Richard Farrant
Hide Not Thou Thy Face
"Hide Not Thou Thy Face" is an anthem composed by the English Renaissance composer Richard Farrant (c. 1525–1580). Farrant was a significant figure in mid-16th-century English music, serving as a Gentleman of the Chapel Royal, Master of the Choristers at St. George's Chapel, Windsor, and a notable musical dramatist who helped establish the original Blackfriars Theatre.
This particular anthem sets text from Psalm 27 (verses beginning "Hide not thou thy face from us, O Lord"), a prayer of supplication and confession that continues with "and cast not off thy servant in thy displeasure; for we confess our sins unto thee." It is a concise, expressive piece renowned for its direct, declamatory word-setting—reflecting Farrant's background in theatre and playwriting—which gives the music a vivid, almost pleading emotional intensity. Often described as one of the most admired anthems of its era, alongside his similar work "Call to remembrance," it features straightforward yet poignant vocal writing suited to a cappella performance or with minimal accompaniment.
Typically composed for four voices (though editions exist for SAB or other arrangements), the anthem exemplifies the early English anthem style of the Tudor period, emphasizing clear text projection and heartfelt devotion. It remains a cherished staple in choral repertoires, especially for Lent, Ash Wednesday, or services focused on confession and forgiveness, valued for its simplicity, emotional depth, and enduring appeal across centuries.
Practice Files
Other Versions
I've been checking out some reference recordings to shape our interpretation, and it's clear our current score is pitched quite a bit lower than most standard versions—the original tops out with an F in the upper line, whereas ours sits noticeably lower overall. A really excellent one to listen to for inspiration is this - the choir of Clare College, Cambridge's recording; it's outstanding and gives a great sense of what's possible. Their pacing is surprisingly brisk and full of energy, which drives the music forward beautifully without feeling rushed, the consonants come through with exceptional clarity for great textual definition even at that speed, and they bring lovely dynamic contrast between the repeats—subtler the first time, then more intensity and colour on the second pass—which really gives the piece shape and interest. Let's draw from that clarity in our diction, thoughtful dynamic shaping on any repeated sections, and lively forward momentum as we continue polishing this. BRONWEN.