Promenade Symphony Orchestra under Reginald Stewart,
October 6, 1936, BER.

245

* Coronation March (March Solonelle), full orchestra,
first performed at a Promenade Symphony concert by
the Promenade Symphony Orchestra under Reginald
Stewart, July 1, 1937, BER.

 

Piano
Peter's Book, 7 pieces for piano for children, FH.

 

Patriotic Part-Song
All Hail the Queen, SATB, organ, words by F. Harris,
FH.

 

Song
* Passing My, by Edward C. Purcell arr. by HW,
words from English 17th Century, FH.

 

1937

Canticle
Magnificat on Tone III, 1, and Nunc Dimittis on
Tone III, 5, with faux—bourdons, SATB, cantors, men's
or boys' unison voices, organ, also includes a
fauxbourdon on Aeterne rerum Conditor, tune in
English Hymnal No. 52, RSCM.

 

 

Hymn—Anthem
Before the Ending of the Day, SATB, organ, contrast-
ing settings of the three verses, based on Te lucis
ante terminus, CF.

 

 

Motet
Who is She that Ascendeth? SATB, a cappella,
through—composed, text taken from the antiphons of
the Assumption of the Blessed Virgin Mary, dedicated
to Dr. J. Finley Williamson and the Westminster
Choir of Princeton, N. J., CF.

Small Orchestra
Coronation March, Ms.

 

Folk Song Arrangements
French—Canadian Folk Songs: Sainte Marguerite,
French-Canadian traditional arr. by HW, words tr. by
Paul England, SSA, SOprano solo, piano, also arranged
for SSATB and 2 pianos; Bird of Love (Rossignol de
vert bocage), SSA, piano; The Wedding Day (C'est la
mon doux plaisir), SSA, piano; TheIMirror (Le Miroir),
SA, SOprano solo, piano, also arranged f6r flute,
oboe, strings and piano, Ms.; Little Mother (Si
j'etais petite mere), SA, SOprano solo, piaho, FH.

 

 

 

 

 

246

Deux Chansons Canadiennes: Alouette, A la claire
Fontaine, French—Canadian traditional arr. by HW,
SATB, piano, FH.

 

 

Choral Work with Orchestra
* All Hail the Queen, SATB and orchestra, words by
F. Harris, originally titled All Hail the King, also
known as Coronation Ode, available with organ
accompaniment and in various voicing, FH.

 

 

1938

Service Music
Responsory—-For Use in Time of War, words from
liturgical sources, unison7SATB, organ, FH.

 

Motet Arrangements
0 Sing Unto the Lord, by Hassler, edited by HW,
words from the Psalms, SATB, a cappella, Fl.

 

* Faithful Cross, by King John IV, edited by HW,
words by Fortunatus, tr. by J. M. Neale, SATB,
a cappella, Fl.

* Let us Adore Thee, O Christ, by Ruffo, edited by HW,
SATB, a cappella, Fl.

* Deliver us, 0 Lord, by Batten, edited by HW, SATB,
a cappella, Fl.

* O Pgaise the Lord, by Batten, edited by HW, SATB,
a cappella, Fl. -

Hymn Book
The Book of Common Praise (The Anglican Church in
Canada), containing works by HW including the
Communion Service in D, Communion Service by Merbecke
arr. HW, Burial Sentences by Merbecke arr. HW,
Toronto.

 

Choral Work with Orchestra
Te Deum Laudamus in B flat with antiphons, double
choir and orchestra, through—composed, written to
celebrate the coronation of King George VI and Queen
Elizabeth, performed at a Promenade Symphony Concert
in Toronto by the Bach Choir and Promenade Symphony
Orchestra under Reginald Stewart on June 3, 1937,
later somewhat revised and the antiphons removed and
published as Festival Te Deum with organ accompaniment
by a different publisher, FH.

 

247

Patriotic Part—Song Arrangement
0 Lord, Save Thy Servant Elizabeth, unison voices,
organ acc., adapted from the anthem Thou God That
Guidest Heaven and Earth by William Byrd, FH.

 

 

Rhythm Band
Suite in F major, rhythm band, piano acc., FH.

 

Sacred Songs
* Three Songs of Devotion: My Lord, my life, my love,
words by Isaac Watts; Come Thou, O Come, Latin hymn
tr. by G. Moultrie; Eternal Love, words by E.S.A.,
FH.

 

 

 

1939

Canticle
Magnificat on Tone VI (Solemn) and Nunc Dimittis
on Tone VI, with faux-bourdons, SATB, cantors, men's
or boys' unison voices, organ, FP.

 

 

Canticle Arrangements
Magnificat and Nunc Dimittis with faux-bourdons,
arrangement of the setting by Vincenzo Ruffo, FP.

 

Magnificat and Nunc Dimittis with faux—bourdons,
Arrangement of the setting by Ludovico Viadana, FP.

Mass
Missa Brevis No. 8 (SS. Philippi et Jacobi), SATB,
a cappella, Kyrie and Agnus Dei in ternary form,
Sanctus and Benedictus through-composed with Hosanna
repeating the music of the Gloria, Gloria in Excelsis

 

 

 

 

 

through-composed, written in memory of the composer's
mother, FP.

Madrigal Arrangement
* Hard by a Fountain, by Hubert Waelrant arr. by HW,
words by Thomas Oliphant, SATB, a cappella, FH.

 

Folk Song Arrangement
The Rising of the Lark, Welsh traditional arr. by
HW, unison voices with descant, piano, CF.

 

248

Interludes
* Nowell Interludes, five interludes for the carol
The First Nowell, strings, Ms.

 

 

Patriotic Part—Song
* We Sing a Song of Canada, SATB or unison voices,
alsB'as a—solo song, words by F. Harris, also
reprinted in "World Music Horizons" published by
W. J. Gage and Company, Limited, FH.

 

Piano
* Graded Piano Sight-Reading Tests, in two volumes,
edited with Sir Ernest MacMillan, FH.

 

1940

Anthems
Christ Hath a Garden, SATB, organ, through-composed,
words by Isaac Watts, FH.

 

Sing_A11eluya Forth in Duteous Praise, SATB, organ,
through-composed, text translated from the Latin
by the Rev. John Ellerton, FH.

Hymn Book
* The Hymn Book (Protestant Episc0pa1 Church), contains
works by HW including the Missa Sancta Maria Magdalena,
New York.

 

Chorus Arrangement
Subdue Us by Thy Goodness, SSA, organ or piano,
arrangement of chorus from the Church Cantata No. 22
by J. S. Bach, OUP.

 

Dramatic Work
* Nativity Play, incidental music, music drawn from

other compositions by HW, including part of the
music of The Chester Mystagles, The Three Kinga,
Here are we in Bethlehem, Tyrle, Trylow, the intro—
duction to the anthem While all things were in quiet
silence, SATB, strings and harp, words compiled from
medieval sources by Andrew Allan, Ms.

 

 

Choral Arrangement with Orchestra
* O Canada, arrangement of patriotic song by C. Lavalee,
SATB and orchestra, words by C. Routhier, also
available in various voicings and with piano, small
orchestra or band accompaniment, FH.

 

249

Folksong Arrangements

Carol

Deux Chansons Canadiennes: Alouette, a la claire
fontaine, French Canadian traditional arr. HW,
voice and piano, FH.

 

1941

Arrangement

What is This Lovely Fragrance? SATB, organ, unison
followed by full choir settings of the two verses,
based on an old French carol with words translated
by Ysobel, OUP.

 

Choral Work with Orchestra

it

Songs
*

The Trumpet Call, SATB, orchestra, words by Alfred
Noyes, OUP.

 

Come, 0 Come, My Life's Delight, words Anon English
17th Century, Ms.

 

If I were kipg, poet not known, Ms.

 

When I am aying, poet not known, Ms.

 

O my fairest, poet not known, Ms.

 

Ah my beloved, poet not known, Ms.

 

1941/1942

Dramatic Work

*

Transit Through Fire, radio Opera in four scenes,
soloists, SATB, full orchestra, libretto by John
Coulter, commissioned by the CBC, orchestrated by
Lucio Agostini, performed March 8, 1942, conducted
by Sir Ernest MacMillan, later given concert per-
formance February 18, 1932 at Convocation Hall,

 

University of Toronto with some changes in orchestra-

tion by HW, conducted by Ettore Mazzoleni, Ms.

1942

Orchestral Work

*

A Marching Tune, "To all loyal gentlemen, with a

 

special thought for the Queen's Own Rifles of Canada,"

full orchestra, BER.

250

Dramatic Work

*

Mymn for Those in the Air, background music for the
reading of a poem by Duncan Campbell Scott, narrator,
full orchestra, commissioned by the CBC, performed
April 23, 1943, Ms.

 

1943

Dramatic Work

*

Song
*

Song
*

Motet

Brebeuf and his Brethren, pageant, narrator, SATB,
full orchestra, a setting of the long narrative
poem of E. J. Pratt, commissioned by the CBC,
performed on radio September 26, 1943 under Ettore
Mazzoleni and later the same year in concert per—
formance by the Toronto Symphony under Sir Ernest
MacMillan, performed in the fall of 1967 at Timothy
Eaton Memorial Church, Toronto by the combined
choirs of St. Mary Magdalene and the Youth Choir of
Timothy Eaton Memorial, conducted by HW with David
Ouchterlony, organist, Ave Veram_published
separately, also Three Pieces for Organ is from the
otherwise Ms.

 

 

 

§peed the Victogy, words by J. Murray Gibbon, GVT.

 

After 1943

My love in her attire--"With thought as is becoming
to my deafT’words by Keith Hicks, Ms.

 

1945

Arrangements

Behold how the Rightepus Perisheth, by Jacob Handl,
edited by HW, words from the Psalms, SATB, a cappella,
Ms.

0 All Ye That Pass By, by Croce, edited by HW, words
from liturgical sources, SATB, a cappella, Ms.

 

Patriotic Song Arrangement

The Star Spangled Banner, arr. by HW, words by Francis
Scott Key, music by John Stafford Smith, SATB a
cappella for the visit by the Choir of St. Mary
Magdalene to New York City for two Town Hall recitals
September 24 and 25, 1945.

 

 

251

Canticle
* Magnificat--Tone VIII and Nunc Dimittis—-Tone III-4,
SATB, organ, RSCM Choir Book Reprint.

 

Dramatic Work

* Deirdre, of the Sorrows, radio Opera, soloists, SATB
and full orchestréjrlibretto by John Coulter, first
sketches done in 1941, mostly written between
September 1943 and May 1945, commissioned by the CBC,
performed April 20, 1946 under Ettore Mazzoleni,
later performed in 1951 under Geoffrey Waddington,
some reworking done in 1962, Ms on microfilm at the
CBC Toronto Music Library.

1946

Piano
* Five—Finger Exercises, by Schmitt Op. 16, edited and
with additional exercises by HW, FH.

1947
Mass Setting
Missa Bpevis No. a (Missa Sancti Michaelis), SATB,
a cappella, Myrie, Sanctus and Benedictus through-
composed, Agnus Dei ternary form, HWG.

 

 

Organ

* Miniature Suite: Prelude in E flat, Scherzo in B
Minor, Communion in B Minor, Trio in D Minor,
Intermezzo in G, Finale in E flat, these pieces
originally published separately by CW in 1910,
transferred to A and grouped under the above title,
the Scherzo in B Minor was arranged for strings in
1944 and performed under Godfrey Rideout, A.

 

 

 

* Elegy, originally the second movement of an earlier
Ms work for organ and orchestra, HWG.

Orchestral Work
* Fugue in G Minor, string orchestra, originally part
of the radio cantata Brebeuf, also arranged for
organ, Ms.

Secular Part-Song
* O Lovely Nightingale, French traditional arr. by HW,
SATB, a cappella, for a program at Convocation Hall,
University of Toronto, of music having a close
connection with the "Tonus Peregrinus," Ms.

252

 

1948
Motet
Ave Verum Cogpus, SATB, a cappella, through—composed,
text in both Latin and English, excerpt from
Brebeuf, FH.
Canticles

Carol

Magnificat on Tone VIII, 1 (Solemn) and Nunc Dimittis

 

 

on Tone III, 1, with faux—bourdons, SATB, cantors,
men's or boys' unison voices, organ, HWG.

Magnificat on Tone I, 5 (Solemn) and Nunc Dimittis
on Tone I, 1, with faux-bourdons, SATB, cantors,
men's or boys' unison voices, organ, HWG.

 

 

A soft light from a stable door, author not known,
SATB, soprano or tenor solo, Ms.

 

Orchestral Work

*

Piano

§ymphony No. 2 in C Minor, dedicated to Ettore
Mazzoleni, full orchestra, first sketches written
1936, finished 1948, first performed at the Royal
Conservatory of Toronto by the Royal Conservatory
of Toronto Orchestra under Ettore Mazzoleni, May
1950, BER.

 

Variations on a French Canadian Air--Alouette, Ms.

 

1949

Mass Setting

Missa Brevis No. 10 in C, SATB, a cappella, through—

 

composed, written for the Dedication Festival of
St. Mary Magdalene, HWG.

Canticle

Carol

Magnifiaat and Nunchlmittis in the key of D, SATB,
organ, through-composed, dedicated to the Rev. NOrman
Spicer and written for the Canterbury Choir for the
National Meeting of the Church Congress at Trinity
Church, Boston, HWG.

 

Arrangement
The Twelve Days of Christmas, SSATB, a cappella,
English traditional, BER.

 

 

Carols

Concer
*

Orches
*

Servic

253

Make We Merry, SATB, a cappella, through-composed,
text from the Commonplace Book of Roland Hill in
the Balliol Ms, BER.

 

 

Welcome Yule, TTBB and baritone solo, a cappella
with Optional SSA ending, verses with varying
refrain, text from the Sloan Ms, BER.

 

t Band

ngce Hall Suite, bandstrated by William Teague,
concert band, first performed in Los Angeles by the
U.C.L.A. Band under Patton McNaughton 1949, first
Canadian performance on CBC by Howard Cable in 1952,
A.

 

tral Work

Concerto in C Minor for Piano and Orchestra, piano
and full orchestra, first performed by Agnes
Butcher and the CBC Orchestra under Jean-Marie
Beaudet, May 18, 1944, BER.

1950

e Music

Introits for Festival and General Use, SATB with
organ duplicating the voice parts, non-metrical
settings for SATB followed by unison Psalm verse
and Gloria in plainsong style for various seasons
of the liturgical year, dedicated to George N.
Maybee Of St. George's Cathedral, Kingston, Ont.;
includes a setting of Psalm 24 used at the enthron—
ment of the Anglican MetrOpolitan of Ontario, W.

Faux—Bourdons and New Hymn Tunes, Faux—Bourdons:
St. Michael, Martyrdom, Richmond, St. Anne, §§.
Magnus, Andernach, Christe Redemptor Saeculi,
Conditor Alme Siderum, Duke Street, Rockingham,
Darwall's 148th, Christ ist erstanden, Mannheim,
Oriel, St. Thomas, Iste Confessor; Hymn Tunes:
Rex Coelestia,_Holland_Mpad, Faithful Cross, Haec
Dies, booklet with a reference index to the tunes
and words as printed in the leading hymnals in the
United States, Canada and England, W.

 

 

 

Service Music

i

The Proper of the Church Year, adaptation of the Roman
Rite to the English‘language, Anglican Rite, for use
at the Church of St. Mary Magdalene, started in 1920,
for all Sundays and Feasts of the Church Year, also
Evensongs.

 

 

 

ll 8'1 I1 llllllli

254

Canticle
* Magnificat——Tone II and Nunc Dimittis--Tone II, by
Andreas, arr. by HW, SATB, Ms.

 

 

Carol
A Chrlstmas Lullapy, SSA with tenor or baritone
solo, a cappella, through-composed, words by John
Addington Symonds, BER.

 

Anthem
Like as the Hart, SATB, SOprano solo, organ, through-
composed, text from the Psalms, C.

 

Motet
I Will Lay Me Down in Peace, SATB, quartet or
chorus, a cappella, through-composed, text from the
Psalms, C.

 

Hymn—Anthems
Rise,_Crowned with Light, SATB, organ, contrasting
settings of four verses, based on the "Old 124th"
from the Genevan Psalter, words by Alexander Pope, C.

 

Round Me Falls the Night, SATB, organ, contrasting
settings of three verses, based on "Seelenbrautigam"
with words by William Romanis, C.

 

Lift Up Your Heads, Ye Mighpy Gates, SATB, organ,
contrasting settings of three verses, based on
"Macht hoch die Tfir" with words by Georg Weissel
translated by Catherine Winkworth, C.

 

Father of Heaven, Whose Love Profound, SATB, organ,
contrasting settings of four verses, based on
"Angelus" with words by Edward Cooper, C.

 

Carlst,_Whose Glory Fills the Skies, SATB, organ,
contrasting settings of three verses, based on
"Ratisbon" with words by Charles Wesley, C.

 

Hosanna to the Living Lord, SATB, organ, contrasting
settings of three verses, based on "Vom Himmel hoch"
with words by Reginal Heber, C.

 

Organ
Barcarolle, second movement of the unfinished Suite
for Organ, A.

 

Six Chorale Preludes--Set l: Quem Pastores, Lasst uns

 

 

alle frohlich sein, Song 13--Or1ando Gibbons,
Gelobet sei Gott--Melchoir Vulpius, Bevan--John
Goss, O wie selig, C.

 

 

 

255

Secular Part-Song

Piano
*

Motets

OnyMay_Morning, SSA, piano, BER.

 

Babar's Royal March, for John Mason, Ms.

 

1951

The Splrit of the Lord, SATB, a cappella, through-
composed, text from the Invitatory and antiphons
for Whitsuntide, C.

 

Christ, Our Passover, SATB, a cappella, through—
composed, text from the Gradual for the Feast of
the Resurrection, C.

 

Anthems

Organ

Sing We Triumphant Songs, SATB, organ, through—
composed with antiphonal passages, words by the
Venerable Bede translated by Benjamin Webb, in—
scribed to His Grace the Most Rev. John Lyons,
Archbishop of Ontario and the choirs of the
Diocese and written for the Festival held in St.
George's Cathedral, Kingston, Ontario, HWG.

 

Blessed Art Thou, O Lord, SATB, organ, through-
composed, text from the Sarum Gradual and verses
of a hymn from the English Hymnal, OUP.

 

Five Preludes on Plainsong Melodies: Aeterna
Christi manera, Christi Redemptor omnium,

Ecce iam nobis, Ave maris stella, Urbs Hierusalem
Beata, OUP.

 

 

 

 

 

 

Six Chorale Preludes--Book 2: Nun preiset alle,
O Trauigheit, Mit FrieQ' und Freud, Lobt Gott,
ihr Christen, Christum,_wir sollen loben sehon,
Vexilla Regls, C.

 

 

 

 

 

 

Orchestral Work

*

Oventureypo_an Unwritten gomedy, dedicated to John
Adaskin, fuIl orchestra, first performed by the CBC
Orchestra under John Adaskin in 1951, Ms.

 

Motets

Collec
*

Carol

256

1952

Giant Us Thy Light, SATB, a cappella, through-
composed, words from a Sarum antiphon, C.

 

Wortpy Art Thou, O Lord, SATB, a cappella, through—
composed with AlIeluia passage before and after the
text, text from a Sarum antiphon to the Magnificat
for the second Sunday after Easter, C.

 

Hosanpa to the Son of David, SATB, a cappella,
through-composed, text from the prOpers for Palm
Sunday, C.

 

I Will Lift Uprine Eyes, SATB, a cappella,
through-composed, text from the Psalms, C.

 

Great is the Lord, SATB, a cappella, through-
composed, text taken from the Psalms, written for
the centenary of the Toronto Diocesan Synod and
inscribed to the Right Reverend Ray Beverley,
Lord BishOp of Toronto, OUP.

 

Gloria Deo_per Immensa Saecula, SSATB, a cappella,
through—composed, enaing with a fugue, text from the
Doxology to a hymn from the use of the Church in
York c. 1100 as translated by Alan G. McDougall, W.

 

tion

Chlldren's Favourite Christmas Carols, arranged
from various sources, with Erawings by Mary Mason,
unison voices, piano, FH.

 

Sun of Righteousness, SSAATB, a cappella, through-
composed, text from "A Handfull of Celestial Flowers"
manuscripted by Ralph Crane, BER.

 

Secular Part-Song

To Daffodils, SSA, piano, words by Robert Herrick,
BER.

 

Folksong Arrangements

Saint Marguerite, French-Canadian traditional SSATB,
2 pianos, words by Paul England, for the Pittsburg
International Music Festival, November 1952, FH.

 

La Navire de Bayonne, French traditional, SATB,
2 pianos, words by Paul England, for the Pittsburg
International Music Festival, November 1952, FH.

 

257

1953

Canticle
Benedictus on Tone VIII, 1 (Solemn) and Jubilate
gap on Tone VIII, 1, with faux-bourdons, SATB,
cantors, men's or boys' unison voices, organ, OUP.

 

 

Te Deum (We Praise Thee), unison choir, organ,
abbreviated form of the Te Deum, in We Praise Thee,
Vol. I, C.

 

Anthems
Hosanna to the Son of David, SA or SSA, organ,
through-composed, text from the prOpers for Palm
Sunday, C.

 

ayPrayer of Rejoicing, SATB, organ, through—composed,
text from a selection of verses from the Apocrypha,
composed for the St. Cecelia's Day Festival at St.
Sepulchre's Church, Holborn, England, N.

 

O Lord, our Gpvernour, SATB, full orchestra or
organ, thFOugh—composed, text compiled from the
Psalms as found in a Prayer Book containing a
Thanksgiving service for Queen Victoria, written
for the Coronation of Queen Elizabeth II, N.

 

The King Ascendeth into Heaven, SA, organ, 0.

 

Hymn—Anthem
Come, Thou Redeemer of the Earth, SA, organ,
contrasting settings of three verses, based on
"Puer Nobis Nascitur," C. .

 

Collection
We Praise Thee--Vol. 1, words from various sources,
settings marked ** are available separately, C.

 

** We Praise Thee, O God
** Come, Jesus:“Hon Child
Hossanna NOw’Through_Advent
Sing, Oh Sing, ThIEIBlessed Morn
** Snowy Flakes are—Falling SIOle
UfitO_Us a ChiIdIIs Born
From tHe Eastern Mountains
** Lamb of‘God, Pure and HOIy
** THEre_Is a Green—Mill Far Ayay
** O Christ, Thou Lamb of Ga;
** Christ Hath Humbled Himself
0 Saviour of the Wogld
Give Ear, O Lord,,unto My Prayer
** Hosanna to the Son of Davig

 

 

 

 

 

 

 

i“!-
*3!-
96*

96*
**

Carol

258

Angels,L Roll the Rock Away

Christ Beipg Raised from the Dead
The King Ascendeth into Heaven

If Ye Love Me

Holy Spirit, Hear Us

Glory to the Father Give

Holy, Holy, Holy is the Lord of Hosts
Truly My Soul Waiteth uppn God

I Have Trusted in T_y Merqy

Let the Pe_ple Praise Thee,_O God
Oh Praise the Lord, All Ye Nations
Blessed Are the Undefiled

Oh, How Amiable Are pr Dwellings

 

 

 

 

Arrangement

Come, Jesus, Holy Child, unison chorus with descant,
organ or piano, based Puer nobis nascitur" with
words translated from the German by Paul Z.
Strodach, C.

 

Mass Setting

Missa Brevis No. 11 (Missa Sancti Johannis
Baptistae), SSATB, a cappella, Kyrie and Agnus
gel ternary form, Sanctus and Benedictus through-
composed, HWG.

 

 

Hymn Book

*-

The Chapel Hymnal, contains works by HW, New York.

Choral Work with Orchestra

9(-

Organ
*

Coronation Suite: Prelude, Ring out ye Crystall
Spheares, Intermezzo, Come, reaay lyre, Come, Thou
Beloved of Christ, SSATB and orchestra, words by
John Milton, J. E. Ward and the Veni Sponsa from
Psalms 45 and 11, first performed in Toronto by

the CBC Orchestra under Geoffrey Waddington and the
Festival Singers under Elmer Iseler June 2, 1953,
choral movements published separately by BMIC, the
intermezzo arranged for organ under the title
Interlude for a Festival, BER.

 

 

 

 

 

 

Chorale Prelude--Kremser, in The Parish Organist-—
Part 2, C.

Chorale Prelude-—St. Thomas, in The Parish Organist-—
Part 3, C.

Secular Part-Song

*-

Say Not the Struggle Naught Availeth, TTBB, a cappella,
words—by A} H. Clough, in memoria Nickolas Ignatieff,
FH.

259

c. 1953

Magnificat—-Tone I-5 and Nunc Dimittis—-Tone III-4,
TBB, Ms.

 

 

1954

Anthems

Lord of all Being, SATB, organ, through—composed,
words by Oliver Wendell Holmes, OUP.

 

Lord Thou Hast Been Our Refuge, SATB, bass solo,
organ, through- composed, text from the 90th Psalm,
BER.

 

O Sing unto the Lord a New Somg, SATB, baritone
solo, organ, through-composed, text compiled from
the Introit for Cantate Sunday, later revised to
include optional parts for brass quartet, P.

 

Isaiah, Mighpy Seer, SATB, organ, through-composed,
text is a compilation from Isaiah as translated by
Martin Luther in the Lutheran Bible, C.

Hymn—Anthem

Sing to the Lord of Harvest, SATB, organ, through-
composed, based on "Wie lieblich ist der Maien" with
words by J. S. B. Monsell, contrasting settings of
three verses, rearranged in 1958 for SAB, C.

 

 

Communion Setting

Carol

Communion Service in D, unison voices, organ,
through— composed, HWG.

Arrangement
Jesous Ahathonia, SATB, organ or piano, rearrangement
of earlier unison arrangement, FH.

 

Dramatic Work

it-

Organ

Theatre of Neptune, incidental music, TTBB and two
pianos, words by Marc Lescarbot, tr. by R. Keith
Hicks, performed at the Arts and Letters Club,
Toronto on May 6 to 8, 1954, Ms.

 

Three Pieces for Organ: Prelude and Fugue, Tema'
Ostinato, Festival, FH.

 

 

260

c. 1954

Canticle
* Magnificat—-Tone VIII, TTBB, Ms.

 

1955

Mass Setting
Missa Brevis ip G for male voices (Lutheran), TTBB,
a cappella, Kyrie in ternary form, Gloria in
Excelsis and Sanctus through-composed, Agnus Die
in modified ternary form, commissioned by the Lyceum
of the Students' Association of Concordia Seminary,
St. Louis, Mo., C.

 

 

 

Communion Setting

 

 

 

* Communion Service in D, unison voices, organ, Ms.
Canticles
Magnificat and Nunc Dimittis in E flat, SATB, organ,
0UP.
* Magnificat--Tone VI and Nunc Dimittis-—Tone III-l,
SATB, TGA.
Hymn Book

* The Hymn 999K (The Presbyterian Church in the USA),
contains works by HW including the Communion Service
by Merbecke arr. by HW, John Ribble.

 

 

Carol
A_ghristmas Praise, SATB, organ, unison and
harmonized settings of the melody, AUG.
Cantata

The Story of Bethlehem, SSA, unison children's
voices, organ, based on the chorale Vom Himmel Hoch,
text from the Gospel according to St. Luke, C.

 

Organ
Chorale Prelude on "Te lucis," OUP.

Choral Work with Orchestra
* A Song of Welcome, SATB and orchestra, words by
Nathaniel Benson, for the Stratford Shakespearean
Festival in 1955, performed by the Festival Singers
under Elmer Iseler and the Hart House Orchestra
under Boyd Neel, Ms.

 

261

Song
* Gaietes de Printemps-—A Song for the Spring Revue of
the Arts and Letters Club, words by Keith Hicks, Ms.

 

1956

Service Music
Reeponsaries for the Office of Tenebrae, SATB, a
cappella, for the ancient service of Tenebrae held
on Wednesday, Thursday and Friday evenings of
Holy Week, in conjunction with cantor and unison
men's choir, a cappella, BER.

Canticles
Te Deum Laudamus, SATB, organ, through-composed, an
arrangement of the short anthem We Praise Thee, O
gpd_from the collection We Praise Thee—-Vol. 1, C.

 

 

* Magnificat-—Tone VIII—l (Solemn) and Nunc Dimittis-—
Tone III-l, SATB, TGA.

 

 

Anthem
Rejpice Greatly, SA or TB, organ, ternary form,
text from Zachariah, C.

 

Mass Setting
Missa Brevis NO. 12 (Christe Redemptor Omnium),
SATB, a cappella, Kyrie in ternary form, Sanctus
and Benedictus through-composed, Agnus Dei in
modified ternary form, based on the Sarum plain-
song melody, HWG.

 

 

Hymn Book
* The Hymn (Hymn Society of America), contains works
by HW, New York.

* Mymnal for Colleges and Schools, contains works by
HW, Yale.

Hymn Tune
* §pes Mundi, written for the Hymn Festival in St.
Paul's Cathedral, Buffalo, February 20, 1955,
included in The Hymn.

 

Organ
Soliloguy, in "An Easy Album for Organ," OUP.

 

Chorale Prelude on "Adoro Te Devote," in "Organ
Music for the Communion Service;" C.

 

262

Chorale Brelude--Easter Mymn, in "The Parish
Organist-—Part78,"'C.

 

Chorale Prelude--Italian Hymn (Moscow), in "The
Parish Organist--Part 8," C.

 

Epilogue on "St. Theodulpp," in "Festival
Voluntaries——Book 3," N.

 

Prologue on "Ascension," in "Festival Voluntaries—-
Book 5, N.

 

 

Ten Hymn Preludes--Set 1: Song 24-—Gibbons,
Richmond, Hyfrydol, gape Town, St. Flavian,
Melcombe, Old Hundredth, St. Columba, O Filii et
Filiaa, Aberystpyth, P.

 

 

 

 

 

 

 

 

Postlude in E Minor, in "Preludes, Interludes and
Postludes-—Vol. l," P.

 

Choral Work with Orchestra

it

Chorale--Prelude NO. l, Puer nobis nascitur,
arrangement for SOprano and strings of the com-
poser's work for organ, words from German tradi-
tional, arranged 1928, PVB. C, 1956.

 

1957

Service Music

Introits for the Church Year (Lutheran), SATB and
unison voices, organ, non-metrical settings of the
texts, followed by Psalm verses and Glorias in
unison on authentic Tones for variOus seasons of
the liturgical year, C.

 

Canticles

Magnificat and Nunc_Dimittis in A, SATB, organ,
through-composed, written for the Northern
Cathedral Choirs Festival in York-Minster and
inscribed to the choirs of York, Durham and Ripon,
in the "Parish Choir Book," N.

 

Nunc Dimitti§_on Tone III, SATB, organ acc., Ms.

 

Magnificat-—Tone I-5 and Nunc Dimittis-—Tone II—l,
TGA.

 

 

263

Anthems

Carol

Carol

Ye Shall Know That the Lord Will Come, SATB,
Optional solos, organ, through-composed, text
from the Sarum Antiphonary and verses of a poem
by the Rev. John Brownlie, P.

0 Be Joyful in God, SATB, s0prano or tenor solo,
organ, through-composed, text from the Psalms, P.

 

Arrangements

While the Herds Were Sleepipg, SS, organ or piano,
based on Chantons je vous prie with words by
William Canton, C.

 

Bethl'em Lay a—Sleeping, SS, organ or piano,
based on a Polish carol with words by Frances B.
Wood, C.

A Christmas Praise, A.R.G., (Christmas Annual, 1934),
SATB: unison, piano, Aug.

 

Hymn Tune Arrangement

*

Organ

O Gracious Father God of Love, to the melody Spes
Orbis, words by John A. Mueller, C.

Rondino, Elegy and Chaconne, published separately
in "Novello Organ Music Club Series," Elegy
inscribed to H.L.B., 2, N.

Ten Hymn Preludes--Set 2: Wareham, Ebenezer
(Ton—y-botel), Tallis' Ordinal, Deo Gracias, This
Endris Nyght, Old 124th, Old 104th, Bristol,
Martyrdom, St. Phillp, P.

 

 

 

 

 

 

 

Ten Hymn Preludes--Set 3: St. Thomas, Windsor,
Iste Confessor, Tunbridge, Song 22--Gibbons,
Newbur , ChFIst ist erstanden, A Rouen Meloay,
St. Venantius (RouenI; Nun lasst uns Gott dem
Herren, P.

 

 

 

 

 

Epithalame (Sortie), composed for the marriage of
Sir William and Lady McKie in Westminster Abbey,
1956, BER.

Secular Part-Song

Three Songs to Music: A Hymn to the Muses, To
Music--A Song, To Be Merry, SATB, piano, words by
ROBErt Herfick, composed’in 1904 under the title
A Song-Cycle-—"To Music," revised for publication,
BER.

 

 

 

26A

Violin

* The Abydos Air——Amice Claverlt, arr. HW, violin and
piano, OUP.

1958

Collection
The Twelve Sayings of Jesus, unison or two—part

anthems and motets for children's voices, organ
or piano, C.

Canticle
Magnificat on Tone II, 2 (Solemn) and Nunc
Dimittis on Tone VI, 1, with faux—bourdons, SATB,
cantors, men's or boys' unison voices, organ,

also found in "The Great 0 Antiphons of Advent,"
C.

 

The Magnificat Tone IV with faux-bourdons, SATB,
cantors, unison male voices, organ, written for
the film "Man of Music," Ms.

Service Music
The Great 0 Antiphons of Advent, SATB, organ
duplicating voices, non-metrical settings of the
texts, contains the text for an Advent and a
Christmas Eve service, C.

The Aaronic Benediction and The Apostolic Benedic-

tion, SATB, a cappella and SSATB, organ, respectively,
P.

Hymn-Anthems
Hymn—Anthem on the Tune "0 Quanta Qualia," SATB,
organ, contrasting settings of four verses, P.

Hymn-Anthem on the Tune "0 Strength and Stay," SATB,
organ, contrasting settings of three verses, based
on "Donne Secours" with words ascribed to St.
Ambrose translated by J. Ellerton, P.

Hymn—Anthem on the Tune "Father,_We Praise Thee,"
SATB, organ, contrasting settings of three verses,
based on "Christe Sanctorum" with words ascribed
to St. Gregory the Great translated by Percy
Deamer, P.

Hymn Books
* Armed Forces Hymnal, contains works by HW, Washington.

265

* Service Music and Hymnal (Lutheran), contains works
by HW including the Missa de Sancta Maria Magdalena,
St. Louis.

 

 

* New St. Basil's Hymnal, including works by HW
including the hymn tune Hail Mary, Cincinatti.

 

* Songs of Praise for Schools, contains works by HW,
Toronto.

 

Service Music
Psalm A3, Plainchant--Tone IV—6 with faux-bourdons
on verses 2, A and 6, words from the Psalter, SATB,
performed in Westminster Abbey for the closing of
the Lambeth Conference on Auguest 6, 1958, MS.

Organ
Postlude in D, in "An Album of Praise," OUP.

 

Prelude,yFughetta and Intermezzo, BER.

 

Scherzo, Fanfare and Finale, BER.

 

1959

Service Music
Graduals for the Church Year (Lutheran), SATB, organ
duplicates voices, non-metrical settings of the
texts for various seasons of the liturgical year, C.

 

Canticle
Magnificat and Nunc Dimittis with faux—bourdons.
SATB, cantors, unison male voices, organ acc.,
arrangement of canticles by Carolus Andreas, Ms.

 

Communion Settings
* The Office of Holy Communion, by John Merbecke,
arr. and edited by HW, ABC.

 

* The Order of Holy Communion for the Lutheran
Liturgy, SATB or unison voices, organ, C.

 

Carol Arrangement
* From Heaven High I Come to Earth, German traditional,
SA, SA, organ, C.

 

Motet
* Create in me a clean heart, SATB, a cappella, words
from liturgical sources, an arrangement of the
Offertory of "The Order of Holy Communion" for the
Lutheran Liturgy, published in "The Church Choir,"
and "The Second Morning Star Choir Book," C.

 

266

Hymn-Anthem
Hymn—Anthem on the Tune St. Osmund, SATB, organ,
contrasting settings of three verses, P.

 

Collection
Carols of the Seasons, unison, two and three-part
motets and anthems with piano or organ, for
children's voices, from various sources, includes
the text for a service of Nine Lessons and Carols,
C.

 

Organ
A Fugal Trilogy: Chorale and Fugue, Aria and Fugue,
Elegy and Fugue, OUP.

 

Five Pieces: Fanfare, Prelude and Fughetta,
Intermezzo, Scherzo, Finale Jubilate, BER.

 

 

 

 

 

* Passacaglia and Fugue No. 2 in E Minor, dedicated
to Sir William McKie, first performed by Charles
Peaker at Convocation Hall, University of Toronto,
September 2, 1959, P.

Orchestral Works
* A Royal Salute-—March, also found under the titles
Salute for the Queen and Royal Tribute, full
orchestra, first performance by the CBC Symphony
Orchestra under Geoffrey Waddington, June 17, 1959,
Ms.

 

 

 

* Poem, string orchestra, composed around 190“,
originally the slow movement of an incomplete string
quartet in E minor, in one Ms titled Celtic Sketch
No. 1, BER.

 

Brass Choir
* Three Fanfares, written for the Ceremony of Pre-
sentation of Tribute by the Hudson's Bay Company to
the Queen at Winnipeg, July, 1959, Ms.

1960

Service Music
From the Eastern Mountains (Epiphany Procession),

 

 

with words by the Rev. Godfrey Thring, OUP.

Hymn-Anthems
Hymn-Anthem on the Tune "Fairest Lord Jesus," SS,
organ, unison and'descant setting,_C.

 

267

Hymn—Anthem on the Tune "Marion," SATB, organ,
contrasting settings of four verses, P.

Hymn-Anthem on the Tune "Old Hundredth," SATB,
organ, contrasting settings of three verses, P.

Hymn—Anthem on the Tune_"Ye Watchers and Ye Holy
Ones,"lSATB, organ, contrasting settings of four
verses, P.

Hymn—Anthem on the Tune "Breslau," SATB, organ,
contrasting settings of two verses, P.

Anthems
Christ is Risen, Alleluia! SATB, organ, through-
composed, text based on words prOper to the Lutheran
liturgy, C.

God is Gone up With a Shout, SATB, organ, through—
composed, text based on Psalm verses, C.

Arise, Shiney_for They Light is Come, SATB, organ,
through-composed, text from Isaiah, the Epistle
for the Epiphany of Our Lord and Psalm 117, C.

Unto Us the Christ is Born, SATB, organ, through-
composed, text from the Gospel according to St.
Luke, the Gospel for Christmas Day, the Christmas
Invitatory and a Christmas antiphon, C.

Rejoice,_O Jerusalem,L Behold,Thy King Cometh, SATB,
organ, through-composed, text from the Epistle to
the Romans, the Epistle for Advent I and two Advent
antiphons, C.

 

Behold the Lamb of God, SATB, organ, through—composed,
text from the Gospel according to St. John and from
Isaiah, C.

 

O_Be Joyful, SATB, organ, through—composed with
text the Jubilate which could be used as service
music, OUP.

 

Hymn Book
* Hymnal (the Church of Ireland), containing works
by HW, Dublin.

268

Military Band

*-

Elegie Heroique, for the Centenary of the Queen's
Own Rifles, military band, scored for band by
Captain W. Atkins, B & H.

Dramatic Work

*

Anthem

The Shadoyy Water, incidental music, harp, words by

W. B. Yeats, adapted for radio by Peter Howarth, Ms.

1961

IS

Holy,_Holy, Holy is the Lord of Hosts, SATB,
soprano and tenor solo, organ, through-composed,
words based on a selection of Lutheran texts, C.

Come, Holnghost, SATB, organ, through-composed,
words based on texts prOper to the season of
Pentecost, C.

Rejoice in the Lord, O_Ye Righteous, SATB, organ,
through-composed, text from the Psalms, C.

I Will Give Thanks, SATB, organ, through-composed,
text from the Psalms, C.

Hymn-Anthems

Mass

Hymn B
*

Hymn—Anthem on the Tune "Praise to the Lord," SATB,
organ, contrasting settings of four verses, P.

Hymn-Anthem on the Tune "St. Venantius," SATB,
organ, contrasting settings of three verses, P.

Hymn—Anthem on the Tune "Picargy," SATB, organ,
contrasting settings of four verses, P.

Missa Brevis No. 13 (Holy Cross), SATB, a cappella,

Kyrie and Agnus Dei in ternary form, Sanctus and
enedictus through-composed, BMIC.

ooks

The Hymns of the Week (Lutheran), in 5 volumes,
containing works by HW including faux-bourdons to
Puer nobis nascitur, St. Columba, St. George
(Windsor), Winchester New,’St} Louis.

 

Trinity Hymnal (Orthodox Presbyterian Church)
containing works by HW, Philadelphia.

 

269

Hymn Tune

*

Schola Cantorum, written for St. George's College,
Toronto, words by Lawrence Housman, Ms.

 

Mass Setting

*-

Gloria and Credo, for Missa_Brevis No. 12, based on
the Christmas Plainsong hymn Christe Redemptor
Omnium, Ms.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Organ
Short Hymn-Preludes and Postludes, Set 1: Angel's
Song, Gibbons, Bishopthorpe, Caithness, Darwall,
Dundee, Miles Lane, Nicaea, Old 120th, Rockingham,
St. Anne, St. Magnus, St. Peter, P.
Short Hymn-Preludes and Postludes, Set 2: Bangor,
Campian, Carlisle, Dominus Regit me, Durham, Ellers,
Gardiner, Irish, Sandys, London New, St. Bride,
Song I, Gibbons, P.
Short Hymn-Preludes and Postludes, Set 3: All
Saints New, Bedrord, Evantide, St. Crispin, St.
Cross, St. Cuthbert, St. Gabriel, St. James, St.
Stephen, Song 67, Gibbons, Mouthwell, Walsall, P.
Two Pieces: Matins, Evensong, P.

1962
Collection

ii-

*I‘

*i'

i!

We Praise Theef-Vol. 2, from various sources, unison,
SS, SSA, C.

 

Make a Joyful Noise unto the Lord (Jubilate Deo)

I Am the Ressurection and the Life

Oh, Send Out Thy Light

Reloice in the Lord Alway_

Behold, I Send My Messenger

God Be Merciful unto Us and Bless Us (Deus miseratur
nostri)

Magnificat

When the Herds Were Watching

The Word Was Made Flesh

Lo, the Star Which They Saw

The Seed Is the Word of God

Now Are Ye Light in the Lord

The Responsary for Passiontide

At the Name of Jesus

Surely He Hath Borne Our Griefs

Christ, Our Passover

Oh, Sing unto the Lord a New Song

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

270

Verily,_Verily_I Say unto You

Lift Up Your Heads, 0 Ye Gates

I Will Not Leave You Comfortless

Bless We the Father, the Son, and the Holy Ghost
Nunc Dimittis

I Was Glad

 

 

Hymn Book
* The Hymn Book for Children, arranged by HW from
various sources, including the following original
hymn tunes by HW: St. Christopher, St. Francis,
Sancte Spiritu, Balham, Procession, Thank You,
St. Richard, St. Wilfred, Lullaby, OUP.

Carols

* Two Carols: To a Virgin‘Meek and Lowly, words by
V. E. Boe, Oh how beautiful the sky, words by I.
Dorrum, SATB, C.

Song Arrangement
* We'll hang him up the river, Canadian traditional
set down by HW, for the stage production of "Riel"
by John Coulter and later used in the opera "Louis
Riel" by Harry Somers, Ry.

Hymn-Anthems
Strengthen for Service, Lord, the Hands, SATB,
organ, contrasting settings of three verses, based
on the tune Ach Gott Und Herr with text taken from
the liturgy of Malabar as translated by C. W.
Humphreys and P. Dearmer, P.

Lo! He Comes, with Clouds Descending, SATB, organ,
contrasting settings of four verses, based on
Bgyn Calfaria_with words by Charles Wesley, C.

1963

Anthem
0 Praise the Lord, SATB, organ, through-composed,
text from the Psalms and the Habakkuk, written for
the Anglican Congress of 1963 and inscribed to the

Right Rev. Frederick H. Wilkinson, Lord BishOp
of Toronto, P.

Canticle
Festival Te Deum, double choir, organ, through-
composedj'a're—working and shortened version of
the Coronation Te Deum for the coronation of King
George VI and Queen Elizabeth in 1938, rewritten
for the Anglican Congress of 1963, P.

Mass

271

Missa Brevis No. l5 (St. Alphege), SATB, a cappella,
Kyrie and Agnus Dei in ternary form, Sanctus and
Benedictus through-composed, containing a postlude
for organ, the fugue improvised for the students

by the composer in the film "Man of Music," BER.

Service Music

Organ
*

The Canadian Psalter (Plainsong Edition), informa—
tion on prOper singing of plainsong, the Psalm Tones,
pointing and the use of various propers, Versicles
and Responses for Morning and Evening Prayer,
Canticles, Litany, Psalm settings, ABC.

Accompaniments to the Canadian Psalter (Plainsong
Edition), TGA.

Fugue in E Minor, used in the National Film Board
documentary film "Man of Music," also published
as a Postlude with Missa Brevis No. 1“, BER.

 

 

196A

Hymn-Anthems

Servic

Orches
*

lesunyood Above All Other, SS, organ or piano,
unison and descant setting of Quem Pastores with
words by Percy Dearmer, P.

 

Let All the World in Every Corner Sing, SSA, organ
or piano, contrasting settings of two verses, P.

Through the Dale y Love Has Spared Us, SATB,
SOprano or tenor solo, organ, contrasting settings
of three verses of the tune St. Leonard, with
words by the Rev. Thomas Kelly, P.

 

Now Thank We All Our God, SATB, organ, contrasting
settings of three verses, P.

e Music

The Responsories for the Church Year (Lutheran),
SATB, organ, non-metrical settings of the texts
followed by Psalm verse and Gloria in plainsong
style for-various seasons of the liturgical year, 0..

tral Work

Sumer is Icumen--Master Rowland his fancie::Winter
begone, commissioned by the CBC in memory of Roiland
Pack, part of a suite of pieces by different composers
based on the melody Sumer is icumen in, small
orchestra, Ms.

 

272

 

 

Organ
Intermezzo for a Festival, arranged from the
Coronation Suite, third movement, BER.
1965
Anthem

* Agnus Dei--O Christ Thou Lamb of God, words from
the Lutheran Liturgy, unison voices, organ, C.

 

 

Hymn Book
* The Hymn of the Week (Lutheran), SAB, works by HW,
St. Louis.
Organ

Andante, Fugue and Chorale, P.

 

Dramatic Work

* Deirdre, grand opera, full scale revision of the
radio Opera Dierdre of the Sorrows, revised for
live performance by the Opera School of the Faculty
of Music, University of Toronto, performed in the
Sir Ernest MacMillan Theatre of the Faculty of
Music on April 2, 3 and 5, 1965 under Ettore
Mazzoleni, later presented at the OKeefe Centre for
the Performing Arts by the Canadian Opera Company
on September 24 and 29 and October A, 1965 under
Ettore Mazzoleni, BER.

 

1966

Hymn-Anthems
Rejoice, 0 Land, SATB, organ, contrasting setting
of three verses of the tune Wareham to words by
Robert Bridges, P.

 

Lord of all Hopefulness, SATB, organ, contrasting
settings of four verses of the tune Slane to words
by Jan Struther, P.

God of Mercy, SATB, organ, contrasting settings of
three verses of the tune Heathlands to words by
H. F. Lyte, P.

 

 

Anthem
O Sing Unto the Lord a New Song, SATB, baritone
solo, organ,_revis10n of anthem to include an
optional brass quartet, P.

 

 

273

Hymn Book
* The Catholic Hymnal, Roman Catholic, works by HW
including the Missa de Maria Sancta Magdalena,
New York.

 

 

Organ
* Chorale Prelude--Horsley, in "The Parish Organist"—-
Part 11, C.

 

* Chorale Prelude—-Windsor, in "The Parish Organist"—-
Part 12, C.

 

* Chorale Prelude--Watermouth, in "The Parish
Organist"--Part 12, C.

 

Hymn
Hymn-Anthem (Centennial), SATB, a cappella,
written for the Inter-Faith Conference in Quebec
City, 1967, BER.

 

1967

Orchestral Work
Centennial March, full orchestra, BER.

 

Organ
Chorale Prelude-—Slane, "At the close of the day,"
P.

 

Anthem
Lord, Thou hast been our Refuge, SATB, organ, words
from the Psalms, FL.

 

Patriotic Song Arrangement
* God Save the Queen, arranged by HW, for the
Souvenir Program of the International College of
Organists, Toronto.

 

1968

Hymn Book
* Worship and Hymns for All Occasions (United
Presbyterian Church in the U.S.A.), with works by
HW, Philadelphia.

 

 

27a

Manuscrlpt Compositions Without a Date

 

Anthems

*

Carol

By the Waters of Babylon, SATB, organ, words from
the Psalms, incomplete.

 

Lord, Thou hast searched me out, SATB, organ, words
from the Psalms, incomplete.

 

Blessed be the Lord God of Israel, SATB, organ,
words from Biblical sources, incomplete.

 

Sing, My Tongge, SATB, organ, words by Fortunatus,
tr. by J. M. Beale, incomplete.

 

Love Divine, soprano line, organ, words by C.
Wesley, possible opening of an anthem or of a
sacred song, incomplete.

 

Arrangements
Bring Us in Good Ale, English traditional, SATB,
a cappella.

 

Come Rock the Cradle, English traditional, SATB,
a cappella.

 

D'Ou Viens Tu Bergere, French—Canadian traditional,
SATB, baritone solo, a cappella.

 

Earth Today ngoices, German traditional, SATB,
a cappella.

 

Welcome Yule, English traditional 15th Century,
SATB, string quartet, not to be confused with a
later setting of the same name.

 

Mass Setting Arrangements

 

 

 

* Mass for Four Voices, by William Byrd, SATB,
a cappella.
* Mass for Five Voices, by William Byrd, SATTB,
a cappella.
* Missa::L'Hora Passa, by Orlando di Lasso, SATB,
a cappella.
Canticles

Solemn Te Deum (faux-bourdon to verse 5, SATB,
a cappella).

 

 

275

Hymn Book

*-

The Hymnal of Nlppon Sei Ko Kwai (Anglican Church
of Japan), with works by HW, probably originating
in Tokyo.

 

Service Music

*

Motet

O Come Let Us Worshlp, SATB, words from Liturgical
sources, refrain from plainsong setting of Epiphany
Invitatory.

 

Turbae--Passion According to St. Matthew, setting
of the verse "Truly this was . . . ," SATB,
composed for use with Vittoria's setting.

 

Miserere--Psa1m 51, last verse of Allegri's setting,
SSATB, arr. by'HW.

 

The Reproaches, by Vittoria, arr. by HW, cantor,
SATB, a cappella.

 

And Was Incarnate--four settings for the verse
"And was incarnate for Credos Nos. 3, A (2 versions),
and 8, SATB, a cappella.

 

The Lord is Mnyight, SATB, a cappella, words from
the Psalms, incomplete.

 

Behold How Good, SATB, a cappella, source of words
not known, incomplete.

 

Hymn Tune

*-

(Travellers on the Land), title taken from the hymn,
words by the Rev. Canon Sydenham B. Lindsay of
Ottawa.

Hymn Tune Arrangement

'1’

Christe Sanctorum, Deus Tuorum Militum, Pearsall.

 

 

Canticles

*-

Magnificat--Tone I and Nunc Dimittis—-Tone VI by
Viadana, arr. by HW, SATB.

 

 

Magnificat-—Tone VIII, 17th Century Anon, arr. by
HW, SATB.

Nunc Dimittis--Tone III-5, 17th Century Anon, arr.
by HW, SATB.

 

Magnificat-—Tone II, SSA.

 

 

96

*

Dramat
*

Violin
*

Piano

Orches
*

276

Magnificat-~Tone III, SSA.

 

Magnificat--Tone V, SSA.

 

Magnificat-—Tone VIII-l (Solemn), SSA.

 

Magnificat--Tone VII-2, SSA.

 

ic Works

The Play Of Our Lady, incidental music, SATB, flute,
oboe, harp, strings, words compiled from Medieval
sources by Peter Howarth, score assembled after the
composer's death from various earlier works Of HW by
Peter Howarth and Giles Bryant, including plainsong
adaptations.

 

Pageant of Our Lady, SOprano and bass solos, SSA,
probably orchestral accompaniment intended, words
by Lawrence Housman, incomplete.

 

A Dream of Exile, incidental music, SATB, orchestra,
author not known.

 

The Ayrshire Plowman, ballad opera, arrangement Of
15 traditional ScOts melodies, soloists, flute,
oboe, strings, words by J. Murray Gobbon.

 

Maureen, ballad opera, words probably by J. Murray
Gibbon, lost.

Indian Christmas Play, ballad Opera, words possibly F
by J. Murray Gibbon, lost.

 

Gavotte (from Semele) and Minuet (from Berenice),
by Handel, arr. HW, violin and piano, piano part a
lost.

 

I
Rossignol du Vert Bocage, French melody of the 17th fl
Century, and Laquelle Mariez—Vous, French tradi- “
tional, arr. by HW, violin and piano, piano part
lost.

 

 

(Untitled), in E Major, marked "Teneramente," in 6/8
and 3/4.

tral Works
Symphonic Poem-~The Call Of the Sea, full orchestra,
incomplete.

 

277

Ballad for Piano and Orchestra, piano and full
orchestra, incomplete.

 

Symphonic Poem--Seaside Elegiacs on the Poem ay
Owen Meredith, full orchestra, incomplete.

 

 

Piano Concerto in D Minor, piano and full orchestra,
incomplete.

 

Choral Works with Orchestra

*

*

Violin

*

Genserie, SATB, orchestra, words by Owen Meredith,
incomplete.

The Agincourt Soag, English traditional luth
Century arr. by HW, SATB, woodwinds, strings,
percussion, also arranged for SATB and piano.

 

The Vision Of Ezekiel, SATB, orchestra, author not
known, incomplete.

 

(Flourish), "Long Live Queen Elizabeth," SATB,
probably brass choir intended.

Prospice, SATB, orchestra, words by Robert Browning.

In Dulci Jubila, German traditional arr. by HW,
boysT voices, orchestra, incomplete.

 

(Untitled) in E major.

 

 

 

 

P-
Pedal Study.

Nocturne, incomplete.

Rhapsody in E flat, incomplete.

Rhapsody in D Minor, incomplete. m

Corpus Christi Procession in_Madrid, incomplete,
might be an arrangement, possibly not intended for
organ.

 

Fugue in A Majog, incomplete.

 

Lament, violin (probably) and piano, incomplete.

Chamber Music

*

Trio in D Minor, violin, cello and piano, incomplete.

 

278

Organ Arrangements

Songs
*

Dance of the Angels by Wolf—Ferrari, Bouree by
Krebs, Air by Mattheson, Gavotte by J. C. Bach,
all edited by HW.

 

Sally in our allay by Henry Carey, arr. by HW.

 

Hark, Hark the Lark, words by Shakespeare,
incomplete.

 

Secular Part—Songs

9(-

I Have aaSOng to SingeO, TTBB, piano, words by J. E.
MacDonald, for the Arts and Letters Club, Toronto.

The Song of the_§word, SATBB, poet not known,
incomplete.

Come Live With Me, SS, piano, words by Christopher
Marlow, incomplete.

 

(LO at the Day's End), SATB, a cappella, poet not
known, incomplete.

Naal——A Catholic Tale, TTBB, bass solo, a cappella.

Canon--Sit Down Quickly, 8888, possibly incomplete.

.2.- has)”

-m-Jfil‘f‘h «f-

 

ICHIGQN STQTE UNIV. LIBRRRIES

31293008397378