From the Organist & Choirmaster

This Sunday’s Communion Motet, Teach me, O Lord, by Thomas Attwood, a composer whose life bridged the elegance of the Classical era and the beginning of the English Romantic style. The piece, a gentle and heartfelt setting of a verse from Psalm 119: “Teach me, O Lord, the way of thy statutes, and I shall keep it unto the end,” exemplifies Attwood’s gift for simplicity, clarity, and devotional sincerity.

Teach me, O Lord has long been a favorite among choirs for its poised lyricism and unpretentious beauty. The text, one of humble supplication, finds musical expression in graceful melodic lines and transparent harmonies that never overwhelm the words. Attwood’s restrained use of dynamics and careful voice leading create an atmosphere of calm introspection, perfectly suited to the Eucharist’s liturgy. Written in a style reminiscent of Mozart and early Mendelssohn, the motet demonstrates Attwood’s Classical training while anticipating the warmth of the later English Cathedral tradition.

Thomas Attwood was born in London in 1765, the son of a musician in the royal band. At age nine he became a chorister in the Chapel Royal, where his talent quickly earned him a scholarship to study in Italy and later in Vienna. There he became a favored pupil of Mozart, whose influence is evident throughout Attwood’s music. Upon returning to England, Mozart was appointed organist of Saint Paul’s Cathedral and later became a Gentleman of the Chapel Royal, positions he held until his death in 1838. He composed numerous anthems, hymns, and service settings for the Church of England, as well as secular works including operas and keyboard pieces. His close friendship with Felix Mendelssohn, whom he helped introduce to English audiences, further connects him to the greater European school of music. Atwood’s church music remains admired for its refinement and devotion.