Sanctuary of the Heart: méditation religieuse Back to list of works index
Sanctuary of the Heart is one of the few pieces by Ketèlbey imbued with emotional tension. It means widely different things to different people. Andrew Lloyd Webber has even said he would like it played at his funeral.
Composer’s
synopsis
The picture in the composer's mind when writing this
piece was that of a lonely wanderer from a foreign land, hearing again an old
religious melody that was familiar to him in his childhood, and the memories
evoked by his thoughts bring solace and comfort to the heart of the poor exile.
Description
Let us start with the music itself, as first published and recorded in 1924. There are two bars of indecisive walking chords in G major, then follows a typical slow Ketèlbey melody, using the wide leaps which had previously characterised The Phantom Melody, In a Monastery Garden, Bells across the Meadows and the Princess theme from In a Persian Market.
The next phrase is in the relative minor key, accompanied by triplets. In his preface printed in the sheet music, the composer merely calls it “an old melody”. It is in fact the traditional chant used for the Kol Nidrei during the Yom Kippur service in the Jewish liturgy. As in that liturgy, the phrase occurs three times, each time more intensely. This theme has an end tag, which Ketèlbey repeats quietly in order to change the key back the major.
This is followed by a return of the first melody, this time sung. The poem is even included in instrumental arrangements for violin, cello, etc. The final phrase is sung by a separate group of singers.
I wandered alone in a strange land,
And Life seemed so dark and drear,
When the sound of a voice seemed to call me
And brought to my mind a mem’ry
dear;
It told of the Joy and the Gladness
That comes from the One above -
“Oh Lord, hear our prayer,
Take away all our care,
And fill all our hearts with Love.”
The whole of this melody is then repeated by the orchestra, the rhythm changing from a sedate 4/4 to a livelier 12/8, now accompanied by the triplet rhythm first heard during the Kol Nidrei. During the final cadence these triplets come to the foreground.
Christian
interpretation
So the overt message is one of a personal religious experience akin to Paul’s conversion of the road to Damascus. For the majority of contemporary English listeners, brought up in Anglican or non-conformist circles, the references would have been quite familiar.
The composer himself had been
brought up in the Church of England, and as choirboy and later organist would have
been familiar with the Psalms in the Book of Common Prayer. He borrows the phrase "In a strange
land" from Psalm 137 By the waters of Babylon, while Psalm 114 When
Israel came out of Egypt not only has the words "strange" and
"sanctuary" in close proximity, but is traditionally sung in the
Church of England to a chant called Tonus Peregrinus, meaning
"wanderer tune".
Expanded Christian
interpretation
Following the success of the orchestral piece, the composer added further words to make a full-blown song. Here are the new verses, sung after the verse quoted above.
The
sound of solemn chanting
Was
borne to me from afar,
And
the song seemed to draw me closer,
Like
the light of a guiding star;
I
turned from out the highway
To
the Minster old and grey,
And
the voices swelled in welcome
For
a stranger come to pray.
My
Soul was enthralled by the Message
That
came from those voices clear,
And
my Heart found a shelter and comfort
From
the pain of this world so dark and drear;
I knew then, the Joy and the Gladness
As
I prayed to the One above,
“Oh Lord, hear our prayer,
Take away all our care,
And fill all our hearts with Love.”
Oh
Lord have mercy upon us,
And
upon all those who pray
To
Thee, our Father
Who
heareth us this day.
“Oh Lord,
hear our prayer,
Take away all our care,
And fill all our hearts with Love.”
In his book From the Sanctuary of his Heart, page 138, John Sant has written:
…
“the heart” of this song is set very much in the singular, and these surely are
not just words inspired by liturgy and theology. Neither are they words of casual acquaintance
or doubt but rather, I believe, of a hymn and prayer of one who has tasted the
goodness and grace of God…
I
find it interesting and quite touching to note that, in writing these words…
the composer purposely set the word “knew” in italics to distinguish it from
all other words in the complete song.
The Jewish influence
However, there is a puzzle in the straightforward Christian interpretation. Why use a Jewish melody to trigger a conversion to a Christian concept of love? Why, even, was the Kol Nidrei not originally named in the music?
To deal with this latter point first, there was a lot of prejudice against other religions in Britain in the 1920s. As we shall see later, Ketèlbey had experienced this at first hand. It was not until 1928 that, when revising his synopsis for a recording, he decided to name the tune.
In personal communications, Derek Reid, a scholar of Jewish tradition, has written the following about the Kol Nidrei:
The
title itself translates as “All Vows”… In strictest terms the Kol
Nidre is not a prayer. It is a declaration that any vows made unwittingly or
rashly during the course of the previous year are from that moment null and
void… It is the first utterance and expression
of the community at the start of services within the twenty-five hours that
comprise the solemn occasion known as Yom Kippur [the Day of Atonement]. The
whole congregation sings three times through the Kol
Nidre, the cantor taking the lead through an intense and emotive rhapsodic
theme…
It
can honestly be said to be seen as a mass confessional; a freeing of the
spirit; a wiping away of sins to the proverbial clean slate.
Upon
its entry the Kol Nidrei theme [in Sanctuary of the Heart] is delivered in
one of the most richly sweeping and swelling sounds ever expressed from the
voice of the orchestra. It is weighed
with emotion but that emotion is different only in its “soul” sound. It rises through its first declaration,
getting more and more intense through the following two repetitions… to fall
away and be heard no more. Without doubt
this is the most expressive and sincerest orchestral version of the strangest
prayer in the Hebrew vernacular…
A romantic
interpretation
There may well have been a personal programme underlying the piece.
We know that at the age of fourteen the young Albert had been sent from Birmingham to London to study, and promptly returned to Birmingham suffering from homesickness. The extravagantly romantic but very English main theme, which sets the words “I wandered alone in a strange land”, might well stand for Albert himself.
Back in London, he eventually met Lottie Siegenberg, a passionate Jewish actress, represented by the passionate Jewish chant. At the second statement of this phrase, it takes its bass from the main theme (Lottie becoming dependent on Albert?).
As the main theme is played for the second time, a short counter-melody is heard in the violin, a rising scale which has been heard in the horns against the Kol Nidrei tune (Albert being influenced by Lottie?).
The piece ends with the main theme transformed to joyousness, by adopting the 12/8 rhythm of the Kol Nidrei – the phrase “fill all our hearts with love” connoting Albert and Lottie falling in love.
Prejudice against Jews and actresses was high in many parts of contemporary English society, and Albert’s family seem to have broken off all ties with him following his marriage with Lottie. As far as is known, he subsequently neither practised Christianity nor was converted to Judaism. His love for Lottie had become the spiritual centre of his existence. It is perhaps significant that after her death in 1947, the next piece Albert had published was Remembrance, which combines a theme from Elegy with the main theme of Sanctuary of the Heart – surely symbolising the death of his loved one.
Sanctuary of the Heart
- orchestral (with optional solo voice)
The original score had an optional solo voice and
quartet in the third section. Ketèlbey later added an
optional chorus to the final, fourth section, naming it the “Grand Concert
Version”
|
Artists |
Label |
Matrix |
Format |
Country |
Date |
Gramophone Review |
Locations |
|
Court
Symphony Orchestra, chorus, Ketèlbey |
AX
281 |
12”
78 |
UK |
[Mar
24] |
BL,
TM, (TM CD) |
||
|
Grete
Mancke, Edith Lorand Orchestra, chorus |
Parlophone E 10198 |
7515 |
12”
78 |
UK |
[Dec
24] |
Dec
24 p.262 |
|
|
Re-issue |
-
Parlophon P 1807 |
|
Germany |
[Dec
24] |
|||
|
contralto,
Court Symphony Orchestra, chorus, Leggett |
Columbia
968R |
WAX
1678-2 |
12”
78 |
UK |
[Aug
26] rec.June 26 |
WC |
|
|
Re-issue “cond. Ketèlbey” |
-
Columbia 9138 |
WAX
1678 |
12”
78 |
UK |
[Dec
26] |
Jan
27 p.315 |
BL,
PD |
|
Re-issue “Concert Orchestra, Ketèlbey” |
-
Columbia DX 775 |
WAX
1678 |
12”
78 |
UK |
[May
37] |
May
37 p.532 |
BL,
PD, TM |
|
Re-issue |
-
Naxos 8.110174 |
CD |
UK |
2001 |
BL,
NX, TM |
||
|
Frank
Westfield's Orchestra (Gramophone has “Picture House Orchestra”) |
Parlophone E 5809 |
1277-2 |
10”
78 |
UK |
[July
27] |
Aug
27 p.107-108 |
BL |
|
Re-issue (Ariel Concert Orchestra) |
- Ariel Z4235 |
E 1277-3 |
10” 78 |
UK |
[1927] |
|
|
|
Albert
W. Ketelbey’s Concert Orchestra,
Nellie Walker
(c), chorus, Ketèlbey |
WAX
3109, 3110 |
12”
78 |
UK |
[July
28] rec.Nov 27 |
July
28 p.61 |
BL,
(TM CAS) |
|
|
Re-issue |
- Columbia Cinema Service YBX 12 |
WAXD 29 |
12” 33 |
UK |
[Feb 31] |
||
|
Re-issue |
-
Naxos 8.110848 |
CD |
UK |
2002 |
BL,
NX, TM |
||
|
Re-issue |
- Revivendo RVPC 004 |
|
CD |
Brazil |
|
|
|
|
New
Empire Orchestra, vocal quartet |
Decca
K 524 |
MA
1453-1AX (or1454-1,2?) |
12”
78 |
UK |
[Aug
30] |
Aug
30 p.135 |
BL |
|
Harold
Sandler and his Orchestra |
Sterno 545 |
S
1059 |
10”
78 |
UK |
[Dec
30] |
||
|
Re-issue |
-
VLMS SP 115 |
CAS |
UK |
TM |
|||
|
String
Orchestra, chorus, organ (Madame Tussaud’s Cinema) |
Broadcast
Twelve 5206 |
L
0788 |
10”
78 |
UK |
[Jan
31] |
Feb
31 p.448 |
BL |
|
London
Palladium Orchestra, baritone, male quartet, Pethers |
2B
670-2 |
12”
78 |
UK |
[Oct
31] |
Oct
31 p.186 |
BL,
(TM CD) |
|
|
Re-issue |
|
12”
78 |
US |
[ca.1940?] |
|
PD |
|
|
Commodore
Grand Orchestra, Harry Davidson (organ), Muscant |
Winner
5482 |
? |
10”
78 |
UK |
[May
32] |
||
|
Re-issue |
-
Edison Bell 5581 |
|
US |
[Sept?33] |
BL |
||
|
Albert
Sandler and his Orchestra |
Columbia
DX 771 |
CAX
7932 |
12”
78 |
UK |
[Apr
37] |
Apr
37 p.486 |
BL |
|
Herman
Darewski and his Orchestra/Band |
Parlophone F 1559 |
E
10039-1 |
10” 78 |
UK |
[Nov
39] |
Nov
39 p.229 |
PD |
|
Louis
Voss Grand Orchestra |
Bosworth
BC 1098 |
CP
779 |
10”
78 |
UK |
[?1940] |
||
|
Re-issue |
-
Bosworth BOCD 165 |
CD |
UK |
1990 |
VLM Summer 90 |
BL,
TM |
|
|
Re-issue |
-
Bosworth BPM 217 |
CD |
UK |
2001 |
TM |
||
|
Re-issue “Pride and Passion” |
-
Soho Archive SOHOA 128 |
|
CD |
UK |
2016 |
|
|
|
Albert
W. Ketelbey & his Concert Orchestra, baritone, chorus, Ketèlbey |
DR 4754-1 |
10”
78 |
UK |
[Nov 40] |
Dec 40 p.154-5 |
BL,
TM, (TM CD) |
|
|
New
Promenade Orchestra, Wardour Singers, Robertson |
London
R 10018 |
DR
12251 |
10” 78 |
US |
[1948?] |
WC |
|
|
Re-issue |
- Decca BEP 6086 |
|
EP |
Spain |
1962 |
|
TM |
|
New
Symphony Orchestra of London, Robinson |
Decca
LK 4080 |
LP |
UK |
[June
54] |
July
54 p.73, Mar
55 p.464-465 |
BL |
|
|
Re-issue |
- Decca LW 5140 |
10”
LP |
UK |
[Dec 54] |
PD |
||
|
Re-issue |
- Decca 6835 654 |
|
LP |
Netherlands |
1960 |
|
|
|
Re-issue |
-
Ace of Clubs ACL 1044 |
LP |
UK |
[1961] |
BL |
||
|
Re-issue |
-
Eclipse ECS 2016 (+ECM) |
LP |
UK |
1969 |
Feb
70 p.1332 |
BL,
PD, TM |
|
|
Re-issue |
-
Decca DDX 190039 |
|
LP |
Netherlands |
1969 |
|
|
|
Re-issue |
-
Decca NUX 390044 |
|
LP |
Netherlands |
1969 |
|
|
|
Re-issue |
- Decca 220014 |
|
LP |
France |
1969 |
|
|
|
Re-issue |
- London
ECL 105 |
|
LP |
Brazil |
1977 |
|
|
|
Re-issue |
- London LL
985 |
|
LP |
US |
? |
|
|
|
Re-issue |
- London
LLC 5047 |
|
LP |
Brazil |
? |
|
|
|
Re-issue |
- Richmond B 20083 |
|
LP |
US |
|
|
|
|
Re-issue |
-
Decca/Universal 473720-2 |
|
CD |
UK |
2003 |
June
03 p.50 |
BL,
WC, (TM CD) |
|
New
Symphony Orchestra of London, Sharples |
Decca
SKL 4077 |
LP |
UK |
[1959] |
Feb
60 p.434 |
BL,
PD |
|
|
Re-issue |
- London CM. 9041 |
|
LP |
Canada |
[1959] |
|
|
|
Re-issue |
- London LL 3141 |
|
LP |
US |
[1959] |
|
|
|
Re-issue |
- London PS 186 |
|
LP |
US |
[1959] |
|
|
|
Re-issue |
- Axis 6326 |
|
LP |
Australia |
[1959] |
|
|
|
Re-issue |
-
Decca LXT 4329 |
|
LP |
Spain |
[1960] |
|
WC |
|
Re-issue |
-
Decca DFE 6665 |
SP |
UK |
[1961] |
May 61 p.603 |
||
|
Re-issue |
-
Decca STO 149 |
SP |
UK |
[1961] |
May 61 p.603 |
||
|
Re-issue |
-
Decca SKC 4077 |
|
CAS |
Spain |
[1969] |
|
WC |
|
Re-issue |
-
Decca SPA 187 |
|
LP |
UK |
1971 |
July
72 p.253 |
BL,
PD |
|
Re-issue |
- London SPA 4036 |
|
LP |
Canada |
1971 |
|
|
|
Re-issue |
- Decca SPL 3046 |
|
LP |
South
Africa |
1977 |
|
|
|
Re-issue |
- Decca 65 94 156 |
|
LP |
Spain |
1981 |
|
|
|
Re-issue |
- Decca LPD 253 Y |
|
LP |
Belgium |
? |
|
|
|
Re-issue |
- Westminster WGS 8139 |
|
LP |
Brazil |
|
|
|
|
Re-issue |
-
Decca 841203 |
|
CAS |
Spain |
1982 |
|
WC |
|
Re-issue |
-
Decca 452987-2 DWO |
CD |
UK |
1997 |
Nov
97 p.48, Oct 12 p.109 |
BL,
PD, TM |
|
|
Re-issue |
-
Vocalion CDLF 8143 |
CD |
UK |
[2011] |
LMS Aut
11 p42 |
PD |
|
|
Royal
Philharmonic Orchestra, Rogers |
Decca
PFS 4170 |
LP |
UK |
1969 rec.Feb 69 |
Nov
69 p.833, |
BL,
TM |
|
|
Re-issue |
- London SPC 21036 |
|
LP |
US |
1969 |
|
|
|
Re-issue |
- Decca
SLZ.8386, |
|
LP |
NZ |
1969 |
|
|
|
Re-issue |
- London
LLN-7164, |
|
LP |
Brazil |
1969 |
|
|
|
Re-issue |
- Orlador 54452 |
|
LP |
Spain |
1975 |
|
|
|
Re-issue |
- Decca SPA 565 |
|
LP |
UK |
1980 |
Nov
80 p.740 |
BL |
|
Re-issue |
-
Decca DGS 16 |
|
LP |
US |
1980 |
|
|
|
Re-issue |
-
Decca 6594064 |
|
LP |
Spain |
1981 |
|
WC |
|
Re-issue |
- Decca 425850 2DWO |
|
LP |
UK |
BL |
||
|
Re-issue |
- Decca 425 8492 |
|
CD |
|
[1990] |
|
WC |
|
Re-issue |
- Decca 425 8502 |
|
CD |
Europe |
1990 |
|
|
|
Re-issue |
- Decca 444786-2LPF |
|
CD |
UK |
1996 |
Aug
96 p.60 |
BL,
PD, TM |
|
Re-issue |
- MG Direct Marketing D 115620 |
|
CD |
US |
1996 |
|
|
|
Re-issue |
-
Polygram 4419602 |
|
CD |
|
1998 |
BL |
|
|
Re-issue |
- Decca 466 8562 |
|
CD |
UK |
1999 |
|
|
|
Re-issue |
- Decca 475 8085 |
|
CD |
Europe |
2006 |
|
|
|
Re-issue |
- Decca 986 7527 |
|
CD |
UK |
2006 |
|
|
|
Re-issue |
-
Decca 00028947580850 |
|
CD |
|
2016 |
|
NX |
|
Jean
Temperley (c), Philharmonia
Orchestra, Ambrosian
Singers, Lanchbery |
EMI
ASD 3542 |
|
LP |
UK |
1978 |
July
78 p.261 |
BL,
TM |
|
Re-issue |
- Angel EAC
55030 |
|
LP |
Japan |
[1978] |
|
|
|
Re-issue |
-
Angel S 37483 |
|
LP |
US |
1978 |
|
|
|
Re-issue |
- EMI 26
1370 |
|
LP |
Germany |
1978 |
|
|
|
Re-issue |
- EMI 7C 06102986 |
|
LP |
Sweden |
1978 |
|
|
|
Re-issue |
-
Hörzu 1C 05702986Q |
|
LP |
Germany |
1978 |
|
WC |
|
Re-issue |
- His
Master’s Voice TC-ASD 3542 |
|
CAS |
UK |
1978 |
|
|
|
Re-issue |
- World Record Club R-05771 |
|
LP |
Australia |
1979 |
|
|
|
Re-issue |
- Voz de su Amo 10C 265002986Q |
|
LP/CAS |
Spain |
[1980] |
|
WC |
|
Re-issue |
- His Master’s Voice 1546401 |
|
LP |
Sweden |
1983 |
|
|
|
Re-issue |
- Richmond B 20083 |
|
LP |
US |
|
|
|
|
Re-issue |
- Angel EAC-80451 |
|
LP |
Japan |
|
|
|
|
Re-issue |
- Voix de son maître 2C
2692986 |
|
LP/CAS |
France |
|
|
|
|
Re-issue |
- EMI CDC 7478062 |
|
CD |
UK |
1987 |
Nov 87 p.825 |
WC |
|
Re-issue |
-
EMI 7243 5730 025 |
|
CD |
UK |
1990 |
|
|
|
Re-issue |
-
EMI CDM 253 8402 |
|
CD |
Netherlands |
1992 |
|
|
|
Re-issue |
-
EMI 7234 5680 6122 |
|
CD |
UK |
1993 |
|
|
|
Re-issue |
- CD-CFP 4637 |
|
CD |
UK |
1993 |
Mar 94 p.114 |
BL,
TM |
|
Re-issue |
- TC-CFP 4637 |
|
CAS |
UK |
1993 |
Mar 94 p.114 |
|
|
Re-issue |
- EMI
Classics 7243 5730 0124 |
|
CD |
Netherlands |
1998 |
|
|
|
Re-issue |
-
EMI Classics 5730002 |
|
CD |
Germany |
[1998] |
|
WC |
|
Re-issue |
-
HMV 5724852 |
CD |
|
1998 |
|||
|
Re-issue |
- EMI 50112920 |
CD |
Japan? |
1994
[2007] |
PD, TM |
||
|
Re-issue |
-
EMI Classics 0724 3573 00056 |
|
CD |
|
[1999] |
|
NX |
|
Re-issue |
-
EMI Classics 0742 3573 00155 |
|
CD |
|
[1999] |
|
NX |
|
Re-issue |
- EMI Classics
7243 8266 6424 |
|
CD |
Europe |
2002 |
|
|
|
Re-issue |
-
EMI Classics 00946 35239959/352399-2 |
|
CD |
|
[2006] |
|
NX |
|
Re-issue |
- Angel
HCD-1353 |
|
CD |
Japan |
|
|
|
|
London
Promenade Orchestra, Faris |
Philips
6514152 |
LP |
UK |
1982 |
Apr
82 p.1423 |
PD,
TM |
|
|
Re-issue |
-
Philips 7337152 |
|
CAS |
|
1982 |
Apr
82 p.1423 |
WC |
|
Re-issue |
-
Philips 400011-2PH |
CD |
UK |
1983 |
Apr
83 p.1152 |
BL,
TM |
|
|
Re-issue |
- Musical
Heritage Society MHS 11165F |
|
CD |
Germany |
1986 |
|
|
|
Re-issue |
- Philips 416 583-1 |
|
LP |
Spain |
1987 |
|
|
|
Re-issue |
- Philips MCCE
7084 |
|
CAS |
Mexico |
1991 |
|
|
|
Re-issue |
- Decca/Universal 473720-2 |
CD |
|
2003 |
June
03 p.50 |
BL,
WC |
|
|
Re-issue (cond. Myers) “Sanctuaire du Coeur” |
Mon Patrimoine
Musical |
|
mp3 |
France |
2019 |
|
|
|
New
London Orchestra, Corp |
Hyperion
CDA 66968 |
CD |
UK |
1997 |
May
97 p.74 |
BL,
TM |
|
|
Re-issue |
-
Hyperion KA 66968 |
|
CAS |
UK |
1997 |
May
97 p.74 |
|
|
Re-issue |
-
Hyperion CDS 44261-4 |
CD |
UK |
?2006 |
VLM Autumn 06 |
||
|
Palm
Court Theatre Orchestra, Godwin |
Chandos
FBCD 2002 |
CD |
UK |
1998 |
|
BL,
PD, TM |
|
|
Re-issue |
-
Chandos CHAN 6676 |
|
CD |
UK |
2004 |
|
NX |
|
Marie
Little (s), Pelly Concert Orchestra, Barnard |
private
recording |
CD |
UK |
[2005] |
TM |
||
|
Chamber
Orchestra of Spain, Pérez Sierra |
private
recording |
|
Web |
Spain |
May
10 |
|
|
|
Orquesta de Cámara de Universidad de Málaga,
Adelberto Martinez Solaesa (organ), Gálvez |
Universidad
de Málaga |
|
DVD |
Spain |
rec.June 10 |
|
WC |
|
Salon-Orchester Ricardo |
Ultraphon A 617 |
15221 |
10” 78 |
Germany |
? (by 1931) |
MMU |
WC |
|
Palm
Court Orchestra, Leopold |
? |
UK |
? |
||||
|
Re-issue |
-
Evergreen Melodies |
UK |
[2007] |
||||
|
?
perhaps organ |
Columbia
|
WAX 3236, 3237 |
12” 78, 2 sides |
|
rec.Feb 28 |
|
|
Ketèlbey conducted this
work in at least three recordings. There
is confusion over the fourth, made on 23rd June 1926 on WAX
1678-2. This was recorded as part of
Columbia’s plan to replace earlier recordings with the new electric recording,
and so the new issues were not reviewed in The Gramophone. No copy of the 968R recording has been
inspected. The matrix was used in the
same year for 9138, where the label has “Court Symphony Orchestra, conducted by
the Composer”. Eight years later it
reappeared on DX775, where it was now “Albert W. Ketelbey
conducting his Concert Orchestra”. A
spanner was thrown in the works when Smith discovered that the recording studio
diary gives the conductor on 23rd June 1926 as A.W. Leggett. Englund has suggested that Leggett was one of
Ketèlbey’s pseudonyms, but I have ample evidence that
he was a separate musician. It seems
most likely to me that the marketing people at Columbia were happy to use the
composer’s name for a recording ghosted by a less well-known conductor.
Both the 1924 and 1926 recordings make the same cuts
(11 bars in all), but the latter is far faster, taking just 3’ 42” as opposed
to 4’ 32” – surely evidence of a different conductor! These two versions employ the original vocal
resources of solo contralto, joined by a quartet for the final two lines of the
verse. The 1924 version may use a piano
rather than harp, but the recording quality makes it difficult to judge for
certain.
The next recording was made on 11th
November 1927, a good date for emotional music – Sanctuary of the Heart
was later used in a piece initially named “Remembrance Day”. It stretches to two 12-inch sides, but even
so one bar is cut from the final cadence, making the total playing time 5’ 52”. The Grand Concert Edition is used, with
chorus singing the fourth section.
The late recording
from 1940 is crammed on to a single 10-inch side, so19 bars are cut, leaving a
playing time of 3’ 16”. The soloist is
an anonymous baritone, who is joined by a full chorus for the fourth section.
Other performances
are summarised below.
- The first section
has a published metronome marking of crotchet=72. The “metronome” column gives the average
speed for this section.
- In the third
section, the melody is given to a contralto or baritone soloist, accompanied by
the cellos; in the absence of a singer, a clarinet should play.
|
Conductor |
Total bars cut |
Total time |
Ave. Metro-nome |
3rd section |
Other notes |
Link |
|
Ketèlbey (1924) |
11 |
4’
32” |
59 |
Contralto
+ quartet |
||
|
Ketèlbey/Leggett (1926) |
11 |
3’
42” |
76 |
Contralto
+ quartet |
|
|
|
Ketèlbey (1927) |
1 |
5’
52” |
55 |
Contralto |
+
Chorus |
|
|
Ketèlbey (1940) |
19 |
3’
15” |
68 |
Baritone |
+
Chorus |
|
|
Amers (band) |
17 |
3’
45” |
69 |
cut |
Percussion
inaudible |
www.albertketelbey.org.uk/mp3/sanctuary%20of%20the%20heart%20-%20amers.MP3 |
|
Corp |
|
4’
46” |
71 |
Saxophone? |
|
|
|
Faris |
|
5’
04” |
62 |
Saxophone |
Ugly
saxophone entry at 3’48” |
|
|
Godwin |
|
4’
45” |
65 |
Clarinet |
Chamber
orchestra, with piano continuo (very effective on repeated triplet
accompaniment). Percussionist manages
to double roll on timp with clash on cymbal |
|
|
Lanchbery |
|
5’
23” |
57 |
Contralto, no
cellos |
+
Chorus. Horn countermelody particularly impressive in final statement of Kol Nidrei |
|
|
Pèrez Sierra |
|
|
|
|
Performed
at the Auditorio Nacional Madrid |
|
|
Pethers |
19 |
3’
50” |
67 |
Baritone |
+
Male quartet, which also joins in final refrain. Final chord diminuendo |
|
|
Robertson |
27 |
2’54” |
73 |
Men
in unison |
|
www.albertketelbey.org.uk/mp3/sanctuary%20of%20the%20heart%20-%20RRobinson.mp3 |
|
Robinson |
16 |
3’
16” |
66 |
Clarinet |
|
|
|
Rogers |
16 |
3’
50” |
59 |
Clarinet |
|
|
|
Sandler |
36 |
3’
19” |
53 |
Violin |
Omits
final section and coda, ending with quiet high violin note |
|
|
Sharples |
5’
47” |
53 |
No
clarinet |
|||
|
Voss |
32 |
3’
01” |
62 |
Clarinet |
Harp
plays more notes than in part. Final chord crescendo changed to diminuendo |
https://www.youtube.com/watch?v=Z21B00H7tzM&list=PLDdlSzGv6-khkghNzz8X259uHMY6IdPIr&index=41 |
Sanctuary of the
Heart - military band
|
Artists |
Label |
Matrix |
Format |
Country |
Date |
Gramophone Review |
Locations |
|
Band
of HM Royal Air Force, Amers |
HMV
C 1183 |
Cc
5079-2 |
12”
78 |
UK |
[Feb
25] |
Feb
25 p.344 |
BL,
TM, (TMmp3) |
|
Band
of HM Welsh Guards, Harris |
Aco G 15667 |
C
6702 |
10”
78 |
UK |
[May
25] |
July
25 p.93 |
|
|
Re-issue (Beltona Military Band) |
Beltona 657 |
C
6702 |
10”
78 |
UK |
[Jan
25] |
|
|
|
Re-issue (Imperial Empire
Military Band) |
-
Duophone B 5023 |
G 1409 |
10” 78 |
UK |
[1925] |
||
|
London
Fire Brigade Band, Anderson |
Piccadilly
482 |
3348 |
10”
78 |
UK |
[1930] |
Apr
30 p.512 |
|
|
Re-issue (Brooklyn Military Band) |
-
Octacros 636 |
3348 |
10”
78 |
UK |
[1934] |
|
|
|
Re-issue (Brooklyn Military Band) |
-
Octacros 1289 |
3348 |
10”
78 |
UK |
[1936] |
|
|
|
Massed
Bands of the Southern Command (Tidsworth Tattoo
1933) |
HMV
C 2594 |
2B
5295-2 |
12”
78 |
UK |
[Oct
33] |
Oct
33 p.189 |
BL |
|
Band
of 7th Battalion Highland Light Infantry (4th Battalion Gordon
Highlanders, Mackay) |
Beltona 1935 |
M
14549 |
10”
78 |
UK |
[1933] |
cat.1933 |
Analysis & link
– see above
Sanctuary of the
Heart - brass band
|
Artists |
Label |
Format |
Country |
Date |
Gramophone Review |
Locations |
|
Besses o’ th’ Barn, Northwich &
District Festival Choir, Bryce |
Pye TB 3003 |
LP |
UK |
1975 |
|
|
Sanctuary of the Heart
- organ
|
Artists |
Instrument |
Label |
Matrix |
Format |
Country |
Date |
Gramophone Review |
Locations |
|
Paul
Barnes |
Homochord D 1082 |
? |
10”
78 |
UK |
[Mar
27] |
|||
|
Reginald
Foort |
New
Gallery Cinema, London |
HMV
C 1330 |
CR
1234-1 |
12”
78 |
UK |
[June
27] |
June
27 p.24 |
BL |
|
Re-issue |
|
-
Electrola EH 63 |
CR
1234-1 |
12” 78 |
|
MMU |
WC |
|
|
Re-issue |
|
-
World Records SH 338 |
|
LP |
UK |
1979 |
|
BL,
WC, TM |
|
Re-issue |
|
- World Record Club R 08306 |
|
LP |
Australia |
1980 |
|
|
|
G.T.
Pattmann |
Astoria
Theatre, London |
Columbia
9416 |
WAX
3404-1 |
12”
78 |
UK |
[July
28] |
July
28 p.68 |
BL |
|
Herbert
Griffiths |
Stoll
Picture Theatre |
Broadcast
359 |
Z 700 |
8” 78 |
UK |
[1929] |
Apr
29 p.504 |
BL |
|
Re-issue |
|
- Orchestrola 2083 |
359a |
8” 78 |
|
|
|
WC |
|
Reginald
Bawtree |
Homochord D 1360 |
? |
10”
78 |
UK |
[July
29] |
Aug
29 p.127 |
||
|
Philip
Dore |
Bournemouth
Pavilion |
Parlophone E 10952 |
XE
2951-2 |
12”
78 |
UK |
[Feb
30] |
Feb
30 p.417 |
BL |
|
Ena
Baga |
Tivoli,
London |
BT
2422? |
10” 78 |
UK |
(TM CD) |
|||
|
Re-issue- “Wurlitzer” |
|
-
Filmaphone 449 |
BT 2243 |
10” 78 |
UK |
[Apr
32] |
Apr
32 p.481 |
|
|
James
Bell |
Odeon
Theatre, Leicester Square |
Bosworth
BE 19 |
CP 1042 |
10”
78 |
UK |
[ca1940] |
|
|
|
“Michael Cheshire”
(Reginald Foort) |
Wurlitzer |
Eclipse SC 86 |
JW 1128-2 |
8” 78 |
UK |
[1933?] |
|
|
|
Charles
H. Cooksey |
Compton
organ, Capitol Cinema, Wembley |
Octacros 1090 |
5386 |
10”
78 |
UK |
[1934] |
|
|
|
Reginald
Dixon |
Tower
Ballroom, Blackpool |
Regal
MR 3211 |
CAR
5575 |
10”
78 |
UK |
Mar
40 p.361 |
BL,
(?TM CAS) |
|
|
Re-issue |
|
-
Columbia 35888 |
CAR
5575 |
10”
78 |
US |
[1940] |
|
WC |
|
Eurfryn John |
Columbia
33SX 1731 |
LP |
UK |
[?1965] |
Aug
65 p.123 |
BL |
||
|
Reginald Dixon |
Tower Ballroom, Blackpool |
Columbia SX (+SCX) 6131 |
LP |
UK |
[1967] |
cat.Dec 67
|
BL, (?TM CAS) |
|
|
Jan Valach |
Tongerlo Abbey |
EMI C053-23451 |
|
LP |
France |
[1973] |
|
|
|
Re-issue |
|
- HMV 1235411 |
|
LP |
Belgium |
[1986] |
|
WC |
|
Joseph
Seal |
Wurlitzer |
Golden Hour GH 609 |
|
LP |
UK |
1975 |
|
|
|
Armsbee Bancroft |
Burton Town Hall |
DEROY 1425 |
|
LP |
UK |
1978 |
|
BL |
|
Piet van Egmund |
|
EMI 5N 125-261578 |
|
LP |
Netherlands |
1979 |
|
|
|
Reginald Dixon |
Tower Ballroom, Blackpool |
EMI ONCR 534 |
LP |
UK |
1981 |
BL, (?TM CAS) |
||
|
Phil
Kelsall |
Tower
Ballroom, Blackpool |
Grasmere
GRCD 43 |
CD |
UK |
1991 |
BL |
||
|
Re-issue |
|
-
Universal 4659022 |
|
CD |
UK |
2000 |
|
TM |
|
Robert
Wolfe |
Grasmere
GRCD 56 |
CD |
UK |
1993
rec.1992 |
BL |
|||
|
Thomas
Jörg Frank |
|
Bruno
Hebestreit |
CD |
Germany |
rec.Apr 09 |
|
WC |
|
|
Steve Schlesing |
Paramount 450 Virtual Theatre Pipe Organ |
private recording |
. |
web |
US |
2011 |
|
|
|
Tom Mitchell |
St Thomas Church, Malgoa |
Fidelis
TM 100 |
|
LP |
Australia |
? [1960s] |
|
|
Baga makes 4 cuts, totalling 27 bars; she used the piano version rather than
the published organ version, and occasionally alters the bass line.
Bancroft
plays just the main melody, as part of a “Ketelby
Selection.”
My
transcript of Dixon was supplied without recording details. He omits 8 bars of the second section and the
entire fourth section.
Foort (1927) cuts 8 bars.
His choice of registrations always makes for a very clear melodic line.
Hear him at https://archive.org/details/78_sanctuary-of-the-heart_reginald-foort-ketelbey_gbia7002742a
Foort’s 1933 version as Cheshire can be heard at https://www.youtube.com/watch?v=vPKhBR0QJ58
Hear Griffiths at http://bdh.bne.es/bnesearch/detalle/bdh0000168594
Kelsall cuts a total of 18
bars, but mainly plays the published organ arrangement. At the Kol Nidrei
section, he adds a swirling embellishment which obscures the rhythm.
Hear Schlesing
at https://www.youtube.com/watch?v=2fu1gPY0B7E
Sanctuary of the
Heart - other instrumental
|
Artists |
Instrument |
Label |
Matrix |
Format |
Country |
Date |
Gramophone Review |
Locations |
Archive |
|
? |
Saxophone
with ?piano |
Zonophone 2675 |
? |
10”
78 |
|
[1926?] |
|||
|
? |
Piano |
Universal
Roll S 12808a |
roll |
|
by
1930 |
||||
|
Aston
Banjo O, Marsh |
Banjo
ensemble |
CAR
918-1 |
10”
78 |
UK |
[Feb
32] rec.3.12.31 |
PD,
WC, (TM CD) |
|||
|
Eric
Halstead |
Piano |
private
recording |
web |
UK |
[2002] |
(TM
CD) |
|||
|
Trevor Workman |
Carillon |
Bournville Carillon BC000005 |
CD |
UK |
2003 |
TM |
|||
|
Markus Staab |
Piano |
private
recording |
|
web
|
Germany |
2009 |
|
|
|
|
Light Fantastic Festival |
Saxophone choir (arr. Wood) |
private
recording |
|
web |
UK |
2011 |
|
|
|
|
|
Piano |
Meloto Roll 38338 |
roll |
|
? |
||||
|
Piano |
Meloto Standard Roll 45068b |
roll |
|
? |
PD |
mr13 |
|||
|
|
Piano |
Themodist Roll T 24513B |
roll |
|
? |
||||
|
Piano |
Triumph
Full Scale 84703 |
roll |
|
? |
PD |
mr18 |
|||
|
Piano |
Universal
1219 |
roll |
|
? |
PD |
mr09 |
The Halstead recording is
available at http://www.tradebit.com/filedetail.php/3998219-collection-of-ketelbey-midi-files-zip
The Staab
version can be seen at http://www.youtube.com/watch?v=LpmnbWgFbyQ
Hear
the Light Fantastic saxophones at https://www.youtube.com/watch?v=JYZdw-ICykQ
The Aston Banjo Orchestra cuts 24 bars. The constant tremolo seems to prevent any dynamic contrast or textual subtlety, and is rather reminiscent of the sound of rain on a tin roof.
The recording by Workman uses
his own arrangement, and was made at a live performance on Bournville Carillon,
Birmingham, on 9th August 2003.
The Light Fantastic festival took place 24-27 June 2011
Sanctuary of the
Heart - choral
|
Artists |
Label |
Format |
Country |
Date |
Review |
Locations |
|
Koorvereniging Pro Musica,
Simon C. Jansen (piano), Karsemeijer |
Philips
HGL 04827 |
LP |
Netherlands |
?
[1960s] |
|
|
|
Re-issue (Pro Musica
Bussum) |
- Mercury 514
6152 |
CD |
Netherlands |
1997 |
|
|
|
Gem. Zangvereniging Pey, Gem. Koor Maasbracht-Beek, José Bongaarts (s), Kerkraads Kamerorkest, Van Pol |
Eurosound ES 46342 |
LP |
Netherlands |
1978 |
|
|
Sanctuary of the
Heart – song
The song version differs from the orchestral version
in having four verses with words.
|
Artists |
Label |
Matrix |
Format |
Country |
Date |
Gramophone Review |
Locations |
|
Robert
Howe (bt), orchestra |
Parlophone E 5829 |
1390 |
10”
78 |
UK |
[Aug
27] |
BL |
|
|
Lotte Lehmann (s), Berlin
Staatsoper/Staatskapelle (chorus, orchestra, organ), Römer,
“Heiligtum des Herzens” |
Odeon O
4818 |
Be 8877 |
10” 78 |
Germany |
rec.20.2.30 |
|
|
|
Lotte Lehmann (s), Berlin Staatsoper/Staatskapelle
(chorus, orchestra,
organ), Römer, “Heiligtum
des Herzens” |
Odeon O
4818 |
Be 8877-2 |
10” 78 |
Germany |
rec.19.6.30 |
MMU |
BL |
|
Re-issue |
Be 8877-2 |
10” 78 |
UK |
[Dec
31] |
Dec
31 p.277 |
BL,
(TM CD) |
|
|
Re-issue |
- Decca 23058 |
Be 8877 |
10” 78 |
US |
[1937] |
|
WC |
|
Re-issue |
-
Pearl GEMM CD 9410 |
CD |
UK |
1990
or 1993? |
WC |
||
|
Re-issue |
- Jube Classic Jube NML 1414 |
|
CD |
UK |
[ca.2016] |
|
NX |
|
Harold
Williams (bt), male quartet, orchestra, Batten |
Columbia
DX 341 |
CAX
6275-1 |
12”
78 |
UK |
[Apr
32] |
Apr
32 p.480 |
TM
(TMmp) WC |
|
Peter
Dawson (b), male chorus, orchestra, organ |
HMV
C 2491 |
2B
3454-II, 32-3129 |
12”
78 |
UK |
[Dec
32] |
Dec
32 p.273 |
BL,
PD |
|
Re-issue |
-
World Records SM 412 |
LP |
UK |
1977 |
BL,
TM |
||
|
Arthur
Vivian (=John Thorne) (bt), male chorus, orchestra |
Broadcast
Super Twelve 3295 |
1288 |
10”
78 |
UK |
[1933] |
||
|
Oscar
Natzke (b), male chorus, orchestra, Braithwaite |
Parlophone E 11439 |
CXE
10225 |
10”
78 |
UK |
[Mar
40] |
Mar
40 p.358 |
BL,
(TM CAS) |
|
Re-issue |
- Parlophone PMCO-7517 |
|
LP |
Australia |
[1960] |
|
|
|
Re-issue |
- New Zealand Parlophone |
|
LP |
NZ |
[1962] |
|
WC |
|
Re-issue |
- Parlophone
Encore |
|
LP |
UK |
[1962] |
|
WC |
|
Re-issue |
- World Record Club 3128 |
|
LP |
Australia |
1973 |
|
|
|
Re-issue |
- Parlophone PMCM 6018 |
|
LP |
NZ |
|
|
|
|
Re-issue |
- Parlophone PMEO-9299 |
|
LP |
Australia |
|
|
|
|
Re-issue |
-
Ode CDODE 1365 |
CD |
NZ |
[1992] |
Dec
92 p.150 |
TM |
|
|
Re-issue |
-
Evergreen Melodies C 62 |
CD |
UK |
[1999] |
PD,
TM |
||
|
Re-issue |
-
Atoll ACD 400 |
CD |
NZ |
2001 |
|||
|
Re-issue |
-
Manu |
CD |
|
2003 |
|||
|
Ronnie
Ronalde (+ whistling), orchestra, organ, Steffani |
Columbia
DB 2678 |
CA
21330 |
10” 78 |
UK |
[May
50] |
BL |
|
|
Re-issue |
-
Encore ENC 208 |
|
LP |
UK |
[1959] |
|
|
|
Re-issue |
-
HMV 5340042 |
|
CD |
|
? |
BL |
|
|
Re-issue |
-
EMI 0946 37023525 |
|
CD |
UK |
2006 |
|
TM |
|
Webster
Booth (t), St Stephen’s Church Choir (Dulwich), Sowande
(organ) |
Decca
F 9921 |
DR
16953 |
10”
78 |
UK |
[June
52] |
BL,
(TM mp3) |
|
|
Royston
Smith (+ whistling), orchestra, Lockyer |
Beltona IEP/SEP 45 |
|
LP |
|
[1958] |
cat.Apr.58 |
BL |
|
Mary
Schneider (yodeller), Khan Dawson Singers, Sydney International Orchestra, Tycho |
Innerworks/Ichiban D 224935 |
|
CD |
Australia |
2000 |
||
|
Re-issue |
-
Koch International Classics 366502 |
|
?2007 |
(TM mp3) |
|||
|
Peter
Dempsey (t), Guy Rowland |
private
recording |
DVD |
UK |
rec.26.11.2009 |
PD, TM |
||
|
Barbara
Hollinshead (s), Michael Hedron
(harmonium) |
private
recording |
|
web |
US |
2011 |
|
|
Webster Booth is accompanied
by organ and a mixed chorus. This
arrangement, probably by the Nigerian composer Fela Sowanda,
has new harmonies. There are 2 cuts, but
a coda of around 7 bars is added as an Amen.
www.albertketelbey.org.uk/mp3/sanctuary
of the heart Booth.mp3
Peter Dawson is backed by
strings and organ. There is a new 4-bar
introduction. In verse 2 the men’s
chorus joins in humming, and in verse 3 they sing in unison. Verse 4 is
cut. Dawson pitches the note on “turned”
(verse 3) a third too high. Hear him at https://music.youtube.com/watch?v=AGTMgSvfvAg&list=RDAMVMAGTMgSvfvAg
Barbara Hollinshead
is recorded in St Paul’s Episcopal Church, Washington DC. Watch her at https://www.youtube.com/watch?v=MglkMBV2is0
The artist details of the
later Lehmann recording are confused:
the label has Römer as conductor, but the
Odeon catalogue has Karl Zander (perhaps for the earlier session); Peter
Dempsey says the organist is Paul Mania, the conductor Frieder Weissmann. This
version is performed in G major. The Kol Nidrei is played orchestrally, the third section is
omitted, and the full choir joins in the final verse. Neither voices nor chorus use the published
music, and Lehmann distorts the main melody by displacing odd notes up or down
by an octave; however, she executes a beautiful descant in the final verse.
Oscar Natzke is accompanied
by a full orchestra, and in verse 2 he is joined by a men’s chorus. He can be heard at http://www.youtube.com/watch?v=igYzyijoybE
His chorus adds a few
vocalisations in the second verse, when the soloist mentions “the sound of
solemn chanting” and “the voices swelled”.
Ronnie Ronalde
sings just 4 lines, whistling the rest.
During the Kol Nidrei section, he adds a
bird-song effect reminiscent of a nightingale. Hear him at https://archive.org/details/78_sanctuary-of-the-heart_ronnie-ronalde-ketelby-arturo-steffani_gbia7000729a
Mary Schneider incorporates
the main melody of Sanctuary of the Heart
in her version of In a Monastery Garden.
Arthur Vivian is accompanied by
strings and piano; in verse 2 he is joined by men’s chorus in harmony, in verse
3 with men in unison; verse 4 is cut. Hear him at https://www.youtube.com/watch?v=L2ikxieuQFI
Harold Williams sings the
whole song as published, but the flute adds echoing phrases in verse 1. Hear him at www.albertketelbey.org.uk/mp3/sanctuary
of the heart Williams.mp3
Webpage last updated 8 May
2023