Hosanna

The music of Everett Titcomb (1884-1968) occupies a unique niche in the catalogue of sacred organ and choral works by 20th-century Anglican composers in the United States. His compositional voice was clearly influenced by the Bostonian giants of his youth (Eugene Thayer, Dudley Buck, George Chadwick, Horatio Parker--who's mother once had Titcomb as a border) as well as his affinity for French music; yet at the same time his work is informed by his vast knowledge and understanding of plainchant and the polyphonic style of the 15th and 16th century Italians. An Anglo-Catholic who spent fifty years nearly to the day (1910-1960) as organist and choirmaster at Boston's Church of St. John the Evangelist in Bowdoin Street, his best organ works are based on plainchant tunes making them of more value to the Roman Catholic organist of the time than to the majority of Episcopalian ones and some of his best polyphony is in the form of Latin motets which while used at St. John's and other Anglo-Catholic parishes were perfectly at home sung at a Roman Mass.

Titcomb tends to be known for a handful of works which are quite popular with volunteer church choirs while his better work goes largely unplayed, unsung, and unheard.

"Hosanna" was published by B. F. Wood in 1958, and is dedicated "To Sally Slade Warner, Titcomb student and leading advocate.

The work is based upon the familiar Palm Sunday chants "Hosanna, Filio David" and "Pueri Hebraeorum," as well as the famous hymn, "All glory, laud and honor."

The work is rhapsodic and expansive, and shows Titcomb at his best, assuming that the listener/performer likes these sorts of "Anglo-Catholic improvisational" sounds.

The work is dramatic and builds up to a grand climax. Unlike the next Titcomb upload, this work is proper for the High Mass in the morning of Palm Sunday, while the next work is the Office Hymn at Evensong.

The score is attached below, as well as a photo of Titcomb and one of the organ he played.